Professional Documents
Culture Documents
A thesis submitted to the University of Newcastle upon Tyne in the School of Arts and Cultures.
2011
Claude Werner
Department of Music
2
Contents
Abstract 6
Acknowledgements 7
Introduction 8
Key relations 86
Modulations and tonicisations 91
Transitions 93
Modal interchange (substitutions) 98
Tritone substitution 103
Symmetric scale harmony 112
Chromatic harmony 115
Traditional versus octatonic analysis 119
Early Improvisers
Louis Armstrong 364
Lester Young 366
Coleman Hawkins 373
Ben Webster 383
Bebop
Charlie Parker 388
Chet Baker 398
John Coltrane 407
Modern jazz
Herbie Hancock 411
Joe Henderson 424
In Loving memory of
Claudio Alejandro Rubio Blest
6
Abstract
Jazz harmony today is explained in terms of relations between scales and chords. This is
done so that the improviser can know what available notes he/she has at his/her disposal when
improvising over a given chord. Though this method explains the construction of chords from a
diatonic scale and provides semi-adequate pitch groups that will fit over a sounding chord, it
does not begin to explain anything about harmonic analysis or the intricacies of harmony itself.
The relationship between chords and scales is left purely to the recognition of the chord symbol
i.e. Xmin7 is always Dorian, in a form of mechanical isolated recipe that takes no consideration
In the following thesis I intend to propose a different view that may facilitate the way
jazz harmony is analysed and understood. Central to my hypothesis is the suggestion that a
harmony. This principle is extrapolated from theories of acoustic phenomena and early tonal
behaviour. The goal is to offer a unifying theory that may account for all tonal harmony, in its
In order to validate the theoretical claims made above the second part of this thesis deals
with the historical exploration of jazz harmony, from its nineteenth century influences up to
modern usage. A short sample of soloists is also provided as support of the theoretical model and
Besides finding a coherent form that may explain jazz harmony, this system has also
proven to be an efficient tool for music education. Furthermore, it potentially paves the way for
Acknowledgements
Thanks to Dr. James Birkett for encouraging me to develop this theory and for suggesting I
approach Newcastle University. Special thanks to David Clarke for his continuous support, patience
A special thanks to Nicola Weaver and Judith Thompson for their constant support, proof-
Introduction
For many decades now, jazz has enjoyed a vast collection of literature in both history
and theory departments. But more impressive yet is how it has grown from a folk form played
in back alleys and places of questionable reputation, to an internationally recognized art form.
Countless universities and conservatories around the world now offer degrees on the subject and
in many cases even postgraduate degrees. People devote entire careers to the study of one
another group of people, mainly musicians and educators, who attempt in their own way to
explain in some theoretical manner how jazz works. Interestingly so, academia seems to steer
clear of any theory-harmony treaties and instead delegates it to practitioners. Yet jazz harmony
Until the 1950s most jazz musicians had to learn their craft from recordings or by
sharing ideas amongst colleagues and mentors. By the second half of the century books dealing
with chords and scales started to appear, and a ‘jazz’ theory began to take form. To this date
thousands of books have been published dealing with the art of improvisation, most of which
deal strictly with chord-scale relationships; the theory seems basically the same and only the
terminology differs. However, the concepts seem far from exhaustive and there has been a
harmonic analysis. The trend nowadays is ‘chord symbol equals scale’, which leaves the learner
with a group of notes that they may use over chords, but no real understanding of the harmony
itself. Worse yet, on most occasions this chord-scale analysis does not coincide with the actual
piece of music and leads to unconnected melodic creation or simply frustration on behalf of the
improviser. Harmony is more than a set of pitches played simultaneously. Above everything it is
9
linear, it moves, it tells a story, it takes us from one place to another. A chord may theoretically
be the same on more than one occasion in a piece e.g. G-Bb-D-E, but depending on what is
around it and when it occurs it can sound very different. The root of the problem does not only
lie in the depth in which it is studied, but also in how harmony is understood. It results from
how jazz theory came to be: a mix of basic classical theory, incomplete knowledge of harmony
and the passing of ideas by a small ‘select’ group of people who appear to know the truth,
In this thesis I will propose a system inspired in the tradition of jazz harmony that
intends to go deeper and broader than that of my predecessors. The aim is to show that jazz
harmony is incredibly rich, complex, but above all contextual. The octatonic system is a new
approach that aims to unify other existing theories so that different approaches e.g. substitutions
and alterations, may be conceptualized under the same guidelines/terminology. There are two
newly labelled phenomena that underlie a substantial part of the proposed system. Firstly, an
eight-note scale is being identified as occupying a central position in harmony. Secondly, I’m
proposing a model that identifies the relationships between notes and keys in a way that has not
been put forward before and this is I call the hierarchy of intervals.
Naturally, the only way to create a harmonic theory that is unifying is by exploring the
whole historical existence of jazz harmony, from its early influences to its contemporary
The first part concerns the theory itself. Chapter one is an introduction for those
unfamiliar with jazz terminology and explores the historical context in which jazz theory
developed and why there was a need for it. It also explains the enormous diversity of names for
the same things e.g. chord symbols, as well as clarifying the jazz musician's conceptualization
of music. Classically trained musicians might discover that although the terminology being used
is frequently the same, in jazz it has a different meaning. The opposite is also true: different
terms in classical theory sometimes mean just one thing in jazz e.g. a C flat, an A double sharp
10
Chapter two explores the existing jazz theory, where it began, its main exponents, what
is wrong with it and why there is need for a new one. It also introduces the methodology of
Chapter three begins the theory of the octatonic system. The aim here is not just to
propose a new system but also to explain how it came about, the logic behind it and the
fundamental principles. With the intention of using a system that would not be too different
from those already in existence, this chapter goes through the construction of a mother scale, its
diatonic chords, harmonic functions, etc., in the same tradition as other jazz theories.
Furthermore, auxiliary scales and their family of diatonic chords are introduced and explained,
Chapter four completes the first part with the analytical principles of the octatonic
system: how are chords recognized, how to interpret them, and different harmonic situations and
behaviour. Finally, there is a comparison of the octatonic system versus a traditional system of
analysis.
In part two the octatonic system is used in a chronological exploration of the music,
starting with 19th century influences in chapter five: spirituals, popular songs, ragtime and the
blues. This is followed by so-called ‘jazz standards’ written by composers outside the jazz
realm. These constitute an intrinsic part of the repertoire and are therefore highly influential in
the development of jazz harmony. Chapter seven takes a close look at several of the major
figures in jazz history and some of their most important compositions. Chapter eight concludes
the second part of this research by briefly analysing improvisations of some of jazz’ most
important soloists - thus making a case that the octatonic system is suitable for analysing almost
any musical situation, whilst providing a coherent and unifying theoretical system that can
Part three deals with some unexpected outcomes of this research. Chapter nine covers
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other areas that I have found in which the octatonic system may be useful. These are side ideas
that are not fully developed, but that have proven to have interesting research potential. The
analytical method used throughout also appears to have other applications i.e. to analyse music
that is not necessarily tonal. Furthermore, the principles explored have the potential of aiding
the composition process, either as a way to find new tonal chord progressions or as a polytonal
map. Finally, there is a suggestion that the octatonic system could be used as a musicological
tool that may shed some light on why human beings organize their music so similarly.
The final pages contain a glossary of terminology and abbreviations and several
appendices that may facilitate the reading of this thesis. These include chord families and key
relationships that may assist the reader in following some of the more intricate analyses.
To design a new theory of harmony is too large a task for one man, considering that
traditional harmony took hundreds of years to evolve. By no means am I saying that this theory
is in its final state. It is a work in progress which hopefully will be nourished over time by the
Part I:
The Theory
13
Chapter 1
Initial Considerations
Improvisation exists in practically every culture1 and it is the most widely practised of all musical
activities2. Some even believe that the earliest forms of music must have been improvised and
perhaps included sounds of the natural world.3 Described as ‘pure transmission of musical ideas’4
or ‘instant composition',5 improvisation seems to be gaining more attention in the circles of music
education than ever before. Although often described as the spontaneous creation of music,
improvisation frequently follows a set of rules or models. For example, in the gamelan music of
Indonesia, the instruments in the ensemble take turns to vary the basic melody. The South Slavonic
tradition consists of combinations of themes and motifs often with a cultural or historical reference.
Indian classical music, either Hindustani or Carnatic, combines melodic (Raga)6 and rhythmic
(Tala) variations to create rich improvisations.7 Some West African traditions like the Huasa have
an even broader framework consisting of textual improvisation, melodic, rhythmic and alteration of
Jazz on the other hand uses three components as frameworks for improvising: melodic,
1 Bruno Nettl, et al. 'Improvisation', Grove Music Online, Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/13738pg1 (January 10, 2009).
2 Derek Bailey, Improvisation: its nature and practice (USA: Da Capo Press Inc., 1992) xi.
3 Ross McMillan, 'To say something that was me: developing a personal voice through improvisation', British
Journal of Music Education, Volume 16, Issue 03 (Nov 1999), 263-273
4 Andy Hamilton, 'The Art Of Improvisation And The Aesthetics Of Imperfection', British Journal of Aesthetics,
Volume 40, No 1 (January 200), 173
5 Ibid., 179
6 Raga as a standard framework consisting of the basic intervals or pitch divisions of the sruti and the svara.
7 Ronan Guilefoyle, Creative Rhythmic Concepts for Jazz Improvisation (Ireland: Newpark Music Centre, 1999) 51.
8 Kwabena J.H. Nketia, The Music Of Africa ( London, Victor Gollancz Ltd., 1992) 236-237
14
rhythmic and harmonic, though vocalists also sometimes indulge in variations of the lyrics probably
due to the African heritage.9 These frameworks can be used in a variety of settings, such as
‘Standards’, a repertoire of tunes or songs widely known to the jazz practitioner or connoisseur.
Large arrangements or compositions with improvised sections, free form, or simply open melodies
Jazz has had a short history but a very swift development. It went from march-like rigidity
to free improvisation in less than fifty years of existence.11 Berendt believed that jazz had not
always been improvised and similarly Hamilton seems to speculate how certain famous jazz solos
were perhaps prepared and rehearsed.12 Nevertheless, improvisation seems to be linked with jazz as
if it were part of its definition. The Grove dictionary refers to improvisation as part of the definition
of jazz,13 as do many articles and books in the subject of improvisation. Therefore, we must
The techniques involved in the art of improvising jazz were not always the same. In its early
development most improvisations were based around a theme that was varied or distorted. Later in
its growth, we see the inclusion of harmonic embellishments based around the chord sequence
largely made up of arpeggios and a few incidental passing notes.14 A more ‘scalar’ approach took
place later but still based around the original harmonic sequence. Many famous soloists like
Coleman Hawkins started basing their solos around chord structures and substitutions rather than
the melody of a piece.15 When Bebop came around, jazz took a turn to complex rhythms and
harmonic substitutions; dissonance such as the flat 5th came into everyday use.16 Structures were
changed or rearranged and chords revised.17 Melody was approached from a polytonal perspective
by drawing different chords on top of the existing ones and melody became fragmented and
9 Also known as 'Scat' singing
10 Paul F. Berliner, Thinking In Jazz (USA: The University Of Chicago Press, 1994)
11 Joachim E. Berendt, The Jazz Book: from New Orleans to Jazz Rock and Beyond (London: Paladin Books, 1983), 4
12 Hamilton, The Art Of Improvisation And The Aesthetics Of Imperfection, 176 -77
13 Mark Tucker and Travis A. Jackson. 'Jazz', Grove Music Online, Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/45011 (January 15, 2009).
14 Winthrop Sargeant, Jazz: Hot and Hybrid (New York: E.P. Dutton & Co. Inc., 1946) 154 -57
15 John Fordham, Jazz (Canada: The Reader’s Digest Association Ltd., copyright by Dorling Kindersley Limited,
London, 1993) 102
16 Joachim E. Berendt, The Jazz Book, 18
17 Andre Hodeir, Jazz: Its evolution and essence (New York: Da Capo Press, 1975), 101
15
disconnected.18 Modal jazz and the publication of theory books concerning chord and scale
relations brought about a new concept that could be viewed as horizontal or linear as opposed to the
vertical ‘chord’ approach. These models are still very much in practice today and are taught in most
After the scale or horizontal approach came a vast expansion of concepts and tools, each
with its own name and prophet. Quartal approaches, atonality, polytonality, symmetric patterns,
intervallic concepts, etc. Naturally, as with any mathematical permutations, many of these concepts
were the same in terms of the aural product. Berliner points out ‘Such discrepancies sometimes
initially confuse the students trying to understand jazz in consistent theoretical terms...’. But also
points out that these discrepancies ‘also reflect the complimentary relationships among chords,
scales and intervals in which each can be defined in terms of the other.’20 In other words, the
different conceptualization of the same material helps the practitioner understand the endless
In a random search through Google, I was able to find 8,730,000 results for books about
jazz.21 Another search through the Copac database showed 16720 publications of which at least
3652 were specifically about theory or concepts for improvisation.22 For an art form that requires
the practitioner thousands of hours of practice, it seems an impossible task to read and digest all this
material whilst trying to master the difficulties imposed by the musical instrument as well. The
problem might be traced to the fact that jazz has always developed in the hands of musicians,
independent and isolated from each other. Since the very beginning in places like Memphis, St
Louis, Kansas and New Orleans, just to name a few, musicians created their own names and
symbols to explain music to themselves and others. This vernacular practice brought about an
extensive vocabulary of definitions and concepts that were essentially all the same or at least very
similar.
A browse through a few repertoire books, also known as real books’ or fake books’,23 can
demonstrate all the different chord symbols musicians use for mainly the same sound:
A flat 5th and a sharp 11th can be used interchangeably: a whole tone scale is the same as an
augmented. A whole tone/half tone is the same as a diminished.24 A Mixolydian is the same as a
dominant scale, etc. When the first books on jazz were published, the trend did not stop. Many
authors continued using the vernacular expressions of their geographical area. Others instead tried
using classical academic terms to explain a music that defied traditional classification. The rhythm25
23 Robert Witmer and Barry Kernfeld. 'Fake book' The New Grove Dictionary of Jazz, 2nd ed., edited by Barry
Kernfeld. Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/J144800 (January 19, 2009).
24 AKA Stravinsky octatonic.
25 Gunther Schuller, Early Jazz: Its roots and musical development (New York, Oxford University Press, 1986), 6-12
17
and pitch intonation of African rooted music cannot be easily written down with classical European
notation26 and when accomplished it is ‘but a shadow of the original’. 27 So the question remains,
when trying to organize educational material or a logical chronological order of information, where
do we start and how do we avoid contradiction? Would it not be ideal to have one model that could
serve to educate, analyse and explain the music? In terms of rhythmic notations there seems to be a
clear consensus. Quaver (eighth notes) in jazz are supposedly performed as a crotchet-quaver
triplets (quarter-eighth notes: ), though many modern players would disagree. The
philosophy of notation is ‘less is better’. That is to say, the least rhythmic figures used for a
This
Though the latter might describe the performance more accurately, the former would be the
standard and perhaps complemented with indications such as ‘Laid back’ or ‘rushed’.
Melody has also achieved a certain level of convention. Melodic analysis is usually taken from the
perspective of the sounding chord and any non-diatonic pitch, if not chromatic, is notated
quarter/microtone up just to name a few. Though this precision writing does not necessarily convey
Unfortunately, harmony does not enjoy the same benchmark. There are countless books
26 William Tallmadge, 'Blue notes and blues tonality', The Black Perspective in Music, Vol. 12, No. 2 (Autumn, 1984),
155-165
27 William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison, Slave Songs of the United States (New
York: Books For Library Press, 1867), iv
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about jazz chords and scales, and a few recent publications on analysis. Nonetheless, there are very
few conventions on the subject. Analysis is treated poorly and the teaching of harmony is disjointed
and impractical. In this thesis, I intend to point out the problems found in most educational material
whilst providing an alternative method for looking and understanding harmony in jazz. But first, we
must understand the context and evolution of harmony from the beginning of jazz to contemporary
usage. This will give us a historical perspective and a chronological framework to understand the
A historical perspective
The beginnings of jazz are as elusive as the definition. Officially, the story begins in 1917
when the first jazz recording appeared. Before that, it seems to be a muddle. The word itself existed
before the music and the music was not associated with the word until much later in its
development.28
The different theories relating to the beginning of this music are biased by what authors
think jazz is. Firstly, the sound most people associate with the word jazz is far from the early
traditional music that came out of New Orleans. Secondly, not all music that came from New
Orleans in the early 20th century qualifies as jazz. And thirdly, the idea that jazz is black and solely
American is misleading. Whilst jazz inarguably began in New Orleans, it is clear now that it did not
remain there for very long.29 In the search for the origins of jazz Gushee concludes that jazz came
from ragtime and for a time the words were used interchangeably.30 Robinson, one of the very early
jazz players, as quoted by Gushee says ‘jazz was nothing but ragtime, played by ear’.31 Ragtime we
know commenced somewhere in the late 19th century and was quickly exported to the world via
28 Gunther Schuller, Early Jazz: Its roots and musical development (New York: Oxford University Press, 1986), 65
29 James L. Collier, The Making Of Jazz: A comprehensive history (Hong Kong: Macmillan Publishers Limited, 1985),
57-58
30 Lawrence Gushee, 'The Nineteenth-Century Origins of Jazz', Black Music Research Journal, Vol. 14, No. 1 (Spring
1994) 1-24
31 Ibid., 2
19
the Chicago world fair in 1893. This early music is believed to have developed by ‘the visits of
Negro sailors to Asiatic ports’32 and somewhere between the end of the 19th century and the
beginning of the 20th it began to swing and musicians began improvising over the form. Another
important development, and what gave jazz a more exclusive characteristic, was the influence or
perhaps absorption of the blues. Sargant says ‘What we know as jazz is a combination of the blues
and ragtime, a grafting of the one on the other’.33 We know the blues appeared circa 1905 and it
introduced the so-called blue notes. These notes of indefinable pitch added what Tallmadge calls
‘an Afro-American polychordal practice’34 and it opened the sound of the European based Ragtime
Collier believes the new music quickly moved out from New Orleans into other cities35 but
more important was that after the first recording of the Original Dixieland Jazz Band in 1917 the
So what we know at this point is that jazz evolved from Dixieland, a form of music that
developed from Asian and European sources. We also know that the blues, a form of music that
developed from work songs and to lesser degree spirituals,36 became a part of this new music in the
early part of the 20th century, thus enriching the sound and giving it its unique sonority. But once
the first jazz record, or to be more specific New Orleans jazz record, went out in to the world it
became an international phenomenon in the same way ragtime had been at the end of the previous
century.37 This event removed jazz from its cradle and brought it to new hands all around the world,
particularly to Europe. Taylor, in his review of Goddard’s book, mentions how jazz arrived in
Europe as early as 1917 after the first war,38 the year of the first jazz record in the United States.
Jazz musicians found quite a good reception in Europe, particularly in France and Scandinavia, and
many of these settled in the old continent and began spreading their music. Taylor also mentions
how quickly French composers began incorporating the new sound into their compositions. The
jazz craze began as early as 1919 in Copenhagen and by the mid 20s it was the most popular music
in town.39 A squabble between English and American unions in the 30s left jazz isolated in Britain
to evolve without American influences, creating a new jazz sound that was distinctive for its
technical excellence.40 Django Reinhardt, a superb Belgian guitarist, introduced a unique new sound
by mixing jazz and Gypsy music.41 Reinhardt became ‘the single most important guitarist in jazz
Another important consideration occurred on jazz’s native soil. When jazz reached the
American audience, it also found its way to numerous musicians, many of whom later became the
most famous emissaries of the jazz language. At the time jazz became popular it had to share the
attention of the audiences with other styles popular at the time besides ragtime and the blues.
Examples of this are the extraordinary pianist-composer Leo Ornstein who generated ‘an early form
of mass hysteria that would later greet Benny Goodman, Frank Sinatra and The Beatles’. 43 Paul
Whiteman and George Gershwin, two white composers with commercial motives, made their
names with jazz-inflected songs that relied solely on classical techniques. Gershwin’s great hit
Rhapsody in Blue, was hailed as ‘…the first distinctively American concert piece’.44 Early jazz
legends such as Louis Armstrong,45 Jelly Roll Morton,46 Duke Ellington,47 Bix Beiderbecke48 and
Charles Mingus49 were raised in classical or at least European music environments. One of
Ellington’s Biographers says ‘Ellington’s music is more nearly related to European music than to
39 Morten Clausen, 'Egberth E. Thompson: He Introduced Copenhageners to Real Jazz Music,' The Black Perspective
in Music, Vol. 16, No. 2, (1988), 151-76 (151-5)
40 Collier, The Making Of Jazz: A comprehensive history, 322
41 John Fordham, Jazz, (Canada: The Reader’s Digest Association Ltd., copyright by Dorling Kindersley Limited,
London, 1993), 22
42 Collier, The Making Of Jazz, 322-23
43 Alex Ross, The Rest Is Noise ( London: Fourth Estate, 2008), 135-36
44 Michael Hall, Leaving Home: A conducted Tour Of 20th Century Music (Great Britain: Faber and Faber Ltd., 1996),
165-66
45 Max Jones, John Chitlon, Louis: The Louis Armstrong Story (London: Da Capo Press Inc., 1988), 45-54
46 Alan Lomax, Mister Jelly Roll (USA: University Of California Press Ltd., 2001 revised), 42-43
47 Mark Tucker, Ellington the early years (USA: University of Illinois Press, 1995), 20-3
48 John Fordham, Jazz, 98
49 Charles Mingus, Beneath The Underdog (Edinburgh: Canongate Books Ltd., 1995), 23
21
In the biography of Joe Oliver, one of the founders of jazz and mentor to the great Louis
Armstrong, it says of early black musicians in New Orleans ‘Many of them had learned to play the
white man’s instruments, and in the surroundings in which they found themselves….. They
produced a strange new music, a blend of the white man’s opera, hymns, marches and ballads,
French, Spanish and Anglo-Saxon alike wedded to their own African chants and dances’.51
America saw most of the developments in jazz, Swing; Be-bop; Cool jazz; Free jazz; hard-bop; etc.
But Europe has much to claim as well, from the Gypsy influences of Django Reinhardt to what is
now known as the Nordic Tone or Nordic jazz, which is exclusively a Scandinavian development.
The global transculturation of jazz has also generated a vast diversity of new jazz styles
from different countries. Nicholson points out how the assimilation of jazz practices in different
cultures creates a new ‘dialect’ of jazz ‘hybridized and often innovative’.52 Europeans mix it with
their own folklore, South Africans fuse it with their indigenous rhythms, Argentinians with Tango,
many Europeans have included Club culture material such as drum loops and sampling, the list
goes on.
So this leaves us with a big question: if jazz is constantly evolving, mutating, transforming
and absorbing new elements from other styles, where do we draw the line? When does jazz stop
being jazz and becomes something else? To answer this it’s better to ask what makes jazz jazz. In
the article Three approaches to defining jazz’, the authors arrive at the conclusion that a strict
definition involving swing and improvisation has the greatest scholarly use.53 This definition, strong
in its simplicity, allows for easy categorization, though in my opinion, it excludes too many works
that are commonly accepted as jazz. For example, according to the authors this strict definition does
50 Peter Gammond (editor), Duke Ellington his life and music (London: The Jazz Book Club, 1959, Chapter:
Ellington’s Place As A Composer by Burnett James), 148
51 Walter C. Allen, Brian,A.L. Rust, King Joe Oliver ( London: The Jazz Book Club, 1957), 1
52 Stuart Nicholson, Is Jazz Dead?: or has it moved to a new address (New York: Routledge, 2005), 175-94
53 Mark Gridley, Robert Maxham, Robert Hoff, 'Three Approaches to Defining Jazz', The Musical Quarterly, Oxford
University Press, Vol. 73, No. 4 (1989), 513-531
22
not consider jazz-works which do not swing or in which improvisation does not play a major role. 54
This would exclude some major works by Duke Ellington, who happens to be one of the most
important figures in jazz. It also excludes major works in the area of fusion e.g. jazz-rock, since it
does not swing. On the other hand it ‘positively’ excludes music which has a jazz feel and popular,
Therefore, in this thesis, I will mostly use examples which fall into this category as defined
by Gridley, Maxham and Hoff. However, I will also include repertoire which is considered by most
modern practitioners to be jazz: these are tunes played commonly in jam sessions which, though
they do not swing, represent an important part of the jazz heritage, for example bossa nova.
In conclusion, jazz is heavily influenced by European music, in its native soil as well as
other countries who adopted the style in early days. Though also influenced by other folkloric
forms, jazz developed in the hands of people trained in European classical music, even if just the
rudiments, and played mostly with western classical instruments e.g. piano, contrabass, clarinets,
cornets, etc. Notation also played an important role in deciphering the music in European classical
terms. Jazz has also developed in many different geographical areas as Nicholson points out ‘…One
key area in the growth of jazz outside America has been Europe’.55
The relevance of this information is the link that can be found between traditional classical
theory and jazz theory. As the music has developed over the past century, and it has continued to
absorb material from other cultures, musicians still notate chord symbols representing traditional
harmony. The instruments in charge of supporting the harmony in most ensembles are still the piano
and the guitar, both tempered instruments. But there is perhaps a radical difference between the way
a jazz musician understands harmony that makes him/her different from other western music
practitioners.
54 Ibid., 516-54
55 Stuart Nicholson, Is Jazz Dead?, 196
23
Jazz musicians today and probably since the be-bop era (1940s) consider harmony in terms of
intervals. These intervals are calculated in semitones and they are equal throughout the tempered
system. Tunes are practised in every key (12 of them) and they are completely interchangeable. The
minor 7th is a sound and a certain amount of semitones e.g. C to Bb is the exact same interval as Db
to B (instead of Cb). Jazz musicians use less intervals than say an atonal composer from the Second
Viennese School, and the intervallic reference is from the key of C major. The smallest interval is a
minor 2nd, there is no other name for this sound or distance and it is applicable to any key or
combination of semitones. Below is a chart taken from Mark Levine's Jazz Theory Book56 which
shows all the commonly used intervals in jazz. After the octave the intervals continue in the same
Note the reference to semitones, called steps here, in bar one and two. Here Levine states
56 Mark Levine, The Jazz Theory Book (USA: Sher Music Co., 1995), 3
24
'The most commonly used term is shown above each interval; alternate terms are shown just below.'
No mention of when one would use the alternative in a different harmonic context.
Haerle says 'An interval is simply the distance between two notes. This distance is measured by the
number of whole and/or half steps between the two notes involved'.57
In Berklee college of music, the most renowned jazz education institution in the world,
intervals and harmony are taught in the same fashion evidenced by its publication, Berklee Music
Theory.58 In book 1 intervals are introduced from the perspective of the C major scale:
C - D - E - F - G - A - B – C59
1 - 2 - 3 - 4 - 5 - 6 - 7 - 8
They are then detailed as Unison – major 2nd – major 3rd – perfect 4th – perfect 5th – major 6th –
major 7th and perfect 8ve. Any semitone below the majors is called minor and the perfect intervals
can be raised to augmented or lowered to diminished. There is no mention of 2nd, 3rd, 6th or 7th
being able to become diminished or augmented.60 Intervals past the 8ve are taught as 'compound
intervals '61 and they follow the same rules. A 9th, 10th, 13th and 14th can only be major or minor
and 11th, 12th and 15th can be perfect, augmented or diminished. It's interesting to note that in page
33 of book one, enharmonics are introduced as the 'same physical key on the keyboard', 62 but no
explanation of why enharmonics are needed. Enharmonic notation is extremely common and
Fig. 1.3 Hal Crook's V-I movement from Ready, aim, improvise
Double flats or sharps are often unnecessary as are notes like Cb, B#, Fb and E# unless they belong
to the scale. The rules are simple, it must be easy to sight read. For example:
Aikin puts it nicely when writing about enharmonics, he says 'Why can't we call a given note by the
same name and be done with it?', and then he describes a few guitarists thought process: 'To them,
the note a half step above C is always a Db, never a C#.' He then reasons that the use of
enharmonics is mainly so that scales look sensible in the page65. Another example, in an informal
query among local jazz musicians66 I asked what is the minor 7th of Db7. Eight of them answered
B, one asked if I wanted the technical answer or the practical one and the last one said it's better to
64 Chick Corea, Keybord Workshop (New York: DCI Music-Video, INC., 1987), 41
65 Jim Aikin, Chords & Harmony, Music Theory for Real-World Musicians (San Francisco: Backbeat Books, 2004), 20
66 Newcastle and London
26
think of C#7 unless you're talking about Db7# (Key of Ab melodic minor). This leads me to believe
that jazz musicians prefer to simplify, because though it might be theoretically incorrect, the
thought process is faster and therefore more accessible in midst of an improvisation. 'The chords are
Of course there are other jazz books which teach theory in the traditional way. Once again,
as mentioned earlier in this chapter, different authors name and conceptualize the same theory
according to their background and local vernacular. Honshuku teaches them by counting the letter
names,68 and Aikin the scale notes.69 Grantham finds a sensible middle ground when saying that
'Intervals have different qualities that are recognizable to the ear. These qualities are based on the
relationship or ratio of two notes to each other rather than the exact frequencies of the notes. It is
this fact that allows us to hear relative pitch and recognize musical relationship by ear'. 70 This is a
very important statement since any jazz musician who has ever worked with a singer will find
themselves playing familiar material in unusual keys. A competent jazz musician is able to
transpose almost instantly any musical idea to any key. I believe they achieve this by the complete
symmetry in which they visualize the twelve-tone system. All notes have equal distances.
Another interesting point is the use of the names flat or sharp instead of the traditional
minor/major intervals. A chord containing a minor 9th in its structure is usually referred to as flat 9
The reason jazz musicians think of intervals in this manner is because everything is based around
the major scale and the chords that are formed from it and since they consider all twelve keys to be
For example:
67 Mick Goodrick, Almanac of Guitar Voice Leading for the Year 2001 and beyond (Cambridge, Massachusetts: Liquid
Harmony Publications, Volume 1, 2000), 8
68 Hiroaki Honshuku, Jazz Theory I, 5th Edition (Cambridge, MA: New England Conservatory Extension Division, A-
NO-NE Music, 1997), 6-7
69 Aikin, Chords & Harmony, 23
70 Jim Grantham, The Jazzmaster Cookbook, Jazz Theory and Improvisation, (USA: Nightbird Music Publishing,
2000), 13
27
The 9th appears major in the chart but most jazz musicians refer to it as natural. If it were minor or
augmented they would call it flat or sharp respectively. What is curious about this method of
thinking is that if we look at chord or scales in a different key, the alteration of the notes do not
coincide with the alteration of the intervals. For example F#7b9, the flattened 9th is in fact a natural
G. The 'natural' 9th of Db is an E flat, the flat 13th of E is a natural C, etc. Hiroaki provides us with
a possible explanation for this practice by saying that minor, augmented and diminished are used
for chord tones while symbols (#, b) for tensions.71 We may assume that he is referring to harmonies
below the octave and the alterations refer to the upper-structures (extensions) past the octave.
Finally, a modern jazz musician conceptualizes almost everything through scales. I believe
this is partly due to education and partly due to practicality. Almost every jazz theory book I have
read and researched starts in the same manner: intervals, then scales, then triads and finally
extensions. Jazz theory, whether it be modal, atonal, polytonal, etc. is still founded on principles of
tonality,72 the major scale and the chords that derive from it. Or more appropriately described in
jazz terms: what scale 'fits' over a given chord. Jazz musicians think of scales to know what notes
are available for them inside or outside the key.73 The Aebersold series, with more than a hundred
published volumes and growing, has made an industry out of chord-scale relationships (I will cover
more on this in the next chapter). In addition there are many other referenced books such as
Patterns For Jazz74 which provide the learner not only with suitable scales to match a given chord
71 Honshuku, Jazz Theory I, 4
72 Once again, slightly different from traditional harmony: a tonal centre can sometimes last for as little as two beats.
73 The terms inside and outside apply to notes, phrases, scales, etc. that are not diatonic to the key (or chord).
Independent of whether the key lasts for a beat or a whole piece.
74 Jerry Coker, Jimmy Casale, Gary Campbell, Jerry Greene, Patterns for jazz (USA: Studio P/R Inc, 1970).
28
symbol but also with possible permutations and formulas that can be played as pre-rehearsed
phrases. Every beginner, after they have learned their basic theory, will proceed to learn basic
the subject are Jamey Aebersold's The II-V-I Progression75 and How To Play Bebop.76
The reason scales are perceived to be so useful in improvisation is that by knowing which notes are
diatonic it is easier to spontaneously create a melodic line that will work. This principle also applies
to substitutions, this is when an improviser plays a different mode/scale against the diatonic chord
creating a polytonal effect (See modal interchange). An excellent example of this is Liebman's
Chromatic Approach To Jazz Harmony And Melody,77 where the reader/musician finds him/herself
playing completely atonal or polytonal phrases but with a clear focus on the chord one is trying to
avoid.
In conclusion, since jazz was born in the west musicians took much of their dialect and
theoretical explanations from traditional classical theory. But because of its very practical nature,
not to mention nearly half a century of no academic/educational support, jazz developed its own
jargon and theoretical explanations which look and sound similar to traditional theory but differ
enough to be considered separate, and we must allow its idiosyncrasies. There are many names for
the same aural phenomena. Simplicity is the rule. Also, jazz musicians think in terms of chords and
scales more than they do about traditional voice-leading. Any alteration to a diatonic chord
sequence implies a different scale and therefore a different key, even if this 'passing' chord only
lasts for a beat. This acknowledgement will serve to better understand many of the scores,
transcriptions and theory books in this field. 'Theory has never yet caught up with practice' claims
Silverman,78 but perhaps the correct statement would be theory has yet to become simple enough to
be practical.
75 Jamey Aebersold, The II-V-I Progression: A New Approach to Jazz Improvisation (USA: Jamey Aebersold, 1974).
76 David Baker, How To Play Bebop 2 (USA: Alfred Publishing Company, 1988)
77 David Liebman, A Chromatic Approach To Jazz Harmony And Melody (USA: Advance Music, 1991)
78 Julian Silverman, 'What Theory Says and What Musicians Do', Tempo, Vol. 57, No. 226, Cambridge University
Press (2003), 32-39 (33)
29
Chapter 2
Jazz Education
'[…] a book had been written which had circulated in New York in the 1940s round Charlie
Parker, Dizzie Gillespie, and others of the Be Bop generation on the nature of musical modes.' 1
This is perhaps the earliest reference to the existence of a theory book used by jazz musicians.
Some have speculated that this book was Slonimsky's Thesaurus2 published in 1947, others that
it was the first drafts of what would become Russell's Lydian Chromatic Concept3. Russell was
originally a drummer but life circumstances led him to become a composer and arranger, he is
credited with composing the first Afro-Cuban Bebop fusion. But as Jones puts it:
...for some time, Russell's mind had been on theory rather than composition; he found the
constraints of traditional music theory useless to explain music beyond Wagner and, more
significantly, totally inadequate for the analysis of Afro-American music, particularly blues
and jazz.4
It is possible to believe, thanks to the numerous biographies and personal accounted history, that
when jazz began most improvisation was made by ear5. As Berliner relates, musicians at an early
stage learn to improvise mainly by imitating or copying what others play.6 In early New Orléans
jazz improvisation was based around the theme of a tune, and when blues was incorporated the
sound of blue notes embellished the improvised line. Other more sophisticated improvisers used
1 Clive Barker, 'In Search of the Lost Mode: Improvisation and All That Jazz', New Theatre Quarterly, Volume 18,
Issue 01 (2002), 10-16 (11)
2 Nicolas Slonimsky, Thesaurus of Scales and Melodic Patterns (New York: Shirmier Books, 1947)
3 George A. Russell, Lydian Chromatic Concept of Tonal Organization (Massachusetts: Concept Publishing
Company, 1953)
4 Olive Jones, 'A New Theory For Jazz', The Black Perspective in Music, Vol. 2, No. 1 (1974), 63–74 (63)
5 See chapter 1.
6 Paul F. Berliner, Thinking in Jazz (USA: The University Of Chicago Press, 1994), 21-51
30
arpeggios that they knew fitted with the chords played by the piano or banjo, or whichever
instrument provided the harmonic support. Later, great musicians like Coleman Hawkins
developed improvisational skills based on the chords and variations of them. These included
chromatic approaches, substitutions, etc.7 By the time bebop came around musicians had taken
these ideas further by including fast scale runs and more dramatic alterations of the chord e.g. the
b5 over the I chord or dominant 7th chords. But it wasn't until Russell's publication that the whole
Russell credits the Boppers’ for the inspiration of his Lydian concept8 and claims that this scale
'sounds in closest unity with the harmonic genre of any traditional definable chord'.9 He then
continues his reasoning by demonstrating how every note available in the scale is harmonious
When comparing with the traditional major scale the claim of unity and finality is clear.
7 Mark Levine, The Jazz Theory Book (USA: Sher Music Co., 1995), 31
8 Jones, 'A New Theory For Jazz', 63
9 Russell, Lydian Chromatic Concept of Tonal Organization, Fourth Edition (2001), 1
31
This is what he calls the principle of tonal gravity. His theory is long and complex, involving 257
pages and approximately 50 years of research, but in a nutshell Russell believes that horizontal
harmony and vertical harmony are the same. This would explain why jazz musicians perceive
harmony the way they do, as seen in chapter 1. 'The notion of chord/scale unity as the logical
approach to the vertical manifestation of harmony was simply overlooked by classical Western
political and historical claims, amongst them church intervention.11 Basically he sees chords as
having a traditional wrong scale and a Lydian correct scale. Russell's theory is both fascinating
and controversial, but perhaps what is far more important in the realm of this thesis is Russell's
influence on nearly every jazz theory text or book published since. For example Levine redefines
the concept by calling certain intervals in the scale 'avoid notes' 12 thus justifying the substitution
of the Lydian instead of the Ionian, the Dorian instead of the Aeolian, etc. very much in the same
line as Russell.
But though Russell offered the jazz world a new sound and a new way of conceiving
music, he has been widely misinterpreted. First we have the issue of the 'recipe' approach. That is
to say a chord symbol equals a scale. For example the brief analysis he makes in page 55, these
are the first eight bars of what appears to be a tune called All The Things You Are13.
10 Ibid., 222
11 Ibid., 227
12 Levine, The Jazz Theory Book, 37-43
13 Russell, Lydian Chromatic Concept of Tonal Organization, 55
32
The progression is clearly a VI-II-V-I-IV in Ab and then a II-V-I to C, but Russell uses a
different approach. The first bar uses an Ab Lydian, as illustrated above, which would make the
F-7 (F minor 7th) the II in the key of Eb. Then the II-V uses the traditional scale, Ab, but from the
perspective of Db Lydian. The I resolves to Ab Lydian, technically the IV of Eb and the IV chord
uses the appropriate scale Db Lydian IV of Ab. The II-V to C uses the appropriate C major from
the perspective of F Lydian but finally resolves to C Lydian, IV of G. Though puzzling at first
glance this system does offer two clear advantages: 1. it provides the improviser with a scale in
which all notes are consonant, hence easier to avoid 'wrong' undesirable notes and 2. it offers an
interesting modern sonority to an otherwise old standard which has been played far too often. He
calls it 'the scale which most purely conveys the sound (harmonic genre) of the chord.14
The context of the Lydian Chromatic concept works fine as an alternative to the diatonic
line. But when every chord becomes isolated from its context and can be played with a certain
scale simply because it steers clear of 'avoid' notes or because it 'works', then we lose the whole
narrative and unity of the tonal context. When a chord progression is seen as isolated random
bits, what is there to provide a meaningful continuous line? Which in turn creates the problem of
analysis. When a chord is viewed in isolation and the only concern is what scale will fit over it,
then we are not truly understanding the meaning of the piece. The harmonic narrative is
fragmented into small pieces filled with patterns or scales that perhaps have a sense of unity
within the sounding chord but little or no sense of unity within the piece.
The second issue is how Russell's theory seems to have altered the way musicians
approach improvisation. As I will show in the analyses in chapter 7, jazz became far more scalar
and pattern orientated. This is indubitably a great accomplishment for Russell but it also has a
I think the old days were better in some ways, because people were forced to use
their ears and really listen. Jazz education has changed...Now people use books, a
visual medium -- people using their eyes instead of their ears...Now, it's almost
reversed, and I think we oftentimes have players who don't get lost and play the right
notes, but aren't saying much.15
I believe what Aebersold is trying to say here is that modern musicians, primarily students, have
the 'trigger' effect, which means: I see chord X and it triggers scale A or pattern B, etc. Many
great teachers still encourage the aural approach, for example Ernie Watts,16 but it is perhaps
perceived as too much of a risk. Why should I attempt to improvise by ear when I have this
The final issue is the attempt of reconciliation between Russell's proposal and traditional
harmony. Many of the books I will be covering in the following chapter fail to do this.
Traditional harmony is understood only in its most basic elements e.g. major/minor scales and
basic cadences and anything outside the scope of that falls into Russell's territory. For example
when a non diatonic chord appears in the middle of a progression the scale to use is the one with
the most appropriate tonal gravity relation. There is no real understanding of what the chord in
question is doing there or why it sounds good. It is not unusual to find even in jazz composition
books suggestions like 'Until your musical taste is satisfied'17 avoiding any kind of 'rules' of voice
leading. Perhaps here we may speculate that since many of the traditional theory of harmony and
voice-leading rules come from European vocal ability, jazz departed from that tradition early in
its development since its average melodic line would prove challenging even to trained voices,
15 Kelly Bucheger, 'Writings about jazz', Kelly Bucheger's pages, 1999, http://www-
cs.canisius.edu/~bucheger/AebersoldTeachesTheWorld.html, Reprinted with permission from Midwest Jazz Fall
1994 (Vol. 1, #3), an Arts Midwest publication.
16 Bruce Mishkit, Sax/Flute Lessons With The Greats (USA: Manhattan Music, Inc. 1994), 7
17 Ron Miller, Modal Jazz Composition & Harmony, Vol 1 (Germany: Advance Music, 1996), 45
18 Louis Armstrong, 'Heebie Jeebies', Jazz Legends (Columbia/Legacy, 1926)
34
In summary, in jazz:
D Most of the terminology is borrowed from classical traditional theory but sometimes has
D Russell contributed a scale syllabus that makes melodic lines fit in with chords
Available Methodology
As seen in the previous chapter, in Jazz music education harmony, is explained in terms of
relations between scales and chords. This is done so that the improviser can know what available
notes he/she has at his/her disposition when improvising over a given chord. Reviewing most
relevant texts on the subject, such as those recommended by Professor Charles Beale 19 or the
renowned Berklee Books20, we may observe a consistent method that describes the formation of
In this example taken from Paul Schmeling’s music theory book, he explains the
formation of triads by building ‘upwards in thirds from a fundamental note called a root’21
Fig 2.5 Schmeling’s triad formation from the major scale perspective
19 Charles Beale, The Jazz Education Book, Pathways To Jazz Education (UK: Jazz Services Limited, 2003), 55-
56
20 Paul Schmeling, Berklee Music Theory, book 2 (Boston, USA: Berklee Press, 2006).
21 Ibid.,1
35
He then proceeds to show the same example in D major and Eb major. But then in page 3, when
he explains minor triads or page 4 and 5 when describing augmented and diminished triads he
omits the scale from the example and prefers to relate the construction of this chord to the major
Later on, in page 19, he returns to his original scale model to explain major 7th chords.
But once again when explaining dominant seventh in page 20 he abandons the model and
relates the formation of this new chord to the major seventh instead.
36
Haerle on the other hand constructs his model from what he calls the ‘diatonic’ chords of
the scale:22
chords in relation to the major scale, he offers a perspective from the minor Dorian.
A slightly different approach is that of Mehegan who describes jazz and popular music
harmony as 'based on the diatonic or major scale', like the above.24 But later he applies a 'sixty
chords' system where he reduces the diatonic triads to just five types of chords per key and
avoids complicated keys such as C#, D#, G#, A#, Cb, and Fb.25
The diminished chord is also referred to as a chord that does not appear naturally in any
key.26 Mehegan’s approach does however include the use of Roman numerals and a ‘Figured
bass’ like notation to describe the tonal reference of a piece, but once again fails to explain the
appearance of non diatonic chords. Furthermore, he devotes only four pages to modulation and
two lines to explain it: 'A simple rule for identifying the presence of a new key is the appearance
Other very common approaches are those of scale syllabuses, similar to Russell's
approach. In this type of approach the author does not cover the origin or function of harmony at
all and instead limits him or herself to providing an arbitrary association between scales and
Or Jamey Aebersold:29
The student is then faced with the difficult task of analysing pieces of music by associating
the seven Greek modes and associating them to the major scale in what he calls ‘Major Scale
Harmony’, and then proceeds to relate the chords that can be built individually on each mode.30
Throughout the first part of the book he describes scales and relates the chords that can be built
29 Jamey Aebersold, The jazz handbook (USA: Jamey Aebersold jazz Inc., 1982), 5
30 Mark Levine, The Jazz Theory Book (USA: Sher Music Co., 1995), 16-18
31 Ibid. p.34 and 56
39
Fig 2.15 Levine's major scale harmony (fig 3-3 in the book)
40
Interesting to observe at this point is the lack of analysis of chord III as a minor 7 th
possibility in the major scale; this is the point where Levine’s theory begins to standardise chord
Even though the methods described thus far systematically explain the construction of chords in
a diatonic scale, they do not begin to explain anything about harmonic analysis. The relationship
between chords and scales is left purely to the recognition of the chord symbol, for example:
single key, and then to demonstrate he chooses the first four bars of a piece entitled I Didn’t
Here he claims that bar 1 and 3 are in E major and bar 2 and 4 are in D major. If this were so
how can we explain the note G in the melody? E major does not contain a G natural.
The example below shows the complete version of the piece as published in the Standards Real
Book recommended by Mark Levine in chapter 21.34 The song is clearly in G major with a small
Fig 2.18 I Didn’t Know What Time It Was as presented in the Standards Real Book.
43
By Levine theory the available notes in these two bars would be:
This would make the G# conflict with the G natural in the melody. Furthermore, our original
source above clearly indicates the B7 to have a b9 which would make the C# in Levine’s
analysis another conflict. These 4 bars could be analysed in D major as III-V/ II35– II – V, which
This analysis provides an alternative without any of the conflicts found in Levine’s theory whilst
Here he claims that the D half diminished belongs to F melodic minor, the G7 to Ab melodic
minor and C minor to C melodic minor. In this way he standardises all minor II-V-I cadences no
matter what type of music it might be, when in fact this progression is clearly only in one key,
the key of C minor. Later he also makes the claim that ‘there isn’t one’ scale to fit them all.37
35 As in dominant of the II
36 Levine, The Jazz Theory Book, 75
37 Ibid, 76
44
scale that he calls the diminished scale.38 He then proceeds to exemplify the use of this scale in
both dominant and diminished chords. The first example in which we can find inconsistency is in
The above is taken from bar 5 to 7 of a piece entitled Here’s That Rainy Day by Jimmy Van
Heusen. The chord motion is obviously diatonic and the flat 9th of the D7 is but a chromatic
passing note. If intending to sort out the appropriate scale for this progression by ear, we would
conclude that it is all in G major with an added Eb during the D7. Levine on the other hand
suggests the use of the diminished scale which adds strong inconsistent notes such as the Ab and
F. If we look at the original piece of music, same bars, we can see that the added notes would be
The song is clearly in G major and this cadence is a normal II-V-I. The added Eb will be
explained later, but suffice to say it does not disrupt the diatonic sound of the progression.
Later Levine describes the Whole-step/half-step approach to the diminished scale stating
‘You play this scale over diminished 7th chords’.40 He then proceeds to exemplify this with an
example taken from the bridge of a song entitled Sophisticated Lady by Duke Ellington and
By Levine’s description the available notes for improvisation or harmonisation over this chord
would be:
G#
Once again giving us two disruptive notes, A# and C#, which interrupt the natural flow of the
progression.
As seen above, the G major and the A minor 7th share the same common notes, but
Levine’s G# diminished introduces three 'foreign' notes. If the sound of the cadence is seemingly
diatonic and smooth, why do the scales used offer such drastic dissonance?
In summary: the model undeniably has its pedagogical value when explaining the basics,
but fails to explore the complexities of harmonic analysis. It is necessary for the apprentice, in
improvisation or arranging, to fully understand not only the connection and smoothness between
chord progressions, but also how the melodic line works within the given framework of
words, a system which respects the principles adopted by other educators of being accessible and
Nowadays we are fortunate to have many different systems of musical analysis. We have
analysis, etc. They all serve different purposes, have different flaws and virtues and in the end
they provide us with a deeper understanding of music. Cook says 'an analysis should not aim to
be a carbon-copy of the listener's experience: rather it should simplify, clarify and illuminate it.'42
Consequently, the decision of which method is to be used will depend on the desired outcome.
counterpoint? Or why it brings tears to my eyes? The overall use is always to understand and
42 Nicholas Cook, A Guide To Musical Analysis (London: J.M. Dent & Sons Ltd., 1992), 229
47
What was quite surprising to discover during my research of analytical systems and
which systems are preferred by practising musicians, is that actual players know little or nothing
at all about analysis.43 Some classical players have heard of Schenker and some vaguely
musicians met me with a genuine 'what do you mean?' And most jazz musicians stated 'not
having a clue', but in close inspection they all understood basic II-V-I progressions and used
possible that the actual performers know so little about it? The answer, I believe, is that analysis
is seen as a torturous, intellectual endeavour which presents little practical use to real life
circumstances. But in reality all practitioners have some kind of practical analysis system of their
own. Though it is true that most orchestral players are happy just to read what is written, they all
recognize if they are playing in major or minor keys, or if they are playing a scale or an
arpeggio. This is not necessarily true for pop/rock musicians, where many play by ear or by
'shapes' in the case of string instruments.44 But jazz musicians, perhaps more than any other
performer, need analysis to perform their craft, unless they happened to be blessed with
incredible ears and intuition like the legendary Chet Baker who was known for being 'largely
autodidactic, primarily intuitive, barely able to read music, harmonically illiterate, loathe to
practice, and limited in technique to the middle register of the horn.' 45 On the other hand I found
plenty of expertise amongst educators and academics but as Tagg puts it 'analysis of popular
music should in no way be considered a job reserved for experts’. 46 Unfortunately this does not
solve the issue that performers are not taking much of their analytical lessons into their
43 Of course here I am not referring to composers, arrangers or orchestrators, just instrumentalists and performers.
44 The term shapes is used mainly by guitar and bass-guitar players and it refers to the habit of deducing what to
play by finding the appropriate position in the instrument.
45 Morris B. Holbrook, 'The Ambi-Diegesis Of My Funny Valentine’, Pop Fiction: The Song In Cinema, edited by
Lannin, Steve & Caley, Matthew, (Bristol: Intellect Books, 2005), 52
46 Philip Tag, 'Analysing popular music: theory, method and practice', Popular Music, Vol. 2, (Cambridge
University Press, 1982), 37-67 (56)
48
professional world, possibly because most analytical systems go beyond practical. In addition
one must learn a whole new vocabulary and technical jargon just to be able to do it. Kenny puts
is nicely when saying that jazz musicians are exclusively practical and there is 'no similar
Larson attempted Schenkerian analysis of modern jazz repertoire but failed to include
what most jazz musicians would agree is the most fundamental characteristic of the jazz
narrative:48 its rhythm and phrasing. The classical approach to analysis serves us well to
understand relations of pitches, direction of voices, etc., which is useful if one intends to write a
book about the style or performer in question, but to the actual jazz player the systems involves
too much time spent just understanding the graphics. Besides, improvisation is a spontaneous
form of composition in which rhythm, interaction, alterations and the element of surprise do not
allow for such a global conceptualization. Kenny finds two major flaws in Schenkerian analysis:
'It implicates a set of idealised criteria (i.e. structural unity) for judging jazz improvisation' and
since Schenkerian analysis gives importance to harmonic direction and closure, much of jazz
Perhaps what is needed is a practical formal analysis that utilizes the same concepts and
terminology used in practice i.e. minimal use of graphs, jargon, and dissemination of the music.
