MODAL JAZZ COMPOSlTlON G HARMONY VOLUME 1
BY R O N M I L L E R
WHEN THE MOPES O f MUSIC CHANGE. THE WALLS OF THE CITY CRUM%LE- (PLATO)
@ 1996 by ADVANCE MUSIC
All rights reserved.
No part of this publication may be reproduced, stored in a remeval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise,
without prior written permission of Advance Music. International copyright secured.
Cover D e s i p Traugoct Bratic
Text editor. Lizetre Reyes Cain
PubIished by Advance Music D-72108Rottenburg N ,Germany Production: Hans Gruber Printed by TC Druck, Tiibingen
TABLE OF CONTf NTS Incroducrian ..........,........-..............-...................................................*..........................................-.............
6
A Jazz Composer's Regimen ...................._...............................................................-.....................+.......
7
How To Use This Book ...........................
-...............................................................................................
8
Categories ofJazz Cornposiuons............................-..................+......*..................................................... 9
CHAPTER I . JazzHarmonic Systwns .........................
. . ....................................................11
C H A F E R II .Consrruction of the Undrered Diatonic Modes ...............................................
15
CHAPTER III .Construction of the Unaltered Diatonic Chords .............................................
19
CHAPFER IV - Characteristics of the Undrered Diatonic Modes .............................................. 27 CHAKTER V
- f i e Modes of the Altered Diatonic No. 1 (Melodic Minor) ............................31
C H A F E R VI - Non-Moddl Chords ................................
......................................................
...
37
CHAPTER WI - Chord Connection/ComposicionaIDewices........................................................ 43 C M E R VIII - Upper Smcmres .......,........... ............. CHAPTZR M
C
m
- Completing the Chord Conne&on
R X - Form ......,...........................
. . . ......... . . .................................. Process
49
.-.......................... . . .....................57
..................................................................................63
..,
CHAFER XI - Harmonic Cantour ..............................................................................................
65
CHAPTER XLI - The M d e s and Chords of the Altered Dia~onicNo. 2
............................. 89
(Harmonic Minor) ......-....... ......1...........................................
CHAITER XU1 - Slash Chord Harmony ...........................
. . ..........................................................
CHAPTER XIV - Three-Part Upper Srructure Chords .............................................................
95 111
CHAKER XV - The Chords of the Altered Diatonic N o.3 (Harmonic Major) and Plltered Diaronic N o . 4 (Melodic Minor #5) ........................... .........
.............115
Conclusion and Find Comments for Volume 1 +. ....................................................................
124
APPENDIX 1. Acoustics and ModaLiv ...................... . ......................,............+-....................
....................... 126
............................................................ 130 2. C o n s m t i o n of the Tetrachords ............................. . . 3. Additional Examples ...............................................................................................................
.
131
. .
4 Ear Trailllng ................................................................................................ . . ............................. 136 5 . Tree of Influential Jazz Composers , .................................
. . .....................................138
. ........................................................................................... 139 6 . Discagraphy~ibliogmphy......
7. About the Author ...............................................................................................
........................ 142
INTRODUCTION
The subject ofjazz cornposition has many meanings. TradicionalIy, a jazz cornpositi~nwas an arrangement for big band that was composed by the arranger. Mast OF tke earlier jazz composirion textbooks (and there were few) took that approach. A jazz composition For universal use was not a practiced consideration at that time:mast small group performance was based on playing standards or blues, or tunes with new meiodies derived from an improvised solo over the original or varied version of the original chords. Even the most Forward-looking composers of the time were tied to the song form and tonal hamonic system. Although they produced classic, beautiful compositions, the closed quality of their hamonic vocabulary and symmetric form deprived them ofdiverse expression. It wasn'r until che early sixties, when a group of university educated composers hit the scene, rhar jazz compositions evolved into venues of individual expression for both the composer and the improvisor. These young composers,aware oFche harmonies oFBarcok, Stravinsky, h v e l and Rachmaninov, and the use of extended and free-form, inrroduced a new concept of jazz composition to the jazz world. Representative of chis new breed were Wayne Shorter and Herbie Hancnck. Of course, there were interim composers who advanced rhe art of jazz cornpasition and influenced subsequent camposers with compositions of great strength and beaury. Horace Silver, a perfecr example, influenced many jazz composers - this author incIuded. Although his harmonic vocabulary was based within the tonal system, his use of unusual form and perfect tonal cenrer relationships along with great rhythmic ideas and memorable melodies has earned him the respected position of one of "the masters" (see T r e e ~FlnfluentialComposers" in appendix). It is the freeing of the composer from the scruccure (or scricmre) o f rhe tond syscem and scrict form, song form in particuIat, that has allowed so many composersof inen abilities to "bbssorn"ra artisa with individual expressive merit The god o f Volume I of chis book is to show che student the means to develop latenc creative abilities by offering rhe unfettered environment af the chromatic-modd harmonic system and Free-asymmetric form. In addition, the freedom of the approach will allow the composer to express himself in any style: Post-1950sjam, cIassica1, ECM, Fusion,pop, ecc, that is not tied 1-0any harmonic particulars.
THE JAZZ COMPOSER'S REGIMEN
jazz is baricdly a performer's arc form- Not unlike the army where in spite of individual spr&zarion weqone is ba~icdlyan i n F a n ~ mEveryone ul, in is baicd+, player. p u r tala& are stronger in the writing area, be prepared to duesmor get into classical compmirion or film scoring Although the b z i c skills required For borh players same, once those skills a x ac¶uir*, 'he Process of d ~ e l o p r n .-hanger e ~ ~ me = , i are ,pFreaCh arraining a level of arcistic mmpecence f o r t h e player Tequires &e environment of pracricc mom ~ i hours ~ h of ~ O L skius, Q ~ learning lidrs and learning transcribed solos and dev%'ing and perfecting a conepr produc*on. The composer, in a disimil= fxhionp must e x ~ m dhis Iearning cnGrifonment to .world and all it c a n reach- Once the has mastered the basic include this is true for the he has ta acquire 'somehing to say-" Qf bur requiredinsrmrnenal skills seem haw precedence at this point. For che composer, whose effom are less ephemcraI, the foltawing regimen is s u ~ e s t e d . 2, Know theory and nomenclature: Composes use writren means of communicarion.nis m~egoryis obvious.
2, Evolution ofjazz styles: one should be able write in all jazz styles and knowledge dementsof dl svles will improve one's personal style.
3.
sru*
and ,&nmv rhe works of rhe influential jazz composers: Chadie parker, Duke Elbngton, Charles Mingus, Horace Saver, and Wayne Shorter.
4. hnprovisation: if you can't play it, be able m write it.
5. aassid music. study and k t l o the ~ works of the romantic melody writers and modern harmonis= - ~chaikovsky,Rachmanhov, Chopin, fiok~fiev,S m i n s k y , Ravel, ~ ~ d Copland; and the classid ~nfluencedECM - R d p h Towner, Eberhard weber, Kemy Wheeler-
6. s ~ + the Humanities arc, literature, dr-, sophy and religion.
particu1arly the romricisE, and philo-
7. Study and know world history and world music. g. Travel and diversity: spend a pardon of your life away musk wi& world travel, wirh hiking, cmoeing, rock c L d n s ger involved with different %ecing
occupanons.
3. Volunteer for community service. 10, ~fmost of the above is hard co accomplish,
least read, read and read.
~
i
~
HOW TO U S E THIS B0O.K
This book is organized in a way that separates rht hbrrnacion pertinent to acquiring creative skills, and thac of a more esoteric nature: the hows, whys and theoretical Foundations, as found in the appendix This means chat the student interested in quickly getting going with composirion doesn't need to €erret out the "good" stuff from a jungIe of data, while the smdent interested in the hows and whys can easily access that information. Ic rvill be pointed out within the tern of each chapter when additional idormation is available in the appendix. In general, the procedure is to first develop the language of harmony as used in che book, work with exercises to assure mastery OF the concepr, andyze how che concept is used by accomplished composers and finally, apply the concepa to create a c~mpositionEach chapter has a title page with a list of terms that are important to gaining a complete understanding of the concepts presented in that chapcer. The terms, some peculiar to this book, are found in itaIics and are defined within the text. In addition m understanding the tenns and conceprs, OF extreme importance is rhe *hearing" of the musical aspects of the concept, Any chord, mode, melody, exercise or exampre shouId be played on a keyboad regardless ofthe student's keyboard skills. Only rhen should the student, if not a keyboardist, use his instrument or voice. WhiIe playing the exampIes, the student should be lisrening intently to train his ears to the particulars of each example. Each day the studenr should try to find rime ro listen to a selection from the induded discography. The ultimare goal is to haw all the recordings listed there available for persona1 listening from memory done. An important point ro remember i s that no one can successfully compose in the way this book advocates without first being able to "hear" the concepts presented. In a nutsheI1, the smdent
should; 1. Learn the concepr inrelIecdly. 2. Learn to phy it on a keyboard. 3. Learn to hear ir. 4. Learn its application in a recorded example.
