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Ron Miller Modal Jazz Compositi PDF
Ron Miller Modal Jazz Compositi PDF
VOLUME 1
BY R O N M I L L E R
WHEN THE MOPES O f MUSIC CHANGE. THE WALLS OF THE CITY CRUM%LE- (PLATO)
@ 1996 by ADVANCE MUSIC
Incroducrian ..........,........-..............-...................................................*..........................................-............. 6
APPENDIX
The subject ofjazz cornposition has many meanings. TradicionalIy, a jazz cornpositi~nwas an
arrangement for big band that was composed by the arranger. Mast OF tke earlier jazz
composirion textbooks (and there were few) took that approach. A jazz composition For
universal use was not a practiced consideration at that time:mast small group performance
was based on playing standards or blues, or tunes with new meiodies derived from an
improvised solo over the original or varied version of the original chords. Even the most
Forward-looking composers of the time were tied to the song form and tonal hamonic
system. Although they produced classic, beautiful compositions, the closed quality of their
hamonic vocabulary and symmetric form deprived them ofdiverse expression. It wasn'r until
che early sixties, when a group of university educated composers hit the scene, rhar jazz
compositions evolved into venues of individual expression for both the composer and the
improvisor. These young composers,aware oFche harmonies oFBarcok, Stravinsky, h v e l and
Rachmaninov, and the use of extended and free-form, inrroduced a new concept of jazz
composition to the jazz world. Representative of chis new breed were Wayne Shorter and
Herbie Hancnck. Of course, there were interim composers who advanced rhe art of jazz
cornpasition and influenced subsequent camposers with compositions of great strength and
beaury. Horace Silver, a perfecr example, influenced many jazz composers - this author
incIuded. Although his harmonic vocabulary was based within the tonal system, his use of
unusual form and perfect tonal cenrer relationships along with great rhythmic ideas and
memorable melodies has earned him the respected position of one of "the masters" (see T r e e
~FlnfluentialComposers" in appendix). It is the freeing of the composer from the scruccure
(or scricmre) o f rhe tond syscem and scrict form, song form in particuIat, that has allowed so
many composersof inen abilities to "bbssorn"ra artisa with individual expressive merit The
god o f Volume I of chis book is to show che student the means to develop latenc creative
abilities by offering rhe unfettered environment af the chromatic-modd harmonic system
and Free-asymmetric form. In addition, the freedom of the approach will allow the composer
to express himself in any style: Post-1950sjam, cIassica1, ECM, Fusion,pop, ecc, that is not
tied 1-0any harmonic particulars.
THE JAZZ COMPOSER'S REGIMEN
jazz is baricdly a performer's arc form- Not unlike the army where in spite of individual
spr&zarion weqone is ba~icdlyan i n F a n ~ mEveryone ul, in is baicd+, player.
p u r tala& are stronger in the writing area, be prepared to duesmor get into classical
compmirion or film scoring Although the b z i c skills required For borh players
=,
i are e ~ ~ me
same, once those skills a x ac¶uir*, 'he Process of d ~ e l o p r n .-hanger
,pFreaCh arraining a level of arcistic mmpecence f o r t h e player Tequires &e environment
of pracricc mom ~ i hours ~ h of Q ~ learning lidrs and
~ O L skius,
learning transcribed solos and dev%'ing and perfecting a conepr
produc*on. The composer, in a disimil= fxhionp must e x ~ m dhis Iearning cnGrifonment to
include .world and all it c a n reach- Once the has mastered the basic
he has ta acquire 'somehing to say-" Qf this is true for the bur
requiredinsrmrnenal skills seem haw precedence at this point. For che composer, whose
effom are less ephemcraI, the foltawing regimen is s u ~ e s t e d .
2, Know theory and nomenclature: Composes use writren means of communicarion.nis
m~egoryis obvious.
2, Evolution ofjazz styles: one should be able write in all jazz styles and knowledge
dementsof dl svles will improve one's personal style.
3. sru* and ,&nmv rhe works of rhe influential jazz composers: Chadie parker, Duke
Elbngton, Charles Mingus, Horace Saver, and Wayne Shorter.
This book is organized in a way that separates rht hbrrnacion pertinent to acquiring creative
skills, and thac of a more esoteric nature: the hows, whys and theoretical Foundations, as
found in the appendix This means chat the student interested in quickly getting going with
composirion doesn't need to €erret out the "good" stuff from a jungIe of data, while the
smdent interested in the hows and whys can easily access that information. Ic rvill be pointed
out within the tern of each chapter when additional idormation is available in the appendix.
In general, the procedure is to first develop the language of harmony as used in che book,
work with exercises to assure mastery OF the concepr, andyze how che concept is used by
accomplished composers and finally, apply the concepa to create a c~mpositionEach
chapter has a title page with a list of terms that are important to gaining a complete
understanding of the concepts presented in that chapcer. The terms, some peculiar to this
book, are found in itaIics and are defined within the text. In addition m understanding the
tenns and conceprs, OF extreme importance is rhe *hearing" of the musical aspects of the
concept, Any chord, mode, melody, exercise or exampre shouId be played on a keyboad
regardless ofthe student's keyboard skills. Only rhen should the student, if not a keyboardist,
use his instrument or voice. WhiIe playing the exampIes, the student should be lisrening
intently to train his ears to the particulars of each example. Each day the studenr should try
to find rime ro listen to a selection from the induded discography. The ultimare goal is to
haw all the recordings listed there available for persona1 listening from memory done. An
important point ro remember i s that no one can successfully compose in the way this book
advocates without first being able to "hear" the concepts presented. In a nutsheI1, the smdent
should;
1. Learn the concepr inrelIecdly.
2. Learn to phy it on a keyboard.
3. Learn to hear ir.
4. Learn its application in a recorded example.
W~theach chapter, the subject wil1 be illusrrated with an m p k or examples. Srudy these,
and play them. Next will be suggested exercises &at will assure that the concepts are mastered
Bur more importantly, they are designed to develop creative skiIk, in facc, most exercises rYli
be the seed idea for a finished composition. The point is to approach the exercises as a
potential composition rather than an academic exercise and ta do as many as rime d o w s .
When all the beginning concepts ate mastered, we will begin to analyze how rhe techniques
are used by che master composers on recorded examples. One should have done much
listening by this time. IdealIy, che book d be used in a cIass~oomsituation with an
accomplished teacher/composer who can offer informed objective feedback For any student
effort. Once the canceptc of d-te book are mastered, this last step is a must for artistic
development. I n e n the informarion is assimilated and mastered (or before), it is hoped thac
the srudtnc will realize that the *freedom" advocated by the methods o f this book allows him
to do what he got into music to do to begin with: Be crearive and have fun!
CATEGORlfS OF JAZZ CUMPOSITION
TONAL
A. SONG FORM
Based on rhe symmetric 32-bar song form rypicaI of tunes from the sundard repertoire ofthe
'30s and '40s,this is improvisation oriented cornposirion, many o f the tunes being melodies
d e t i d from improvisations over standard and dance runes. Compositions not derived from
existing tunes were nonetheless based on rheir formulae. Their harmonic material rawly
strayed From cotalIy diatonic key reladonships. Representative composers are Bird (Charlie
Parker), Duke Elhgron, Billy Strayhorn, Tadd Darneron, and Thelonious Monk.
8. FREE-FORM
No Ionger strict song form, rhese can be asymmetsic or through-composed.In addition, there
is much use of nondiatoraic key centering. Representative composers are: Duke EUington,
Chades Mingus, Billy Strayhorn, Benny Galson, and Horace Silver.
C. NEW REHARMONIZATIONS/NEW BOP
Many OF the younger cornposer/improvisors of the eighries, seeking to pay homage to t h e
masters of r h e past (bebop), remmtd to the harmonic materials and form of that era (tonal/
song farm). Bared on the bebop concept oF writing a new melody over a set of standard
changes, this method is made contemporary by dtering che harmonic rhythm, by chromatic
substitution and by attempts to "modalize"the tonal quality of the original changes. Most of
these young "new hoppers" are providing this kind of composition: Wynton hfarsalis, Rifk
Margitza, andJerry Bergonzi are representative.
MODAL
A. MODAL SIMPLE
These are the early rnadaI compositions,where the harmonic content is based on one mode
(linear) or a few different modes at different key centers (plateau). Typical are "So What,"
"Impressions," and "Maiden Qoyagt" Although nor tonal, she form is still fairly symmetric,
with mosc of rhe compositisns being AABA song form.Other &an Colcrane and his fbllowers,
there doesn't seem to be a *school" of composers with this specialization.
B. MODAL COMPCEX (FREE-FORM) I
Having Fasc asymmetric harmonic rhythm and free-form, &is is the mosc complex and
comprehensive harmonic category. This kind of harmony o h the easiest rn-s for creative
expression but requires the most creative "effort" of the composer.Wayne Shorcer is the main
source of inspiration for this category.
PENIITONTC TUNES I BLUES TUNES
This is a composition in which the melodic source material is the focus of its development.
That melodic source material i s derived from either the unalwred, altered, or add n o t e
pentatonic scales and alI their modes. The harmonic material can be of any category, but the
form is usually derived from that which is Found in the worId's folk musics.
AVANT-GARDE
A. TONAL/BEBOP
Using tond melodies and song fbm as a point of departure, rhe father OFchis style is Omette
Coleman, who is a major influence on Carla BIey, Albert Ayler, and Pat Merheny.
B. MODAL
Pushing the simple-modal and petImt0ni.C category to the edge, John Calcrane and his
followers at the time - Steve Grossman, David Ciebman, Archie Shepp -are the represenmrive
composers.
C. FUSION
Utilizing dance rhythms, adding electric instruments, but still maintaining free improvi-
sations as in basis, chis category i s represented by Ornetre Coleman, James 'Blood' Ulmer, Bill
h e l l , and ochers.
D. WORD/ETHNlC/PUOGRAMMATlC
The last category of avant-gardeis very diverse in style and oEers venue for the composer who
has che desire to make a social comment. There are toe many in this and the Fusion category
to list rhe r m l y representative. The most famous are Sun Ra and the Art Ensemble of Chicago.
A11 of the above wiCI be cowred in detail in the appropriate chapters ofthe appropriate volume,
but For now it should sufice as a guide ro comprehension of the *big picture" and getring an
idea of the rsverali goal OF both voIurncs of this text Bear in mind that the bctter jazz
composers create works in many of the listed categories.
'ER I
I . Sty
"
2. syrnrncrrlc vlv~slon
3. Asymmetric Division
7. Chmniatic
8. Vertical Modal
- * , ,
9. Plateau Modal
c Rhythn
. .
CHAPTER I
- --
The harmonic materials emphasized in this book can be applied to any stylex] of
composition, if the style is not defined by any harmonic particulars, i-e., pasr-1950s
jazz, pop, ECM, Iare 19th/20rh cenrury classical, etc.
Typicd would be the works of Pat Merheny, Wayne Shorter, Ralph Tamer, Joe Henderson,
and Kenny Wheeler, to name a few. Most ofrheir compositions are similar in their use ofnon-
diatonimlly related modal material, free-form (non-song form), asymmetric harmonic
rhyhrn, and a diversicy of rhythmic style. I n addition, many of heir compositions reflecr a tie
to the d t i o n ofjazz with secdons of tonal harmony and swing feel.Most oftheir works are
"playable."
HARMONIC GROUPS
T h e groups are defined by the presence or absence of preset rules oEssructure and organi-
zation.
The harmonic content oFa composition can be in one group or combinations of the groups.
THERE ARE FOUR MAW GROUPS (three are modal, one i s nonmodd).
1. TONAL (modal specific)A modd system which has specific means of org-tion (rules):
VERJICAL MODAL
(a) fast harmonic rhythm (one chord pet beat to one chord per bar)
@) wry active, rneIodic bass line
fc) no clearly defined home key
(d) harmonic melodies are usually chromatic (see p. 61)
(e) individual chords tend to be heard as a sonority rather rhan a modality
T h i s harmonic style, being v e y active, can be overbearing. It is usually used at cadenrid areas
ofa composition, but can be found in complete use in some dower tempo tunes.
Examples: "Licde One" by Herbie Rancock, "Dance Cadaverous* by Wayne Shorter, "Yellow
Bell" by Ralph Towntr.
Listen to the FoIEowing recordings and try ro identi@the general harmonic group. If more
than one group is used in a single composirion, Iabel the group by sections. Try co name the
modality of each section.
Compare the rhythm section style of playing on the above recordings with that of any Charlie
Parker recording and compare the harmonic rhythm of the above wich any pre-1960s jazz
Messengers recordings. Is there a diEference in rhe harmonic rhythm of compositions found
on Messengers recordings after Wayne Shorter joined the band?
of the
Ur
..,". .a.' -: 7.
e
.
. .,
Diatc.., Moues ..
Method
2. Chromatic Method
3. Tetrachords*)
CYAPTER tl
METHODS
There are two methods
1. DIATONIC METHOD
The traditional method: that of establishing a key center and transposing the adjacent
notes of r h e major scale. T h e modes are diatonically relared, with no clear color
comparison.
2. CHROMATIC MEMOD
Fixed starting note method: this is a nondiatonic method where each mode has the same
starring nore. The modes are constructed by h e combination of tetrachords thar cIarifies
the differences in modality, stabiIity and hatmonic/rnelodic qualides.
T h e main god of this section is ro establish a harmonic palette for the composer of modal
composidom KO use in a manner similar to char OF the visual artisr. The "colors"are to be
brighr or dark, tense or relaxed, and t o have emotional effects as weI1. With this in mind the
chrornaut rnethad is the best choice.
The siu scales from which the harmonic material in chis book will be derived are the following.
1. Ionian mode
2. T o i n b3 (melodic minor)
Example 2-7:
T H E FORMULAS
Note the shifring af the minor second interval From the right to the Ieft This is a visuaI
representation of the order of bnghesr so darkest of the modes.
