A Cyclic Approach to Harmony

in Robert Glasper’s Music

Society for Music Theory
Columbus, OH
November 7, 2019

Ben Baker
Eastman School of Music
benjamin.baker@rochester.edu
 I. Introduction

Robert Glasper

hip-hop R&B jazz neo-soul gospel

 I. Introduction

Robert Glasper
Blue Note releases:
Canvas (2005)
piano trio
In My Element (2007)


piano trio + R.G. Experiment Double-Booked (2009)
Black Radio (2012)
R.G. Experiment
Black Radio 2 (2013)
piano trio Covered (2015)
R.G. Experiment ArtScience (2016)
 I. Introduction

Robert Glasper

“…probably the most

prominent
jazz musician of his
generation. He’s gotten there
by playing within and
without jazz, and pushing the
music to reconsider its
boundaries.”

-Russonello (NYT, 2018)

 I. Introduction

Glasper’s Harmonic Language

diatonic collections clear tonal centers
tertian harmonies

root motion by:

3rd (ex. Imaj7 - vi7 - IVmaj7 - ii7)
descending 5th (ii7 - V7 - Imaj7)

two primary chord qualities:

major 7th chords
+ upper extensions
minor 7th chords
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ

&b ∑ Gm11 ∑ ∑ ∑ Dm 11
∑ Fmaj9
∑ ∑
F: ii Bbm9 Dbmaj9 I
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ

&b ∑ Gm11 ∑ ∑ ∑ Dm 11
∑ Fmaj9
∑ ∑
Bbm9 Dbmaj9
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ
Dmaj9
&b ∑ Gm11 ∑ ∑ ∑ Dm 11
∑ Fmaj9
∑ ∑
Bbm9 Dbmaj9
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ
Dmaj9
&b ∑ Gm11 ∑ ∑ ∑ Dm 11
∑ Fmaj9
∑ ∑
Gbmaj9 Bbm9 Dbmaj9
 I. Introduction

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
œ œ b˙ ™
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ
J
œ œ w w

1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ
Dmaj9
&b ∑ Gm11 ∑ ∑ ∑ Dm 11
∑ Fmaj9
∑ ∑
Gbmaj9 Bbm9 Dbmaj9
 I. Introduction

Glasper’s Harmonic Language

patterns of root and upper-voice motion

within and between diatonic collections

II: the ic3/4 dual interval cycle

 — Outline —

I. Introduction

II. The ic3/4 Dual Interval Cycle

III. Cyclic SLIDEs (cSLIDEs)

IV. cSLIDEs in Glasper’s Music: Three Contexts

V. Broader Connections
 II. The ic3/4 Dual Interval Cycle

+4 +3 +4 +3 +4

(pcs) 0 4 7 E 2 6
II. The ic3/4 Dual Interval Cycle

0
5 4 7
9

E
2

2
T

24-pc

6
7

“multi-aggregate
3

9
cycle”
(Gollin 2007)

1
80

4
8
5

T 3 E
1
6
II. The ic3/4 Dual Interval Cycle
circle
0 of 5ths
5 4 7
9

E
2

2
T

circle

6
7

of 5ths
3

9
1
80

4
8
5

T 3 E
1
6
II. The ic3/4 Dual Interval Cycle

0
5 4 7
9

E
2

2
T

1b

6
7

encodes all 12
3

9
diatonic collections

1
0
8

4
8
5

T 3 E
1
6
II. The ic3/4 Dual Interval Cycle

0
0b 5 4 7
9

E
2

2
T

6
7

encodes all 12
3

9
diatonic collections

1
80

4
8
5

T 3 E
1
6
II. The ic3/4 Dual Interval Cycle

1# 0
7 etc.
5 9 4

E
2

2
T

6
7

encodes all 12
3

9
diatonic collections

1
80

4
8
5

T 3 E
1
6
 C G D A E
II. The ic3/4 Dual Interval
Ab Eb Cycle
Bb F C
Cb Gb Db Ab Eb
0 Lewin Ebb (1982)
Bbb and Fb others:
Cb
5 4 7 ic
9 Cbb3/4 cycle
Gbb relates
Dbb M/m
Abb Ebb
CX Ebbb GX triads
B bbb
DX F bb
AX C bb
EX