W~theach chapter, the subject wil1 be illusrrated with an m p k or examples. Srudy these, and play them. Next will be suggested exercises &at will assure that the concepts are mastered Bur more importantly, they are designed to develop creative skiIk, in facc, most exercises rYli be the seed idea for a finished composition. The point is to approach the exercises as a potential composition rather than an academic exercise and ta do as many as rime d o w s . When all the beginning concepts ate mastered, we will begin to analyze how rhe techniques are used by che master composers on recorded examples. One should have done much listening by this time. IdealIy, che book d be used in a cIass~oomsituation with an accomplished teacher/composer who can offer informed objective feedback For any student effort. Once the canceptc of d-te book are mastered, this last step is a must for artistic development. I n e n the informarion is assimilated and mastered (or before), it is hoped thac the srudtnc will realize that the *freedom" advocated by the methods o f this book allows him to do what he got into music to do to begin with: Be crearive and have fun!
CATEGORlfS
OF JAZZ CUMPOSITION
The foIIowing, Iike h e TreeoFComposers (found in theappendix,p. 1381,is included to assist in clarifying a direction of study: an artempt to clear some routes through a comprehensive subject and t o tie together che cornposirionaI styles and influences of the major jazz composers.Jazz,being an arc form that allowed individual expression through improvisation, would narurally wolve ro allow individualiq to be expressed both as composirion and impmisacion. The caregories ofjazz compositions that will be cwered in both volumes of this book will include the foIlowing categories,with volume 1 covering the most complex and comprehensive, as we11 as that which che rest is a subser free-form modal (modal complex).
TONAL A. SONG FORM
Based on rhe symmetric 32-bar song form rypicaI of tunes from the sundard repertoire ofthe '30s and '40s,this is improvisation oriented cornposirion, many o f the tunes being melodies d e t i d from improvisations over standard and dance runes. Compositions not derived from existing tunes were nonetheless based on rheir formulae. Their harmonic material rawly strayed From cotalIy diatonic key reladonships. Representative composers are Bird (Charlie Parker), Duke Elhgron, Billy Strayhorn, Tadd Darneron, and Thelonious Monk. 8. FREE-FORM
No Ionger strict song form, rhese can be asymmetsic or through-composed.In addition, there is much use of nondiatoraic key centering. Representative composers are: Duke EUington, Chades Mingus, Billy Strayhorn, Benny Galson, and Horace Silver.
C. NEW REHARMONIZATIONS/NEW BOP Many OF the younger cornposer/improvisors of the eighries, seeking to pay homage to t h e masters of r h e past (bebop), remmtd to the harmonic materials and form of that era (tonal/ song farm). Bared on the bebop concept oF writing a new melody over a set of standard changes, this method is made contemporary by dtering che harmonic rhythm, by chromatic substitution and by attempts to "modalize"the tonal quality of the original changes. Most of these young "new hoppers" are providing this kind of composition: Wynton hfarsalis, Rifk Margitza, andJerry Bergonzi are representative.
MODAL A. MODAL SIMPLE
These are the early rnadaI compositions,where the harmonic content is based on one mode
(linear) or a few different modes at different key centers (plateau). Typical are "So What," "Impressions," and "Maiden Qoyagt" Although nor tonal, she form is still fairly symmetric, with mosc of rhe compositisns being AABA song form.Other &an Colcrane and his fbllowers, there doesn't seem to be a *school" of composers with this specialization.
B. MODAL COMPCEX (FREE-FORM) Having Fasc asymmetric harmonic rhythm and free-form, &is is the mosc complex and comprehensive harmonic category. This kind of harmony o h the easiest rn-s for creative expression but requires the most creative "effort" of the composer.Wayne Shorcer is the main source of inspiration for this category.
I
PENIITONTC
TUNES I BLUES TUNES
This is a composition in which the melodic source material is the focus of its development. That melodic source material i s derived from either the unalwred, altered, or add n o t e pentatonic scales and alI their modes. The harmonic material can be of any category, but the form is usually derived from that which is Found in the worId's folk musics.
AVANT-GARDE A. TONAL/BEBOP
Using tond melodies and song fbm as a point of departure, rhe father OFchis style is Omette Coleman, who is a major influence on Carla BIey, Albert Ayler, and Pat Merheny. B. MODAL
Pushing the simple-modal and petImt0ni.C category to the edge, John Calcrane and his followers at the time - Steve Grossman, David Ciebman, Archie Shepp -are the represenmrive composers.
C. FUSION Utilizing dance rhythms, adding electric instruments, but still maintaining free improvisations as in basis, chis category i s represented by Ornetre Coleman, James 'Blood' Ulmer, Bill h e l l , and ochers. D. WORD/ETHNlC/PUOGRAMMATlC
The last category of avant-gardeis very diverse in style and oEers venue for the composer who has che desire to make a social comment. There are toe many in this and the Fusion category to list rhe r m l y representative. The most famous are Sun Ra and the Art Ensemble of Chicago. A11 of the above wiCI be cowred in detail in the appropriate chapters ofthe appropriate volume, but For now it should sufice as a guide ro comprehension of the *big picture" and getring an idea of the rsverali goal OF both voIurncs of this text Bear in mind that the bctter jazz composers create works in many of the listed categories.
'ER I
I . Sty "
2. syrnrncrrlc vlv~slon 3. Asymmetric Division
7. Chmniatic 8. Vertical Modal - *
, ,
9. Plateau Modal
10- Linear Modal c Rhythn
.
.
CHAPTER I -
--
The harmonic materials emphasized in this book can be applied to any stylex] of composition, if the style is not defined by any harmonic particulars, i-e., pasr-1950s jazz, pop, ECM, Iare 19th/20rh cenrury classical, etc. Typicd would be the works of Pat Merheny, Wayne Shorter, Ralph Tamer, Joe Henderson, and Kenny Wheeler, to name a few. Most ofrheir compositions are similar in their use ofnondiatonimlly related modal material, free-form (non-song form), asymmetric harmonic rhyhrn, and a diversicy of rhythmic style. I n addition, many of heir compositions reflecr a tie to the d t i o n ofjazz with secdons of tonal harmony and swing feel.Most oftheir works are "playable."
I- The octave as a means ofstable lirnis 2- Asymmetric division of the ocmve into:
3. Sewn different picches Norc that the octave divided syrnmetricalIy produces non-modal3)scales rhat have a parcicuiar sonoric quality that can be 05compasiuonaI use.
HARMONIC GROUPS T h e groups are defined by the presence or absence of preset rules oEssructure and organization.
The harmonic content oFa composition can be in one group or combinations of the groups. THERE ARE FOUR MAW GROUPS (three are modal, one i s nonmodd). 1. TONAL (modal specific)A modd system which has specific means of org-tion
(rules):
(a) mot mwernenrs ofa fifth
@) specific modal contou8 (c) ditonic mot
relationships
(d) symmetric harmonic rhythm (e) well -defined'home' key
2.
MODAL (modal arbitrary, free-Form) There are no preset means of organization: (a) root movement, harmonic rhythm, and modal contour determined by the whim of the composer
@) chromatic mot relationships (c) usually there is no clear home key 1) Waym which h e campo=rapprithe Jcmesrs ofmusic h u m o n r d y , melodically, crc, which means thx harmonic dmm- that f f i e scyte must be used in mndern with & form c ~ t i v i e y . 2) A quality o f dre unequal division of the octave in which each scale sap has im own hmonic/melodic
&finition. 3) The quali~yof any scale in which rhe OCUVC, equally divided, giva each s d c s t e p or hagmait the same harmcmk/rneldic definidon. 4) The dynamic qualities of a group of chords wthin a s e c ~ o nor phr=
3. CHROMATIC (pIateau tonal) Same qualities as tonal, excepr there is no dearly defined heme key: (a) there are many different k
g cenrers (plateaus)
(b) the key centers usualIy are nondiaronic (c) rht harmonic rhythm is usually sF&tric
4. NON-MODAL (symmerric): (a) unclear resolution,each note has the same harmonic/melodic qualities (b) chords and melodies exisr:as a sonority, a *soundm (c) example: diminished, whole mne, 12-cone, angrnented
I A Z Z HARMONIC SYSTEHS
THE SUBGROUPS OF MODAL ARBITRARY These are the harmonic groups that wilI be emphasized in this volume and from this point on will getlerdIy be referred to as m&I harmony. There are three subgroups ofmodal harmony. imti~al m&l,
plrzfeaid
modd4 and linear modal
THE GROUPS ARE DEFINED BY {a) harmonic rhythm - chord duration, dependent on tempo
@) melodic quality of rhe bass line {c) definirian of a home key
VERJICAL MODAL
(a) fast harmonic rhythm (one chord pet beat to one chord per bar)
@) wry active, rneIodic bass line fc) no clearly defined home key
(d) harmonic melodies are usually chromatic (see p. 61) (e)
individual chords tend to be heard as a sonority rather rhan a modality
T h i s harmonic style, being v e y active, can be overbearing. It is usually used at cadenrid areas ofa composition, but can be found in complete use in some dower tempo tunes.