SUGGESTED EXERCISES
1. Construct the following modes using the terrachord method (do not use key signatures):
(a) D Tonian
(b) E Aeolian
(c) Eb Locrian
(d) G Phrygian
{e) Bb Lydian
(0 Db Mixolydian
(g) E Dorian
5 . Do the above for the modes, make nore of their emotional qualicy,
CHAPTER III
Cor - ~ctic
of the
Unaltered
Diaton~ccnaras
sive Met
l ling
t Scale
r Order
Spacing
7. Tea-.-.
8. Cluster
9. Quartal
10. M
11. Balance
12. Support
13. Tes:
. Upper Structure
15. Grip
CHAPTER Ill
METHODS
There are two mechods o f modal c h o d construction:
1. COMPREH ENSlVE MEFHOD
A11 aspects of modal quality and acoustic properties of nore groups must be known:spdIing,
spacing, and balance.
2. SHORTHAND MITHOD
Upper structure method: an upper strucrure with a particuIar hand shape o r ~ ispplaced over
a root. [Note: The shorthand grip method will be covered in Chapter Vm.1
Good balance usually is a result of chord consrruction, which Follows a model OF the overtone
series in its vertical arrangement. In addition, the qualiry of the intervals adds to the ovetall
sound - thirds are consonant, seconds have bite, and fourths have tension.
1. TERTIARY - The most balanced, the one which mimics the o v e m n e series but the masc
bland and uninteresting.
2. CLUSTER - The one which is most unlike the omtone series, but has an interesdng
"bite."
3. QUARTAP - An example of displaced overtones, i t has subtle added tension which gives
it a great sound
4. MIXED -The best choice, has a good combination of consonance, bite and tension.
= No less than an octave between the root and the upper smcmre if the root is lower chan
G3 (second G below rniddIe C).
- No less than a 84 between the root and the upper scrucrure if the root is above G3.
No more than an octave between root and upper structure if the root is above C3(17 below
middle C).
€3. UPPER ~ U ~ R (MIXED)
E S
N o more than a fifth between the lowest nore of upper structure to its next upper note.
- No more than a fourth between any of the remaining upper structure notes.
Keep in mind that the upper srrucrure by itseIf is less sensitive to weak balance, and char
unusual combinations are desired in mosr cases.
3. Place the primary color tone somewhere within the seIecced ressitura.
4. FiIl inJup or dawn, the remaining coIar cones wirhin the specified incervaI o f che selected
spacing to t h e number of notes desired in the chord (four or five plus root is ypical).
5. Keep in mind the rules of supporr and balance if good support and balance are desired.
One should be abIe to create a balanced chord on assignment.
6.If constructing mixed spacings, try co create balanced chords first, then experiment with
exotic (imbalanced) spacings. Some of them sound surprisingly good.
7. Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may
need to shift the prioricy tabIe to fuIm the requlred spacing-
8.Doublings are acceptable and wen desired in some cases. commendations wilI be made
within rhe comments of each example.
A t this time it should be pointed out h a t there is a problem with r h e standardization ofmodal
chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples
are a compilation ofsuggestions that I have received from t h e many s t u d e r m I have had from
all parts o f the world. These suggested symbols work, but are open ro criticism.
The mixed examples are typical of h o s e found in common practice. Specific examples found
in the Iisted discography will be labeled.
Check marks refer to the prefkwed examples because OF true modal ~ u n o
dr because o f
"common practice" usage.
7. LYDIAN - Sounds best with the third next to the #4,try to avoid using the fifth, ic makes
the 114 sound like a #I1 (see FO&j9#ll).
Example 3-1:
F Lydian ~ ~11 6 ~ 4
2. IONIAN - There are two Farms of Ionim, the common one: A6/9 which is lacking
complete Ianian modality, and the A I I which has the m e modal sound
Example 3-2:
3, MIXOLYDIAN - Like Ionian, has rnversions, the one with true modality bar both the
third and the fourth.
Example 3-3:
4. DORIAN - Must have a n a t u d sixth, note chat C-9 is not a modal chord.
Example 3-4:
9 D Dorian
0-13 D-6
(1) from uTouch"by Eberhard Weber (2) *AIice's Wonderland by Chades Mingus
(3)"So WhaP by Miles Davis
5. AEOLIAN - Dark and beautiful, can sound like a firsc inversion miad.
Example 5-5:
(I) a Gil Evans voicing (2)"Sea Journey"by Chick Coma (3) "The Lieb" by Ron Miller
Example 3-6:
Usually here will be no need to double any of rhe notes. Ifthe occasion does come up, try to
double the roar as first choice or choose a color tone that emphasizes the primary color rone
as second choice. As an exampIe, doubling t h e root with Phrygian aIso emphasizes the b2
quality of Phtygian, doubling the root with Aeolian emphasizes the namral second.
Regarding 'common practice' adjusrment OF the color tone priority table, many of the
recorded exampla are by piam players voicing5 so the exampIes are derlved from what
canfarms to hand shape (see Chapter WlI on the grip method). Other adjusrments are made
to enhance zhe modality of the chord An example is the incIusion of rhe perfect fifth to
Aeolian to emphasize t h e flat six quality while darieng that che chord is not an Aeolian flat
five (Lomian 42).
COHSTRUCTlOM O F THE U N A L T E l E n D l A T O N tC C M O R D S
SUGGESTED EXERCISES
I
2, Construct the follorving chords as specified (include chord symbofs and use your best
alligrlphy - be aware oFnear presenudon):
(a) G Phrygian, quartd
! @) E Dorian, cerdary
3. (a) Play rhrolzgh all of the abwe chords, transpose ro aIL keys.
(b) Listen casefully as you play. Have a friend play them, cry to identi5 their modality.
CHAPTER !I1
of the
Unaltered , ... .
Diatonic Mod
!solution
4. Stab i lity
. A
3. tmot~onalGeneralizar
6. Palette
CHAPTER I Y
The Following characteristics of the unalresed diatonic modes are the seed qualities for aH
subsequent modes and their chords ro be introduced in the book. The later modes/chords
have these basic qualities, with subtle enhancements according to cheir divergence from the
source diatonic mode.
The goal o f the following descriptions is to establish and list a mode's musicd/ernstionaI
qualities, which can be referred m for compositional and a e s t h e u d use.
BRIGHTNESS TO DARKNESS
1. The shifting of the semitones from right co lefr increases the mount of darkness.
1. LYDIAN brightest
2. TONlAN
3. MIXOLYDIAN
4. DORJAN
5. AEWUAN
6. PHRYGIAN
7. LOCRIAN darkest
RESOLUTION TENDENCIES
1. MOMENTUM - The desire of the mot to resolve to the home key, the rooc of the Ionian
mode with the same diatonic spelling.
Examples: C Ph'ygian wants; .to go to ~b lonian; C Lydian wancs ro go to G Ionian
The chords can cycle through chords wi& less momentum unul the home is reached.
Example: D Dorian m G Mixolydian ro C Ionian
As one can see, this is the Foundarion for dktonic cadence.
EMOTIONAL GrENERALIZATlONS
The modes can and should be used ta form an emotional response From the listener. The
descriptions a r e the resulr of a listener poll upon hearing differenc modes with different
voicings. Being a generalization, the results are accurace in mosr cases but cannot be t o d y
relied upon. Such inaccuracies come from the diversicy of t h e listener's farniEiarizadon with
different kinds of music, as well as their Iife experiences and ~ I t u r a backgrounds.
l
THE RESULTS
1. Lydian - aggressive, urgenr, frantic, urbane, busy
2. Ionian - stable, peacehl, placid, content, hopeful
Nore that the above qualities can be affected by other musical devices like tempo, xessitura,
chord spacing, as w d as syncapation, hannonk rhythm, and melody. The order of brightesr
to darkest should be considered as well.
We now have a simple palette o f primary mlors with which to create our harmonic scene.We
can m a r e a modal Iandscape by ccontrascingbright chords with dark ones.We can bring about
an emotional response from rhe Iistener by our selection of modality and by carefu1 selection
o f the general key or tessitura ofall the chords. In addition, we can enhance the eficr by the
selecrion OFthe appropriate tempo and harmonic rhythm.
Al of the above wilI be covered in later chapters, but next we need ro constr~ccmodes and
their chords that will add secondary "colots" to our palette.
It is important to grasp the concept that the second group of modes is derived from the
primary group o f simple diatonic modes; that the secondary group is a form o f altered-
diatonic, and that all the qualitiesof the original diatonic modes are maintained but enhanced
by the quality oFthe alteration. As am example, one o f the modes we will consmct is Phrygian.
with its sixth naturalized. The sixth of she unaltered diatonic Phrygian is flamed so the n e w
Phrygian natural six has the same qualities of the original but a bit "brighter.*
CHAPTER I Y
SUGGESTED EXERCISES
1. Play all the previously constmcced modal chords, try to identify their emotional quality.
Try to determine if different routs or spacings affect rhe result.
2. Listen to the following recording, make a comment on your emotional response. Name
the overall modaliry. Note how tempo and key affect the end emotional result.
(a) Power to the Peopk - Joe Henderson, "Power To The People" (MPS 9024)
(b) American Hope - Ron M~ller,"Elerneng" Libera1 Arts (NOYUS
3058-2N)
(c) S w i n g Giant - Herbie Hancock, "Crossings" (BS 2617)
Id) 7he Fohwing Morning - Ebwhard Weber, T h e Following Morning" (ECM 1384)
3. Learn the acoustic source of the diatonic modes, be prepared to answer irnrnediamly.
Examples:
C Phrygian: Ab
F Aeolian; -
Ab Lydian;-
B Mixolydian:-
The Mode:
(Melodic Minor)
CHAPTER V
Notice t h e asymmemc organization of the semicones due to the alrwations. AIthough the
darkness order is unclear, we will simply follow the order of the vnalcered diatonic modes,
with the ahration being considered a quality enhancement. Traditionally, we think of the
source of this set of modes as being melodic minor (ascending), bur in order to refer to the
parent scale for order of darkness, emotional characceriscic, etc., try to think of the source zs
altered Ionian - Ionian b3.
-
Lydian-augmented Mixolydian #4 - Mixolydian b6
-
-
-,, >
4-
><-8
'
r,
C/
/-
- , ,,
Altered --'
THE MODES OF T H E RLTEAED DIATQN~C NO I - MELODIC MINOR
TABLE
As wilI be seen, we must use at leasr: two of the tones to get suficienc modal definition.
CHORD E X A M P M S
1. LYDIAN-AUGMENTED - A brighter form of Lydian, it is quite often found wirhaur the
#4-
2. MIXOLYDIAN #4- Not really the 13811 chord Familiar to d,this chord k usually used in
tandem with sus chords. It is a brighter form of M i u o I y h and is rraditiolnalIy caiIed
Lydian-dominanr
Example 5-3:
3. M IXOLYDlAN b6 - A darker form ofMixolydian,it has an Aeolian sound and can be con-
fused with Aeolian if rhe third is not generated in the overtone series by rhe played instru-
ment (see appendix). This chord is highly recommended for attaining a fresh sound.
Example 5-4:
4. DORIAN b7 - UsvalIy called minorjmajor seven, the natural sixth in this mode separates
it from traditionaluse. Like M k l y d r a n 14, it is often used in randem with sus 4 chords.
Example 5-5:
5. AEOLIAN b5 - Also known as hcrian \2, eirher name is okay. AIthough we cmditiondy
use this chord as a ii chord in minor ii-V cadences, the modal use is a "stand alone," non-
functional use.
Example 5-6:
6. PHRYGIAN 46 One of rhe earhest chords used in the new-modal type of composicians,
it first appeared on Herbii Hmcock's album EAadm V q a g ~in, the mne "Lircle One."This
chord can sound Iike a 6/4 chord with a suspended b2 and was used hat way by Ravel
(Daphne et Chloe).
Example 5-7:
THE M O D E S OF T H E A L T E R E D D I A T O N I C NO. I - nELoelc niNon
b4
~7~~ Fraditional Spelling)
We now have nw, sers of modal chords in our pdetce. They can now be merged into an order
of bright to dark. As mentioned previously, the altered modes are variations of the diatonic
modes. If the alrerarion increases rhe number of left-sided sernitones, che mode is darker. IF
rhc alteration moves the semicones ito the right, the mode is brighter. With this in mind, the
following is the collated order OFthe m d e s we have conscrucred so far,
3. Ionian
4. Mixolydian #4 tensely yearning
5 . Mixolydian b4
6. Mixolydian b6 ramantically hopeful
7.Dorian Q permrbed
8. Dorian b7
9. Aeolian \S
Having our first p u p of secondary coIors added to the palette, we could, at this point, creare
some interesting groups oFchords. There are quire a Few compositions within the new-modd
type of composition chat keep within this limited palem, but we need more - there are three
more sets ol'altered modal chords to investigare and they will be covered in subsequent
chapters. Nexr, we wiil look at a group ofchords t h a t are used primarily for their quality of
soland or sonority. These are chords that have obscured modality but imply a modality with
their acoustic properties.
SUGGESTED f X f RClSES
1. Construct the following chords, all mixed spacing. Include chord symbols.
(a)G Phrygian b6
(b)E b Lydian-augmented
(c) G Mixolydian b6
(d)Ab Mixolydian h4
(e) D altered
( f ) ~b Dorian h7
(g)F Lydian-augmented (slash chord)
(h) G Locrian hZ
Non-Mc IICh
A U Note
~ Lnoras
3 . Suspensions
Implied Modality
--
CHAPTER VI
KINDS OF CHORDS
1. ADD NOTE CHORDS - Derived From unresolved cadences, the unresolved note
becoming a suspension.
2. DELETE NOTE CHORDS - Chords in which a note is deleced to create a chord spacing
which has a particular sonority.
A D D NOTE CHORDS
CHORDS DERIVED FROM CADENCES: These are chords chat have a sonority that can be
described as having an unresolved quality. They are the result of not resolving the normal
voice-Ieading in a cadence. Although they do not have a modal definirion, they have an
implied modality, which wiI1 be poinred out when the chord is discussed
M E MlXOLYDlAN SUS 4 CHORD: Derived from the unresolved II-V cadence, the nosma€
resolurion of the seventh to t h e third is not completed, leaving the seventh to become the
Fourth of &e target chord. Although this chord is treated like a Mixolydian chord, try to
consider its quality a produrn of non-resoIudon.
