FEBRUARY/MARCH 2007 CISPEre mat ws!)A Harmonic Technique of Herbie Hancock - and Learning to Use It BY TOBY KOENIGSBERG basic training iN THE STYLE OF HERBIE have always listened to Herbie Hancock’ playing and marveled at the variety of harmonic colors he employs. m “I wish I knew what those sounds are,” I would think ~ particularly when listening to his masterful soloing on one of my favorite Miles Davis box sets, The Complete Live at the Plugged Nickel. m Finally, I transcribed a few of these Plugged Nickel soles, and what I found was quite interesting. What is Hancock Doing? First, I note that Hancock uses funetional chord substitution and functional chord superimposition with the best of them, (Note: chord superimposi- tion refers to a chord superimposed over another chotd or a chord progression superimposed over another chord progression.) This was predictable: in the music of Bill Evans, one of Hancock's big- gest influences, functional chord substitution was common. And functional chord superimposition ‘was among the mainstream harmonic techniques of the day: It was his use of nonfunctional chord superim- position that struck me ~ not because this was an innovation of his (it was not), but because he often used a single, uncomplicated yet flexible, formula to create beautiful harmonic colors. Example 1 is an instance of this formula from Hancock’ solo on cone of the Plugged Nickel set’ four renditions of the standard, “L Fall in Love Too Easily.” (Ron Carters bass line accompani- ment is also provided and will be discussed below.) The opening gesture of the phrase is about as inside the ‘changes as can be: an arpeggio ‘of A-7(b5) ~ the chord change ff the nue at that point. (For tose familiar with the tune, the “HE OFTEN USED A SINGLE, UNCOMPLICATED YET FLEXIBLE, FORMULA TO CREATE BEAUTIFUL HARMONIC COLORS. eS SESS 36 JAZZed February/March 2007 excerpt in the example does not begin at the top of the form but, rather, halfway through.) Hancock ‘outlines the chord by playing the following chord tones: b7-root-b3-b5-b7. The end of measure one is where things start to get interesting. Hancock outlines a chord not in the changes of the tune, a B-7. playing b7-5-b3- root. At the beginning of measure (wo, when the chord change of the tune is D7(b9), Hancock again plays outside the existing harmony, outlining a C#- 7 chord by playing root-b3-5-b7. (Throughout the example I have chosen enharmonic spellings based con what makes the notated excerpt most read- able.) Looking at these two arpeggios ~ B-T and C#-T one can see a trend beginning to emerge: Hancock, with his improvised line, is creating chord superim- positions, outlining each chord by playing its root, b3, 5, and 7 (though not necessarily in that order). Further, each chord superimposition isa minor seventh chord whose root is a whole step above that of the last chord outlined. Simply put, his line outlines minor seventh chords, which chromatically plane up by whole steps. Lets see if the tend continuesbasic training pry ys | Origa chord changes: 7005) ff 708) or crseoa9atty Example 1: from Miles Davis, The Complete Live at the Plugged Nickel, Disc | at approximately 7:50 In measure two, Hancock outlines an- cther chord superimposition, Eb-7, play- ing b7-5-b3-root-b3. With the next four notes, he outlines another, F-7, playing root-b3-5-b7. Sof, the trend is intact BECOME A JAZZ LEGEND Enroll in the Master's Program in Jazz Performance | | developed by the legendary MMMY HEATH | Study with some of the finest jazz musicians: MICHAEL PHILIP MOSSMAN. ‘Trumpet and Arranging. Horace Silver, OTB, lead trumpet ‘with Lincoln Center Afvo-Latin Jazz Orchestra; Arranger for Joe Henderson, Camegie Hall Jazz Band, Tito Puente, Charles Mingus Big Band, ANTONIO HART Saxophone and Improvisation. Roy Hargrove Quintet, Dave Holland, ete. Solo recording artist. Grammy Award nominee 2005. Adjunct faculty inelude Arturo O'Furill, azz history * David Berkman, piano “Theo Blackman, voice * Gene Jackson, drums | Buster Williams, bass * Jobn Blake, violin | Vince Cherico, Latin pereussion & drums Queens College is the home of the Louis Armstrong House Museum and Archives. Qa Queens College | JAZZ PROGRAM, AARON COPLAND SCHOOL