Since practitioners learn most of their repertoire from lead-sheets and transcriptions, it is natural
to assume that the standard score format is the most comfortable. What information does the
3. The form/structure.
4. And finally rhythm. This includes tempo, stylistic expressions e.g. swing, and of course
47 Barry Kenny, 'Jazz Analysis as Cultural imperative (and other urban myths): a Critical Overview of Jazz
Analysis and its Relationship to Pedagogy', Research Studies in Music Education, Number 13, (1999), 56-77
(57)
48 Steve Larson, 'Schenkerian Analysis of Modern Jazz: Questions about Method', Music Theory Spectrum, Vol. 20,
No. 2, (1998), 220-36
49 Kenny, Jazz Analysis as Cultural imperative, 65
49
Looking at the above we can clearly reason that a normal score would do the job. Most of the
information needed can be added to the top or bottom of the staff. Here's a proposal:
The graph is self explanatory, nevertheless I would like to establish some of the ideas
proposed above. The first bracket on top of the staff indicates which scale (major, minor, melodic
minor, etc.) is being used, or can be used, over the current harmonic progression. Below this
bracket we may add, if they are not already provided in the score, the chord symbols which
delineate the harmonic events. Underneath the staff we may add the analysis of the melody, but
in reference to the chord over which it is sounding e.g. if the melody goes C, G, F, B over C
major chord, then we would analyse as R-5th-4th-7th, the R standing for root. Since the scale is
already provided on top it would be redundant to analyse it in reference to scale notes. What is
far more useful to the improviser/arranger is to understand the relation between melody and
chords, for example: the note D in a piece in the key of C major sounds very different if the
chord over which it is being played is a G7 or Cmaj7, the former being a common 5 th and the
latter a more interesting 9th. Below the melodic analysis we may place Roman numerals to
indicate harmonic movement. This is useful, particularly for jazz musicians, since it allows them
to understand the piece outside the context of the key, which in turn allows for the learning of the
50
piece in any key. A few important remarks here: upper case is used for primary chords and lower
case for secondary chords (more on this in the next chapter). When chords are not diatonic they
should be boxed, this is to indicate that this chord needs special attention.
As we can observe, the piece is in G major, but the chord C# diminished is not diatonic to this
key i.e. this chord cannot be formed from the notes of the G major scale. Finally, the Roman
numerals should always be referencing the tonic key or tonic centre as indicated by the main
(dotted) bracket below. The last line of analysis is dedicated to harmonic events (modulations,
tonicisations, etc.), which I will cover in depth in the next chapters. Suffice to say, this line of
In summary, this method provides two advantages: 1. it can be easily applied on a score
with a pencil in mid-rehearsal/practice and 2. it gives the performer instant understanding of the
inner workings of the piece. Therefore, whatever school one might be from, the material is there.
If one would choose to improvise using scales, the harmonic analysis above would provide the
appropriate framework. If one would choose to improvise from the melody, the intervalic
relation between the melody and chords is also there. But most important of all, the actual music
is fully a part of the analysis making it easy to follow and use in reference whilst
playing/listening. With some practice the written analysis becomes second nature as it directly
relates to sound.
Now that I have explained the analytical system that will be used from here onwards, I
will continue by introducing the tonal organization and harmonic concepts used when analysing
Chapter 3
Basic foundations of the octatonic model
Section A:
The fundamental scale
Philosophical background
Before introducing the octatonic model I would like to share the philosophical basis which
inspired the creation of this scale/system. I must remind the reader at this point that the intention
here is not to present scientific evidence of the origin of music or scales, but rather an
explanation based on practice and with pedagogical intentions. The theory is based on real
practical tempered systems,1 hence the letters designating pitches are approximations as
understood by practitioners e.g. an E is tuned differently if it's acting as a 5th or a 3rd but it is still
called an E.2 The different theories presented here are not accepted as absolute truths but rather
Theoretical backgrounds
By the late 19th century Ionian and Aeolian modes were already established as the main
source for musical composition in Europe,3 to the extent they were called natural major and
minor. The main and most influential work on this subject was carried out by Hugo Riemann, in
which he defined the use of harmony in terms of functions.4 His studies were based on the earlier
works of physicist and music theorist Arthur Von Oettingen and Hermann von Helmholtz.5
Among Riemann’s notorious works was his theory of dualism6 in which he stated that the minor
triad came from the exact inversion of the major. When constructed upwards (vertically) the
major triad contains the interval of a major third and a perfect fifth e.g. C-E-G; by inverting the
intervals from the root C the resulting triad is F-Ab-C, an F minor. Although this theory became
widely criticized and sometimes even ridiculed it survived the passage of time and was
constantly mentioned throughout academic circles as a curious anecdote.7 The importance of this
account is the fact that it shows for the first time in history the addition of a minor six (or major
3rd below) added to the major tonality, although it was not accepted at the time of its publication,
it might have slipped into the minds of musicians as a possible addition. Later works in the field
of acoustics have reinforced this theory in the concept of virtual pitch. The mind perceives
virtual tones below the fundamental as well as those found above in the natural harmonic
sequence or harmonic series.8 These sub-harmonics could be classified as the equivalent of the
ascending harmonic series; the first being the octave, the second a perfect fifth and the third a
compositional technique in French Spectral Music.10 So for example, taking the root C the
harmonics are C-G-E (omitting repetitions) and the subharmonics are C-F-Ab (similar to
Bob Fink11 hypothesizes that the origin of scales and chords is actually due to the
overtone series (harmonic series) as opposed to the traditional Pythagorean cycle of fifths. He
believes that since any note produced by a flute, bamboo, or wind whistle will produce a definite
5 Hermann von Helmholtz, On the Sensations of Tone as a Physiological Basis for the Theory of Music (Dover
Publications Inc.; 2 edition, 1954).
6 Alexander Rehding, Hugo Riemann and the birth of modern musical thought (Cambridge University Press,
2003), 15-35
7 Ibid.,16-7
8 Llorenç Balsach, 'Application of virtual pitch theory in music analysis', JNMR (Journal of New Music Research),
volume 26, No. 3 (1997), 244-65
9 Peter Hill, 'The Chinese Song-Cycles of Brian Dennis', Tempo, New Series, No. 137 (1981), 23-29 (25)
10 Francois Rose, 'Introduction to the Pitch Organization of French Spectral Music', Perspectives of New Music,
Vol. 34, No. 2 (1996), 6-39
11 Bob Fink, The Origin of Music, (Canada: Greenwich Publishing, 1985), 5-13
53
pitch group,12 these overtones might have been easily perceivable by our ancestors. In this
manner by generating a fundamental root note, for example C, we can produce C-C-G-C-E-G-
Bb of which he extracts the three most audible overtones, C-G-E.13 By grouping the 'three most
widely found intervals' (1st, 4th and 5th) he claims to be able to create both primitive pentatonics
C-D-E-F-G-A-B-C15
According to Fink, this contains all the notes found in early western forms of tonal
organization. Although the formation of pentatonics leaves much room for debate the system
does seem to account for major/minor scales and their relative modes, at least from a
pedagogical perspective.
The question I ask now is: if the basic major and minor scales can be easily formed from
the sum of the overtones of the three degrees I, IV and V, what would happen if we continue
with the second overtones of each family group (G, C and E) and third overtones? In this case E,
A and B.
Trio Fundamental IV V
Roots: C F G
First overtone family: C-G-E F-C-A G-D-B
Second overtone family: G-D-B C-G-E D-A-F#
Third overtone family: E-B-G# A-E-C# B-F#-D#
12 Bob Fink, 'Stages In The Evolution of Melody, Scales And Harmony', Crosscurrents, No 194 (2002), 25
13 Fink, The Origin of Music, 8
14 He probably gathered this from the first overtone and undertone. Though his reasoning is that C is the loudest
overtone of F and G is the loudest overtone of C. Hence the relation of these three notes referred to as the trio.
15 Though he does not explain how he constructs the pentatonic from this method, he does imply that E and B are
weaker than A due to the semitone proximity of louder overtones. Thus the pentatonic here would be C-D-F-G-A
(F major pentatonic).
54
As seen above, C produces the overtone family group C, G and E. The second overtone,
G, produces G, D and B. The third overtone E produces E, G# and B, the latter (B) already
contained in the overtones of G and the former (G#) creating a beautiful interval of a minor sixth
to the tonic or a major third to the octave. Combining these overtones we are left with an
organization that looks like this: C-D-E-F-G-G#-A-B16. It is interesting to consider what would
result from proceeding further in the same manner, adding the third family group of the overtone
(G) and undertone (F). Starting with IV, the first overtone of the third family group (A) produces
C# and E. The latter (E) is already included in the overtone of C and the former (C#) creates the
dreaded flattened 9th interval from the tonic C, avoided since Pythagorean times. 17 From the V
the first overtone D produces F#, a tritone away from the tonic, a tension difficult to tune and
considered to be an evil interval in earlier times.18 The F# also clashes with the IV by creating
another flattened 9th to this degree. The overtone A is already contained in the overtones of F
(IV) and is therefore ignored. B on the other hand generates D# and F# which present similar
problems. D# is a minor 3rd away from the tonic which would make the C major triad ambiguous
and also creates a flattened 9th to D acting as the 5th of G. Fink sees it differently, his proposition
is that these intervals are too far away to have any valuable effect. He claims weaker intervals
are cancelled out by the stronger ones.19 Since the family E-B-G# is produced by the overtones
of the fundamental, the weaker A-E-C# family, which is produced by the third overtone of the
undertone F, is cancelled by conflicting with an overtone with a higher degree of strength (see
16 Again we must consider that these overtones will not match perfectly, but their proximity is close enough to
allwo grouping e.g. pitch B is actually closer to tempered B than to octave C or Bb.
17 The eighth note found in the Pythagorean cycle of fifths
18 Robert Greenberg, Understanding the Fundamentals of Music, Lecture 10 (The Teaching Company, 2007), 8
19 Fink, The Origin of Music, 11-2
55
This diagram shows the level of strength of each overtone, C being the fundamental point
of construction and F and G the first undertone/overtone. The notes of the family group
produced by the fundamental C fall in the same degree of strength as the overtone and
undertone. Thus, the family produced by the overtone and undertone fall on a weaker degree
similar to the family group produced by the first overtone of the fundamental (G) which happen
to be the same notes G-D-B. The notes in bold indicate notes that are reinforced by repetition in
the spectrum. We can speculate then that the notes generated by the family groups of the second
and third overtones are too far in the spectrum for any harmonic application, with the exception
I would like to suggest an alternative way of viewing this construct based on the same
Hierarchy of Intervals
This theory is based on the hypothesis that the human ear gives more harmonic relevance to
some intervals above others mostly because of how audible they are in the series.21 The
relevance or importance of these intervals follow the same order as found in the overtone series,
C - C - G - C - E - G 22
The fifth is the strongest interval, it is also the most audible overtone and it has particular
significance in a harmonic context. The fourth is weaker than the fifth and will therefore lose
relevance when sounding together with a fifth. In a harmonic context it will always be subject to
the fifth. The same principles apply to the thirds: the major will always predominate over a
minor but both are weaker than the perfect intervals. The octave is generally disregarded since it
produces the same results. To avoid confusion, each level is referred to as a degree. Thus, the
first degree of the hierarchy is a perfect 5th, the second degree a perfect 4th, etc.
By examining Fink's tonal scheme we can justify the addition or dismissal of our second
By omitting repetitions we are left with: C, D, D#, E, F, F#, G, G#, A and B of which the naturals
from the first row of overtones are accepted since they are audible in their basic state. The added
tones G#, C#, F# and D# on the other hand are audible as extensions of the originals (overtones
of the overtones) and therefore need to be justified in terms of harmonic relevance. To begin we
must analyse these notes against the hierarchy of intervals and this we must also consider
intervalic inversions.23 G# above its tonic C creates an interval of a minor 6th, and below the
tonic it creates a major 3rd. This last interval is the third degree in the hierarchy of intervals,
therefore welcomed by the ear as harmonious and relevant. C# on the other hand creates an
22 The remaining overtones are omitted since there is much debate as to their relation to the tempered system.
23 One must consider that a note will exist melodically and harmonically above or below the root in a musical
context. Hence, we need to consider inversions and the intervals they generate.
57
interval of a flattened 9th which in its second inversion is a minor 2nd, unavailable in the
hierarchy and consequently conflicting (in this particular tonal construction). F# in either of its
inversions creates a tritone which is not found in the hierarchy unless considering the interval
found amid the 5th and 7th harmonic in the overtone series, which in any case is too disguised to
have any relevance.24 Finally the D#, which creates an interval of a minor 3rd (the fourth degree
in the hierarchy), could be accepted in terms of physics but it is discarded because of its
ambiguity in terms of the major tonality.25 Also worth remembering is that since D# belongs to a
family group of the third degree of the overtone V (G) it will lose its relevance against the E
which belongs to the first family of the fundamental. If we follow the pattern of intervals in the
hierarchy we could also justify the existence (conscious or unconscious) of this 'octatonic' scale
C-G-E
If the ear is capable of discerning a fifth as the first interval (omitting repetition) within the
hierarchy, then it is only natural to proceed with the overtones of this: G-D-B.
C-G-E G-D-B
24 After all the hierarchy considers the relationship of the each overtone to its root, not amongst themselves.
25 Though this is an interesting consideration that might pave the way for a new system of tonality.
58
The next discernible interval is the fourth, with the overtones F-C-A; with this we complete our
But now I suggest: if we have followed the hierarchy step by step why not move up to the next
possibility? The major third E creates G# and B which would be the next natural step to take:
In this thesis I stop my exploration here, since this organization seems to be enough to
explain most of the music I have analysed throughout the years. It would be interesting to
continue adding the overtones of the fourth degree to research the harmonic possibilities offered
by such a system, but that will have to wait for another research project.
The theories and models explained above inspired and contributed to the rationalization
of this octatonic scale. Now I intend to demonstrate how this scale may coherently provide
numerous harmonic possibilities that are perceived as being diatonic from both an aural and
theoretical perspective. From here onwards I will be referring to this basic organization as the
C – D – E – F – G – G# – A – B – C
(Ab)26
59
Harmonic construction
As is well documented, the history of polyphony in the West saw its early beginnings with the
use of 4ths and 5ths, in concordance with the hierarchy of intervals above. Later the addition of
thirds contributed to the beginnings of major/minor tonality.27 Two hundred years later Rameau
spoke in his theory ‘Basse fondamentale’ about the concept of three basic chords.28 A chord was
a grouping of at least three notes sounding simultaneously that could provide a solid harmonic
foundation for melodic tonal construction. These were formed by combinations of 5ths, 4ths and
3rds (the first four intervals in the hierarchy excluding the 8ve). 29 For example a C major chord
in its root position is formed by a major 3rd and a perfect 5th from the root (C-E-G); minor third
and perfect 4th in its first inversion (E-G-C), or perfect 4th and major 3rd in its second inversion
(G-C-E). This basic approach differs little from current practice, in which the basic chord still
follows this organization. In today’s music theory we call these chords ‘triads’ and they form the
basis of tonal harmony. Whilst it is true that the ear will identify a chord built exclusively from
5ths or 4ths as being strong and powerful, the 3rds offer a balance in the distance between tones,
Our first chord here is built by perfect 5ths from the tonic C. Although this chord is perceived as
the strongest possible polyphonic combination, it does not define the cultural inherited
26 As explained in Chapter 1 there will be occasions in which the enharmonic must be used for practical reasons.
Particularly considering that an octatonic system would require eight letters of the alphabet, hence a whole new
re-conceptualization of the tonal organization which would conflict with the practical nature of this proposal.
27 Waldo S. Pratt, The History Of Music (New York: G. SCHIRMER, 1907), 43-97
28 Thomas Christensen, 'Eighteenth-Century Science and the “Corps Sonore:” The Scientific Background to
Rameau's Principle of Harmony', Journal of Music Theory, Vol. 31, No. 1 (1987), 23-50
29 Deborah Hayes, 'Rameau's Nouvelle Méthode', Journal of the American Musicological Society, Vol. 27, No. 1
(1974), 61-74 (68)
60
characteristics of major/minor tonalities. The second chord is built exclusively by 4ths and has a
similar nature to the former, a lack of tonal definition. The third chord utilises a combination of
4ths and 5ths, this chord although popular in music is basically an inversion of the previous one,
thus vague in its tonal designation.30 The fourth and fifth chord are composed of a combination
of 4ths and 3rds, these present the problem of generating a minor and major 2 nd between the
second and third voices, intervals not found in the hierarchy and therefore conflicting. We can
then deduce that the sixth and seventh chord, containing intervals of 3rds and 5ths from the tonic
(or simply 3rds between voices), offer the best balance whilst defining tonal characteristics.
Taking this into account we can proceed to harmonize the fundamental scale.
The first faction of triads is formed by observing the best possible balance of the
hierarchy, combinations of perfect 5th and 3rds from the root or 3rds between voices. I will refer
It is interesting to observe the sixth and eighth chords, which produce an unusual combination of
intervals: an augmented 5th or a diminished 5th. Although these intervals are not found in the
hierarchy the distance between voices are those of major 3rds or minor 3rds. These chords are
Our second faction observes the alternative possibilities offered by the scale i.e. chords
30 Some may argue that a Csus4 does represent tonality, but its use in jazz proves otherwise. This chord can be
used in either major or minor tonality and its purpose is usually that of ambiguity.
31 Ab is used for notation purposes. As seen before the Q note can be either Ab or G#.
61
Fig 3.13 Primary and secondary triads formed from scale notes
In figure 3.13 the first chord is formed from a balanced combination of the hierarchy i.e. all
notes, including inversions and interrelations are available in the hierarchy (M3rd, m3rd, P4,
etc.). The rest of the chords in this figure are formed with other scale notes, and because these
chords violate the hierarchy they produce tension (Csus2, Csus4, Caug). These chords are often
used as passing chords between primaries or internal voice movements. I will refer to these as
secondary triads.
From the above is easy to notice how traditional notation conflicts with practice. Ab augmented
and G# diminished are essentially the same root (Q), but because of the seven note system it is
difficult to notate the primary and secondary using the same root. We must nevertheless consider
diminished as part of a C major progression. We may also notice that there is no secondary chord
for B, the reason will become more apparent when we begin adding upper-structures. Suffice to
say, any re-harmonization of this chord would result in an inversion of another already existing
chord from the scale. Below we may observe how this works. The example is in C major
beginning on the first primary chord and slowly moving away using secondary chords.
32 Once again, the G# is a more appropriate spelling for this secondary chord, since Ab would imply the need for
Cb and Ebb, both unavailable in this scale.
62
The example ends again on primary I (C major) after passing through nearly every
secondary chord. An octatonic analysis of the piece would look like this:
33 As a reminder: the chord symbols above are interpreted from the analysis of the voices and the sound they
produce in conjunction with each other. The Roman numerals below indicate the position of the chord in the
scale from which they were formed. Upper case indicate primary options (chords which respect the hierarchy)
and Lower case indicate secondary options (other alternatives formed within the scale). Rp indicates Root
position, inv stands for inversion.
63
As we may observe, for all intents and purposes this piece is in one key and one scale. All
chords found here belong to C major fundamental. As mentioned before we may also observe
three different chords (I, V and VI) becoming temporally a sus4 or sus2. What is most important
at this point is the realization that the same chord symbol may appear in different places of the
scale i.e. a diminished chord may be a primary VII, a secondary q or a secondary ii, in the same
manner that a sus2 could be a i, ii, v or vi. This begins to explain the error of assigning a chord
symbol to a specific scale. A chord symbol may represent different places/location within a key
Harmonic functions
Now that we know the harmonic possibilities offered by this system I shall continue with the
analysis of its functions. Theoretically speaking, chords sounding in the context of a key or tonal
centre acquire what we could call a personality. The ear interprets the harmony creating an
expectation of what will happen as a result anticipating the event towards resolution or tension.34
I believe functions can be reduced to four basic states which are: tension, transitional,
semi-resolved and fully-resolved. Depending on the degree of the scale from which the chord is
built, and trying to link this theory with that of Riemann,35 I will refer to resolved chords as tonic
dominants.37 Tonic chords could be defined as those that have an inactive personality. They
generate no tension or unease and they state the nature (major/minor) of the tonality. They also
provide a sense of closure. Supra-tonic chords have a sense of resolution, but not of closure
(more on this below). Sub-dominant chords offer the feeling of transition and movement. They
generate subtle tension but their direction could be towards resolution or more tension.
Dominant chords generate tension from the perspective of their degree in the scale as well as
their inner structure. They usually contain a tritone in either their basic form (triad) e.g. B
After careful experimentation and observation of the diatonic triads in the fundamental
scale, it is possible to classify all of them within four functions. For the purpose of analysis from
now on the chords will be referred to in relation to the degree in the scale from which they are
34 Bret J. Aarden, M.A., Dynamic melodic expectancy (USA: The Ohio State University, 2003).
35 Alexander Rehding, Hugo Reimann and the birth of modern musical thought (UK: Cambridge University Press,
2003), 15-35
36 My term (see below)
37 Arnold Schoenberg, Theory Of Harmony (USA: Faber and Faber ltd., 1986), 32-3
65
I II III IV V Q VI VII
i i i ii ii ii iii iii iv iv q vi vi
We could say that chords which possess a tonic function are those generated from the
primary I, VI and the secondary iii. Although it is debatable that the iii and VI are actual tonics
they do behave as such in a diatonic cadence, as we will see below, in the sense that they
generate neither tension nor the feeling of transition. This is possibly due to the fact that they
share two common notes with the tonic. For the sake of clarity I will refer to these two chords
(iii and VI) as supra-tonics, a point between sub-dominant and full Tonic resolution.38 Chord VI,
however, has dual-function. Under some circumstances it acts like a sub-dominant, though it is
The primary II and IV can be classified as sub-dominants since their nature is that of
transition, either towards resolution or further tension. The IV was the original sub-dominant in
classical theory, but during the early 20th century it was more widely replaced by the II,
especially in jazz.39 Other variations of this replacement include the secondary iv or iv minor.
The secondary ii is rarely used and should be considered an inversion of secondary q. A more
Dominants were originally considered to be chord V of a scale only, but the term has lost
38 Schoenberg in his theory of harmony (Harmonielehre) referred to these as mediant and submediant, which come
from Italian mediante, from late Latin medire, to be in the middle. Arnold Schoenberg, Theory Of Harmony,
32. In this case supra suggests tonic above the tonic, therefore not in its full state of resolution (between Tonic
and Subdominant).
39 Though these two chords have been interchangeable since at least the 17th century, chord II became far more
common in usage than the IV as a sub-dominant, particularly in a complete cadence.
66
much of its original intention in modern usage and what is now called a dominant mainly
indicates a major triad with a minor 7th from the root, this generating a tritone between the 3 rd
and the 7th. Because this intervalic combination sounds so strong to the ear (possibly due to its
absence in the hierarchy of intervals) all chords containing the tritone interval seem to the
untrained ear as the same or at least similar, consequently their function is perceived to be
equivalent in terms of being inclined towards resolution, particularly to the tonic. The chords
that possess this quality are primary V, VII and secondary q.40
Haerle describes the nature of each chord in much the same manner but without the
inclusion of Q and the effects it produces on the harmonies of the scale. He includes the seventh
of every chord as part of its normal construction, but I believe this does not affect the actual
function of the chord. He describes chord I as: 'Establishes the key center, doesn't need to
progress, but may go anywhere'. For chord iii (which he considers as III due to the absence of Q
in his method) he says: 'Substitute for I Maj7...' and again chord VI 'Substitute for I Maj7 and IV
Maj7...'.41 He continues in this manner describing each chord analogously to my analysis above,
yet groups the functions in a somewhat peculiar manner e.g. he speaks of the 'major family' of
chords as being always capable of assuming a tonic function, which seems inconsistent with his
previous analysis if we consider that chord IV would fall into the major family.42 Jaffe has a
slightly more formal approach and groups the chords in a similar way:43
40 Once again Schoenberg related this to the fact that the amount of common notes that these chords possess in
respect to the natural V and the positioning of the roots in respect to the root of the tonic, would account for its
inclusion in the modern repertoire. Schoenberg, Theory Of Harmony, 38-52. Also see ‘Concerning the
diminished seventh chord’, 192-201
41 Dan Haerle, The Jazz Language (USA: Studio 224, 1980), 13
42 Ibid., 14
43 Andy Jaffe, Jazz Harmony (Tübingen: Advance Music, 1996), 30
67
Evidently Jaffe's system does not include Q either. Nevertheless, with the functions now
Basic Cadences
Cadences, as traditionally understood, refer to the use of harmonic progressions not only for the
use of colour but as a defining statement of tonality.44 According to some theorists cadences are a
must for establishing the tonic of a key due to the vagueness of the triad. When justifying a key
melodically, using the scale, tonality becomes obvious due to the presence of the 7 th and 4th
degree, but harmonically a C major triad for example could easily be misinterpreted as
belonging to the key of F major or G major. Thus a chord containing the defining degrees 4th and
7th, for example B diminished, would provide the most appropriate anticipating chord to the tonic
(C). Jaffe considers these degrees of the scale (4th and 7th) as 'unstable' and consequently the
functions of chords are defined by the presence of one or both of these notes. 45 For example:
sub-dominants contain the 4th degree of the scale and are thus 'mildly unstable'. Dominants have
both degrees (4th and 7th) and are consequently 'most unstable'. Historically, the most widely used
cadence has been V to I. The justification of this is that the V provides a natural gravitational
tendency to its root I. Seen in terms of the hierarchy of intervals the root of V is the first
44 Edrward Aldwell, Carl Schachter, Harmony And Voice Leading ([no place of publication cited]:Hacourt Brace
Jovanovich Inc., 1978, Second Edition),83-6
45 Jaffe, Jazz Harmony, 30
68
to anticipate I, to gravitate towards its fundamental. This has been mentioned from Rameau 46 to
Schoenberg47 as the basic phenomenon of tonal harmony and it has been used throughout
centuries as the most efficient way to establish the tonality. However, since the notes that truly
establish the key are the 4th and 7th, any chord containing these notes would work. Thus chord
VII and secondary q also serve the purpose. These types of movements fall under what is known
as a dominant cadence.48
be an ambiguous movement since it deceives the ear to think V-I49. This problem is easily solved
by using the extensions of the chord (see below). Another solution is to use II as this is also a
cadences50
Finally the sum of the above creates what is known as the full cadence.51 This consists of
the movement sub-dominant/Dominant/Tonic. In its primitive form it would look like IV-V-I, but
variations include II-V-I or II-VII-I, the former being a more common progression in jazz.
In traditional theory the Aeolian mode is considered to be the ‘natural’ minor. This mode is
contained within the Ionian or C ‘natural’ major scale.52 Because it contains the exact same notes
it is referred to as a relative minor and it's built from the 6th degree of the major scale. The
fundamental scale offers the same possibility by changing the tonic to the 6th degree of the scale
(a major 6th up from the root or a minor 3rd down) thus changing the point of resolution. I will
46 Alan Gosman, 'Rameau and Zarlino: Polemics in the Traite de l'harmonie', Music Theory Spectrum, Vol. 22, No.
1 (2000), 44-59 (52)
47 Schoenberg, Theory Of Harmony, 130-1
48 Jim Grantham, The Jazz Master Cookbook: Jazz theory and improvisation (Oakland, CA: Nightbird Music
Publishing, 2000), 46
49 Schoenberg, Theory Of Harmony, 129-30
50 Grantham, The Jazz Master Cookbook, 47
51 Ibid., 47
52 Aldwell & Schachter, Harmony And Voice Leading, 18
69
The procedure for obtaining primary chords is the same as the major:
I II III IV V VI VII Q
And the secondary triads are the same as those found in the major tonal scale:
Here we see the first advantage of the octatonic model. The basic cadences and functions work
in the same fashion as those of the major fundamental scale but from its minor perspective, that
is, considering A minor as the tonic chord as opposed to C major. Thus a minor dominant
cadence (V-I) in A minor would be Emaj – Amin. A Plagal would be Dmin – Amin and a full
cadence would be either Bdim – Emaj – Amin54 or Dmin – Emaj – Amin. Since the intervals
contained within the V chord of the minor scale are the same as the V chord of the major
perspective, I shall use the term minor dominant for the V chord that resolves to the minor and
The extensions
A common practice in modern music and jazz is the addition of the 7 th over the basic
triad. This is mostly true for the V chord, since the addition of the 7 th creates a tritone to the third
This creates the best possible definition of a key centre since it includes, subtle
movement of the voices, natural gravitation of the roots 5th to 1st (hierarchy of intervals) and
It is possible to create 7th chords from the primary triads as well as the secondary. This offers a
wide range of options that can be frequently found in a wide variety of musical examples.
Any major triad with a minor 7th is referred to as a 7th chord or sometimes as dominant 7th and it
is notated without the major (maj) symbol.55 The major (maj) symbol is reserved to a major triad
with a major 7th which can be found on degree I and IV of the major and/or III and VI of the
minor. Also the VII degree changes its name to minor flat 5 because its diminished quality is lost
with the addition of the minor 7th. This chord is also referred to as a 'half-diminished' and is
sometimes written with a Ø symbol.56 The 7ths on minor primary chords are the same as the
major.
These extensions, also known as upper-structures, are not simply any note in the scale
above the 5th. Every single chord pocesses its own family of upper structures and it is this group
of notes that gives every chord its functional/modal characteristic. These new notes need to
respect similar principles to those of the formation of primary chords but only to the notes below
it, whereas primary chords need to consider any inversion. The upper-structure by its very
definition (upper) needs only to concern itself with the notes that precede it. In this manner we
may use the hierarchy to establish all the notes that qualify as the upper-structure of a given
55 Jim Aikin, Chords & Harmony: Music Theory for Real-World Musicians (San Francisco: Backbeat Books,
2004), 71
56 Lance Bosman, Harmony For Guitar (England: Musical New Services/Music Sales ltd., 1991), 85
72
The basic triad is C-E-G. Following the hierarchy of intervals we may add the following
Now we must consider the relation they have with the other notes in the chord.
D The note D is a perfect 5th from G, but it is also a minor 7th from E and a major 9th from C
Upper-structure D
Intervalic relation with 9th (2nd) m7th (2nd) 5th (57)
chord
Basic chord C E G
D The note C cannot be considered an upper-structure since it is simply the octave of the
root.
D B creates a major 3rd from G and a perfect 5th from E. However, it also creates a major 7th
from the root C which inverts to a minor 2nd, also not in the hierarchy.
D Finally the minor 3rd would have to be a Bb which is not in the scale and is therefore
unavailable.
Upper-structure B
Intervalic relation with M7th (m2nd) 4th (5th) M3rd
chord
(m6th)
Basic chord C E G
In retrospect the note B offers the best embellishment since it only conflicts with one note,
whereas D conflicts with two. Now we possess a tetrad which is extremely common in jazz, C-
E-G-B.
57 Fonts in bold represent compatibility, D is a perfect 5th from G and its inversion is a perfect 4th. Both exist in the
hierarchy.
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The next upper-structure is defined by the same principles but now takes into account
This one is relatively straightforward. The E is already contained in the tetrad hence D is the
The next upper-structure is again defined in these terms i.e. this time from D.
D The note A creates a perfect 5th from D, a minor 7th from B, a major 9th from G, a perfect
Upper-structure A
Intervalic relation with th th rd th
13 (6 , 3 ) 11 (4 ) th
9th (2nd) m7th (2nd) 5th (4th)
chord
Basic chord C E G B D
D The F creates a minor 3rd from D, a tritone from B, a minor 7 th from G, a minor 9th from E
Upper-structure F
Intervalic relation with 11th (4th) m9th (m2nd) 7th (2nd) a4th (d5th) m3rd
chord
Basic chord C E G B D
Hence the A is the most appropriate upper-structure i.e. it contains only two clashes as opposed
to F which has 3 . Now we can confidently say that the upper-structure of chord I is major 7th,
major 9th and major 13th. For a more detailed view of the upper-structures of every chord please
refer to appendix 2.
Section B:
Other important scales and concepts
Melodic minor
The origin of the Melodic minor scale or singer’s scale seems ambiguous though there have been
many treatises on the subject.58 The most accepted explanation is that choir performers found the
intervals of the natural minor difficult to tune59 particularly because of the missing leading tone
to the tonic-root60 and eventually with the arrival of polyphony the harmonies needed to be
adapted to fit the melody. By the 15th century the development of the Motet in three voices
brought about the existence of new chords,61 which while not belonging to the diatonic key still
appeared as smooth substitutions to the actual diatonic cadence. Interesting to observe is that this
practice still appears in contemporary music, particularly that composed by song writers with
58 Kathleen Schlesinger, 'The Origin of the Major and Minor Modes (Concluded)', The Musical Times, Vol. 58, No.
894 (1917), 352-355
59 Wes Ludemann, 'Modes and scales', Northern California Spelmanslag journal, Vol 14 Nº3 (2004), 5-9 (7-9)
60 Though this does not occur with the fundamental minor, where Q serves as the leading tone.
61 Peter A. Frazer, 'The Development of Musical Tuning Systems', Midicode, April 2001,
http://www.midicode.com/tunings/renaissance.shtml (6th of August 2009).
75
little or no formal training e.g. The Beatles, Sting, Elton John, Coldplay, Radiohead, etc.
The melodic minor scale is a seven note scale which looks similar to the Aeolian mode
but with the 6th and 7th raised. Unlike the classical melodic minor which ascends in one way and
descends in another, in jazz the melodic minor is the same up or down since it contains several
It contains at least five common chords with the tonal scale. The extensions are:
Because the V-I cadence of this scale and the fundamental minor scale, basic triad or with
62 In my years of researching I have never encountered secondary melodic minor chords, this does not imply that
they are not possible, but that they are rare.
63 The unusual spelling here is used so that it becomes clear that the notes in this chord belong to the A melodic
minor scale. For notation purposes it should be written out as Ab-C-E-Gb.
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Bdim E7 Amin
II V I
Bmin E7 Amin
II V I
progression can suddenly depart from its fundamental harmony into melodic minor harmony
whilst retaining the tonic centre. Because the tonic is not lost or altered, we cannot consider it a
modulation, but rather a variant or parallelism. I avoid using the word substitution here because
the resulting sound is not strong enough to warrant the term as I understand it i.e. a substitution
is a sound that stands out, something which is evidently different and unexpected. Below is an
64 John Lennon, Paul McCartney, 'Yesterday' (London: Northern Songs Ltd., 1965).
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Fig 3.36 First three bars of Yesterday, illustrating a melodic minor 'parallelism'
The piece is in F major. In the second bar it initiates a short modulation to the relative
minor by the use of a full cadence. On close inspection we may notice that 1.- chord II of the
cadence is a minor 7th instead of a half-diminished (the normal II of a minor) and 2.- the melody
clearly reveals the melodic minor variant. As previously stated, the movement to the relative
minor is not affected. The sense that we are in F major with a brief passage through the relative
minor is also not affected. The alteration of the chords in bar 2 are subtle enough to pass almost
The 'parallelism' of the melodic minor is perhaps the most common non-diatonic
alteration in the modern repertoire. Unlike other substitutions, the melodic minor can be found in
countless popular songs. It usually appears disguised by mimicking the 'common' diatonic
progressions. If we observe figure 3.41 we notice that every chord differs by only one note and
Melodic minor
II III IV V VI VII
Fundamental minor
I II III IV V VI VII Q
This is how it should be viewed in analysis. A minor key may, at any point, detour to its
parallel melodic minor. Knowing the difference between the diatonic chords of the fundamental
and the melodic minor will prove indispensable in recognizing when a movement is a
parallelism or another type of harmonic movement (more on this in the next chapter).
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Symmetric scales
Another set of scales which are found in use in jazz are the symmetric scales. These scales are
found more typically as special effects than as tonal centres. They produce very singular types of
chords and are therefore easily identified in harmonic analysis. These are commonly known as
The diminished scale, which was previously mentioned in Levine's example, produces two types
65 Jamey Aebersold, How to play jazz and improvise, (USA: Jamey Aebersold, Sixth edition, 1992), 51
66 Also known as the octatonic scale in some circles, but it should not be confused with in this thesis.
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Most chords here are spelled enharmonically, as they would be found in most charts e.g. the C
diminished is spelled with a Gb not an F#, but the D7 is spelled with an F#. We may notice the
symmetry in the harmony as well: one diminished chord, one 7th chord. The upper-structures of
these chords are quite rare in my experience but they can be found with at least one of its
extensions.
The C diminished is notated as maj9 which implies a major 7 th and a natural 9th. It also contains a
perfect 11th and a natural 13th. The D7 almost appears like an altered dominant, but contains the
perfect 5th and a natural 13th. Consequently, if one would want to imply 'diminished' harmony,
then it would be required that either chord be used with a combination of extensions which is
exclusive to this scale e.g. Cdim(maj9) or D7#9 with a natural 13th. Examples of this will be
explored in part two of this thesis. To differentiate the scale from C diminished which starts tone,
semitone, tone, etc., from the scale of D7 which goes semitone, tone, semitone, etc. I will refer
to the former as diminished and the latter as half/whole tone (H/W tone for short).
Again I have re-spelled enharmonically (in brackets) as it would be found in most charts. In this
scale we find that every note produces the same type of chord: a 7 th sharp 5. Its upper-structure
The combination of natural 9th, sharp 5th and sharp 11th is exclusive harmony i.e. chords built
from the whole-tone scale. Unlike the diminished harmony, here one would require all three
alterations (#5, 9, #11) since the absence of any of these could be reinterpreted as a chord from a
more traditional scale e.g. a C9#5 could easily be interpreted as a V of a melodic minor, a C9#11 a
IV G melodic minor, etc. Perhaps at this point it is important to remind the reader that chord
symbols are intended to indicate a voicing, not an analysis. Most musicians will write a sharp 5
when analytically speaking is a flattened 13th. In other words, the required voicing will be that of
C-E-G#-Bb, but in the context of the of F minor this a perfectly acceptable voicing for chord V.
Most of these notation problems are caused because of the jazz musician's use of enharmonic
spelling. Nevertheless, it has been stated repeatedly that chord symbols should not be interpreted
superficially and that it will always depend on the context not on the actual symbol.
The last important resource in tonal analysis is the chromatic scale. This organization
provides all the possible notes in the western tempered system and it is commonly used as a
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Because of its total lack of tonal centre this scale provides an interesting colour to the tonal
system without interfering with it. Many examples can be found, particularly in jazz, which use
……………………………………………………….….
Chromatic transition (1/2 step up from the diatonic movement)
The chromatic scale is covered by most theoretical treatises, but I include it here since I
think it is necessary to establish the rules for identifying chromatic movements. Harmonically it
is important to determine when a movement is chromatic and when it is key-relation detour. The
principles of identification will be covered in the next chapter (see chromatic harmony).
Melodically it is much easier, but still one must understand what qualifies as a chromatic
line. In most cases a chromatic line will begin and end on a chord note, most commonly the
triad.
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Here we see that although some of the notes in the line are diatonic (F and D) the notes are still
interpreted as chromatics, because the resolution of the melodic line is towards the chord notes
movements that do not necessarily move in a straight direction i.e. straight resolution.
These types of approaches could be described as an indirect approach to the chord tone, since the
chromatic line approaches from both sides. These approaches can be applied to any note of the
chord and they were common practice in the styles of Bebop or hard bop. I will explore more on
these passages when analysing music from that era. This practice is particularly important to
identify because it is often used as an anticipation of chords that have not yet sounded.
We notice here that the root of D minor 7th is being approached a beat early. It would be incorrect
to analyse this group of notes from the perspective of C major since the melody is heading, and
thus anticipating, the next chord. The procedure is to always observe where a melodic line
begins and where it ends (normally on a note of bigger value). This clarifies whether the analysis
should concern the chord over which the notes sound or whether the melody is anticipating a
coming event. In any case this should be clearly noted in the analysis with a word (ant.) or
The final observation I would like to make is the function of individual notes against a sounding
chord. The term active applies to notes that create tension against a given chord and inactive
those that rest within the harmony without intruding or creating dissonance.
In this example the notes in black are creating tension. The ear anticipates a resolution to
It must be understood that this principle is also dependent on orchestration i.e. we assume we
have one instrument playing the chord and another one playing the active note. If the same
instrument performs the active note, then we simply get a chord with extensions.
As stated before, inactive notes are those that belong to the sounding chord and thus do
not generate any tension. If a melodic instrument performs an active note and the harmonic
instrument adds the same note to its chord-voicing, then it ceases to be active.
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The note D against the C major chord acts as tension, but in the C major with an added 9th it acts
as part of the harmony and consequently sits well within the harmonic frame. This is mostly the
case in modern jazz, where the chords are extended to allow resolution to unusual notes.
Chromatic approaches or transitions also act as active notes since they create tension
within the given harmony. To understand the difference between diatonic active and chromatic
The melody occurring over C major uses exclusively diatonic active notes, whereas the melody
over D minor uses a chromatic approach. These approaches can be applied to any note of the
chord and they were common practice in the styles of Bebop or hard bop. I will explore more on
these passages when analysing music from that era. Hal Galper offers a slightly broader
definition than mine which considers that notes can be active or inactive not just in terms of
relationship to the chord but also rhythmically.67 Personally I feel a note's activeness is not
In summary, in this chapter I have attempted to cover all the basics of my theoretical
proposal. I have described the construction of an alternative tonal organization (the fundamental
scale) including the philosophies that inspired it. I have also given an explanation of other
important scales and principles, so that we have all the tools we need to understand the various
musical phenomena that we may encounter. In the next chapter I will expand on the theory in
Chapter 4
Theoretical principles of the octatonic system
Key relations
Since the octatonic system is intended for practical/pedagogical use, the analytical basis must
remain simple. So far everything I have described has been based around the hierarchy of
intervals, five scales, and their respective chords. Now I intend to show how these resources can
be utilized to analyse almost every type of tonal jazz piece by following some simple principles.
Harmony of course does not always abide in one key. Modulations can be easily achieved
and recognized by the use of cadences, particularly the perfect and complete. But it is not
unusual to encounter isolated chords that are not diatonic to the key of the progression. These
types of chords are often difficult to analyse using traditional methods (chord symbol = scale)
but there is a simple relation between the scale of the tonic key and the scale of the non-diatonic
chords and this has to do with the way keys relate to each other. So far I have used the hierarchy
of intervals as the founding principle from which to build scales and chords, but the hierarchy is
First we must establish that all tonal music contains a tonic key and on most occasions
tonic centres. The latter refers to any other main key that may occur during a piece which is
strong enough to create a new gravitational pull. On some rare occasions a piece may contain
multiple tonal centres and no tonic key (see for example Countdown by John Coltrane).
Every tonic key and tonic centre contains what could appropriately be called a family of
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'overtone' keys.1 These keys are related to each other, and to the tonic, in different levels of
strength, similar to the overtones. In other words, some keys are very strongly linked to the tonic,
In the past key relationships have been studied via the circle of 5ths (or in some countries
circle of 4ths). In my continuous research I have not found this system to be particularly useful
or accurate.
In this graphic we may observe that C is closely related to G and F, but on the same principle this
would suggest that D is closer to C than say A or E. In my experience (see part II) E has far more
relationship to C than either D or A, in fact D would appear as one of the most remote keys that
C could move to. The hierarchy of intervals provides a better model for the relationship
1 The term overtone here applies to an underlying presence of these keys that may be felt via passing chords or in
some cases in polytonal harmony. See modal interchange
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Similarly to the circle of 5ths G and F appear at either side of the tonic C, but this system implies
that E, Eb, Ab and A are closer in their relationship to C than those suggested by the cycle of
5ths. In part two of this thesis it will become apparent that this is actually the way harmony
seems to behave.
Naturally, not all key relations are equal. Some feel more remote or create more of an
impression than others. When C detours to G it is smooth and gentle, but when it detours to E or
Eb the impression is strong, almost like it has moved far away. For this reason I prefer to refer to
these relationships as degrees i.e. degrees of strength or proximity to the tonic. Ascending
degrees (intervals up from the tonic) seem to occur most commonly in practice, whereas
descending degrees are rare and should be considered exceptions to the rule. To avoid confusing
intervals with key relationships I will henceforth refer to the latter as first-degree, second-degree,
etc. In other words any key a 5th above the tonic will be referred to as the first degree, a 4th
above as the second degree, a major 3rd as the third degree and a minor 3rd above as the fourth
degree. For keys found descending from the tonic I will identify them as descending’ degrees
Now that the relationships have been established we must consider how these are
1. The nature of a key (major/minor) should always be analysed to its equivalent in the
degrees e.g. C major is related to G major, F major, etc. not to G minor, F minor.
2. When it is evident that a major key has moved to a minor key then the relationship is to
be found in its relative major e.g. C major moves to D minor, the analysis should say
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3. The opposite applies to minor keys e.g. C minor moves to Bb major, the analysis should
4. Analysis should respect the hierarchical order in which degrees are expressed. The chord
available in the closest key to the tonic supersedes all others e.g. when encountering a B7
in the key of C major, B7 can be found as III of G major or V of E major. G major is the
correct analysis since it is the first degree, whereas E major is the third degree.
Since in this system keys are only related to other equivalent keys (major to major, minor to
Symmetric scale harmony is quite simple: basically for the relationship to be obvious it
would first have to belong to the same tonic e.g. C major is related to C diminished harmony or
to C whole-tone harmony. But more important yet, it would clearly have to draw the symmetric
quality by the use of exclusive chords i.e. chords that can only belong to that particular scale, or
via a melodic sequence which emphasizes the scale notes. In any case, the use of symmetric
harmony is almost always used as an effect which falls more in the realm of Modal interchanges
Melodic minor harmony on the other hand is extremely common in jazz repertoire, and
its relationship to fundamental scale harmony is not that dissimilar from the relations observed at
the beginning of this chapter. However, due to its 'artificial' quality its relationship to the tonic
key is slightly displaced. As observed earlier in the previous chapter melodic harmony often
the hierarchy degrees should be placed after the parallelism relation. This is illustrated in figure
4.3 below.
We can observe that the first degree is the same key but melodic minor. The second
degree is the root of the relative minor but in melodic minor. The opposite is true of minor keys:
the second degree melodic minor would be the relative major e.g. the second degree melodic
minor of C minor would be Eb melodic minor. From the third degree onwards it follows the
same order as the hierarchy of intervals. Below are two graphics which include the relationship
between keys from major and minor perspective. Above the main key line are the melodic minor
This covers the basics of key relationships. Now I must proceed with details of harmonic
key has changed. But on occasions the scale changes whilst the key remains the same. In my
opinion there are three distinct harmonic events that can be found in tonal music which
dramatically change the way we analyse, perform and hear the music. These are: modulation,
Modulations are well understood by most musicians, these are departures from one key into
another. But there are different types of key changes. In particular what concerns me is the
difference between a key change that is brief, thus we do not lose the reference to the tonic key,
and one that is long enough for us to completely lose the reference of the original key. To make
this distinction obvious I separate the terms modulation and tonicisation. The latter, as the word
expresses, is a temporary departure into another key (new tonic-centre) where the progression
will soon return to the tonic key or at least its reference will not be lost. To exemplify this
difference let's observe the first half of a standard called All the things you are.2
2 Jerome Kern, 'All The Things You Are' (Santa Monica, CA, T.B. Harms Company, 1939).
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Fig 4.6 Examples of modulations and tonicisations in All the Things You Are
The piece is in Ab major beginning with a VI-II-V-I movement. After the resolution to
chord I it moves to chord IV which leads into a tonicisation of C major. At this point Kern could
have easily returned to Ab major without the need of a modulation or any type of cadence. In
other words, this brief departure from Ab is not strong or long enough for us to lose the reference
of Ab as the tonic key. However, in the next system (last one above) he plays the same chord
progression as he did at the beginning but now in Eb. At the end of the sequence, chord IV
(Abmaj7), we have completely lost the reference to Ab as tonic. This is particularly emphasized
by the use of the previous tonic chord now acting as chord IV. Kern would require an intricate
set of chords to return us to the key of Ab. Notice also how the tonicisation does not require a
key change bracket and instead the Roman numerals are boxed. This to emphasize that the
This example exemplifies quite clearly the difference between a modulation and a
tonicisation, but there is another difference worth noting. Tonicisations generally occur to related
keys (degrees), whereas modulations may go to any key, not necessarily the ones in the
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hierarchy. In the second part of this thesis we will notice that this distinction developed over the
passage of time. Initially modulations were in fact, or at least commonly, done to degrees in the
hierarchy, but in time they became quite random and unexpected. Tonicisations on the other hand
Two concerns that deserve to be mentioned here are firstly, the difference between a
modulation and a tonicisation are highly subjective; when does a tonicisation become a
modulation? Not everybody can retain the reference of the tonic key for the same amount of time
and as one clever student pointed out, they also depend on the tempo the piece is performed i.e.
tempo. Secondly, modulations require cadences to be achieved, and without them they are
perceived as tonicisations or transitions (see below). For a key change to be permanent or at least
to cause a shift of tonic reference, they must be prepared through traditional sub-
dominant/dominant movements. Otherwise the result is clumsy and the tonal shift is perceived as
vague and undefined. Tonicisations on the other hand do not require specific finality, any chord
progression in another key will suffice. In other words, any chord progression which is not
diatonic can be analysed as a tonicisation as long as another key is clearly being drawn. When a
non-diatonic chord is not long enough to cause an alteration of the key i.e. it is perceived as a
Transitions
Perhaps the most difficult harmonic phenomena to analyse are the chords that are not diatonic,
but are so short in their duration that appear diatonic to the untrained ear. I call these transition
chords and like the rest of the harmonic rules encountered thus far they can be analysed in terms
of their degrees of distance from the tonic as seen in figure 4.4 and 4.5. For example a chord
Though this would not be incorrect it does raise the question of what is the D7? We understand
by basic voice movement that it is the V of the V (secondary dominant), but where does it come
from and what scale can be played over it? There are at least four D7s and one D7alt that we
know of so far: one V of G major, another one V of G minor, another V of G melodic minor and
finally the IV of A melodic minor. We also have D7alt VII of Eb melodic minor. The rule of
transitions dictates that the first possible alternative in the hierarchy is the most likely choice, as
we will see in part two. The key a 5th up from C is G major (first degree) and the scale of this key
contains the mystery chord. This rule will become much more evident when analysing repertoire,
Melodic minor transitions also exist, but on a lesser level from the others. Let's take for
example the first eight bars of Strayhorn's famous piece Take The “A” Train.3
At a quick glance we are able to tell that this piece is in C major with a transition chord in
the third bar. Following the hierarchy of intervals we would be able to claim that the D7 belongs
to G major making it a first-degree transition chord, but if we look at the melody we notice a G#
that does not belong to the scale of G major. By observing the key-relation chart in the previous
section (fig 4.4) we may recognize that this is a second degree melodic minor transition. If the
G# were not present in the melody or the chord symbol then we would assume that it is G major,
because it is higher in the hierarchy of intervals. Let's observe some more examples. If one
3 Billy Strayhorn, 'Take The “A” Train', (USA: Tempo Music, 1968).
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clearly non-diatonic, but it resolves to the iii of C. We know of three scales where this chord
So it is clear that the best choice is G, whose relative minor happens to be E minor therefore
We know that Ab is contained in the key of C minor, but the chord in the example above is an
Ab7 not an Abmaj7. Hence we must look for it in another key using the hierarchy. We know
there are five 7th chords so far but it is much faster to look for them in the transition chart since
b) Second degree transition is F minor, there's an Ab but the chord formed from it is an
Abmaj7.
After exhausting these options we are left with the melodic minor transitions:
b) Second degree transition is Eb melodic minor, and voilà we find the Ab7 on the IV chord
of the scale!
The other options without this system would have been Ab7 VII of Bb minor, Ab7 V of Db
minor and V of Db melodic minor. All these options are a semitone or a tone away from our
Going back to Strayhorn's piece we may observe how by purposely avoiding the logical
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The D7, as seen before, could easily be interpreted as belonging to the key of G major, but
Strayhorn avoids this obvious approach and instead takes it to the second degree transition, IV of
A melodic minor.
Here are some more typical diatonic progressions containing first-degree transitions:
C – Dmin – Emin – Ebdim – Dmin – G7. The Eb diminished comes from the secondary q of G
major.
The last remaining question is: do diatonic secondary chords 'outrank' transition chords?