Example 6-1:
normal unresolved
THE SUS 2 CHORD: Derived from the unresolved V-l cadence, chis chord is t y p i d y a
sonoricy but acoustically can be interpreted as Ionian.
Example 6 - 2
normai unresolved
T H E SUS 4, NO SEVENTH CHORD: This chord is derived from the IV-1 cadence, with the
normaIly resoIved 1 to 3 suspended and becoming a 4 of rhe rargec chord. The chord can be
considered Ionian.
Example 6-3:
normal unresolved
NON-HOOLL CHORDS
MISSING THE THIRD: This c h o d could be either a minor 11or a Mixolydian 1 I- Because a
major third is usually generated acoustically, it tends to sound like Mixolydian.
Example 6-5a:Sus 2 - D o not include a sixth with this chord, its quality should be smrk -
mot, major second and perfeft fifth only.
Example 6-5kr Sus 4, no 7 - CIearIy not Miuolydian; include mar, perfecr fourth and perfea
fifth only.
The quality tones that are deleted usually are the primary qualiry tones.
2. fiords with a major third, major seventh, or no third or seventh, which imply Ionian
THE TABLE OF CHORD TOMES FOR BOTH GROUPS
The following examples of boEh groups are typical of chose found in common practice.
Example 6-6:
Missing the sixth, the minor 11 is nor dominant nor is i t Aeolian. It does tend to sound
Dorian because of rht strength of the sixth (13th)in the overmne series. The examples (a),(b),
and (c) are included here to show the similarities of sound and construction. Keep in mind
that (a) Mixolydian 11, and (b) Ionian 11 are defined enough t o be considered modal chords
and are included here purely for comparison.These chords are also to be compared with the
previous Miolydian sus 4 chords. Notice that rhese four chords have a 4 or 11 in common,
with the differences being rhe inclusion of a major or minor third and the seventh being
natural or flatted
A t this point it should be restated thata chord with a truly definitive modality tvould have alI
seven notes of [he scale included. It couM be argued that d chords with less than seven noses
are nonmoda!. For r n u s i d reasons we must compromise, as we are doing now - so we will
consider the chord examples givm in previous (and Iater) chapters as campIere modalities and
tht chords consmcced in this chapter as nmmo&P
Example 6-7:
(a1 C9no7 (b)C-9no7 (c) Fb9no3 Id) F9no3 ( e ) F-9no5 (9 F9no5 (g) F 1 3 n ~ S (h) F13no3,S
Example 6-7a:Compare t h i s with the sus 2; this has a major third and is sweeter, less stark
sounding.There is confusion over a snitable chord symbol for this chord. Use root, major
second, major third, and perfecr fifth only.
&le 6-7b:The minor version OF Example 6-7% missing Ehe seventh; ic is unclear but
sounds mare like minor 7 chan min/rnaj 7.
barnple 6-7c: Thc contemporary voicing o f Ionian,a great sound, used much in slash chord
harmony (covered later), u d y seen as CJF.
&le 6-Jd: T h e Mixolydian version of Example 6-7c, could be C-/I?. This inversion was
used ofsen by Ravel.
Example 6-7e: The minor second and the perfect fifth give this sonoricy a great "bite"This is
the prototype "new age" chord.
Example 6-7EThe Mixolydian version oFExampIe 6-7e.
Example 6-9g & 6-7h: Implied Mixolydian chords with a good ubiceP
There are many more examples in use; to create some oFyour own, just delete one or two notes
from a fully constructed chord, paying a m t i a n ca the resuIting spacing: the combination of
seconds, thirds, fourrhs, and fifths, and then the resulting sound and implied modality.
Before creating your own delete note chords, review rhe principIes ofchord spaEing in ChapcerIJI.
Striving for a parricular sonotity, use of major or minor thirds will give you a consonant
sound,use of fourths will create starkness, and use of major or minor seconds will add bite.
Mixing the intervds will soften the effect of the indvidual.
M e w I in the appendix, some of the primaples of acoustics and you will s e t why some of the
missing note chords imply arnodality.To experiment: on a grand piano, pound our an A4, no
3 chord with the 6 8 on rop (E/A),hoId the chord and Iisren intently for the major third to
srart sounding a few seconds later. Another demonstration would be to play an EbPsus4 and
while the chord is sounding, with a Free finger, play a Gb, then my a E narural. Then just play
the chard without a third and listen to hear if a third is generated by rhe overcone series. Try
the chord on orher roots. Try arher chords.
We now have enough chords in our palette ta rake a break fmrn creating chords and to move
on to creating some music.The first scep is to organize rhese chords into a musical whole... so
chord connecdon is the next scep, as found on the FoPIowing pages.
CHAPTER V I
- -
SUGGESTED EXERCISES
Constntcc the Following chords, d1 mixed spacings; some are €am previous chapters for
review:
F-E 1
G hiixolydian k6
Dsm2 (no 3)
~bll
F9 (no 3 )
Bb Mixolydian #4
P4 (1103)
Db44
G Locrian L12
Ab Lydian-augmented
C-9 (n07)
C Phrygian 116
E9 (1107)
Eb13sus4
G Phrygim b6
E Ionian b4
CHAPTER VII
I. Pedal IPoint
arkness Contour
4. Cadence
armonic Melody
2. HmonicJrhychmic means
HARMONICIMELODIC CONNECTION
There are three categories of connection:
1. A common focal poinr
2. Conmived contour
3. MeIodic manipulation
8. CONTRIVED CONTOUR
An amempt m give an ordered COnEOUr of tension and release ro a set of modal chords,
C. MELODlC MANIPULATION
AppIied to top and/or bass melodies:
1. RecognizabIe pactem (symmetric or asymmetric)
2. Organization ofconrour through the application of mdody-writing concepts
Keep in mind that these nondiatonic areas are usually found at cadences, m p s or any area
where activiry or tension is desired; there are few compositions rhar have many areas of
vertical modal harmonic rhyrhrn.
C M O R D COHNECT!ON
4. Tweak: ny different chords or bass melodies until your musical taste is satisfied.
Example 7- 1 :
Finding common cones - m a t one needs to know to make this process fascer or Iess painful
is the mastic 5wrce of any given mode. To r e v i m the acowtic suslrce ofany mode is the Ionian
or drered Ionian with the same flats or sharps used as the given mode (the same key
signature).
This couId be a large number since a single pitch i s not tied to one source.
EXAMPLE: G above middle C has the folIowing acoustic sources:
It is the fifth of C Ionian
the third of Eb Ionian
the second of F Ionian
the seventh o f Ab Ionian
the seventh OFAb Ionian b3
the sixth of J3b Ionian 63
and so on...
In addition, your choice of chord can incIude any from the seven different modes of each of
the acoustic sources.
COMMON TONE MODE ACOUSTIC SOURCE
diatonicism In common. This would imply rhar the above example should sound "good," with
an overall consonance and an effect of "beIonging" together. Keep in mind that this is not
always the god when connecring a group of chords, char modal contrast and contour have
priority when selecting your chords.
With so many options, the student, at this point, should be quite accomplished wich chord
spelling: knowing the order oFquality tones, as well as knowing che acoustic source OF any
mode. In addition, the studenc should have acquired a working familiarization with the
sound OF the chords through daily ear training. T h e ability ro play the chords in many
voicings on a keyboard is a must.
3. Experiment with various chords that satisfy your musical tastes. You may want to look at
the contour part OF this chapter to assist in chord selection.
4. Tweak, usual.
Example 7-2:
Before we go on, it should be obvious that all of the connecting rechniques are to be used in
tandem: you need to know melodic manipulation to create the top and/or bass melodies and
you need to know modal caarour to assist in mode selection. Once you have worked with dl
the rechiques, go back and redo the earlier ones.
Next we will look at chord connecnon with upper srruccuresl).
T h e use of upper srrucnrres is a very imporrant patc of this text and will be covered Iarer in a
chapter of its oivn. Since they are used in common conntxtion, we have co rake an
inuoductory Iook at them now.Innershw&res have the same definition as uppers, excepr that
they aren't used for chord construmon. They do provide an exotic method OF chord
connection and will be of interest to composers ofclassical and/or fiIrn score music.
5. Play thraagh the example as it i s se far, ta get an indication of the moddigv creared
SUGGESTED EXERCISES
I Use your best calligraphy, use a ruler if needed, use no key signature.
CHAPTER Vlll
Upper Structures
. Jpper Structure
2. The Grip
3. Shape
4. 5/6,6JS
5. Sonority
CHAPTER Val1
CHORD CONSTRUCTION
Chord const-ruction Nich upper structures is known as thegrip or shorthand method oFchord
construction. The grip is the actual finger positions o f the right hand when playing a chord.
There are seven basic grips used to create all the chords Found in this cexr. With this method,
one does nor need to know the theoretical foundation of chord construction to form chords,
Hence, this is a quick, "shorrhand" method. This method i s derived From keyboard perfor-
mance and the chords are typicd of chose you hear on conrernporaryjazz recordings, partiru-
lady by the younger players:Joey Calderazzo, K e n y Kirkland, and Jim Trompeter, to name a
few. This kind of chord voicing also is the predominant sound found on fusion, ECM, and
new age recordings.
The upper strucmres are a basic three-note group, but a fourth note can be added For further
definition ifdesired. Keep in mind chat the structure is a "shape" and a sonoriy. The follww-
ing is an example oFthe srrucrures and their derivation. [Note;The abreviation US will be used
to mean upper strucmre.]
- -
- -
V
z
I A
I
4
*
P.
I *
LI -
6/5 added note 516 added nore 5 / 6 altered major 7+ minor 7+ minor/major 7
I 1
T h e most used of these strumres are the sus 2, quartal (inversion of rhe sus 2),the major
triad, and what1 have termed the 5/6 and the 6/5,named from their intervalic formulae. Also,
there is a group of Phrygian upper structures which are derived from inversions of the 6/5.
6/9 Locrian 14) Lydran minor 1 1 6/9 Phrygian sus.2' Locrian h7 Midydian A6 Aeolian
50
U P P E R STRUCTURES
Ab tonian
3. T H E 6/5US
A combined mmne and perfect fourrh (six and five semicones)
Eb lonian
Nore char in the above two examples, the US was not a good choice for the construcrion of
Lydian. Because Lydian implies another acoustic source, one primary color cone is missing.
4. T H E PHRYGIAN US
This is acmaIIy an inversion of the 6/5;i t is so used in its Phrygian inversion that it must
be considered as a separate US.
Example 8-5:
*I The named s t m c n w
CHAPTER V I I I
Used often in constructing chords from the altered Ionian b3, melodic minor mode. The
grip by itself is a Lydian-augmented chord.It is a ~ e r t i a r yupper strucrure which conrains
rhe very definitive augmented triad. The grip is placed on the minor third of the acoustic
source. I.e., Eb for C melodic minor.
Example 8-6:
Hopefully, rhe smdenr has recognized many af these constructions as being found in
examples of mixed spacings in previous chapters. Using chis method of chord construction
creates the easiest, as well as che best sounding chord, as is evidenced by how ofieen rhey are
Found on the latesr recordings.
This subjecr will be covered more in the chapter on three-part upper structures (XIV)and the
chapter on harmtsnlc major and melodic minor b5 (m.
CHORD CONNECTION
Chord connection with upper structures follows some of the same principles as given in the
section on diaconic chord connecnen,
1. Common focal poinc
2. Modal contour
The principle difference is that where we worked with a single note or a melodic Iine ofsingle
notes, rht aural focal point in this case is rhe stnrcrure itself. The sound of che vertical
arrangement will be the point of focus.
Because of this, the s n d e n t should remember chat whatever US is seIected for use shorrld
remain in the selected inversion chroughauc rhe phrase oE w e . Changing the inversion xvouId
change the sound OF the US and negate the common connection.
No~rnaliy~ only three upper structures are used for chord connection: the sus 2, triads, and
Phrygian. The sus 2 US is easily the most used in j m and fusion compositions.Triad US use
is predominant in pop music and has some use in pop/jrtzz and new age types of
cornposirions. AU forms of US use are found in aIl the musics, to some degree.
3. Upper strumre fouowing a given melody, with roots following a given melody
4. All of the above with modal contour
Example 8-70: Common US, Bass Melody, Added Harmonic Rhythm, Cadence
POINTS TO REMEMBER:
1. The verdcal -gement of the US should not change (invert); rhis would change the
sonority, losing the common qualiy which binds the group together.
2. The common Iink OFthe US is not lost by arpeggiation - tsy it.
3. As with common tone connection, knowing the acoustic source of the implied modality
will assist in reaching the harmonic goal.
CHAPTER Ylll
WS loman Phrygian 6
A
I
b*
- - h
You name h e m o d e
Example 8-1 7 : Melodic Pamrns, Top: lonian Mode; Bass: Chromatic Scale, t o n m r y Motion
CHAPTER VllT
Constmcr the following chords by the grip method onIy, label h e grip under the chord (516,
sus 2 etc.); include chord symbols over the chord.
I. Eb Ionian h4 ..............................
5'6
2. F# minor 1 1 .............................. sus 2
3. F Aeolian .5/6
4. Bb Dorian .............................. 4 6
5 . D b Aeolian b5 .......................... melodic minor grip
6. E alrered .................. ................, Phrygian grip
7. E Aeolian ..................................Phrygian grip
8. F Ionian .................................... 6/5
9. C Aeolian ................................... sus 2
20. G Mixolydian b6 ..................... melodic minor
CHAPTER IX
Compteting +k-
3 Connection Proces
ave
mP
Ion-ttived Canrour
.. Parody Cadence
CRAPTEA I X
Although playing the prwious examples are harmonicalry satisfying and the chords sound
good, they are not exampIes of music.
In order to make the examples musicd we need to apply aEI of rhe elemenrs of music to the
skeleml harmonic scheme: harmonic rhythm^, tempo, harmonic conrour, wirh its implicati-
ons ofdevelopmenr, and some form af melodic statement and developrnenr.
These will all be covered eventually, bur the first step is to give the examples harmonic rhythm.
