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Jazz Theory I - Hiroaki Honshuku

Jazz Theory I - Hiroaki Honshuku

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Published by Epicurus Neocleus
Jazz Theory I
5th edition
by Hiroaki Honshuku
Index
Notation ........................................................................................................... 2 Class Restrictions ............................................................................................ 4 Key Signature (the Circle of the 5th) .............................................................. 5 Intervals ......................................................................................................
Jazz Theory I
5th edition
by Hiroaki Honshuku
Index
Notation ........................................................................................................... 2 Class Restrictions ............................................................................................ 4 Key Signature (the Circle of the 5th) .............................................................. 5 Intervals ......................................................................................................

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Published by: Epicurus Neocleus on Dec 28, 2009
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12/02/2012

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Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 1 -
Jazz Theory I
5th edition
byHiroaki Honshuku
Index
Notation...........................................................................................................2Class Restrictions............................................................................................4Key Signature (the Circle of the 5th)..............................................................5Intervals...........................................................................................................6How to get the Interval...............................................................................7ChordChord Structure..........................................................................................8Chord Tone & Tension...............................................................................9Inversion...................................................................................................10ModeChurch Mode............................................................................................12How to get the correct mode scale...........................................................13Tension & Avoid Note..............................................................................14Tritone......................................................................................................15Tritone Substitution Chord (Altered Mixo).............................................16Melody Analysis......................................................................................18Exercise....................................................................................................19Summary..................................................................................................20Diatonic Functioning Chord..........................................................................21Analysis....................................................................................................22Harmonic Rhythm....................................................................................23Secondary Dominant................................................................................24Extended Dominant..................................................................................26Related II minor.......................................................................................27Example (Peace)......................................................................................28Summary..................................................................................................31Project............................................................................................................32About the author............................................................................................33
Theory II Subject
Diminished ScalesMinor KeyModal InterchangeSpecial Dominant
#
IV-7(
5)Deceptive ResolutionCompound Chords
 
- 2 -
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Notation
Same space as the Extended 
Treble Clef 
(G Clef)Starts from the bottom, should makea sharp top, and circle the note G.
Bass Clef 
(F Clef)Starts from circling thenote F (4th line).
Flag
The direction of the flag is the sameside of the note head, going down, andup.
Note Head
30˚ right up angle.
Quarter Rest
Starts from the bottom.Note that the starting circleis on the 2nd line.
8th Rest
Should fit be-tween the 2nd andthe 4th line.
 →
Notation is the most profound communication tool between the composer and the performer. If themusic is not notated clearly, the performer will fail to sight read. The composer, most likely, has tobe present at the rehearsal, and the performer will demand more payment for the over work. On theother hand, if the music is written perfectly clear, the performer will be blamed for a bad perfor-mance. As most of the college assignments will not accept hand written paper, this class requiresbasic notation skill by hand. The assignments done by unreadable hand writing or notated bycomputer will not be graded.Basically, a right up angle of 30˚ should be kept in mind. This angle is the maximum and/orcomfortable angle to the sight reader's eyes.
TIP
Unlike written language, music notation is very psychological to the sight reader. You mustpretend to be a a performer reading the music for the first time, trying to get all the necessaryinformation (tempo, dynamics, articulations, etc.) as quick as possible.
Important
: Eachledger must bethe same size asthe staff space. If the ledger lines
are more than two, the length of the stem is extended tothe 3rd line.
8va 
Stem
The length of the stem is an 8va. Thedirection of the stem switches at the 3rdline.
staff space 
 
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 3 -The direction of the beam is decided by the first and the last note. However, it is better touse a leveled one when many notes in the beam are distant.
Leveled 
The Beam Angle
Should not exceed 30˚.
Imaginary Bar Line
An imaginary bar line is a line drawn in the middle of a measure that has a time signature ineven beats (2/4, 4/4, 6/8, 12/8 etc.). It is a sub-division of a bar.The dotted quarter on the 2ndbeat crosses the Imaginary barline which makes it harder toread. The sight reader will notbe able to tell the time signa-ture of the piece without going back to the top of the piece. Therefore, it must be written asshown in the 2nd bar.Exception to this rule is when the note value is bigger than 2beats (half note in this case), because it is not as difficult toidentify the imaginary bar line in sight reading.
Space
Spacing is one of the biggest issues. If each note is not spaced in relation to the others, the sightreading will not be easy.The example on the first measure here makes sight reading almost impossible. You have torewrite it as in the 2nd measure.

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