Examples: "Licde One" by Herbie Rancock, "Dance Cadaverous* by Wayne Shorter, "Yellow Bell" by Ralph Towntr.
(a) harmonic rhythm s b w enough ro establish modality per chord
@) bass part less mive, less rneIa&c (c) mesrIy non-diatonic root relationships
(d) no clearly defined home key (e) harmonic rhychrn rends to be symmetric, w o to four bars per chord
Examples: "Gazelle" by Joe Henderson, "Afro-Centric" by Joe Henderson, "Loft Dance" by David Liebman, "Maiden Voyage" by Herbie Hancock LINEAR MODAL (there are two kinds - depending on t h e harmonic rhythm):
1. Slow t o no harmonic rhythm: (a) no bass melody, more ofa vamp
(b) typically only one mode (root) for entire composition (c) an o v e d I
key and modaliry a n bc identified
(d) less symmetric form 2. Faster harmonic rhythm: (a) mostly averdl diatonic roots, melody, and spelling
(b) more melodic bass part (c)
clearly defined home key
(d) more syrnmerric form Examples: Slow - "In a Silent Way" by Joe Zawinul, "Masqualero" by Wayne Shorter, "Sea Journey"by Chick C o r e ! Fast - "American Hopen by Ron MiIler, most pop tunes, Metheny tunes, Brazilian, and new age tunes
SUGGESTED EXERCISES
Listen to the FoIEowing recordings and try ro identi@the general harmonic group. If more than one group is used in a single composirion, Iabel the group by sections. Try co name the modality of each section.
1. The S o r m - Miles Davis (ColumbiaCS 9532) (a) "Pee Wee" - Tony mIliarns
(b) "Masqualero" - Wayne Shorter
2. In a Silent Way - Miles Davis (Columbia CS 9875) (a)-In a Silent Waf' -Joe ZawinuI
3. Fawer to h e People
- Joe Henderson (Milesrone M 9024'))
(a)"Black Narcissus"-Joe Henderson
(b) "Power ro the Peoplen -Joe Henderson
4. AmeTican Hope
- Ron Miller (Novus 3058-2N)
Compare the rhythm section style of playing on the above recordings with that of any Charlie
Parker recording and compare the harmonic rhythm of the above wich any pre-1960s jazz Messengers recordings. Is there a diEference in rhe harmonic rhythm of compositions found on Messengers recordings after Wayne Shorter joined the band?
I) Reissued on the 2-LP Mr "Foresight" (Miltswnes W 47058)
CHAPTER II
of the
Ur ..,". .a.' -: 7.
e
.
Diatc.., Moues
Method
2. Chromatic Method
3. Tetrachords*)
.
.,
..
CYAPTER tl
METHODS There are two methods
1. DIATONIC METHOD
The traditional method: that of establishing a key center and transposing the adjacent notes of r h e major scale. T h e modes are diatonically relared, with no clear color comparison. 2. CHROMATIC MEMOD
Fixed starting note method: this is a nondiatonic method where each mode has the same starring nore. The modes are constructed by h e combination of tetrachords thar cIarifies the differences in modality, stabiIity and hatmonic/rnelodic qualides.
T h e main god of this section is ro establish a harmonic palette for the composer of modal composidom KO use in a manner similar to char OF the visual artisr. The "colors"are to be brighr or dark, tense or relaxed, and t o have emotional effects as weI1. With this in mind the chrornaut rnethad is the best choice. The siu scales from which the harmonic material in chis book will be derived are the following. 1. Ionian mode 2. T o i n b3 (melodic minor)
3. Ion& b6 (harmonic major)
4. Ionian b3, b6 (harmonic minor) 5. h ~ i a n b3, $5 (melodic minor 95) 6. Ionian 112
There are two groups d h m i c and cbromutic 1. DIATONIE Follows an alphabeucd sequence, with no enharmonic spellings.
2. CHROMATIC: Alphabetic sequence uich enharmonic s p e k g s .
DIATONIC
SEMiTONES
CHROMATIC
SEMTTONl3
Lydian
222
Hungarian major
312
Ionian
221
Hungarian minor
213
Dorian
2 12
Harmonic
131
-
p p p p
Phrygian
122
Spanish Phrygian
121
Example 2-7:
Lydian
Ionian
Dorian
Phmian
Hungarian major
Hungarian minor
Harmonic
Spanish Phrygian
1) A bnorc s d c f r a p c n t having its own modal quality.
CONSTRUCTION OF
THE UNALTERED D I A T O N I C MODES
THE DIATONIC MODES (UNALTEf?€D IONIAN) Using the chromaric or f w d starting note method, the modes are created by combining turo terrachords, each with its own modality, into a resulting merged modality with its o m qualiues of brightness/darkness, resolution tendencies, and harmormic/meIodic definition These results shouId be mec 1. The sum of rhe semitones equals 12. 2. There are seven different scale sceps.
3. They are all contained within an octave.
T H E FORMULAS
Note the shifring af the minor second interval From the right to the Ieft This is a visuaI representation of the order of bnghesr so darkest of the modes.
EKample 2-2: The Unaltered Diatonic Modes A
Lydian
Ionian
Mixolydian
A
Dorian
Aeolian
Phrygian
+) Now that in order far &e semicoma ro add up m 12.. a n o h i n d must be added m thc formutq, cirhtr a strnlront or a whote tone. This will be called rhc rormecmr or mnnrmrm"g tone arpd is Found k w e e n the upper and lower t e c r a c h d
CHAPTER
I1
SUGGESTED EXERCISES
1. Construct the following modes using the terrachord method (do not use key signatures):
(a) D Tonian
(b) E Aeolian (c)
Eb Locrian
(d) G Phrygian {e) Bb Lydian
(0 Db Mixolydian (g) E Dorian
1
2. Try to consmct a tetrachard not Listed in the re*
1
3. Try unusual cornbinalimr of rhr given nmchorck.
4. Play the tetrachords, learn to idemify them by ear.
5 . Do the above for the modes, make nore of their emotional qualicy,
CHAPTER III
Cor
-
~ctic
of the Unaltered
Diaton~ccnaras
sive Met
l ling t
Scale
r Order
Spacing
7. Tea-.-. 8. Cluster
9. Quartal 10. M 11. Balance
12. Support 13. Tes: 17- Overtone series
. Upper Structure 15. Grip
CHAPTER Ill
METHODS There are two mechods o f modal c h o d construction: 1. COMPREH ENSlVE MEFHOD
A11 aspects of modal quality and acoustic properties of nore groups must be known:spdIing, spacing, and balance.
2. SHORTHAND MITHOD Upper structure method: an upper strucrure with a particuIar hand shape o r ~ ispplaced over a root. [Note: The shorthand grip method will be covered in Chapter Vm.1
THE COMPREtlf NSWE METHOD
SPf L'LI NGICOLOR TONES To determine the tones (color tones, quality tones) that determine a scales modality, a direct
comparison with its p a m t scaiel) must be made.
The notes with different alterations are the notes that give the mode its quality. Them is an order of priority in the list of color rones that define any mode.
THE DIATONIC MODES PRIORITY n B L E
[Now The order has been adjusted so conform t o "common pracdce"]
has priority order over spelling. [Note: The primary means of chord construction used in this book is that ofstacking of upper structures over mots. The spacing categories refer to the upper scrurture only.]