As mentioned earlier rhe given examples of common connection are used primariry at
cadential areas, which would be found ar the ends of sections OFa composition or at other
areas that require an increase in tension or activity. They are also found in introductory areas
where a statement of the premise o f the composition is desired.
These areas are usually repeated until the effect is clear. The name for this went is a ursmpz).
T h e first step in our creative effort is to compose a number of these vamps ro be used as
starting points in t h e creation of a whole composition.
Recall that the primary emphasis of this book is on jazz composition rechnigues.
PROCEDURE
I. Selecc your favorite set of common connected chords.
2. Compose or select from the public domain, a rwo bar rh~hrnicpattern - the Bossa Nova
is a good first selection:
5. Determine where you wane the chords to change on the cIave pattern; it muidbe a change
wirh every cIaw change or a change evety m o , or with variations of che clave pattern. In
other words, the first chord for che first two clave tics, the second chord for the next dave
tic, e tc.
b m p l e 9 4 : Common US on Top
CONTRIVED CONTOUR
MODAL CONTRAST
This is where we use the order of darknessbrightness of the modes. It i s an attempt to give
a sense of contour to the chord-to-chord relarionship.
(a) Typical use: increase of tension to a release. Conmary directions of the top and bass
melodies enhance the effect A skip o F a third, fifth or tritone co the release chords is
recommended. Lastly, notice the change of chord spacing.
@) Use of pedd poinc o v e d rneIodic dkecrion downward. Use of rritone skip to final
release chord.
c-= AL P
(a) Mixolydian b6 Fhtygian Lydian 15 (b) Dorian Mixolydian Ionian
*
MELODIC MANIPULATION
1. TOP MELODY
Not the actual melody ofa composition, but the melodic shape or contour chat a11 rhe top
notes o f a group of chords, if spelled out, would create. Of course, we are going to work
in rhe opposire way spell o u t our chords to follow a preset melody.
2. BASS MELODY
Creating a set of chords that foUaws a melody which is easily recognized by the listener
is a quick and easy way rw gain musical accessibility.Symmetry just pIain "sounds good,"
But you must use ir conserva&ely, as it can quickly become contriuidity.
Another approach is to use an asymmetric source which is farniIiar to the listener: a mode
or terrachord or any hown melody or melodic fragment.
4. MELODIC EFFECTS
Lastly, following rhe conceprs of melody writing (as found in Volume Z), you can create
a contour by manipulationd r h e intervdic relacionships and by working with the overall
direcrion of the melody by phrases (the top and bass melodies).
CHAPTER IX
SUGGESTED EXERCISES
3. Compose a 4 to 6-chord vamp using compound meter, with your choice of US;have the
US FolIew a given melody and rhe bass be pedd point.
4. Compose an &bar harmonic scheme, srarting with a 2-bar vamp, with the remaining six
b a s showing use of mrnrnon tone, pedal point, and modal contour. Use at least six
chords.
Form
,Ii
. .
- -...-
I----
. .,. I . - - -
1. Song Form - .- . .
b. I n~roughComposed :<<.
., .<:
L:
.>.*.I
..:, .=,
>. .
:.. , .-
- - - .>
. . ..*-:-
3 . Sectional .-..
, -.=-.-,?
., ,
.
.cr
, ,; -.
-- :-a=- ,
.*$
zL
s:.:,* : - -- ,
med earlier in the tm,most of the compositions in che free chromatic rnodd g
are also firee in their form. This freedom also means chat you are free to use rradiciond f
.- -
&you so desire. Although most OF h e compositions are free-form, some are still omanized,hy
C7
the song form. Parti&ly if the composition has ties m traditional style, lilre the nea
kind of aom posidoIn.
-2- C
A-I
auiur U L ult. l u r n m we will see are.
G FORM
..
11ysymmestic, with 8 bars per section, following the traditional MBh, d l aculuu. -
peac, a new s d o n then a repeat ofthe first A section, giving a rota
dons are u s d y in the use of varying the bar numbers of the sectio
2. M R ( IMPOSED
SUGGESTED EXERCISES
Listen ro eight of the compositions lisced in the discography, plot their farm as AABC,
ABCCDA, or whatever the form is.
rota1 = I&
!
CHAPTER XI
Harmo~ Con
i a m o n i c Khythn
2. Repose
3. Transition
4. Climax
5. I solution
METHODS OF ORGANIZATION
1. Common tone connection
7. Point of cIimax
8. Relationship of first to last chord
3. Transition - Areas with nvo or mare chords wirh different roots, or chords of short
duratian, usually changing one bar or Iess depending on tempo. These are the areas of
activig and are usually vertical mo$aL Tonal harmony is also found in chese areas.
4. IF repose areas are long, a bass part vamp may be needed to add rhyrhmic interest.
5. Transition areas shoutd be devised to increase tension just prior t o a repose area+
CADENTIAL AREAS
1. Should be placed jnsc prior to repose areas or at the ends of phrases or sections.
2. Use darkness/brighcness for longer areas.
3. Use momenmm, 11-V,TI-v-1parody cadences where smong "finality"is desired
4. Use melodic rnanipuIation to enhance rhe above or where subde contour is desired
'POINT O F CLIMAX
It should be mentioned, now, that a main goal of the harmonic coneour is ro provide h e
improvisor with a "map" EOassist in creative development of the improvisation The harmonic
and rhyrhmic contour should be designed with that in mind
A point of cIEmax, a place where the emotional intensity is ar its peak,should be plomd Refer
cothe following examples for an indication of general area of place men^ I d d y , the decision
will be made by rnamre musical j u d p e n c UsuallyIrhe climax is found ar the end ofthe most
intense transidon area T USE prior ro lche most relaxed repose area.
CYCLIC FORM
Again, with the improvisor in mind (who most likely will b e y ? ) , in order t o make it e a s y to
punctuate a chorus of improvisation and allow the setting up of a new chorus, it is recom-
mended chat the first chord and the last chord ofrepeated sections relare in a w a y that assures
an easy access to melodic voice-leading. The clearest means is For the last chord oFa section
have a dominant function to t h e target chord (firsr chord OF the repeated section). The last
chord should be buiIc on a loot that is a firth away, a tritone, away or of an upper o r a lower
neighboring tone with a modaliry that is darker or has less stabiliry than the target chord. For
exarnpIe, if the First chord of a section is F Lydian-augmented, rhe lasr chord could be C
HARMONIC COHTOUR
Mixolydian sus 4, C Phrygian, E altered, or G b-1 1, to name a few possibilities. There are many
techniques for doing this and more will be given in later chapters and in following examples.
Creating a harmonic conrour is the process oforganizing the chords, connected wich devices
from the preceding chapter into a complete musical whole. Not dl rhe techniques will or
should be used. The god is to create a set of chords that are beth musical and "playable."
Armining beaug with simplicity is an amibute that is acquired with rnaturky.
Before you are to create your own complete set of chords for a composition, we Will analyze
a number of compositions to see how the composer accomplished the above procedures.
Look for a general melodic concour of che top notes of the chords. You may need to invert
some chords or change t-fie canstrucrion method ro give smoother voice-leading.
When satisfied, wrire down only the cop and bass melodies and any pertinent harmonic dam:
common US, important color cones, etc.
Analyze the bass, then rhe mp melodies.
Make note of melodic devices that may be of importance:
1. Morific development: sequence, repetition, etc.
2. Symmetric patterns
The second group ofcornpositionshas a more *open"harmonic rhythm, with the first wo of
CHAPTER X I
&ern clearly plateau modal and the third almost within the linear modal category. In
addition, rhe Ersr chree of this p u p are more "traighr aheadn player's tunes, each with subtle
ties ro qualiries that are cypical of bebop tunes.
The last mne of this group is representativeof the European-influenced ECM svle olcornpo-
sition, with a few subtle references to Arnetican fotk harmony. Each composition ro be ana-
lyzed will have an exampte of the chords spelled out with harmonic rhythm but nor all the
rhythmic fipres. T h e example should be sufficient for reference. Also, the chard spellings are
not direct transmip~ionsbur quire close in mwsr cases.
In the actual analysis with comments, using the harmonic synopsis as rehrence marerid, one
could get very deraiIed wich compositional analysis, with references t o all the esoreric theory
merhods at one's disposal. Shenker anaIysis, the "Lydian Chromatic Concepr," etc. The thrust
of the following is to "ger to the poinif and keep it simple.
In addirion, keep in mind that the goal OF harmonic contour analysis is ro discover how the
composes of these great tunes used the merhods thac have been given in previous chapters of
this textbaok.
Example 11 -1:
13 14 75 16 17 18 19 20 21 22
R (8 bars)
COMMENTS
A. BASS MELODY:
CHORDS:
1-3 repose (pedal point), skip of a fourrh to...
46 ...rransition area, downward chromatic melody, relaxes to...
H A R M O N I C CONTOUR
B. TOP MELODY
CHOrnS:
1-6 common tone connection
7-9 upward mebdy, increased tension
10-12 continued upward trend, increased tension, 11-12common cones
13-15 sequence of 10-12
14-15 common rone connection
16-18 downward flow, relaxing, 16-21 Ab Ionian
19-20 recurring melodic idea, signpost or "hook"
21 doubling of bass emphasizes sense OF finaliy
CHORDS:
3-6 common inner structure
1-4 common diatonic source - Bb Ionian,Ab Tonian
5-6 chords voiceled
7-9 darkest area, diatonic source: Eb Ionian
10-15 quasi-dominanr:cycle, wry active, serting up the..
15 ...point ofclimax
16-18 upper strumre trirone pattern - Db/Eb, G/Eb, Db/E6; diatonic source: Ab Ionian
19-20 no chord - '?lookn melody, poinc OFreference
2L fmal chord, exotic yet dpminant sound, desire to resoIve to first chord
G Phrygian
Example 11-3:
Phrygian 16 bb Lydian Phrygian L;6 Lochan V Mixolydian 14 minor 11 lonian Mixolydian sus
1 2 3 4 5 6 7 8 9 10 11
COMMENTS:
A. BASS MELODY
CHORDS:
1- 5 repose, with pedal point, the ~b is diatonically related to the C pedals, both are related
to Bb melodic minor
6 - 7 a short transition area, d o w n u d flaw, heading For...
8 - 11 ...an ending to the first emotional area
12- 15 four note motif, new area, new mood
16-19 repeat OF 12-15
20 exrension of 19 for cadenrial purposes
CHORDS:
1- 9 diatonic melody derived From primary color tones
10-11 common tones
12- 15 upward contour, positive building of intensity, Spanish tetrachord
16- 19 repeat o f 12-15
19-20 common tone by repetidon
C. HARMONIC MATERIAL
CHORDS:
1-5 modes are dl diaroIlicd1y related to Bb melodic minor
6- 7 voice-led with some common inner connection
7-8 Bb Mixolydian #4acts as tritone substicute resolution to A minor
-
8 9 paralIel movement
1) h r n in 77n DOGTCCDP 95738 10 resolution to the relative major
CHAPTER XI
0.GENERAL Q U A m E S
I. There are similarities between this tune, "Ruth," "Pee Wee," and "Helto Goodbye": root
relationships, emotionaI effect, and similar key cenrers. Looking them over, try KI
determine the common source of inspiration.
2. The emotional, mapping is simple with two areas: she first, chords 1-11 a little dark and
subdued because of its genera1 modality and because of irs slorv harmonic rhythm wirh
repose by pedd point and because of its having lirrle b a s melodic contour. Chords 12-28
ate mare active both modally and by bass melodic contour with faster harmonic rhythm
3. Another through-composed rune, the form is symmetric with two semons: A- 14 bars
and B- 10 bars,
a-
Ionian lonian Lydian b3 lonian
nAanoNlc CONTOUR
Example 11-5:
1 2 3
1
4 5 6 7 a 9
I
Pedal
Repose
A. BASS MELODY
CHORDS:
1-3 repose area (pedal point)
4-7 chromatic, Fairly slow transition area, increase oF tension
8-10 repose area
11-12 transirion with cycle of M h s
13-14 repose area
15-17 transition with signpost "boor occurs at all times, including improvisarion (see
"Ru~h"and "Teru")
18-19 last repose area
19 resolves to first chord by modal shift wirh pedal point
3.TOP MELODY
CHORDS:
1-2 common tone connection
3-4 common tone
5-7 chromatic melody upward
8-10 inversion of 5-7
11-13 sequence of 8-10
13-14 common tone
15-17 strong leap downward, cantrary motion to bass melody, a "hook" motif, a~ found in
many compositions
1) 7 7 S~ m~ m r Miles Davis 17-19 form of inversion of 15-17,a remm co starting place
CoIurnbia CS 9532
CHAPTER X1
C. HARMONIC MATERIAL
CHORDS:
1-3 increase in tension
3-4 common US, brighr to darker
5-7 common US
8-10 common US, cryptic cadence, (see Chapter XPII) quasi 11-V(D-7 to 67b9 KO C-T)
11-12 cycle of Lydian chords
13-14 repeat of 8-9
15-16 common inner smucture, point of climax
17-19 tritone related common US ( F / G ~to B/Db)
D. GENERAL qUAUTIES
1. In spite of its symmetric harmonic rhyrhm arid itr ties to funcciona1 harmony, this is a
&ff~cultt u n e to play.
2. The 3-bar phrase a t the end is unusual, giving the tune a 21-bar through-composed form.
3. The emotional contour is_ nor e x m e , but the inserted cycles do give the harmonic
rhythm a bocsr.
4. Ir seems to have been composed purely by intuici~n,without much pre-planning.
Db Lydian
05 Lydian 115
HaRHONIC CONTOUR
-
4.TERU" - WAYNE SHORTER
This is a very slow balIad, based on the n-adiuonal song form; i t has an AABR form bur the
bridge has only seven bars.