The answer would be yes, since a secondary chord will still have far more notes in common to
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the central key than the transition. For example: Cmaj7-Fmin(maj7)-Cmaj7-G7-Cmaj7. The F
minor has two possible interpretations: fourth degree melodic transition or simply secondary iv,
the latter being the appropriate option. However, there are occasions in which transition chords
do supersede diatonic secondary chords. For this to be the case the chord in question must be
referencing a diatonic chord, this is particularly common in minor keys, for example: Cmin7-
progression in C minor which is the followed by a II-V to chord IV (underlined). In the key of C
minor we may have a secondary v which would be a Gmin7, but this analysis would be
erroneous since there is clearly a cadence here which is referencing a diatonic chord, in this case
the IV. Thus, the Gmin7 is part of a II-V (second-degree transition) to IV. Let's observe two
contrasting examples:
1. Cmaj7-Dmin7-GØ-C7-Fmaj7-G7-Cmaj
2. Cmaj7-Dmin7-GØ-C7-Fmin-G7-Cmaj
The difference is subtle and it is often bypassed by students. In example 1 the GØ is referencing
primary IV, so when analysing it one would go to the first option in the hierarchy which is
secondary ii of the second degree. This would be correct since the chord of resolution is Fmaj7,
thus the closest relation is the second degree. In example 2 we have a different situation. Here
the GØ is referencing the secondary iv, a minor chord. Then the most appropriate analysis would
be that of primary VII of the descending third degree, Ab major whose relative minor is F minor.
In other words, when transition chords are referencing diatonic chords one must consider the
nature of the chord being referenced. The scale must coincide in its nature major/minor to the
Chords I and VI have been omitted from the diagram since they can only be referenced
by diatonic chords. Diminished chords would be referenced in the same manner as minors and
augmented chords would be referenced as majors. It is interesting to note that nearly all degrees
are present here except the fourth degree, which serves to corroborate the hierarchy of intervals
as an effective way to sort out key relationships. The fourth degree is also able to reference
diatonic chords, but its effect is slightly different from the rest and thus belongs to a category of
its own.
One of the most renowned devices used by jazz musicians is substitution. What this term means
is that in certain settings an improviser or arranger might play a different chord or scale in place
of another one. The result is an unexpected sound that leaps out from the rest of the music. There
are many different levels of alteration and concepts for substitutions, from simply altering one or
two notes to completely re-harmonizing a section or a whole piece. But perhaps the most
common form of substitution is the modal interchange, since it can be found as early as swing
Modal interchange, as the name insinuates, is the practice of changing the mode of a
given chord for another mode of a similar chord. For example, in fundamental harmony we
know only two major 7th chords exist: chord I and chord IV. If one would decide to play the scale
of chord IV over a chord I, for example the scale of G major over a C major (chord I) then one
relationships which he called the correct scale to use.4 Further on, Levine spoke of 'avoid' notes
in the major scale and proposed similar alternatives to Russell.5 Basically what they were
proposing is the use of modal interchange as a constant instead of an alternative. I believe that
the sound created by using these substitutions is quite strong and thus should be taught and used
as such. When correctly analysing a piece using the octatonic system, one should be able to
skilfully create melodic lines that flow smoothly through the chord progressions, without any one
note leaping out. But if one would wish to do so then it is by breaking the rules that one achieves
this. In other words, a musician should be equally capable of improvising through a chord
progression traditionally, as in simply drawing the harmony, as well as modern and create
unusual sounds with the old material. Modal interchanges are, I believe, the first step to achieve
the latter.
If we play the melodic line in figure 4.11 we may notice how even the chromatic
approaches sound smoothly over the chords. The line continues effortlessly until the last bar
when the last note really stands out. This effect is precisely caused by the fact that the note F# is
foreign to the key and not the 'correct' scale for this chord. Below is another example of how a
4 George A. Russell, Lydian Chromatic Concept of Tonal Organization (Massachusetts: Concept Publishing
Company, 1953), 1
5 Mark Levine, The Jazz Theory Book (USA: Sher Music Co., 1995), 37-43
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The modal interchange takes place on bar 5 and 6. We may notice that in this example the
foreign note is not held as in the previous example, nevertheless it stands out from the rest of the
melodic line. It is this type of practice that has defined the sound of modern jazz and musicians
often stress these notes in order to emphasize the fact that they are not playing the 'obvious' ones.
So now let's look at how this works. Modal interchanges can be analysed in a similar
manner as transitions. Interchanges which generate the least tension are the ones whose scale is
in closer relation to the key of the chord being altered. However, since interchanges are limited
by the nature of the chord, the substitution possibilities are restricted. For example, as stated
above, major 7th chords are scarce in comparison to other chords. This basically means that their
substitution is limited to either changing chord I for the mode of IV or vice-versa. Minor chords
on the other hand are far more common in the tonal organization, hence they offer many more
possibilities of interchange. But let's take a moment to observe the octatonic analysis of a modal
The tonic key or tonic centre is C minor, indicated by the main bracket below the first bar. In bar
5 and 6, where our modal interchange takes place, the scale indication changes above
accompanied by an explanation of the event below. We may notice that the key does not change.
So what is occurring here? The function of the chord is not being altered i.e. the resolution to the
tonic chord is still strong. But the scale being used is not the 'natural' one, or the expected one.
As the bracket indicates, it is the scale of the first degree that is being used over chord I. This
works because in G minor we also have a Cmin (chord IV), hence the modes are
interchangeable. Below is a table which shows all the possible interchanges available in the
different degrees.
this chart intends to show is the basic principle of interchangeability of chords and scales.
However, like most musical principles the possibilities don't stop there. The chart above takes
into consideration not only the nature of the chord itself but also its extensions up to the 7th. But
modal interchange can also be applied to just triads, in which case the possibilities expand.
Perhaps the oldest modal interchange found in jazz is the substitution of chord I major for
the chord V of the second degree i.e. a major chord for a 7th chord. This is the basic sound of the
blues interpreted harmonically by the octatonic system. I will go into more detail in chapter 5,
but for the time being consider that a chord may still act as a I (tonic) whilst being modally
Another very common and old interchange is that which does not consider even the
nature of the chord, but instead just the root and key-centre relation. This is seen when we use
the fourth degree in major or the descending fourth degree in minor. In either case the related
degree contains the relative major/minor of the key in question. This resource is often referred to
as a minorisation, which similarly to the melodic minor parallelism, is often used as a detour
from the expected resolution. Below is the middle section or bridge of the previously visited
piece All The Things You Are, which illustrates the use of a majorisation.
We can observe in the last few bars above how the movement anticipates a modulation or
103
tonicisation to the relative minor, but instead lands on a major chord. The analysis here refers to
a majorisation instead of a modal interchange. This does not mean the latter would be incorrect,
but many modal interchanges already have widely used names e.g. tritone substitution, so I find
it more appropriate or less confusing to use the vernacular. But one should still be aware that this
is a fourth-degree interchange.
Other less obvious minorisations include the interchange of the V chord in major for its
This approach is extremely common in bebop, though it can be traced back to late swing and it is
still widely used today. I believe it is this particular modal interchange that led the way for the
Tritone substitution
This term applies to either a harmony device used for composition or as an improvisational tool.
Unfortunately they are never explained together. In composition the tritone substitution is seen as
a way to alter the old fashion V – I movement. For example, G7 to C major can be substituted by
Db7 to C major. In improvisation, it’s almost always explained as a polytonal concept. The
substitution can be played over the original chord and vice versa e.g. over the G7 one can always
play a Db7.
Haerle explains: ‘Two dominant 7th chords whose roots are a tri-tone (3 whole steps) apart
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substitute for each other’.6 He then proceeds to demonstrate how by following this recipe a new,
more interesting effect can be accomplished. Earlier he states that ‘chords that function similarly
may substitute for each other.’7 Hence a 7th chord acting as a dominant may be substituted with
another acting dominant. Another reason, according to Haerle, that a 7th chord can be changed for
one a tritone away includes what he calls the ‘colour tones’. These are always the 3 rd and 7th e.g.
on a C7 the colour tones would be E and Bb. The chord a tritone away from C7 contains the
same colour tones but in a different order: F#7 in which E is the 7th and A# (enharmonic Bb) is
the third.8
This would seem to satisfy Haerle for the justification of this substitution, but what is puzzling is
the fact that although he’s also from the scale-chord school he doesn’t seem to offer any scale
option for the new chord. Furthermore, the analysis of the chord is limited by the observation
that the 'tri-tone' is redefined as a bII, as was the use of the German 6th chord in traditional
harmony.9 But this chord, as defined by Drabkin in equal temperament resolves to I 6/4 or V not
the I chord.10
A similar approach is that of Wyatt and Schroeder, but they expand to include secondary
dominants and the analysis remains consistent. Db - Cmaj is analysed as bII7 – I and the
movement to chord IV e.g. Gb7 – Fmaj as bII7/IV ‘analysed according to the relationship to the
Other more simplistic approaches include Aikin where the technique is summarized as
‘In jazz, it’s usually possible to replace a dominant 7th chord with another dominant 7th whose
root is a tritone from the original root’12 - no scales, no analysis just a recipe. Further on in the
book he does however propose voicing possibilities for this chord which would perhaps offer
some more clues as to what notes besides the chord tones can be played. Yet this description is
Willmott’s approach is far more complete but rather confusing. In the tritone substitution
chapter he states that the two alternating chords ‘mirror’ themselves.13 The tritone substitution,
which he refers to as 'sub V', contains the same tensions but with a different name.
Going slightly further than the authors discussed above he states: ‘Every dominant type chord,
with the exception of those containing a suspended fourth, can be substituted by another
dominant chord a tritone away’.14 So far we’ve only seen the substitution of the normal 7 th chord
e.g. G7 = G – B – D – F. But Willmott would seem to suggest that any dominant would allow
12 Jim Aikin, A player’s guide to chords and harmony (USA: Backbeat Books, 2004), 81-2
13 Bret Willmott, Mel Bay’s complete book of harmony, theory and voicing (USA: Mel Bay Publications, 1994), 27-
8
14 Ibid., 27
106
This example would be a common progression in western music. The Bb standing for a
substitution of the traditional V, in this case E7. If the original progression was in fact a minor
dominant, it would imply an E7 with a b9, #9, b13. He does suggest, however, that perhaps the
nature of the substitution has to coincide with the original chord15 e.g. E7#5 can only be
substituted by a Bb7 with a natural 9. Willmott’s further contribution to the theory involves the
scales to be used over the different types of chords.16 Unfortunately, like many others, he does
not provide an actual explanation of the relation between the scales or why they work in a tonal
context.
Two more practical approaches are those by Taylor or Harris. Taylor suggests that the
tritone substitutions are interchangeable.17 He also suggests that the chord can be drawn
This explanation is both limited and erroneous. Since the melodic instruments may be
considering the G7 as the natural V dominant of C, they will include upper-structures such as A
and E which would conflict with the notes belonging to Db7. It’s also important to note that
Taylor adds an Eb in his example when playing the Db. This rather arbitrary decision is not
followed up by any explanations, nor is the chord symbol respelled as Db9. In other words, if the
9th (Eb) is being added, should we assume that the scale for this chord is the V of Gb? Or perhaps
the IV of Bb melodic minor? Which one would have more of a relationship with the key of C
major?
the world of scales starting from the chromatic (God) then the whole tone, (Man & Woman).18
And then the ’children’ of the whole tones: the diminished scale.19 The whole tone scales provide
dominant 7ths either #5 or b5 which are a tritone apart. The diminished scale on the other hand
18 Alan Kingstone, The Barry Harris Harmonic Method For Guitar, Canada, Jazzworkshop Productions, 2006, 17
19 AKA the Stravinsky octatonic or the whole tone-semi tone.
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Harris teaches all his students to connect these scales to their possible resolutions, that’s all
twelve keys, four resolutions per-chord; major, minor and the tritone substitution. So he at least
teaches the dominant function in several permutations whilst giving a very practical approach to
it. But Harris is from the Be-bop school where substitutions are common place. Furthermore,
substitutions are always resolved and only sound for a limited duration of the original chord. If
we look at Harris' proposal below we can clearly see that this line is very much in the be-bop
So once again we are faced with a set of scales that although offer a connection between the
tritone chords they do not offer an explanation as to the relation between the substitution and the
It is my belief that the tritone substitution comes from another earlier type of substitution:
the minor dominant modal interchange. As mentioned in the previous section, in late swing and
early be-bop it became common practice to substitute the major dominant for its equivalent
minor.
This can be seen in composition as well as in improvisation, see for example Night and Day21 or
20 Howard Rees, The Barry Harris Workshop Video part 2 (Canada, Jazzworkshop Productions, 2005), 7
21 Chapter 6, sub-chapter Non-jazz composers
109
Lester Young's solo on Lady Be Good.22 The basic principle is that the minor dominant chord
and scale sound only slightly different from the altered dominant, the VII chord of melodic
I believe that the similarity of the alterations offered by the minor dominant and the
altered led to the inclusion of the altered chord as a common modal interchange. This could be
analysed as a modal interchange to the descending fifth degree melodic minor (altered for short).
Let’s take a moment to analyse the construction of G#7alt from the A melodic minor.
We must remember the rules of chord construction according to the hierarchy of intervals:
whenever a major 3rd is present it will always supersede a minor third (see chapter 3). This is a
particularly difficult chord to explain since most students will often form a half-diminished first,
but if one takes into consideration that there is a major 3rd from the root as well as a minor 3rd,
then by hierarchy we must consider the primary chord to be major. By continuing up the
structure we find that every extension, plus the 5th, are altered; hence the name. This peculiar
chord also happens to be a tritone away from another 7th chord whose 'colour-tones' are the same.
I II III IV V VI VII
These two chords contain a shared tritone: F# and C
Hence G#7alt could be written as D7/G#. We can therefore say that G#7 and D7 are by their
very nature interchangeable.
If we return to the concept of parallelism in the melodic minor, we find two ways of
visualizing the tritone substitution. First we must consider that neither of these chords have a
natural resolution point within the scale:
G?...................………………………………… D7
C#?...............…………....…………………….. G#7
Since the melodic minor scale and minor fundamental scale function as parallels, a resolution
Melodic minor D7
Fundamental minor G7
This type of harmonic movement acts as a secondary dominant. As we can see from the example
above the movement of the root is that of a V – I but the nature of the chord it resolves to is also
a dominant, analytically speaking it would be V/V (dominant of the dominant). The name
associated to this chord is Lydian dominant. Since the D7 has proven to be interchangeable with
chord VII, then we could presume that this movement is also a possibility.
But there is a problem with this logic. Since the tritone substitution comes from modally
interchanging the normal V for an altered, then the tritone substitution should be the Lydian
The difference of course is the relationship with the tonic key. If a secondary dominant is
substituted the reference is towards the key not the chord. In the previous example we had a D7
or a G#alt moving to a G7 VII of A minor. In that case G#alt VII of A melodic minor is the
closest relationship (first degree). In the example above (fig. 4.32) the key reference is C major,
a Db7alt would belong to D melodic minor, no relationship with C. Whereas a Db7 Lydian
In closing, most tritone substitutions I've encountered resolve to the tonic I. In these cases
one should assume the tritone substitution to be a modal interchange or an alteration of the V
which is then interchanged to its Lydian dominant counterpart. Whenever a tritone substitution is
present as a secondary dominant they should be treated as transition chords and analysed as such
Symmetric scale harmony is commonly found as a form of modal interchange. There are
exceptions like Ralph Lalama's Da-lama's Da-lemma where the whole bridge section is
113
We may notice that the actual key does not change, only the scale. In most cases, symmetric
harmony utilises modal interchanges from the tonic-centre, in this case C. Both the melody and
the chord are exclusive to the C whole-tone scale, which Lalama cleverly moves between
common roots of the C minor key i.e. Ab and Bb. The Gb provides the final confirmation of the
'symmetric' quality. Lalama returns to the natural dominant (G7#9) in the last bar to return to the
Symmetric harmony, however, is not generally found in such explicit settings. Normally
we find it as a special effect, where again it utilises the tonic as a point of reference. Below are
two examples of melodic symmetry which omit the chord changes, but reference the tonic-key.
23 Ralph Lalama, 'Da-lama's Da-lemma', Momentum (Criss Cross Jazz, 1992), my transcription.
114
Fig 4.34 Charlie Parker's use of symmetric scale-chord on his improvisation over Laird Baird24
The chords are not boxed since the harmony itself is not being altered, but instead it is Parker
who plays the scale over the normal chords. The scale is clearly C diminished, as indicated by
the bracket above, which references the tonic key (C major). Here is another example:
Fig 4.35 Joe Henderson's use of diminished on his improvisation over Home Stretch25
This is a C major blues and the example begins on bar 7 of the ninth chorus. We notice that
chord I and IV are boxed since it was explained earlier that blues utilise the modal interchange to
the second degree. However, Henderson ignores the chords being played by the rhythm section
and draws a diminished scale for three bars. Again this is justified since the modal interchange is
All of these examples above are exceptions. The symmetric chord/scale is evident and it
is used in its entirety. More often we find symmetric harmony disguised as a modal interchange
The above example is the last four bars of the bridge. The previous bars (not in the example) are
in D minor, hence the analysis: modulation to relative major/tonic key. The second chord appears
to be a common V/II, but on close inspection we find that this chord is exclusive to diminished
harmony, specifically half/whole tone combination. The same occurs on the last chord of the bar,
what appears as common V is again a half/whole tone type chord. Both chords reference the root
of the original/expected chord i.e. the modal interchange in this case is done to the quality of the
chord itself, not the tonic key, similar to the first examples of modal interchange we saw at the
referencing the tonic-key, in which case it is evident and it is simple to analyse and 2. as a modal
interchange, in which case one must treat it like a transition chord and the reference is towards
the nature of the chord substituted e.g. D7 interchanged for a D7 H/W tone or Cdim interchanged
Chromatic harmony
Chromatic harmony is perhaps the easiest to explain. The rules are simple:
1. The distance from any diatonic chord must be a semitone, below or above.
2. The chromatic chord must be of the same quality as the neighbouring diatonic chord.
26 Antonio Carlos Jobim, 'Garota De Ipanema/Girl From Ipanema' (London: MCA Music Ltd., 1963).
116
chord. In this case the movements must be exact parallels of the chords before or after
and respect the above rules e.g. Fmin7-Bb7 to Emin7-A7 or vice versa.
There are many occasions on which transition chords may be confused for a chromatic one, for
The above is quite common in bar 9 of minor blues. In this case the Ab is a tritone substitution of
V/V not a chromatic chord. These are often mistaken for chromatic chords because of the
symmetric semitone movement, which does not occur on tritone substitutions to chords of other
natures (minors, diminished, etc.). However, the simplest solution to this analytical problem is
that if the chord is chromatic, then the melody should also insinuate it. In other words, when a
non-diatonic chord appears in a progression, which is moving chromatically, the analyst must try
by all means to justify it as a transition, unless it is clearly delineated by the melody. Let’s look
27 Thelonius Monk, 'Well You Needn't' (USA: Regent Music Corp. 1971).
117
Here we can see a clear example of chromatic harmony. Firstly, we could not justify the Ab as a
tritone substitution since it does not resolve. Secondly, the melody is contributing to the analysis
by shifting the motif chromatically as well. Hence there is no doubt that this is chromatic
harmony. Other examples of chromatic harmony can be found in the second part of this thesis
playing 'outside'. This term refers to when an improviser creates a melodic line which is
purposefully non-diatonic. The simplest way to spontaneously create an idea completely out of
the key is by playing a semitone above or below the given harmony. This can be done
melodically as well as harmonically. Dave Liebman, in his ground breaking book, proposes
improvisation.28 These can be from simple chromatic approach from a chord a semitone above or
below (see fig. 4.38), to complex progressions which move chromatically away from the
In both examples the chords above the staff are the ones which would be the original chords of a
piece. The chords below the staff are those suggested by Liebman as possible chromatic
below the expected one. Figure 4.39 however, is much more complex. Here Liebman is
harmony. The melody begins diatonically, then appears to move to its tritone substitution. In bar
2 it begins with a minorisation followed by a II-V a major third above the tonic. This moves to
the next bar where Liebman draws a semitone above the tonic chord, but the nature of this chord
is dominant 7th, hence implying a resolution to a tritone away from the tonic. The reader might
not consider this to be exactly chromatic harmony, which is true in the strict term of the word.
However, we will see in practice (part 2 of the thesis) that these ideas often do resolve
chromatically. When they don't, I take the liberty of re-conceptualizing them into something that
hierarchy of intervals in conjunction with the fundamental scale, provides a basis for the
understanding of basic tonal harmony. In addition, melodic minor, symmetric and chromatic
29 Coltrane harmony refers to in the jazz vernacular as harmonic movements by minor thirds. But it is my opinion
that this term is utilised too freely and in most occasions the harmonic events have little to do with Coltrane's
original work. See Chapter 8, sub-chapter Bebop
119
scales account for the appearance of exceptions, which become more common as we progress
along the time-line. Finally, other special resources such as modal interchanges, substitutions and
chromatic detours attempt to explain certain idiosyncrasies of jazz harmony and why traditional
functions still seem to operate underneath a sound that becomes more polytonal and chromatic as
So now, to end part one, I would like to take a moment to put this theory to test and see
Going back to the analyses seen in chapter 2 I will attempt to compare some previously seen
Levine explained that the analysis of chords is done through recognition of symbols.30
For this he chose the first four bars of I Didn’t Know What Time It Was.31
Without having to look at the original score we are immediately able to spot problems with his
analysis. He considers minor 7th chords as II chords, whatever the scenario. This would mean
that despite the context, the scale to use would be a Dorian. Dominant 7 th chords on the other
hand can be interpreted as V of major, altered-chord or a chord derived from the diminished
30 Levine, Mark, The Jazz Theory Book, (USA: Sher Music Co., 1995), 20
31 Rodgers, Richard, 'I Didn’t Know What Time It Was', (Chappell & Co., Inc. 1939)
120
(whole-tone/semi-tone). If the 7th chord is preceded by a minor 7th and does not contain any
alterations in the symbols (such as b9 or altered) then we can assume that it is the V of a major
scale. This rationale accounts for his conclusion that the progression above is a sequence of II-Vs
Now using the octatonic model the methodology would be different. The first step is to try to
establish a key centre. By observing the melody and the chords we can speculate that the
progression is in D major, since the majority of chords belong to this key, and apart from the D#
Procedure:
Consequently B7 is the only chord that would need justification. Using the transition chart we
begin by looking for the chord in the first degree, this would be A major. In this key we find
Bmin7. The second degree is G major and here we find the B7.
Fig 4.42 Octatonic analysis of the first four bars of I Didn’t Know What Time It Was
The analysis of B7 as V/II (V dominant of II) is more appropriate since it explains the harmonic
movement.32 The scale is indicated above therefore needs no reinforcement. Looking at the
Fig 4.43 I Didn’t Know What Time It Was analysed using Levine's method
32 The analysis V/II should only be used when there's a clear dominant – tonic movement or V-I. Under other
circumstances the analysis should point to the position of the chord within the tonal centre. e.g. if the B7 did not
resolve to E minor then the analysis should state a boxed VI.
122
Levine minor 7th chords are Dorian and as seen in chapter 2, chord III according to
Levine is a Bsusb9.
2. The minor II-V in the B section contains two melodic keys, and this is assuming that the
B7b9 does not belong to the diminished scale. Levine specified the V of minor as being an
altered chord not a flat 9. The 7th flat 9 chord belongs to the diminished scale harmony.
3. There are too many jumps between unrelated keys for a piece that sounds so diatonic.
To give Levine credit he does however provide the correct key analysis to most chords.
But an analysis should provide all the correct keys not some.
Now the octatonic analysis: the piece is clearly in G major. It resolves at the end to the
tonic chord and it is also indicated by the key signature. Repeating the analysis provided above
for the first four bars we can justify once again that F#min7 belongs to the key of D major. The
chord F#min7 cannot be found in the key of G, so proceeding up the hierarchy the first degree
2. The piece is solely in G and the first four bars are a tonicisation.
It would make more sense to analyse a piece from the perspective of what is heard, so that when
123
the analysis is complete one can observe and listen to the same phenomena. Since one is not
aware of the tonic key of the piece till the 6th bar we must consider the piece to start in D major.
From the example above we can gather that the piece is mainly in G major. There are two
modulations, one to the 5th above and the other one to the relative minor. Interesting to observe
are bars 8 and 9 of the C section (penultimate system above). A fourth degree transition to Bb
and a fifth degree melodic transition to B melodic minor, this would seem a bit too ‘far’ for a
song written in 1939. But if we look at our original source we find that there are two alternatives
Fig 4.45 Alternative chords for C section of I Didn’t Know What Time It Was
Or
If we follow the E minor route we can justify the E9 as a fourth degree melodic transition (V of
A melodic minor) and then a modulation back to G major. We may instead follow the G6 route,
33 The Standards Real Book, USA, Sher Music Co., 2000, 187-188
125
in which case the whole progression is diatonic (excepting the fourth degree transition to Bb).
Looking for other corroborating sources, I found that a mix of both versions is the most
common. For example see Jazz Fakebook34 and The original musicians'.35 These versions consist
of the progression starting on E minor, but resolving after the Bb transition to I-iii-II-V-I, which
reminded me of what one of my teachers in New York once told me: 'Never trust a book! They're
all wrong!'.
In chapter 2 we also saw the analysis given by Levine over the II-V b9-I in Here’s That
Rainy Day.36 His argument was that 7th chords with a flat 9 come from diminished harmony, so
for example:
According to him, this would be a normal approach to this form of II-V-I. The fundamental
The added Q note to the scale contributes the flat 9 on the dominant. Later on in the analysis of
great improvisers I will show that this is a far more common explanation than Levine's
diminished harmony. Finally the analysis of the chord movements in the bridge of Sophisticated
Lady,37 where Levine uses his diminished harmony theory once again to describe the passage I-
#Idim-II:
34 Compiled by Herb Wong, The Ultimate Jazz Fakebook (USA: Hal Leonard Publishing Corporation, 1988), 155
35 Original Legal Musicians' Fake Book (USA: Hansen House, 1978), 421
36 Jimmy Van Heusen, 'Here's That Rainy Day', (Burke & Van Heusen, Inc. 1953).
37 Duke Ellington, 'Sophisticated Lady', (Sony/ATV Music Publishing LLC and EMI Mills Music Inc., 1933)
126
The notes of the scale have little to do with such a diatonic-chromatic progression.
Using the transition chart we are able to find a more sensible solution:
Now I must stress that under no circumstances I am saying that Levine's proposals are
wrong, after all they would fall under the category of a modal interchange. What I'm criticizing
is the fact that he does not offer a diatonic alternative, nor does he mention the fact that his scales
In conclusion, the octatonic model offers a more reliable tool to establish chord-scale
relations in the context of tonality. The analysis is not limited to chord symbols but rather to the
whole harmonic movement, considering how the chords relate to each other and how they relate
to the overall key. Now it is time to see if this theory applies throughout the harmonic
development of jazz.
127
Part II:
The Music
128
Chapter 5
Pre jazz compositions
So far we've covered theoretical aspects of the octatonic model, but how does this apply to
actual music? In the following chapters I intend to show how the octatonic model reflects the
analysis to Russell's Lydian Chromatic, all can be explained in terms of hierarchy of intervals,
To begin it would be interesting to look at the music that was popular and had some kind
of influence prior to the evolution of what was first called jazz. These are minstrels, spirituals,
The task of finding music prior to the recorded era, circa 1913, is quite difficult. Fortunately
some accounts exist thanks to a few early observers and the production of cheap sheet music
around the last decades of the 19th century, designed for home entertainment and piano-roll
music.2 As seen in Chapter 1, the birthplace of jazz was New Orleans, this 'seeding ethnic
melting-pot'3 of cultures brought together influences from places as far apart as Europe, India
and Africa.4 Historians like Ted Gioia believe that the closeness of the cultures was such that it
erased any delineations between them. With this statement in mind I set out to look for the
earliest slave songs I could find, expecting of course to find notation sources that would impose
1 Lewis Porter, Michael Ullman, Ed Hazell, Jazz From Its Origins To The Present ([No place of publication cited]:
Prentice-Hall, Inc., 1993), 7
2 Alyn Shipton, A new history of jazz (London: Continuum, 2002),10-1
3 Ted Gioia, The history of jazz, (USA: Oxford University Press,1998), 7
4 Ibid., 6-7
129
the classical western notation system, therefore eliminating much of the original flavor of the
music. But since most of the early jazz players were also educated in classical terms, we may
allow for a bit of leeway and assume that many of these songs were passed on in the same
By far the most mentioned slave song in journals, essays and books on the subject is
Roll, Jordan, Roll. Eugene Genovese was the first to mention it and used it as the title for his
early study of slave society.5 One published version (below) from a book dated 1867 scores the
song in D major.6
The first two bars don't seem to indicate any change of harmony. Then on the 3 rd bar one could
interpret the harmony as changing to D7 to modulate to G major in bar five, or it could also be
possible to interpret the C natural in the melody simply as a blue note, with no real change to the
D major triad.7 It is possible to conceive the latter since the notation system used here is
European in origin, quarter note notation did not come about till the next century, and we know
5 Eugene D. Genovese, Roll, Jordan, Roll: The world the slaves made (New York: Pantheon books, 1974).
6 William F. Allen, Charles P. Ware, Lucy McKim Garrison, Slave Songs of the United States, ([No place of pub-
lication cited]: A. Simpson & Co., 1867), 1
7 This practice is quite common in much Afro-American music particularly the blues which will be covered be-
low.
130
from the introduction that this transcription was made by Ware with variations by McKim, both
In bar five there's a clear change of harmony since the inactive note is now a G.9 This
could suggest a IV, a V or a II. I believe it is more likely a IV, and since this progression is not
unusual in popular music from the period we could safely assume that this is correct. Bar six
clearly goes back to D major before moving to the dominant V and resolving again to D. This
interpretation of the first eight bars might seem biased but it is quite close to other available
versions on record, for example: Papa Bue's Viking Jazzband10 and the very early recordings of
Deep River Plantations Singers.11 Unfortunately these references date from 1929 to 1969 so they
are not reliable sources to establish if these were in fact the harmonies used prior to jazz. The
editors do note, as Gioia had, that this music had become 'imbued with the mode and spirit of
European music.'12 and it had been 'partly composed under the influence of association with the
whites'.13 So perhaps we may reason that the analysis proposed above, with the aid of some
8 William F. Allen, Charles P. Ware, Lucy McKim Garrison, Slave Songs of the United States, ii
9 The assumption that it is inactive comes from its rhythmical properties as described by Galper in Chapter 3.
10 Papa Bue's Viking Jazzband, 'Roll Jordan Roll', The Hit Singles 1958-69 (Storyville Records, B0013SD924,
2000).
11 Deep River Plantations Singers, 'Roll, Jordan, Roll' (Document Records, B001W4N8XE, 1998).
12 William F. Allen, Charles P. Ware, Lucy McKim Garrison, Slave Songs of the United States, viii
13 Ibid., vi
131
At this point we can already see the use of second degree transition as part of a diatonic
piece. Though the movements are concerned only with I, IV and V chords; it is clear that the
music had already become tonal. But this is not enough evidence. Epstein confirms that McKim
was the first and only 'professional musician among the people known to have collected slave
songs in this area during the Civil War.'14 but most important yet is the statement that they were
reproduced with fidelity and sympathy.15 The following octatonic analysis of an arrangement of
the song in C major, arranged by Mckim herself,16 provides us with a piano part with her
interpretation of the harmonies. This version differs considerably to the above or any recorded
14 Dena J. Epstein, Sinful Tunes And Spirituals (USA: University of Illinois Press, 1977), 260
15 Ibid., 262
16 Provided in Epstein's Sinful Tunes And Spirituals page 268-9
17 Chord symbols, Roman numerals and analytical brackets have been added by me.
132
This arrangement has an unusual tonicisation to C minor. Epstein wonders about this
arrangement as well and calls it 'highly unconventional for its time'.18 On the other hand we may
ask ourselves, could this be a misinterpretation of the blue notes on McKim's part? A flattened
3rd or 7th could be seen as a modulation in a classical theory context, but ,as can be found in the
blues, the major and minor third are melodically interchangeable whilst the supporting harmony
remains major.19 I will cover more on this below (see blues). Another important point mentioned
by Epstein is that neither of these versions (Ware or McKim's arrangement) contain the tune
usually associated with Roll, Jordan, Roll 'based on the ascending tones of the major triad.'20
which brings me to an important thought: jazz melodies are rarely played the same, variations
over certain landmarks and interval-chord relationships are used in order to identify the piece
itself, a basic motif one could say. But strictly speaking in its notated form, no version resembles
the other. Seemingly this would also apply to spirituals and work songs.21 Of the 77 versions I
was able to find only a handful were recognizably the same. See for example the difference
between The Fairfield Four version22 and the more Rock 'n Roll style of the Palmetto State
Quartet.23 Therefore when speaking about a specific song one must take into account that
numerous different variations exist or could exist, but what concerns us here is the basic
harmonic frame and its principal motifs e.g. the ascending major triad of Roll Jordan Roll.
The score below, from 1926 and arranged by Johnson,24 might provide a final version
that comes closer to the tune we know today. It also resembles most recorded versions so we
could speculate that it was this or a similar version that set the standard.
Fig 5.4 Octatonic analysis of Johnson's Roll, Jordan, Roll 1926 version25
21 Ibid., 261
22 The Fairfield Four, 'Roll, Jordan, Roll', Standing in the Safety Zone (Word Entertainment, B000002LU0, 1992).
23 Palmetto State Quartet, 'Roll, Jordan, Roll', When He Blessed My Soul, (Horizon Records, B0012K7LNQ,
2001).
24 Rosamond J. Johnson, Laurence Brown, The Book Of American Negro Spirituals, (London: Chapman & Hall,
Ltd., 1926), 105
25 Chord symbols, Roman numerals and analytical brackets have been added by me.
134
In this analysis we can see that my initial speculations about the harmony were correct.26
The harmony is very stationery with only a modal interchange to the second degree. The chords
are also the ones used in most versions excepting the use of secondary chords for voice
movement.
26 A few points about the analysis: 1.- I've substituted the triad notation e.g. Ebmaj, for simply Eb to avoid confu-
sion with the key referent on top. 2.- The Eb7 analysis as a i instead of V/IV is because the Eb7 doesn't resolve,
the Eb7 is not acting as a dominant but rather as a modal interchange, the function is still tonic.
136
Go Down Moses, known originally as The Song Of The Contrabands, has an interesting
story that fits well at this point of the thesis. This song started out as a slave song sang at
Fortress Monroe,27 circa 1862, and its impact was such that it spread throughout the land, partly
due to McKim's transcription and John S. Dwight's journal of music.28 Go Down Moses, as it is
known today, has been played from Tuskegee Institute Singers (circa 1914-1927)29 to Charles
Lloyd (2002).30 Below is my analysis of a score from 1926 also arranged by Johnson.31
We can observe that this piece is mostly diatonic, no modulations and a simple first
degree transition. The introduction establishes the key (F minor) via a I-V-I movement. In bar
two of the A section it moves to the IV but it is embellished by adding a 6th to it. After returning
to chord I it detours to the VI chord before passing through a first degree transition, the
secondary q chord of C minor, written as #iv because of its secondary nature. Then VII-V back
to I. Besides some inversions in section B the harmonies are quite straight forward. Now to
33 The Song of the “contrabands”, arranged by Thomas Baker (Washington, Horace Waters, 1861).
139
The changes are minimal. This original version in G minor contains slightly different chords but
it remains the same degree transition (first degree). The lyrics of the A section in Go Down
Fig 5.7 Lyrics of Go Down Moses and The Song Of The Contrabands
140
The differences are minimal. The intervallic relation is nearly the same and the word 'king' is
replaced by 'ole'.
In bar six of the chorus we see a similar movement: VI which goes to IV instead of #iv,
but #iv (C#dim) appears anyway a bar later before V-I to finish.
In Go Down Moses we saw the first degree transition leading up to VII-V-I, whereas in Song Of
141
The Contrabands #iv leads directly into V-I. The words 'Tell ole Pharaoh' from Go Down Moses
and 'Tell king Pharaoh' from Song Of The Contrabands fall on the same bars, but on Moses 'Tell
ole' takes place over the VI chord and in Contrabands the VI occurs over 'Pharaoh'. The melody
in Song Of The Contrabands appears quite different at first glance, but draws upon the same
Another legendary piece that has survived the passage of time is Swing Low Sweet
Chariot. This spiritual is known to have slipped into Dvoák's New World Symphony 34 and is
still performed by artists as varied as Eric Clapton35 and Joan Baez36. This stunning arrangement
34 Colles, H. C., 'Antonín Dvoák. III. In the New World', The Musical Times, Vol. 82, No. 1180 (1941), 209-211
(211)
35 Eric Clapton, 'Swing Low Sweet Chariot', Time Pieces: The Best Of Eric Clapton (Universal, B0002ZEUJ0,
2005).
36 Joan Baez, 'Swing Low Sweet Chariot', Essential/From The Heart (Polygram International, B000006SNF,
1993).
37 Rosamond J. Johnson, Laurence Brown, The Book Of American Negro Spirituals (London: Chapman & Hall,
Ltd. 1926), 62-3
142
The introduction establishes the key via a Plagal cadence and the piece begins with a
diatonic progression: I, IV, I, V, etc. In bar 8 it detours to a first degree transition (A7) in the key
of D major before continuing as before. At the end of bar 9 we find an unexpected chord: D7 #5.
We know of three chords that can be voiced in this manner, these are:
3. Or VII of Eb melodic minor, which would mean something like fifth degree (descending)
melodic transition.
The obvious choice here, for proximity to the tonic key, would be V of G melodic minor. This
harmonization of the melody could also be interpreted as a modal interchange, since the Bb
144
could be interpreted as a chromatic passing note, but Johnson decided to harmonize it as V with
a sharpened 5th, hence we are obliged to find the scale that would fit it best in its tonal context.
The rest of the piece continues in normal fashion, I, IV and V movements, till bar 19, the Cmin6.
A secondary iv and two bars later a secondary iii, these progressions are very common in jazz.
Finally in bar 25 and 34 a secondary ii, which is quite a modern substitution for this genre.
One must take into consideration that this arrangement is from 1926, it is unlikely that
older versions (before 1900) would have used such harmonic extensions/embellishments. On the
D There is ample use of extensions (G6, D7, Amin7b5 AKA “AØ”, Cmin6).
fundamental scale’ harmony. The Q note (Eb in G major) and the additional harmonies it
contributes, appear constantly throughout the piece. Perhaps this is an interesting point in time
I would like to end this sub-chapter with a song that is perhaps the most famous of all
African-American spirituals, Amazing Grace. This song was originally written by John Newton
in 1779 as a Christian hymn.38 Later, in 1831, it was published with a slightly more modernized
melody, closer to what we know now today.39 Finally, in 1835, it was re-arranged by William
Walker with the harmony commonly associated to it.40 Michael Harris provides two versions, an
'old way' and a modernized version by the renown Thomas Dorsey, 41 a famous gospel singer
We may notice that the harmony is quite common for the period and less sophisticated
than the previous pieces I have analysed. The F5 in the penultimate bar could be argued as a
secondary chord, but since this chord is actually more of a Fmin(omit 3rd) then it should be analysed
as primary.43
It is interesting to note that Dorsey's version is harmonically simplified but the melody is far
more ornamented. Chord IV is substituted by secondary v. We may also note the omission of the
second degree transition and a substitution of the II-V for a V/V-V. Below is a version published
by Hal Leonard,44 this version seems to coincide with the majority of modern recordings (see:
43 The absence of intervals which corroborate primary nature do not need to be present, since cultural conditioning
will make us hear the primary by default. It is secondary chords that need reinforcement or explicitness.
44 Compiled by Dr. Herb Wong, The Ultimate Jazz Fakebook (USA: Hal Leonard Publishing Corporation, 1988),
44
45 Aretha Franklin, 'Amazing Grace', Amazing Grace: The Complete Recordings (Atlantic / Wea, B00000IPY3,
1999).
46 Judy Collins, 'Amazing Grace', Amazing Grace (Delta , B0000C662K, 2009)
47 Johnny Cash, 'Amazing Grace', Cash - Ultimate Gospel (Columbia/Legacy, B00136M0KI, 2007).
147
Like the traditional version offered by Harris, this version above contains a second degree
transition in the form of V/IV (dominant of IV) and chord IV in bar 3, as opposed to secondary v
as in Dorsey's version.
Further research I have done into spirituals and work-songs suggests, with minor
exceptions, that most of the harmony used in this period is predominantly diatonic with slight
uses of first and second degree transitions (mostly in the form of V/x or Q diminished). So it is
By popular I am referring not necessarily to greatest hits of the era, but rather songs which were
well-known at the time of their writing. These are songs that were published for home
entertainment as well as quoted and rearranged hundreds of times on films, shows, radio,
minstrels, etc., and still survive today. Most of these songs were known around the time of the
American civil war and their popularity around the turn of the century is well documented.48
The earliest score I managed to find of this time period was Dixie's Land49 by Dan
48 Richard Jackson, Popular Songs Of The Nineteenth-Century America (New York: Dover Publications, Inc.,
1976), vi-ix
49 Dan D. Emmett, 'Dixie's Land', in Emmett's inimitable Plantation Songs written for Bryant's Minstrels (New
York: Firth, Pond & Co., 1860), 3-5
148
Emmett, this traditional American song is perhaps one of the most played tunes of American
history. From Warner Brothers cartoons to television series like The Dukes of Hazzard, this tune
50 Hans Nathan, Daniel D. Emmett, 'Dixie', The Musical Quarterly, Vol. 35, No. 1, (1949), 60-84
51 Chord symbols and analytical brackets are my addition.
149
Once again we don't find any unusual progressions. There is a first degree transition in
bar 20 (V/V) and the rest of the movements can be summarized in the usual cadence
movements. The melody rests solely on chord notes and only uses scale notes.
called Clari, which was a hit in London in 1823.53 The success of the play, back then called an
opera, sent this piece around the world to eventually become an American classic.
52 Henry R. Bishop, 'Home Sweet Home' as part of the opera Clari or Maid of Mila at the Theatre Royal, Covent
Garden (G.E. Blake, Philadelphia, 1823).
53 Jackson, Popular Songs Of The Nineteenth-Century America, 270
151
We can appreciate that this is an extremely simple piece that contains no transitions, no
Jingle Bells,54 originally published as The One Horse Open Sleigh, known today as a
Christmas carol, was originally published in 1857. Its author, James Pierpont, barely saw the
success of the song in his lifetime but by the turn of the century it was widely well-known in
America, particularly in the south where its author settled in the last years of his life. 55 The
chorus of this version has little to do with the version we know nowadays.
54 James Pierpont, 'Jingle Bells' or the 'One Horse Open Sleigh' (Oliver Ditson & Co., Washington, 1857).
55 Jackson, Popular Songs Of The Nineteenth-Century America, 272
153
Though at first glance this tune appears similar to home sweet home in terms of harmonic
movement, this piece is the earliest example that I have been able to find of the use of primary
III (C major). Thus, it is also the earliest example of an imminent use of Q. The verse of the song
follows similar guidelines as the previous example: I, IV and V movements. But in the chorus,
starting from the second bar, the chord progression V-VI-III-IV-I with the melody actually
resting on Q over chord III, makes this tune stand out amongst its contemporaries.56
56 Notice that C major is interpreted as primary III instead of V of the relative minor. This is because under the oc-
tatonic model the C would need to resolve to F minor to suggest a modulation, otherwise it is perceived as VI-
III-IV all in reference to the tonic major.
154
Eastburn's The Little Brown Jug,57 published in 1869, was probably 'One of the most
popular Comic Songs in existence',58 but this song also transcended the popularity of its time and
became a Swing favourite 60 years later, see for example: Billy May59 and Glenn Miller.60
The original version contains nothing unusual, I, IV and V movements, no passing notes,
chromaticism or transitions. By 1869, twelve years after the publication of Jingle Bells, popular
57 Eastburn, 'The Little Brown Jug' (J.E. Winner, Philadelphia, 1869). Note: Eastburn was the alias used by Joseph
Winner, it was also his middle name.
58 Jackson, Popular Songs Of The Nineteenth-Century America, 274
59 Billy May, 'The Little Brown Jug' Plays the Standards (EMI, B0001NIZ1M, 2004).
60 Glenn Miller, 'The Little Brown Jug' The Best of Glenn Miller (Music Digital, B00000JX45, 2003).
155
harmony still hadn't evolved much. Triads in root position were still most common place as for
example in other tunes like Oh My Darling Clementine61 and Grandfather's Clock.62 Little
Brown Jug in the 1940s was considerably different, all the chords were extended to use at least a
6th. The traditional harmony was embellished by additions of secondary chords including V/x
and suspended chords, plus considerable modulations. For example Feist's arrangement for
Glenn Miller:63
61 Percy Montrose, 'Oh My Darling Clementine' (Oliver Ditson & Co., Boston, 1884).
62 Henry C. Work, 'Grandfather's Clock' (C.M. Cady, New York, 1876).
63 Eastburn, 'The Little Brown Jug', arrangement by Leo Feist (Big Three Music Ltd., USA, 1939).
64 Last section has been omitted since it provides no useful comparison and would only lend itself to confusion at
this point.
156
The chord symbols are provided by the arranger himself, but there are several
inconsistencies. For example: in the bridge section (bar 11) Feist did not specify any chords, but
it is obvious by the accentuated bass on bars 10 and 12 that there is a sound of a dominant V. In
bar 13 we have Bb-Ab7-Ebm6, but since the bass remains an Ab why not presume that it is
actually a change from Ab7 to Ab9, which would resemble the actual sound taking place? In the
157
next bar (bar 14) we find a tritone substitution, C#7b5 (unusually spelled as -5 suggesting a minor
5th instead of diminished or flattened). Once again there is nothing to suggest a C# chord, but
rather a G7 with a raised 11th. Finally, bars 27, 29 and 31 Feist spells a B diminished but the
chord being struck on beat two suggests a minor and a sharpened 11 th in the melody. I point out
these inconsistencies so that it is understood that the analysis is done respecting Feist's chord
suggestions, an in-depth octatonic analysis would require the respelling of chord symbols to
Beside these inconsistencies the chords of the song are embellished using very common
additions. The progression IV to #iv diminished in bar 2 and 6 is typical of blues and swing
pieces of the era. The reason I analysed the #iv as a secondary is because the minor 7 th (F#Ø)
should be considered primary and the diminished 7th (F#O AKA F#dim) should be considered a
secondary option.65 Thus primary VII in G would be F#Ø (F#min7b5) and vii (secondary) F#O
(diminished). From bar 10 to 17 Feist adds a bridge section before going back to the melody. In
bar 13 we find two transitions in a row: Bb, IV of F major, and Ab7, V of Eb melodic minor. In
the next bar, as seen above, is a dubious tritone substitution. Whether this is a justifiable tritone
substitution or simply an alteration of the V, the Ab melodic minor would still be the appropriate
scale analysis.66 In the next section of the arrangement the melody is revisited with slight
rhythmic and harmonic variations. The #iv is replaced by the diatonic II. Feist then adds another
bridge section (C-AO-BO-C) utilizing secondary ii of G major (analysed as vi from the tonal
context) and again a secondary vii, this time in C. It is important to note that A diminished is
simply another inversion of F# diminished and chord vii, as seen in harmonic functions, is a
Seventy years after its original publication Little Brown Jug was still a popular tune, but
65 The distance between the 5th (C) to the minor 7th (E) is a major 3rd whereas the distance between the 5th and the
diminished 7th (Eb) is a minor 3rd. By following the hierarchy of intervals the major 3rd relationship should be
considered primary and any other smaller combination secondary. However, this chord could truly be interpreted
as q in first inversion: Ebdim/F#
66 See tritone substitution for interchangeability of VII altered and IV Lydian dominant.
158
its sound had change dramatically. The harmony was richer and more elaborate and the melody
swung. Feist's arrangement would not be considered jazz, it was a popular/dance arrangement
for a band that enjoyed popular acclaim and that never intended to play jazz. But before I detour
too much from the time-line I will continue with jazz's greatest influence of all, in the hope of
Ragtime
By far the most renowned ragtime composers of the period were Scott Joplin, James Scott and
Joseph Lamb.67 These composers wrote most of the famous pieces that gave ragtime its voice in
the world. It is well documented that the first jazzmen, from Jelly Roll Morton to Duke
Ellington, enjoyed in their youth playing classics such as Maple Leaf Rag, Sensation and The
Entertainer; just to name a few. Ragtime is perhaps the only style of music that clearly links
Euro-American principles to African rhythms68 and as seen in chapter 1, it was this music that
Joplin's earliest composition is possibly Please Say You Will (1895)69 which was a waltz.
Though this was quite an early work we can already see a more sophisticated level of harmonic
67 Lewis Porter, Michael Ullman, Ed Hazell, Jazz from it origins to the present (New Jersey: Prentice Hall, 1993),
12
68 Michael Hall, Leaving Home: A Conducted Tour Of Twentieth-Century Music With Simon Rattle (Great Britain:
Faber and Faber Ltd., 1996), 164
69 Scott Joplin, 'Please Say You Will' (M.L. Mantell, New York, 1895).
159
Fig 5.21 Octatonic analysis of Joplin's Please Say You Will70 (introduction)
The introduction begins using both basic transitions, first and second. The vi (ii of F
major) could be interpreted as an inversion of C# diminished (q of F), which would make more
sense because, since q is a dominant, the movement would be similar to a V/iii - iii. 71 The
progression Xdim – iii is repeated throughout the piece usually in the form of C#dim (#v), hence
we could safely assume that all diminished chords found in this piece are inversions of first-
degree q.
70 Original score is voice and piano only, all analytical elements, including chord symbols, are added by me. Same
applies for the rest of this section.
71 In F major the dominants are C7, A7, C#dim and Edim In early swing it is common to find q as a substitute of
the minor dominant, thus V of a minor chord is often substituted for q of the same key i.e. instead of A7-Dmin
we find C#dim-Dmin
160
Fig 5.22 Octatonic analysis of Please Say You Will (First verse)
161
The first verse follows a similar harmonic pattern to the introduction. Interesting here is
the use of chord VI followed by V/V in bars 19 and 20, then reduced in bar 21, since this gives
the illusion of a II-V-I to F. Another worthy consideration is the use of Q in the melody in this
bar (21), harmonized as C7b9, though it could be argued that the Db is simply a chromatic
passing note to C. But the length of the note equals the length of the chord being struck, hence
the sound we hear is that of C7b9. The section finishes on the dominant (V) which leads into the
next verse.
Fig 5.23 Octatonic analysis of Please Say You Will (second verse)
162
The second verse (above) offers slight variations from the first. Of particular interest is
the use of iv in bar 33 leading into iii, which creates the effect of a chromatic movement but both
are in fact diatonic in the fundamental scale. In bar 37 we find an F9: though this extension (the
9th) is provided by the melody, we can already appreciate the addition of upper-structures in
popular harmony. This verse finishes on chord I before moving in to a bridge section:
The bridge cleverly modulates to the relative minor before modulating to the first degree
of the tonic key. Modulating to the first degree is useful since the whole key seems to act as a
dominant, Joplin treats this carefully by reinforcing the F key with frequent V-I movements. The
The last verse (omitted here) is almost identical to the second verse with some omissions in the
The first four bars of the chorus present an unusual dissonance: the left hand is striking
down on a Bb major triad whilst the right hand and the melody play an Eb an octave above. This
creates a flattened 9th interval between the top D of the triad and the Eb. One may wonder if
Joplin actually intended such dissonance or if he didn't consider the duration of the event to be
of any consequence. In any case the duration of this note is equivalent to the chord being struck,
so I've taken the liberty of adding the chord symbol Bb(add11). The rest of the chorus doesn't
Maple Leaf Rag72 was Joplin's first ragtime, written only four years after Please Say You
Will. It already shows extensive alterations of the traditional harmony, extensive use of transitions,
The first four bars offer nothing special harmonically speaking, but serve to establish the tonality. Joplin
immediately breaks the obvious by introducing an Fb chord to announce, what appears to be, a change of
key.