THE CATEGORIES O f CHORD SPACING 7. TERTlARY - The adjacent notes are OF a major third or minor third intend. 1) T h e Imtim made with the s a m e mot as che c u m p a d mode (rat appendix)2) T ~ Ci n r a d i c nrio bcouccn rhe adjacent notes of thc upper a u u c m OF a chord, them are Four arcgorics.
2. C L U m R - T h e adjacent notes are of a major second or minor second
3. QUAFTAL - T h e adjacenc notes are oFa perfect fourth or #4. 4. MIXED - The adjacent notes are of a combination of seconds, thirds, and fourths.
This describes how the vertical spacing affects the chord stability. [Note: For chis kind of harmony, stable chord constnution is not aIways desired; often, an exotic imbalanced construction sounds very appropriate.]
Good balance usually is a result of chord consrruction, which Follows a model OF the overtone series in its vertical arrangement. In addition, the qualiry of the intervals adds to the ovetall sound - thirds are consonant, seconds have bite, and fourths have tension. 1. TERTIARY - The most balanced, the one which mimics the o v e m n e series but the masc bland and uninteresting. 2. CLUSTER - The one which is most unlike the omtone series, but has an interesdng
"bite."
3. QUARTAP - An example of displaced overtones, i t has subtle added tension which gives it a great sound 4. MIXED -The best choice, has a good combination of consonance, bite and tension.
SOME MNERAL "RULES' A. ROOTS =
-
No less than an octave between the root and the upper smcmre if the root is lower chan G3 (second G below rniddIe C).
No less than a 84 between the root and the upper scrucrure if the root is above G3. No more than an octave between root and upper structure if the root is above C3(17 below middle C).
€3. UPPER ~
-
U
~
R (MIXED) E S
N o more than a fifth between the lowest nore of upper structure to its next upper note.
No
more than a
fourth between any of the remaining upper structure notes.
Keep in mind that the upper srrucrure by itseIf is less sensitive to weak balance, and char unusual combinations are desired in mosr cases.
1) A resuIr ofrhe rmc m upperstrucnuc rano mthie a certain tessrtun Support is cFFecrcd by rhe r&rura OF h e 1 0 0 and ~ its ability to acr as a fcmdamend to the mermnc senes. (See p. 127)
--
PROCEDURE FOR CHORD CONSTRUCTION T h e priori~yorder d I e i s not set up cornplecely by rhe &crates ~Facoustics.There are adjustments made to the table thar are more reflective of"c~rnrnonpracrice." That is, taking preference in the order of notes chat emphasize the modal quality of a primary mne or sel~cting notes that conform to documented use in recordings or printed music. I t will be explained in each example when an adjuscrnent is made.
Although a11 spacings will be represented in the examples, it is restated here that the most interesting are the mixed spacings. Still, ane should be familiar with the consrmction and use o f a11 spacings. 1. Select che general tessitura and soar of rhe chord. 2. Select the kind of spacing.
3. Place the primary color tone somewhere within the seIecced ressitura. 4. FiIl inJup or dawn, the remaining coIar cones wirhin the specified incervaI o f che selected spacing to t h e number of notes desired in the chord (four or five plus root is ypical). 5. Keep in mind the rules of supporr and balance if good support and balance are desired.
One should be abIe to create a balanced chord on assignment.
6.If constructing mixed spacings, try co create balanced chords first, then experiment with exotic (imbalanced) spacings. Some of them sound surprisingly good.
7. Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may need to shift the prioricy tabIe to fuIm the requlred spacing8.Doublings are acceptable and wen desired in some cases. commendations wilI be made within rhe comments of each example. A t this time it should be pointed out h a t there is a problem with r h e standardization ofmodal chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples are a compilation ofsuggestions that I have received from t h e many s t u d e r m I have had from
all parts o f the world. These suggested symbols work, but are open ro criticism.
THE EXAMPLES: THE 'UNALTERED DIATONIC MODES T
- Tertiary
Q = Quartal C = Cluster M = Mixed
The mixed examples are typical of h o s e found in common practice. Specific examples found in the Iisted discography will be labeled. Check marks refer to the prefkwed examples because OF true modal ~ u n o dr because o f "common practice" usage.
7. LYDIAN - Sounds best with the third next to the #4,try to avoid using the fifth, ic makes the 114 sound like a #I1 (see FO&j9#ll). Example 3-1:
F Lydian
(I) found in "Gazelle" by Joe Henderson
~
~11 6
~
4
CONSTRUCTIOH OF
THE UNALTERED DIATONIC C H O R D S
2. IONIAN - There are two Farms of Ionim, the common one: A6/9 which is lacking complete Ianian modality, and the A I I which has the m e modal sound Example 3-2:
(I) = true modality
(2) = exotic
-
(3) tradirionaI
(4) = contemporary
3, MIXOLYDIAN - Like Ionian, has rnversions, the one with true modality bar both the third and the fourth. Example 3-3:
(1)
-
true
modality
(2) "Monk's Dream"
4. DORIAN - Must have a n a t u d sixth, note chat C-9 is not a modal chord. Example 3-4: 0-13
D-6
9
D Dorian
(1) from uTouch"by Eberhard Weber (2) *AIice's Wonderland by Chades Mingus (3)"So WhaP by Miles Davis
5. AEOLIAN
-
Dark and beautiful, can sound like a firsc inversion miad.
Example 5-5:
A Aeolian
A-9 b6
C-9/6
*-gb6
(I) a Gil Evans voicing (2)"Sea Journey"by Chick Coma (3) "The Lieb" by Ron Miller
6. PHRYGIAN - Dark and exotic, good "colors"chord. Example 3-6:
E susb 2
E Phrygian
7. LOCRIAN
D-9/E
F-11/G
- Use with caution! Can be roo dark and tense.
Example 3 - 2
(I) From "Haressa" by Steve Grossman
Usually here will be no need to double any of rhe notes. Ifthe occasion does come up, try to double the roar as first choice or choose a color tone that emphasizes the primary color rone as second choice. As an exampIe, doubling t h e root with Phrygian aIso emphasizes the b2 quality of Phtygian, doubling the root with Aeolian emphasizes the namral second. Regarding 'common practice' adjusrment OF the color tone priority table, many of the recorded exampla are by piam players voicing5 so the exampIes are derlved from what canfarms to hand shape (see Chapter WlI on the grip method). Other adjusrments are made to enhance zhe modality of the chord An example is the incIusion of rhe perfect fifth to Aeolian to emphasize t h e flat six quality while darieng that che chord is not an Aeolian flat five (Lomian 42).
COHSTRUCTlOM
O F THE
U N A L T E l E n D l A T O N tC C M O R D S
SUGGESTED EXERCISES
1. Construct 5-note chords (root + four) of rhe following modes: (a) F
Lydian, mixed
(b) A Phrygian, duster (c) Eb
Mixolydian, add t4, quartal
(d)Bb Aeolian, mixed (C on top) (el Bb Dorian, mixed (C on top) I
(f) E Phrygian, cluster
(g) Eb Lydian,quartal
I
(h) A Aeolian, cluster (E on top)
I
2, Construct the follorving chords as specified (include chord symbofs and use your best alligrlphy - be aware oFnear presenudon):
!
1
1
(a)
G Phrygian, quartd
@) E Dorian, cerdary
(c) Eb Ionian, no third, cluster
(dl Db Lydian, tertiary Two mixed each for the foJ1owing: (a)C MixoIyskan p4
(b) F Aeolian (c) Bb Lydian
{d) Dk Ionian
3. (a) Play rhrolzgh all of the abwe chords, transpose ro aIL keys. (b) Listen casefully as you play. Have a friend play them, cry to identi5 their modality.
CHAPTER !I1
of the Unaltered ,
Diatonic Mod
Wrder o f Briahtn,,,
LU
uar~rtess
!solution 4. Stab i lity
.
A
3. tmot~onalGeneralizar
6. Palette
... .
CHAPTER I Y
The Following characteristics of the unalresed diatonic modes are the seed qualities for aH subsequent modes and their chords ro be introduced in the book. The later modes/chords have these basic qualities, with subtle enhancements according to cheir divergence from the source diatonic mode. The goal o f the following descriptions is to establish and list a mode's musicd/ernstionaI qualities, which can be referred m for compositional and a e s t h e u d use.
BRIGHTNESS TO DARKNESS 1. The shifting of the semitones from right co lefr increases the mount of darkness. 2. The increase of darkness is a redization of the e f f ~ r of s dteracion
by "flatdng."