E
2

2
T

A# Cbbb E# Gbbb B# Dbbb FX Abbb CX Ebbb

C# G# D# A# E#

6
7

A E B F# C#
3

9
C G D A E
1
0

Ab Eb Bb F etc.C
8

Cb Gb Db Ab Eb
8
5

3
1 T E Ebb Bbb Fb Cb
6
Cbb Gbb Dbb Abb Ebb
bbb bbb bb bb
 II. The ic3/4 Dual Interval Cycle

0 Lewin (1982) and others:

5 4 7 ic3/4 cycle relates M/m
9
triads

E
2

2
T

“[seventh chords] may,

Waters (2016, 2019):
but need not, include the

6
7

ic3/4 cycle relates M/m

standard extensions
7th chords
3

9
of 9th, (#)11th, and 13th…”
 1
0

+ 9th, (#)11th, 13th

-Waters (2016)
8

4
8
5

T 3 E ex. Dm11 = D F A C E G
1
6
 II. The ic3/4 Dual Interval Cycle

0
5 4 7 Waters (2016, 2019):
9
ic3/4 cycle relates M/m

E
2

7th chords

2
T

+ 9th, (#)11th, 13th

6
7
3

9
1
0

Glasper’s voicings,
8

melodies, and
8
5

1 T 3 E improvisations
6
 II. The ic3/4 Dual Interval Cycle

0
5 4 7
9

E
2

2
T

6
7
3

9
1
0
8

4
8
5

T 3 E
1
6
II. The ic3/4 Dual Interval Cycle

1 5 8 0 3 7 T 2 5
Db F Ab C Eb G Bb D F
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

F‹11
° bb 4 œ ™ j A¨Œ„Š9
j
C‹11
j
D¨Œ„Š13(#11)
j ™
& b4 œ œ™ j œ œ j j œ™ œ ™
œ œ™ œ™ œ œ™ œ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w

Db F Ab C Eb G Bb D F
Cm: bII iv VI i
(read chords L to R)
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: bII iv VI i
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: bII iv VI i
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w
tritone
substitute
Db F Ab C Eb G Bb D F dominant
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w
root motion melodic motion
Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

Methodology for Upper Extensions

I transcribe I treat Glasper’s

Glasper’s chordal upper Glasper’s jazz
performance(s) extensions performance
(melody, bass line, as flexible networks practice
comping, solos) of possibilities

Db F Ab C Eb G Bb D F
root motion 3
2
3
1
3
43 melodic motion
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

Methodology for Upper Extensions

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w
possible upper extensions
(cf. Glasper’s melody, comping, solos)

Db F Ab C Eb G Bb D F
root motions 3
2
3
1
3
43 melodic motion
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

Flexible Chord-to-Chord Transformations

1 2 3 4
j[+1]
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™j j [+1] j[-3] [+1] j
& b4 œ œ™ œ œ œ™ œ œ™ j j œ œ œ ™™
œ œ œ œ œ ™ ™
œœœ œ œ
œœœ œ
{f}
œ
{Aœ
œ
b } {c}
<n> œ
œ
{D b}
4œ œ
?{root+quality} œ
œ œ œ
œ
bb 4 ˙™ œ b œ
œ
b w = 7 w
th chord with flexible combo of upper extensions ™™
¢ bœ w
“CURSORs”

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

Flexible Chord-to-Chord Transformations

1 2 3 4
j[+1]
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j [+1] j[-3] [+1] j ™™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ œ œ
œ œ œ œ œ ™ ™
{f, œœœ6} œ
{Aœœ, 5}
b {c,
<n> œ
œœœ6} {Dœœœ b,7}
œ
œ œ
œ œ œ
œ
? bb 44 œ ˙™ œ b œ
œ
b w
¢{root+quality, “height”}w = 7 chord with fixed range of upper extensions™
th
™
bœ w