72 Scott Joplin, 'Maple Leaf Rag' (Shattinger International Publications, USA, 1972)
166
It does not become apparent that the change is towards the minorisation of Ab (modal
interchange), but the initial chord is alien enough to the key to call attention. I hesitated to
consider this chord a diatonic VI of Ab minor since most jazz musicians would probably
consider the Fb a tritone substitution of V/V. But my reasoning for this is that since there is
nothing to indicate a 7th chord (Fb7), I must consider the option which is closest to the tonic
In the next four bars Joplin works the piece back to major. He achieves this by using a
chord common to both keys. D diminished is q of Eb minor (first degree transition of Ab minor)
or chord vii of Eb major (first degree transition of Ab major). In bar 10 we find Fb/D, which
could be interpreted as an inversion of E7. Unlike the previous Fb, this chord does sound and act
like a tritone substitution. First of all the context is different. Previously the Fb was used as a
starting point of a minorisation, now it's in the middle of a progression in a major key and the
voicing is not a triad but a dominant 7th chord. If this chord had progressed into a V, then the
167
matter would be simple: a tritone substitution of V/V. However, in this case it moves to Ab
which makes it a transition chord instead of a substitution chord. The logical analysis would be
third-degree transition (primary III in C major) but this would conflict with the melody which
passes through Bb. C major fundamental does not contain a Bb, thus we must continue up the
hierarchy which eventually lands us in B melodic minor. In other words an unresolved tritone
substitution of V/V. The reason I stress these subtleties is that one of the main arguments for the
need for the octatonic system is precisely these small subtleties of jazz harmony. In music from a
later period we will see that sometimes composers utilise modal interchanges or chords from
higher degrees. Hence, if the analysis is not done correctly, one may end up with a set of scales
The next four bars reinforce the same ideas an octave lower.
The next section (above) plays around with V and I in different inversions. Interesting to
observe is the added tension on the dominant by striking the 5th of the chord first and then the
root. The F triad in bar 29 might present doubt but following the hierarchy the selection is
D V of Bb, a major second from the tonic key, unavailable in the hierarchy.
In chapter 4 (Fig 4.10) I explained key relations and how each degree provides a secondary
dominant to a diatonic chord: the first degree contains the V/V, the second degree contains the
V/II, etc. Thus III of Db is the most appropriate answer, unless otherwise suggested by the
melody.
The last four bars of this section (bars 31-32) present a common early jazz trademark. A
I've omitted the next section, 16 bars, since it is exactly the same as the first.
This section takes us away from Ab and modulates to the second degree, Db. After much
insistence of V-I, Joplin detours again to a second degree transition in the form of V/II only to
The whole of bar 62 could be considered as a C7b9, instead of half a bar of G diminished and
then C7b9. But since the root C is absent for the first beat it is better to consider what we
actually hear. On the other hand the movement Gdim-C7b9 sounds very similar to a II-V minor
leading to iii, which is a supra-tonic.73 There are quite a few pieces in jazz that use this resource
to create less obvious harmonic movements, see for example bars 4-5 of It Could Happen To
You, where we have a II/iii-V/iii to tonic I. In the next few bars after this Joplin uses very
modern chords for the period, Bb7(add13), Eb9 and Ab13; to bring us back to I.
This section is quite difficult to analyse, though the chords appear simple. On a superficial level it
is evident that Joplin is modulating back to the tonic key (Ab), partly due to the change of key signature
and also due to the presence of the Eb7 in bars 71 and 72. However, an improviser might not wish to be
so abrupt in the change and might also hear this progression as I do: our previous section clearly
established Db as a tonic centre. When we begin this section the first chord does not sound like a IV
simply because the key signature has changed. In fact, if we recall the chapter of modulations and
tonicisations, I mentioned how the difference is that in a modulation one loses the reference to the tonic
key, case in point.74 Up to now we have had 32 bars of Db tonic-centre, consequently it is quite difficult
not to perceive the first Db of this section as tonic I. Nevertheless, Joplin is very clever in avoiding any
disambiguating notes e.g. Gb, G, E or A over these chords, and thus achieves a wonderfully gentle return
to the tonic in which it is quite hard to pinpoint exactly where the modulation occurs. After many hours of
improvising over these two sections I came to the conclusion which is seen in the analysis above. That is,
in my view the modulation takes place on the Eb7 I bar 71. The first Db is perceived as I and the Ab a V,
since playing a Gb over this chord does not sound as awkward as playing a G.
Bars 75 to 78 again seem slightly subjective. Personally I do hear the Db as a IV this time
because the previous cadence already 'tuned' my ears to Ab major. However, the parallelism of the
movement might warrant an equivalent analysis i.e. interpret the Db-Ab movement again from the
74 I have also mentioned how the difference between modulation and tonicisation is highly subjective and it will
inevitably differ from one listener to another.
172
found that both perspectives seem to work, but the latter (the parallelism) requires the use of similar
Joplin, not satisfied with the vagueness of the resolution, uses an intricate progression of
V/x to truly establish the Ab as tonic! The Bb7#11 is very modern for this period and this type of
music, so I was forced to check other sources to be certain that this was truly the chord written
by Joplin.75 A second degree melodic transition was common place in classical music, but in
popular music of the era it might have been considered quite adventurous. Nevertheless, the
The Entertainer76 was another of Joplin's famous hits, written in 1902 this piece shows
The introduction uses a simple descending motif eventually resting on G dominant. This
75 Published versions by John Stark & Son. ,1899, and Martin Gieseking 2001.
76 Scott Joplin, 'The Entertainer' ( Shattinger International Publications, USA, 1972)
173
The tune begins immediately with transitions and chromatic passages. In bar 5 I could
have analysed the last beat as Dmin-D#min, but I considered the movement too brief to have an
impact on the overall harmony.77 Again we find transitions of first and second degree in the form
of V/x, but more interesting is the movement in bars 16 and 17, four bars before the end of the
section. This chord progression, I-V/IV-IV-iv-I and the line of the bass, are a trademark of the
blues, particularly in endings, but as we know the blues appeared circa 1905 and this tune was
published in 1902. We also know that blues was originally mostly modal. Perhaps we can
already see how the styles began to influence each other. Furthermore, the Fmin seems to
suggest that Joplin was also aware, aurally (perhaps not intellectually), of fundamental scale
The next section (above) continues with the same type of progressions: many chromatic
movements, both melodic and harmonic, and transitions of first and second degree. Secondary q
of G appears as D#dim (analysed as #ii) instead of Ebdim which makes sense since the
The next section repeats the same ideas as the first section so I've omitted it as there's
In the bridge Joplin uses the same resource he used in Maple Leaf Rag and modulates to
the second degree. This time he uses a different approach: instead of playing the V-I repeatedly
he starts the progression from the IV of the original key, now acting as I, followed by the IV of
the new key. Since the chord Bb cannot be found in the key of C major there is an immediate
impression of a change of key. In other words, instead of using V to draw the new tonality as it
would be expected, Joplin prefers to draw the obvious differences between the two keys. Yet, it
is important to observe that the tonic-centre F is not completely established at this point, since
the Dmin still has an inclination to sound as II of the tonic key, thus making the Bb a transition
chord. However, this is remedied by the use of Gmin in bar 57 which corroborates that we are no
longer in C major.
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In bar 59 we finally feel the F as tonic, but Joplin quickly detours into a progression not
encountered thus far: a V/iii. The E7-Amin implies a modulation, but this not so since Amin
clearly belongs to F major and there is not enough time for a modulation to be implicit. This
beautiful movement works well since iii is a supra-tonic which in turn is a substitute of the I,
In bar 67 we see iii used straight after the IV, though it could be argued that there is not
enough information here to speculate such a conclusion, but I believe that the strong
combination of A in the bass, C in the melody, and both landing on beat 1 are sufficient to leave
the impression of an A minor chord. After this chord we encounter a Db7 in the same bar. The
analysis here is tricky since it resolves to an F with a C in the bass. Considering hierarchy of
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degrees we should analyse this as a third degree transition (chord III in the A major scale) but the
sound we are hearing in the next bar is not of F major, but a dominant of some sort. Looking at
the score we realize that though the right hand is playing an F triad, the bass is insisting on the C
so that when it arrives in either the first or second ending it creates the impression of resolution.
Therefore we could assume that the actual sound we are hearing is that of a Csus4, this is helped
by the fact that the melody rests on G for a moment, consequently the Db7 is a tritone
In the next section Joplin uses a similar technique as Maple Leaf Rag to modulate back to
the original key. He begins with I of F major (IV of C) and then utilizes the common chord
degree transition to F whereas vii of G is a first degree transition to C. The proximity to the key
of C validates the hierarchical pull making this modulation unusual yet effective. The V/V-V-I
The last section does not offer any more insights so I have also omitted from here.
There are two things at this point that stand out in Joplin's work:
1. the way he uses first degree transitions as a substitute of the dominant i.e. q-I
(for example bar 33). This not only helps break the monotony of V-I but it also seems that Joplin
2. His use of common chords to modulate between keys. In Maple Leaf Rag we
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saw how he avoided any disambiguating notes whilst he played around with common chords
before establishing their tonal-centre. In the Entertainer he added to this play of chords a
second/first degree commonality (F#dim) which also serves to create an evasive tonal-centre.
Weeping willow78 was written only a year after The Entertainer and already shows how
Once again, in the introduction, Joplin uses a melody line to draw the dominant. He then begins
the piece by moving between I, IV and V using transitions in the form of V/x:
Though we see some of the usual trademarks e.g. IV-iv and V/V, the progressions are already
becoming slightly more unpredictable. The movement of I to VI to the V with its 5 th on the bass,
The B7 in bar 16 might be more appropriately analysed as III of G, but it does create the
illusion of a modulation to the relative minor. Nevertheless, the movement is too brief to be
considered a modulation but strong enough for the sound of V-I (B7-Emin) to be heard, thus the
analysis of V/VI.
Joplin, as in all his pieces up to this point, modulates to the second degree. Though this
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time he is far less concerned with establishing the new key and instead just leaps in without any
warning. This time he achieves the new key via a progression from the I to the relative minor
and then to the IV (F) of the new key, which is not found in G major. In this manner Joplin
establishes the second degree as a new key in a more subtle way than before e.g. I-IV-VI-II used
in the Entertainer.
He utilizes the same progression again using a tritone substitution to move to a dominant sus4,
but this time takes it to the supra-tonic instead of the tonic I. This movement above is
particularly interesting since Joplin manages to delay the resolution to I for four bars. First he
goes to VI then iii, both supra-tonics, he then plays a B7 to reinforce the iii. It is almost as if he
was intending to establish E minor as a new key, but before this becomes implicit he takes us
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back to V and resolves to the tonic. The next eight bars repeat the same process as above but the
The last section surprisingly doesn't take us back to the original key (G major) as in his
other pieces, and instead plays a variation of the first section but still based on C major. The
rhythm and the lead voice in the first bar are virtually identical, but this time they are playing
over a dominant chord instead of a tonic. This type of motif development had not been used by
Joplin thus far. His motifs were normally subtle variations simply transposed to other keys.
Again we see the use of the tritone substitution to go to the v sus4 in bar 50 and he then
Eugenia79 written three years later (1906), shows a much more elaborate use of harmony.
The first section, in Bb major, like most of Joplin's works uses V, IV and I with a few transitions
to the relative minor. The second section modulates to the relative minor and then back to the
major. He then repeats the first section and modulates to the second degree (Eb major) as he's
done in previous pieces. This new section is in fact a 16 bar bridge that he utilizes to modulate
the piece to C minor (relative minor of Eb). The last section is what interests us here:
From the first four bars we can see an interesting relationship of chords. The secondary ii and vi
are, in reality, different inversions of q (Bdim in the scale of C minor) which in turn is a
substitute of V. Consequently we could analyse this as a bar of tonic and two bars of dominant.
In the next bar we see a tritone substitution of V/V, this time in the form of Ab7 with a flattened
5th. This chord only appears as IV in the Eb melodic minor scale and VII of Bbb (A) melodic
minor as an Ab altered. It is also the first time that Joplin clearly uses melodic minor harmony.
The last chord of the system is a G major triad (V of C minor) that plays a trick on our ears. This
is Joplin using commonalities again. The next eight bars move to E minor making the G triad
retrospectively a III chord of the new key. However, it is interesting to note that this is quite an
At first the E minor chord appears as a third degree transition from the C minor, but
because it also follows the G major triad it is unclear if this is in fact a transition or a relative
minor of a quick modulation we did not perceive. The second bar, B7b9, begins to establish the
E minor as a new key, this is followed by D#dim (inversion of the latter) which then arrives at E
minor, this finally establishes the new key. In the next bar Joplin uses the tritone substitution of
V/V again to move to V, using the C7b5 clearly denoting melodic minor harmony.
In the next four bars Joplin takes us through a movement where E minor and G major are
intertwined, it is not apparent whether this section is in minor or major which works effectively
The chords analysed in the above bars are pure speculation since Joplin uses only a
melody to draw the new key. Because the previous four bars deceived us to think G major, the
most obvious proximate key is Bb major (third degree). Though this could also be interpreted
from the perspective of E minor i.e. modulation to the relative major of the third degree. The last
Joplin arrives at Eb major and immediately establishes the new key-centre by playing the
dominant on the second bar. It's worth noting the use of chord III in its primary form, not as a
V/x but simply as a diatonic passing chord, this is also a first in Joplin's work.
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Continuing in the next four bars we see how Joplin proceeds by using the available first
and second degree transitions to embellish the diatonic movement. In bar 25 we find the first
example of diatonic q, used not as transition chord but as a diatonic passing chord to lead to VI.
One may wonder if Joplin was becoming more aware of Q as a part of the tonal scheme.
Finally in the last four bars we see another modern variation in Joplin's harmonic
resources: a Plagal in the form of secondary iv – primary I, ending on a II-V-I. The secondary iv
is a trademark in modern soul music and it's widely used in jazz. Joplin also used this cadence in
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The Stoptime Rag80 written four years later (1910) as an interlude between sections.
Fig 5.30 Octatonic analysis of Joplin's The Stoptime Rag (Bars 43-54)
The first 6 bars of this section use this movement (iv-I) as a subtle way to return to I,
mainly due to the chromatic movement in the bass (A-Ab, G). As I mentioned in the previous
analysis I wonder if Joplin was becoming more aware of the possibilities offered by Q. In this
case it becomes evident by the use of ii secondary. We can observe that Joplin has departed from
the transitions utilizing V/x and instead uses other transition chords to create harmonic
of C with Q in the bass, almost making it sound like a minorisation of the II-V.
In the last section we see Joplin's use of the first degree Q as a substitution of V, much
80 Scott Joplin, 'The Stoptime Rag' (Jos. W. Stern, New York, 1910)
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In Scott Joplin's New Rag,81 written in 1912, there are two sections that call my attention.
Fig 5.31 Octatonic analysis of Joplin's Scott Joplin's New Rag (bars 22-37)
In this section we see Joplin modulating the piece to the relative minor, but on this
occasion he draws the change by using a melodic minor transition. This becomes clear by the
use of the ascending melodic minor scale from the 5th in bar 22, 26 and 30 (above). However, he
is not drawing melodic minor harmony as a centre, since he distinctly uses the note F in the
melody (bar 29, 34 and 37) over the I and the IV chord, as opposed to D7 in melodic minor.
81 Scott Joplin, 'Scott Joplin's New Rag' (Jos. W. Stern & Co, New York, 1912).
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In the next section the area of interest lies in bars 72 to 91. In the previous section Joplin
revisited the first motif in C major and now he dramatically modulates to the relative minor of
To make this work Joplin very cleverly uses the IV chord (A minor), which is common to C
major, but with an added 6th. In this manner he brings to our attention that the key has changed.
Once it arrives at E minor he uses secondary iv of the first degree (analysed as boxed i)
to move to the IV, this time in the form of Amin7. Both diminished chords are acting as
dominants and although the Edim is moving towards the Amin the pull of the chord is really
dominant-tonic.
In the next few bars Joplin utilises a descending motif over the D#dim to build tension,
Finally Wall street rag82 is Joplin's most adventurous piece. Written two years before
Joplin's New Rag it is interesting mostly because of the harmonizations being used, particularly
Fig 5.32 Octatonic analysis of Joplin's Wall Street Rag (bars 56-72)
Not only is this section filled with upper-structures but they are also hidden within
82 Scott Joplin, 'Wall street rag' (Seminary Music Co., New York, 1908).
83 Bars 56-72. It is worth mentioning that this is the only rag in which Joplin named all the different sections to in-
form the player what the section is about. The section mentioned above is named 'Listening to the strains of
genuine negro ragtime, brokers forget their cares'.
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clusters. The 9th and 13th are stuck together with the root or 7th. In the Gmin9 the 9th is hidden
below the 3rd, and in the E7 the 7th is stuck to the root in the first and second voices. This type of
harmonization is not uncommon in jazz, but for Joplin this was quite outside of his usual style in
which he normally harmonizes the lead voice with triads in one inversion or other.
James Scott was a contemporary of Joplin's and also wrote many influential pieces. His
first known piece was A Summer Breeze.84 Written in the same year as Weeping Willow, Scott
The introduction plays around with vii and q of the first degree (F#dim and D#dim)
84 James Scott, 'A Summer Breeze' (Dumars Music Co., Missouri, USA, 1903).
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The piece begins with a very classical progression, unlike Weeping Willow which was
The next eight bars offer no surprise besides chord III, which resolves to a V/II as
In the last four bars of the section however we see a far more interesting use of
harmonies.
Firstly chord III from bar 15 takes us into a V/II which Scott does not resolve immediately,
instead he prefers to detour to diatonic q before landing on chord II. He then converts chord II to
immediately reinforced by a V-I. He repeats this process in the first four bars of the next section:
This time the resolution is towards supra-tonic iii as a passing chord before repeating the I-V-I.
In the second half of bar 26 there's a chord that proves quite challenging. By proximity
one could easily say that this chord is a second-degree transition (secondary iv of F major), but
the F# in the melody indicates that this cannot be. There are two ways of looking at this:
1. Scott might have considered this chord to be what Levine calls diminished harmony,
in which case this chord would belong to the diminished scale : A#-B#-C#-D#-E-F#-
2. This chord begins a modulation or a tonicisation to G major, in which case the A#dim
The latter is more likely since diminished harmony, as explained in chapter 4 (Symmetric scale
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harmony), requires that pitches appear in an exclusive manner i.e. a combination only available
in the symmetric scale. The A# diminished above clearly sounds like q of D major, not a
symmetric interchange. The other very interesting point that this movement illustrates, is that
since D major has no relationship with C major (according to the hierarchy of intervals) we
cannot help feeling that the key has changed. Consequently, only a modulation or a tonicisation
In the last two sections Scott uses the same technique as Joplin and modulates the piece
Scott utilises a slightly different method than Joplin and instead draws the arpeggio for three
bars (at this point F major is being heard as a IV of C), then he suddenly jumps to C7 followed
by a tritone substitution85 and then C7 again. In this manner he establishes the new key with only
two chords. In the next section we find a particularly interesting set of chords:
85 Theoretically speaking the correct scale here is G# melodic minor, but I consider the notation here to be erro-
neous since the movement is downwards towards C, therefore the tritone substitution should have been a Db6.
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Scott jumps from I to III of the first degree transition for seemingly no purpose other than the
colour that this provides. In other words, Scott does not seem to use this chord as a V/x or more
appropriately V/iii, nor does he continue moving down chromatically. Instead he leaps from the
III of C to a V/II to play a II-V-I, of course the bass line is moving down the scale but because of
the harmonization being used he inevitably draws upon transitional harmony. What is interesting
to note is that this is the first example of degree movements in this order (first degree then
second degree). At this point it has become common to find second to first degree movements in
the form of V/II-V/V, #i-V, etc. But this reversal of the hierarchical order is quite unique and
exciting.
In the last four bars of this section we see an even more dramatic use of this colour. Here
he interrupts the II-V by adding the III of C in between. One may wonder if this is intended as a
motif that he is developing i.e. if at some point the piece will drastically jump to A major or A
minor.
In the final segment Scott uses the III of C again but this time as a V/iii. This may appear
as a modulation to A minor but Scott jumps to C7 straight after the iii, confirming that we have
Finally Scott surprises us by using an upper-structure on the dominant before the end. We
may also notice the first degree interruption of the II-V again in bars 88-89, this time to q of the
Scott's use of harmony is on the same level as Joplin's but he uses his own individual
approach. His harmonic movements detour to the same degrees as Joplin, but he chooses to use
less obvious chords and slightly more unpredictable progressions. The next piece I wish to cover
was Scott's first hit, and one of the pieces he's famous for.86
Frog Legs Rag87 has two unusual components within the genre, firstly the usual
modulation in the second half is to the first degree as opposed to the usual second degree and
secondly, it has a distinctive call and response element in the main motif.
Fig 5.34 Octatonic analysis of Scott's Frog Legs Rag (bars 1-7)
The piece begins in Db major. In bars 6 to 8 Scott takes an interesting turn to the supra-
tonic iii. This works very smoothly since the iii also happens to be the relative minor of the first
degree (Ab), making the C7 appear diatonic for a moment. It could be argued that this is more
appropriately a tonicisation but I believe the Fmin never loses its iii characteristic, though there
is doubt after the C7. The first Fmin would need to draw on notes outside the key of Db to be a
The following bars continue in the same manner as the first four bars but then conclude
(bars 12 to 14) using a progression very common in jazz standards: usually analysed as I-I7-IV-
#IVdim, the detour to second and then first degree support the feeling of finality of the cadence.
This type of movement is quite common in many forms of jazz standards e.g. Be-bop blues and
rhythm changes. The next section is a repetition of the first with nothing new to add to the
analysis.
In the second part of the piece, as mentioned above, Scott modulates to the first degree.
He achieves this by simply drawing the dominant of the new key for four bars, but allow me to
skip ahead.
In bar 33 we find secondary q (Bdim) of the first degree being inverted to appear as vi
and #iv leading into I. This chord has similar properties to the diatonic secondary q (Edim) but
In second degree movements (Adim) the root and 7th of chord q resolve downwards towards the
I, whereas in the first degree q (Bdim) the root and the 3rd move upwards. The opposite is true of
the movement of q to chord V where the root, 3 rd and 7th of second-degree q move upwards to
the 5th, 7th and 3rd of V respectively. And first-degree q moves the root, 3rd, 5th and 7th downwards
Fig 5.34 cont... Octatonic analysis of Scott's Frog Legs Rag (bars 38-41)
In the last section of the piece Scott draws a simple form of call and response. Though
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harmonically very simple, this resource is one of the trademarks of early jazz, hence I value its
Scott draws upon similar harmonic resources as Joplin, but works slightly different
progressions, for example the brief tonicisation of iii in the first section, which can also be found
in bars 7 to 8 in the second section of Kansas City Rag.88 In this case it truly works as a
tonicisation since the melody introduces the F# which is not diatonic to C major:
Fig 5.36 Octatonic analysis of Scott's Kansas City Rag (Bars 22-30)
The F# (bar 27) actually begins over the C major triad causing the ear to accept the E
minor as a transition instead of iii. The B7 serves to confirm the E minor as a potential new key.
This is a favourite resource of Scott which he would use in countless compositions until his very
late works, for example see Broadway Rag89 his last published work. Scott's music became
88 James Scott, 'Kansas City Rag' (Stark Music and Co., St. Louis-New York, 1907).
89 James Scott, 'Broadway Rag' (Stark Music and Co., St. Louis, 1922).
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more complex in later years, mainly rhythmically or technically challenging, but his harmonic
Joseph Lamb, the third of the famous ragtime composers, uses the same form of harmony
as Joplin and Scott, but brings his own idiosyncrasies to the mix.
The Lilliputian's Bazaar90 written in 1905, a year before Frog Legs Rag, shows Lamb's
The introduction consists of the dominant 7th played repeatedly, followed by second-
degree q (Dbdim) and then dominant again for two bars before resolving on I. This clearly states
In the first verse we see the usual treatment of V-I, as in most rags.
However, in the second half of this verse we already find a variation of the same resources:
Lamb not only uses upper-structures here, but he holds them and repeats them. At this point in
time not even Joplin had incorporated these extensions and when he did (b9 in Eugenia) there
In the next section Lamb modulates, as is common, to the second degree. He does this in
a beautifully subtle way by making us think he has just moved to IV of C, but then proceeds
We can observe here that even though the key signature has changed, our ears are still
hearing the key of C. Initially the C7 simply sounds like a V/IV. When the C7 is repeated in bar
40 we begin to feel the modulation. Another important observation is Lamb's use of the diatonic
chords: he seems to be moving in contrary motion to what Joplin or Scott would have done. For
example: on many occasions Joplin uses secondary chords and transitions to move to I or V.
Scott on the other hand prefers V/x, but Lamb is moving to the dominant after he has played the
I i.e. F followed by its V (C7), Dmin followed by its V (A7), Bb followed by its V (F). In the
next section we find another interesting use of upper-structures, and a chord not encountered
Lamb holds the C7(add13) but resolves it to i (secondary). He also doubles the 9th an octave below
Sensation91 was written a year after Kansas City Rag and contains several
91 Joseph F. Lamb, 'Sensation' (Stark Music Printing & Publishing Co., New York & St. Louis, 1908).
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Lamb borrows an idea from Joplin but only for a brief passage, this is the Eb7 (third
degree transition) over the last quaver in bar 4 to lead into I in the next bar.92 Joplin would have
used a tritone substitution resolving to Vsus or I with the 5th in the bass, but since Lamb resolves
directly to I with no suggestion of a V, this chord would be analysed as a third degree transition.
Following the resolution we see a treatment similar to that of Scott, utilizing V/x to move the
harmony forward.
Bar 7 captures my attention with the use of Q in the bass. Lamb lets the C and F ring
over the change to Eb, but more important yet is the notation used in the next bar. Though he is
virtually using the same key on the piano he does not consider the Eb the same as the ascending
chromatic D#. Purely speculating, I wonder if Lamb was also aware of Q as a possibility within
92 I did not consider this passage worthy of a chord symbol since the movement is too brief and not discernible
enough to be useful to an improviser.
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In the penultimate section we see Lamb modulating to the customary second degree. He
achieves this in the most peculiar and abrupt manner. The section before the modulation consists
mainly of two bars of V and two bars of I in G major with a turn around beginning on bar 29
above. Once the new section begins, bar 33, the sound of the first chord is that of IV of G. It is
not till the second bar that we become aware that this in a different key. This seems to be one of
Lamb's trademarks, the uncertainty of tonal centre. He takes this even further in the last section,
but before I detour there are some other interesting transitions in this section.
In bars 37 and 38 we encounter one of those rare occasions where the hierarchy principle
in the octatonic system offers two equal possibilities: The Bb7 in the Key of C major is either a
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fourth degree transition (Eb major) or a fourth degree melodic transition (F melodic minor), both
alternatives contain the same amount of common notes with the tonic scale. Since the melody
doesn't offer any clues I must assume that the most likely possibility is Eb, because melodic
harmony was not commonly used in this period. And when it was, for example the Fb7 and
Bb7#11 in Maple Leaf Rag or the Ab7b5 in Eugenia, it was used briefly to connect two chords
chromatically, usually lasting a quaver or less, and the melody was drawn around the melodic
Finally, in the last section, Lamb modulates to the relative minor (R.M.) and then a
tonicisation of the first degree. An improviser might draw these changes more clear but Lamb
prefers the uncertainty created by not using any of the extensions, thus making us wonder if
there actually is a tonicisation to G or rather a V/V-V movement. Due to the long duration of the
D7 and the further inclusion of the chromatic F# in the melody over the G triad, one may
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The arrival of C would seem to confirm this supposition since Lamb persists with the use
(crotchet =50) and what I found was that the C major acquires a strong sense of IV, but this
makes the last four bars sound very awkward. When the piece is played at its appropriate tempo
(between 85 and 100 bpm), then Lamb's intentions become much more clear and the return to
the C major triad is less doubtful. This seems to corroborate what I proposed in chapter 4
concerning the difference between modulations and tonicisations. If the piece is played too
slowly, then Lamb's intention is lost and one ends up with the C major in bar 57 sounding like a
IV. However, when it is played at the tempo it was designed to be played, the movement is short
enough to appear as a tonicisation and thus the pull back to C is not lost.
Ragtime Nightingale,93 written in 1915, shows an exquisite use of modern harmonies that
93 Joseph F. Lamb, 'Ragtime Nightingale' (Stark Music Co., St. Louis, 1915).
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The first point of interest is the VI with a flattened 5th. This chord should be analysed as a
secondary, but it is unclear if this is actually a #11th or b5th. Any of the secondary possibilities
(Abmin, Absus2 or Absus4) would radically alter the intention of the movement, whereas the Ab
major or Ab#11 would produce very similar results. The second point is the brief, but noticeable,
tritone substitution of V/V, which is basically converted from the secondary vi. This could imply
that an improvisation over these chords could treat all Ab chords as tritone substitutions, since
In this verse we see upper-structures used extensively. Particularly unusual for a rag, is
the major 7th possibility for chord I. In the second half of bar 28 we find an F7 which suggests a
V/V, but the chord to which it resolves looks more like an Ab(b5) with a D in the bass. On closer
inspection this chord could also be interpreted as a Bb9 whose root is being omitted in favour of
a more ambiguous voicing i.e. it is possible to conceive that Lamb intended this ambiguous
movement since 1. the Ab(b5)/D sounds similar to a Bb9, played only two bars before and in this
manner it tricks the listener into thinking V/V-V-I back to the tonic. 2. This chord is also very
similar to a tritone substitution of V/iii, thus making the arrival of iii (bar 29) sound unexpected
Lamb, unlike his counterparts, lived to be seventy-two years old and continued writing
until his death (1960). This is perhaps the reason why his compositions always seemed
In conclusion, ragtime was probably the most harmonically advanced popular music at
the turn of the century. We know, as seen in chapter 1, that most jazz began as improvised
ragtime. It seems likely that this is where jazz harmony began. In the next chapter we will be
able to appreciate the strong harmonic influence, particularly amongst jazz composers, that
Ragtime had in early jazz repertoire. But there is still one ingredient missing which gave jazz its
final seasoning.
The blues
There is probably no other style of music that has defied theoretical analysis as much as the
blues. First we have the problem of definition: what exactly is the blues? For some the blues is a
sound, for others a way of playing.94 Some think of the blues as a song form (twelve bars),
whereas others think it's a certain quality added to the music, primarily the sounds of the blue
notes.95 Theoretically speaking, the blues seems to be somewhere between modal and tonal. It
could be expressed as a I-IV-I-V structure where each chord is Mixolydian. Nettles claims that
the blues have their basis in early American church music.96 He also argues that the 'basic scale'
used for blues melodies is a scale 'NOT diatonic to the harmonies'. But on the other hand it is
quite easy to find blues which use the Ionian mode over chord I, see for example Charlie
Parker's Blues For Alice97 and Bird Feathers.98 Another view is that there is a basic blues
progression and then there are hundreds of variations of it.99 But what concerns us more here is
the blues as a musical entity before and around the birth of jazz. According to Titon there are
two distinctive forms of blues, one is the vaudeville blues and the other is what he calls
downhome blues.100 The former was a commercial popular form and the latter more of a folk
form. The blues as we understand it today has more to do with vaudeville since early singers
would accompany themselves with bands or at least a piano player therefore necessitating a
predefined structure for the musicians to follow,101 whilst the folk forms involved singers who
According to most books on the subject the blues form can be viewed as a twelve bar
structure usually divided into AAB. The first A section consists of four bars of I, the second A
consists of two bars of IV and two bars of I; and finally the B section consists of one bar of V,
| I | I | I | I |
| IV | IV | I | I |
| V | IV | I | I |
Accepting this as the scaffold on which variations are built, we may acknowledge that any piece
Now concerning the harmonic peculiarities: one option is to consider the added blue
notes as part of our tonal scheme. For example, Masters proposes a scale called 'Composite
Blues scale':102
The benefit of this approach is that the scale above contains all the notes needed for traditional
chords and functions to work whilst including the blue notes. Using this approach all the chords
of the blues would be analysed from one tonal perspective. The disadvantage of this approach is
that it would require a whole new system of primary and secondary chords plus ten new modes
to consider. Added to that is the absence of Q in the scale which would entail that diminished
chords can only be formed from the root and its inversions (Cdim, Ebdim, F#dim and Adim).
Grantham states 'the blues has its own history and aural logic and does not need to be justified
by traditional music theory'.103 But he also states that musicians, specially jazz players, have
applied advance theoretical techniques to the basic blues form. So this brings me to the question:
The second problem is the justification of 7th chords substituting for the traditional
harmonic functions (X7 acting as I or IV). My proposal is that we acknowledge the basic form
of the blues as a triadic construct, anything falling outside of the diatonic upper-structure could
be considered a modal interchange, thus justifying any presence of blue notes as belonging to a
modal substitute. In other words, since a modal interchange is the practice of substituting a
102 Randy Masters (ed.), Standard & Exotic Scales: From around the World (P.D. Costello Publications, Santa
Cruz, CA., 1983), 6
103 Jim Grantham, The Jazz masters Cookbook: Jazz Theory And Improvisation, (Nightbird Music Publishing,
Oakland, USA, 2000), 83
212
mode for another that contains the same chord, the basic major triad of the blues can be
C (major fundamental)
C (V of F major fundamental)
The combination of these substitutions would justify any presence of blue notes in a harmonic
situation i.e. first-degree M.I. adds the flattened 3rd and the sharpened 11th; the second-degree
M.I. adds the flattened 7th. However if a blue note would appear only as a melodic passing note,
then the note should be recognized as such with no dramatic alteration of the harmony e.g. if it
appears as a chromatic passage. The advantage of allowing this open interpretation of the blues
will be seen better when analysing blues in the context of jazz, since the evidence will show that
To begin the quest for appropriate pieces to analyse, it would seem better to begin with
blues pieces we know for certain early jazz musicians performed or knew about.
The earliest published blues appears to be I Got The Blues,104 by A. Maggio. This is in
fact another ragtime but the blues form and characteristics are already present.105 The first
section consists of a twelve bar structure and although distinctly tonal, the melody and
harmonizations use certain notes outside the tonality e.g. accidentals which do not coincide with
104 Lewis Porter, Michael Ullman, Ed Hazell, Jazz From Its Origins To The Present (Prentice-Hall, Inc., 1993), 15
105 Antonio Maggio, 'I Got The Blues' (A. Maggio, New Orleans, 1908).
213
Fig 5.40 I got the blues original score (my chord symbols)
We may notice that in the B section of the blues (bars 13-14) the movement is that of a V-
I and not a V-IV-I, but we will accept this as a variation of the basic form of the blues. The
second part of the piece (after the second ending) continues more in the fashion of a ragtime not
214
a blues, so our octatonic analysis will just concern the first part.
The introduction begins in D major (q-I), but Maggio quickly establishes the tonal centre
The first section begins without any alteration of chord I. In bar 4 we see a common
conversion of I into a V/IV. Following the G7 we encounter C7, which does not belong to G or C
major. But since the G7 has led us to believe that we are resolving to C major chord (IV) and C7
is only a second degree transition from C major, then we can justify the 7th as a modal
interchange.106 In other words, the G7 tetrad conditions us to hear a resolution to C, since the C7
contains the C major triad we partly hear a resolution (V/IV-IV). The minor 7th extension (Bb)
over this chord, simply implies an ornament i.e. a modal interchange. The question, however,
106 I remind the reader at this point that modal interchanges are done in function not of the key, but the scale of the
chord being altered.
215
remains as to why we would prefer F major scale over G melodic minor scale? The latter is
tonicise the C as a temporal tonic centre, thus G melodic minor would not actually be the closest
combination with chords of the scale e.g. Gmaj-Cmaj-Gmaj-Dmin7,G7-Cmaj, the two transition
chords here (in bold) belong to the same degree (C major scale). If one encounters two non-
diatonic chords in a row that belong to two different scales, then a transition might not be the
correct analysis, especially if the sequence involves a cadence of some sort. Consequently, the
C major the suggested temporal tonal-centre and F major the closest degree relationship.
Another peculiarity is the diminished chord, often found in bar 6 in most blues. In
ragtime we observed several instances where #iv appeared in the form of diminished. This chord
was always analysed as a first-degree transition. But in the blues this wouldn't make much sense
because we are coming out of a modal interchange, which has also suggested a tonicisation. The
#iv is diatonic to the modal interchange (q of the scale in question), thus the closest in
relationship. So basically, every alteration has a chain reaction which demands that we
reconsider the obvious analysis. The whole point of the octatonic system is to provide a smooth
and logical transition between chords, therefore we should always aim to find the closest key
relation to the event which has just occurred i.e. the previous chord.
107 The exception of course is when the transition chord resolves to a diatonic chord, like we have seen in Ragtime:
V/IV to IV, V/II to II, etc.
216
The last 6 bars offer no other peculiarity but I have included them to show the full form
of the blues.
So now that we have understood the mechanics of the blues better, I will continue with
the analysis of other important pieces around the beginning of the 20th century.
It is widely accepted that W.C. Handy was responsible for the blues 'fad' 108 or 'craze'109 at
the turn of the century. Handy was one of the first musicians along with Maggio to publish
music using the blues form, but unlike Maggio his music became widely known and popular.
The two most famous pieces were Memphis Blues (1912) and St. Louis Blues (1914).110 Though
these pieces were originally published under the 'rag' designation, they both contained a section
This analysis of Memphis Blues (below) comes from the original publication scored for
voice and piano.111 I have omitted the melody since it is doubled by the top voice in the piano
and consequently doesn't add anything to the analysis. The structure is not that of the typical
ragtime. It consists basically of four different sections of dissimilar length. First we have the
usual introduction, lasting five bars, which states the tonality of the piece:
108 Lewis Porter, Michael Ullman, Ed Hazell, Jazz From Its Origins To The Present (Prentice-Hall, Inc., 1993), 15
109 Jeff Todd Titon, Early Downhome Blues: A musical and cultural analysis (The University of North Carolina
Press, 1994), xviii
110 Alyn Shipton, A new history of jazz (Continuum, London, 2002) ,42
111 W.C. Handy, 'Memphis Blues' (Theron C. Bennett, N.Y. City, 1913).
217
This next section (above) consists of a four bar ostinato, where in the original score it
contains the performance instruction 'Til ready.' This is clearly a vaudeville arrangement where
these types of section were written to allow the singer or MC to ad lib with the audience or make
introductions. The Db7 in the second bar could be misinterpreted as a third degree transition, but
one must always observe the melody before jumping to conclusions. Here the lead voice
descends from Ab to G and then F. If this was a second degree transition then the G would have
to be sharp. The procedure here is to continue up the transition chart until we find a key that
hosts this chord and the notes in the melody. The only possibility is a sixth degree melodic
transition (Ab melodic minor), which as we know at this point is also the tritone substitution of
This section is more similar to our typical ragtime. The A7, analysed here as a V/VI
instead of III, clearly announces a modulation, but to where? The normal assumption would be
to the relative minor, but the Adim used as a passing chord in the second beat of both bars
insinuates D major more than D minor (due to the presence of the F#). Nevertheless, this note is
a chromatic passing note and does not dramatically alter the fact that we are hearing a
The D7 in the next bar destroys our speculations and now we perceive that the piece is
modulating elsewhere. There are two considerations here that must be noted: in the general
practice of analysing music, one sometimes tends to rush and jump to conclusions on what
appears to be a common chord progression. A7-D7-G7 in the space of two beats is quite
dissimilar from the above, where every chord lasts for two bars. For example in earlier analyses,
particularly ragtime, we found V/VI as well as V/II, etc. many times, usually heading straight
into its resolution within a few beats. In the case of Memphis Blues however, each of these
chords last long enough to create a whole new tonic-centre, or at least the impression that one
may occur. The second consideration - which is directly related to the previous one - is that since
a new tonic centre has been suggested, but not established, then transitions and modal
interchanges must relate to this hypothetical centre. Hence, the D7 is suggesting a V/VI as much
as a V/II. In other words, the A7 created the illusion of a modulation/tonicisation to the relative
minor, thus the D7 can also be perceived as V/IV of D minor. This in turn prepares us for the
sound of G minor IV. Under normal circumstances the D7 would clearly be V of the second
degree (G minor), but Handy is very clever to draw that this is not so. The melody is drawing D,
E, F# but E does not belong to Bb (second degree transition), so just as we did with the Db7
above we must continue up the transition chart to find a key containing D7 with an added 9th (E),
consequently G melodic minor. Since the function remains unaltered (V/IV) we must consider
dominant of the dominant of the dominant, then the D7 as V/V dominant of the dominant, etc.
This could even be carried all the way across from A7 to C7 and the analysis would look absurd.
Under this system it becomes clearer how the key actually detours into other degrees whilst
Resuming the analysis, the last five bars of the section conclude with the same movement
Similarly to I got The Blues, the first chord of the blues section does not begin with a 7th
chord but rather a normal I. The second chord Bb7 is analysed as a transition because the next
chord is diatonic to Bb up to a point. Though the following Eb (bar 33) is not necessarily an Eb7,
the movement in the melody would seem to imply it. The melodic line F-E-Eb could be
interpreted as a chromatic descent in which case the chord could be a diatonic IV of Bb, or it
could also be interpreted as 2-Q-root in Ab. Since we know that this is a blues we can make the
The next bar of Eb seems to draw upon the 7th and q, but once again this could be
interpreted simply as chromatic approaches as are commonly found in ragtime. In bars 37 and 38
we find another variation of the blues form. Instead of V-IV as it was described above, the
movement here is that V-I-IV before finally resolving on I for two bars. Handy does not include
any indications for the end of the twelve bar cycle and rather writes the whole section as a
twenty-four bar structure, where the twelve bar blues is written twice slightly differently. I've
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taken the liberty of adding a double barline to indicate the beginning of the second blues form.
The second blues section begins with a modally interchanged I. It is fascinating to see
how Handy manages to make this blues interchange work i.e. how he avoids this chord
that he uses the exact same motif he did in the first bar of the first blues section (bar 29) whilst
hiding the minor 7th in the bass. Thus the blues feel is present but the dominant effect is subdued.
The next four bars repeat the same movement as before, returning to I (Bb) and then the
V-I-IV variation. But this time Handy ends in what truly constitutes a bluesy manner:
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The resolution of the Eb IV is directly into a modal interchange before finishing on triad I. This
is perhaps where Handy made the greatest contribution to the jazz sound. As we will see in
countless examples, jazz musicians have a predilection for altering the obvious chords. That is to
say, whenever there is a traditional movement such as V-I, the modification of one or the other
Handy's other blues contribution was St. Louis Blues.112 The analysis below is from a
reduced score (lead sheet) provided in the Real Book of Blues, 113 this format is more common in
jazz repertoire. To be certain that this version was not modernized I double checked with a
publication done by Handy himself arranged for piano and ukulele, published five years after the
original publication.114 The only difference I found is: 1. the omission of the introduction in the
modern version, which is based on the first chords of the second section and 2. the II-V-I at the
Unlike Memphis blues, Handy incorporated the blues in the first section. This piece
captures more of the essence of what we understand as blues. From the opening chord to the
final cadence, Handy uses modal interchange to draw upon the minor 7th blue note:
Fig 5.44 Octatonic analysis of Handy's St. Louis Blues (bars 1-6)
This is the first example of the 7th chord being used from bar 1. The melody does not
draw any of the 'blue' notes, but Handy made sure that the G7 chord was being played from the
first beat.
In this example of Handy's 1919 arrangement we can see that the harmonization is
simply root and minor 7th, this plus the melody playing the 3rd and 5th draws the full chord. It is
clear that Handy wanted the blues sonority from the beginning.
The second chord, C7, asserts the blues sonority by drawing on the second degree modal
interchange. Handy then takes a break from the interchange and gives us a full bar of G major
triad. Now the following G7 repeats the same effect as the first one, but this time it is resolved to
a C major triad. In fact, Handy makes a point of it by resting the melody on the A and
harmonizing a C6. Was Handy intending a tonicisation? Though it is true that the movement
towards the IV would appear as diatonic, making the G7 in bar 4 a V/IV, the ambiguity of the
224
first four bars make this C6 appear as a resting point. Nevertheless, in the following bar Handy
returns to the blues feel by means of the same interchange (C7 replacing C major triad).115
In the last four bars of this blues section we find another variation of the basic form.
After returning to I Handy prefers a melodic transition instead of the IV: the D7#5 appears in
brackets since it does not appear in the original score.116 Though the Bb in the melody might be
interpreted as a blue note, the first degree melodic transition offers a smooth passage that
justifies this note in close proximity to the tonic key. It also anticipates the event that takes place
The second section is not structurally a blues, but Handy uses many of the blues
ingredients in certain passages: first we may observe a dramatic minorisation which utilises no
modulation or tonicisation progression. The motif employed on the I is then repeated on the V to
lead back to I.
115 Thus the modal interchange to C7 can be presumed for both bars for improvisational purposes i.e. C6 is simply
a different voicing of the C7 interchange.
116 However, the combination of the chord being played by the rhythm section (which omits the 5th) plus the Bb be-
ing sung, does create an overall perception of a D7#5.
225
The motif is repeated twice and then returns to major via a simple first degree transition
In the following bars, which could be classified as a new section, Handy draws upon a
new variation of the blues. This time we find two bars of G-G6 that appear closer to a rag than a
blues. It is not till bar 33 that Handy insinuates blues form again
Handy repeats the idea of C6 followed by C7, thus delaying the modal interchange.
Another point here worth noting is the second half of bar 35: the melody anticipates the
226
harmonic movement by drawing upon the notes of the next chord before it happens. This form of
As stated earlier the II-V appears to be a modernization of the original blues structure,
but whether this was a I or a II does not affect the analysis of the key movement i.e. a diatonic
unaltered movement. In the second half of bar 40 Handy reiterates the blues sound with one final
In conclusion, despite the vast literature on the subject, early published blues seemed to
draw only around the modal interchange of the minor 7th. There is no indication of a blues scale
and the harmonic movement is still based around the basic tonal functions of other songs and
pieces of the era. The blues sound seems to be nothing more than a modal substitution of the
primary degrees (I, IV and V). Of course this is not evidence enough to define a whole genre,
but since these were the first published versions and consequently the first blues to venture
outside the south of the United States, it is logical to assume that they were the most significant
Chapter 6
The Standards
When attempting to compile over a century of repertoire to prove an analytical point, one may
be overwhelmed by the amount of musical pieces that provide their own theoretical uniqueness.
Throughout the 20th century jazz went from simple blues influenced ragtime, to modal, atonality,
poly-tonality and eventually a mix of all the above. What would be the best way to organize the
repertoire whilst trying to cover as many aspects and peculiarities that each tune provides? A
chronological approach would seem to be the obvious decision, but since jazz development
occurred so fast, sometimes in the space of a decade, many of the styles and composers
overlapped. For example, free jazz began to develop nearly side by side with jazz funk and
fusion.1 Many jazz standards were composed by outsiders such as the tin-pan alley and
commercial composers of Broadway and Hollywood songs,2 whilst other pieces were being
written by actual jazz performers whose music was very different e.g. Duke Ellington. On the
other hand, trying to analyse every piece which contains some theoretical importance would be a
lifetime task. So clearly a middle point that covers most of these issues would be ideal. First we
need a proportional representation of the major composers i.e. those who feature widely amongst
repertoire books (real-fake books) and mainstream recordings. Second we need the pieces
written by these composers which represent not only the style but also any theoretical peculiarity
that might be of interest. Finally these tunes should be in chronological order of the composer's
work.
As a reference I began my quest by looking into the repertoire lists suggested by David
Baker3 and Mark Levine.4 These two lists provide an invaluable source of information since 1.
1 John Fordham, Jazz (Canada: The Reader’s Digest Association Ltd., copyright by Dorling Kindersley Limited,
London, 1993), 42-5
2 Darius Brubeck, '1959: the beginnings of beyond' in Cooke, Mervyn, & Horn, David., (eds.), The Cambridge
Companion to Jazz (United Kingdom, Cambridge University Press, 2002), 177–201 (185)
3 David Baker, How To Learn Tunes, Vol. 76 (USA: Jamey Aebersold, Albany, 1997), 69-82
4 Mark Levine, The Jazz Theory Book (USA: Sher Music Co., 1995), 421-458
228
they are a compilation made by practitioners who are also educators and have published
numerous educational materials and 2. they provide additional information which allows me to
build up a database of authors. Baker's list offers 784 tunes with their composer and if applicable
the lyricist's name. Levine on the other hand offers 965, of which he highlights 248 as
essentials.5 Unlike Baker, Levine adds information of recordings of these tunes plus in which
real/fake book one may be able to find a copy of the score. Naturally there are other sources such
as the internationally known Real Books.6 These are hand written books with no
knowledge, two of which are devoted to vocalists, and I have seen them used in many countries.
Other well known repertoire books of this shady nature are 'The Colorado Cookbook', ' Jazz
Ltd.', 'The Book', 'The Tin Pan Alley Series', 'The Firehouse Jazz Band' and 'The Library Of
Musicians “Jazz”' just to name a few. Many of these books include not only an alphabetical
index but also a composers index, and if not, the composer's name appears at the top of the
5 Ibid., 419
6 Not to be confused with the legally published 'New Real Book' or 'The Standards Real Book' by Sher Music Co.
7 I must make a note that these books were used solely for the purpose of building a statistical’ database of com-
posers, for actual scores I referred to legal publications since they would appear closer to the original composer's
intentions.
8 The list consists of: 150 American Jazz Standards (Moscow: V. Kiselev ed., Moc M
,1994); 557
Standards in C (No information); This Is The Ultimate Fakebook (USA: Hal Leonard Corporation, WI, 1996);
The Colorado Cookbook (No information); The Great Gig Book (No information); The Jazz Bible Fakebook
(WI, USA: Rob DuBoff ed., Hal Leonard Corporation, 2000); Real Jazz Book (USA: Hal Leonard Publishing
Corporation, 1998); Jazz Fakebook (No information); Jazz Ltd. (No information); Library of Musicians' Jazz
(No information); New Real Book (CA, USA: Chuck Sher ed., Sher Music Co., 1988); The New Real Book
volume two (USA: Chuck Sher ed., Sher Music Co., CA, 1991); The New Real Book volume three (CA, USA:
Chuck Sher ed., Sher Music Co., 1995); The Original Musicians' (CA, USA: Hansen House, 1978): The Real
Book fifth edition (No information); The Real book all new volume II (No information); The Real book all new
volume III (No information); Legit Professional Fake Book (Canada: Richard Wofle ed., Boosey & Hawkes,
1986); The Other Book (No information); The Standards Real Book (CA, USA: Chuck Sher ed., Sher Music Co.,
2000); The Tin Pan Alley Series: Golden Standards of the 1900 (No information); The World's Greatest Fake
Book (CA, USA: Chuck Sher ed., Sher Music Co., 1983); The Ultimate Broadway Fake Book (USA: Green
Stanley, Hal Leonard Publishing Corporation, 1991); The Real Vocal Book (No information); The Real Vocal
Book volume II (No information).
229
I was surprised to find Rodgers heading the list by such a large margin. One might take
into account that not all of these books are aimed at the jazz practitioner. For example The Tin
Pan Alley Series does not contain any jazz composers, only musical theatre composers. It is the
case that the jazz standard repertoire consists in large part of these type of tunes, but it is my
belief that these composers should be separated by category i.e. jazz practitioners and non-jazz
practitioners. This allows certain composers of importance, but of small repertoire, to figure in
the list, for example Herbie Hancock who featured only 40 times, Billy Strayhorn and Tadd
Non-jazz composers
Correlating the above findings with Baker and Levine's lists I was left with the following order
of composers, sorted by chronological order and some of their most relevant pieces.9
D Remember (1925)
D Blue Skies (1926)
D How Deep Is the Ocean (1932)
D Cheek to Cheek (1935)
9 This is an arbitrary number intended to be a sample of the composers work, since a larger number of works
would surpass the scope of this thesis. The actual pieces were chosen out of a combination of both lists plus their
harmonic interest. The chronological order is based on the earliest work.
10 Laurence Bergreene, As Thousands Cheer: The Life Of Irving Berlin (New York: Da Capo Press, 1990), xiii
11 William G. Hyland, George Gershwin: A New Biography (USA: Praeger Publishers, 2003), 3
12 Stephen Banfield, Jerome Kern (USA: Yale University, 2006), 1
231
D Stardust (1929)
D Skylark (1941)
D Lover (1932)
D Have You Met Miss Jones (1937)
13 William McBrien, Cole Porter (New York: First Vintage Books Edition, 2000), 5
14 Richard M. Sudhalter, Stardust Melody: The Life And Work Of Hoagy Carmichael (New York: Oxford Univer-
sity Press, 2002), 7
15 Geoffrey Block, Richard Rodgers ( USA: Yale University, 2003), 9
16 'Biography', Victor Youngs's Web, 2006, http://victoryoung.czechian.net/indexeng.php?text=biog (5th of Septem-
ber 2009).