Example 11-7:
...... Lyrlian $5
M~xorydian 0 rnm.11 ...... Phiygian....... Lydian #5
COMMENTS
A. BASS MELODY
CHORDS:
I a f 3 1 bar of Gb Lydian at the slow tempo shows repose
2-3 an imporcant "hook" or signpost of the composition
4-9 an acEive ttansition area with an active bass mebdy
10-ll downward, rehation toward the cadenrid repose area
12-13 pedal point bass repose area, cycles to Erst chord by lower neighbor tone (leading-tone
effect)
14 -16 pedal point repose area
17-19 increase of m i o n wirh upward and acdve transition area, f i e staccato on chord 19
effectively sets up the release o f the tension at bar 20;the downward minor third skip
ro chord 20 enhances the result
20-2 1 the final repose cadence, rhe last chord cycles co the first by upper neighbor tone
6. TOP MELODY
CHORDS:
1 primary color tone
2-3 contrary motion to bass is effective in increasing tension
49 definidon cones
10-11 common tone connection
12-13 common tone connection
14- 16 d o w n w r d resolution of melody clarifies modal cadence
17-9 color tones
1) Adam'rAppk Wayne Shorter
20-22 sequence of 14-16
Blue Note BLP 4232
CHAPTER X1
CHORDS:
I bright but tense
2-3 a form of 11-V cadence, derived from a voice-leading method
49 a good example of modal conrour and IT-V cadential parody, the Phrygian to
Mixolydian ( 4 5 ) is a diatonically related cadence, with the acousric source being C
Ionian. The Phrygian could be choughr OF as D Dorian over E, so it 1s a typical U-V
with substituted root for the II chord The Mixolydian to Ionian (5-6)EoIlows the
normal modal conmur ofa diaton~ccadence bur with free-form coots
10-12 parallel Mixolydian chords moving a minor third is typical
11-12 a dominant cycle of Mixolydian chords
12-13 another parody cadence
14-16 modd contour, parwdy d e n c e V-1
17-19 parallel chords, cEosesr rve have to a climax at bar 19, effecrive for setring up the
FoIlowing dark area
20-22 like 14-16 bur more extreme in modal resolncion
20-21 the darkest part of composicion
D. GENERAL QUALITIES
2. With a quite chroma~icbass melody and short or no clear areas of emauond definition,
this is vertical modal.
3, Good use of "honk,"signpost areas.
lonian
Gb Lydian F Aeolian El 3no3rd Phrygian minor 7 1
CI -3-
I
I4ARMOHIC CONTOUR
Example 11-9:
Aeolian Lydian E2 Mivolydian Lomian C2 sus Lacrian bZ Mixolydian Aeolian
1 2 3 4 5 6 7 8 9 70 71 12 13
(8 bars each) (8 bars)
COMMENTS
This being a plateau modd composition, the only significant harmonic movement is in the
bridge, which is vertical modal.
A. BASS MELODY
CHORD:
1-2 two plateaus oFAeolian, a whole tone apart, the downward change creares more dark-
ness, a tritone skip down to next chord creates tension
4-5 drone skip, inversion of 2-3
3-8 a general upward mend, preparing to ser up a point o f d i m a x
7-8 sequence of 5-6
9-12 a definite stansition area, the movement is faster, upward, foIlowing a Dorian tetra-
chord
12-13 the normal resolurion here is for the melody t0 resolve up a semitone, rhe skip is un-
exped
3.TOP MELODY
CHORD:
1-2 primary color tones
3-4 same
4-6 common cone
7-8 common tone
9-12 upward movement, Ionian tecachord, serting up climax
13 highesr: poinr in the harmonic melody, dramatic
C. HARMONIC MATERIAL
CHORD:
1-2 plateau Aeolian, dark,soft
3-4 strong contrast, bright, tense, hard
4-6 D b/D to Gb/Ab, cryptical cadence Db to Gb V-I US,chords 5 and 6,common US except
Far one note of voice-leading Gb to P
7-8 sequence of 5-6, up a miner third, overall posiuve resolution
9-12 fasr moving chords, all sus, positive, sets up climax
12 point of climax
CHAPTER X1
12-13 a kind of cryptic cadence (see chapter on slash chords), with a lower neighbor reso-
lucion with the upper strucmre and a minor third up in the bass, a kind of sequence
of 5-6
D. GENERAL QPJALmES
1. Dark, ECMish feel, New York Qna drizzle fded autumn day
2. As is all plateau modal tunes, rather simple, bur nice to "blow" over
CHORD:
1-2 darkIy "hipnto darker
3-5 slightly "wrinkled," gercing hopehl
5-12 doubthI love becoming full of hope
13 dramatic
5. The rnaduhcion, change of key from the opening A A e o h ta the ending Bb Aeolian,
contributes to the overall dramatic effecc of this rune and was a strong Factor in the plan
of arrack when composing it.
G Aeolian
Example 11-11:
A. BASS MELODY
CHORDS:
3-4 outline of a diminished triad, or a skip down a micone, cycling back to the starting
note by minor thirds
46 common tone bass
7-9 passing tones to the czdential B root, notice that the entire bass melody of the A
section could be derived from the diminished s d e
10-12 relaxed, downward contour, set* up an active area
12-14 a 11-VcycIe,12-13 to a substitute I chord (parody cadence)
15-16 is a signpost '%hookn
21 referring ro 13-14, the resolution ro the C is dramatic and sets up the turnaround ro
resolve co Ab
22-24 derived from 15-17, this is set up to resolve to the firsc chord of the tune
8. TOP MELODY
CHORDS:
1-6 derived from color cones or voice-kading
7-9 contrary motion to bass melody, enhances cadentia1 quality
10-12 chromatic down, 10-31 a form of voice-leading
12-14 voice-leading a 11-Vto parody V-I
15-17 contrary metion
17-20 same as 10-13
22-24 secting up firsc chord of t h e composition
CHAPTER X I
C . HARMONIC MATEREAL
CHORDS:
1-4 pardlel Mixolydian chords, 4 bars each, this is pIaceau modal
46 the common use OF Mixolydian \4 ro lMixolydian 84 to Mixolydian b4, ir creates a
positive emotional effecl: due to the brighrening of the fourth
7-9 a minor third up is a very positive and typicd resolution of Mixolydian sus chords
{remember "Maiden Voyage"?)
10-11 raking the G Mixolydian b6 co be a C-A over G,this is a cvptic 11-V cadence, the
cadence being C- ro Fsus
12-13 a diatonic II-V, this parr is in fact a swing styIe section showing a rie zo a traditional
hard bop aesthetic
14 a substitute urger chord for the E-V
15-16 a turnaround ro...
17-20 ...a repeat of 10-13
21 a higher t a d center of chord 14, creates drama
22-24 a turn down to top of tune, the note durations are set up to create cension which
resolves wizh the first chord of che tune
a. GENERAL QUALITIES
1. Having symmetric plateaus oFessentiaIly rhe same mode, this is an example of plateau
modal, same mode. In addition, because each plareau has the same mode, the tune is
similar to linear modal in that there is one overall emotional, effect. So this tune, like so
many inspired by "Maiden Voyage," has the same emotional qualities as "Maiden Voyage"
wich subtle differences. Refer to "Why Wait" by StanIey Clarke, '"Twelve More Bars" by
Wayne Shorter, and "Follorv Your Hear? by John McLaughlin.
2. The tempo, rhythm section style OF playing, and the U-V sections make this a "blowing
tune, in t h e hard bop tradition.
HARPlONlC C O N T O U R
Bb sus Asus
F Mixolydian E-1 I A13 Csus A h
CHAPTER X I
T .
1 2 3 4 5 6 7 8 9
( 6 bars)
COMMENTS
A. BASS MELODY
CHORD:
1-3 simply a root with a 11-V turnaround
4-6 a trirone figure, che signpost "hook" OF this tune
7-9 a repear of 4 6
10-16 being m n d harmony, the melody is diatonicalIy related, defining the cycIe ofkeys: Eb
to Ab to Db with the resolution ta Db made with tritene substitution
6.TOP MELOOY
CHORD:
1-3 correct voice-leading of functional harmony
4-9 active motive of the uhook"
10-15 again, wice-led functional harmony
C. HARMONIC MATERIAL
CHORD:
1 6 bars of D AeoIian, clearIy perceived, this is linear modal, the emotional quality of
Aeolian: dark and melancholy, is additionally tense due m the very €att e m p ofthis
tune
2-3 a turnaround cycle
4 3 common upper srrucrures
H A R M O H I C CONTOUR
D. GENERAL QUALITIES
D Aeolian
COMMENTS
A. BASS MELODY
CHORDS:
1-2 a short 2-note motif, downward
3-4 a sequence of 1-2
45 a relaxed resolution down a major third
6-7 outline of a C major triad, increase of tension with the skips
8-9 pedal point, clgar modal contrast and resolution
8. TOP MELODY
CHORDS:
1-3 common tone connection
4 - 6 general upward trend to increase cension
6-8 common cones
8-9 a step downward For cadence
C. HARMONIC MATERlAL
CHORDS:
I -3 common inner structures
3-4 abrupt increase in tension (index =? 1 to R 8)
5 use of exotic chord, Ionian b6, harmonic major (see Chapter XV)
6-8 good example of tension index contour, the increase in tension setting up the final
cadence
8-9 crypFic cadence, upper smcture resolving dotm, index 1:9 to R 1
D. GENERALCOMMENTS
1. The overall tension cantour is derived from an inmasing compression of che harmonic
rhychm.
2. Good combination of tense,stark modes and clear open nonmodd chords. Ic sounds like
i c was composed on the guitar.
C-IARHONIC COHTOUR
1. Through-composed, with symmetric sections, but not necessariIy even numbered bars.
2. Modal chord movement that is easily voice-led.
3. A chordal o r melodic figure chat offers a signpost, or "hook" for the listener and
improvisor.
4 A clear point ofclimax, note any similarirks of climax location in the previous examples.
SUGGESTED EXERCISES
1. Using the included set oFchords for the composition "HcIlo Goodbye," analyze as in the
previous examples. ''Hello Goodbye" is composed by bassist Ron McClure and Found on
the recording The Sun and Moon Have Come Together, (Harvest SKAO-423) by a group
caUed The Fourth Way, wirh Mike Nock, piano; Ron McCluse, bass; Michael Whlte,
violin; and Eddie Marshall, d m .
2. Look at rhe included harmonic synapsis of the composition "Litde One" by Herbie
Hmcock. Compare this with "Rurh," 'Mikell's," and " H e o Goodbye." Make as many
cornmenm about similarities and differences as you can. T h e tune is found on Herbie
Hancock"~Muidea Voydge recarding if you wanc t o hear ir for reftrence.
3. Analyze any composition of your choice, one that you find redly inspirational.
At this point ic is time to create rhe first composition based on the concepts a€ the previous
chapters. In addition, you should analyze the finished C O ~ ~ ~ O S as
~ Rthis
O ~is, of great benefit
in pointing out both strengths and weaknesses as we11 as helping to clarify a developing styIe.
HARMONIC CONTOUR
Locrian h2
Id
A
*eolian Mixofydian
minor 1 I
CHAPTER XI
US
Solos
F(4) F Aeolian F(4) FAmlian Phrygian d-11 Phryg~anh6 Phrygian b6 ~ 5 9 ~ s F-1 7 G-1IfF
R (Vamp) T (min.3rd) R
C PhrygianlF Aeolian bS
n
II -v; U
C H A P T E R XI1
c Minor)
CHAPTER XI1
Using Ehe tetrachord method of consrruction, the remaining three tetrachords are used in the
construction process: harmonic, Hungarian major, and Hungarian minor.
Because of the amount of alteration, the order oFdarkness is nor obvious by looking at the
retrachord formulas. The best process is to compare each mode to its immediate predecessor
and determine its quality by rhe aIreration. As an example, Aeolian b7, having the seventh
sharped, would be brighter rhan Aeolian. In addition, the number and placement of tritones
in the mode will affecr its stabiliry. Norice rhat Aeolian b7 has two critones: D ro Ab and E to
B. This would make it more active than unalrered Aeolian.
T o restate: Learn to hear these modes and their chords as a form of alcered Ionisn (Ionian $5
or Ionian b3, b6).
Gcarnple 12-1: The Modes aF&e Altered Diatonic No. 2 - Harmortic Miner (lonian 63,b6)
altered bb7
T H E M O D E S A N D C H O R D S OF H h A H W N l C M l H O R
At least rhe fmt t h m of the cones are needed to define the mode. The order of the last three
i s noc strict.
CHORD EXAMPLES
1. AEOLIAN h7 - A brighter form of Aeolian, but less stable. One of the most used of this
Example 12-2:
C-A $6 , A Aeolian hi'
-
2. LOCRIAN Q6 Brighter than Locrim b6, not seen too much, it could be used as a
substitute for auxiliary diminished.
Example 12-3:
C Locrian h6
3. IONFAN #5 - Tends co sound like Lydian-augmentedb4,so it is a s o f t e r s a ~ n d i n
Lydian-
~
augmented or a less stable Ienian 44. It can be used as a substitute €or a Lydian-
augmented chord in mart romantic <ornpositions.
Example 12-4:
4. DORIAN 114 - A brighter form ofDorian, it had use in pw-modal compositions. The first
chord is found in the Horace Silver tune "Sweet Stveery Dee" from Silver's S m a d e .
B Dorian 94
5 . PHRYGIAN b3 - A brighrer Phrygian, it can be used with rhe auxiliary diminished scale.
Z)ccasianalIy used on club dates.
G Phrygian 43 E7addb2
6. LYDIAN 12 - Mosc often used as a slash chard (VII/I). Note the optional substiturion for
a &mished scale aver a Mixolydian 99 chord (chord 2). This chord is aIso known as
diminished major 7.
Example 12-7:
D Lydian $2 DOA
- -
92
CHAPTER XI1
SUGGESTED EXERCISES
1 1. Construct a number OF chords with all spacings; include a number of grip method
I
consrmctions.
2. Play all the chords with an ear training goal in mind and try to identify their use on
I recordings,
THE MODES AND CHORDS Of M A A H Q H I C HIWOR
7. ALTERED bb? - Its best use is as a slash chord (vr/I). It dso is closely related to she
Mixolydian b9 chord and can be used rhac way.
Example 12-8:
C altered bb7
This group ofchords is rhe first of the groups of esoteric modes and chords. Harmonic major
and melodic minor 85 are the last two. The theorist experimentalist among you might warn to
work with the rnodes/chords of Ionian #2 as weU. Although rhe modes of harmonic minor
have been used in improvisation the chords are not found that o h n in compositional use.