THE ORDER O f BRIGHT TO DARK
1. LYDIAN
brightest
2. TONlAN
3. MIXOLYDIAN 4. DORJAN
5. AEWUAN 6. PHRYGIAN
7. LOCRIAN
darkest
RESOLUTION TENDENCIES 1. MOMENTUM - The desire of the mot to resolve to the home key, the rooc of the Ionian mode with the same diatonic spelling.
Examples: C Ph'ygian wants; .to go to ~b lonian; C Lydian wancs ro go to
G Ionian
The chords can cycle through chords wi& less momentum unul the home is reached. Example: D Dorian m G Mixolydian ro C Ionian As one can see, this is the Foundarion for dktonic cadence. 2. MODAL RESOLUTION - T h e desire of a modal chord co release its tension by becoming
the Ionian mode with the same root. Examples: C Aeolian to C Ionian, F Mixolydian to F lonian. This method of chord comparison i s used to create r n d contour and wlII be covered in a later chapter.
3. nABILITY - The lack of any need OF the modal chord to resolve, &o could be thought of as Iack of tension. Ionian is rhe only mode without desire to resolvt or to relieve tension (see appendix).
The order of tension or Iack of stability is the same as the darkness order, except that Lydian i s less stabk than Jonian and wanrs to resolve to Ion&.
CHARACTERISTICS
O F THE U N A L T E R E D
DIATOMIC
MODES
EMOTIONAL GrENERALIZATlONS The modes can and should be used ta form an emotional response From the listener. The descriptions a r e the resulr of a listener poll upon hearing differenc modes with different voicings. Being a generalization, the results are accurace in mosr cases but cannot be t o d y relied upon. Such inaccuracies come from the diversicy of t h e listener's farniEiarizadon with different kinds of music, as well as their Iife experiences and ~ I t u r a backgrounds. l
THE RESULTS 1. Lydian - aggressive, urgenr, frantic, urbane, busy 2. Ionian - stable, peacehl, placid, content, hopeful
3, Mixolydian - transient, searching, suspended, floating
- brooding, uncertain, though tfuI, pensive 5. Aeolian - melancholy, sad, somber, darkly romantic
4. Dorian
6.Phrygian - mysterious, exotic, haunting, spacy, psychedelic
7.Locrian - angry, tense, ugly, mean, enraged Nore that the above qualities can be affected by other musical devices like tempo, xessitura, chord spacing, as w d as syncapation, hannonk rhythm, and melody. The order of brightesr to darkest should be considered as well. We now have a simple palette o f primary mlors with which to create our harmonic scene.We
can m a r e a modal Iandscape by ccontrascingbright chords with dark ones.We can bring about an emotional response from rhe Iistener by our selection of modality and by carefu1 selection o f the general key or tessitura ofall the chords. In addition, we can enhance the eficr by the selecrion OFthe appropriate tempo and harmonic rhythm.
Al of the above wilI be covered in later chapters, but next we need ro constr~ccmodes and their chords that will add secondary "colots" to our palette. It is important to grasp the concept that the second group of modes is derived from the primary group o f simple diatonic modes; that the secondary group is a form o f altereddiatonic, and that all the qualitiesof the original diatonic modes are maintained but enhanced
by the quality oFthe alteration. As am example, one o f the modes we will consmct is Phrygian. with its sixth naturalized. The sixth of she unaltered diatonic Phrygian is flamed so the n e w Phrygian natural six has the same qualities of the original but a bit "brighter.*
CHAPTER I Y
SUGGESTED EXERCISES
1. Play all the previously constmcced modal chords, try to identify their emotional quality.
Try to determine if different routs or spacings affect rhe result.
2. Listen to the following recording, make a comment on your emotional response. Name the overall modaliry. Note how tempo and key affect the end emotional result. (a) Power to
the Peopk
- Joe Henderson, "Power To The People" (MPS 9024)
(b) American Hope - Ron M~ller,"Elerneng" Libera1 Arts (NOYUS 3058-2N)
(c) S w i n g Giant - Herbie Hancock, "Crossings" (BS 2617) Id) 7he Fohwing Morning
-
Ebwhard Weber, T h e Following Morning" (ECM 1384)
3. Learn the acoustic source of the diatonic modes, be prepared to answer irnrnediamly.
Examples:
C Phrygian: Ab
F Aeolian; Ab Lydian;-
B Mixolydian:-
The Mode:
Altered
bnic No. 1
(Melodic Minor)
CHAPTER V
THE MODES OF THE ALTERED DlATONlC NO. 1 Again, the method used For mode construction will be the fmed starting note method: chat 05 combining tetrachords. With chis group there is the incroducrion o f the Spanish Phrygian
tetrachord. This is rhe darkest one we use; any furher shifting of rhe right semirunes would produce a wholly chromatic combination.
THE TETRACHORD f0RMWLAS
Notice t h e asymmemc organization of the semicones due to the alrwations. AIthough the darkness order is unclear, we will simply follow the order of the vnalcered diatonic modes, with the ahration being considered a quality enhancement. Traditionally, we think of the source of this set of modes as being melodic minor (ascending), bur in order to refer to the parent scale for order of darkness, emotional characceriscic, etc., try to think of the source zs altered Ionian - Ionian b3.
Example 5-1:The Modes oFthe ABtered Diatonic No. 1 (Melodic Minor)
-
Lydian-augmented
Mixolydian #4
-,, >
4-
Dorian h7
Altered
><-8
'
Mixolydian b6
-
-
r, C/
Aeolian b5 (Locrian 42)
--'
,
,,
/-
Phrygian hd
THE
MODES
OF T H E RLTEAED
DIATQN~C NO
I
-
MELODIC
MINOR
CONSTRUCTION OF THE CHORDS Although we are still using t h e comprekenrive method, the chard evampIes will be of mixed spacings clrJy. Therc will be exampIes of other spacings in subsequent chapters and in the appendix
Comparing the altered diatonic modes with che diatonic modes, we derive the foltowing table of color tones, again, adjusted for common usage and modal defmiuon.
TABLE
As wilI be seen, we must use at leasr: two of the tones to get suficienc modal definition.
CHORD E X A M P M S 1. LYDIAN-AUGMENTED
- A brighter form of Lydian, it is quite often found wirhaur the
#4-
2. MIXOLYDIAN #4- Not really the 13811 chord Familiar to d,this chord k usually used in
tandem with sus chords. It is a brighter form of M i u o I y h and is rraditiolnalIy caiIed Lydian-dominanr Example 5-3:
') Use in t a m d w with the Mklydian sus 4 chord
CHAPTER Y
3. M IXOLYDlAN b6 - A darker form ofMixolydian,it has an Aeolian sound and can be confused with Aeolian if rhe third is not generated in the overtone series by rhe played instrument (see appendix). This chord is highly recommended for attaining a fresh sound. Example 5-4:
4. DORIAN b7 - UsvalIy called minorjmajor seven, the natural sixth in this mode separates
it from traditionaluse. Like M k l y d r a n 14, it is often used in randem with sus 4 chords. Example 5-5:
5. AEOLIAN b5 - Also known as hcrian \2, eirher name is okay. AIthough we cmditiondy
use this chord as a ii chord in minor ii-V cadences, the modal use is a "stand alone," non-
functional use. Example 5-6:
One of rhe earhest chords used in the new-modal type of composicians, it first appeared on Herbii Hmcock's album EAadm V q a g ~in , the mne "Lircle One."This chord can sound Iike a 6/4 chord with a suspended b2 and was used hat way by Ravel
6. PHRYGIAN 46
(Daphne et Chloe). Example 5-7:
THE M O D E S OF T H E A L T E R E D D I A T O N I C
NO. I
-
nELoelc niNon
7. SUPER-LOCRIAN - AIso known as altered, diminished-whole tone and as the Herb Pomeroy scale. I t sounds very dominant and fmctional but we will use it as a "stand done" modal chord. If flat burs (i.e.,fb) make you uncomfortable, use the often found incorrect spelling of a naturnl third.
b4
~7~~
Fraditional Spelling)
We now have nw, sers of modal chords in our pdetce. They can now be merged into an order of bright to dark. As mentioned previously, the altered modes are variations of the diatonic modes. If the alrerarion increases rhe number of left-sided sernitones, che mode is darker. IF rhc alteration moves the semicones ito the right, the mode is brighter. With this in mind, the following is the collated order OFthe m d e s we have conscrucred so far,
THE COLLATED ORDER EMOTIONAL. DESCRIPTION
1. ~~dian-augmented very frantic
brightest
2. Lydian
3. Ionian 4. Mixolydian #4
tensely yearning
5 . Mixolydian b4 6. Mixolydian b6
ramantically hopeful
7.Dorian Q
permrbed
8. Dorian b7 9. Aeolian \S
10. Aeolian b5
rornanticalIy confused
11. Phrygian b6
open, hopefid
12. Phrygian b6
13. Locrian h4 14. Locrian 64
bluesy, urbane
da
Having our first p u p of secondary coIors added to the palette, we could, at this point, creare some interesting groups oFchords. There are quire a Few compositions within the new-modd type of composition chat keep within this limited palem, but we need more - there are three more sets ol'altered modal chords to investigare and they will be covered in subsequent chapters. Nexr, we wiil look at a group ofchords t h a t are used primarily for their quality of soland or sonority. These are chords that have obscured modality but imply a modality with their acoustic properties.