17 Edward Jablonski, Harold Arlen: Rhythm, Rainbows and Blues (USA: Northeastern University Press, 1998), 4
232
Irving Berlin
Irving Berlin wrote around 1500 songs in his lifetime which is interesting considering
that he could barely read music or play the piano.19 Nevertheless his work in theatre and in
Hollywood made him one of the most representative composers of the American song-book.
The first song I will analyse is Remember20 written in 1925. This song presents a
fascinating use of melodic minor transitions which were not frequently used in this era.
From the beginning we can observe that Berlin used melodic transitions every two bars.
The G7 in the fourth bar could be misinterpreted as a second degree (regular) transition, but the
A in the melody makes us reconsider the analysis finding that fifth degree melodic transition is
the only suitable option. Berlin then modulates to the first degree using Q in the melody (C#).
This is the first example of Q being held (as opposed to as a passing note) that we find. This
18 Alec Wilder, American Popular Song: The Great Innovators 1900-1950, ( New York: Oxford University Press,
1972), 442
19 Bergreene, As Thousands Cheer: The Life Of Irving Berlin, 587-600
20 Hal Leonard, Real Jazz Book (USA: Hal Leonard Publishing Corporation, 1998), 290
233
In the next bar the modulation comes to a close and immediately modulates back to Bb,
which creates a doubt as to which is actually the tonic key. There are two ingredients at work
here: on one hand the F major inevitably sounds like a dominant key-centre from Bb. But the
latter, though sub-dominant in reference to F, actually adds more tension. In other words, the
simple and direct resolution to F plus the Bb major progression leading into the cadence closing
in F, seem to imply that the tonic key is actually F. In any case both keys should be analysed in
reference to each other i.e. F is the first degree of Bb and the latter is the second degree of F.
Here we begin to feel F major as a tonic, since both times Berlin has led us back here as a
point of closure. Once it has returned to Bb we find what could very appropriately be called a
bridge section (bar 16). Berlin uses a variation of the initial motif an octave higher, thus
reinforcing our perception of Bb as a sub-dominant centre from F. We then hear the original
234
motif in a different context. This is the same motif we heard in bars 1-2, 8-9 and 16-17, now
being played over iii of F major. Though the notes of the chord being played are different (root
and 3rd instead of 3rd and 5th) the melodic intervals are the same i.e. an ascending and descending
minor 3rd. We know that Berlin didn't have any formal training in music which makes this
example particularly interesting: the motif was previously introduced over chord I (tonic) and
this variation is introduced over iii (supra-tonic) of the first degree. We know that supra-tonics
sometimes function in place of the tonic, but to use this resource on the iii of the first degree
makes it much less obvious and still close enough to home (key) to be effective, thus giving the
In the last eight bars we see the repetition of the first section to finally conclude in F
major:
Since these last eight bars match the first sixteen so closely, and the length of the variation
(bridge) also lasts eight bars, it would be suitable to structure the piece into an AABA form. This
would make it visually easier to appreciate the structure. What is also interesting is that in
previous analyses we have seen the use of first and second degrees as a tension building detour,
one might say a key substituting for a dominant/sub-dominant function. But in this case, Berlin
235
uses the second degree as the main tonic-centre throughout and only briefly touches on the tonic
I should point out that this tune was composed eleven years after St. Louis Blues and ten
years after Ragtime Nightingale. There's a considerable development in harmony between these
decades that could mostly be linked through classical music rather than popular music.
Nevertheless, the influence of ragtime and the blues will become far more evident when we look
jazz composers. This chapter aims mostly at observing the influence that non-jazz composers
had on jazz.
Blue Skies,21 written in 1927, shows again Berlin's predilection for melodic transitions.
But this time we can observe ample use of secondary chords. The song is also an AABA format,
It could be argued that the piece begins in minor and then modulates to the relative major,
but there is no clear indication of a modulation. The piece begins in E minor with a chromatic
the tonic chord. Also worth noting is Berlin's use of chord VII of the first degree transition,
21 This Is The Ultimate Fakebook (USA: Hal Leonard Corporation, WI, 1996), 81
236
C#min7b5 in bar 4, used as a continuation of the chromatic bass line. This chord serves the
function of allowing the root to descend to C# (not available in this key) whilst holding the note
B in the melody. No other primary chord offers this possibility. The passing chord Cmin6/Eb
could be better interpreted as ii (AØ/Eb), since this chord would be more common in this
voicing.22 Berlin delays the confirmation of the tonic chord for another two bars by repeating the
voicing G/D, creating a sense of unease or delayed resolution. Then there is complete cadence,
altered as a melodic minor detour, that finally resolves on I (root position). After two bars of rest
the harmony leaps again to E minor thus confirming its sound as VI of G major. This could be
As seen above Berlin uses no variations the second time around and in bar 17, and what appears
The B section, though fairly simple, shows evidence that composers like Berlin were
probably aware of Q as part of the scale/key, unless one would consider a harmonic major scale
as an alternative explanation.23 Here we can see that the melody uses most of the G major scale
22 Again the hierarchy of intervals plays a role here: two chords with the exact same notes in them, Cmin6/Eb and
AØ/Eb, one voiced from the 3rd and the other one from the 5th. The latter has a stronger definition and distinct-
ness.
23 Harmonic major: R-M2-M3-P4-P5-m6-M7. Example in G: G-A-B-C-D-Eb-F#, which is similar to the funda-
237
carefully avoiding the note E which would conflict with the harmony. In bar 20 the obvious
choice would be to harmonize the melody (A-G-F#) with the dominant (D7), but Berlin clearly
needs to make a point that this C minor is in the key of G and plays almost the full scale from Eb
down to F# over this chord. However, in bar 7 he does harmonize the same motif with the
dominant bringing the section to an end. The last section ends the piece with an almost identical
How Deep Is The Ocean,24 written in 1932, proves much more challenging to analyse
than most pieces so far. It contains excessive use of transitions in the form of potential
tonicisations, and deceptive cadences that give the illusion of a modulation. This is a minor
piece, but unlike other tunes seen up to this point, it modulates to the relative major via a first-
degree modulation. It also uses similar cadences (II-V) to go to different places in the key. The
Fig 6.4 Octatonic analysis of Berlin's How Deep Is The Ocean (Bars 1-4)
The tune begins by setting the tonic (C minor) via a complete modern cadence, but as
soon as we become comfortable with this key centre, Berlin takes us to the first degree. He
achieves this very effectively by using a minor II-V, which could have been easily misinterpreted
as a II-V/v., since the v in minor also exists in its secondary possibility minor 7 th. But he
The other obvious reinforcement is the use of the note A in the melody, if this had been a
secondary v it would have been an Ab. Though it could also be reasoned that the note A is a
chromatic passing note, the combination of a minor II-V plus this note (non-diatonic to C minor)
establishes the G minor as a new key. Later we see a return to the tonic key but this time to the
relative major. For analytical purposes this is a modulation to the second degree (from G minor
to C minor). But since the II-V in bar 8 of the above graphic clearly modulates to Eb major, I
thought it improper to analyse the movement as IV-VII-III in C minor and opted instead for a
In bar 10 we find a sound we are already familiar with. The II-V, already heard four times
at this point, makes us anticipate another modulation or at least a transition to chord IV. But
Berlin once again surprises us by taking an unexpected turn: granting that the root is precisely
what we expected, the nature of the chord is not. The only key with any relation to Eb in which
Ab7 can be found is Eb melodic minor and since the function is not being altered we can safely
conclude that it is a modal interchange to the first-degree melodic minor. Since this chord lasts
239
for two bars and the next chord is also found in the same key (chord VI in Eb melodic minor),
then we could consider the whole movement as a melodic tonicisation. However, the Cmin7b5
very interesting how Berlin manages to satisfy both sounds, to an extent: the Cmin7b5 could be
secondary ii of Bb (second degree) but since the movement is coming from Eb melodic minor
the latter is closer in relation. The F7 pushes us out of the Eb melodic minor 'feel' and begins to
insinuate a modulation to Bb minor, but Berlin is clever to play a D on the second beat of the bar
to quickly correct any misinterpretation. He is not happy with this and he closes the circle by
resolving to a modally interchanged V to the same degree as before (Eb m.m.), thus he achieves
He concludes the piece in a simple manner with an unresolved V/V, analysed as boxed II,
into a II-V-I. We may also conclude at this point that the tonic key of the piece is in fact Eb
minorisations and majorisations. Here Berlin utilises different transition degrees consecutively
but manages to do this without losing reference of the tonic key. The piece is structured as
AABCA, the A sections lasting sixteen bars and the B and the C only eight.
25 A normal II/V would imply a Cmin7, but since Cmin7b5 is a secondary option in this scale then the analysis
should be ii/V.
26 The Real Book: Volume III, Second edition, Hal Leonard Publishing Corporation, USA, 2006, 50-1
240
The first four bars show a very common sequence seen in jazz standards. In this
progression we can see the second degree q acting as a V/II.27 This type of progression is often
used as an introduction in order to establish the key centre whilst allowing performers to fill in.
In the next four bars we find a variation of this movement in the form of q of the first degree
acting as a V/iii:
After Emin7 we find an unusual set of transitions. Since transition chords need to be
isolated in between diatonic chords, here one would tend to look for a tonicisation or a
modulation. But the Bb7#11 is actually a hidden tritone substitution of E7alt, which in turn is
felt as V/VI. When the chord progresses to an A7 (V/II) and immediately a D7 (V/V) we are
unable to experience the movement as tonicisation or modulation and instead we appreciate all
three chords as transitions, because they all make direct reference to diatonic chords (the VI, II
and V). In this manner Berlin is able to use consecutive diatonic chord and make them sound
like transitions.
27 q sharing the same scale as A7 dominant of D minor. In this key q also acts as dominant.
241
Similarly in the next four bars, the use of melodic transitions enables the use of
consecutive transitions, all making direct reference to diatonic chords. Though the F7 is clearly a
non-diatonic chord, it provides two functions here: 1. From the ascending harmonic movement,
Dmin7-Emin7, we expect the sound of IV, the first degree melodic minor transition allows for a
subtle substitution (only the 7th changes), so half the expectation is satisfied. 2. The F7 is also
acting as V (dominant) of the following chord, thus announcing the movement. The Bb7#11 is
the same as in the analysis above and the A7 is the V/II this time resolved.
The B section utilises only II and I and requires no further analysis. The C section on the
movement. This time he descends to the root of C minor using scale notes (C-B-Bb or 8ve, Q,
minor 7th) but in order to continue the descent to A he borrows from the parallel melodic minor.
The next chord, Ebmin7, appeared to me as slightly out of place. So far Berlin has always
preferred subtle movements using voice leading methods to arrive at transition chords, hence the
Ebmin7 sounds somewhat abrupt. When looking for other corroborating scores I found that most
242
versions contain only an Ab7 or a variation of this for the duration of the two bars. 28 So instead
of:
Which would make the two bars a second-degree melodic minor transition from C minor. This in
turn is much more consistent with Berlin's style than the above fourth degree tonicisation. It also
makes more sense since after these two bars Berlin returns to C minor before majorising the
progression.
The beauty of this movement above is the subtlety of the majorisation. Assuming that the
previous two bars (30-31) were simply a second-degree melodic transition, the DØ could be
interpreted as a secondary ii of C major or II of C minor. The same could be said for the G7b9
and the G#dim, V and secondary q respectively. The Amin7 appears, almost unsurprisingly, as it
28 For example see This Is The Ultimate Fakebook, Hal Leonard Corporation, WI, USA, 1996, 117
243
is also following the chromatic descent. An improviser might very well want to be aware of this
duality since he/she can begin the majorisation at any point in these four bars. When the Amin7
arrives we realize that we did not notice when the majorisation took place. In this manner Berlin
George Gershwin
George Gershwin was one of America's best known composers. Amongst his many
achievements was the crossover between Broadway musicals and opera, culminating in Porgy
and Bess, which is one of the great American concert works.29 Gershwin is also one of the main
influences in the jazz repertoire, with multiple artists recording his works. 30 Unlike some of his
contemporaries Gershwin was interested in the sound of early jazz. One of his contributions to
the American songbook was the bluesy sonorities we have encountered in work-songs and blues
The first example of this is Lady Be Good31 from 1924. This piece imitates the
substitution of the IV chord in the same manner Handy had done twelve years before, but what is
particularly interesting about this piece is that it is clearly not a blues. In fact, Gershwin utilises
the same song form (AABA) which was common amongst other song writers of the time e.g.
Irving Berlin, and manages to introduce the blues sonority as part of a standard American song.
29 William G. Hyland, George Gershwin: A New Biography (USA: Praeger Publishers, 2003), 155-83
30 See: Ella Fitzgerald and Louis Armstrong, 'Porgy And Bess' (Universal Classics, 2008, B000VT2NH8), Miles
Davis, 'Porgy And Bess' (Sony Jazz, 1997, B000024F6M) and Joe Henderson, 'Porgy And Bess' (Decca, Verve
Music Group, 2009, B002NCUPBW)
31 George and Ira Gershwin, 'Lady Be Good' (Harms, Inc., New York, 1924)
244
The first two bars resemble the same harmonic progression as a blues: the modal interchange of
chord IV in bar 2 and 4 is acting as the sub-dominant of G major, not a V of another key i.e. it is
not a modulation nor a tonicisation. However, unlike the blues we do not have an insinuated C
tonic-centre so it must relate to the most proximate key to the tonic, unless evidence of an F
major interchange is stated, thus G melodic minor. Worth noting is that even though it is a
melodic minor interchange, the blues sonority is still present due to chord IV being transformed
The second ending finishes with a II-V-I to the tonic and then a brief II-V to the IV
degree:
The bridge could also be related to bars 5 and 6 of a blues: the movement of IV to the first
Gershwin uses a similar approach on There's A Boat Dat's Leavin' Soon For New York,33
The above example begins in bar 10 of the actual song. We can observe that the piece is
in Bb major with a brief sixth degree melodic transition. In bar 13 Gershwin plays an Ab note
over chord I, he does not however, change the chord symbol i.e. this note is sung not
orchestrated. Perhaps Gershwin wanted to make a point that this note was a blue note and not a
conversion of the I chord into a V/IV. Nevertheless the next chord is the IV and we cannot avoid
hearing the movement, so perhaps the analysis should be that of V/IV making it a second degree
Here Eb continues acting as IV but with a clear use of the aforementioned blues
interchange. The song proceeds to III and then modulates to the relative minor. In this manner
Gershwin introduces blues-like sounds into the mainstream repertoire. But Gershwin was also
able to produce interesting works using traditional harmony as for example his 1928 song
Embraceable You34 where we find a third degree tonicisation in bars 11-14 of the verse.
34 Chuck Sher (ed.), The Standards Real Book (CA, USA: Sher Music Co., 2000), 129
247
The following four bars, not included in the example above, leave the verse on the
dominant of G major to begin the chorus A Tempo. This piece is of particular interest since it
Jerome Kern
Jerome Kern wrote A Fine Romance in 1936,35 this piece offers very early examples of
chromatic transitions. The piece consists of one section with a second ending:
The piece begins in C major moving through a set of transitions which are familiar to us at this
point.
In the next four bars (above), Kern utilises a iii-VI-II-V progression which should be
viewed as a modern variation of the traditional turnaround (Anatole).36 This is because, as seen
in earlier chapters, the secondary iii acts as a substitution of I, the former being a supra-tonic and
In the next bars we see I converted to V (second degree transition) but not resolving to IV
nor modulating or tonicising a new key. This leads me to believe that Kern perhaps was
attempting Gershwin's blues type sonority. In the second half of bar 10 we see the chromatic
transition beginning with the fifth-degree melodic transition. A13 can only belong to two
possible keys: D major and E melodic minor, the latter been closer in the hierarchy to C major.
This chromatic transition is not particularly adventurous compared to other examples available
below, since both transitional keys are still within range of our original key. E m.m. and Eb m.m
are fifth degree melodic transition and sixth degree melodic transition respectively.
In bar 14 we see a more daring chromatic progression which Kern uses to detour from
the key via a cycle of fifths to return to the tonic via V/II-V/V-V. Though initially I was tempted
to consider the E7 from its relation to the tonic key i.e. III of C, the chromatic movement from
F#13 makes the the E7 sound like a continuation of the chromatic sequence. This is possibly
why the voicing of the chords in this passage have an added 13, which reinforces the chromatic
nature of the progression (F#, A#, C#,37 G# and D# are all a semitone away from the tonic chord
in its second inversion: G, A, C and E). The piece contains no more peculiarities worth
mentioning.
All The Things You Are written in 193938 is perhaps the most widely played and recorded
standard in jazz history.39 This tune offers an interesting set of transitions and tonicisations that
are often used to get beginners acquainted with standard chord progressions. The piece consists
Fig 6.10 Octatonic analysis of Kern's All The Things You Are (bars 1-8)
The piece begins with a simple diatonic progression in Ab major. The last three bars of
the A section (6-8) show a subtle detour to a third degree by creating the illusion of V/III or V/iii.
This is done effectively by using the dominant of the first degree. On many occasion I have
heard the progression above (bars 5-6) played as two consecutive 7th chords i.e. Db7-G7, which
is another clever way to modulate to the third degree since one is the tritone substitution of the
other. This allows the same scales to be used over both chords, for example the symmetric
38 Jerom Kern, 'All The Things You Are', (CA, USA: T.B. Harms Company, 1939).
39 Turning 200 results on iTunes and 704 on Spotify (on the 26th of September, 2009)
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The next section, turns the I of the third degree tonicisation (Cmaj7) into a minor 7th
chord. The inclination here is to think that it is a minorisation, but the progression quickly
develops into the same harmonic movement as the first four bars of the A section, thus it is clear
that what occurs here is a modulation to the first degree of Ab, or perhaps more appropriately
fourth degree of C major. At this point I wonder what would be more logical as a practical
analysis. A transition is that which does not confuse or detour from the sound of the tonic key. A
tonicisation is a clear change of key but not long enough for the feeling of the tonic key to be
lost. Finally a modulation is clearly a strong detour which makes us completely lose the
reference to the tonic key. Hence when a modulation occurs after a tonicisation, should the new
key be analysed from the perspective of the tonic key (which has not been lost due to the
tonicisation) or from the tonicisation itself since a new key has been implied? I suppose this
question should remain open until educators and students may answer from their experience
In the final four bars of the B section we see the same process repeated. A IV followed by
251
what appears to be a II-V to iii of Eb. The difference at this point is that Kern has already
prepared us to anticipate the event. Both harmony and melody were a repetition of the A section
a fifth above, therefore the modulation to the third degree (G major) is both expected and
anticipated.
The first four bars of the C section break the pattern to introduce a simple progression
around G major. In practice this progression is not that dissimilar from the A and B sections, but
The final four bars of this section show a wonderful deception. Kern pretends to move us
to the relative minor but instead arrives at a major chord. This resource can be found in countless
tunes such as Night And Day or I Love You.40 In this particular instance it works very well due to
the commonality of the surrounding keys. E major is a descending fourth degree of G and also a
descending third degree from Ab, our tonic key and also the key of the next section. The section
40 Cole Porter, 'Night And Day' and 'I Love You', The Standards Real Book (CA, USA: Chuck Sher (ed.), Sher Mu-
sic Co., 2000), 325-6; 203-4 respectively.
252
The final section begins in a similar fashion to the A and B sections, VI-II-V-I and with
the same melody. This movement, which we have already heard twice, prevents the modulation
at the end of the C section (C7#5) from sounding as if we were heading towards a minor tonality,
thus the C7#5 should be considered V/VI and not a modulation to F minor.
The next four bars introduce a new variation over the progression. As in the A and B
sections, the IV chord arrives after the I, but this time instead of going to V/iii or modulating to
the third degree, it transitions to the fourth degree (Cb major). Then it returns to I and proceeds
Three years later Kern wrote I'm Old Fashioned.41 Here we see Kern's ever evolving
sophistications and explorations of more advanced harmonies. The structure of this piece is
41 Jerome Kern, 'I'm Old Fashioned' (CA, USA: T.B. Harms Company, 1942)
253
Fig 6.11 Octatonic analysis of Kern's I'm Old Fashioned (bars 1-4)
The next four bars modulate the piece to minor. We then find two interesting movements:
a first and a third degree melodic transition (bars 10 and 12 respectively. The chord after the D7
is Gmin7, so there's an inclination to analyse this chord as V of G minor scale which would be a
closer second degree transition. But one must always observe the melody before jumping to
conclusions. The melody is playing an E which is not available in G minor, so one must continue
up the hierarchy to find a chord that fits both, hence chord IV of A melodic minor.
254
The first four bars of the B section (above) show no surprise but for the unusual voicing
of the last chord: secondary iv of the first degree melodic transition. What is actually happening
here is a chromatic movement of the internal voices leading into I of the third degree (A major).
So despite the possibility of analysis of these chords from the perspective of F major, one must
also consider the possibility of the movement as a modulation, thus analysing it from the
perspective of A major.
Cole Porter
Thirteen years before Kern wrote I'm Old Fashioned, Cole Porter wrote What Is This
Thing Called Love.42 This standard stands out amongst most not only because of how frequently
it is played and sung, but also because it has inspired many other tunes which also became jazz
classics.43 It is also one of the best examples I have found of major/minor duality. The piece
consists of an initial verse followed by an AABA structure. The verse is rarely played but it
42 Cole Porter, 'What Is This Thing Called Love', The Standards Real Book (CA, USA: Chuck Sher (ed.), Sher Mu-
sic Co., 2000, copyright 1929); 517-8
43 For example: Hot House (by Tad Dameron), Fifth House (by John Coltrane), Barry's Bop (by Fats Navarro).
255
Fig 6.12 Octatonic analysis of Porter's What Is This Thing Called Love (bars 1-4)
The piece begins with an unusual progression of diminished chords. This sequence, more
than most, seems to prove that composers around this era were quite aware of the Q possibility
within the tonal structure. The fifth chord in particular (second half of bar 3) could not be
formed by any other scalar combination. A more appropriate chord symbol for this chord would
be Ab6(b5)#9 for analytical purposes or Abdim/C for practical purposes. The chromatic
movement between voices joined together by the pedal C is almost a predecessor of modal
compositions like Coltrane's Naima.44 At the end of the fourth bar Porter begins a modulation to
the third degree (Eb major), though initially it feels more like a V/IV.
After arriving on I Porter repeats the modulation to a third degree, using a different
method this time: first we find what appears to be an unresolved V/IV (second half of bar 6)
which in fact leads to the II and then q of Bb analysed here as #ii. This is a familiar resource:
common chords between two keys. The F#o7 is both a first degree transition of Eb major and
also secondary vii of G major, which acts as a more subtle dominant of the new key.
44 John Coltrane, 'Naima', from the album Giant Steps (Atlantic, 1959, SD-1311).
256
In the next four bars Porter remains longer in the new key and again uses the pedal note
to join the sequence together. This resource gives the progression a very dramatic feel whilst
giving the tonality more of a modal feel. The fourth bar ends with a tentative return to Eb major,
Porter delays the resolution and seems to be drawing us towards the relative minor. We
must take into account at this point that the consideration of C major as our tonic key is purely
speculative. The key has in no way been confirmed nor reinforced. But in the second half of bar
14 Porter insinuates a modulation to C minor, thus leading us to believe that C minor is the
actual key. Surprisingly the progression comes to a close on a majorisation of the tonic C major,
thus closing the structure in the same chord it began. The C7 at the end of the bar seems to imply
either a V/IV or a modulation of some sort. Since the actual tonic key is still vague, the point of
reference cannot be C major and instead we must move forward to the next section to understand
what is happening.
257
The A section begins with a II-V that could simply be interpreted as ii-V of F major, but
the progression resolves to an F minor 6th. Since we are speculating that C, major or minor, is our
tonic key and this is a complete cadence, then we must conclude that this is either a modulation
The movement is a minor II-V which resolves to I major. This seems to confirm C as the
tonic key, but why minor if the resolution is towards major? Simply because the majority of the
chords in the piece so far relate directly to C minor i.e. 1. most of the verse centred around Eb
major and C minor and 2. the A section began with a progression in F minor. If C major was the
tonic key then most large sections would have to be considered minorisations and this is just
impractical and illogical. The second A repeats exactly the same progression so it's omitted.
258
The B section moves briefly to the relative major of the first degree via a II-V-I, then
Eb melodic minor is both a fourth degree transition from Bb major, and a second degree
transition from C minor. The minor II-V takes us back to the last A section which identical to the
first two.
major, but most of the piece functions around C minor, hence we could say this piece is in C,
Love For Sale,45 written in 1930, shows Porter taking the major/minor duality to an
extreme. This piece, structured as ABCD with an introductory verse, plays around with
majorising the relative minor of Db major. But what is particularly interesting is that this
exchange is completely unpredictable and occurs sometimes over other chords within the key,
45 Cole Porter, 'Love For Sale', The Standards Real Book (CA, USA: Chuck Sher ed., Sher Music Co., 2000, copy-
right 1930); 277-8
259
Fig 6.13 Octatonic analysis of Porter's Love For Sale (bars 1-4)
The verse begins with a descending progression leading into F minor. Since the key
signature indicates that the piece is in Bb major, one would tend to analyse the first chord as a I,
I believe this is not so. When listening to these four chords played in a sequence one gets the
impression that the first chord is actually a hidden 7th chord (Bb7). Another consideration is that
the movement is heading towards a point of resolution, hence the first chord is a passing chord
not a tonic one. Since F minor is the point of repose then the previous four chords must be
The next passage takes us briefly to the relative major of the second degree, followed by
The resolution arrives at a modally interchanged I, followed by a II-V that leads into a
movement which is very similar to the first four bars. Because now we have a reference key (Bb
minor) which we didn't have at the beginning the scale analysis is slightly different. Another
justification for this is that this movement is harmonised as 7th chords not 6th and the sequence
ends on a modulation. So perhaps Porter himself wanted to insinuate a similar progression when
As we can see above the sequence ends on a tonicisation to a descending third degree.
This movement is so short that perhaps it should be considered more of a transition, but since the
tempo indication is freely I suppose this might be performed either way. Bar 16 sees us returning
Porter detours uses the dominant in bars 17-18 to take us to the relative minor, but he
resolves chord I on a majorisation. In this manner Porter finishes the verse clearly announcing
that the key is Bb, and as we have seen before, it is both major and minor.
The A section begins with an unusual majorisation of the IV chord. The logic behind this
analysis is that the closest Ebmaj7 is found in G minor (descending fourth degree) which is the
relative minor of Bb major. Now it could be argued that the piece is in fact in Bb major and it is
the Bbmin7 that is a minorisation. But further analysis of the piece will prove otherwise.
Here we can see Porter taking us to the relative major of Bb minor. Therefore if our tonic
key was in fact Bb major this would have to be analysed as a modulation to the fourth degree,
262
but this is not what we hear. In any case, Porter makes sure we hear Bb minor as the tonic key at
this shows II-V ending on a modally interchanged I. In this manner it becomes clear that the
tonic key is Bb minor, since a chord cannot be both minorised and modally interchanged at the
same time.46 But Porter is not happy to establish it that quickly and in the next section we find
In the B section Porter uses the majorisation for eight bars. When a modal interchange
takes place for this long it should really be considered a modulation/tonicisation, hence the key
bracket.
46 I remind the reader that a minorisation is a modal interchange to the fourth degree, not the first.
263
Of course analysing it as a modulation to the fourth degree gives us the same scale result, but
what we actually hear this time is a return to the tonic-key from a very remote key.
The C section or bridge begins with eight bars around the relative major.
264
The next four bars modulate to the relative minor of the second degree (Gb major) via a
small chromatic side-step. Notice that all four bars are modally interchanged to a first degree
melodic minor. This is insinuated by the melody which clearly draws upon the relevant notes (C,
D and Gb). This modally interchanged I is also chord II of the key we were just in, thus creating
analytical doubt if this a II of Db or a I of Eb. I believe the sound of the preceding dominants is
strong enough to make the Eb minor as tonic-centre stand in its own right.
The section ends with what could be considered a minor turnaround. A II-V of II
followed by a II-V. This following movement I find fascinating. Since Eb is our temporary tonic
key and the previous turnaround clearly indicated a movement towards Eb, the return to the last
Though this is clearly the same movement (IV-I) as A and B, the previous turnaround makes the
Ebmaj7 sound incredibly unstable as a function. To my ears the Bbmin7 does not quite sound
like a I. In fact the next Ebmaj7 below sounds more like a point of resolution than the Bbmin7.
The Bbmaj7, which is clearly a I because of its position within the key, still sounds
almost like a V of Eb. We have seen how Porter uses similar chord progressions in different
contexts, so perhaps he intended to draw a Lydian progression that sounded similar to the A and
B section?
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The last eight bars return to the relative major of the tonic key but with a subtle variation.
Chord I is replaced by a 7th chord (modal interchange to the second degree). This almost sounds
like a V/IV, but since the IV is a first degree melodic transition the resolution, V-I, is lost and
retrospectively the modal interchange sounds more like a bluesy I. The piece ends with a II-V
I Love You,47 also written by Cole Porter, contributes an exciting set of chords to this
thesis. First we have a movement between primary and secondary chords and modal
interchanges for only half the duration of a chord. We also have what appears to be Porter's
typical use of minor/major duality, but in this case is not so. The piece is structured as AABA
47 Cole Porter, 'I Love You', The Standards Real Book (CA, USA: Chuck Sher (ed.), Sher Music Co., 2000, copy-
right 1939 ); 203-4
267
The verse begins with a simple set of chords in F minor. Besides the second degree
melodic transition in bar 2 all chords are diatonic. But then the verse takes an interesting turn:
First we have a II chord implying a II/V or a tonicisation of the first degree . The V in bar
13 seems to corroborate this, but then something unusual happens: the melody plays an E for a
beat and a half, which is too long to be ignored or treated as a chromaticism. The feeling here is
that of a majorisation. Since the V/V in minor normally belongs to chord V of the first degree (C
minor), the note E can only be interpreted as an intentional alteration which is insinuating a
larger event. The next two bars (15-16) contain no clues since both these chords can be found in
major and minor. But the corroboration of a majorisation becomes evident at the start of the next
268
section:
Here we find that the key has indeed been majorised, which by now is not surprising in
Porter's tunes. Consequently, the note E over the G7 was deliberately meant as a signpost that the
tonality was changing and retroactively the two C chords should also be analysed as V of major.
In this system we also encounter what appears to be another variation of a blues progression i.e.
three bars of I followed by a V/IV. It is worth noting how Porter uses the secondary i to achieve a
chromatic movement of the internal voices that smoothly leads into the F9.
The next four bars break the blues pattern and instead Porter seems to suggest a
tonicisation of G minor. However, before this can be corroborated or established Porter begins a
Initially the BØ is felt as a II leading to a tonicisation of the relative minor of the first
degree. The tritone substitution in bar 26 doesn't help matters and reinforces this perception. Bar
27 however, tells us that we are in fact still in F major as it is referring to chord VI. So now we
can analyse the first two (bar 25-26) as references of III, which in turn gives the unusual spelling
of bII/II, as this is a tritone substitution of V/V. Bar 28 offers some doubts: melodically it seems
to be implying a D minor, but the chord symbol suggests a 7th chord. Normally, as we have
seen, the V/II comes from the second degree (chord III in Bb major), this seem to fit the melody
since the E could easily be interpreted as a chromatic approach to the #9th. Since there is no
scale containing a 7th chord with both a natural 9th and a sharpened 9th,48 I must consider the
possibility that this is an editorial mistake. But since I was not able to find another score of I
Love You containing the verse, then I must analyse this to its closest possibility, hence A melodic
The A section begins with what appears to be a minorisation, a minor II-V leading into F
major. But one must not forget that the Ø option also exists for the major II chord, substituting
the 5th for Q. Therefore this is a deceptive minor II-V, since it exists as a possibility in F major
too. The next four bars continue with a diatonic progression in F major, finishing on a V/II.
The second A section differs slightly from the first. Porter again uses the deceptive minor
II-V, but after resolving he modulates to the third degree via a II and secondary v. The last four
bars of this section draw clearly on the third degree as a temporal tonic-centre.
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The B section (above) finds us returning to the tonic key. Porter again uses the secondary
ii but then embellishes the V by moving from its secondary position to the primary before
resolving. He ends the B section by drawing upon an unresolved II-V of the II, followed by a
V/V. Here we find an unusual modal interchange applied to just half the duration of the chord. In
this manner Porter finds another way to move an internal voice chromatically up to the 3rd of C.
The last A section begins in the same manner as the previous two, finishing on a V/II that
resolves to another interesting set of internal movements: G9(b5) is similar to G7(#11) in that it
can only exist as IV of a melodic minor. Of course Porter uses this to harmonize the chromatic
movement of the melody, but it is worth considering that the proximity of this key (D melodic
272
minor) offers an interesting modal interchange to several of the traditional chords which allow
melodic chromatic passages that lead into diatonic notes and chords (melodic minor
parallelisms). Finally we see the secondary-primary movement of V again but this time
The last Porter piece I would like to cover is All Of You,49 since it's a well known standard
that is usually analysed wrongly. The piece is structured as AB with an introductory verse. My
two favourite elements of this piece are the extensive use of secondary chords that are often
mistaken for minorisations. The verse, not provided here, is a simple sequence of Vs and II-Vs
The A section begins with a secondary ii, often interpreted as a minor II. But the melody
passes through G, hence the only other possibility would be a VI of Ab melodic minor, which is
a fourth degree melodic minor. Why go so far when the chord in question is available in the
tonic key? From an improviser's point of view it's an interesting modal interchange substitution,
but he/she might want to take into account that the actual movement is that of a ii-I, and the
substitution will stand out. After resolving to I it returns to secondary ii for another three bars.
49 Cole Porter, All Of You, The Standards Real Book (Sher Music Co., CA, USA, 2000, copyright 1954); 15-6
273
After resolving Porter moves to the secondary iv, again a chord sometimes misinterpreted
as a minorisation. We then find one of those chords that are at the same degree distance in two
different keys: Gb major or Ab melodic minor are both a fourth degree away and in both keys
the Db9 appears as a primary chord. I opted for an Ab melodic minor because another Db9 is
found later in the piece acting as a tritone substitution of V/VI. However, both possibilities
remain open.
Above we see the last eight bars of the A section. The C7(#5) is analysed as a secondary
v, since the triad is altered to an augmented. In the second half of bar 29 we find the
V/VI, though it does not resolve to VI it does resolve to a chord with the same root, therefore the
The B section begins in the same fashion as the A, but then takes a different turn:
after resolving to I Porter decides to move to secondary iii instead of the iv. This movement
almost sounds like a II-V of II, but he does not resolve it:
The movement detours to primary IV thus delaying the resolution for another four bars. He uses
a first degree transition to move again to the iii and then repeats the II-V of II effect, this time
resolving it.
So this piece is clearly in Eb major all the way. There are no modulations, minorisations
or majorisations, which shows that one can never take a chord symbol or progression for
granted. Most Porter tunes contain the major/minor duality, it is clear and he makes a point of it.
But in this last piece it is not obvious. If one would have to play it by ear then it would seem
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apparent that it is in major. It is only when looking at the chord symbols that one may be tempted
to consider a minorisation, when in fact Porter is just using secondary chords to add an
progression.
Hoagy Carmichael
Hoagy Carmichael's Star Dust,50 written in 1929, shows a stunning use of nearly all
diatonic possibilities. It also provides a clear example of third and fourth degree transitions. But
I also believe it provides an excellent introductory study of diatonic harmonic possibilities. The
introduces a motif which will not be repeated until the end of the B section, though there are
subtle references in some places. The piece is in Db major and as mentioned above, aside from a
The verse begins with I moving into a melodic transition of IV which then moves to
V/VI. Of course this could be interpreted as a tritone substitution of V/III, but I believe the
sound of IV is too strong and consequently the V/III sound is lost. It's interesting here how
Carmichael uses the III as a dominant of V/II. He manages to play three 7th chords in a row
without losing the key and without making it sound like a modulation. This is mainly due to the
50 Hoagy Carmichael, 'Star Dust', The New Real Book volume two (CA, USA: Chuck Sher ed., Sher Music Co.,
1991, copyright 1929), 345-6
276
fact that all roots are diatonic and the functions of the chords are referencing diatonic chords.
The progression continues with a II-V-iii-VI. Six bars in and Carmichael has managed to
introduce nearly all relevant chords of the key. Then we find a perfect example of a third degree
transition in complete isolation i.e. it does not resolve and it is not referencing any diatonic
chords. A II-V takes us back to the tonic and a repetition of the first sequence:
The A section begins on the sub-dominant which then moves to its secondary position
and adds the major 7th. Carmichael then transforms this secondary chord into a primary of the
fourth degree (II of E major). This is another clear example of a fourth degree transition in
complete isolation, since then it moves back to the I of the tonic key:
The next four bars find us back on a diatonic progression of the tonic key. In bar 23 there
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In bar 26 we find an unusual chromaticism: the note Fb over the Ab7 chord could imply a
modal interchange of some sort, maybe a minorisation of the dominant or a melodic minor
transition. But it could also be interpreted as a delayed chromatic resolution to the note F (3 rd of
The last four bars of the A section show the first large detour from the tonic key. This
movement borders between transition and tonicisation because 1. the piece is so slow that these
two bars last long enough to imply a different temporal tonic-centre and 2. The rhythm of the
phrases makes the chords sound self-contained i.e. there is no forward movement towards a
resolution. However, since there is no resolution and all chords in the sequence belong to the
same scale and reference diatonic chords, we must conclude that this is simply an unusually long
transition. The section ends by returning to the tonic key and a V/IV which leads to a repetition
As seen above the first eight bars offer the same chords and melody as the A section. I've
included them to add context to the next eight bars which introduce the variation.
A fourth degree transition appears suddenly detouring us away from the tonic key.
Though Carmichael has prepared us several times to hear and accept this remote detour, one
cannot help feeling a rather dramatic moment when this occurs, partly due to the length of it and
partly due to the suddenness i.e. the leap from Ebmin7 as opposed to the smooth movement from
Skylark51 on the other hand presents a beautiful treatment of diatonic progressions plus a
clear example of a tritone substitution. But perhaps this piece's greatest contribution is the
51 Hoagy Carmichael, 'Skylark', New Real Book, vol. 1 (CA, USA: Chuck Sher ed., Sher Music Co., 1988, copy-
right 1941), 321
279
The piece begins with an ascending bass line from Eb to Ab. Carmichael prefers the use
of the tonic with its 3rd on the bass instead of the more common secondary iii we have seen on
other occasions. In the second half of bar 3 we find a tritone substitution of V/IV, this is an
excellent example of the use of T.S. since there's no space for misinterpretation.
The next four bars continue drawing around the diatonic chords with the exception of the
V/V.
The first six bars of the second A section are identical to the first, but it is in the last two
The Bb7#9 opens several questions, since none of the scales we have covered contain this
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combination of notes. It is far simpler to consider the note Db as a chromatic approach to the 2nd,
otherwise we have the issue of having a #9 chord (minor dominant or altered dominant) with a
natural 9. The only possibility of a scale that would suit both the melody and this chord voicing
would have to be an F melodic minor with an added Q. But personally I would recommend re-
harmonizing the Bb7#9 for a diatonic Bb7 and consider the note Db as a chromaticism or a blue
note.
The bridge or B section leads into a modulation to the second degree via the VI chord of
the tonic key, passing through another tritone substitution. Once resolved Carmichael heads
Bar 22 finds us rapidly moving back to the relative major only to suddenly leap a
semitone below. Carmichael establishes the new key via a I-VI-V/V-V-I and surprisingly
requires only a beat and a half (dotted crotchet) to return to the tonic key (Eb major). The last A
section repeats almost identical chords to the second A section, except for the aforementioned
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On this occasion it is clearly a modal interchange to the fourth degree, since the melody holds
and transitions. His songs are simple and yet include clear isolated examples of substitutions and
detours to other degrees. When he does so he reflects them in the melody and always avoids
Richard Rodgers
The prolific Richard Rodgers wrote Lover52 which renders two interesting uses of third
degree movement. The piece appears to be structured as an AABA. The three A sections vary
The piece begins in C major and quickly leaps to a third degree tonicisation. It is
analysed as a tonicisation because it does not return to C major until the end of the section.
52 Richard Rodgers, 'Lover', Real Jazz Book (USA: Hal Leonard Publishing Corporation, 1998, copyright 1932),
206-7
282
Then he begins a chromatic descending sequence drawing the same parallel chords each
A turnaround variation leads back to the second A where Rodgers repeats the same
harmony.
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The last bar of the second A section appears to modulate to the first degree, but this not
so:
The first eight bars of the B section show that the Rodgers has actually moved to E major.
Retrospectively one may be inclined to analyse the modulating II of the previous bar as a
secondary ii of E major, but I believe the F#Ø is first heard as vii of G major or more
appropriately a II of E minor, since in the context of C major this is the closest relation.
Consequently, the start of the B section sounds more like a majorisation of the expected
resolution.
The next four bars move to the third degree of E major which is also the first degree of C.
In this manner Rodgers manages to connect the two remote keys via a common degree.
The last four bars return to the tonic key via a II-V confirming our previous assumption.
As explained previously, the last section offers no variation and simply ends on four bars of C
major.
Have You Met Miss Jones53 is perhaps one of the most quoted and known standards
amongst jazz musicians. It has been speculated many times that it was the bridge of this tune that
inspired Coltrane's Giant Steps.54 The piece is structured AABA with a twelve bar introductory
verse which is rarely played. But it is the bridge of this tune that has made it so popular and
sought after by jazz practitioners. For the sake of context I will include the A section.
Fig 6.19 Octatonic analysis of Rodgers' Have You Met Miss Jones (bars 13-20)
The A section consists of simple diatonic movements around F major. The only detour
53 Richard Rodgers, ‘Have You Met Miss Jones’ ( USA: Rodgers and Hart 1937 Chappell & Co.)
54 David Demsey, John Coltrane Plays Giant Steps (USA: Hal Leonard Publishing Corporation, 1996), 8
285
being used is a second degree transition acting as V/II. The first A section ends with a variation
The second A section finishes with the turnaround interrupted by a modulation that takes
Here we can see what is so unconventional about this piece. The movement begins with a
resolution to the tonic of the second degree (bar 29). Then it modulates to a descending third
degree. This type of modulation is rare but we have encountered it on a few occasions. But what
is most unusual is that Rodgers then takes it down again to the next descending degree.
Once resolved he returns to the previous key, now a standard (ascending) third degree,
only to return to the tonic key via a chromatic modulation. This very original progression makes
this piece stand out amongst most whilst providing a more challenging framework from which to
improvise. The last A section is very similar to the first and warrants no further analysis.
Victor Young
Victor Young's Stella By Starlight,55 falls directly into the modern repertoire. Written in
1944 in the midst of the bebop era, this tune presents an exquisite set of chords that seem to leap
from one key to another making it a particularly challenging piece to analyse. To begin analysing
this tune one must first comprehend what is the tonal centre from which Young based the
harmony. In the foreground it would appear that the chords have no connection between each
other and the leap between key is unrelated. But from a background analytical perspective one
may easily determined that the piece is in Bb major and that all chords in the piece reference the
Initially the first two chords imply a II-V to D minor. However, since there is no
resolution one cannot blindly assume this. The next two chords suggest a II-V to Bb major, but
again these do not resolve. At this point we begin to get some clues as to what the tonal centre is:
D If D minor is the centre then Bb is the relative major of the second degree.
55 Victor Young, 'Stella By Starlight', Real Jazz Book (USA: Hal Leonard Publishing Corporation, 1998, copyright
1944), 327
287
D If Bb major is the centre then D minor is the relative major of the first degree
Acknowledging that the piece is in Bb major, the first two chords can be analysed as a II-V to
the secondary iii. As we know the iii (supra-tonic) chord is a substitute of the tonic chord, hence
when the next two chords (Cmin7-F7) reference the tonic I it doesn't necessarily sound like a
different key. But looking ahead the next few bars certainly provides the answer.
establish a tonal centre since Eb major, or its relative C minor, has no relation to D minor. But
both Eb major and D minor have a relation to Bb major: the former second degree and the latter
relative minor of first degree. In this manner we can establish Bb major as the tonic centre of this
section.
The next bar lands on Bb major which now is identifiably the tonic chord. The following
three bars are often misunderstood and analysed as a modulation to the relative minor of the first
degree, but I believe there is not enough evidence to confirm this i.e. the melody does not
This system begins with chord I of the first degree, which insinuates a transition.
However, the next bar (14) suggest a modulation to the relative minor. Thus the movement is
tonicising the first degree. A II-V in bars 15-16 initiates what appears to be a modulation to the
relative minor of our tonic key (Bb), but detours quickly to the relative minor of the second
degree (Eb):
This section is considered by most players as the bridge of the piece. Here we can observe a long
dominant held to eventually resolve on C minor. Considering that this key is the relative minor
of Eb we may appreciate that so far our tune has only detoured to the first and second degrees,
The second half of the bridge links C minor to the tonic key via a second degree melodic
transition, which also happens to be a fourth degree melodic transition of the tonic. This is a
In the next section we see a beautiful progression to I via diatonic references, first
starting with a II-V of iii, mentioned since the beginning of the piece, followed by a II-V of II.
But then an interesting surprise: Young prefers to parallel the previous chords and minorises the
II-V of the tonic before resolving to I major. Again these two chords are often analysed as a
minorisation (modal interchange to the fourth degree) of the diatonic II-V, but since there is no
In summary, on a background level the piece is clearly in Bb major and it can be reduced
to:
• 4 bars:tonic
• 4 bars: sub-dominant
• 4 bars: tonic/supra-tonic
• 6 bars: sub-dominant
• 10 bars: tonic
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The key centres are always Bb, Eb and F, mostly covering relative minors but always referencing
the tonic Bb major on different levels of the four functions. Young has predilection for tonicising
functions that are not the usual I major or I minor, as he did above with the iii.
Another example of this can be found in his piece When I Fall In Love,56 though not as
Fig 6.21 Octatonic analysis of Young's When I Fall In Love (bars 1-4)
The piece is in Eb major and it begins with a variation of a turnaround. The V/II is
In the second half of bar 6 we find we find an unusual modal interchange worth
56 Victor Young, 'When I Fall In Love' ( USA: Victor Young Publications, Inc. 1952)
57 The reference is to Ab not Eb
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In the first system (bars 11-12) we see the beginning of a tonicisation of chord II. On
paper this progression doesn't seem to be that unusual, but one must take into account that this is
a very slow ballad and the melody's forward movement is towards the dominant of II i.e. there is
a break or pause over C7 that anticipates a modulation. Young resolves to F minor and then
reinforces it with another bar of the dominant. Once the F minor has been established he moves
back to the V of our tonic key and we realize that we never actually departed from Eb. Other
versions of this tune show a far more elaborate set of chords for these eight bars that reinforce
Harold Arlen
Harold Arlen's Out Of This World59 is an excellent example of modal interchanges. This
piece is in Eb major though this would not seem evident till the end of the first section. This is
because the piece begins in a tonicisation of the minorised first degree i.e. Bb minor, but it gets
more complicated than that. The sequence is held together by a pedal bass note in Eb which
gives a large section of the piece a modal feel. The piece is structured ABCD, though A, B and D
differ little from each other and consequently feels more like an AABA.
Fig 6.22 Octatonic analysis of Arlen's Out Of This World (bars 1-4)
From the above we can gather that perhaps what Arlen intended was simply a movement
of the internal voices, F moving to Gb, then to G and back to Gb. The harmonic result is
The next four bars shows a return to the tonic chord followed by the same movement as
before, but this time Arlen leaps the internal moving voice to Ab creating a Eb9sus.61 This chord,
a secondary option of Eb7. It is up to the improviser how she/he would approach this. But since
the aim of the octatonic system is to find the smoothness in movements, strictly speaking one
60 The justification is that a modal interchange must at least be based on the basic triad, since this particular move-
ment changes from major to minor it is easier to analyse it as a first degree transition. But due to the pedal note
the movement sounds like a change of modes more than a change of actual chords.
61 As mentioned earlier the existence of the 9th in the chord symbol logically implies that the sus refers to 4th.
293
In this system we see a different internal voice beginning to move. The Db on bar 9
(Ebmin7) down to C, down Cb and back up to C. It would appear at this point that Arlen is
attempting a modulation, partly due to the break in the bass note. It also seems to be pushing
towards a resolution to the relative major (Db) , but in fact Arlen surprises with an
These, the last four bars of the first section, show a perfectly conventional diatonic
1. The Eb becomes tonicised almost immediately, how this occurs is a bit of a mystery. I
believe a big part of it is due to the constant stress of the Eb in the root during more than
half of the section, or perhaps it is because this chord progression is typically played over
2. The other important event is that the Eb is a majorisation of the second degree. Granting
that Eb6 has at least four different interpretations (VII of F minor, III of C minor, VI of G
minor and IV of Bb melodic minor), it is the chords that supersede it that retrospectively
3. The Eb becomes the tonic key because when we move to the next section, which is
almost the same as the first one, the Bb minor (key) has a sense of sub-dominant which is
waiting to be resolved.
This piece might seem very difficult to analyse on the spot without being able to hear it a few
times, but there are some clues that may facilitate the reasoning provided above. The B section
has 4 extra bars added at the end. After repeating almost the exact same chord progression of the
The only difference is that the Bb7 has no alteration therefore a diatonic V and then we have the
four added bars which rest on Eb as a tonic key. Just to corroborate that Eb is indeed the tonic
key the C section (or bridge) leaps to the relative minor. If the tonic key was in fact Bb minor
Arlen is not satisfied with just giving us a straight relative minor after such harmonic intricacies
and instead he substitutes the I for its melodic minor equivalent (modal interchange to the first
degree). This substitution can be seen as a second degree melodic from Eb or first degree
melodic from C minor, but the following bars prove that the latter is more adequate.
In the next four bars we see secondary q of E minor, which appears to be a hidden V/V.
This is followed by a modal interchange to the second degree,62 which is also the tritone
substitution of V/V. So apparently these two bars are simply two different versions of secondary
The next two bars present the first unaltered chords in C minor, but then immediately
Arlen repeats the same two chords using melodic minor equivalents i.e. modally interchanging
62 The justification of modal interchange as opposed to transition is that this chord is closely related to diatonic VI,
and since it is moving towards V the function remains the same.
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Arlen repeats the same two melodic minor alternatives and then holds on to the dominant
for two bars to initiate a modulation that at first appears to lead to the relative major:
But quickly we find ourselves in the last section, named D, which is similar to A and B.
Arlen avoids any kind of traditional progressions to move between keys. Instead he prefers
sudden changes, constantly surprising the listener as to where the piece is headed and where it
will end.
Another great example of this is Come Rain Or Come Shine.63 Written a year later this
piece shows even more dramatic leaps between keys and some very distant transitions. It also
contains one of the most extensive uses of majorisations and minorisations, from both the
63 Harold Arlen, 'Come Rain Or Come Shine' (USA: Chappell & Co.. Inc. Publishers, 1946)
297
Fig 6.23 Octatonic analysis of Arlen's Come Rain Or Come Shine (bars 1-4)
The piece begins in F major with a straightforward move to the VI, this might be
interpreted as a modulation to the relative minor, but Arlen quickly returns to major:
A V/V followed by V makes the piece retain its major characteristic. However, the
progression does not resolve to I, instead it detours to a V/IV that will take us to a completely
unexpected change:
Initially one is tempted to analyse this chord as secondary iv. However, the next chord falls into
an F minor, thus it would appear we have moved to the fourth degree of F major. But the tonic
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quality of the F minor suggests that what has actually happened is a Cole Porter type
minorisation.
The piece continues in minor and then cleverly modulates back to major using a series of
common chords starting from the A diminished. All the diminished chords here appear to be
hidden V/x:
In this manner Arlen manages to avoid a predictable cycle of fifths back to the tonic major,
whilst clearly leading the progression in that direction. I believe the actual change from major to
minor occurs on the G7, but since the Cdim is anticipating it as a hidden V/II (D7 b9) I decided
The next section finds us returning to the same harmonic movement as the first four bars,
he utilises the same idea of V/VI-VI, but this time he actually modulates to the VI:
As we can see above, Arlen decides to stay on the minor and to avoid predictability he
interchanges it for its first-degree melodic minor. This is followed by a fifth-degree melodic
transition which would appear to insinuate a V/II. However, Arlen in his quest for capricious
tonicisation.