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

Flexible Chord-to-Chord Transformations

1 2 3 4
j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ [+1, œ œ™
-1] j j
[+1, +1] j
[-3, +1] j j [+1, -1] j ™™
& 4 b œ œ™ œ œ œ œ™ œ œ œ
œ œ œ œ™ œ œ ™ ™
{f, œœœ6} œ
{Aœœ, 5}
b {c,
<n> œ
œœœ6} {Dœœœ b, 7}
œ
œ œ
œ œ œ
œ
? bb 44 œ ˙™ œ b œ
œ
b w
¢{root+quality, “height”}w = 7 chord with fixed range of upper extensions™
th
™
bœ w

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 [+1, -1] 2 [+1, +1] 3 [-3, +1] 4 [+1, -1]

j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ™ œ™ œ ™
œ œ œ œ
œœœ œœœ <n> œœœœ œœœ
œ œœ œœ œœœ
? bb 44 œœ ˙™ œ bœ
¢ b w w ™™
bœ w
root motions melodies

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009)

1 [+1, -1] 2 [+1, +1] 3 [-3, +1] 4 [+1, -1]

j
[0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11)
° bb 4 œ ™ œ œ™ j j j j ™
& b4 œ œ™ œ œ œ™ œ œ™ j j œ œ™ œ ™
œ œ œ œ ™
œœœ œœœ <n> œœœœ œ
œœœ
œ œœ œœ
? bb 44 œœ ˙™ œ bœœ
œ
¢ b w w ™™
bœ w
root motions common tones

Db F Ab C Eb G Bb D F
3
2
3
1
3
43
Cm: II
bbII
V’maj7 iv VI i
 — Outline —

I. Introduction

II. The ic3/4 Dual Interval Cycle

III. Cyclic SLIDEs (cSLIDEs)

IV. cSLIDEs in Glasper’s Music: Three Contexts

V. Broader Connections
 III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009)

↓cSLIDE ↑cSLIDE
[1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11)
° bb 4 œ œ œ œ w ˙ œ œ œ w ˙™ œ œ ™™
& b4
n œœœ b œœœœ n œœœ b œœœœ
? bb 44 nœœœ bbœœœ nnœœœ bbœœœ
¢ b
™™
‰ <n> œ Œ œ™ b œJ w ‰ <n> œ Œ œ™ b œJ w
J J
 III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009)

↓cSLIDE ↑cSLIDE
[1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11)
° bb 4 œ œ œ œ w ˙ œ œ œ w ˙™ œ œ ™™
& b4
n œœœ b œœœœ n œœœ b œœœœ
? bb 44 nœœœ bbœœœ nnœœœ bbœœœ
¢ b
™™
‰ <n> œ Œ œ™ b œJ w ‰ <n> œ Œ œ™ b œJ w
J J

D F A C E G B
cSLIDE
Db F Ab C Eb G Bb

Cm: V’maj7
II
bbII
 III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009)

5 6 5 6
[1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11)
° bb 4 œ œ œ œ w ˙ œ œ œ w ˙™ œ œ ™™
& b4
n œœœ b œœœœ n œœœ b œœœœ
? bb 44 nœœœ bbœœœ nnœœœ bbœœœ
¢ b
™™
‰ <n> œ Œ œ™ b œJ w ‰ <n> œ Œ œ™ b œJ w
J J

C: ii
5
3
D F A C E G B
cSLIDE
Db F Ab C Eb G Bb
63
Cm: V’maj7
II
bbII
 III. Cyclic SLIDEs (cSLIDEs)
0
5 4 7
9

E
2

2
T

[±7]

6
7
3

9
1
0
8

4
8
5

T 3 E D F A C E G B
1 cSLIDE
6 Db F Ab C Eb G Bb
 III. Cyclic SLIDEs (cSLIDEs)
0
5 4 7 cSLIDE:
9
voice-leading manifests

E
2

on musical surface

2
T

[±7]
highlights 7-cycle

6
7

common tones
3

9
1
0

captures how it feels

to play the transformation
8

4
8
5

T 3 E D F A C E G B
1 cSLIDE
6 Db F Ab C Eb G Bb
 III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009)