SUGGESTED f X f RClSES
1. Construct the following chords, all mixed spacing. Include chord symbols.
(a)G Phrygian b6
(b)E b Lydian-augmented (c) G
Mixolydian b6
(d)Ab Mixolydian h4 (e) D altered
( f ) ~b Dorian h7
(g)F Lydian-augmented (slash chord) (h) G Locrian hZ
2. Play them in aLl kep, doing ear rraining as usual.
1
3. Use your besc calligraphy; use a ruler if needed.
CHAPTER VI
Non-Mc
IICh
A U Note ~
Lnoras
Ielete Note Chords
3 . Suspensions
Implied Modality
1) 0lords W n g one or more of the mi3dat dcfin~ng?h.I*?**" t=, kawing them WI hour ;Tear b f ---I - - 1 - , : . de.,..,, W Y Y ~ ~ .
-. .".
(a) im
s rht modality i stidly
@1
a the modaIig i
campiefed In the
rnelodr
, -
,
--
CHAPTER
VI
KINDS OF CHORDS 1. ADD NOTE CHORDS
-
Derived From unresolved cadences, the unresolved note
becoming a suspension. 2. DELETE NOTE CHORDS - Chords in which a note is deleced to create a chord spacing
which has a particular sonority.
A D D NOTE CHORDS CHORDS DERIVED FROM CADENCES: These are chords chat have a sonority that can be described as having an unresolved quality. They are the result of not resolving the normal voice-Ieading in a cadence. Although they do not have a modal definirion, they have an implied modality, which wiI1 be poinred out when the chord is discussed 4 CHORD: Derived from the unresolved II-V cadence, the nosma€ resolurion of the seventh to t h e third is not completed, leaving the seventh to become the Fourth of &e target chord. Although this chord is treated like a Mixolydian chord, try to consider its quality a produrn of non-resoIudon.
M E MlXOLYDlAN SUS
Example 6-1: unresolved
normal
THE SUS 2 CHORD: Derived from the unresolved V-l cadence, chis chord is t y p i d y a sonoricy but acoustically can be interpreted as Ionian.
Example 6 - 2 normai
unresolved
T H E SUS 4, NO SEVENTH CHORD: This chord is derived from the IV-1 cadence, with the normaIly resoIved 1 to 3 suspended and becoming a 4 of rhe rargec chord. The chord can be
considered Ionian.
Example 6-3: normal
unresolved
NON-HOOLL
CHORDS
MISSING THE THIRD: This c h o d could be either a minor 11or a Mixolydian 1 I- Because a major third is usually generated acoustically, it tends to sound like Mixolydian.
(a)- Csus2
f b) Gus4
Example 6-5a:Sus 2 - D o not include a sixth with this chord, its quality should be smrk mot, major second and perfeft fifth only.
-
Example 6-5kr Sus 4, no 7 - CIearIy not Miuolydian; include mar, perfecr fourth and perfea fifth only.
DELETE NOTE CflORDS These are chords that have notes purposely deleted to create a particular sonority.Because rhe missing nore is usually a primary color cone, ies modality, in most cases, is unclear.
The quality tones that are deleted usually are the primary qualiry tones.
THE MISSING NOTES MINOR:
Sixths - not dearly Dorian, not dearIy Aeolian Sevenths - not clearly Mixolydian or Dorian bT (min/rnaj7) MAJOR:
Sevenths - not clearIy Ionian or Lydian F o n d s - not clearly Ionian, Lydian or sus 4
THETWO MAIN GROUPS OFTHESE KINDS OF CHORDS ARE
1. Chords with a b7, which imply Mixolydian or minor seventh and
2. fiords with a major third, major seventh, or no third or seventh, which imply Ionian
THE TABLE OF CHORD TOMES FOR BOTH GROUPS
The following examples of boEh groups are typical of chose found in common practice.
Example 6-6:
Missing the sixth, the minor 11 is nor dominant nor is i t Aeolian. It does tend to sound Dorian because of rht strength of the sixth (13th)in the overmne series. The examples (a),(b), and (c) are included here to show the similarities of sound and construction. Keep in mind that (a) Mixolydian 11, and (b) Ionian 11 are defined enough t o be considered modal chords and are included here purely for comparison.These chords are also to be compared with the previous Miolydian sus 4 chords. Notice that rhese four chords have a 4 or 11 in common, with the differences being rhe inclusion of a major or minor third and the seventh being natural or flatted A t this point it should be restated thata chord with a truly definitive modality tvould have alI seven notes of [he scale included. It couM be argued that d chords with less than seven noses
are nonmoda!. For r n u s i d reasons we must compromise, as we are doing now - so we will consider the chord examples givm in previous (and Iater) chapters as campIere modalities and tht chords consmcced in this chapter as nmmo&P
*) D e f i d l c modal chords d u d e d for
campariron.
MDN-MODAL CHORDS
Example 6-7: (a1 C9no7
(b)C-9no7
(c) Fb9no3
Id) F9no3
( e ) F-9no5
(9 F9no5
(g) F 1 3 n ~ S (h) F13no3,S
Example 6-7a:Compare t h i s with the sus 2; this has a major third and is sweeter, less stark sounding.There is confusion over a snitable chord symbol for this chord. Use root, major second, major third, and perfecr fifth only.
&le 6-7b:The minor version OF Example 6-7% missing Ehe seventh; ic is unclear but sounds mare like minor 7 chan min/rnaj 7.
barnple 6-7c: Thc contemporary voicing o f Ionian,a great sound, used much in slash chord harmony (covered later), u d y seen as CJF. &le 6-Jd: T h e Mixolydian version of Example 6-7c, could be C-/I?. This inversion was
used ofsen by Ravel. Example 6-7e: The minor second and the perfect fifth give this sonoricy a great "bite"This is the prototype "new age" chord.
Example 6-7EThe Mixolydian version oFExampIe 6-7e.
Example 6-9g & 6-7h: Implied Mixolydian chords with a good ubiceP
There are many more examples in use; to create some oFyour own, just delete one or two notes from a fully constructed chord, paying a m t i a n ca the resuIting spacing: the combination of seconds, thirds, fourrhs, and fifths, and then the resulting sound and implied modality.
Before creating your own delete note chords, review rhe principIes ofchord spaEing in ChapcerIJI. Striving for a parricular sonotity, use of major or minor thirds will give you a consonant sound,use of fourths will create starkness, and use of major or minor seconds will add bite. Mixing the intervds will soften the effect of the indvidual.
M e w I in the appendix, some of the primaples of acoustics and you will s e t why some of the missing note chords imply arnodality.To experiment: on a grand piano, pound our an A4, no 3 chord with the 6 8 on rop (E/A),hoId the chord and Iisren intently for the major third to srart sounding a few seconds later. Another demonstration would be to play an EbPsus4 and while the chord is sounding, with a Free finger, play a Gb, then my a E narural. Then just play the chard without a third and listen to hear if a third is generated by rhe overcone series. Try the chord on orher roots. Try arher chords.
We now have enough chords in our palette ta rake a break fmrn creating chords and to move on to creating some music.The first scep is to organize rhese chords into a musical whole... so chord connecdon is the next scep, as found on the FoPIowing pages.
CHAPTER V I -
-
SUGGESTED EXERCISES
Constntcc the Following chords, review:
F-E 1 G hiixolydian k6 Dsm2 (no 3) ~bll F9 (no 3 )
Bb Mixolydian #4
P4 (1103)
Db44
G Locrian L12 Ab Lydian-augmented C-9 (n07) C Phrygian 116 E9 (1107)
Eb13sus4 G Phrygim b6
E Ionian b4
d1 mixed spacings; some
are €am previous chapters for
CHAPTER VII
Chord Connec
'-
I. Pedal IPoint arkness Contour
4. Cadence armonic Melody
6 . Common Upper Struc~ure
I
Mosc contemporary modd jazz composirions have areas where there is a large number of nondiatonically related chords. Depending on the harmonic rhythm, the areas could be caI1ed vertical modal ar plateau modaL Linear areas have roo few chords to require chord connection, and U-V or tonal areas have predetermined chord connection.