The chords ofharmonic rnajor and melodic minor 115 (Ionian b3,#3) are used by only rhe most
adventuresome of today's composers. David Liebman, Richie Beirach, Ralph Towner, Kei&
Jarretr, and Joey Calderazzo occasionally use these chords. Check out their recordings.
The emotional description of these modes can be determined in the same way as with aU the
alcered modes: thac of raking the descriptions of the parent unaltered modes and considering
the alceration as an enhancement. As an example, Phrygian b3 is brighrer than Phrygian 46,
both brighter than Phrygian b6. The brighter the alterarion, the higher the degree of rension.
Phrygian 66 is considered dark and mysterious, Phrygian \3 is not as mysterious due to its
more "open: bright qualityI bur i s stdl exotic. Since there are multiple alterations in the last
three sets ofchords, clear categorization is not so easy. It is best to group the chords by ear.
Before we construct the modes and chords of the remaining two p u p s we will look ar one
more harmonic connecdon/composition technique: slash chord harmony.
CHAPTER Xlll
Slash C
!. Polych
3- <
4. Sy
5. Tension C
CHAPTEA X l l l
Slash chord harmony reEen to the harmonic style in which the chordal relationships and
overall development can be applied separately rw the upper structure and bass parrs o f a group
of chords. A slash chord is a m p a r t chord made up of an upper srructure over a bass nare.
T h e "slash"in the name refers to che standard chord symbol For this kind of construction: a
lercer representing rhe upper chord's tonality and a lercer representing a single bass pitch,
separated by the slash character.
EXAMPLE: E/C, A7/P, Db/C, eEc.
Slash chords differ from polychords in that poIychords are nvo- or three-part chords in which
each part can be a whole chord. The notation for a polychord is a lerrer separated by a hori-
zontal line.
D
EXAMPLE: - D-9 -
- G-
C7 Cb -
Ak
F-
Iris the slash chord thar is used most oFten in modal harmony and,in addition, it i s the major
triad chat is irs upper structure. The emphasis of rhis chapter is on slash chord usage with
triadic US.
CHORD CONSTRUCTION
The construction of slash chords follows the same process as Found in the chapter on the grip
merhod. If you refer ro that chapter you will find rhac t h e basic rnajor triad in first inversion
is one of the listed grips, A n entry level grip, the triad a s upper structure has predominant use
in the harmony of pop and pop-jazz compositions. The sonority of a consonant triad over a
root is stark and sametimes creates missing note, non-modal chords, but has a desired beaury
because of irs transparency.
To comrmct slash chords, it is suggested char the student learns the ratio of upper structure
to root and its implied modality. As an example, a Lydian-augmentedis a m/I, or major niad
a major third above the rooc E/C.
The following is a c o n s t d o n of major Eliads over dl OF the nores of the chromatic scale,
offering all possibilities of consmction.
In addition, the chords are placed in an order ofincreased rension as determinedby subjective
class poll. Because all ofthe upper strucmres have the same sonorig, their order is dfecred by
both modal contour and sonuric tension/relaxanon.And because the rnodali~,in most cases,
is obscure, the tension order has priority. L e a n the ratios and the tension index number.
I Tonian Mixolyd~an Lydian Aeol~an Lydian 95 Phrygian altered Cb7 tocrian Lydian !2
SLASH CHORD HARMONY
CHORD CONNECTION
Since the means o f chord connecdon for upper structure chords have been covered in a
previous chapter, only rhe new methods, pecuIiar to slash chords, wiIl be shown in this
chapter. Review the methods in the chapwr on upper s m c t u r e chord cannection if needed.
The additiod methods used in this chapter are rhe resulr ofrheway that ghaups OFchords
with transparent sonoriry need ro show a sense of development
HETHQDS O f CONNECTION
1. Common upper structure
2. Pedal poinr
3. Modd conrour
4. Tension courour
6. Symmetric patterns
The first three are covered in previous chapters.
TENSION CONTOUR
R~ferringto the tension index number rather than the modal contour,this is the organization
of a group of chords, usually three to six, that follow a preset conrour of tense to relaxed,
relaxed m cense, or a mix BE the m o . Note that this technique is used most in areas of
transition just prior to a repose ama,bur could be pIaced anywhere. You must bear in mind
the effects of other musical elements: tessituta, harmonic melody, harmonic rhythm, and
tempo when composing these.
Example 13-2:
CRYPTlC CADENCES
This is the slash chord version of cadence parody as found in Chapter W. Rather than mimic
modal comparisons, the point OF emphasis in this method is on the melodic aspem of the
roots of the diaronic cadence and the resoIution qualities of voice-leading. The upper
srmcntre, being a basic triad, always has its tonic as pan of the chord so can be created as a
separate tonality.
You can organize the upper structures as a V-1, the toots as a V-I, and both the US a d roots
as Ieading tones resolving upward or upper neighbor tones resolving downward. It is the dif-
ferent ratios OF the US to the bass chat give a variety of results.
C H L P T E R XI11
Example 13-3:
SYMMETRIC PAmERNS
Symmetry in itself defines a sense of organization. In addition, the transparency of the triadic
dash chord in no way obscures the symmetric melodic contour, so i t is a workable combi-
nation to be explored here.
There are many sources of examples of melddic symmemy available for reference. The most
comprehensive is probabIy Tbe %atam of Scales and Symmehic P u f t m ~ ~bys the theorist
Nicholas SIonimsky..
Of course, you have access to the symmetric scales of everyday use: the diminished, a u g
mented, whoIetone and chromatic scales. You may find ic musicaIly advantageous co be able
w compose your o m The process is mathematical, and quire applrcable to computer
programming (see appendix).
2. An interval o f sequence
3. R direction of sequence
T h e combination of t h e motif and the sequence interval gives the rota1 leng~hof the morif.
EXAMPLE:
1. 2-note motif plus one for sequence.
2. F i s t note down four semitones (major third).
mociE ul u4 d3
sequence: u2
result: 0 ul u4 d3 (u2) ul u4 d3 (u2) u l ~4 d3
C DL F D E F A F# GB A CR A# erc.
To create symmetric scales, keep the mvuf length under three and keep them all in rhe same
direction. A I-note motif is best.
EXAMPLE 1:
motiE 1
sequence: 2
result 0 1 2 1 2 1 2 1 2
C Db Eb E Ffl G A Bb C (aw. diminished scale)
EXAMPLE 2:
rnotiE 1 3
sequence 2
resuIe 0 1 3 2 1 3 2
C Db E F4 G Bb C(~vorkswithCalt)
PROCEDURE
Once you have created or selemd the symmerric patrems you will me, the process is co place
the US triad with the top note following the symrnecdc melody. There are thirty-sixpossible
modal tesuIrs of the combination of a triad over its root. There is the choice o f one of twelve
semitones of the chromatic scale, where the top melody's starringnote is placed, multipIied by
t h e choice of one ofr h e three inversions of the upper criad. Each one of those choices Ereaces
a chord with modality that diffets from the resuIcs of another choice. The easiest way to begin
is to determine a median range tessitura for the cop and bass melodies within their u s d y
found ranges. As an example, if the top melody has six notes which span over an ocmve going
downward, you wilt need to start the melody above the second C above rniddIe C.This wouId
resuIt in the overall melody being in a median tessitum FoIlo~vt h e same procedure fur the
bass melody. Once the tessintras are set, select a modalicy for the first chord. Refer ro Example
13-4(bar I), the first root is a C;by selecting a Gft for the srarting note oFthe top melody, with
the selected inversion of che triad, the resulting rnoddity i s Lydian augmented.Had the top
melody started an a G natural instead, the first chord would have been a C-7. You will need
to experiment with various starting notes to create a group of chords wich aesrhetically satis-
fying modal contour. The harmonic results of chis technique are used in active areas of che
harmonic scheme: rumarounds, the transirion areas that approach a repose area and, if the
harmonic rhythm is slow enough, a s e t of these chords could be the entire content of a
section.
CHAPTER Xlll
Starc Ionian, no 3
As you can see from the examples, the symmetric motif starts to repeac after a number of
chords. The modal contour repeats as welt When creating these examples,you need to include
enough chords to show the pattern oFrepetitian.
S L ~ S HC W O R D H A R M O N Y
Blowing:
A/F C#/A F/G E/C E~/F D/B~ DL/& C/D B/G B~/C
r!!
CHAPTER X l l l
CHOWS:
1-2 increased rension with the upward skip
3 passing note to set up tessitura of the bridge section
4-9 cycles sequenced down chromaticalIy
10-11 another cycIe, up a major second from last
12 upper neighbor to nexr section
13-15 common tone (pedal point) connection
16-17 rhe much used minor third upward movement
B. TOP MELODY
CHORDS:
1-2 color tones
3-4 conrrary morion
5-6 common mne
7-8 common tone
5-18 general overall downward chromatic melody, rhe chords of the bridge were derived
from symmetric parterns: rap-chromatic down, bass-cycle of frfrhs
11-17 comman tone connection
18-20 upward movement to increase tension for resolution tu the top of the tune
C. HARMONIC MATERIAL
CHORDS:
1-2 paralIel Lydian-augmentedchords, plateau modal, approaching linear
3-20 the Lydian-augmented, Mixolydian sus combinarion thar is a result of the symmetric
partern merhod of C O ~ S E ~ U C ~ ~ O ~ ~
3-4 cryptic cadence-V-I in upper, upper neighbor down in bass
5-6 common US
7-8 common US
9-10 pattern, contrary motion minor third up for rop, minor third down in bass
11-12 common US
13-15 modal shift
16-17 common US and rhe much used diatonirdiy related Phrygian to Mixolydian
18-19 p a r d e l Mixolydian sus chords
19-20 cryptic cadence
a. GENERAL QUAUTlES
1. Although more plateau rhan linear, the emotional quality of Lydian-augmented-active,
rense and bright comes through.
2. The bridge is still very active dde to the Faster harmonic rhythm - it is verticd modal -
and due ro the implied cycie, root movemenrs of a f i f i are the most active of any.
L
Blowing changes:
Lydian C5
Example 3 3-7:
C C/A cL/A~ B/G C/k ~ l l / E b B/D A/F min.11 sus B~/B ~(9)
I:.
j: I
I , '
!
I
I
!
COMMf NTS
A. BASS MELODY
CHORDS:
f -4 duwnward srepwise, nondiatonic
5-6 the tritone skip down is very active, an impbed cycle
7-8 upward minor third, contrary morion to top melody, a slash chord parrern
9-13 stamng high in the ressirura, the downward contour assists in serring up the climax
13-14 the root movement of a v-f
B. TOP MELODY
CHORDS:
1-2 common tones
3-4 common tones
5-6 implied voice-leading 06 a cycle
6-7 common cone
7-8 contmry motion ro bass rneIody, part of a patrern
9-13 pardie1 motion to bass melody
13-14 contrary motion to bass, another partern like 7-8
C. HARMONIC MATEREAL
CHORDS:
1-2 common upper structure, cense to less tense (9 to 6)
3-4 common US, less reme to tense (6 to 8)
5-6 a hidden C triad CUS,use of a chord from melodic minor fl5 (see Chapter XV)
7-8 a pattern of top triad down a major second, bass up a minor third, also a release of
tension
9-13 paralIel modal chords setdng up the climax on a very tense Lydian 82 chord
13 the point of climax
13-14 a V-I release of all che prwiolls tension, rhe sus 2 ( 9 no 7)nonmodal chord being very
bright, relaxed and find; ;his is a great example of cryptic cadence
D. GENERAL QUALITIES
1. This is a vetywell written and compact compositian; Eberhard is one ofthe contemporary
"masters."All his compositions show a great d d of inrelligence and musicality.
2. Being vertical modal, the emotiond COnEOUr is derived from other zpecrs rhan modaIity,
SLASH CHORD HARMONY
Example 13-9:
COMMENTS
A. TOP MELODY
CHORDS:
1-8 lengthy chromatic melody, downward, getting dark=
8-1 1 a short upward return, preparation for t h e fallowing ...
11-12 ...upper neighbor resolution downward
8. BASS MELODY
CHORDS:
1-4 common tone, repose area
5-7 transition area by c y d e
8-10 repose
1) Bdongh& ECM 1U50 11-12 shorc transition,leading tone up
CAaPTER Xlll
C. HARMONIC MATERIAL
CHORDS:
1-5 rension contour wirh gradual decrease, index +k 12, 11,7,4
4-5 cryptic cadence with typical rnlnor third movement in US D-F, modal cadence with
f i s r inversion D to a G Mixolydran chord
67 modal cadence as dominant cycle Mixolydian #4 to Lydian-au,menred
8-10 tension contour with increase b y index R 4, 8, 9 resolving to...
...
10-11 index i? 4, resolution of previous tension
11-12 pattern o f chromatic contrary motion
D.GENERAL QUALlTIES
1. The overall rense and dark harmonic quality is sofrened by the composition's romantic
melody.
2. The long tension contour creates an emotional qudiq of being "rhapsodic."In addition,
chis is the emotional quality of the subsequent improvisation.
loniar h5
Lydian tS(44) Mixolydian sus Lydian 85 Phm-an Mixolydian sm Awlian
SLASH C H O R D HaRMONY
SUGGESTED fXERCISES
PART I
1. Create four symmetric parrems, motif length two to four.
2 . Harmonize six examples of symmemc parterns in both the upper and bass parts.
AnaIyze rhe included synopsis of the composition "Ana Maria" by Wayne Shorter by the
methods shown For previous examples. T t is found on the CD Native Danc~r(CBS VCK 46159)
if you need a listening.
I. Create a set ofchords for a composition in which all or a large section of the chords is
derived from symmetric patrerns, tension contour, or cryptic cadences.
11 Phrygian Aeolian
II lonian
Aeolian sus Aeolian Aeolian Lydian minor 1 1 Lydian minor 9 sus
Aeolian
lonian Mixolydian b2 minor 9 minor 11 Lydian minor 9 Mbclydian lonian minor 9 minor 9 sus sus minor 9 5 ~ 5
(1 lonian Mixolydian bZ minor 9 minor 9 4/2 minor 9 Mimlydian lonian minor 11 II Phrygian Aeolian II
CHAPTER X1II
rds
CHAPTER X I V
Three-pm upper structure chords are chords which can be separated inro three parts, each
parz conrributing to the chord's modal definition.