5 [↓0, +1] 6 [↑0, -1] 5 [↓0, +1] 6

[1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11)
° bb 4 œ œ œ œ w ˙ œ œ œ w ˙™ œ œ ™™
& b4
n œœœ b œœœœ n œœœ b œœœœ
? bb 44 nœœœ bbœœœ nnœœœ bbœœœ
¢ b
™™
‰ <n> œ Œ œ™ b œJ w ‰ <n> œ Œ œ™ b œJ w
J J

C: ii
5
3
D F A C E G B
cSLIDE
Db F Ab C Eb G Bb
6
3
Cm: V’maj7
II
bbII
 — Outline —

I. Introduction

II. The ic3/4 Dual Interval Cycle

III. Cyclic SLIDEs (cSLIDEs)

IV. cSLIDEs in Glasper’s Music: Three Contexts

V. Broader Connections
IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

successively
2) (Extensive) traversal of parallel modes longer
progressions
3) Joining three cSLIDE-related subsets
IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

major: ii IV vi I
2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

b2 ̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂
minor: bII iv VI i
 IV. cSLIDEs in Glasper’s Music: Single-Chord Modal Mixture in Vamps

“Of Dreams to Come” (In My Element, 2007)

1 2 [↑] 3 [↓] 4
[0:00] B¨‹11 G¨Œ„Š9(#11) G‹11 E¨‹11
° bb b 3
& b b 4 ‰̇ ™ œ œ™ ˙™
œ œ ™™
œ œ œ œ n œœ ™™ n œœ ™™ <b> œœ œ <b> œ œ
œœ œœœ nœœœ
? bb b 43 œœœ˙ œœ nnœœ
b
bbœœœœ
¢ bb ™ ˙™ ˙™ œ˙ ™
™™

Bb: vi
3
Eb G Bb D F A C E
cSLIDE
Eb Gb Bb Db F Ab C Eb
1
3
2
3
43
Bbm: iv VI i
 IV. cSLIDEs in Glasper’s Music: Single-Chord Modal Mixture in Vamps

“F.T.B.” (In My Element, 2007)

1 2 3a 4
[0:00] B¨Œ„Š9 G‹9 E¨Œ„Š9 D‹11 A9(“4)
° b 4 œ™ j j œœœœ
& 4B¨Œ„Š9 œ ˙ œ™ œ ˙ œ™ œœœ œ œ ˙™ œ
G‹9 E¨Œ„Š9 D‹11 A9(“4)
° b 4 œ™ œ j j n œœœ œœœœ
& 4 œœœ œœœ ˙ œ™ œœœ ˙ <n> œœœœ ™ œœœ œ œ ˙™ œ
? b 44 œœœœ œœœ
œœ bœœœ œœ ‰ n œœœ ‰ œ ˙
œœ ™ œœJ ˙ œ ™ b œœœ ˙ <n> œœœ œ œJ J
? b 44 œ bœJ œœ˙ œ ‰ œ ‰ œ ˙
¢
œJ ˙ œ™ bœ ˙ ˙ œ œ J J
J
¢ ™
1
B¨Œ„Š9 2
G‹9 3b
E‹9 4
D‹11 A9(“4)
° b œ™ j j
& B¨Œ„Š9 œ ˙ œ™ #œ ˙ œ™ œ œ œ œ w ™™
œ
G‹9 E‹9 D‹11 A9(“4)
° b œ™ œœœ œœœj ˙ j n œœœ
& œœ œœ œ™ #
n #œœœœ œ ˙ œœœœ ™ œ œ œ œ
œ w œ ™™
? b œœœ œœœ <n># œ <n>œœ œ
‰ œœœ ‰ œ ˙
n
œœ ™ œœJ ˙ œ™ n<n> œœœœJ ˙ œœœ œ œ J J
™™
?b œ <n>œœ˙ œ ‰ œ ‰ œ ˙
¢
¢ ™ œJ ˙ œ™
<n>
<n> œJ ˙ ˙ œ œ J J
™™
° b 4 œ™ j j œ œ œ
& 4 œ ˙ œ™ œ ˙ œ ™ œ œ œ œ œ ˙™ œ
œœœ IV. cSLIDEs
œ in Glasper’s Music: Single-Chord Modal Mixturen œ
œ
œœ œœœ œœœ œ
<n> œœœ œ
œœ
in Vamps