OF MUSIC ‘Queens Collage, CUNY, Fishing, New York 11367 Tor information: 718-997-3500 The next two chord superimposi- tions ~ F#-7 and G-7 ~ modily the trend by moving the superimposed chords up by half steps rather than whole steps. (Hancock commonly employs such “half step planing” at the end of a series of nonfunctional chord superimpositions as it can cre- ate a greater pull to the destination chord.) With the next four notes he ‘THE ONIO STATE UNIVERSITY Rrrrle aos d) ‘Study jazz at The Ohio State University—our a/) undergraduate degree program offers specialization in performance, jazz theory and composition, artanging, improvisation, African American Music, azz styles and history,jazz pedagogy and music industry. Richard Lopez, Jim Masters, Joe Ong, ‘Douglas Pierce, Shawn Wallace, Andy |@pcoming Dates: ‘30th Annual OSU Jazz Festival, April 12-15, 2007 OSU Summer Jazz Camp for High School Students June 17-21, 2007 Tae ru) DPA eae CTLs) meu me eerie JATed February/March 2007 37basic training] ‘Sep 1) Choose a chord that is in the changes of the tune, (We will choose A-7(@8), at the beginning of the second ‘measire) Original changes: G- AHS) D7(09) G- C7 FT Bbma ‘Step 2) Begin writing chord symbols, following the chord in Stop 1, which represen chord superimpositions. ‘These shouldbe the same or similar in quality to the chord identified in Step 1. The roots of the chord super- mpostons should move in a consistent direction and by a consistent interval. The harmonic chythm is abiary and need not be consistent. (We will create chord syperimpositions which possess the following characteristics: ‘hey wil al be ofthe same chord quality asthe chord we chose in Sep 1, their roots will mave down be whole ‘eps, and thes willccur every ane and aha beats) Original changes: G- A-1(05) D7Q09)_ C7 FT Bbma ‘Superimpositions: G-1(05) F-1b5) Eb-1(b5) CH-7(65) ‘Step 3) Be on the lookout for a chord which could operate as a pivot back into the song's functional progression. ‘You may fiddle with your superimposed progression inorder to arrive at such a chord. ‘Try changing harmonic rhythm. Try changing the interval of root movements to half steps at some point. When you have found this pivot ‘chord, iis the last in your series of chord superimpositions. (We will follow the C#-7(b5) that we have super- {imposed on the and of beat three of measure three with C-7(b5), whose rot is a half step lower, on the downbeat of measure four. C-7(bS) can serve asa functional chord superimposition (a borrowed chord). Thus itis our pivot chord) Original changes: G- A-T(b5) DIO) G C7 FT Boma ‘Superimpositions: 6-105) F-1(05) P-1b5) CH-1(05) C-165) ‘Step 4) Add one more chord that moves into the pivot by half step. It should approach the pivot in the same direction by which the chord roots have been moving all along and should be of the same or similar chord quality. You may ‘adjust the harmonic rhythm of the superimposed chord progression in order to make this additional chord fit. If, a8 | result of Step 3, you already have a half step root movement into the pivot chord, Step 4 is unnecessary. (Since, as ‘a result of Step 3. we already have a half step root movement into the pivot chord, Step 4 is unmecessary,) Step 5) Play the tune. When you gt to your chord superimpositions, play them instead ofthe tures changes. Try outlining the chord superimposition wit simple arpeggios (1-35-7 or 7-5-1), varying their hythm each time. Slight shythmie vanations are suificient. (Here's a improvised line hat, when i get o our chord super- {positions outins them clearly using arpeggios that are rhythmically varied!) Original changes: G- AmbS) DTW) G Superimpositions: G15) _F-Ho8)_ED-MbS)_ C7065) Mes) _ OF: . = oe r Wb tendady tee Original changes: C-7 cl Boma Superimpositions: Example 2: applying the steps 38 JAZZed February/March 2007basic training) outlines F#-7, playing b7-5-b3-root, and with the following seven notes he outlines G-7, playing root-b3-5- b7-5-b3-root, It should be noted that among the rhythmic figures used to outline each chord, no two have been identical There is also one noteworthy variation with respect to chord quality. The first arpeggio of the excerpt (which outlines the