T h e approach ro harmonic organization is divided generally into two carepries; 1. Harmonic/mdodic means and
2. HmonicJrhychmic means
HARMONICIMELODIC CONNECTION There are three categories of connection: 1. A common focal poinr 2. Conmived contour
3. MeIodic manipulation
A. COMMON FOCAL POINT Offers a point o f unification for a group of non-diatoniclIy rehced chords. A common aural focal point. There are four kinds of common focal points: 1. Single note upper
2. Single nore bass (pedaI point) 3. Common inner smcmres 4. Common upper structures
8. CONTRIVED CONTOUR An amempt m give an ordered COnEOUr of tension and release ro a set of modal chords, 1. MODAL CONTRAST: Bright to dark, etc. 2. MOMENTUM: Desire to resolve to Ionian
3. CADENCE: Parody o f II-V-I 4. MELODIC RESOLUTlON o f upper/lower
neighbor
5. CHORD SPACING
C. MELODlC MANIPULATION AppIied to top and/or bass melodies: 1. RecognizabIe pactem (symmetric or asymmetric) 2. Organization ofconrour
through the application of mdody-writing concepts
Keep in mind that these nondiatonic areas are usually found at cadences, m p s or any area where activiry or tension is desired; there are few compositions rhar have many areas of vertical modal harmonic rhyrhrn.
C M O R D COHNECT!ON
COMMON fOCAL POINT A. SINGLE PITCH. TOP NOTE
1. Select a pitch within the desired tessimra. 2. Create a b a s melody (see section on melodic manipulation). (a) symmetric partem
(b) diatonic motive and deveIopment 3. Experiment by playing various chords, voiced with the seIected pitch (common tone) on cop. 4. Tweak: ny different chords or bass melodies until your musical taste is satisfied. Example 7- 1 :
Finding common cones - m a t one needs to know to make this process fascer or Iess painful is the mastic 5wrce of any given mode. To r e v i m the acowtic suslrce ofany mode is the Ionian or drered Ionian with the same flats or sharps used as the given mode (the same key signature).
This couId be a large number since a single pitch i s not tied to one source. EXAMPLE: G above middle C has the folIowing acoustic sources:
It is the fifth of C Ionian the third of Eb Ionian
the second of F Ionian the seventh o f Ab Ionian
the seventh OFAb Ionian b3
the sixth of J3b Ionian 63
and so on... In addition, your choice of chord can incIude any from the seven different modes of each of the acoustic sources. COMMON TONE
MODE
ACOUSTIC SOURCE
G is the t4th of
Db Lydian
Ak Ionian
G is the 13th 05
Bb Mixolydian
Eb lanian
G is the root of
G Phrygian 46
F Ionian b3 (melodic minor)
G is che 9th of
F Mixolydian
Bb Ionian
and so on... As is shown in the above example, che relationship of the acoustic sources has an effect on the overall sound of the p u p OF chords. In this example w e find rhar a11 t h e source m o ~ are s diatonicalIy relared to EL Ionian or mAb Ionian. En addidon, many of the chord spelIings have
CHAPTER V l t
diatonicism In common. This would imply rhar the above example should sound "good," with an overall consonance and an effect of "beIonging" together. Keep in mind that this is not always the god when connecring a group of chords, char modal contrast and contour have priority when selecting your chords.
With so many options, the student, at this point, should be quite accomplished wich chord spelling: knowing the order oFquality tones, as well as knowing che acoustic source OF any mode. In addition, the studenc should have acquired a working familiarization with the sound OF the chords through daily ear training. T h e ability ro play the chords in many voicings on a keyboard is a must.
B. SINGLE NOTE BASS PART (PEDAL POINTI This form ~Econnectionis a bit easier ro use. It is a traditiond technique and familiar to the
student. It also is the technique which offers rhe clearesr modal conrrasr 1. SeIect a bass nore within che desired tessirura. 2. Create a melody for the rop notes of the chords to follow.
3. Experiment with various chords that satisfy your musical tastes. You may want to look at the contour part OF this chapter to assist in chord selection. 4. Tweak,
usual.
Example 7-2: A Phrygian h6
A Aeolian
E/A
A Mixolydian
MELODIC MANIPULATION (symrnerric rop melody)
Before we go on, it should be obvious that all of the connecting rechniques are to be used in
tandem: you need to know melodic manipulation to create the top and/or bass melodies and you need to know modal caarour to assist in mode selection. Once you have worked with dl
the rechiques, go back and redo the earlier ones. Next we will look at chord connecnon with upper srruccuresl).
T h e use of upper srrucnrres is a very imporrant patc of this text and will be covered Iarer in a chapter of its oivn. Since they are used in common conntxtion, we have co rake an inuoductory Iook at them now.Innershw&res have the same definition as uppers, excepr that they aren't used for chord construmon. They do provide an exotic method OF chord connection and will be of interest to composers ofclassical and/or fiIrn score music.
1) A p u p of norm, nvo to six,
perceived as a singIe mnady or s o d I r is h i s sound thac holds a group of chords rogedrec as a whole f i e y are dso a key part OF rhe $rip method of chord consmcrion m be c o d in Ctupret Vlll
CHORD CVHNECTION
C. COMMON INNER STRUCTURES Because these stmaures are found within a chord, a simple inrerid of a third, sixth,fourth or fifth is a good choice. Any more than a three-note structure may turn out to be too dense within a group of chords, but cry a variety anyway.
1. Sdect a scmcmre; begin with a simple rhird interval. 2, Create a repeating simple melody oFtwo to five notes within a desired sessitura, keeping
in mind that this will be the middle portion of a chord 3. T h e top note of the structure is to follew chis melody. 4. Next, create a bass melody. 5. Play thraagh the example as it i s se far, ta get an indication of the moddigv creared
6. Add a top melody; use common tone on top iFdesired. 7. FilI in the rest of the chords. 8. Tweak.
Example 7-3:(you name the modes)
C H A P T E R Y11
SUGGESTED EXERCISES
I. Connect with common tone (0 on top: F abwe mid C, Dalt, EbA6/9, Ab13sus4, A-9b6, Eb13sus4,Db Lydian.
2. Compose a 6-chord sec with CT on top.
3. Compose a 6-chord set, CT in bass part.
4. Compose an 8-chord harmonic set with both
I
CT bass and top.
Use your best calligraphy, use a ruler if needed, use no key signature.
CHAPTER Vlll
Upper Structures
. Jpper Structure 2. The Grip 3. Shape 4. 5/6,6JS 5. Sonority
CHAPTER Val1
CHORD CONSTRUCTION Chord const-ruction Nich upper structures is known as thegrip or shorthand method oFchord construction. The grip is the actual finger positions o f the right hand when playing a chord. There are seven basic grips used to create all the chords Found in this cexr. With this method, one does nor need to know the theoretical foundation of chord construction to form chords, Hence, this is a quick, "shorrhand" method. This method i s derived From keyboard performance and the chords are typicd of chose you hear on conrernporaryjazz recordings, partirulady by the younger players:Joey Calderazzo, K e n y Kirkland, and Jim Trompeter, to name a few. This kind of chord voicing also is the predominant sound found on fusion, ECM, and new age recordings. The upper strucmres are a basic three-note group, but a fourth note can be added For further definition ifdesired. Keep in mind chat the structure is a "shape" and a sonoriy. The follwwing is an example oFthe srrucrures and their derivation. [Note;The abreviation US will be used to mean upper strucmre.] Example 8-1 : Upper Structures 5 ~ 5 2
major rnad
minor triad -
-
I
z
A
6/5 added note
4
I
V
I
615
quad
-
516 added nore
5 / 6 altered
-
5/6
*
major 7+
augrnenced
-
I *
P.
minor 7+
LI
minor/major
7
1
T h e most used of these strumres are the sus 2, quartal (inversion of rhe sus 2),the major triad, and what1 have termed the 5/6 and the 6/5,named from their intervalic formulae. Also, there is a group of Phrygian upper structures which are derived from inversions of the 6/5. 7.
W E SUS 2 UPPER STRUCTURE This structure is the one found in earliesr recorded use. There are many chords brmtd using this structure, as already found in this text. This was avery popular choice of chord construction in fusion music of the '60s and '70s. Made up of a second and a fourth within a fifth, it has a great combination of bire and starkness.