4
?“Gonna œ Be Alright b œœ (F.T.B.)” œ
œ (Black Radio,
‰ ‰ 2012)
¢ b4 œ ™ œJ ˙ œ™ bœ ˙ ˙ œ œ œJ œJ ˙
J
1 2 [↑] 3b [↓] 4
B¨Œ„Š9 G‹9 E‹9 D‹11 A9(“4)
° b œ™ j j
& œ ˙ œ™ #œ ˙ œ™ œ œ œ œ w ™™
œœœ œœœ œ n œœœ
œœ # œ œœœ œœ
?b œ œœ n œœœ <n>œœœ
œ œ ‰ œ ‰ œ ˙
œJ ˙ œ ™ <n> œ ˙
<n> ™™
¢ ™
J ˙ œ J J
…no matter if
when you call I’ll be okay…
the rain falls; melody
3b
E G B D F# A C# E
cSLIDE
Eb G Bb D F A C E G
4
1
2
3a
II
bII
Dm: bV’maj7 iv VI i
IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

major: ii IV vi I
2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

b2 ̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂
minor: bII iv VI i
 IV. cSLIDEs in Glasper’s Music: (Extensive) Traversal of Parallel Modes

“Always Shine” (Black Radio, 2012)

1 [↓] 2 [↑] 3 4 [↓] 5 6
° b œ œ œ œ bœ œ
[0:00] FŒ„Š9 D¨Œ„Š9 D‹11 G‹11 B¨‹13 G¨Œ„Š9(#11)
œ œ œ b œ œ œ œ
& bœ œ œ œ œ œ œ œ
œœœ œ œ œ œœœ
œ b œ
œ n œ
œ œœœ b œœœ
?b w b œ
œ
bw n œ
n œw œœw b bw
œœœ bb œ
¢ b œw
F: ii IV vi I
4
3
1
G Bb D F A C E G
cSLIDE
Gb Bb Db F Ab C Eb G
2
5
6
II iv
Fm: V’maj7
bbII VI i
 IV. cSLIDEs in Glasper’s Music: (Extensive) Traversal of Parallel Modes

“Always Shine” (Black Radio, 2012)

1 [↑] 2 [↓] 3 [↑] 4 [↓] 1 5 3
[0:54]
œ œ œ bœ™™
B¨‹11 D‹11 G¨Œ„Š9(#11) G‹11 B¨‹13 F‹9 G¨Œ„Š9(#11)
° b 4 ≈bœ œ œ œ œnœ œ œ œ œ œbœ œ œ œ œ œ™ œ œ bœ œ ˙™
& 4 ≈ R
bœ œ nnœ
œ
œ
nb œ
œ œ
œ
? b4b œ
œ œ bbœ
œ nn œ
œ b bœœ œ
œ bbœ
œ
4 b œ
˙ nœ˙
bœ
œ
œ
˙
œ
œ
nœ
˙
œ
œ
˙
˙
bœ
œ
œ
w
¢

F: ii IV vi I
4
2
G Bb D F A C E G
cSLIDE
Gb Bb Db F Ab C Eb G
5
1
3
II iv
Fm: V’maj7
bbII VI i
 IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

T-3(maj.) 2 ̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

major 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

minor b2 ̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂
IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

??? 1̂ 3̂ 5̂ 7̂ 2̂

major 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

minor b2 ̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂

???
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“North Portland” (Canvas, 2005)

EŒ„Š9 œ œ #œ nw
F‹9
bœ
C©‹11
#œ ™ #œ œ
CŒ„Š9
5 Ó™ œ œ nœ ™ œ œ œ
&4 J J œ œ

A‹9 F©‹11 C©‹11 CŒ„Š9

j œ #œ ™
& w œ œ #œ ™ œ œ œ™ J œ œ
J
œ œ œ w œ ™™

F Ab C Eb G
cSLIDE

F# A C# E G# B D# F#
E: ii IV vi I
cSLIDE

F A C E G B D F#
Em: iv VI i
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“North Portland” (Canvas, 2005)