A-7(b5) from the tune’ original changes) expresses a half diminished chord, differing in chord quality from the minor seventh chord superimposi- tions, which follow. On beat two of measure four, Han- cock finishes the excerpt with scale- based melodic material implying C13(b9,#9,#11). The two-note chord with which this passage begins con- sists of chord tones 5 and #11. The Next two notes proceed downward chromatically, arriving with the latter on the chord third. The notes com- prising the remainder of the excerpt are a C *half-whole” diminished scale. Ofcourse, this pitch material does not in and of itself define the harmony as C13(69,#9,411). Only by viewing the context is it apparent that this is the most logical harmonic explanation for the passage: the C13(b9,#9,#11) is simply a three beat anticipation of the existing harmony - C7(b9) in an extended and partially altered form. (Rhythmic displacement of har- ‘mony was a thoroughly established technique when Hancock performed this solo, as was the arbitrary extend- ing and altering of chords.) It is im- portant to note that C13(b9,#9,#11) is acting as a functional chord super imposition, as it is simply a rhyth- mically anticipated chord from the functional chord progression of the tune. In this way it differs from the nonfunctional chord superimposi- tions which led up to it The Pivot Chord In the context of the entire su- perimposed chord progression played by Hancock, one can see that the G-7 serves as a pivot chord between the nonfunctional chord progression, which came before it, and the functional chord progres- sion, which follows. (In the latter, it is the first chord of a Hmi7-V7(b9)- Imi7 progression in F minor — the Imi7 occurring after the excerpt.) This concept is crucial, because in this excerpt it is the means by which Hancock logically and seamlessly re- enters the functional chord changes of the tune from his excursion into a progression made up of nonfune- tional chord superimpositions, Ic should be noted that bass play- ers have many ways of responding when soloists employ harmonic techniques such as this, which is a ey ea FULL-TIME FACULTY David Loeb DIRECTOR, PIANO, ENSEMBLES Tom Warrington or iaformation plese contac David Loeb 702-895-3739 daveloeb@comallnevada.edu 4 bic cee slant yr RraaE UNIVERSITY OF NEVADA LAS VEGAS. JAZZ STUDIES AREA Bachelor or Masters in Jazz Performance or Composition Graduate assisantships available topic beyond the scope of this ar- ticle. Suffice it to say that in this ex- cerpt, Carter's bass line is harmoni- cally undefined in measures one and two, outlines D- in measure three, and, on the downbeat of measure four, reenters the changes of the tune which it then outlines through the remainder of the excerpt. The fact that in much of the excerpt Carter is not playing the original changes of the tune does not negate the use of the term “superimposi- tion” to describe what Hancock is doing: whether Carter is playing the tune’s original changes or not, Han- cock’ chord superimpositions are layered on top of, and imply differ- ent harmonic content than, Carter's bass line. ys ADDITIONAL FACULTY Joe LaBarbera DRUMS Bernie Dresel DRUMS Brandon Fields SAXOPHONE. Dave Stambaugh ‘SAXOPHONE. Bobby Shew ‘TRUMPET Joe Lano GUITAR, ARRANGING Jobelle Yonely VOCALS A Great Place to Study Jazz OSg UNIVERSITY OF SOUTH FLORIDA MANES aos Ly JAZZed February/March 2007 39basic training, A Summary sistent interval. The harmonic Let's recap what Hancock is do- rhythm is arbitrary and need not ing, He begins the excerpt by arpeg- be consistent giating a chord thatisin the changes MH Step 3) Be on the lookout for of the tune, He then creates a series a chord that could operate as a | of nonfunctional chord superimpo- pivot back into the song’s func- sitions possessing a common chord tional progression You may quality Glightly different from that fiddle with your superimposed eae eC ky of the first chord) through the chro- Progression in order to arrive at SCM a, planing of srpeggio mate such a chord Try changing har eens vial. After planing upward ~ firs ‘monic rhythm. Try changing the nga by whole steps, then by half steps interval of root movements to DRUMS EREM he reaches. chord tha