In the next four bars we begin to suspect a return to major. This movement suggests a
tonicisation rather than two transitions, but the fact is that Arlen does not change key:
As we can see above the piece remains in D minor for another two bars, after which he suggests,
once again, a modulation to the major. But Arlen has already used these two chords without
detouring from the D minor, though on this occasion these chords (starting from the D7 in bar
31) are actually a cycle of fifths that resolve in the most unusual place:
After the C9 one is expecting a resolution back to the relative major, but instead Arlen prefers
this uncommon resolution to a majorisation of the relative minor, almost like a Picardy third. In
this manner he surprises the listener all the way, by anticipating predictable movements and
The last piece of non-jazz composers I would like to mention is Jimmy Van Heusen's
Here's That Rainy Day.64 This piece contains very few non-diatonic chords (boxed numerals),
Fig 6.24 Octatonic analysis of Van Heusen's Here's That Rainy Day (bars 1-4)
64 Jimmy Van Heusen, 'Here's That Rainy Day', New Real Book (CA, USA: Chuck Sher (ed.), Sher Music Co.,
1988, copyright 1953), 138
301
The song begins in G major and immediately tonicises the descending 3rd degree. The
new key (Eb) is established via a V-I-IV. At this point the actual tonic key is still vague.
We see a return to the tonic key using a II-V-I and this, interestingly enough, confirms G
as the tonic key. We then hear what appears to be a transition to the sub-dominant, but once
Here we can see a clear modulation to the 4th degree. It is interesting to note that although
the first tonicisation was done to a major third below, this new one is to a minor third above, the
latter is actually the first degree of the former (Eb to Bb first degree).
The last four bars of this section brings the key back home, confirming it as the tonic by
The first eight bars of the B section repeat the same harmonic ideas as the A section, but
Instead of modulating again to Bb (fourth degree), the second degree transition does actually
move to the IV. The piece remains in G major whilst creating harmonic movement by using most
diatonic chords (except VII). Finally an unresolved V/V takes us to a II-V-I to end the piece.
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In conclusion, The popular song writers of the 20th century brought about a new and
remarkable sophistication to traditional harmony. Above we are able to see the change that took
place from 19th century popular music to 20th century connected via the intricacies of ragtime.
This background is essential to understanding the evolution of jazz harmony since, as seen in
earlier chapters, popular music played a major part in the influence of jazz development. The
most elemental aspect, besides form and structure, are certain harmonic movements that became
frameworks, such as II-V-I and turnarounds. These modern progressions replaced traditional
movements such as the complete cadence (IV-V-I) or the imperfect (I-IV-V). We also saw the
addition of modulations to remote keys; this would become ever so prominent in jazz
compositions, and subtle modal interchanges which would become the basis for styles such as
bebop. So now I would like to take a look at how jazz composers approached western harmony
Chapter 7
The Standards
Jazz composers
Following on from the methods described at the beginning of chapter 6, below is the list of jazz
composers identified. The order is sorted chronologically by composer, and the pieces were
selected for their harmonic contribution at this stage in the thesis i.e. harmonies that are
D Isfahan (1964)
1 A.H. Lawrence, Duke Ellington and his world: a biography (New York: Routledge, 2001), 1
2 David Hajdu, Lush Life: A Biography Of Billy Strayhorn (London: Granta Publications, 1998), 3
3 Charles C. Chaney, 'Tadd Dameron', Dameron-Damron Family Association, 2004, http://ddfa.org/taddamrn.html
(7th of September 2009).
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Wayne Shorter
D E.S.P. (1965)
Duke Ellington
Duke Ellington is perhaps one of the most well-known figures of jazz history. His
influence spanned from the early days of jazz to post-bop. He recorded with giants as varied as
Louis Armstrong9 and John Coltrane,10 and his music is still played by contemporary musicians
4 Leslie Gourse, Straight No Chaser: The Life And Genius Of Thelonious Monk (USA: Schirmer Trade Books,
1997), 1
5 Carl Woideck, Charlie Parker: His Music And Life (USA, University Of Michigan, 1996), vii
6 Alyn Shipton, Groovin' High: The Life Of Dizzy Gillespie (New York: Oxford University Press, 1999), 6
7 Lewis Porter, John Coltrane: His Life And Music (USA: University Of Michigan, 1998), 1
8 Ruy Castro, Bossa Nova: The Story Of The Brazilian Music That Seduced The World (USA: A Cappella Books,
2000), 54
9 Louis Armstrong & Duke Ellington, The Great Summit: The Master Takes (Roulette Jazz, 7243 5 24547 2 3,
2001) originally recorded in 1961.
10 Duke Ellington & John Coltrane, Duke Ellington & John Coltrane (Impulse, IA 9350-2 , 1962)
306
today. Ellington was not the first jazz composer but he certainly was the first internationally
recognized. He wrote over two thousand pieces of which many are still well-known and widely
played standards.11
The first piece I would like to cover is Mood Indigo.12 Written in 1930, this piece only
contains a tonicisation to the second degree but includes some rather uncommon modal
interchanges. The piece is also structured as ABCD which was rather unusual for the time.
The piece begins with a simple progression passing through an unresolved V/V.
Interesting to note is the minorisation of the dominant (or modal interchange to the first-degree
Bar 7 uses an interesting modal interchange on a tritone substitution. So far in this thesis
modal interchanges have been found altering predictable chords such as I, II and V. This is why
this example is so important, since it shows a modal interchange being used on a substitution.
The normal interpretation of this chord would have been the IV of B melodic minor, equivalent
11 A.H. Lawrence, Duke Ellington and his world: a biography (New York: Routledge, 2001), 451-64
12 Duke Ellington, Mood Indigo ( USA: EMI Mills Music Inc. 1931)
307
of a Bb7 altered. But because the melody contains the note A as well as the secondary Esus, the
closest possible mode that relates to both tonic and substitution would have to be A major. In this
manner this chord becomes both a tritone substitution and a chromatic transition.
substitution (IV of B melodic minor ) this particular melody seems to corroborate this chord as a
The piece continues in Ab major, in what I consider to be the B section, using previously
seen progressions. The intriguing chord here is the last one of the system, Gb7. Normally one
would be tempted to analyse this chord as IV of Db melodic minor , which is also a fourth
degree and has more in common with both the previous chord and the tonic key. But since B
major is also a fourth degree we must consider the B natural in the melody to be of some
influence. If an improviser was playing in the background, whilst someone else was playing the
melody, the wrong analysis of this chord could produce undesired results.
13 See Woody Herman, Jazz Casual: The Swinging Herd CD (Koch Jazz, 8562, 2002), track 7, originally recorded
in 1963-64
308
The B section ends with the same melody and chords as the first eight bars of the A
In the penultimate bar of the C section we find again a modal interchange on the tritone
substitution. In this case the melody is drawing upon the flattened 6th and the 5th. The only two
chords that can contain this combination of notes are the III of C major or the V of A melodic
minor. I opted for C major here since a third degree transition sounds in closer relation to the
The D section introduces another new motif whilst tonicising the second degree (Db), yet
it resolves to a modally interchanged I. At this point we are able to recognize this type of
substitution as a bluesy orientated sound, seen on many occasions before. Once again our
attention is called to the last chord of the above system. This chord, unlike the other E7 found
earlier in the piece, does not resolve to Eb7 but rather to Ab and hence cannot be considered a
tritone substitution. However, if one respells the notes in this bar it could suggest the V of an A
major since Cb=B, Ab=G# and the F could be the Q of A major. A major is a descending third
degree of Db and can be justified as a chromatic transition to the tonic key, hence it's the best
option.
The piece concludes by repeating the same melody and chords as the first four bars of the
C section. It is important to consider that Ellington did not have any musical training and in fact
learned most of his skills as he went along from composers and musicians he met in casual
conversation. Since this is one of his earliest pieces, it is possible to consider these unusual
modal interchanges as simple whims of a composer who was not truly aware, at this stage of his
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life, of all the harmonic intricacies used by his peers. This is also possibly the reason Ellington
Two years later he wrote Sophisticated Lady,14 which illustrates a marvellous use of
chromatic transitions departing from different degrees. It also contains an unusual chromatic
modulation a semitone below the tonic key. The piece is structured AABA.
The piece begins on the II of Ab then detours to chord V of the fourth degree, which
Fb). In bar 4 we see another progression begin in what would normally be analysed as a V/IV,
but again descends chromatically this time taking it down to a V/II which resolves to a boxed II:
This typical first degree transition of an unresolved V/V takes us back to the tonic via a II-V.
Interesting to note at this point is that these transitions are not isolated nor are they making direct
reference to diatonic chords, defying the very definition of a transition. But strictly speaking
they are also not drawing a tonicisation nor a modulation i.e. there is no insinuation of a new or
14 Duke Ellington, 'Sophisticated Lady', Real Jazz Book (USA: Hal Leonard Publishing Corporation, 1998,
copyright 1932), 324-5
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different key. Therefore, the assumption that these movements are transitions is only logical,
since the tonic key is not lost. The section ends on a II-V of II. The second A section repeats the
Bar 16 does not end on a II-V leading to II, but instead seems to suggest a II-V of VII or
Surprisingly the bridge finds us a semitone below the tonic key drawing upon common
diatonic chords plus a first degree transition acting as a hidden V/II. Consequently the movement
is that of a descending chromatic modulation. We may also note in bar 20 the use of Q in the
The bridge concludes by modulating back to the tonic key via an intricate combination of
degree relations. On other occasions we have seen composers use common key degrees to join
sections in different keys. For example Ab major and G major have C major (third and second)
and B major (third and fourth) as common degrees, but Ellington prefers a much more radical
approach and links the bridge via a descending third degree which also happens to be the first
degree of the tonic key (Ab). The Cmin7 is the point of doubt since this chord is both VI of Eb
and iii of a Ab. But as explained earlier, analysis should always consider what has been heard
first and where it's heading second. The last A section repeats the same movements as the
In A Sentimental Mood,15 written in 1935, shows modal interchanges used in a minor key.
The piece begins with an anacrusis drawing upon what appears to be an F major
pentatonic, but the first chords finds us on minor. Ellington then changes the voicing of I to
15 Duke Ellington, 'In A Sentimental Mood', Real Jazz Book (USA: Hal Leonard Publishing Corporation, 1998,
copyright 1935), 176.
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create a descending internal voice (the octave descending to major 7th, then to minor 7th). He then
proceeds to borrow the natural 6th from the first degree by means of a modal interchange. He
then moves to the IV and again borrows, this time from the second degree, to mimic the
harmonic behaviour of the first bar. A melodic second degree leads into the V of the tonic to
return to I. This particular chord (the Bb7) can also be interpreted as a tritone substitution of V/V
The second half of the first A section returns to the tonic only to begin a modulation to
the relative major. Interestingly so, the chord initiating this is not the usual V/II, which would be
chord V of G minor (second-degree transition), but instead Ellington prefers the IV of A melodic
minor. He makes certain that this is heard clearly by sustaining the natural 9th for ¾ of the bar. As
we know the only two D7 to contain a natural 9th are V of G major (or III of E minor) and IV of
A melodic minor, the latter being far too removed from the hierarchy to be related to our current
key. Once the relative major is established he returns to the tonic key via a II-V. The second A
Above we see the last four bars of the second A section. In the last bar we find yet again the start
of a very unusual modulation to the descending third degree. This would become in time one of
Ellington's trademarks.
In the bridge (or B section) Ellington prefers to stay within a very conventional diatonic
progression, probably to effectively establish this unusual key shift. In the last two bars of the
section, bars 23-24, we see Ellington wasting no time and he leaps directly to a II-V back to the
relative major of the tonic key, which is a third degree from Db: No common key degrees or
common chords. But of course the surprise comes when the last A section begins and we find
He achieves this perfectly because even though the modulation anticipated an F major, we also
expected a return to the A section in minor. In other words, Ellington is playing with what we
Increasingly more sophisticated is Prelude To A Kiss16 written in 1938. This tune includes
the same resources as the previous two tunes combined but taken to a higher level. It contains
large sequences of transition chords in which Ellington applies modal interchanges making the
key centre even more vague. The result is a rather chromatic sounding piece. Once again
The tonic key is determined later in the piece but suffice to say it is in C major. The piece
begins with a conventional V/V which is then converted from its customary first degree (G
major) to its first degree melodic minor. Though it could be argued that this is simply a
chromatic passing note, the Bb in the melody does last a whole beat, ¼ of the length of the bar,
and is therefore long enough to mark a change of harmony. Just as we had in Mood Indigo, if
someone was improvising simultaneously whilst the melody was being played, the improviser
might find it useful to know that this scale can be played over this particular beat. In the next
chord Ellington uses both the natural 9th and flat 9th of G to continue the descending line. Then
we find what could be interpreted as a V/IV but in fact it's a tonicisation of the second degree.
16 Duke Ellington, ‘Prelude To A Kiss’ (Miami, FL.: American Academy Of Music, Inc., copyright 1938 Publ.
1966)
316
Here we see Ellington heading towards the relative minor of F and thus confirming that we have
changed key. One might take into consideration that the tonic C has not been established and
therefore it would appear that the piece is indeed in F major/D minor. This analysis works
whether it's the first or second time being heard, the logic being that the B9 has a much stronger
feel as a V/II (in D minor) than as a V/III (in C major). This supposition is reinforced by the
tonicisation to the second degree in the previous bar. If the B9 had appeared in the middle of a
diatonic progression in C major the analysis would be quite different.17 Resuming, the B9 is then
interchanged by a mode out of reach i.e. not within the hierarchy, but hypothetically still a fifth
degree melodic transition from C major.18 Then the V/V (E9) begins with a modal interchange
before it proceeds to the conventional one.19 The V finally resolves to the temporary relative
minor (D). Many would argue that the B9 and E9 belong to E major and A major respectively,
but then what would the solution be for the A7? A minorisation? Though this analysis provided
above might seem over-elaborate or too complicated, it does provide smooth connections
The next eight bars move towards the tonic key in a conventional manner. I found one
objectionable chord symbol in this publication in bar 5: the G#dim is sounding at the same time
as the A in the melody, which I have not been able to find in any recording, so I must conclude
that it is an editorial error. This first A section ends with a V/II that leads into the D7 of the next
section. The second A repeats, as it is customary at this point, but finishes with a modulation to
As with the modulation in Sophisticated Lady, Ellington prefers the subtle secondary ii
which can be interpreted as a VII of the first degree, to produce a more closely related
connection.
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The bridge follows solely diatonic chords, but utilises the uncommon secondary ii which
The last two bars of the bridge begin an intricate modulation back to the tonic key. The
E7 comes after six bars of E major so the first impression is that of a V/IV, but the resolution is
towards an A7 which does not reference any chord in E major, consequently it must be a
modulation. Since the final resolution is to a Dmin7 which cannot be found anywhere in the
hierarchy of E major it is logical to conclude that it is a return to the tonic key and thus a V/II.
This is followed by a chromatic transition which ends in a tritone substitution of A7 that leads
In this manner Ellington became one of the most adventurous composer of his time. All
the pieces covered above were written in the 30s when such harmonic devises were both rare and
Billy Strayhorn
Billy Strayhorn was Duke Ellington's ‘right hand’ for many years. We know, thanks to his
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biography, that he was heavily influenced by Ellington. His music however pushed the limits of
jazz even further and the complexity of his music stands on its own.
The first piece I would like to cover is his 1941 composition entitled Chelsea Bridge.20
This exquisite tune is filled with harmonic exceptions and key shifts via unusual chords and
Fig 7.5 Octatonic analysis of Strayhorn’s Chelsea Bridge (intro plus bars 1-2)
The tonic key is Db which will become evident later in this section. The melody begins in
an anacrusis going up a Bb minor scale finishing on Q. The first two chords appear to be VI of
Db followed by a third degree melodic transition. There could be an inclination to analyse this
from the minor perspective, since the piece actually begins with an ascending minor scale.
However, by having a quick glance through the whole section one may easily notice that the
progression comes to a close on the Db major, and therefore all previous chords lead to this
point.
20 Billy Strayhorn, ‘Chelsea Bridge’, New Real Book, vol. 1 (CA, USA: Chuck Sher ed., Sher Music Co., 1988),
51
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The next bar repeats the same harmonic movement compressed into one bar. This leads
As we can see above the first section ends with the same ascending minor scale to lead
into the second A. The second time around Strayhorn initiates a modulation to the fourth degree
to go to the bridge:
Similarly to Ellington's modulations, Strayhorn first establishes the new key by using
diatonic chords, but then in the second half of bar 12 he alters the V to begin a tonicisation of the
second degree.21 The reader might wonder why this is not considered to be a II-V of IV instead?
The answer is because this piece is particularly slow so the proportion of this movement feels
21 Alt. Of V stands for the incomplete process of a tritone substitution, see chapter 4 (tritone substitution).
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The last four bars of the bridge show Strayhorn making the key centre quite vague. The A
major clearly feels like a I thanks to the II-V the previous bar, but the C7 is quite confusing. The
only C7 to be found relating to A major is a descending third degree which seems a bit abrupt
straight after a modulation/tonicisation. The next chord (Gmaj7) finds a fourth-degree transition
making the tonality even more uncertain. But then Strayhorn returns to F major in the form of a
II-V and thus justifies the analysis of C7. Looking back we can see that the bridge began on the
fourth degree of the tonic key (E major), then moved to a tonicisation of the second degree (A
major), then moved to a descending third degree (F major) and finally ends with a sudden leap to
Ab melodic minor. In the background this common key is more conventional than some of
Ellington's connections. Ab melodic minor is a sixth degree (m.m.) from F major and a third
The above score is surprisingly not the most commonly played version of this tune. In
most jam session and recordings one may find that the version below is more widely known.22
The subtle changes of chords are enough to dramatically change the analysis of the piece.
Fig 7.6 Octatonic analysis of Strayhorn’s Chelsea Bridge, alternate version (bars 1-2)
In this version we find the first few chords to be quite different and specific. We know
that an X7#11 can only exist as chord IV of a melodic minor scale, and from that we can gather
that the movement of the first two bars is a tone away. We know that a shift of a tone can be
found between second and third melodic minor degrees, from the perspective of a major key, or
third and fourth from the perspective of a minor key (see figure 4.4 and 4.5). Since there is no
reference to a minor key i.e. no cadences or dominants insinuating a minor resolution, the major
As in the previous version the movement is repeated, compressed into one bar. From bar 4-7 it is
In bar 8 we find another difference: the harmonization of the ascending scale. The C7
strikes us a V/iii, but since it descends chromatically to the V/II it is better to consider it a non-
diatonic VII. It is interesting to note that these chords are actually melodic minor transitions. The
last chord, Bb9, is evidently the V of Eb melodic minor, since the combination of the chord
symbol plus the melody can only exist in that scale. Consequently it makes sense to analyses the
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previous two chords as the chromatic melodic minor equivalents. The second A section
The last four bars of B also prove to be quite different. After resolving to A major it
modulates, unusually, down a tone. Not only is this not in the hierarchy but it is also a tritone
away from our tonic key. There are a few examples of standards that modulate down a tone, 23 but
in general it is quite rare. In bar 16 the II-V in F major is replaced by a G minor. This could be
either a minorisation or a first degree melodic minor, which I feel is closer in relation to G major
and the events that follow. The Db7#11 functions both as a chromatic transition from G melodic
minor, a tritone substitution of V/IV and a tritone substitution of the C7 leading back to the A
section.
Billy Strayhorn's Lush Life24 shows how exceptions can be pushed to the limit. This piece
is one of the most complex jazz standards available. It includes unusual modulations and modal
interchanges and constant transitions to remote keys. The overall harmony could be described as
chromatic tonal harmony. The piece is structured as verse and chorus. Most recorded versions
The tonic key of this piece is Db major. The harmony moves in contrary motion to the
melody interchanging between tonic and fourth degree melodic minor. The B7 could also belong
to the normal fourth degree (E major) but I feel the F# melodic minor suits the piece and the
In the second half of bar 4 we see a tonicisation to the fourth degree which could justify
the previous B7 as belonging to E major, but I still believe the context is different and the F#
melodic minor flows better between the Db and the F in the melody.
Strayhorn remains in E major for two more beats before returning to the tonic key by
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means of a tritone substitution of V. Particularly interesting is the second chord of bar 6: at first
glance this would be analysed as another tritone substitution, but on closer inspection we find
that the melody has leapt to Bb and this note is not found in A melodic minor. I can only
speculate that this is perhaps a modal interchange of the tritone substitution, since the only scale
to host a 7th chord with a natural 9th and a flattened 6th is the V chord of a melodic minor scale. I
am left with the only option of assigning a G melodic minor as the mode that corresponds to this
chord, which interesting enough is in itself a tritone away from the tonic key.
The third and final part of the verse moves quite differently from the first two. Strayhorn
prefers a stationary I but applies modal interchanges to create movement. A simple II-V in bar 18
breaks the monotony. Here the II of F melodic minor is used instead of the diatonic II, this might
easily mislead us into thinking that this is perhaps a modal minor (Dorian), but the flat 9 th in the
The piece continues in the same fashion but after two bars we find ourselves in Dbmaj7,
which both anticipates a return to the tonic key and corroborates the F minor as 'natural' not
modal. This is confirmed again afterwards with a secondary q (also VII in F minor). The last five
bars, starting on bar 22 above, begin a modulation back to the tonic key preparing us for the
chorus.
Strayhorn continues to hint a return to the tonic, but detours to unusual places. The A7 for
example can also be seen as a tritone substitution of V/V, but since it is not resolved its sixth
The verse ends, as announced, in a II-V that leads into the chorus:
The first two bars display a familiar progression: chord I to tritone substitution. But Strayhorn is
Here we see a fourth degree transition done via what at first glance appears to be a
chromatic movement, but is C9 not acting as a tritone substitution of the V of B7? Furthermore,
the C9 has a natural 9th whereas the B7 has a flattened 9th so the chromatic motion is not
absolute.26 Finally the Gb in the melody confirms this chord as a C9#11, which we know can
only be IV of a melodic minor. Thus a very short tonicisation of the fourth degree explains this
movement.
Here we see a third degree tonicisation using a similar movement as before i.e. a tritone
substitution of V/V. And instead of returning to the tonic key he modulates to the fourth degree
After resolving Strayhorn begins a series of modulations to unusual keys. The first one is
Then, similar to the second version of Chelsea Bridge, it modulates down a tone. Finally
it modulates up a semitone to return to the tonic key. As explained in the theory chapter,
modulations can be done to any key. They don't necessarily need to respect the hierarchy of
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intervals as transitions do, but so far we have always encountered modulations that respect the
hierarchy even if it is to the unusual descending degrees. But this piece stands out as the
The piece returns to familiar territory repeating the same chord progression as the
beginning of the chorus. The C9 here poses a particularly difficult chord to analyse: the Gb in the
melody suggests a C9#11, since the chord symbol C9 indicates a 5 th in the voicing. We know that
this combination of notes can only exist as chord IV of a melodic minor, we are consequently left
with the difficult task of relating G melodic minor to our tonic Db major. Earlier, in bar 31-32,
we saw Strayhorn doing a very brief tonicisation of the fourth degree which he anticipated with a
tritone substitution of V/V. The movement here is almost exactly the same but instead of
deceive the listener by suggesting the same movement but then taking the progression elsewhere.
If that would be the case, then the analysis should reflect this and the scale family should be the
same as before.
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He then surprises us again with a fourth degree transition that sounds like the earlier
tonicisation. Then he returns to the tonic via a third degree transition disguised as a tritone
In the next two bars we find a very unusual spelling for a II-V to B major which recalls
the first chapter’s reference to jazz musicians’ informal use of enharmonic notation. This is
followed by shift to a tone below which at this point has become less abrupt.
He returns to the tonic key and repeats the aforementioned movement, but this time he
Instead of resolving the Ab7 to the tonic, he leaps to the fourth degree to draw what almost
sounds like a chromatic descent counterpointing the melody. The analysis here is not easy since
there are two strong sounds occurring simultaneously. The movement between the Eb7 and the
Dmaj7 feels like a chromatic shift (T.S. Of V to I), but on the other hand since the G9 (in C
major) is moving from a semitone below the tonic, retroactively the Dmaj7 feels like a shift from
a semitone above, and thus surrounding the tonic key chromatically from above and below.
Strayhorn plays a straight Gmaj (no 7th) in his Parisian recording27 which would suggest that
both Dmaj7 and G are in the same key a tritone away from the tonic. It is worth mentioning that
this particular ending has many variations depending on the recording, below are a few examples
from the fourth degree. However, it also contains a rather odd modally interchanged tritone
substitution of V.28
Above, from The New Real Book,29 is my personal favourite which moves in the same
direction as the melody but it is actually harmonizing the sharpened 9th. It ends by doing the
opposite of the original version and approaches the tonic from a semitone below and then above.
substitution.
Finally Isfahan,30 written fifteen years later and credited to both Ellington and Strayhorn,
shows the harmonic evolution of these two great composers. Here they bring together all the
above concepts into a fascinating set of unpredictable progressions. The piece feels less
chromatic than Lush Life in the sense that the key centre remains consistent, but the sound is
The piece begins on the tonic I, then immediately leaps to the IV of the third degree
29 The New Real Book (Chuck Sher ed., Sher Music Co., CA, USA, 1988)
30 Duke Ellington, Billy Strayhorn, ‘Isfahan’, The New Real Book volume two (CA, USA: Chuck Sher (ed.), Sher
Music Co., 1991, copyright 1964), 160
333
The boxed II is held for two bars, but the next chord is anticipated by the melody in the
The fourth degree here seems to be acting as a substitute of a tritone substitution of V/V.
But it detours to I melodic minor before heading for the diatonic V. In this manner Ellington and
Strayhorn have managed to remain in the same key and barely play any of the diatonic chords.
This section ends with the I being played for two bars and thus establishing the tonic key.
The next section begins with a modulation to the relative minor of the first degree. Here
melodic minor which is a first degree as well, but C minor seems to have more relation to the
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In the next two bars we see one of Strayhorn's trademarks, though on this occasion the
modulation is up a tone instead of down. The movement could have had a II-V of II feeling, but
this is avoided by resolving to another modal interchange which parallels the previous two bars.
This is analysed as a tonicisation since the piece returns to F minor in the next bar:
Here we see the rarely played VI of melodic minor acting as a modally interchanged II. This is
The resolution is to a majorisation which initiates a series of chromatic transitions back to the
tonic key. This seems more influenced by Ellington, who prefers symmetric chromatic
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movements, than Strayhorn and his intricate connections. The first six bars of the next section
are similar to the first six bars of the piece, but finish on a very unusual chord (bar 23):
For context I've added the two bars preceding the resolution. As we saw above the Ab13
is leading back to I, or at least this is what we expect this time around. The chord symbol
indicates that the perfect fifth is present, but the chord also contains a sharp 11th and a flattened
9th. We know that chord IV of a melodic minor scale has a sharp 11th but not a flattened 9th, the
VII of a melodic minor on the other hand contains both the sharp 11th and flat 9th but not the
perfect 5th. We must then assume that we are dealing with a chord hosted diminished scale (half
tone/whole tone scale). Taking into consideration that this piece was written in 1964, and we
know that Russell's Lydian chromatic system had been around for at least a decade, it is not too
far-fetched to think that Ellington and Strayhorn were fully aware of the possibilities offered by
this scale. The actual recording of this song,31 by Ellington himself, shows the first alto holding
the sharp 11th while the baritone draws upon the root, 5th, minor 7th and both 9ths, flat and sharp.
This seems to confirm that this was the intended effect. Within the tonal context, this chord still
sounds like a modal interchange of a V/IV and this is precisely where it resolves to:
Particularly interesting here is the use of Q in the melody in bar 25. The C7 seems to suggest a
Again we find a chord symbol suggesting diminished harmony, but in this case the 5 th is
not present in the recording. This would suggest an F7alt (VII of Gb melodic minor ) instead, but
since we know for certain that Ellington and Strayhorn were aware of diminished harmony, I
will respect the chord symbol in this publication and analyse it as diminished harmony.
The piece ends with a simple progression back to I. The only thing worth noting is the
modal interchange in the second half of bar 30, the Ab9 with a #5 (more appropriately respelled
In conclusion, Ellington and Strayhorn led the way for jazz composers. Their
compositions were heavily influenced by the mainstream song writers, especially concerning
form. But they took the music further and altered the conventional progressions using a vast
number of resources including chromatic shifts, modal interchanges and modulations to unusual
distances.
Tadd Dameron
Another important character in the history of jazz is Tadd Dameron. His style differs
somewhat from that of Ellington and Strayhorn and he is mainly known as a bebop composer.
His tunes are generally based on classic standards and then altered via modal interchanges to
give them the bebop flavour. For example Good Bait32 is based on the A section of Gershwin's I
Got Rhythm.
The last chord above shows a conventional way of playing the V chord in bebop (utilising
Another example is Hot House,33 based on Porter's What Is this Thing Called Love.
32 Tadd Dameron, Count Basie, ‘Good Bait’, The Standards Real Book (CA, USA: Chuck Sher (ed.), Sher Music
Co., 2000), 153
33 Tadd Dameron, ‘Hot House’, The Standards Real Book (CA, USA: Chuck Sher (ed.), Sher Music Co., 2000),
165
338
In What Is this Thing Called Love the analysis is II-V of IV, Dameron treats this as a
straight II-V to F minor. This is probably due to the absence of the introductory verse that
establishes C as the tonic key. We can also see a common practice in bebop which is the
alteration of V, which is basically a modal interchange to the VII of a melodic minor scale. He
also substitutes the I minor chord for its equivalent melodic minor, as opposed to the IV of the
first degree, which is another common practice mentioned earlier by Levine. Many of Charlie
Parker’s compositions are also based on old standards and re-harmonized via modal
interchanges.34 This practice allowed boppers to experiment with new harmonies whilst using the
structure and tonal principles of established composers to make sense of the whole.35
But Dameron, like other bebop composers, didn't always base his compositions on other
standards, see for example his beautiful ballad If You Could See Me Now, where we can see
many of Ellington and Strayhorn's traits plus the extended bebop chromaticism. But perhaps
Dameron's greatest contribution to the jazz repertoire is a piece entitled Lady Bird.36 This tune
34 Michael H. Goldsen (Publ.), Charlie Parker Omnibook (New York: Atlantic Music Corp., 1978).
35 See for example Moose The Mooche and Anthropology based on Gershwin's I got Rhythm. Ko Ko based on Ray
Noble's Cherokee. Ornithology based on Morgan Lewis' How High The Moon.
36 Tadd Dameron, ‘Lady Bird’, Real Jazz Book (USA: Hal Leonard Publishing Corporation, 1998), 210
339
often mistakenly called a Coltrane turnaround.37 The piece is quite straightforward, only one
section with two endings, and contains some interesting tonicisations to remote keys.
The piece begins with a rhythmic pattern over C major tonic, then leaps to a tonicisation
It returns to the tonic key and repeats the initial rhythmic motif. Then surprisingly it leaps
37 This is probably due to Coltrane's extensive use of substitutions around cycles of thirds. See Coltrane analysis
below.
340
to a descending third degree where he repeats the motif of bars 3-4, this time actually modulating
Here he introduces a variation of the first motif by means of chromatic movements between the
2nd and the root. Dameron then begins a return to the tonic key via the first degree. Normally this
would be interpreted as a II-V to G, but the pull towards the tonic makes these two chords
insinuate a II-V of the V of the Tonic (G7). Also worth mentioning is the chromatic movement
from the previous key, Dameron modulated to Ab major only to descend chromatically to G (first
degree of C) thus linking the tonic key in a clever but unusual way.
The II-V of V remains unresolved and Dameron prefers a straight II-V back to the tonic.
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The C# in the melody over the G7 might warrant a modal interchange analysis (IV of melodic
minor ), but since this piece is an up-tempo bebop I consider the passing note too brief to be of
In the first ending (bar 15-16) we find the famous Dameron turnaround. In this version it
appears as a simple fourth degree transition followed by a descending third degree. This makes
sense since it is exactly the same shifts of key he made previously. But many versions contain a
slightly different variation of this chord, and in fact many jazz musicians might quote the
Dameron turnaround in one of these other versions. Aebersold, in his three publications of this
Here we see a brief tonicisation to the descending third degree followed by a tritone substitution
of V. In the New Real Book39 we find a similar progression but it ends on an altered V instead of
a tritone substitution, which is practically the same. I have also encountered on many occasions
this turnaround played as a series of 7th chords, all but C, which is closer to what Coltrane did.
substituted by Cmaj-Eb7-Ab7-Db7.
To sum up, Dameron added a new turnaround’ which is now commonly used in practice
amongst jazz musicians. The Dameron turnaround now stands side by side with all the other
variations seen thus far and it is usual for jazz musicians to interchange them in the midst of an
38 Jamey Aebersold, vol. 36, Bebop & Beyond, (1985), 1; vol. 70, Killer Joe, (1996), 10; and vol. 99, Tadd
Dameron, (2002), 5 (USA: all published by Jamey Aebersold, Inc. ).
39 The New Real Book Vol. 1 (CA, USA: Chuck Sher (ed.), Sher Music Co., 1988), 177
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Thelonious Monk
Thelonious Monk is by far the most idiosyncratic figure in the history of jazz. His music
is often described as angular and eccentric, but he was also one the pioneers of bebop. His
contributions spread over all elements of jazz. He revolutionized the approach of the rhythm
improvisations made as much use of silences as it did of melodic lines. He was also a minimalist
of comping, drawing a chord with as little as two notes at a time, achieved by studying which
notes needed to be sounded to produce the most effect. Finally, his sense of time and rhythm
revolutionized the approach to playing traditional structures such as the blues, AABAs, etc.40
Monk, by all accounts, was a bopper. His intention was to find new ways of expressing the music
he called jazz. Historically, he lived in the period where musicians started concerning themselves
with chords and scales.41 We know, from the many books on the history of jazz, that these
musicians did not have much formal training and instead the knowledge was acquired
collectively by the sharing of ideas. The approach in general was chordal, meaning the chord
itself and in isolation. Just as we saw with Dameron, modal interchange became the most widely
used resource in both playing and writing. The sound of bebop can be characterised as a
technique where I chords are interchanged for Lydians, V dominant chords altered or minorised,
etc. But Monk, unlike Dameron or Parker, wrote pieces that were not based on any standards. In
fact many of his pieces have unusual form and structure,42 not to mention such a degree of
harmonic complexity that these pieces still remain amongst the most challenging standards to
date. Perhaps one of the most representative of Monk's style is Monk's Mood written in 1946.43
This piece is structured AABA with two very different endings for both first and second sections.
The tonic key is quite difficult to decipher since it is barely heard, though by playing it the point
The piece begins with a II-V in Eb and then leaps to C major. In a sense this feels like a
majorisation of the relative minor. Interesting to note is the modal interchange of Bb7 to
diminished harmony. We know thanks to Barry Harris' teachings that diminished harmony was
In the next bar we find a DØ which could easily be interpreted as II of C minor, but this
uncertainty doesn't last long. The following chord (G7#11) draws upon the major 3 rd of C, in
other words a G13 sounds like a V of C major, not C minor. But Monk is not happy to give us
total certainty and interchanges to another mode: the diminished H/W analysis is purely
speculative, but we know of only two possible scales that contain this combination of notes 1. D
melodic minor and 2. the diminished H/W. Since the former has no relationship to C major (in
the hierarchy) and the latter has already been quoted in bar 2, then it is logical to conclude an
44 Howard Rees, The Barry Harris Workshop Video part 2 (Canada: Jazzworkshop Productions, 2005), 7
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M.I. to diminished harmony. At this point we are feeling C major as the tonic key. Finally Monk
resolves melodically (the 5th to the root) but harmonically leaps to a descending third degree.
This is Monk's main trademark i.e. playing with the expectations of the listener and constantly
shifting to unusual places. He then begins a chromatic descent to slowly return to the tonic key.
Here we find ourselves on a Bb7 from a diminished scale again, exemplified by the C#
and the E natural in the melody, moving chromatically to the III of F. Then he leaps to the III of
C, the rationalization is that the III of C has more in common with F (first degree-second degree
relation) than any other E7b9 in other scales, and because C is our tonic key the tendency is to
hear things that relate to it. The last chord is a bit of a mystery: up to now every chord we have
analysed is contained within the three scales: major/minor fundamental, melodic minor and
diminished H/W tone. But this chord is a 7th with both a natural 9th and an augmented 9th (#9 in
the melody). A possible explanation would be that Monk considered a melodic minor
45 Another piece that contains a chord that could be explained in this manner is Billy Strayhorn's Blood Count. The
first chord is a F7#9 and the melody is drawing the notes G-G#-B, therefore a C melodic minor with a Q.
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The first ending finds us back in the tonic key, thus justifying the previous chord as an
unusual tritone substitution of V/II. The last chord in the above system is the same one we saw in
the first bar of the piece. At this point I would like to speculate on Monk's use of this chord:
Earlier in this thesis we saw how a tritone substitution is actually the interchange of chord IV and
VII of a melodic minor scale. The substitution comes from the practice of altering the natural
dominant (modal interchange to the VII of a melodic minor) and then utilising its melodic
counterpart i.e. the IV chord. Diminished harmony (H/W tone scale) is symmetrical and offers a
similar interrelation between chords. The Bb7 above uses the following scale: Bb-B-C#-D-E-F-
G-Ab. From this we can construct a Bb triad, a Bb7, a Bb7b9, a Bb7#9, etc. But because of the
intervalic symmetry of the scale we can construct equivalent chords from the C#, E, G and any
of these chords would have the same symbol (X7#11,b9). So it is possible to conceive that all these
chords are interchangeable and therefore substitutions of each other. Consequently if a V chord
can be altered (via modal interchange) and then substituted by its melodic counterpart, the same
could be true of diminished harmony i.e. one should be able to modally interchange the V for a
diminished harmony and then substitute it for any of its equivalents. This practice is explained
by Barry Harris in terms of chord voicing and brief movements, but perhaps it's also a good
explanation of what is happening in this tune. If the Bb7 is a modal equivalent of G7 then
perhaps what Monk intended was a diminished substitution? e.g. Dmin7-Bb7-Cmaj7 also
since the addition of the upper-structure (#11 and b9) allows for the same tritone as the G7.
46 John Elliot, Insights In Jazz: An Inside View Of Jazz Standard Chord Progressions (London: Jazzwise
Publications, 2009), 17
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In the second ending Monk takes a different route. On the surface it appears to be a
tritone substitution of V/V which moves to V and finishes on the descending third degree
transition. On close inspection we find that Monk alters the tritone substitution itself, though an
uncommon practice it works well because the altered tritone would belong to Bbb melodic minor
(or more practical A melodic minor) which is only a second degree melodic minor from the tonic
key C. The V is also substituted by the same modal interchange he used in the third bar of the
piece. We also see Monk drawing a very clear V-I in the melody to reinforce the unusual third
degree transition.
The B section takes us to a second degree tonicisation which has been seen as early as
ragtime, but once again Monk gives it a special treatment: the key is insinuated by the movement
of IV and III joined together by the C in the bass, a combination which can only be found in F
major. The movement is long enough to be considered a tonicisation, despite the fact that the
tonic of this key is never played. The last chord in bar 12 introduces a chromatic descent to E
major.
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In the next two bars Monk offers us a temporal rest from the constant shifts. A simple II-
V-I, clearly drawing Q in the melody, proves to be the only point of smooth resolution in the
piece.
In the next bar he initiates a very complex return to the tonic key. The insinuation here is
C minor but one needs to go forward and then back-track to understand why. The AØ could be
analysed as secondary ii of G major, this would be an ideal link between E major and the tonic C
major. So let’s put it aside for the time being. The next chord is an obvious tritone substitution of
V/V, the V here portrayed as secondary sus could belong to either major of minor, so could the
G#dim (q of major or bvi of minor). But the next chord is clearly a II of G minor since the
melody is drawing upon Eb and Bb and the chord AØ only appears as ii of G major, VI of A
melodic minor and II of G minor; the latter being the only one to contain these notes. Now we
may back-track and analyse the previous chords from this perspective. The last chord in bar 16 is
Bar 17 begins with IV of C minor and thus confirms my previous speculation. The
Ebmin7 on the other hand seems confusing. The first thought is that it is a fourth degree
transition from C minor, but looking ahead to the next bar we find ourselves back in the II of
tonic major. The sound is clearly a chromatic shift and looking back we realize that Ebmin7 can
also be the II of Db major. Consequently we may assume that Monk leapt down a tone to
connect back to the tonic major via a chromatic movement. The last chord is our previously seen
The last section repeats the same harmony and melody as the second A section, ending on
Monk offers an interesting challenge to improvisers and analysts. His music is filled with
exceptions, unusual turns and shifts, unconventional substitutions and modal interchanges. He
plays with the listeners expectations by always playing from within the tradition and changing
the course when least expected. He is also a clear example of how boppers conceived harmony
and how scales and their interrelationship were the tools for creating the sound of this style of
jazz. But finally and most importantly he took on board the lessons learnt from the great ones
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that preceded him and from there he invented, with others such as Parker and Gillespie, a
Dizzy Gillespie
Dizzy Gillespie is considered by many to be the catalyst that brought bebop together. He
was a trumpet virtuoso, an entertainer, an avant-gardist and a gifted composer. He not only
helped bring bebop to life but was also the first to explore jazz fusion with Latin-American
music.47 The following is one of his most played standards which shows a very different
approach to that of Monk, but in line with the philosophy and techniques used.
The piece is Woody 'n You, written in 1943.48 This piece shows the minor/major play that
boppers became known for. The structure is AABA and the tonic key is Db major.
Initially it feels like a II-V in F minor, but since it moves to a II-V of Eb minor there is a
The next bar moves again to a II-V this time in Db minor, but finally resolves to I major.
Normally one would just consider this a majorisation, but somehow on second hearing one finds
that the series of II-Vs are actually referencing Db major. The reason for this is can be found in
the background analysis of the movement of keys. If we look at the series from the perspective
of their relative major we find that the movement is a first degree up to a second degree and
finally up to a fourth degree. So as Gillespie drives us away from the tonic key (Db major) the
more the tension grows and the greater the pull back to it, particularly on second hearing.
Furthermore, Gillespie is wise to choose chords that reference the tonic key i.e. the first set of II-
V sound as they are referencing the secondary iii, hence II-V of iii (II/iii-V/iii). The second set
sound like a typical II-V of II so we are surprised when Gillespie takes us to a minor II-V in the
next bar. Nevertheless the minor II-V feels like a modal interchange (minorisation) because what
we expect is a major, this is as much true the first time as it is the second time around. The
reasoning is that the II-V of iii already insinuated a tonic major. This, plus the background
movement ascending through the hierarchy, complement each other to create a most unusual
major progression.
The bridge modulates to a common second degree with a minorisation (M.I. To fourth
The second part of the bridge modulates to the first degree. This is interesting since we
have always seen composers link keys after a modulation i.e. using common keys between the
temporal key and the tonic key. In this case Gillespie simply shifts down a tone from Gb to Ab
thus creating a reference to the degrees of the tonic key. This gives the bridge a sense of
tonicisations rather than modulations and should perhaps be re-analysed in this manner. The
This type of shift can be found in many of Gillespie's tunes49 and seems to be one of his
trademarks. He treats modulations and tonicisations in such a way so as to always reference the
tonic key, this allows him to build over unusual chord progressions since the feel of the tonic is
never lost.
John Coltrane
One of the great giants of jazz is John Coltrane. It is said that he pushed the limits of what
could be done in music more than anybody. Coltrane's developments surpass the scope of this
thesis since he explored in tonality as much as he did in modal and atonal music, including free
improvisation. He first made his mark in tonal music, expanding the horizons further than the
boppers before him. His piece Moment's Notice, written in 1957, shows an extravagant use of
chromatic parallelisms anticipating every II-V by a another II-V a semitone below. He also
sometimes I chords. It became common practice for him to play a similar set to Dameron's
turnaround over tonic chords i.e. a series of movements by thirds which it has been speculated he
took from Slonimsky's thesaurus.50 This practice culminated in two major pieces, Giant Steps
and Countdown, which he composed for his album of the same name in 1959. 51 Below is the
analysis of the title track; which despite its simplistic use of brief and sudden
modulations/tonicisations, the actual movements of keys was quite new at the time.
Giant Steps52 has been linked with Rodger's Have You met Miss Jones as a source of
inspiration53 as well as his studies of Slonimsky's Thesaurus.54 The piece has one section and it
consists of 16 bars. I believe it beneficial to separate it into two, the trademark Giant steps
movement (the first seven bars) and the second part which consists of a series of II-V-I.
The piece begins with a Bmaj7 followed by a sudden leap to a V-I in G. The reason we
the piece there is a II-V leading into it. We also have B major as a temporal key centre several
times in the piece. The leap to G major can be justified as a descending third degree tonicisation.
50 Jeff Bair, ‘Cyclic patterns in john coltrane’s melodic vocabulary as influenced by Nicolas Slonimsky’s Thesaurus
of scales and melodic patterns: an analysis of selected improvisations’, Doctoral thesis (University of North
Texas, August 2003), 57-108
51 John Coltrane, 'Giant Steps' and 'Countdown, Giant Steps (Atlantic Records London edition, LTZ-K 15197,
1959).
52 The Music of John Coltrane (Hal Leonard Corporation, USA, 1991) 44
53 David Demsey, [PhD], John Coltrane Plays Giant Steps (USA: Hal Leonard Corporation, 1996), 8
54 See: Pattern 286 and 646 in Nicolas Slonimsky, Thesaurus of Scales And Melodic Patterns (New York: Amsco
Publications, Schirmer Books, 1986) 40 and 88.
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This is followed by another descending third degree V-I which takes us to Eb. Immediately
Coltrane breaks the temporal centre and draws a modulation to the third degree of Eb i.e. G
major.
In the second half of this section we see Coltrane repeating the same third degree
tonicisations a minor 6th above, thus resolving in B major. This is followed by a II-V to the third
Here we see Eb established as a tonic centre for the second time, immediately there is a
shift towards the third degree above (G major) and the again to the third degree of the latter:
He continues ascending one more time to arrive at Eb only to draw a II-V that leads back to the
top. Analytically speaking this piece is simple and easy to decipher, but the question most
students ask is what is the tonic key? This is where the octatonic system can help once again.
The keys are symmetrically a third apart, hence there is no rule of degrees that can be applied. 55
But the analytical difference between tonicisations and modulations is what gives us the solution.
The piece begins with a series of tonicisations a third degree apart, then we find ourselves with
Eb established as a temporal tonal centre for six beats. Coltrane then needs to modulate away
from it; it is not enough to tonicise a different key since Eb has lasted too long and its influence
as a reference would destroy Coltrane's intention of keys a third away. After he repeats the series
of tonicisations he establishes B major as a centre for six bars, at this point there is doubt. When
he modulates back to Eb major we find ourselves in what has began to feel as a tonic, we have
heard it established twice, this is followed again by a modulation proving that this is the only
way to get away from Eb and its influence as a reference point. In other words, if Coltrane didn't
use a modulation to clearly draw a new key, the chords succeeding Eb major would sound like
transitions. The modulations continue, but the return to Eb major in bars 13 and 14 prove to be
the final point of resolution and Coltrane is forced to use another II-V (modulation) to drag
himself away from this pull. In his recording Coltrane ends the piece on this chord, which might
Antonio Carlos Jobim might not be considered a jazz composer by some, but his music is
an important part of the jazz musician's repertoire. Co-creator of bossa nova, Jobim became
known in the American and jazz community through his collaboration with Stan Getz,56 another
one of jazz' giants. His name features widely in jazz real books with at least 89 appearances
amongst the books researched for this chapter. His most renowned piece is Girl From Ipanema
55 Each key is a third degree descending or ascending from the other hence no evident tonal centre.
56 Stan Getz, Joao Gilberto, featuring Antonio Carlos Jobim, Getz/Gilberto (Verve, 521 414-2, 1963)
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(Garota De Ipanema) and it offers an insight into Jobim's technique and style, which is
This score presents the song as AABA with a short four bars introduction.57 The A section
is fairly standard consisting of a first degree transition and a tritone substitution, the tonic key is
Fig 7.18 Octatonic analysis of Jobim’s Girl From Ipanema (bars 17-20)
The shift is from an Fmaj7 in the previous section to a Gbmaj7. The first temptation is to analyse
this as a chromatic modulation, but there are two reasons why this is not so:
note C is held during all three chords. This would seem to influence the first chord of the
2. A chromatic shift is always harsh and the proximities of keys (hierarchy of intervals)
should take precedence i.e. if a chromatic shift is not explicit (symmetric) and an
alternative option exists within the hierarchy (including descending degrees) then the
The Cb9 suggests a fourth degree melodic transition, though it could also be a fourth degree (V
57 Antonio Carlos Jobim, 'Garota De Ipanema/Girl From Ipanema' (London: MCA Music Ltd., 1963).
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The F#min9 clearly belongs to the fourth degree, but since F# (or Gb) was also the root
of the first chord, the feel is that of a minorisation. In other words this progression sounds more
like a Lydian progression which has become minorised to a Dorian. In any case the analysis of
fourth degree would still be appropriate for the two chords (Cb9-F#min9) since this would not
interfere with the melody.58 This is followed by an unresolved tritone substitution. At this point
the progression feels like it will resolve to C# minor or modulate to the relative major (E), but
However, this time we do see a clear chromatic modulation since the two bars in this system
parallel the previous two bars in every respect: the melody, the chords and the rhythm. Though
this time the tritone substitution leads into a modulation back to the tonic key (F):
58 The fact that most published versions contain the chord Cb9 as opposed to B9 would seem to suggest that Jobim,
or at least the publishers, intended this chord to be a IV of melodic minor.
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The A minor can be seen as a secondary v of D minor or secondary iii of F major. Possibly the
latter would be more appropriate since the secondary v of minor is rarely used. Here we also find
a V/II which has been modally interchanged for the symmetric H/W tone scale, this is obvious
due to the 5th, flat 9th and #11th in the voicing. This creates an unusual sound to a common
turnaround. The section ends with the same modal interchange over the V which returns to
This bridge shows Jobim's more advance use of harmony, where tonal centres that relate
to the hierarchy are used but not established. In other words, there are a shifts of key which do
not draw upon tonic chords but their relation to the tonic key is still felt strongly thanks to the
relationship they have in terms of proximity. See for example his piece Triste where in bar 3 and
degree melodic minor, all unresolved. This practice would seem to point the way jazz harmony
was and is heading, tonality remains a centre but more chords from distant keys are used to
Wayne Shorter
I would like to end with Wayne Shorter who is perhaps the most prominent composer of
modern jazz. Shorter's career covered everything from straight ahead’ with Miles Davis, to Rock
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and Funk fusions, free jazz, Latin jazz, electronics59 and is still today at the foreground of the
music's development.60
His tune Night Dreamer from 1964 is an excellent example of how jazz harmony was
evolving.61 This piece contains a clear tonic key (G major) but every other chord in the piece
Fig 7.19 Octatonic analysis of Shorter’s Night Dreamer (Intro, bars 1-4)
It begins with an eight bar vamp introducing the tonic I and immediately leaping to a
third degree descending transition. This falls into a minorisation of V (V of G minor) which is
The piece begins by drawing upon the same chords as the introduction. It is possible to
conceive that Shorter considered the third degree transition here as a form of tritone substitution
leading into V. But it is also interesting to note that the transition and the modal interchange are a
first degree apart from each other. In bar 7 we find what appears to be a modal interchange to the
first degree, this is only suggested by the brief Bb in the melody so it could just be considered a
In bars 11-12 we find the most peculiar thing about this tune: it appears to be a tritone
substitution of the diatonic II-V. However, the length of the chords exercise a particular influence
on the tonic centre. Plus, we should also consider that this, under normal circumstances, looks
like a modulation. Similarly to Jobim’s work, we can observe that Shorter tonicises a key
without resolving it, but unlike his predecessors his choice of tonic centres is quite unusual.
Bar 13 leaps to a fourth degree away from the new tonic centre, analysed here as bIII
since the movement is too brief to warrant a new key centre. This is also justified by the
chromatic movement in the next bar, which Shorter uses to link back to the tonic key i.e. the
E13sus and F13sus are both a fourth degree away from their respective tonic centres. Thus, the
abrupt shift to a tritone is now resolved back to the tonic key in a more gentle manner.