1 [↑] 2 [↓] 3 [↓] 4
EŒ„Š9 œ œ #œ nw
F‹9
bœ
C©‹11
#œ ™ #œ œ
CŒ„Š9
5 Ó™ œ œ nœ ™ œ œ œ
&4 J J œ œ
5 [↑] 6 3 [↓] 4
A‹9 F©‹11 C©‹11 CŒ„Š9
j œ #œ ™
& w œ œ #œ ™ œ œ œ™ J œ œ
J
œ œ œ w œ ™™

F Ab C Eb G
2 cSLIDE

F# A C# E G# B D# F#
1
3 cSLIDE
6
F A C E G B D F#
4
5
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“59 South” (Double-Booked, 2009)

1 [↓] 2 [↑] 3 4
j
F©Œ„Š9 B‹11 G©‹11
œe œ œ œ nœ œ™ œj œ™
D©‹11 DŒ„Š7/E
#### # 4 j œ œ œ œ œ
& #4Œ ‰ e n ee # ee œ # œe ™™ J œ w ™™ ˙™
e™
[↓] 5 [↓] 6 7
j
F©‹7 G‹11 D‹9 DŒ„Š7/E
#### # nœe ™™ œ œ™ j nœ j œ œ
& # n e™ œ nn ee ™™™ œ œ nœ Ó™
nnn w%%
G# B D# F# A# C# E# G#
G©13(“4) C©Œ„Š9 BŒ„Š13
j
F©‹7 G‹11
#### # nœe ™™ œ œ™ j nœ ™
œ nn ee4™™ j1 j
& # n e™ œ œ nœ #œ œ #œ œ œ œ cSLIDE
œ œ
3 #e #œ œ
e ™™™
B D F# A C# E G# B
5
2 cSLIDE
G Bb D F A C E G
7
6
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“59 South” (Double-Booked, 2009)

j
F©Œ„Š9 B‹11 G©‹11
œe œ œ œ nœ œ™ œj œ™
D©‹11 DŒ„Š7/E
#### # 4 j œ œ œ œ œ
& #4Œ ‰ e n ee # ee œ # œe ™™ J œ w ™™ ˙™
e™

j
F©‹7 G‹11 D‹9 DŒ„Š7/E
#### # nœe ™™ œ œ™
j j œ œ
& # n e™ œ nnnœee ™™™ œ œ nœ Ó™
nnn w%%

G©13(“4) C©Œ„Š9 BŒ„Š13

j
F©‹7 G‹11
#### # nœe ™™ œ œ™ j nœ ™
œ nn ee ™™ j j
& # n e™ œ œ nœ #œ œ #œ œ œ œ œ œ
# e™ #œ œ
e ™™

G# B D# F# A# C# E# G#
↓cSLIDE
B D F# A C# E G# B
↓cSLIDE
G Bb D F A C E G
↓cSLIDE
F# A# C# E# G# B# D#
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ b˙ ™ œ w w
J
1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ
Dmaj9
&b ∑ Gm11 ∑ ∑ ∑ Dm11 ∑ Fmaj9
∑ ∑
Gbmaj9 Bbm9 Dbmaj9
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ b˙ ™ œ w w
J
1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ
D F# A C# E
Gb
& ∑ Bb ∑ D ∑ F ∑ A ∑ C ∑ E ∑ G
Gb Bb Db F Ab C Eb G
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ b˙ ™ œ w w
J
1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2.
Gbmaj9 C7alt F7sus4
& b ˙™ œ œ b˙ œ œ bœ w w ˙
œ œ
D F# A C# E
Gb
& ∑ Bb ∑ D ∑ F ∑ A ∑ C ∑ E ∑ G
Gb Bb Db F Ab C Eb G
 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9 Dbmaj9 Bbm9 Gm11
œ œ bœ œ™ j
& bC œ œ œ bœ
J
œ œ™
œ ˙ ˙
œ œ œ
Dmaj9 Gm11 D/F# Fmaj9
œ™ œ œ™ j
&b ˙ J œ œ œ œ w ˙ Œ œ œ
Dbmaj9 C7 F Bbm11 Gm11
& b bœ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ b˙ ™ œ w w
J
1.
Gm11 Dm11
&b w œ™ j œ w w w
œ œ ™™