serves asa ‘all steps at some point. When Te ula pivot, leading by functional means you have found this pivot chord, Cea et ten ee back into the original chord chang- it is the last in your series of es of the tune chord superimpositions. oe 5 M Step 4) Add one more chord ee oa Learning to Use Hancock's that moves into the pivot by a aol Technique half step. It should approach rears ok Although Hancock probably does the pivot in the same direc- Peeters this spontaneously, it ts difficult for tion by which the chord roots Cen most improvisets to immediately hhave been moving all along and should be of the same or similar chord quality. You may adjust the harmonic rhythm of the su- perimposed chord progression 1m order to make this additional chord fit. (If, as a result of Step 3, you already have a half step Toot movement into the pivot oye) begin to apply this technique un- prompted, in a spur-of-the-moment fashion, For most, the technique rust be preplanned in initial stages of practice: one must predetermine where and how one will use it ina given tune. Through repetition, one vill start to notice that it appears in one’ improvisation in an unplanned chord, Step 4 is unnecessary) aay Step 5) Play the tune. When you ‘With this in mind, we will plan get to your chord superimpost- eee 28 application of this technique-us- tions, play them instead of the ing Example 1 as a model. We will tune’ changes. Try outlining the OTA begin by reorganizing and reformat- chord superimpositions with ting (and simplifying a bit) the recap simple arpeggios (1-3-5-7 or 7-5: Peres paragraph above into a series of use- 3-1), varying their rhythm each Cette ful seeps: time. Slight rhythmic variation is sufficient eo eet eter y Step 1) Choose a chord that is in the changes of the tune Step 2) Begin writing chord symbols, following the chord in Step 1, which represent chord ToT ele) Director: The Singers Center Coad = ieee acu inal Now lets apply the steps 10 a spe~ cific tune ~ the standard “I Hear a Rhapsody" (at the bridge) (Example 2). In the example, the steps above rer Ty superimpositions. These should _afe reiterated and each is followed. Slee stir wre be the same or similar in quality in parentheses and italics, by a de- sr erie to the chord identified in Step 1 stiption of how that sep is applied = The roots of the chord superim- in the specific example. (212-222-6632 Positions should move in a con- See? It's not that difficult, Se Fistent direction and by a eon- Rees Pe See eran SNE EET 40 JAZZed February/March 2007basic training, A Flexible Formula Of course, Hancock varies this formula in a seemingly infinite number of ways, such as by planing Giatonically as well as chromatically, by expressing the chord superimpo- sitions with chord voicings rather than lines, by further varying the imerval of the root movement in the series of superimpositions, by varying the chord quality more than once within the series of superim- positions, by reentering the original chord changes of the tune without the use of a nonfunctional/func- ional pivot chord (in other words, simply by continuing the technique of nonfunctional chord superimpo- sition until one of the chords in the series happens to be, at that point in the form, the chord from the origi Done eae nT EASTMAN SCHOOL OF MUSIC ee EASTMAN 030 nal changes of the tune), and in a plethora of other ways, Once one ets a handle on the basic concept and repeated use of the step-b step method above is an effective means of doing so), the variety with which it can be applied is limited only by the imagination of the solo- ist Toby Koenigsberg is assistant profes- Sor of jazz plano and associate director of {icez studies atthe Univesity of Oregon Koenigsberg has been published by the Jazz Education Journal, has given lectures and demonstrations on the music of Bud Powell throughout North Ameria, ard is currently ‘iting a jazz piano method book. He has also released ewo CDs as leader and per- forms internationally Ea in Ce) DT music education AAA PET e Cg Pa EUR ae OS uy et ener gd eed Soars d i. ort eee eels Pea eu ea Institute, conducting music ue aes Cen erecu) Dean act Press srk n ae! i inc DT Ue ee Reel JAIZed February/March 2007 41