The three parts are:
1- T H E ROOT
2. A N lNNER !XRLICWRE which contains a rrirone, as found in rhe acoustic source scaIe.
If there is more than one rritone presenr, the one conraining the third of rhe acouscic
source scale is preferred. These, of course, are the grips found in Chapter VI.
3. THE UPPER !3TUCrCIRE TRIAD i s one of rhe mads found on either the fourth or fifrh
degrees o f the parent scak, which is usudy a major triad unless it has alterations.
As you can see, this is a form of the grip rnerhod of chord construction wish the addition of
the upper structure triad Also known as "roorless" voicings, for keyboard playing, the grip is
played by the left hand with the rrfads played by rhe right. The root is completed by a bass
player or by prior playing by the pianist's left hand in t h e rnechod of "scride" pianists.
Example 14-1 :The acoustic source s d e s wit31 triads on their fourth and fifth degrees and suggested inner simctures
diatonic
-
melodic minor IV V I
;
V
r5m I
I
.
-
V
d U
harmonic mi nor IV G
_ *melodic minor #5 IV V G
-
*harmonic major IV V
w
rMm
I m
a
= I I -
0
a1
fl
-
I
V
61
hi
I
4:.,
0
ad
*) See Chapter XV
Wish the inner smcrure and the top d a d s togerheractingas a combined upper structure, the
process for creating chords k [he same as with two-part chord constnrcrion: placing h e US
over alE the roots of the parent acoustic source or aperimenring by pIacing them w e r the
remaining roots rhat are i n the chromatic scale.
Example 14-2: Placing the upper structures over the acoustic source
unaltered ~onianb3
THREE-PART U P P E R STRUCTVRE CHORDS
To find the acoustic source, resolve the tritone that has the leading-tone natural 7.
EXAMPLE: T h e C meIadic minosexample (bar 2 ofExample 142) has the tritone F ro $3 which
resoIves to C Ionian b3.
Because one triad by irseIf, in most cases, dosen'c fully define a chord's modaliry, you often
find that both triads are used in combination, on dlfferenr bears, of course.
It' " I.
-
6 w
The three-way upper structure technique is not found only in jazz harmonic systems; it is a
prominent technique of film scoring, big band arranging, and classical music-Try to identi+
its use in your listening sessions.
SUGGESTED EXERCISES
Construct the following chords with three-~arrUS. ~ n c l u d eboth US for four oF them. Also
include a chord symbol over the chord.
2. E Phrygian \3
4. Bb Dorian
5 . Db Amlian b.5
6. E altered
7 . F Mixolydian 84
8. F Lydian C2
9. C AeoIian \7
10. G Mixolydian b6
CHAPTER XV
These Iast two sers of modes and their chords are the most esoteric of rhe jazz harmonic
vocabulary. Use of material from rhe firsc p u p is found on onIy the most contemporary of
harmony b a e d compositions. Use of some chords from rhe second group can be found in
early j~ harmony but withont a reference to its source.
As with previous altered diatonic modes, the descriptions can be determined by a comparison
wich the parent Ionian, pointing out the difirences obrained by the alrerarion Ionian 66 is a
darker version of Ionian, Lydian-augmented $2 a brighter and more tense version oFLydian,
etc.
A t least the first three of the cones are needed ro define the mode. T h e order of che lasr three
i s not strict.
Example 15-2:
2. DORIAN bS - Has an irnelikd diminished sound, including rhe 44 verifies that it isn't
Dorian t4.
L a m ple 1 5-3:
3. PHRYGIAN b4 - Similar to aIrered b6, including the b5 verifies i r isn't IEhas a wry "domi-
nanr" sound.
Example 15-4:
CHAPTER XY
4. LYDIAN b3 - Being similar to Lydian 12, include the b2 for verificarion (see "Mike1l'sn by
Calderazze.
Example 15-5:
Example 15-6:
Example 15-7:
Example 15-8:
Because of the arnbiguiy and resident tension of most of these chords, rhey should be either
mixed with more conventional chords or used with slower harmonic rhythm. Of course, there
will be a number of composers who find these chords to quite satisfy their aesthetic require-
ments.
THE MODES hHD CHORDS OF ALTFRED D I A T O N I C NO. 3 A N D 4
altered 46
CHAPTER XV
Aeolian bS p7 1 b 5 1 h 7 1 b 6 ) b 3 ( 2 1 4 1
f ? E P R E S € N ~ T I V fCHORD fXAMPLES
1. DO RlAN b7 115 - bright and rense
Example 3 5-10:
2. 'PHRYGIAN h6 #4 - brighter
Example 1 5-14:
G altered bb6 bb7
I
6.AEOLIAN h7 b5 - not much Aeolian quality left
Example 15-15:
7. ALTERED b6 - the most used of this group, has a very positive sound
C altered \6
This completes the consmcuon of aIt the chords that will be presented for use in Volume 1
afthis textbook. Not including the nonrnodal group ofchords, we have a formidable palette
OF thirty-five modaI caIots with which to work.
hoking a t the section on tetrachord construction in r h e appendix, one can see the
possibiliries of unusual sombinanans and the creation of many more esoteric modes and
their chords. Of course, with the btener of your creative efforts taken into account, more
than a Few of rhese and the newly created chords may not be accessible. Bat experiment
anyway; eventually che wodd will "catch up."
CHAPTER X Y
1. Lydian $5 $3
2. Lydian #5 113
3. Lydian #2
4. Lydian hS
5. Lydian b3
6. Ianian #5
7. Ionian h5
8. Ionian b 6
9. MixoIydian 112 $4
10. Mixolydian b2 #4
11. MixoIydian b6
12. Mixolydian &' h4
13. Mixolydian b2 h4
14. Dorian b7 $5
f 5. Dorian 47
16. Dorian 47 bS
17. Dorian b7 #4
18. Dorian b7 b4
f 9. AeoIian h7 1'15
20. Aeolian \7b5
21. Aeolian b7 @
22. Aeolian b7 bS
23. Phrygian hi' 35
24. Phrygian h6 C4
25. Phrygian h6 h4
26. Phrygian b3 b6
27. Phrygian 63 66
28. Locrian h6
29. Locrian 66
30. Locrian bb7
31. Locrian b4
32. Locrian \4
33. Atered h6
34. Altered bb7
35. AItered bb6 bb7
The emotional qualities also can be obscured by rhe added rension of the alterations, but
considering as before, the basic qualities of the unaltered modes being enhanced by rhe
alteration, Mixolydian R2 #4 has the same qualiries as the unalrered hiixvlydian h4 bur a bit
brighter and more active.
THE MODES AND CHORDS O F ALTERED D l A f O N l C NO. 3 A N D 4
SUGGESTED EXERCISES
I. Constructa number of chords wirh all spacings; include a number of grip method
1 2. PIay all rhe chords with an ar training goal in mind; try to idendfy char use on
recordings.
This concludes che presentation oFthe materia15 oSVolumc 1 of this book. Although there is
suGcient information for the creation oFbeautiFuI and forward-looking harmonic schemes,
harmony alone does not define music. Needed to be covered are the elements of melody,
rhythmic concepts, style, and tonal harmony.
Tonal harmony is so prevalent in the student's continuing educational and listening back-
ground chat f u r r h e r study is not that critical. Awarenes of its use within style categories is
imponant to acquiring a well-rounded harmonic concept In pardcular, looking at the use OF
tonal harmony by the masters of rhat genre - TheIonious Monk, Charles Mingus, Tadd
Dameron and Benny GoIson - can be of benefit.
Referring t o T h e Categories ooFJazz Cornpositians found in the introduction of this book, i t
is apparent rhar there 1s a diversity of jazz styles, each tvivich their own particular descriptions
of harmonic, melodic, rhythmic, and orchesrral implementations.
The serious jazz composer should be aware ofthose means of implementationand be abIe to
compose in any of the lisred styles. Even if the primary goal of rhe composer Is to develop a
single personal sryle, che abilisy m compose in all styles wiII only enhance and clarify the
development of one's own s q l e .
The goals of further volumes of this book are toward char end, with the presentation o f the
following subjects:
6. Group c~rnposirionalstyles
Wirhour access to furcher volumes, the smdent should pursue his own regimen ofstudy by
transcribing and analyzing a number of compositions from each category and compose
within the studied style.
We cannot conclude wirhout reminding the student that h e rnusr bting the precess to its
consummation: The presentation of his efforts m an attentive audience, whether through a
live performance or &rough the recording process.
1. ACOUSTICS AND MOD
(a) Th me Serie
(b) D e t errninlng
~ the PARENT SCALE and ACOUSTIC
3. ADDITIONAL EXAMPI
4. EAR T R A I N I N G
6. DISCOGRAPHY-BIBLIOGRAPHY
7.ABOUTTHE AUTHOR
The f~Ilowmgis not meant to be a rreatise on the science of amusria but a cursory
introduction ro the subject for referenrial purposes. T h e student whose interests require a
more in-depth study should consult eicher The Crufi of Mil~ictaIComposiiion by Paul Hindemith,
Contemporary Hamony by Lurnila Ulehla, or Modem Humonic T ~ h n i q w by Gordon Delarnont.
AIl acoustic explanation for that which occurs in harmonic and melodic application can be
derived from a reference to the Overtone Series.
The overtone series (0s)is a phenomenon which is as much a part of our narural universe as
is the force of gravity. Just as the prism splits the spectrum oflighc into a fked order, the OS
produces a series o f pitches following strict natural Iaw. Any sounded tone produces ad&-
tion4 tones (overtones and sometimes undertones) of varying intensity. It is this variation af
the intensity o f the generated overtones that creates timbre.
The OS consists oFpartiats: a fundamend pirch and its overtones.
Overtones are computed by increasing mulriples of the frequency of the Fundamertcal. If x =
rhe F d a m e n t a l , the partids are: l x , 2x, 3x........ nx, o r if h e fundamenta1 is 64 hz, rhe
-
overtones are: 2x = 128, 3x 192, etc. The spaces benveen the individd parrials grow
progressively smdler as the partial number gets higher.
Our use of she OS requires only the knowledge af parcial &o and pardd number. Ic is
suggesnld that the serious student memorize the ratio of the pitches a€ the OS, i.e., the
i n t e n d s - P8,P5, P4*etc.
T H E OVERTONE SERIES:
- 1
d
5 ( - j : i
? mnic
-
* tonic -
a
F F
ACOUSTIC SOURCE
The acoustic source is the Ionian mode whose root is h e f u n d m e n d of the ovettone series,
defined by the critone resolution shown above. For the Phrygian exampIe above, iris C Ionian.
Of course, the quick way is to refer to a mode's key signature: C Lydian's is 6, Eb Aeolian's is
Gb, etc.
The nexr: scep here is to pIay chtsc chords and compare the subjective resulm TTry m e r e n t
tessimras, note the result.
Hindemith points out that the changes in partial placement md spelling resdcs in an actud
increase in energy through molecular acduiry. Try to hear an increase in "heaviness" in the
tense spacings.
APPEHDIX
T H E METHOD
As shown an previous pages, the Ionian mode is the most srable of all the 35* modes available
for use in contemporary jazz composition.
Even without investigating its acoustic properties, the listener "knaws" h a t the Ionian mode
is the one wich the least desire ro resolve. So, from this poinc an,we will consider it axiornadc
thac the Ionian mode will be the point oF cornpxison for all other modes, whether they are
brighter or darker than rhe compared Ionian.
With this in mind, to determine the modal definition of any scale, we need to make a nore-to-
note comparison wich the Ionian mode that has the same roor as rhe mode to which it is being
compared. The nores that differ are rhe notes we will use to define the new mode chordally.
As rhe following examples show: Lydian could be thought o f as Ionian wich a sharp 4, the
sharp 4 being the only difference between Ionian and Lydian built on the same root Dorian
could be thoughc of as Mixolydian with a flat third or as Ionian with ics third and seventh
flatred. To determine the primaty color cone, a comparison with a mode's immediate pre-
decessor must be made, and the remaining color mncs are derived from cycling back to the
original Ionian As one can see> this wouId give us a flat sixth as the primary color r o n e of
Aeolian and a namrd sixth as the primary color cone of Dorian. The process goes on...
LYDIAN is brighter than Ionian and refers m a sharper key. Ic is like bnian with a sharp 4.
Sharp 4 is its primary color tone.
A t &is point, the primary color tones of Ionian are rhe natural 4 and the natural 7.
MIXOLYDIAN has che same spellings as Ionian except for che alteration of rhe flat 7. flat 7
and natural 4 are its primary qualities.
APPENDIX
lonian q4 96 47 Dotian b3 46 bJ
AEOUAN is clearly in the redm of darkness, with so many flats. Flat 6 is its primary E O ~ O ~
lonian 42 h3 h4 h6 47 Phrygian 62 $4 PS
PHRYGIAN" primacy color tone is flat 2 . There d l be mote Phrygians to come and flat 2 is
a primary quaLty of aII of them.
LOCRIAN is so altered ir approaches anocher key center. I t is like Phrygian with a flat 5 . Hat
5 is the primary quality o f hcrian.
Notice that many of t h e note choices include the pitch that is found a tritone from the
primary color tone; that pitch is usually definitive of the mode. (Ex:the natural 2 ofAeolian,
the fifth oEPhrygian). Looking a t the a ~ o u r t i csource &ere is a trimne between rwo oFthe notes:
C lonian's are F and 8, and che two usually are found irr the first two notes oFche order table.
This also exphins why Lydian and Locrian are special modes regarding resolution tendencies;
they both have a tritone built From the root.
Zhe method for determining color tones is the s a m e for the altered diatonic modes. The above
example should be sufficient as a guide iEa student wants to pursue &at assignrnenr.
APPENDIX
CONSTRUCTION OF TETRACHORDS
There are many more tetrachords that can be used by the forward-looking composer than is
Found in contemparary examples. T h e following is a method for construcring the tetrachrsr&
presently in use, as well as a means for deriving new ones.