2. root motion C7altmelodic motion

Gbmaj9 F7sus4
& b ˙™ œ œ b˙D œ œ b#œ w
A
w ˙
E œ œ
F C#
G Bb D F A C E G
G&bb ∑ Bb ∑ Db ∑ F ∑ Ab ∑ C ∑ Eb ∑ G
 — Outline —

I. Introduction

II. The ic3/4 Dual Interval Cycle

III. Cyclic SLIDEs (cSLIDEs)

IV. cSLIDEs in Glasper’s Music: Three Contexts

V. Broader Connections
 V. Broader Connections

The ic3/4 dual interval cycle…

…shapes many of Glasper’s vamps, hooks, and opening gambits

…coexists in longer progressions with other kinds of syntax

…but it (obviously) doesn’t animate all of Glasper’s music

 V. Broader Connections

The ic3/4 dual interval cycle…

…as a transformational space
Waters and Williams (2010), McClimon (2017), Smither (2019)

…as a prolongational model

Strunk (2016), Martin (2018)
…as a model of relationships between diatonic collections
Waters (2005), Michaelsen (2018)

…as a targeted expansion of chord substitution sets

Strunk (1979, 2016), Waters (2016, 2019)
 V. Broader Connections

The ic3/4 dual interval cycle…

…captures patterns of root and upper-voice motion

within and between diatonic collections
 Thank You!

Ben Baker
Eastman School of Music
benjamin.baker@rochester.edu
Berkman, David. 2013. The Jazz Harmony Book: A Course in Adding Chords to Melodies. Petaluma, CA: Sher Music Company.

Gollin, Edward. 2007. “Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók.” Music Theory Spectrum 29 (2): 143–76.

Lewin, David. 1982. “A Formal Theory of Generalized Tonal Functions.” Journal of Music Theory 26 (1): 23–60.

———. 2002. “Thoughts on Klumpenhouwer Networks and Perle-Lansky Cycles.” Music Theory Spectrum 24 (2): 196–230.

———. [1987] 2007. Generalized Musical Intervals and Transformations. New York: Oxford University Press.

Love, Stefan Caris. 2017. “Ladders of Thirds and Tonal Jazz Melody.” Unpublished manuscript.

Martin, Henry. 2018. “Prolongation and Its Limits: The Compositions of Wayne Shorter.” Music Theory Spectrum 40 (1): 84–105.

McClimon, Michael. 2017. “Transformations in Tonal Jazz: ii-V Space.” Music Theory Online 23 (1).

Michaelsen, Garrett. 2018. “Chord-Scale Networks in the Music and Improvisations of Wayne Shorter.” Gamut 8 (1): 123–88

Mulholland, Joe, and Tom Hojnacki. 2013. The Berklee Book of Jazz Harmony. Boston: Berklee Press.

Russonello, Giovanni. 2018. “A Month of Robert Glasper’s Experiments at the Blue Note.” The New York Times Online. Accessed 10/28/18.
https://www.nytimes.com/2018/10/19/arts/music/robert-glasper-blue-note-residency.html.

Smither, Sean. 2019. “Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz.” Music Theory Online 25 (2).

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Strunk, Steven. 1979. “The Harmony of Early Bop: A Layered Approach.” Journal of Jazz Studies 6 (1): 4–53.

———. 2016. “Tonal and Transformational Approaches to Chick Corea’s Compositions of the 1960s.” Music Theory Spectrum 38 (1): 16–36.

Waters, Keith. 2005. “Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock.” Journal of Music Theory
49 (2): 333–57.

———. 2016. “Chick Corea and Postbop Harmony.” Music Theory Spectrum 38 (1): 37–57.

Discography
———. 2019. Postbop Jazz in the 1960s: The Compositions of Wayne Shorter, Herbie Hancock, and Chick Corea. New York: Oxford University Press.

Waters, Keith, and J. Kent Williams. 2010. “Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three-
Dimensional Pitch Spaces; or Jazz Harmony after 1960.” Music Theory Online 16 (3).