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From bars 17 to 20 Shorter returns to the same progression as the beginning, thus re-
Another Shorter piece worth mentioning is E.S.P.62 which demonstrates an even more
concealed tonic key. In fact, the tonic key (F major) seems to be confirmed only at the very end
of the piece.
The piece begins on chord VII of the first degree melodic minor which leads into I.
62 Wayne Shorter, ‘E.S.P.’, The New Real Book vol. 1 (CA, USA: Chuck Sher (ed.), Sher Music Co., 1991,
copyright 1965), 90
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In bar 5 we return to the melodic first degree and we begin to suspect an A minor as a
tonic key. But Shorter prevents this confirmation by leaping to a second degree tonicisation.
Shorter decides to stay on the second degree for two more bars by moving between the III
and the IV. The E7 seems to indicate a return to the tonic key, this could have been analysed as
normal first degree (III of C major) but it's unlikely since Shorter has drawn upon the melodic
minor first degree twice already. We return to Fmaj which still does not feel like a strong I
Finally we begin to feel a sense of tonic centre. The first two chords seem to suggest a II-
V to the relative major of our suspected key (A minor-C major), but with the arrival of Gmin7
we retrospectively feel the G7 as an unresolved V/V. The last bar ends suggesting a tritone
substitution of V of F major, though in fact it is a descending third degree. This make the tonic a
In the second ending however, Shorter takes a different path. Since F major feels more
like the tonic key by now, the Db9 strongly feels like an unresolved tritone substitution of V/V.
This is followed by a II (Gmin7) which insinuates the final cadence, but it is dramatically altered
substitution leads finally into I and thus concludes the tonal cycle.
Shorter indubitably charted the way forward for jazz harmony. His use of a tonic
reference allowed multiple detours and unusual chord progressions to be created which were
held together by an underlying, sometimes hidden, tonic centre. A study of contemporary jazz
pieces might shed more light on this approach, but since jazz musicians think in term of scales it
is logical to assume that most pieces, excepting atonal, modal or free pieces, will have this
In summary, Jazz composers took much of their craft from the popular composers of the
time, but they added to the world of tonal harmony ingredients which were not used by the
mainstream. From as early as Ellington we were able to see the use of dramatic modal
interchanges which were only possible because the chord progressions were so familiar to
musicians and the general audience. We also observed how harmony evolved in terms of
degrees, from ragtime which stayed close to first and second degrees of the hierarchy of
intervals, to bebop constantly extending to third, fourths and melodic minor degrees. We also
observed the evolution of substitutions such as the tritone substitution of V, which was extended
to any V of another chord. We also see the Bartók substitution changing a V for an equivalent in
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the H/W tone scale and whole cadences which were shifted a tritone away, not just the Vs.
Finally, and perhaps the most interesting development, is the shift to remote keys (both
ascending and descending) which are not resolved. Perhaps a better term for this would be the
extension of the transitions. In early compositions we saw how non-diatonic chords appeared in
the middle of diatonic progressions, over the decades these transitions became longer and more
frequent. Finally with Jobim and Shorter we see these transitions become the main body of a
piece and in Shorter's case the tonic key only an underlying reference. But no matter how far
each composer reached, the hierarchy of intervals and the principles of the octatonic system can
Chapter 8
The great improvisers
In this chapter I would like to consider some of the main figures in jazz improvisation. The
intention is to show how the octatonic system can explain, decipher and help to understand the
chronological order and selected solos to demonstrate different periods and approaches. The
improvisations analysed here have been selected to demonstrate a variety of points. I plan to
demonstrate that the method used for analysis in the previous chapters is compatible with what
Please note when reading this chapter that objects in parentheses (brackets) indicate
inconsistencies between the improviser and the rhythm section, and they suggest what I presume
the player was thinking in that particular moment. The melodic analysis is as described in the
analytical principles (chapter 4) i.e. the melodic tones are analysed in the perspective of the
Early Improvisers
Louis Armstrong
Louis Armstrong's solo over Maple Leaf Rag1 shows how early improvisers thought
about their solos. His approach is mostly diatonic, but we can already find the use of chromatic
passing notes. In general terms we could say the improvisation is based around the arpeggios,
1 My transcription: Kenneth Records, CKS 3412 (release date 2006) Louis Armstrong's 50 Hot Choruses (1927)
as recreated by Bent Persson, volumes 2-3 (Track 17)
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we find no evident use of scales, modal interchanges or substitutions of any sort. The solo takes
place on the penultimate section, and we also find that it is in the same key as Joplin's version,
Fig 8.1 Octatonic analysis of Armstrong's solo on Maple Leaf Rag (bars 1-4)
The solo begins with a simple chromatic movement between the root R’ and the 2 nd, I
analysed it here as 'Q', though 'c' for chromatic is also correct. In the second bar Armstrong
continues drawing upon the same notes, but now they have become the 6th and 5th of the tonic
In bar 5 Armstrong continues the pattern, but in the second half of this bar we see what
appears to be an anticipation of the Db chord. This is not corroborated later hence the analysis of
'4'. In bars 7 and 8 he abandons the chromatic passing notes and focuses solely on permutations
of the triad.
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In bar 9 we see the first non-diatonic chord and Armstrong reinforces this transition by
accentuating the most significantly different note: the D natural. In this manner he proves that he
knows exactly how to draw the chord changes so that the solo may stand on its own without the
help of a rhythm section. This is perhaps the most significant difference between jazz
improvisation and other forms of improvisation. In general jazz solos can stand on their own
without the aid of harmonic support and still be able to clearly delineate the harmonic sequence.
Many of Barry Harris' lessons consist of being able to recognize a song/piece simply from an
improvised line. In the bar 11 we see what could be interpreted as a delayed resolution: the
chromatic approach to F might suggest an approach to the 5th of Bb7. However, this is followed
by a Db which feels closer to the Ebmin7, since a minor 7th would have more relevance than a
Finally, bars 13-16, we find an Edim which is the only moment in the improvisation that
Armstrong seems to use scale notes. Then he returns to draw a Db6 as he did in the beginning
concluding the solo by playing the 5th and 6th of the II-V and finally the root of the tonic. Overall
a simple improvisation based around chords with some minor use of chromatics. Perhaps the
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point of most interest is the Edim where we can see the scale analysis coinciding with what
Armstrong played.
Lester Young
Lester Young was one of the most significant tenor saxophonists of the swing era.
Commonly mentioned by modern players such as Charlie Parker and John Coltrane as their first
influence, his style could be described as minimalist and ethereal.2 Harmonically he is the
opposite of most players, he omits chords more often than he draws them, but he is also one of
the first improvisers to include such techniques as anticipations and modal interchanges, even if
This transcription is of Lady Be Good3 from 1936 and is regarded as one of the important
solos in jazz history. The score is for Bb tenor saxophone, hence it sounds a major 9th below
what is written.
appears that Young is omitting the D major and continues to draw the A, though in the last beat
he seems to be doing a modal interchange (though the G could also be interpreted as a blue
note). Just like Armstrong we see Young staying close to the arpeggios at all times.
2 John Fordham, Jazz (Canada: The Reader’s Digest Association Ltd., copyright by Dorling Kindersley Limited,
London, 1993), 106-7
3 Robert A. Luckey, PhD (transcribed and edited by), Lester Young Solos (USA: Olympia Music Publishing, L.A.,
1994), 12-4
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In bars 5 to 8 we find a few more interesting events. First he carries the motif from bar 5
all the way to bar 7, but he uses Q over the V chord thus insinuating a 7th flat 9th (E7b9). Also
worth mentioning is that Young, similarly to Armstrong, arpeggiates chord I (triad) as a 6th
chord.
Here we find a more definite modal interchange, the rhythm section plays an A major
whilst Young clearly draws an A7. In the original score we saw Gershwin using this bluesy
interchange over the IV, but Lester prefers the I consequently hinting a V/IV. Nevertheless,
looking at bar 2 we notice that the D is not being drawn but rather an A6 again. He plays the 5 th,
then approaches the 3rd from one semitone above and one below (also known as encirclement),
and finishes by descending through the arpeggio. But since the rhythm section is playing the D,
what concerns us is the aural result of Young's thinking in addition to the harmony drawn by the
rhythm section, thus the analysis reflects the notes sounding against the chord being played.4
4 It should be pointed out that if this would be a study on Lester Young's style and approach, then the analysis
might be different.
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distinctly playing an A major pentatonic over the E7, thus not considering this arpeggio and its
leading tones (G# and D). In bar 15 Young holds the D long enough to be considered an
In the last four bars of the bridge Young draws the first degree tonicisation with authority
passing through most scale notes. Finally the last note on the last bar anticipates the arrival of
Again he omits chord IV and in the last bar anticipates another omission i.e. two bars
anticipation:
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We can observe that the Bmin is not being played by Young and instead the E7 seems to resound
for most of the two bars. He ends the section by strongly drawing the dominant in the last bar
In the second chorus we see Young getting busier and developing a motif for the first
three bars. Chord IV is felt this time, though not strongly, due to the 3rd being given some
relevance. In the last bar it is hard to say whether Young is anticipating the chord in the next bar
In bar 1 it would appear that Young was satisfied with simply playing the 5th of Bmin7
since he immediately proceeds to arpeggiate the E7, thus anticipating it for nearly a whole bar.
Again in the second half of bar 38 it is difficult to say whether Young is modally interchanging
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the E7 or anticipating a modally interchanged A7. Since the rhythm section is sounding an E7 at
this point I have to say that it is the E7 which is being altered, though a Lester Young analyst
Lester repeats one of his trademarks which is the development of a motif over the barline
without much consideration to the chords themselves. However, he does utilise diatonic
common notes which allow him to omit the chords without sounding outside the harmony. In
other words, by observing the analysis above we see that the notes are the same for three bars,
but their function against the harmony changes according to the passing of the chords. In the
second half of the last bar he clearly anticipates the Bmin7 of bar 45.
He also seems to anticipate the E7 for two beats. In bar 47 we see Lester applying the
blues interchange, though it also possible to consider that he is in fact anticipating the A7 for a
The second bridge shows Lester playing a IV to a secondary iv and ignoring the D#dim
played by the rhythm section. This is an interesting piece of evidence that perhaps proves that
musicians as early as Lester were considering Q and its possibilities within the tonal framework.
It also pioneers many of the techniques used later in the bebop era where musician draw more
The last four bars of the bridge show Lester clearly delineating the chords again. What
particularly calls my attention here is the arpeggio in bar 56. From previous research I have done
on Lester Young I've found this substitution to be one of his trademarks i.e. and augmented triad
in place of a normal major dominant. This is also a resource that would become very common in
later decades.
In the last A section we see Young returning to his trademark, this time the motif is
chromatic going between the 2nd to the root and the 6th to the 5th displacing the strong beat.
In the second half of bar 62 we run into the same doubt as before: is this the anticipation
of an A7 or the minorisation of E7? I think in this particular case the sound of the A7 is quite
strong, but the melodic analysis reflects the sound against the E7, thus what we have here is a
sense of polytonality.
Overall, Young's approach is quite minimalist, few notes and many omissions of chords.
Nevertheless, he contributed to jazz improvisation subtle modal interchanges and introduced the
concept of anticipation.
Coleman Hawkins
Coleman Hawkins on the other hand, stands amongst the revolutionists of jazz
improvisation. As mentioned in earlier chapters it was Hawkins that began the approach of
thinking in terms of chords and more dramatic substitutions. The first historical piece where he
introduced this concept was Jerome Green's Body And Soul5 in 1939. This version is not like the
one played today or the one found in most real books, the chord progression being played by the
rhythm section is quite simple thus allowing Hawkins to add other chords (melodically) on top.
The piece is structured AABA and the tonic key is Db. The B section modulates to D major and
then C major. I've transposed the solo up an octave above to avoid using two clefs, therefore the
5 My transcription, source: Coleman Hawkins, The Complete Verve Master Takes (RCA, B000003G3, 1996),
track 4
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Fig 8.3 Octatonic analysis of Hawkins’ solo on Body & Soul (bars 1-7)
The piece begins with a 4 bar piano introduction which sets and establishes the tonic key.
Hawkins begins by skilfully varying the original melody and then leads chromatically to the I.
The chords in brackets are my speculation of what he might have been thinking: the D7 is
justified in terms of a tritone substitution and the Eb7 as a chromatic approach to this one.
In bars 8-11 we find Hawkins departing from the melody using the chords as connecting
points. The melody is still present but ever more hidden. We can also appreciate Hawkins
rhythmic complexity which seems far more sophisticated than his earlier colleagues.
The first section ends with no surprises, carefully leading the bottom note (crotchets)
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chromatically from Db to D, to Eb. On the V chord in bar 14 we can see Hawkins leading
chromatically again to the I, but whether he was thinking of D7 is open for debate. In my
opinion he is simply moving from the 2nd to Q, not necessarily another chord.
In the first bar he quotes the head’ again and at this point it would seem that he is using
the most relevant notes of the melody as leading lines. In this system we can also begin to
appreciate the use of scales more and their correlation to the octatonic analysis. There is little
room for debate since Hawkins is playing most of the notes that belong to the scale analysis.
Unfortunately he does not play them all, which would confirm that he actually thought in these
terms too.
In the penultimate bar of this section (bar 19) we see a clearer example of Hawkins
analytical skills. He decides to play a tritone substitution over the Ab7 but not only does he draw
the chord, he also utilises notes from the appropriate scale. The line leading from the chord in
brackets represents a delayed resolution. In the B section the piece modulates a semitone up and
The B section proceeds smoothly without any alterations. Interesting is the secondary iv
that Hawkins so eloquently plays. One may wonder if he was thinking the possibility of a
secondary chord within the scale, thus aware of Q, or simply a chromatic passing note.
The first part of the bridge ends with a clever use of a common second degree. This
allows Green (the composer) to modulate to a tone down. Hawkins here plays enough notes over
the Ebdim to prove that this could not be a diminished scale (H/W tone) since G would not be
found in that scale.6 The same could be said of the Ebdim in the last bar. In this manner
composer and improviser seem to think alike, the closest relation between D major and C major
In the last two bars of the B section Green plays with the expectation that the II-V will be
resolved to Cmaj7 again, but this time he lands on C7. A good option since F major is a second
degree from C and a third degree from our tonic key (Db). However, Green’s mind is more
intricate than that, he descends chromatically to Gb where we can find the common V/II which
is the first chord of the last A section. Each chord is played for one beat by the rhythm section,
but Hawkins delays the arrival of V for one whole beat. Interesting is the use of Q (2m) on both
chords.
This last A section (of the first chorus) is particularly important since it seems to shape
the way future versions of this tune will be played. The Bb7 in brackets is suggested by
Hawkins, this has an effect of tonicising the II. Because we have already heard two A sections
where Ebmin7 was clearly a II we do not appreciate this now, but later versions will prove
In the first beat of Db it is hard to tell whether Hawkins was delaying a tritone
The section ends in a similar way to the second A, in fact Hawkins uses almost the exact
same line on his tritone substitution. He ends by drawing a B diminished which is a common
In the next chorus things start to take an interesting turn: first we find Hawkins drawing
the tritone substitution stronger than ever, violently sliding between the 5th and the root.
Dynamic indications here are not included because of space, but most of the solo has taken
course between mp and mf, at this point (beginning of the second chorus) Hawkins begins
blowing f to ff.
Though he seems to have constantly omitted the Edim, here it becomes more apparent.
We also notice that he is ending all his lines on upbeats that, added to his louder dynamics,
The end of the first A section (2nd chorus) we see the tritone substitution treated more
chromatically i.e. every note is then repeated a semitone down over Db.
The section continues diatonically with Hawkins staying within the chords, but he
In this system we finally see Hawkins playing through the Edim using a scale. Again this
In the second half of bar 51 we see him playing two chords over one: an Ab7 and a D7.
The A7 leading into the bridge feels a bit like a V of D melodic minor, because the chromatic
approach to F lands on the down beat. But I decided to leave this as a chromatic approach since
I have no evidence that improvisers at this stage had knowledge of melodic minor substitutions.
The bridge begins, as before, with Hawkins staying close to the chords.
This time around he plays the Gmin as a modal interchange.. One may wonder if
Hawkins was always conceiving this chord in this manner since the previous one (in the bridge
of the first chorus) did not have enough notes to speculate either way. He ends the first part of
He delays the resolution to Dmin7 for a whole beat but then proceeds conventionally
through the chord changes. This is in anticipation of what is coming up in the next few bars,
where we see some of the more radical alterations Hawkins has to offer.
He begins the modulation back to the tonic key through a series of aggressive leaps,
anticipations and some odd substitutions. First we see him anticipating the B7, the note E in
brackets is hard to identify because of its uncertain pitch, E being the closest one. Hawkins then
appears to draw a II-V to the II and again displaces the resolution for a whole beat. He begins an
ascending line delineating the Eb, after which he follows with an E (bar 62). My supposition
here is that he was thinking a tritone substitution of V/II which would be E7 from B melodic
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minor, this has an inherent sharp 11th which would explain all the events in the bar. Earlier we
saw Hawkins playing a Bb7 in this area, so perhaps this assumption is not far-fetched.
He continues this ascending pattern adjusting it to fit the Db. Once more we see him
drawing the Edim delaying the resolution to the II. He brings the volume down for the last
phrase where he beautifully draws the F7 and its extensions (b9 and b13).
He then draws an Ab7sus4b9, instead of an Ab7, and the rhythm section comes to a halt.
The chord symbols in the penultimate bar are mere speculation on my part since Hawkins is
playing on his own, but the arpeggios would seem to be implying this. Conceptually he is
approaching the II chromatically from above and then the tritone substitution aids to approach
the I in the same manner. Hawkins plays the root and 3rd of I and the rhythm section comes in
In summary, this is a remarkable leap from its predecessors. This solo paved the way
forward for jazz musicians and anticipated the bebop movement and its approach. Musicians
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now had two options, they could improvise melodically i.e. from either the melody or a created
melody (a motif like Lester Young), or they could base themselves entirely on the chords and
introduce the variations from there. Although throughout the first chorus Hawkins kept making
reference to the melody, and furthermore, his improvised line followed the same architecture as
the original head, in the second chorus he departed completely from it and introduced a number
Ben Webster
Let us take a moment to understand Hawkins’ influence. The following analysis is of the
same song five years later. The solo is by Ben Webster, another legendary tenor saxophonist who
played with Duke Ellington for many years,9 and in fact recorded with Hawkins himself in
1957.10 Of particular interest are the chord changes played by the rhythm section which
resemble many of Hawkins substitutions. The transcription is for a tenor saxophone and
Fig 8.4 Octatonic analysis of Webster’s solo on Body & Soul (bars 1-3)
The first thing we notice is the addition of the V/II in the second half of the bar, just as
Hawkins had insinuated it many times in his solo. Then we find the rhythm section playing the
tritone substitution to I. We also find an added V at the end of bar 3. Webster, following in
Hawkins' footsteps, begins by quoting the melody and introducing variations based on this. We
find that he ignores the tritone substitution and instead plays a straight V.
9 Transcribed by Les Sabina, Ph.D. (published in Jazz UK, issue 72, Nov/Dec 2006), 28
10 Coleman Hawkins, Coleman Hawkins Encounters Ben Webster (Verve, 9884036, 2005).
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Bars 4-6 shows Webster's skilful drawing of the chords. He seems to stay well within the
In bar 7 Sabina transcribed Webster beginning his phrase on the natural 6 th of the chord.
After carefully listening to the recording (at 0:36) it seems to me that he is actually starting on
the Ab, which would be more logical within the analysis.11 In the second half of this bar we find
Webster's first substitution, excluding of course the earlier omission of the tritone substitution.
The modal interchange of the V to the fourth degree (or minorisation) was mentioned earlier as
one of the first commonly used devices used by improvisers prior to bebop. We also saw Lester
Young use this device in an arpeggio manner (augmented triad). In the next bar Webster seems
to draw an Eb7, but since this can be justified as a chromatic approach to the 6th I decided not to
over-analyse it. Nevertheless, the rhythm section then plays two 7th chords leading into chord II,
so it is possible that Webster was thinking 7th chords for the whole. If this were the case we
know that it could be analysed as a modal interchange to the second degree (Blues M.I.).
11 Source: Cozy Cole All Stars (SAVOY 501, S5413, 1944) track 4. Transcription begins at 0:15
385
In the second half of bar 1 we see Webster conciliating the V chord with the tritone
substitution played by the rhythm section. Note that he is not thinking B melodic minor, instead
In this system we find a peculiar modal interchange in bar 14. Is Webster thinking V of C
major here? If this is the case it would fall under a modal interchange to the descending fourth
As seen before the bridge modulates a semitone up. Unlike Hawkins who stayed close to
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the chords, Webster plays very chromatic here, approaching chord notes from as far as four
Here we find that this version contains quite different chords from the earlier one.
Hawkins version was simply I-V- I. In this version this has been substituted by a modern
variation of a turnaround. Webster draws this clearly though he omits the tritone substitution
once again. The common second degree, which connected the two parts of the bridge, has also
been omitted and instead we see a sudden leap to the new key a tone down.
The bridge ends in the same manner as the earlier version, though we see Webster
In the last A section we see some more interesting events. On chord V Webster rests on
the sharpened 9th (augmented 2nd) and on chord II on the 6th. These are two sounds that are quite
modern for the time, but Webster voice-leads these notes all the way down to the 5 th of II thus
hiding the upper-structure effect that these notes posses. To be able to carry this out he is forced
to delay the Fmin for another beat and compresses the E7 in the last beat.
In bar 28 we find Webster apparently ignoring the iii chord and drawing a I instead (Eb).
Furthermore, he appears to play a GbØ instead of the Gbdim played by the rhythm section. If
this was so the analysis would have to be a VII of G major (or A double flat) i.e. modal
interchange to the third degree, which would fit all the notes he is playing.
The solo ends straightforwardly with Webster playing an ascending Eb major scale,
musicians. His famous solo on Body And Soul not only changed the way an improvisation could
be approached and conceptualised, but also how a piece could be re-harmonized to create more
improvisational possibilities.
Bebop
Now it’s time to look at bebop. Since the analyses become increasingly more difficult as we
move through the decades, I decided to look for improvisations over pieces previously analysed.
In this way the reader can use as a reference the original analysis and perhaps understand better
how the music evolved. In the analyses from this point forward it is essential to distinguish
elements in brackets from those that are not, since there are two levels of events happening. On
one hand we have substitutions, modal interchanges, etc. carried out by the rhythm section. On
another level we have soloists who sometimes take their own paths.
Charlie Parker
The following is a bebop version of Cole Porter's Love For Sale.12 The chord changes
contain several differences from the original. The solo is by Charlie Parker who also takes many
12 My transcription, source: Charlie Parker, ‘Love For Sale’, The Genius Of Charlie Parker, #5 - Charlie Parker
Plays Cole Porter (Verve, MGV, 8007, 1954) from 1:13-2:15
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Fig 8.5 Octatonic analysis of Parker’s solo on Love For Sale (bars 1-3)
The piece begins like the original, whilst Parker clearly draws the majorisation of IV.
Then we find a common bebop substitution. The I minor is modally interchanged for the IV of
its first degree, this will become recurrent throughout the tune.
In bars 4-6 the rhythm section returns to the majorised IV as in the original score, but
Parker instead prefers the natural IV of Bb minor, thus ignoring the majorisation.
They both reunite over the modally interchanged I. The piece then begins to modulate to the
In bars 10-12 we find a rather unusual modal interchange. When the rhythm section
resolves to I Parker decides to leap to the first degree melodic minor. Since this is also the scale
of the next chord he is basically achieving an anticipation of a whole bar. He is smart enough to
drop out over the Gb7 so that this effect can be felt strongly.
In bars 13-15 however, Parker plays an inexplicable substitution. The rhythm section
begins to modulate back to the relative minor via a II-V, but Parker distinctly draws a C minor
major 7th. Since there is no relation between Bb minor and C minor or melodic minor, I can only
presume that this was either a mistake or Parker was thinking of a different chord e.g. Cmin7 VI
of Eb major. In bar 14 he interchanges the traditional V for its melodic minor equivalent, this
makes me think that perhaps the modal interchange of I in the next bar might be to the first
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degree melodic minor instead of F minor. Nevertheless there is no evidence of this so I remain
confident of my assumption.13
The next A section begins in an identical manner. In bar 18 we see Parker making a point
Above we see him reinforcing the interchange played by the rhythm section by
13 Once again is worth mentioning that since both interpretations are first degrees, it is up to the improviser/analyst
to choose that which suits him/her best.
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In this case (bar 23) I am not so certain. The rhythm section clearly continues to
interchange the I, but Parker plays a minor 6th which implies an unaltered Bbmin. This note can
also be interpreted as a chromatic approach to the 5th, thus leaving this open for either
interpretation.
Again we see the modulation to the relative major and Parker drawing the chords using
mostly scale notes. This time he resolves to the I with the rhythm section.
In bar 28 we confirm that Parker also analyses this chord as a first degree melodic minor.
In bar 29 he seems to be drawing a melodic minor II-V, this would give us some clue as to what
he was thinking previously in the last four bars of the first A section: whilst the rhythm section
plays a conventional II-V of Bb minor, Parker appears to be thinking II-V of the melodic minor.
The second A section ends with no surprises and we see the band and Parker beginning
He continues diatonically with the rhythm section all the way to the I, but seems to omit
the Gb7. This omission is tied to a very unusual majorisation of the II-V of II. In Cole Porter's
version the Fmin7 was analysed as a diatonic iii and the Bb7 as the conventional V/II (III of Gb
major, second degree transition). Here however, Parker disrupts this by sustaining a G over both
1. is that he visualized a major II-V, ignoring the fact that he was already heading to a II.
2. he was voice-leading a motif (see below). The intervalic combination played on the
first three beats of the previous bar would suggest that Parker is encircling his point of
resolution (Gb) from two semitones, one below and one above:
Thus stating that Parker was perhaps unconcerned with the logical relations between chords and
In bars 37-39 however, we find something that seems to support the first interpretation.
The rhythm section returns to chord II, but Parker is playing a major 7 th. This would suggest that
he was thinking of the next chord as an Ebmaj, therefore the major II-V would have been the
logical progression.
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The second part of the bridge modulates to the relative minor of the second degree. We
find Parker and the rhythm section back together drawing this change clearly. Parker's approach
to this II-V would seem to indicate that he was well aware of the conventional minor II-V and its
The rhythm section again interchanges the I minor for its first degree. Parker however
does not corroborate. In the original version we had the II/II and the V/II lasting for a whole bar
respectively. In this version we find the two chords compressed in one bar and then repeated
(below). Parker seems aware and plays the third and the sharp 9th (augmented 2nd) and resolves
to the 5th:
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The logical analysis for a V/II minor is chord IV of a fifth degree melodic minor scale (C7=G
melodic minor). In the original Cole Porter score we found the C7 to be altered (VII of melodic
minor), but in this instance we find that Parker does a modal interchange to the third degree of
the alteration i.e. F minor is a third degree from the Db. Most unusual, yet effective in
anticipating the II. However, in the next bar we find the rhythm section playing the II-V a
semitone above the expected (side-stepping). Parker completely dismisses this and instead
appears to be drawing the I. He rejoins the rhythm section on the tritone substitution of V.
We return to the last A section with Parker staying close to the chords. Once more he
seems to emphasize the nature of the Ebmaj7 by drawing on the augmented fourth.
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In this system we find him departing once again, this time by playing a modal
Unlike the original version where Porter surprises us by remaining in the majorisation
and playing Bbmaj7, here the band goes back to Bbmin6. In the meanwhile Parker continues to
ignore the rhythm section and dismisses the modal interchange by playing the conventional
minor.
and instead draws a V/V altered. This would become a common resource in more modern
improviser i.e. omitting a sounding chord for the dominant of the next one.
He ends his solo by clearly delineating the V-I, though he appears to ignore the modal
melodic minor.
Chet Baker
Chet Baker's solo on Have You Met Miss Jones14 shows us the extent to which boppers
substituted, delayed and anticipated the chords during an improvisation. As a reminder, this
piece is an AABA in F major with a bridge that modulates to third degrees in both directions.
Fig 8.7 Octatonic analysis of Baker’s solo on Have You Met Miss Jones (bars 1-3)
14 My transcription, source: Chet Baker, 'Have You Met Miss Jones', Smokin' With The Chet Baker Quintet
(Prestige, PR 7449, 1965) from 0:58 to 2:35.
399
The solo begins in the last two bars of the first chorus (last A section). Thanks to Baker's
scalar approach we can truly appreciate the reliability of this analytical system in practice. In the
pick-up line we see Baker playing an F major scale and then a common minorisation of the
dominant, seen since the swing era. He begins the first section (bar 3) descending a chromatic
pattern which he ties to the 3rd before continuing down the scale. The last note (D) ties in with
The V/II is delayed for a beat and so is the II. The C7 seems to be minorised, though a
sharpened 9th is not sufficient to make this assertion. However, Baker clearly drew a minorised
C7 in the pick-up line, therefore we could assume this is the way he heard it.15
In this system we see that Baker, just like Parker, feels free to omit chords or anticipate
15 It's worth reminding the reader that earlier in this thesis we spoke about Baker's complete musical illiteracy.
Consequently we know his approach was to play mostly by ear.
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He ends the first section with another minorisation and fluently continues drawing the
chords well into the second A section. Worth noting here is Baker's use of the Bb major scale,
over D7, starting on Q. Though it is possible to speculate that perhaps Baker heard a G minor
harmonic scale, we have yet to find evidence that truly proves the usage of a harmonic minor in
The line continues for another two bars. Baker seems to delay the resolution to F by
holding the flattened 9th (minor 2nd) for another two beats. Another possible analytical
consideration for the C7 is a C H/W tone scale, which we know was known and used by
boppers. I say this since both altered 9ths are present as well as the natural 6th which is a
combination available in this scale. Perhaps it is simpler to think one scale over the chord rather
than a minorisation half way through. Nevertheless, I prefer unaltered scales in analyses unless
In the bridge Baker plays more simplistically, treading around common notes that allude
the change of key but don't necessarily define the harmonic movement.
He continues in the same manner, playing simple ideas that define the different keys i.e.
in bars 20-21 he played the note Ab which is not available in F, now he changes to D which is
not available in Gb. He ends the system by playing the note Bb which is common to D (Q note),
The return to the last A section (starting on Fmaj7 bar 27) finds Baker on familiar ground
again, and he sets off with quick runs between chords. He lands authoritatively on the 3rd of the
V/II and then anticipates chord II by nearly two beats. Baker shows us that he is well versed
Here we may appreciate some of my earlier speculations about turnarounds. Though the
Amin7-D7 may look like a II-V it does not behave as such in this context. The Amin7, as
postulated by this system, is a secondary iii of F major, and this is exactly how Baker
approaches it. In the last bar he draws a D7, not played by the rhythm section, to anticipate the
final II-V.
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In the first A section of the second chorus (bar 35) he delays the arrival of the D7 for
three beats. Unfortunately this effect is lost by the speed of his line.
G melodic minor scale, thus substituting V of F major for IV of G melodic minor. Although this
would be a possible interchange I do not believe this is what Baker had in mind. The Bb trumpet
does not go any lower than F# which makes me think that he simply ran out of range. I leave
Again we see him delaying the resolution for a whole beat. In the last bar we find the
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same arpeggio as that used by Lester Young i.e. the minorisation of V is drawn by an augmented
triad.
In bar 44 Baker plays a descending line from the minor 7th to the 7th an octave below.
This in fact would appear to be a G harmonic minor, though we could also interpret it as Bb
Bars 46-48 offer nothing worth noting but I've added it for context.
As seen earlier the second A section ends with a modulation to the second degree. This
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time Baker draws the progression in full. Also interesting is how he anticipates the II of the next
key for half a bar, thus creating a temporal polytonal (bi-tonal) event.
Baker proves that he is well aware of where he is in the bar and draws all the succeeding
chords clearly as they occur. He then minorises the A7 suggesting that he will resolve to the
Instead he clearly draws the arpeggio a semitone below. Furthermore, when the rhythm section
begins the modulation to Gb, Baker plays the previously omitted Dmaj7 giving the feeling that
he is a bar behind the rest of the band. But again he surprises us by resolving impeccably to the
The piece modulates back to F for the final A section. Again we see Baker delaying the
In the turnaround, beginning on bar 63, we find a modal interchange not encountered in
musical examples thus far. Since Lester Young times the minorisation of a major dominant
became common, but the majorisation of a minor dominant is most unusual. Baker seems to be
aware of this and accordingly holds the note to make a point of it.
He ends his solo by drawing a V/II (not played by the rhythm section) and then a better
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example of the minorisation of V. I say this because here we do see him playing the natural 9th
relevant to make the point that boppers improvised mostly over old standards. When they wrote
their own pieces they generally based them on older chord progression from other songs, as
stipulated in the previous chapter. But as jazz composition moved forward musicians became
more restricted and limited in their resourcefulness due to the complexity of the music.
John Coltrane
A great example is Coltrane's own solo over his piece Giant Steps.16 The speed and rapid
change of keys do not allow for any alterations or modal interchanges, in fact it appears that
Coltrane had many prepared lines which he uses repeatedly throughout his solo.17
Fig 8.8 Octatonic analysis of Coltrane's solo on Giant Steps (bars 16-18)
He begins with a pick-up line leading into the third chorus, after the head has been
played twice. Over the D7 we see a pattern that Coltrane uses in almost every take of the piece,18
R-2-3-5. Notice the precision with which Coltrane draws every chord.
16 Transcribed by: David Ramsey, John Coltrane plays Giant Steps (Milwaukee, USA: Hal Leonard Corporation,
1996), 50-5
17 I've transposed the transcription to concert key so as to be able to cross reference with the analysis in the
previous chapter.
18 Ramsey transcribed nine different takes, 96 choruses in total.
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He continues in the same manner, clearly delineating the change of key and the chords
He plays mostly arpeggios and the R-2-3-5 pattern. Well into the second half of the
piece, Coltrane still does not allow himself to play anything outside of the stipulated harmony.
We may also note the lack or rhythmic variation. At 288 bpm, with keys changing almost
every four beats, Coltrane obviously felt restricted to play as symmetrically as possible in order
Near the end of the first chorus we find the first anticipation (the 3 rd of F#) followed by
the R-2-3-5 pattern and then a descending chromatic line that ties in with the Fmin9.
He ends the first chorus reiterating the R-2-3-5 pattern. In the first bar of the second
chorus we find one of the few occasion in which Coltrane dares to detour from the harmony. He
omits the Bmaj7 and seems to be anticipating the D7 for two beats.19
triad. Suffice to say the rest of the solo continues in the same fashion. We find none of the usual
displacements or interchanges which have become habitual amongst boppers and modern jazz
musicians. The point is that Coltrane, like many other of his peers, might have felt the need to
stay close to the chord changes because of the unusual nature of the piece. But I also believe that
the complexity of the music had more to with it. Coltrane is renowned for playing 'outside' of
the written chords. For example bar 60 of his solo on I Could Write A Book:20
Fig 8.9 Octatonic analysis of Coltrane's solo on I Could Write A Book (bars 57-60)
The piece is in F major. First it appears that Coltrane is doing a modal interchange to the
second degree on the EØ, similar to Levine's suggestion, but this could also be interpreted as a
chromatic approach to the minor 7th of A7. Later in bar 60 (last bar above) we can clearly see
Coltrane playing a II-V a tritone away, whilst the rhythm section plays the diatonic II-V.
Coltrane's adventurous polytonal approach is covered extensively by Blair21 and needs no more
mention here. The importance of this is that it would appear that jazz improvisation began to
separate into two branches. One is the approach towards original material, where the
improvisation is less adventurous and soloists tend to play close to the original harmony without
modern players, where substitutions, interchanges, omission, etc. become growingly more
20 Transcribed by: Mike McGowan, 'John Coltrane's solo on I Could Write A Book', Mike McGowan's Home
Page, 2007, http://mikemcgowan.org/PDF%20Transcriptions/%5BI%20Could%20Write%20A%20Book.pdf
(13th of September, 2009)
21 Jeff Bair, Cyclic patterns in John Coltrane melodic vocabulary as influenced by Nicolas Slonimsky’s thesaurus
of scales and melodic patterns: an analysis of selected improvisations (Doctoral thesis, University of North
Texas, August 2003)
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complex.
Modern jazz
Herbie Hancock
To begin to understand this development I've chosen one of the easiest and simplest of
jazz standards: Autumn Leaves. This song has the advantage of being in only one scale, though it
modulates from the relative major to the relative minor, thus we can simplify the graphic by
removing most structural analysis.22 The solo is by Herbie Hancock from a 1963 live
recording.23 Since Hancock is the sole harmony provider non-diatonic chords are not marked
(boxed). Instead I've added the original chords of the song on top as a constant reference. Key
centres are also marked. The structure is AAB and the chord symbols are provided by Dobbins.24
Fig 8.10 Octatonic analysis of Hancock’s solo on Autumn Leaves (bars 1-3)
Hancock begins his solo harmonically25 playing the original chords. Anticipations are
22 In general I prefer to analyse this piece as IV-VII-III-VI-II-V-I in minor, since this is more representative of the
forward movement towards the closing resolution. Nevertheless, the analysis provided here seems favoured
amongst musicians and educators.
23 Transcribed by: Bill Dobbins, Herbie Hancock, Classic Jazz Compositions and Piano Solos ([no place of
publishing cited] Advance Music, 1992), 34-40
24 Chords in parentheses and other octatonic analytical markers are added by me.
25 Term used for describing an improvisation based on chords rather than melodies (melodically).
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used constantly and we can observe harmonic chromatic approaches (side-stepping) e.g. the
In bar 4 he begins introducing simple melodic ideas. He also introduces the first
substitution by altering the V of the relative minor. Though it could be argued that this is in fact
a tritone substitution, I tend to agree with Dobbins that this is a D7alt since we must consider the
bass line (not transcribed here) played by the bass player which is drawing a D.
The first A section ends with the two bars of Gmin. Hancock remains faithful to the
original chords and begins the second A section (bar 9) improvising melodically.
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He begins building tension by harmonizing the major chords by 4ths. Yet, so far, he
remains diatonic.
In bar 13 we find the second substitution. He replaces the II (AØ) for its melodic minor
equivalent. This is followed by the alteration of the V again where he rests on the augmented 4th
which he then, after a pause, resolves to the natural 2nd over the I minor. Notice how he voices
an Ab6 (left hand) and delays the arrival of Gmin7 for a beat and a half.
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The B section begins hypothetically on the AØ, though Dobbins does not make mention
of this. Again we find Hancock altering the D7 and voicing it as an Ab6, suggesting that perhaps
In bar 21 we find the first dramatic alteration. Hancock omits the II of Bb and instead
plays a V/V thus creating a harmonic anticipation. However, he does not utilise the traditional
V/V which would be the V of the first degree (F major), but rather the IV of G melodic minor,
which happens to be a second degree melodic minor from Bb and a first degree melodic minor
from G minor.
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In bar 22 Dobbins suggests an altered F7, but I believe this is just a minorisation: an
altered sound (VII of melodic minor) would require a flattened 5th or a sharpened 4th. Hancock's
line here does not have the same dramatic effect as the lines he has previously played over the
altered D7. In bar 23 he applies a first degree modal interchange, as suggested by Russell's
Lydian chromatic concept.26 In bar 24 I find another discrepancy: Dobbins suggests a II-V
(Bmin7-E7), but I see no evidence that Hancock is playing this. The melodic line could be
suggesting a Dmaj7 or perhaps a Bmin9 and the left hand voicing seems to reinforce this. As a
compromise I've analysed it as Bmin7 throughout the bar and ignored the E7 speculated by
Dobbins.
26 As a reminder, Russell's Lydian chromatic approach was officially published in 1953 and we know jazz
musicians in America were aware of his work even prior to the publication. Since the recording of this solo is
from 1963, we may presume that Hancock was well versed in this concept.
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In bars 25-26 we see Hancock substituting the minor II for a melodic minor equivalent.
This would perhaps explain why Dobbins thought of a II-V in the previous bar, suggesting that
Hancock was approaching this chord as a tonal centre. In the next bar (26) he seems to be
playing a tritone substitution once again instead of a D7alt. In the last bar (27) we may observe
the most dramatical alteration so far. After listening to the recording27 I was able to hear that the
bass player continues to play a G minor for the two bars. Hancock however, begins playing what
appears to be a Bb7alt, or a B melodic minor scale. At the same time he is voicing (in the left
hand) a Cmaj7 followed by a Bbmaj7. At this point it all seems inexplicable, but looking ahead
In this system we notice that the line comes to a halt on the Eb, which is also substituted
but by a modal interchange to the second degree melodic minor. Looking at the events
retrospectively we realize that Hancock was definitely playing a Bb7alt (altered V of Eb). The
question remains as to what is the Cmaj7 and Bbmaj7 have to do with this harmonic
anticipation? The Cmaj7 and the Bbmaj7 could be voicings for Amin9 and Gmin9,28thus
polytonal passage (more on this in the next chapter). Suffice to say is that the melodic line
(right hand) draws an altered V of Eb, whilst the left hand plays a descending II-I (Gmin) which
leads into VI (Eb) as the original chords. Two hands, two routes, same destination.
28 See: Mark Levine, The Jazz Piano Book (USA: Sher Music Co., 1989) 41-5
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Hancock ends the first chorus by returning to the original chords. Notice how the Gmin7
is harmonized, as a Bbmaj7 voicing, which supports the previous speculation that Hancock was
indeed harmonizing a Gmin7 not a Bbmaj. The second chorus (bar 33) begins with the
introduction of a new motif, the ascending triplet ending on the accentuated two octaves of F.
He delays the F7 for a beat and a half and then repeats the motif.
In bar 38 we may observe a similar practice to Chet Baker: Hancock is initially playing
the normal D7 and altering it in the second half, which proves that he was in fact altering the
original and not simply considering it always a tritone substitution. In the last bar he omits the
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resolution to the Gmin7 and instead seems to draw an altered V of the Cmin7 two bars away:
He resolves smoothly to the Cmin7 thus confirming a two bar anticipation to this chord, this will
become a trademark of Hancock’s and many other modern improvisers i.e. thinking several bars
ahead and anticipating the chords via cadences or simply dominants creating a polytonal effect.
Once again he omits the resolution. Now Dobbins is suggesting a II-V in A major, as he
did previously. But this time we don't even have left hand harmony to corroborate this. The
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spelling of the notes is also unusual, if this is truly a II-V in A major why use flats? The arpeggio
itself insinuates a Dmaj7 (Ebbmaj7) or a Bmin9 (Cbmin7). I believe it's most likely the latter
since it appears to be a chromatic transition from the Bmin7 to the Bbmin7 in the next bar. In
bar 44 however he clearly draws an Ab major scale (no Q), thus stating a distinct II-V, which he
also harmonizes. What is unusual though is that the chromatic II-V is in major, whereas the next
II-V (bars 45-46) is in minor. So in terms of keys he is actually moving from a tone below, not a
semitone i.e. Ab is the relative major of F minor, a tone below the tonic G minor. Over the
minor. In summary: in bar 43 he plays a Bmin9 which he uses to approach the next bar
chromatically. In bar 44 he detours a tone below to draw a II-V in major. In bar 45 he leaps to a
third degree (from Ab major/F minor). It is unlikely that Hancock thought of these relations in
the spur of the moment. What is more likely is that he was just thinking chromatic movements
and just happened to play unconnected keys. When analysing improvised music one must take
In this system we see him returning to the actual chords but only briefly. On beat two of
the second bar he begins a tritone substitution of V/V which he continues for two bars and a
Here we find him resolving the Eb7 to the D7. Dobbins suggests a D7alt but Hancock
plays a perfect 5th as the last note of the bar, hence an unaltered V. He returns to the G minor for
two bars:
Again we see him omitting the II and playing a V/V anticipating the next chord, this time
using the traditional first degree (V of F major). Then he alters the V, clearly drawing the Gb
Hancock resolves to the Bbmaj7 and follows with an unusual modal interchange to the
fourth degree melodic minor. This seem to work on two levels: the Eb melodic minor is the
same scale used for the D7alt, thus it insinuates a V of the tonal centre (G minor). On the other
hand we have seen how the primary IV can sometimes be exchanged for a secondary iv (minor)
which also contains a major 7th. Therefore, despite being an unusual interchange, the result is a
smooth transition that almost appears diatonic. On the Amin7 he applies another modal
In bar 59-60 we find an interesting progression being played instead of the Gmin.
Hancock plays an ascending pattern (3-6-R-7m) in a cycle of 5ths which leads into the Eb in the
next bar. Thus he is effectively anticipating the chord by two bars, but this time using multiple
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chords instead of just an altered V or a II-V. Worth noting in bar 60 is the Gb in the left hand,
this would seem to imply a polytonal shift to Eb melodic minor since over the Bb7 we have a
natural 2 and a natural 6th. Then again, it could just be interpreted as a mistake on Hancock’s
part
Here we find him once more interchanging the Eb for an Eb7. Normally one would be
inclined to analyse this as an unresolved tritone substitution of V/V (IV of Bb melodic minor),
but since Hancock was playing a cycle of 5ths it is only natural to assume that this was the point
of resolution he was targeting; I leave this open for debate.29 In the second half of bar 62 he
distinctly alters the D7, but Dobbins seems to omit this. He ends the second chorus with no more
detours or alterations.
29 The bar does not provide enough information to interpret it reliably either way.
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The solo continues for several choruses more, but I believe the point has been made. By
1960 jazz musicians were combining more and more substitutions, interchanges, omissions, etc.
chords, referencing them through V/x or other cadences that lead to them e.g. II-Vs. Though it
could be argued that Hancock took these liberties only because he was the sole harmonic
provider, evidence will show that these practices actually increased with time.
Joe Henderson
The next solo is by Joe Henderson from 1981.30 In this transcription we find the rhythm
section and Henderson himself departing from the original harmony on several occasions. The
piece is Take the “A” Train from 1941 written by Billy Strayhorn.31 Before proceeding with
Henderson's analysis I'd like to take a moment to look at this reduction of the original score.
30 Chaka Khan, Echoes Of An Era (Elektra Records, B000085MEZ, 1981-2), 3:59-4:43. My transcription.
31 Billy Strayhorn, ‘Take the “A” Train’, New Real Book (CA, USA: Chuck Sher (ed.), Sher Music Co., 1988,
copyright 1941), 351-52
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The structure is AABA, the last bar of the last A section (not included above) ends on
C6. As we can see the tonic key is C major. We have one second degree melodic transition and a
brief modulation to the second degree on the bridge, overall a simple tune. In Henderson's
version we have two introductory choruses where we can hear the substitutions from the original
version. These new chords are also played during most of the solos. Chaka Khan (the singer)
takes the third chorus and sings an improvised variation of the original melody. Here we find the
rhythm section playing almost exactly the same chords as the above version. But it is on the fifth
chorus, when the trumpet player begins his improvisation, that the rhythm section returns to the
re-arranged chords. This new set of chord changes are also played during Henderson's solo and
are notated without brackets, since they seem to have been previously agreed amongst the
musicians.
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Fig 8.12 Octatonic analysis of Henderson’s solo on Take the “A” train (bars 1-3)
the next chord (D7), the Db7 is mere speculation, and then proceeds to alter the D7 . The rhythm
section plays the original D7 (IV of A melodic minor) thus creating a poly-modal effect.
He continues the alteration all the way across until the change of chord. In bar 6, over the
G7, he prefers the G H/W tone scale instead of the diatonic V of C. He then appears to anticipate
a C minor which is played by the rhythm section in the next bar, this chord is not part of the
original version.
On this occasion we find both the rhythm section and the soloist altering the original
chords. The Cmin is an unusual minorisation of I, as opposed to the more common minorisation
of V. Henderson departs and seems to draw an Fmin (IV of the minorised I) while the rhythm
section returns to the original II, thus a substitution of a substitution. Henderson joins back in
on the V (G7) and both resolve together on the anticipation of C. The next line is complex:
Henderson begins by playing a modal interchange to the first degree and then appears to be
playing a tritone substitution of the I. Theoretically this would have to be F#ma7 (I in F# major),
but it appears that what he is really playing is an F#7. He plays enough notes for us to realize
that it is a B major scale, so perhaps he was simply thinking of playing a semitone below the
In bar 10 we notice how he alternates the Cmaj and F#7 before anticipating the D7,
which he alters once again. He then begins an ascending chromatic pattern which he carries
across two bars. There are some strange inconsistencies here: the chord symbols in brackets do
not necessarily express what Henderson was thinking but rather the effect these notes are
causing. Since he altered the D7 the feel is that of an ascending group of altered chords.
However, in beats 3 and 4 of the last bar he leaps a whole tone, thus not a chromatic transition.
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In the next bar we notice that he continues the same ascending pattern. So perhaps we
may hypothesise that Henderson either made a mistake, since this is a difficult line to improvise
on the saxophone, or that he miscalculated when his line would coincide with the chords played
by the rhythm section and thus adjusted the line to reach in time. In any case, he solves the
problem by playing a V/V to the V and consequently rejoining the rhythm section. In the last bar
As we can see the rhythm section waits for the last two beats of the section to modulate
to F, Henderson however, began his modulation five beats before. In bar 2 of the B section
They return to Fmaj7 and once again Henderson departs momentarily drawing a modal
interchange to the second degree. In bar 21 we find the re-arranged chord progression mentioned
at the beginning, these set of chords stand in for the original two bars of D7 and one of Dmin7
(continues below).
It is interesting to note that this arrangement delays the resolution back to the tonic key
for three bars. The reason being that the original D7 (II) also works like an unresolved V/V
which was heard twice on the A sections. Also the proximity of D7 to the two keys: D7 (A
melodic minor) is a fifth degree melodic minor from F, but only a second from C. Therefore the
D7 creates an instant pull towards the tonic. The new arrangement, on the other hand, creates a
completely different scenario. The first chord, Dmaj7 IV of A major, is closer in relation to F
major (a third degree from F but a descending fourth to C). The next two (Bbmaj7/C - F6/Bb)
are obviously still in F major and the last two appear to be in Db, a descending third degree from
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F and not in the hierarchy of C. Consequently they must descend a semitone to land on the V of
C (tonic key). In this manner the return to the tonic key is not felt until the last bar. Henderson
plays fluently through these chords only altering the more predictable V of the tonic key (G7),
corroborating what was said earlier about soloists interchanging and substituting standard chord
In the next A section we find everybody returning to the traditional chords, including
Henderson who for the first time does not alter the D7. This approach seems like the perfect
contrast after the dramatic alterations of the previous section, the original piece is heard clearly
once again.
Henderson continues drawing the changes without any alterations. Finally he minorises
The section ends with no more surprises except the V/II improvised by Henderson,
which is not played by the rhythm section. The alteration of the final V could also be interpreted
This solo is an excellent example of the modern jazz musician's approach. We observed
how both rhythm section and soloist can depart from the original chord progressions, sometimes
independently from each other. We also observed how pre-arranged substitutions (re-
treated like original tunes, where soloists and the harmonic support (bass, piano, etc.) draw them
clearly without any alterations. As mentioned by Bowtell in his study of Michael Brecker's
techniques 'Over more complex chord sequences he takes a different approach than over blues....
He will use the more obvious scale choices in order to emphasise the changes a bit more'. 32
Another good example are Hal Leonard transcriptions of Joe Lovano's solos.33 In this book we
find several original pieces plus many standards where we may contrast the approach between
unusual chords progressions and the alteration of predictable movements. An excellent study of
different substitutions that can be exercised by the rhythm section and the soloist simultaneously
can be found in the work by Lawn and Hellmer.34 This practice continues today with an
increasing level of complexity, sometimes on the borderline with free improvisation, see for
example Brad Mehldau's interpretation of The Way You Look Tonight35 or All the things you
32 Dan Bowtell, 'The Improvisation style of Michael Brecker', Dan Bowtell: Guitar and Music Service, 2005,
http://www.danbowtell.co.uk/lessons/breckerpres.pdf (25th of May 2008) PDF document page 8.