The onIy "rulesnta follow are to incIude four notes and to keep the sum of che semitones of
the tetrachord within the definitive limit. IFthe terrashod is to be used to conscrucr modes,
the sum should not be higher than s i x semitones - a limit of less than four semitones would
give a tetrachord chat couId not be transposed. h addition, one should assure that the pitch
sequence folIow the normal alphabetical sequence: A B C D, C D E F, err. A semitone Iimit
above six allows the creation OFpentatonic and ocher specid use tetrachords. A few will be
included here and the subject will be covered in more detail in Volume 2 of this rextbook.
Example: 4 Semitones
Example: 5 Semitones
Example: 6 Semitones
unnamed Erebird I I
tl * it- x* tl- 7T
Example: Pentatonic Tetrachords (perfect fifth limit)
As one can see, as long as there is the four note Iimit, there are quice a few possibilities for
tetrachord construcrion. T h i s procedure can be of greac use for the Irnpsonsor/cornposes for
the inscant creation of exotic "lines" while "blowing" over changes with relaxed harmonic
rhyhrn - but this is a subject for another book.
ADDITIONAL EXAMPLES
The following miscelIaneous examples are included for further reference for ideas, examples
ro pIay at a keyboard, for ear raining, or for clarification of concepts. A number of&ern were
created by computer ptograms - and are still useful. The examples include common tone
connection, both upper and root, symmetric patterns, and harmonizations. Wirhin the
exarnpIes are additional chord voicings for further study.
1 Aeolian lonian
A
APPENDIX
THE GUIDE
This is organized by categories of a primary color tone with its added secondary qualities.
Once you learn the primary qualiry as an intervalic definition, add the secondary color tone.
{I rnim 7 Dorian Aeolian minor s ( Phrygian b7 P h ~ a in6 Phtygisn I S Locrim Phrygian Phryg*n h3 1
You can further organize the chords iE you wish, maybe by groups of major thirds, a11 the
altered types or all Lydians: Lydian, Lydian-augmented, Lydian BZ, etc.
Moving on ro full spacings, it is best to learn the chords by their composite sound and by their
grip. When you hear a chord, your right hand should have a "Feel" for what you are hearing.
Learning the chords by their composite sound has no real shortcut - you musr spend a lot of
time in practice. S m by learning the voidrrgs that are most commonly used; rhey are
available within the pages of this book. IF needed, practice with atpeggiations at first. In
addition t o "ear raining" practice, much keyboard playing of the chords will be of benefic,
particularly for the "grip"merhod of idmcification (see Exampk 8).
Slash chard idmtificatian c a n be Iearned by an inrervaIic method. As you will recall, the upper
structure triad has a root as part of its construction;learn to identify rhe ratio of that roar to
the root of the chord (see ExampIe 9).
8. Grips 9.9ash chords
Once you are fairly proficient with modal chord identification you should move on to the
mansccibing of h I l compositions, with fuU transcriptions of the chordal voicings.
An ultimate goal is to be abIe ro identi$ everything that you hear and to be able to transcribe
it to musical notation: all drum parts, bass parrs, horns, voices, rhythmic figures, chord
vaicings, and drnbral or instrumencaI assignrnenrs. The mamre student should include
identificatiort of the players by style and sound. And for the meticulous, identification of
makes of instruments, reed size and mouthpiece and even synthesizer makes and "patchesn;in
shocc, all you know and hear.
Your ear training shodd not just be in the academic environment or in the car listening ta the
stereo: while watchingw at movies, identify and, later transcribe the music - the film scores
have some great scuff. Try to rranscribe Stravinsky or Gil Evans; go for d you hear.
Everyone has different abiIities for aurd identificadon, from those wivh perfect pitch so those
whose listening background has been mostly "pop" harmony - but all can benefit from more
ear training.
APPEN DlX
Andrew Hill
1
v
, C h a r l ~Mingus 4 Eberhard Weber
Ralph Townw
if Kenny Wheeler
Omette Coleman r
k v Ron Miller 4 Par Merheny
DUKE ELLINGTON
6. Ahatis
AVANT-GARDE MISCELLANEOUS
I. Paul Bley - Barrage 1. Keith Jarcert - Belonging T r e m ~ mIsland
2. Ornerte Coleman - Omette on Tmm 2. Jan Garbarek - Th Rtkne~
3. Albert Ayler - Ghosrs 3.McCoy Tyner - Expansions, Tmdm Mmnenh
4. Sun Ra - HeluKenhic Worlds 4.Weacher Report - Weunber Reporl
5. Mareria1 - Memoly S m s 5. Joe ZawinuI - Zawinnb
6. LaswelI - Baseltnes 6.Kenny Wheeler - D ~ a b kDouble
, You
7.Dave Liebman - Dmm O d e
8. Joey Calderazza - In the Door
9. Andrew Hill - B k k Pi#
10. Kenny B a m n - Golden Lohsr
CLASSICAL LISTENING
The following sample selection should provide good starting point for additional harmonic
and meIodic source rnateriaL Most of h e non-idiomaric harmonic and melodic mawrials, as
presented in this book, are derived from rhe listed sourcex Romantic melodies are very much
a panr of the jazz Ianguage and these compositions also provide great examples OF modal
harmony, chord voicing, romantic harmony and, of course, the skills of the rrtorld's best
composers.
I t is suggested that you obrain rhe scores and read along with the recording, making notes of
particular areas of interest Like the jazz recordings, you should attempt co make rhese
musicaI exampIes a permanent part of your inner self.
1. Tchaikovsky - Romeo and Juliet
2. Rachrnaninov - Piano Concerto No. 2
3. Mendelssohn - Songs Without Words
4. Rimsky Korsakov - Scheherezzde
5. Prokofiev - Romeo and Juliet
6. Rave1 - Daphnis er ChIoe
7. Ravel - Valses Nobles e t Sentinencdes
8. Respighi - Pines of Rome
9. Stravinsb - Firebird
1 0 Stravinsky - Symphony of Psalms
BOOKS
A. THEORY
8. HISTORY
C. MlSCELLANEOUS
1. The Music ofRon Miller
2. The Poeh'cr ofMusic by lgor Stavinsky
APPEMDIX
Ron's compositions have been perfomed worldwide by many musicians including the faculty
and studena at the Jamey Aebsrsold clinics.
His compositions also have been recorded and/or performed by notable musicians such as
Hal Gaiper, Red Rodney, uE1ernen~s,"Ira Sdlivan, and Stan G e m
Composition students OF Ron's that have accained notoriety include Par Metheny, Stwe
Morse, 'T'Lavitz, Bruce Hornsby, Gil Goldsrein, Mark Egan, Mart Harris, Denis DiBIasio,
and Rick Margiba
The Jazz hed dry Workbook
O R D E RNO. 11201 (125 P A G E B O O K )
T h e 1- Theory WarkbwK is a primer i n j z theory, intendedto prepare the nudent for the serious
study of jazz imprwiutwn, anangement and c o r n p i t i o n
The f o c u is on the harmonic Tanguage djan, especially the harmonic practjEes which malasced in
the bebop and pwt bop periods of the 19405 and 1950s when M o p and standard tunes formed the
care of the mainstream repertoire. The harmonic language of that period is still the framework nn which
contemporary jan musiciam build
Included are many musical examples and written assignments for pracrice in the theoretical skilk.
Appropriate w e h e r , are provided 20 ranforce theoretical concepts by immediate applicationt o the
instrument.
..*...
8 r t L DOBBIWS
Jazz Arranging and Composing a Linear Approadr
ORDER NO. 31305 (BOOK W/CD)
-Techniques of melody harmonisah, linear rvriting and hourrterpoint for 2,3, 4 and 5 horns.
-A chapter on witing far t h e rhythm section dearly illustrates the techniques mmmanly d by jan
anangus and cornpasem
-Six complete scows in concert key are ideal for a n a w for playing the horn parts on the
piano or for followingthe pehrrnamces an the CD.
" J w Amrnging and Carnw"g: Lineer Apprwch is a w&me and greatly mrded addition to jan educafional
lit~ratureIt ir the jrrt bwk to provide a dear and lagicnl b-e Jram the more basic techniques of arranging and
melody hmmenishn m the m r e adwrrred linear metham employ& by mme ofthr most interm'ng and infhren-
oal jm m g e n d cumparerr. The m&I exarnpl~and om urn we!! organized and the anriw~is clmr and
txces~ible.I have bng known Bill's unique abrlities ar a pfted pianist and cornparer, and I highly recammend this
most recent m n r n i n to jm writen uf all lmIs a! expen'meY Ffsk)
-.....
G ~ GOLDSTEIH
L
-
Jazz Composer's Companion
O R D E RN O . 43304 (116 P A G E B O O K ]
T h i s book i s divided imo three main sectiom: Melody, Rhythm, and Harmony. Dozens musical examples
x well as mmpwkions by 8ill Evans (pianist), laco Pastonou, Jim Hall, Ralph Towner, Steve Swdlour, Pat
Metheny Michael t i b b s ao.am induded in order t o illustrate &fic compositional techniques. An
extensive rhapter on fhe Grnpositiamal Pr- features interviews with jazz composers Bill E m s , Carla
Bley, George Rwell, Home Srlver, Pat M&eny, Chick Carea, Lyk Map, Anthony Davis, Herbie
Hancock, Richie Beinch, W p h Towner, a n .
'Gil doer a service here on a high level. The mnrcpn he ofm impuse im stye and thur, can be used and extended
fa enrich my mw&s vocubdaly. 7he rest ir up to you." (EllFvum)
ANDY J A F F E
Jazz Harmony
* O R D E R NO. 11210 (CA. 100 P A G E S ]
2nd edition, mrnpleteb w i s e d and enlarged. 14 chapters induding exercises and assignments: I m a l s ,
Chords, Inversions, Modes; DiatwlicAnd Modal Chard Progrersions; The Blues; Lead Sheetr; Song Forms
and Melodic Variations; Secondary Dominant Chords; Substitute Dominant Sewnth Chords and Tritone
Subr; Minor Key Hanmny; Modal Interchange and Minor 8 1 ~ sCommon
; Chord Progresrionr and Voice-
Leadin% Modulation; Pentatoniuand Other SymmeWic Scdu; Blues Variations; Rhythm Chang-
Caltrane's 3-Tonic Syscem; Slash Chords and Hybrid Chord Voi~ngs.
The first edition was one of the most widely wed b o o k on jan harmony. For classmom and mdivi-
dual use.
" J m Harmony is a brilfimt addirmn to the fwMofjm theory. It ir well-wdm and beautiJullyarganited, and the
infirmation i t mntvins is drornughg mearchedsnd aurhmtiral~prrrented I mcammmd it hrgh." (David
Baker)
FRED S T U R M
Changes Over Time: The Ewlution of J a n Arranging
O R D E RNO. 11350 ( 2 1 4 P A G E B O O K W / C D )
'Chanps Over Tme: The Evolutian of J a n Arranging" was conceived to illustrate, thmugh cornpamtive
case srudiec, the dramatic development of rhythmic, mel* harrnorric, orchcstrat~ond,and nrucrural
variation in jm arranging from the 1920s to the present A broad -Dry of cornpitions that have
each inspird numerous jazz arrangements was ertablished. and the arrangements assmiated d h each
of the crig~nalworks were examined t o determine the level of quality, the span of jazz history represent-
e d a d the number of renditions creatod by historically significantjam arrangefi, including Dan Redman,
Fletmer Henderson, Benny Carter.Duke fllinpn, Billy Strayham, Gfl Evans, Thad J o n q Bill Hdman,
Bob Bmokmq.er, and dare Fixher
The c a s studteq were n a r m d to 35 arrangements of three classic jazz mrnp&ions and one
Amenan papular standard song: Jelly "Roll" M o m ' s Kimg Porter Smrnp, Don Rdman's Chant ofthe
W, Gerald Mavks' and kpmur Simon's All OfMe, and Billy Strayhorn's Tuk The "A* Train.
and/or parts representing nine decades were suppl~edby llving mangers, bwrowed from
colkctions, m o n s t n r w d from sketches or tranwnlxd from recording. Fmr contemporary rnaners
were ultimately mmmissiuned ta create new arrangements af four selected mrnpositions.
L U D M I L A ULEHLA
Contemporary Harmony -
Romanticism through the 12-Tone ROW
O R D E RNO. 17440 (534 PAGE BOOK)
The undemandingof the musical techniques of campasitioncan rrot be reduced to a handbook of sim-
plified ruler Music is complex and ever changin~It is the p p o s e of this b d t o tracethe path of
musical growth fmm the late Romantic period to the serial techniques of the contemporary composer.
Through the detajledanalysis of the musical characteristjcs that dominate a specific styie of writing, a
graduated plan is o r p i z e d and presented here in the fawn of explanations and exemses. A new analyti-
CONTEMPORARY HARMONY
n?rrmuun ch- rhc Tweh.-Tmc R a cal method substitutes fur the diatonic figured bass and makes exercises and the analysis of non-diatonic
I h t U r e mum manageable.
The mplanat~om de~ribmg each techn~queare thoroqk They are dsfgned to help the teacher and
the nudent ree i h e many extenuating circumshnces that affect a particular analpid decision. More
important than a dogmatic decision on a particular key cmter or a rowt tone, for example, is the under-
M n g a f why such an underdeterminatecondition may exist
"I bve ued diir b o o k ~ n n a l y r i r f i rwading and ar a creative mol in rrq own cmparitkn* h i s e n m w l y use-
ful md p m ~ m t i v e(Robert
.~ M Abranm~u,The JuifIiilliord 5rhwl, New York)
"Qntonpomry Harmony is& anly b w b that adquatdy matr conmpomry urmposithml t h i q u e r ar
rhemn'ml erpansions upon the part . .one OJ t h e m andpiml essays oJ our century' (Ron mamas, Nnin)
'Conremporary Hmmony IS one oj the finest, most comprehensive tertr wef written od thc subject A unique
and imaluaMe ronrribardon to MIthe nudolt a d the pmfexknal muskinn" (fiAnthoqy R l c i g l h ,
Manhatrun Sdruol ofhlurrc, New York)