33 Hal Leonard, Artist Transcriptions: Joe Lovano (Milwaukee, USA: Hal Leonard Corporation, 1995)
34 Richard J. Lawn, Jeffrey L. Hellmer, Jazz Theory And Practice (USA: Alfred Publishing Co., 1996) 111-25
35 Brad Mehldau, 'The Way You Look Tonight', The Art of the Trio, Vol. 2: Live at the Village Vanguard (Warner
Bros / Wea, B0000062VD, 1998)
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are36.
The interesting phenomenon that seems to occur with this approach is how the
independent substitutions, interchanges, etc. have allowed tonal music to evolve into a form of
polytonality. Since everybody in the band is focusing on the same tonic key but take different
paths, on many occasions the end result is that we hear two different keys acting simultaneously
e.g. Henderson's substitution of chord I where the rhythm section draws C major while
Henderson draws B major. The great jazz pianist and composer Dave Brubeck explored
polytonality actively through compositions, thus exposing musicians to the sound possibilities
this technique offered.37 We also learnt that Coltrane pursued polytonality by drawing added
chord progressions over existing ones. Finally George Russell is a big contributor with his
Lydian Chromatic approach, where alternative scales are suggested for the traditional chord
functions i.e. Lydian substitutes Ionian, Dorian substitutes Aeolian, etc. consequently what could
In any case, the study of polytonality in jazz would merit a complete new research
project which would go beyond the scope of this thesis. What is important at this point is that
these new practices still fall under the analytical resources of the hierarchy of intervals and the
octatonic system. Degrees of tension can be explained in terms of relations between keys, from
the subtle first degree to the adventurous chromatic (semitone below or above). The evolution of
jazz harmony and/or improvisation seems to follow a logical extension into the higher relations
between keys. From Lester Young applying minorisations and up to second degree transitions, to
Henderson playing as far as a semitone below. The future of jazz harmony seems well mapped if
36 Brad Mehldau, 'All The Things You Are', The Art Of The Trio, Vol. 4 - Back At The Vanguard (Warner Bros /
Wea, B00000JZMN, 1999)
37 Mark McFarland, ‘Dave Brubeck and Polytonal Jazz’, Jazz Perspectives, Volume 3, Issue 2 (August 2009), 153-
76
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Part III:
Other applications
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Chapter 9
Other applications of the octatonic system
As an analytical tool
Living in the globalization era professional composers today are required to write in many
different styles of music. From Rock music, to Jazz, Orchestral, Electronica, etc., plus on
occasions mimic or imitate (indigenous) ethnic music from remote parts of the world. In a
normal scenario, with deadlines to be met and juggling the many projects that one may have to
deal with, it would be an impossible task to study every style of music in its own tradition.
Consequently, the modern professional composer needs to have a tool that will decipher and
Below is an example of Beethoven's sonata No. 1 analysed using the analytical principles
Fig 10.1 Octatonic analysis of Beethoven's Sonata Op. 2, No.1 (bars 1-6)
As with jazz analyses, the brackets below indicate the key of the piece/section. The
bracket above proposes the scale that the melody seems to be formed from. The chord symbols,
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however, suggest the overall sounding harmony i.e. not necessarily the chords being played but
the chords being implied (see below). The voicings are also analysed since they are very
representative of the style i.e. not open voicings or voicings with extensions. A composer
In bar 8 we do not have a C7 sound, but simply a C major triad. In bar 9 and 10 chord V
is changed to a secondary position (Cmin), but this also serves to anticipate the modulation
taking place in the next few bars. In my opinion this modulation begins on the Fmin, because the
Cmin (secondary V) still feels like it could return to C or C7 thus remaining in the key. Yet, the
Fmin preceded by the Cmin begins to create uncertainty. It would require another C or C7 to re-
In this system we find the corroboration of the key change followed by a long sequence
of chords which seem to delay the 'absolute' establishment of the new key. I would like to
presume that Beethoven thought this possible since the new key (Ab major) is the relative major
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of the tonic key and therefore does not require obvious establishment i.e. the Ab in bar 14 is
sufficient. Again we may notice that the chord symbols are simply expressing the insinuated
harmony as in the second half of bar 15 (Ddim) or bar 18 (Eb).
In this system we observe that Beethoven persists on keeping us away from 'absolute'
resolution and to add to the tension (or lack of resolution) he relies heavily on Q as the starting
point to the melodic line. This is accompanied by a rapid movement of roots played in octave
intervals.
The piece continues with many more interesting events, but this is enough to show how
To summarize, the first intention of this form of analysis is to provide as much melodic
and harmonic information as possible whilst retaining the full complexity of the music i.e.
without editing out ornaments or passing sections. There is still enough space to add another line
piece in this style/genre. It is also worth noting that the note E is portrayed as Q, hence diatonic
and belonging to the scale and key according to this method, not as a chromaticism. The scale
analysis is useful since different styles of classical music use different scales for tonal centres
e.g. modal interchanges.1 In this manner, having the melodic, harmonic and rhythmic analysis
above, one may create a new piece of music that approximates the style of a Beethoven sonata.
Naturally, western music falls quite easily within this system due to common harmonic
and theoretical conceptions, but what of non-western music that belongs to a completely
different tradition? Below is an extract of a Turkish classical piece by Kemani Tatyos Efendi2
1 See for example works by Ravel or Debussy
2 As published by: Kontanis, Mavrothi, T., 'Rast', Oud Cafe, 2008, http://www.oudcafe.com/rast_lesson.htm (26th
437
Quite arbitrarily the scale is named G min Rast. On close inspection this scale is
reminiscent of a G melodic minor as taught by some classical schools.3 But the minor third (if we
could call it that) is actually a B quarter tone flat, hence the need for a different name. The tonic,
as it were, is middle G (second line) since the piece begins and ends there.
The analysis differs slightly from that of western music, though modal jazz would
possibly be analysed in a similar manner: first we do not have a key bracket, since the music is
modal it does not contain any type of harmonic modulations as we understand them i.e. in modal
music modulations are understood as changes of rhythm/structure or pitch centres (see below).
The actual pitches in this type of music remain unaltered.4 Second, there are no chord symbols as
such, but rather pitch centres. As I will explain more thoroughly below, the tension is acquired
by shifting the gravity or pull of the individual notes of the scale. In other words, the melodic
line resolves to different tones of the scale in very specific moments. Therefore, the brackets
above are actually indicating which note in the scale is acting as a point of resolution. The
Roman numerals are speculations of key centres that can be used to harmonise or westernise the
music e.g. adding a bass line or harmonic support (see appendix 6).
In the second bar it could be argued that D is not being emphasized, but perhaps my
westernised ears cannot help hearing a sense of V-I movement. In any case this would be open
of February 2010)
3 The F# is flattened when the melodic line is descending, but the E remains unaltered in either situation, hence
similar, not equal.
4 With the obvious exception of F# which changes to F when in a descending line.
438
for interpretation by the analyst. In the last beat of the last bar it becomes clearer that the centre
has shifted, since the melodic line actually ends on D and is followed by a rest.
In this system we return to G as the centre. This would seem to imply that our first
In the next section we clearly shift the tonal centre to B quarter-tone flat. We may notice
that the pitch-centre bracket indicates this but the Roman numeral says flat III. This is because it
refers to the degree in the scale and the tuning of this note is a separate consideration. More on
this below. One may also notice that the C bracket anticipates the 'landing' on the note C. I feel
this is an important point since the melodic direction should also be considered when intending
to mimic the melodic style of the genre. The composer must take this into consideration when
writing a piece in this style, and realise that the movement towards the key centres is insinuated
beforehand, just as chords in jazz are sometimes anticipated or insinuated before they sound.
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In this system we return to our 'tonic' followed by a centre shift to E. Again my western
ears could not avoid interpreting this as a modulation to the relative minor when I heard the
recording.5 Of course this is not so and I did not include it in the analysis.
In the second bar here we hear the initial motif (from bar 1 of the piece) repeated slightly
differently. This time it takes a bit longer to reach centre D, but it does so directly i.e. does not
detour like the first time. This seems to insinuate the end of the section which interestingly
enough consists of 16 bars. I say interestingly because the melody and tonal centres land on the
fourth beat every time, implying that beat one is the beginning of the statement and thus must
end on beat four to allow a new statement to take place on the next bar/beat. This is quite
different from jazz where statements may start anywhere and usually end on the first beat.
5 Kudsi Erguner Ensemble,Works Of Kemani Tatyos Efendi, (Traditional Crossroads, B001HAGDZS, 1996) at
0:44
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In bar 17 we find a segno which would corroborate that this is indeed a new section. In
bar 19 we find the aforementioned F natural in a descending line. We may also notice that the
Roman numeral indicates the unusual number VIII, this is because the pitch centre is the octave
G, not the same as our tonic. We must consider this to be important in this type of music, since it
almost feels like a point of climax. We will also notice in the following bars (see below) that
there is a return to G (second line) before concluding the movement, thus this octave G (above
Again we find an unusual spelling in this bar: the Roman IX. This A does not have the
same impact or level of tension of the A a tone above the tonic. There is an evident 'pull' or yearn
for resolution towards the tonic that even my western ears can appreciate.
The second half of bar 21 begins with what feels like a cadence of some sort. Though the
notes do not appear to be long enough for the suggested pitch centres, I found the movement
strong enough to warrant the analysis since the movement so clearly returns us to the tonic (see
below).
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The melodic progression continues all the way to bar 24 where it rapidly shifts from the
Here we observe that the pitch centre shifts to the unvisited F natural. We have had F# as
The centre continues to descend now to E and then D using the same motif.
Finally it arrives at the tonic G, quoting the same idea as the end of the first section.
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Some may argue that this analytical approach is quite biased and westernised, but I must
reiterate that it should be thought of as a tool for modern western composer to quickly access
concepts of structure, harmony and overall design of the music. It is not intended as a deep
1. I learned that its section consist of 16 bars, like so many jazz standards.
3. The melody can be organized in a scale similar to the melodic minor whose third is
flattened a quarter tone instead of a semitone. And the seventh ascends major but
descends minor.
4. The octave and the ninth do not behave in the same manner as their counterparts an
5. Tension and release are achieved by shifting the centre of melodic resolution, similar to
the way we shift bass notes in western music. In fact many of the movements move in
In an effort to understand more about this music and the accuracy of my analysis I investigated
Kontanis,6 an American born from Greek parents who has devoted his life to playing and
educating oud and middle Eastern music throughout the world. He explains that Rast is a form of
Makam; a style or system of melody types in Turkish classical music.7 Rast is also the name of
the tonic pitch. Pitch centres are referred to as 'focal points8 and each pitch of the scale has its
own name. Thus confirming my suspicion that the octave is not the same as the tonic. The notes
do, however, have the same names when ascending or descending. Below is the graphic from his
He explains:
Typically the movement will begin by revolving around the first (tonic - [rast]), often
falling to the lower fifth [yegah], and hinting up into the 'territory' of [neva], the
secondary focal point, and working back to the tonic. In the very beginning, the tonic will
often but not always be stressed a great deal. The next step is to the secondary focal
point, in which we revolve around [neva] and hint at the upper octave, usually without
ever resting there for too long.9
rest of the piece in the same manner i.e. referring to 'focal points', 'falling back on' or 'revolving'
around the notes. Basically the same interpretation but with different names. The rest of his
explanation is more stylistic and orientated to the tradition and the different forms of melodies
and their classifications which does not concern us in this specific analysis. The only experiment
left pending would be to compose a piece of music based on the analysis above and have
In summary, the method of analysis proposed for the octatonic system may also be used
as a tool for deciphering other musical styles besides jazz. In cases where the theory does not
apply e.g. ethnic or untempered music, the method still provides an insight into some basics of
structural design which allow reproduction or a relative understanding of the mechanics of the
music.
As a compositional tool
One aspect of this method that seems quite useful is as a creative tool to find new harmonic
possibilities. By utilising the chart in appendix 3 one may create chord progressions that are
original, unusual, but still ‘tonal’. For example: in the same way that composers in the early half
of the 20th century used modal interchanges to embellish traditional diatonic chord progressions
(see for example Ellington's In a sentimental mood), we may utilise the same principles of voice
leading to find more unusual chord connections. To begin we choose a tonic key, say Eb major:
Now we may begin by writing the tonic chord and seeing which notes we can move to
convert it to an exclusive chord of one of its related keys. By exclusive I mean a chord that can
only belong to a specific scale i.e. it is not open for misinterpretation or it does not exist in
Figure 10.5 contains most possibilities of voice movements that convert the tonic chord
Eb into an exclusive chord from a related key. If we pick for example Gmaj7, thus moving to the
third degree, we may proceed in the same manner with this chord i.e. moving the voices to
convert it to another chord of the related keys of Eb. In this manner one may retain the reference
to the tonic chord even though the key is remote. Now this is particularly effective if the next key
is not related to the transitional key or is further away in the hierarchy than it is to the tonic key.
So for example after Gmaj7 we add Gbmaj7#5 which belongs to Bb major: Bb major is the first
degree of the tonic and fourth degree of G major, thus the pull will be stronger towards Eb than it
is to G. After doing this for a while one may use common chords, see appendix 4, to bring the
sequence back to the tonic. The final step is to compose a melody that will join all the chords
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coherently. This could be achieved by utilising a motif over the tonic chord which is then varied
Bars 1-2 establish the tonic-key. Bars 3-4 tonicise the third degree and subtly change the
motif. Bars 5-6 descend to the first degree and again uses a small variation of the same motif.
Bars 7-8 ascend to the second degree and rests the melody before introducing a new motif. Bars
9-10 move to the rarely played descending fourth degree and introduces a new motif, this
coincides well with the dramatic change of harmony, almost implying a new path. Bars 11-12
utilise the same motif to return the piece to the tonic-key but via a secondary iv which resolves to
the I (Plagal variation). Chord q serves as a less obvious dominant to return to the top of the
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piece or to start an improvisation. Though this example is very simple, it illustrates how the
technique may be approached. The resulting harmonic sequence is only one of thousands of
25 different combinations, and each degree offers eight primary chords and at least eighteen
Another use is as a polytonal tool. Since degrees seem to have a sense of function against
a tonic key, for example Berlin’s use of the second degree as a sub-dominant section (see
analysis of Remember: fig 6.2), then perhaps they can also be used simultaneously with a tonic
key. The concept is not that far-fetched if we consider how jazz musicians use modal
interchanges and harmonic anticipations. This would basically be an extension of the same idea:
tension can be built by simultaneously drawing further degrees (third, fourth or descending) and
in the same manner resolve or appease the tension by drawing closer degrees (first and second).
Fig 10.7 Polytonal piece based on the octatonic system (bars 1-6)
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The piece reference tonic is C major, though more appropriately should be C/G major.
This poly-tonic centre is introduced in the first bar. The cellos, bass and violins II are playing or
drawing chord I of C major whilst the violas and violins I are playing/drawing chord V of G
major. In bars 2-4 we have what could be understood as a ‘first-degree transition’, in the sense
that the poly-tonic centre has shifted to base G (bass, cello and violins) whilst the viola proceeds
in B major (third degree of the first degree). Tension mounts even further in bars 5-6 where it
returns to the tonic C major whilst the violas change to the fourth degree of the tonic (Eb major).
The section ends (bar 8) with violas and violins shifting to the second degree in bar 7,
thus reducing tension, and returning to the first degree to re-establish the C/G major tonic centre.
In the next bars (9-17), the woodwinds join in with melodies which hint at chords belonging to
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We may notice that the chord progression carried out by the string section does not
change. The woodwind and the brass however play a combination of both tonic centres, for
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example: in bar 12 the flute arpeggiates an Amin7 whilst the oboe arpeggiates a D#dim. The
clarinets harmonize both. In bar 13 things get more dramatic as we begin to hear three different
chords at once: the string sections continue with Dmin7/Bbmaj whilst the woodwind seem to be
drawing upon primary Q of Bb major. In bar 17 the resolution is achieved again when all
This example is only the first draft of a theory that has yet to be tested. So far the
possibilities remain viable and the technique offers interesting sonorities that seem to have a
forward momentum as in normal tonal music. The technique does not introduce any new sounds,
but it does offer an alternative approach to designing a polytonal piece and perhaps, from a jazz
musician’s point of view, it facilitates the exploration of this type of music from a more familiar
framework.
As a musicological tool
From the beginning of this research, especially after relating the concept to the nature of physics
and the harmonic overtones, I have wondered how universal this approach might be. Would it
apply to all music? David Lucas Burge suggests that all pitches are distinctively different if we
hear them as colours,10 therefore B quarter-tone flat still sounds like a B just slightly flat or a Bb
slightly sharp. Particularly in jazz we are quite used to pitches that are slightly 'out of tune', most
of the time done on purpose for effect. From Louis Armstrong to Joe Lovano we find pitches
notated as C or F with an added commentary such as 'slightly flat' or 'raised'. Similarly to what
Burge says: 'Brown is still brown, whether is light brown or dark brown'.11 If we accept this to be
true, that an octave is still an octave even when slightly out of tune, then could it be that the
theories of the octatonic system could apply universally? What I mean by apply is that different
music reaches different levels of development within the theory i.e. not all music would be
10 David L. Burge, The Perfect Pitch Ear Training SuperCourse (USA: PerfectPitch.com, January 1, 2005) Disc 1
11 Ibid. Of course one could argue that a lighter brown is beige, but the point is understood.
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octatonic, some will be pentatonic, hexatonic, heptatonic, etc. But its basic construction could
still be explained using the principles of overtones and the hierarchy of intervals.
Before I began writing this thesis I put the theory to test by going back in history.
Arbitrarily I chose Wagner as my point of departure, though later on I analysed Ravel and
Debussy. I proceeded backwards through the major figures of classical history, since it was
impossible to cover them all, finally arriving at Bach. At this point I realised that it would be an
impossible task for one man to cover this much music as evidence of a theory and thus I
conformed by just devoting myself to the jazz period. Nevertheless, the research was done,
though only superficially, and it left me with the question: would it be possible to apply this
theory further back? And if so, to what point in history? Church modes and music from the
middle ages? And what happened before that? Did the church interfere with the 'natural'
development of harmony and melody? Or did they reinforce the hierarchy of intervals in their
There are claims that more ‘primitive’ music consists of less tones than more advanced
music,12 for example certain forms of ethnic music are mostly pentatonic. But I believe this is not
so, as recent archaeological findings would suggest. There is the eight or nine thousand year old
flute from China that plays eight notes and of which it is said 'its tonal scale is remarkably
similar to the Western eight-note, do-re-mi scale'13 and on the other hand there is the recently
discovered thirty five thousand year old flute from Germany that has only five holes. 14 This
would appear to be in reverse of music history and practice for the past few thousand years. The
point I am trying to make is that such claims do not have any type of evidence. What little we
know seems to point out that tones as such have been around for thousands of years in similar
organization, whether it was five or eight (allowing for slight pitch discrepancies). So perhaps
12 See Robert Fink arguments: Bob Fink, The Origin of Music (Canada: Greenwich Publishing, 1985).
13 Spencer P.M. Harrington, 'Oldest Musical Instruments Still Play a Tune', Archaeology, 1999 by the
Archaeological Institute of America, http://www.archaeology.org/9911/newsbriefs/flute.html (18 of March,
2010)
14 Pallab Ghosh, 'Oldest musical instrument found', BBC News, 2009, http://news.bbc.co.uk/1/hi/8117915.stm (18
of March, 2010)
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tonal organization is universal and music has developed differently from culture to culture due to
understand why in China they went from an eight tone system to a five tone.
Of course most of these questions might have to wait many years, until humanity has dug
up more flutes or other evidence that might indicate at what point things started to change. Then
Five years ago, when I began to experiment with overtones as a possible explanation of
scale formation, I was surprised to find how a hierarchical organization could mathematically
account for the arrangement of pitches within a family group. During the course of this research,
the theory became broader and seemed to explain more phenomena than I had originally
brains crave for is not for this piece of work to answer. However, as an educator and a
practitioner I find that the system provides me with a structure that is both logical and
chronological. The foundation of this theory, the hierarchy of intervals, serves equally in all
directions: from understanding the formation of scales, chords, keys and relationships to the
analysis of existing music. Exceptions are few and rare and in each case it is the music itself that
provides the answer. But providing the theory in itself is not enough: if the theory was correct,
then a historical exploration of music should reflect the same line of development. The evidence
showed that not only could this theory explain much of the current development of music, but
also that its future evolution seems to be drawing upon the same path i.e. higher into the
hierarchy.
There were some interesting revelations through the course of the analyses. Some things I
never found e.g. blues scales or other blue notes besides the flattened 7th. Others, like the modal
interchange to symmetric scales and the interchangeability of its chords, proved quite
enlightening. Particularly informative was to see how jazz composers blended ragtime and blues
with their contemporary popular music, resulting in a form of harmony that was based on
tradition but with its own idiosyncrasies. But by far the most important insight was my initial
speculation that an analytical system must be contextual and cannot be practical if it relies on
recipes. The historical exploration proved, above anything else, that chord progressions that
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appear to be the same can be substantially different depending on era, composer and the
surrounding circumstances. Even when examining pieces from the same decade, I found that
jazz musicians would often use modal interchanges to alter common chord progressions of the
time, thus creating new exotic sounds. The concept of primary and secondary chords, in addition
to boxed’ chords, opens up the mind and the ears to understand harmony more subtly. A chord
progression may look like a II-V-I, but on close inspection we find that it may be a iii- V/II -II.
These differences are not only important, but they are also the defining qualities that make a
piece of music sound in a particular manner. It is only through the understanding of the nuances
and the subtleties of harmony that an improviser/arranger can truly capture the spirit of a given
piece. A music theory that does not take this into consideration is flawed by its very nature.
By no means am I saying that the octatonic system is perfect. Through the five years of
its development it has changed considerably and still has much room for improvement. For
example the issue with melodic minor degrees: should first and second degrees be called
something different? In most analysis, I found that particularly the first-degree melodic minor
almost always functions as a modal interchange i.e. it retains the function of its equivalent chord
in the fundamental scale e.g. melodic minor parallelisms. There are also developments that
unfortunately did not follow the order of the hierarchy of intervals: the blues brought about a
modal interchange to the second degree (chord I and IV) decades before the modal interchange
to the first-degree was incorporated. During the bebop era the diminished (H/W tone) scale was
used vastly and one of its interchangeable chords also works as a tritone substitution, which
presents the analytical problem of choosing between melodic minor or the former when neither
arbitrary decision I stated that H/W tone should only be used if it's clearly stated in the chord
symbol or melody. Thus, we always observe the historical order: if a chord exists in all three
scales, fundamental, melodic minor and H/W tone; then the analysis should always presume the
first unless evidence to the contrary. But what of more modern pieces? Should we presume that
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always presume a H/W modal interchange since we know this was common usage at the time.
Furthermore, the evidence provided here is far from sufficient. For the purpose of
corroborating my statements, I analysed over sixty standards and about fifty solos from different
eras, of which I included only those that contributed a significant input. However, this is still not
Horace Silver provide an interesting use of tonicised melodic minor harmony. Another field
which was left uncovered in this thesis was classical music which influenced jazz or popular
song composers. For example Scott Joplin, Ellington, Parker; all of whom we know were
classical music enthusiasts or at least admirers, must have inevitably incorporated sounds from
the music they grew up with. This would also help to clarify the harmony gap that appears
between ragtime/blues and early standards. The research itself would appear quite simple since
most biographies touch upon this subject. However, the analysis of such music would be so large
In contrast to these limitations, several unforeseen applications came out of this model:
proved to be useful for analysing music outside the context of jazz. Additionally, the
relationships of keys, via the hierarchy of intervals, seems to aid in the treatment of polytonal
harmony. This idea was inspired by the advanced use of modal interchanges amongst later
composers and improvisers. Finally, it provided a linear explanation of the development of music
which could be utilised in education. Future work could parallel historical facts with octatonic
theory e.g. Pythagoras harmonic experiments and the hierarchy of intervals and/or Dunstable’s
These new ideas are all in their infancy and require more research and experimentation
before any claims can be exercised. I have personally put the analytical method to test in over a
hundred jazz tunes, around twenty popular songs, ten ethnic pieces and half a dozen classical
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compositions. It has provided me with the necessary information to replicate the style, but my
attempts still require an expert’s critique as to whether the genre has been successfully imitated.
An education system based on the octatonic model will require the discussion, research
and sharing of ideas with experienced educators which can input methodology beyond just that
of musical logic. Furthermore, if a truly comprehensible system is ever designed, it will also
need the cooperation of historians and musicologists that can validate or ascertain if these
Finally, the two areas that most intrigue me are the future and the past: how far back in
music history can the octatonic system be applied? Allowing pitch tuning discrepancies, can it be
used to analysed most of western music? And secondly, can it be used as a tool for pursuing new
even space for a dodecaphonic hierarchical organization. These are areas of research I feel this
concept may extend to and are worth pursuing, both as an educator and as musician.
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Glossary
Altering (Alt.): Is a modal interchange practice which consists in changing a traditional 7th chord
(V of major or V of minor) for the equivalent VII of a melodic minor scale e.g. G7 V of C major
can be altered to become VII of Ab melodic minor.
Atonal: Lack of tonality. All chords and scale degrees are equal, there is no point of resolution or
tension.
Bridge: Usually a middle section of a piece/song that departs completely from the other sections.
Chord changes: A harmonic progression. A series of chords in a tune. Usually use for referencing
tunes with the same chord progression e.g. Anthropology has the similar 'chord changes' as I Got
Rhythm.
Chord symbol: A shorthand spelling describing the quality of a chord. The notation is the root
followed by numerical or intervalic expressions e.g. a C major 7th with a sharpened 11th is
notated Cmaj7#11. Some chord symbols contain more unusual notations such as a D minor with a
minor 7th and a flattened 5th is sometimes notated as DØ.
Degree/s: Refers to the relationship of keys within the hierarchy of intervals e.g. a first degree is
the first interval in the hierarchy, a 5th.
Descending degree/s: Refers to the unusual shift to degrees of the hierarchy that are below the
tonic i.e. the descending third degree is a key a major 3rd below the tonic key, the descending
fourth degree is a key a minor 3rd below the tonic key. The first and second degrees are usually
omitted since they are the same as the normal ascending degrees.
Detour: Any departure from the tonic key e.g. a modulation or a tonicisation.
Diminished substitution: A form of modal interchange consisting of replacing a normal 7th chord
for its equivalent in a diminished H/W tone scale.
Dominant: Refers to the function that certain diatonic chords have. They are the ultimate level of
tension and usually lead towards a resolution to a tonic chord.
First Degree: Refers to the relationship between the tonic key and the key found in the first
interval of the hierarchy of intervals e.g. G major is the first degree of C major.
Function: Refers to the level of tension that diatonic chords have within a tonal system.
Fundamental scale: An eight note scale either major or minor. (See major fundamental/minor
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fundamental)
Fundamental Harmony: The chord family built from the scale of the same name.
Head: Refers to the main melody of a piece e.g. the chorus not the verse.
Hierarchy or hierarchy of intervals: Refers to the theory that harmonic relations are based on the
intervalic properties of the overtone series. In order of relevance these are (omitting 8ve) perfect
5th, perfect 4th, major 3rd and minor 3rd.
H/W tone scale: Also known as the Stravinsky octatonic or diminished scale. This is a symmetric
scale constructed by a series of half tones and whole tones. This scale became widely used in the
bebop era.
Majorization: The act of changing a key to its equivalent major e.g. C minor to C major.
Major Fundamental: Similar to the traditional major scale with an added semitone between the
5th and the 6th.
Melodic: In the context of this thesis is used as shorthand for melodic minor events e.g. melodic
transition, melodic degrees.
Melodic degrees: Refers to the relation between a key and harmonies deriving from melodic
minor scales. These relations are established by the hierarchy of intervals.
Melodic minor: Similar to a seven note major scale with the flattened 3rd. This scale contains its
own set of diatonic chords which are found widely in the standard jazz repertoire.
Minorization: The act of changing a key to its equivalent minor e.g. C major to C minor.
Minor Dominant: The conventional V of I in a minor key e.g. G7-Cmin. Sometimes used for
expressing a modal interchange or a minorization of a V chord. For example when a musician
plays the G7 of a C minor in place of a G7 of C major in a cadence (Dmin7-G7#9-Cmaj)
Minor Fundamental: Similar to the traditional minor scale (Aeolian mode) with an added
semitone between the minor 7th and the 8ve.
Modal Interchange: The substitution of a chord from its rightful mode to an equivalent chord in
another key e.g. Dmin7 (II of C major) can be modally interchanged by Dmin7 (VI of F major).
There are many different types of modal interchanges of which the most common have their own
name: Tritone substitution, diminished substitution, majorization, minorization.
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Modulation: A clear and defined change of key. Normally achieved via the use of cadences. The
reference to the tonic key is usually lost.
Non-diatonic: A chord which does not belong to the scale of the key. e.g. In the key of C major
the D7 chord does not belong to the scale of C hence it is non-diatonic.
Open: Similar to Rubato. Usually a performance which seems devoided of time or structure e.g.
an open intro is played until the top of the piece is cued.
Pentatonic: A five note scale usually made from omitting the notes of a regular scale.
Primary chords: The chords built from a scale by respecting the hierarchy of intervals and the
influence of overtones. The chords most commonly associated with a particular scale e.g. the
primary triads in C major are: Cmaj-Dmin-Emaj-Fmaj-Gmaj-Abaug-Bdim. Primary chords are
expressed with upper-case Roman numerals.
Polytonal: A style of music which consists of two or more keys functioning at the same time.
Q: The added note in the fundamental scale, also the chord built from it. The secondary chord is
expressed with a lower case Roman numeral e.g. in C major the Abdim is analysed as q.
Retroactive: Refers to how the impression of something which has passed is altered by the
experience of new events. In harmony a chord that might have given the impression of leading to
a specific place is then perceived different with the unfolding of new events. e.g. A V-I to major
followed by a II-V-I to the relative minor (G7-Cmaj7-BØ-E7-Amin). In the first instance we
perceive the I as tonic major, but after we hear the II-V-I to minor we retroactively remember the
first two as V/III-III or VII-III.
Root: Refers to the basic note where a chord is constructed from, usually the bass note. e.g. the
root of Dmin7 is D.
Secondary Chords: The chords that can be built in a scale by using other notes than those in the
hierarchy e.g. In the scale of C major chord I primary is Cmaj a secondary chord would be
Csus4, Csus2 or Caug (using Q). Secondary chords are expressed with lower-case Roman
numerals.
Shift: An abrupt change of key or tonic without the use of modulation or relation between
degrees.
Side-stepping: the act of playing a semitone above or below a targeted chord. This can happen
over a sounding chord or in anticipation of a coming chord. Side-stepping can depart from the
chord, anticipate a chord or encircle a chord e.g. from above then below, then resolve or vice-
versa.
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Sub-dominant: Refers to the function of certain diatonic chords. By definition these are passing
chords and generate the need for movement.
Substitution: Refers to the replacement of one chord for another. (see modal interchange).
Tonic Key: Refers to the main key of a piece. The overall final point where everything leads to.
A piece may be in many temporal keys but there's usually only one tonic key where all events
unfold to.
Tonicisation: A very short modulation or a passage that clearly establishes another temporal key.
As a principle a tonicisation must be short enough so that the reference of the tonic key is not
lost. In general a tonicisation is suggested by harmonic movements (more than one chord) in
another key e.g. II-V, unless the non-diatonic chord is of long duration.
Transition: A chord or chords that are not diatonic (Do not belong to the tonic scale). These are
chords that do not affect the reference to the key i.e. they are direct mention to diatonic chords as
in V/II, V/V, etc. or are passing chords between diatonic chords.
Tritone substitution: Is a form of modal interchange which consist of altering a 7th (making it the
VII of a melodic minor) chord and then inverting it for its melodic minor counterpart (IV of the
same melodic minor) e.g. G7-Cmaj the G7 becomes G7alt (VII of Ab melodic minor) and then
it's inverted to become Db7 (IV of Ab melodic minor) the result is Db7-Cmaj.
Upper-structure: These are notes in the scale which can be added on top of a normal chord to add
colour. Not all notes in the scale can be used and each chord has its own set of upper-structures
e.g. in C major the note F cannot be used as an upper-structure of chord I or VI, but it can be
used for III and Q.
462
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Discography
Armstrong, Louis, Ellington, Duke, The Great Summit: The Master Takes (Roulette Jazz, 7243-
5-24547-2-3, 2001).
Baez, Joan, 'Swing Low Sweet Chariot', Essential/From The Heart (Polygram International,
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7449, 1965).
2007).
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B0002ZEUJ0, 2005).
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Franklin, Aretha, 'Amazing Grace', Amazing Grace: The Complete Recordings (Atlantic / Wea,
B00000IPY3, 1999).
Getz, Stan, Gilberto, Joao, Jobim, Antonio, Carlos, Getz/Gilberto (Verve, 521 414-2, 1963).
Hawkins, Coleman, Coleman Hawkins Encounters Ben Webster (Verve, 9884036, 2005).
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Henderson, Joe, 'Porgy And Bess' (Decca, Verve Music Group, 2009, B002NCUPBW).
Herman, Woody, Jazz Casual: The Swinging Herd CD (Koch Jazz, 8562, 2002).
B001HAGDZS, 1996).
Lloyd, Charles, ' Go Down Moses', Lift Every Voice (ECM, B00006L3GC, 2002).
May, Billy, 'The Little Brown Jug' Plays the Standards (EMI, B0001NIZ1M, 2004).
Mehldau, Brad, 'All The Things You Are', The Art Of The Trio, Vol. 4 - Back At The Vanguard
Mehldau, Brad, 'The Way You Look Tonight', The Art of the Trio, Vol. 2: Live at the Village
Miller, Glenn, 'The Little Brown Jug' The Best of Glenn Miller (Music Digital, B00000JX45,
2003).
Palmetto State Quartet, 'Roll, Jordan, Roll', When He Blessed My Soul, (Horizon Records,
B0012K7LNQ, 2001).
481
Papa Bue's Viking Jazzband, 'Roll Jordan Roll', The Hit Singles 1958-69 (Storyville Records,
B0013SD924, 2000).
Parker, Charlie, 'Bird Feathers', Charlie Parker: The gold Collection (EEC, Retro, R2CD 40-16,
1997).
Parker, Charlie, 'Blues For Alice', The Complete Verve Master Takes (USA, The Verve Music
Parker, Charlie, ‘Love For Sale’, The Genius Of Charlie Parker, #5 - Charlie Parker Plays Cole
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Tuskegee Institute Singers, 'Go Down Moses (B-15167-1)', 1914-1927: In Chronological Order
Gsus2 Gsus4 Gaug Asus2 Asus4 Adim Bmin Bsus4 Cmin Csus2 Dsus2 Dsus4 Ebdim Esus2 Esus4
5 5 5
5 555 55 55 555 E555 !E55 555
55 555 !555 555 !E555 !555
G 55 555 5
Esus2 Esus4 Eaug F#sus2 F#sus4 F#dim G#min G#sus4 Amin Asus2 Bsus2 Bsus4 Cdim C#sus2 C#sus4
5 E!E555 EEE555 E555
EEE555 555 !55 EE555 E555 !555 55 EE555 555
G E555 555 E!555 5
G E5 !55 555 555 !!!555 E555 EEE555 555 !555 EEE555 E555
E 55 555 E!555 EEE555 E555 5
Dbsus2 Dbsus4 Dbaug Ebsus2 Ebsus4 Ebdim Fmin Fsus4 Gbmin Gbsus2 Absus2 Absus4 Adim Bbsus2 Bbsus4
5 5
555 55 55
!55 555 555 !555 555 555 !!555
G 555 555 5 555 555 !555
Ebsus2 Ebsus4 Ebaug Fsus2 Fsus4 Fdim Gmin Gsus4 Abmin Absus2 Bbsus2 Bbsus4 Bdim Csus2 Csus4
5
!55 55 555 555 !555 555 555 555 !555 55 555
G 555 555 5 5 555 !555
55 !555 555 5 55
5 555
G 55 E55 555 555 555 !555 !555 555 5 E55
5 555 5
Fmaj Gmin Amaj Bbmaj Cmaj C#aug Dmin Edim
5 55 5 55 55
5
55 5 E55 5
484
555 555 555 E555 55 !555 5
G 55
"
Emin F#dim Gmaj Amin Bmaj Cmaj Dmaj Ebaug
5
55 E555 55
G 555 E555
55
5
!555 EE555 5
Esus2 Esus4 Gsus2 Gsus4 Gaug Asus2 Asus4 Adim Bmin Bsus Cmin Csus2 Dsus2 Dsus4 Ebdim
!5 55 E55 555 5 !555 555 555
G E555 555 555 555 55
5 55 555 5 5 !555 55
555
55 555 55 !555 555
G E5 55
5 555 E555 E!555 !555 5 !EE555 !555 5
E 55 555
G 555 555
Fsus2 Fsus4 Absus2 Absus4 Abaug Bbsus2 Bbsus4 Bbdim Cmin Csus4 Dbmin Dbsus2 Ebsus2 Ebsus4 Edim
5 5 55
555 555 !555 555 55 555 !5
55
555 555 !555 555 !555
G 555 555
Appendix Chords and their upper-structures
Cmaj (7,9,13) Dmin (7,9,11,13) E (7,b9,#9,b13) Fmaj (7,9,#11,13) G©aug (maj7,#9,#11,13) Amin (maj7, min7,9,11,) Bdim (min7,11,b13)
B± (11,b13)
G55(7,b9,§9,13) 55 55
5 55 55
555 5 55' 55
'
55' E 55''
55
G 55'
'
5'
' E5'
'
' '
' '
' E' ' ' 5'
' ' '
'
Gmaj (7,9,13) Amin (7,9,11,13) B (7,b9,#9,b13) Cmaj (7,9,#11,13) D (7,b9,§9,13) D©aug (maj7,#9,#11,13) Emin(maj7, min7,9,11,) F©dim (min7,11,b13)
5 55 F©± (11,b13)
555 5 55 55 55 55
E
55' 5'
' E5'
'
'
555 55 55' E55' 5'
G ' ' ' 5'
' '
'
' E' ' '
' '
'
'
Dmaj (7,9,13) Emin (7,9,11,13) F©(7,b9,#9,b13) Gmaj(7,9,#11,13) A (7,b9,§9,13) B¨aug (maj7,#9,#11,13) Bmin (maj7, min7,9,11,) C©dim (min7,11,b13)
C©± (11,b13)
55 55
55 555
E 55
5' 55' 5 55
'
'
55'
'
55 55 55
GE '
' '
' E''
' ' ' 55' E55''
5'
'
' ' ' '
Amaj (7,9,13) Bmin (7,9,11,13) C©(7,b9,#9,b13) Dmaj (7,9,#11,13) E (7,b9,§9,13) Faug (maj7,#9,#11,13) F©min(maj7, min7,9,11,) G©dim (min7,11,b13)
! 55 G©± (11,b13)
55
55 555 55 55
EEE 55 555
5' 55' 55' E55' 5'
'
G 5' 5'
'
55'
E' '
' '
' !' ' '
' '
'
' ' '
488
Emaj (7,9,13) F©min (7,9,11,13) G© (7,b9,#9,b13) Amaj (7,9,#11,13) B (7,b9,§9,13) Caug (maj7,#9,#11,13) C©min(maj7, min7,9,11,) D©dim (min7,11,b13)
55 D©± (11,b13)
55 55 555 55 ! 55 55
EEEE 5' 55' 5 '
'
55 55
G '
' '
' E''
' ' 55
'
55' E55''
5'
'
'
' !' ' ' '
Bmaj (7,9,13) C©min (7,9,11,13) D© (7,b9,#9,b13) Emaj (7,9,#11,13) F© (7,b9,§9,13) Gaug (maj7,#9,#11,13) G©min (maj7, min7,9,11,) A©dim (min7,11,b13)
A©± (11,b13)
E 55 5 E 55
E 55 555 E 555 E 5555 E 555 E 5'
EE E55 EE55' 5' EE5'
'
E 55'
E' E' '
' EE' '
' E' '
G EE5''
' '
' EE'' ' '
C©maj (7,9,13) D©min (7,9,11,13) E© (7,b9,#9,b13) F©maj (7,9,#11,13) G©(7,b9,§9,13) Aaug (maj7,#9,#11,13) A©min (maj7, min7,9,11,) B©dim (min7,11,b13)
! 55 B©± (11,b13)
5 55
55 55
55 555 55 55 ! 55'5 5'
EEEE E 55 55' !5'
55'
' '
' !' '
' '
' '
'
G E E 5' '
' '
' '' ' '
F©maj (7,9,13) G©min (7,9,11,13) A© (7,b9,#9,b13) Bmaj (7,9,#11,13) C©(7,b9,§9,13) Daug (maj7,#9,#11,13) D©min (maj7, min7,9,11,) E©dim (min7,11,b13)
E©± (11,b13)
5 555 55
5 ! 55 55 5 55
EEEE E 55' 5' !'5' 555 5'
G E ' ' '
' ' 5' 55
'
'
55' !55'5
' '
'
'
' ' !' ' '
Fmaj (7,9,13) Gmin (7,9,11,13) A (7,b9,#9,b13) B¨maj (7,9,#11,13) C (7,b9,§9,13) D¨aug(maj7,#9,#11,13) Dmin (maj7, min7,9,11,) Edim (min7,11,b13)
E± (11,b13)
5 555 55
5 55 555 5 55
55' 5' '5' 555
' 5'
489
E¨maj (7,9,13) Fmin (7,9,11,13) G (7,b9,#9,b13) A¨maj (7,9,#11,13) B¨(7,b9,§9,13) C¨aug (maj7,#9,#11,13) Cmin(maj7, min7,9,11,) Ddim (min7,11,b13)
D± (11,b13)
5 555 55
5
555 55 55 55
55 5' !5'
'
5'
'
555
G ''
' '
' ' ' 55'
'
5' !55'
'
5'
'
'
' ' ' '
A¨maj (7,9,13) B¨min (7,9,11,13) C (7,b9,#9,b13) D¨maj (7,9,#11,13) E¨ (7,b9,§9,13) F¨aug (maj7,#9,#11,13) Fmin (maj7, min7,9,11,) Gdim (min7,11,b13)
55 G± (11,b13)
55
55 55 55
5 55 555 55 55 !55' 5'
G 55 55' 5 55'
' '
' ' '
' '
' '
'
'
'
' '
' !''
' ' '
D¨maj (7,9,13) E¨min (7,9,11,13) F (7,b9,#9,b13) G¨maj(7,9,#11,13) A¨ (7,b9,§9,13) Aaug(maj7,#9,#11,13) B¨min (maj7, min7,9,11,) Cdim (min7,11,b13)
! 55 C± (11,b13)
5 555 55 555 55 55
5 5' 55'
!'
5'
' '
'
'
555 55
5'
G 5'
'
' '
' ' ' 5' !55'
' '
'
!' ' '
G¨maj (7,9,13) A¨min (7,9,11,13) B¨ (7,b9,#9,b13) C¨maj (7,9,#11,13) D¨(7,b9,§9,13) Daug (maj7,#9,#11,13) E¨min (maj7, min7,9,11,) Fdim (min7,11,b13)
F± (11,b13)
55 55 55 ! 55 55 55
5 55'
'
55'
!'
55 55
555
5' !55' 5'
G ''
' ' ' 55'
' '
' '
' '
'
' ' !' '
490
<>@
\
^
Appendix `{\|^^
}
|
|
| |
| |
C major
Symmetric
interchange
Symmetric
interchange
491
<>@
\
^
`{\in^^
}
Cin
C#in
F#inr Din
Fin Ein
A minor
A
<
492
Connecting chords
Appendix (Examples in C major)
I Cmaj IV Cmaj
I Cmaj7 IV Cmaj7
I Cmaj9 IV Cmaj9
i Csus2 iv Csus2
i Csus4 iv Csus4
ii Dsus4 v Dsus4
ii Dsus2 v Dsus2
iii Emin vi Emin
iii Emin7 vi Emin7
iii Esus4 vi Esus4
V Gmaj I Gmaj
v Gsus2 i Gsus2
v Gsus4 i Gsus4
VI Amin II Amin
VI Amin7 II Amin7
VI Amin9 II Amin9
vi Asus2 ii Asus2
vi Asus4 ii Asus4
493
I Cmaj V Cmaj
I Csus2 v Csus2
I Csus4 v Csus4
II Dmin VI Dmin
II Dmin7 VI Dmin7
II Dmin9 VI Dmin9
ii Dsus2 vi Dsus2
ii Dsus4 vi Dsus4
IV Fmaj I Fmaj
IV Fmaj7 I Fmaj7
IV Fmaj9 I Fmaj9
v Gsus2 ii Gsus2
v Gsus4 ii Gsus4
VI Amin iii Amin
VI Amin7 iii Amin7
vi Asus4 iii Asus4
i Caug Q Caug
III Emaj I Emaj
iii Esus4 I Esus4
Q Abaug iii Abaug
VI Amin iv Amin
494
b
i Csus2 vi Csus2
i Csus4 vi Csus4
ii Ddim VII Ddim
ii DØ VII DØ
ii Ddim7 vii Ddim7
iv Fmin II Fmin
iv Fsus2 ii Fsus2
iv Fsus4 ii Fsus4
V Gmaj III Gmaj
V G7 III G7
v Gsus4 iii Gsus4
q Abmajb5 iv Abmajb5
q Abdim iv Abdim
q Abdim7 iv Abdim7
vii Bdim q Bdim
vii Bdim7 q Bdim7
b
i Csus2 iii Csus2
i Csus4 iii Csus4
iii Eaug Q Eaug
iv Fmin II Fmin
iv Fsus2 ii Fsus2
Q Abaug i Abaug
495
II Dmin iv Dmin
III Emaj V Emaj
III E7 V E7
iv Fmajb5 q Fmajb5
iv Fdim q Fdim
iv Fdim7 q Fdim7
q G#dim vii G#dim
II Dmin II Dmin
II Dmin7 II Dmin7
IV Fmaj IV Fmaj
V Gmaj V Gmaj
V G7 V G7
v Gsus2 v Gsus2
v Gsus4 v Gsus4
I Caug III Caug
ii Dsus2 iv Dsus2
III Emaj V Emaj
III E7 V E7
VI Amin I Amin
VI Amin(maj7) I Amin(maj7)
496
I Cmaj IV Cmaj
I Csus2 IV Csus2
II Dsus2 v Dsus2
II Dsus4 v Dsus4
v Gsus2 i Gsus2
v Gsus4 i Gsus4
VI Amin II Amin
VI Amin7 II Amin7
vi Asus4 ii Asus4
I Cmaj V Cmaj
I Csus2 v Csus2
I Csus4 v Csus4
ii Ddim vi Ddim
ii Ddim7 vi Ddim7
ii DØ vi DØ
iii Eaug VII Eaug
iii E7#5 VII E7#5
iv Fmin I Fmin
iv Fmin(maj7) I Fmin(maj7)
iv Fsus2 i Fsus2
v Gsus4 ii Gsus4
iii Emin I Emin
iii Esus4 I Esus4
497
vi Asus4 iv Asus4
b
ii Ddim VII Ddim
ii DØ VII DØ
iv Fmin II Fmin
iv Fmin7 II Fmin7
iv Abmajb5 iv Abmajb5
i Gsus2 ii Gsus2
i Gsus4 ii Gsus4
II Amin iii Amin
II Amin7 iii Amin7
IV Cmaj V Cmaj
IV Csus2 v Csus2
IV Csus4 v Csus4
v Dsus2 vi Dsus2
v Dsus4 vi Dsus4
II Amin iv Amin
III B7 V B7
iii Bsus4 v Bsus4
IV Cmajb5 q Cmajb5
q D#dim VII D#dim
q D#dim7 VII D#dim7
vi Esus2 i Esus2
vi Esus4 i Esus4
498
III Amaj IV Amaj
iii Amin iv Amin
i Csus2 iv Csus2
ii Dsus4 v Dsus4
v Gsus2 i Gsus2
v Gsus4 i Gsus4
i Csus2 v Csus2
i Csus4 v Csus4
iv Fsus2 i Fsus2
v Gsus4 ii Gsus4
v Gaug III Gaug
VII Baug V Baug
499
1 Connections between second and fourth degrees are the same as first and second i.e. a tone apart. Connections between third and fourth are the same as third second and third i.e.
a semitone apart.
2 There are no connecting chords between first and second melodic minor degrees.
I Amin II Amin
i Asus4 ii Asus4
iii Cmajb5 iv Cmajb5
IV D7 V D7
iv Dsus2 v Dsus2
VI F#dim VII F#dim
VI F#Ø VII F#Ø
III Caug V Caug
V Eaug VIII Eaug
b
iv Dmajb5 iv Dmajb5
VII G#majb5 (Abmajb5) VII Abmajb5 (G#majb5)
I Gmin II Gmin
i Gsus4 ii Gsus4
iii Bbmajb5 iv Bbmajb5
IV C7 V C7
VI EØ vii EØ
There are no connections between fourth and fifth or fifth and sixth melodic minor degrees.
500
3 There are no connecting chords between first and sixth melodic minor degrees.
4 Connections between second and fifth melodic minor degrees are the same as first and third i.e. a 5th apart.
5 Connections between third and fifth melodic minor degrees are the same as first and second i.e. a minor 3rd apart. Connections between third and sixth melodic minor degrees are
the same as first and fifth i.e. a major 3rd apart.
Appendix Table of substitutions
!"# % %
&'( ()
"
$
)
"
Comments Lydian Blues Aug. Minorizatio Minor M.M. M.M. Lydian M.M. M.M. Dim. Lydian
n dom. minoriza Aug. dom. Dom. Dim. domin aug. Dom.
tion ant
I IV V Q VI III n/a I III IV V n/a VI I I
Comments V/V Tonici Diminished Majoriz M.M. M.M. M.M. Alt of Symm
replace sation ation parallelis Parallel. Diminis V/V etric
ment m of V/V hed. dim.
II V VI n/a VII n/a IV II n/a V VI n/a VII II n/a
Comments Tonici Aug. of Majoriz M.M. Alteratio
sation V/VI ation paralleli n of
of iii sm V/VI
III n/a n/a I n/a Q V n/a V n/a VII n/a n/a n/a n/a
Comments Tonici Minorizatio Tonicisa M.M. M.M.
sation n tion of parallelis paralleli
iv m sm
IV n/a I n/a II VI n/a IV n/a n/a n/a n/a n/a n/a n/a
Comments Minorizatio M.M. Dim. Lydian
n parallelis domin aug. Dom.
m ant
V n/a n/a n/a III n/a n/a V n/a n/a n/a n/a n/a I I
Comments Major Minorizatio Tonicisa Alteratio Lydian
ization n tion n aug. Dom.
501
Q n/a n/a III q I n/a n/a VII n/a III n/a IV n/a I
!"# % %
&'( ()
"
$
)
"
Comments V/II Majoriz Diminish M.M. M.M. Lydian
ation ed paralleli Parallel aug. Dom
sm of V/II of V/II
VI II III n/a n/a n/a I VI I n/a n/a IV n/a n/a I
Comments Minorizatio Majoriz M.M. M.M. Possible Symm
n ation parallelis paralleli subs. Of etric
m sm V/iii dim.
VII n/a n/a n/a q n/a II VII II n/a n/a V n/a II or n/a
VII
Note: these substitutions are based on findings during this research or as suggested possibilities which retain the function of the original chord. For
example chord VII has a melodic minor parallelism on the first-degree (m.m.) from the major perspective, but also has a parallelism on the second-
degree (m.m.) if acting as II of the relative minor.
502
503
G min Rast
RAST PEERVI Kemani Tatyos
e = 196
E
G 5 5 5 5 5 = 555 5 5 55 = 5 5 5 5 5 5 5 5 5 5 55
E ' B 5 ' B 5
I V I I V
E
G = 555 5 5 55 5 5
5 5 5 55555 5 5 5 5 5 55555
= 5E5 5 5 5 5 5 5
E B 5 ' '
'
I bIII
E 55 5 5 5 5 555555555555
G = 5 5555 555 5 5 5 5 5555555555
E 5 '
B B ' B
IV I
E 5 55555555
=
G 5 5 5 5 5 E5 5 = 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
E B B B B ' B B
VI I V
E =$ 5 5 5 5 5 5 5 5 !5 5 5 5 5 E5 5
G 5 5 5 5 5 5
E ' B B B B
I V I V
E 3 5 5 5 5 5 5 5 5 !5 !5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
G E5 5 55 5 5 55 5
E B B B B 5 5 5 5 5
5 5 5
II V bIII II IV V bIII I II VII