O f the following examples, the chords with the checks are the preferred and most wed. Example 8-2: Modal Chords Created With thasus 2 US
6/9
Locrian
14)
') Derivzrion o f the srructure name.
50
Lydran
minor 1 1
6/9
Phrygian
sus.2'
Locrian h7 Midydian
A6
Aeolian
U P P E R STRUCTURES
[Nore: Triadic US will be covered in Chapter XIII "SIash Chords"]
The 615 and 5/6 upper structures are che ones found most often on contemporary recordings, parricuIarly on ECM, fusion, and pop-jazz recordings. These US require the knowledge o f their root acoustic source lonian mode. This Is found by locating the critone in the US - rhe upper note being the leading tone (7th degree) of the mor Ionian. Yon can also m a c e some interesting chords by experimenting wirh rhe chromatic scale as roots.The 6/5 US is the basic structure Found in the chords ofharmonic major and will be reintroduced in that chapter.
A combination of five semitones (prrfecc fourth] and six semitones (mtone)
lonian
Dorian
Phrygian
-
Lydian Mixolydian Aeolian
Pocnan
lonran
Ab tonian
3. T H E 6/5US A combined mmne and perfect fourrh (six and five semicones)
n
lonian
Dorian
Phrygian
Lydian Mixolydian Aeolian
krian
lonian
- -
Eb lonian
Nore char in the above two examples, the US was not a good choice for the construcrion of Lydian. Because Lydian implies another acoustic source, one primary color cone is missing.
4. T H E PHRYGIAN US
This is acmaIIy an inversion of the 6/5;i t is so used in its Phrygian inversion that it must be considered as a separate US. Example 8-5:
*I The named s t m c n w
CHAPTER V I I I
5. THE MELODIC MINOR GRIP
Used often in constructing chords from the altered Ionian b3, melodic minor mode. The grip by itself is a Lydian-augmented chord.It is a ~ e r t i a r yupper strucrure which conrains rhe very definitive augmented triad. The grip is placed on the minor third of the acoustic source. I.e., Eb for C melodic minor. Example 8-6:
Dorian h7
Phrygian
Lydian $5 Mixolydian #4
Mixolydian b6
Aeolian bS
alwwd
Hopefully, rhe smdenr has recognized many af these constructions as being found in examples of mixed spacings in previous chapters. Using chis method of chord construction creates the easiest, as well as che best sounding chord, as is evidenced by how ofieen rhey are Found on the latesr recordings.
This subjecr will be covered more in the chapter on three-part upper structures (XIV)and the chapter on harmtsnlc major and melodic minor b5
(m.
CHORD CONNECTION Chord connection with upper structures follows some of the same principles as given in the section on diaconic chord connecnen,
1. Common focal poinc 2. Modal contour
The principle difference is that where we worked with a single note or a melodic Iine ofsingle notes, rht aural focal point in this case is rhe stnrcrure itself. The sound of che vertical arrangement will be the point of focus. Because of this, the s n d e n t should remember chat whatever US is seIected for use shorrld remain in the selected inversion chroughauc rhe phrase oE w e . Changing the inversion xvouId change the sound OF the US and negate the common connection.
No~rnaliy~ only three upper structures are used for chord connection: the sus 2, triads, and Phrygian. The sus 2 US is easily the most used in j m and fusion compositions.Triad US use is predominant in pop music and has some use in pop/jrtzz and new age types of cornposirions. AU forms of US use are found in aIl the musics, to some degree.
Mi3HODS
O F COMMON UPPER STRUCTURE CONNECTION
1. Common upper structure, bass melody 2. Common roots, upper structure follorving a given melody
3. Upper strumre fouowing a given melody, with roots following a given melody 4. All of the above with modal contour
5. d l of the above with final cadence ,
UPPER STRUCTURES
Example 8-7:Common US With Bass Melody
,(2)
Lydian
619
(2)
Example 8-8: Common Tone B a s , Top Melady
Larnple 8-9: Top and Bass Follow Given Melody
Mixolydian
6!9
Aeolian
Aeolian
Example 8-70: Common US, Bass Melody, Added Harmonic Rhythm, Cadence
fl
Phrygian
Lydian
Mixolydian
altered
Locrian
Aeolian
Mixolydian
POINTS TO REMEMBER: of the US should not change (invert); rhis would change the sonority, losing the common qualiy which binds the group together.
1. The verdcal -gement
2. The common Iink OFthe US is not lost by arpeggiation - tsy it.
3. As with common tone connection, knowing the acoustic source of the implied modality will assist in reaching the harmonic goal.
CHAPTER Ylll
Example 8-1 7: Common Tone on Top, Bass Symmetric Melody
Lydian 15
lonian
Phryg~anb6
Mixolydian sus
I I
r
I Example 8-12: Common Bass, Pedal Point
A
loman
WS
6
Phrygian
-
I
-
h
b*
Example 8-13: Common inner Voice Srructure, Common Top
You name the mode
Example 8-14: Common Tone Top
h
Lydian
Mixolydian sus
Mixolydian sus
minor 9
Mixolydian 11
U P P E R STRUCTURES
Example 8-1 5: Pedal Point With Contour Cadence You name the modes
Example 8-16:Common Tone Top, Symmetric Melody Bass You name h e m o d e
Example 8-1 7 : Melodic Pamrns, Top: lonian Mode; Bass: Chromatic Scale, t o n m r y Motion
CHAPTER VllT
SUGGf STED EXERCISES
Constmcr the following chords by the grip method onIy, label h e grip under the chord (516, sus 2 etc.); include chord symbols over the chord.
I. Eb Ionian h4 .............................. 5'6 2. F# minor 1 1 ..............................
sus 2
.5/6
3. F Aeolian 4. Bb Dorian ..............................
4
6
.......................... melodic minor grip 6. E alrered .................. ................, Phrygian grip 5 . D b Aeolian b5
7. E Aeolian ..................................Phrygian grip 8. F Ionian ....................................
6/5
9. C Aeolian ...................................
sus 2
20. G Mixolydian b6 .....................
melodic minor
CHAPTER
IX
Compteting +k-
3 Connection Proces
ave
mP
Ion-ttived Canrour .. Parody Cadence
CRAPTEA
I X
Although playing the prwious examples are harmonicalry satisfying and the chords sound good, they are not exampIes of music. In order to make the examples musicd we need to apply aEI of rhe elemenrs of music to the skeleml harmonic scheme: harmonic rhythm^, tempo, harmonic conrour, wirh its implications ofdevelopmenr, and some form af melodic statement and developrnenr. These will all be covered eventually, bur the first step is to give the examples harmonic rhythm.
As mentioned earlier rhe given examples of common connection are used primariry at cadential areas, which would be found ar the ends of sections OFa composition or at other areas that require an increase in tension or activity. They are also found in introductory areas where a statement of the premise o f the composition is desired.
These areas are usually repeated until the effect is clear. The name for this went is a ursmpz). T h e first step in our creative effort is to compose a number of these vamps ro be used as starting points in t h e creation of a whole composition.
Recall that the primary emphasis of this book is on jazz composition rechnigues.
PROCEDURE I. Selecc your favorite set of common connected chords. 2. Compose or select from the public domain, a rwo bar rh~hrnicpattern - the Bossa Nova is a good first selection: Example 9-1 : Bassa Clave
5. Determine where you wane the chords to change on the cIave pattern; it muidbe a change wirh every cIaw change or a change evety m o , or with variations of che clave pattern. In other words, the first chord for che first two clave tics, the second chord for the next dave tic, e tc.
4. Compose a bass rhythm based o n the clave pattern.
5. Play and tweak as usual.
1) Thc sysrematlc rcla~ionshipof the durar~onof each in a group of
chords which shows contour and develupmmt 21 &pea& harmanicJrhyrbmic Fiwre, usually 2 ro 4 b m in length which fo2lows a preset rhythmic parrern called a &we. There is a metodic
motiCin the bass part and a rccurring set oFhamton~callyr e l a d chords. Vamps am found ar d e n d areas, turnaround arc= and the incroducroryand ctasing areas oFa composirian, or a n y h e m
that rhythrn~cemphasis is desired.
COHPLETIWG THE C H O R D C O N H E C T I O N P R O C E S S
Bample 9-2: Common Tone, Top Note Lydian
MExDIydian
titample 9-3: Common Tone Bass (Vamp)
b m p l e 9 4 : Common US on Top
Example 9-5: fommon US on Top, Arpeggiated
Example 9-6: Common Bass, Phrygian US
Phrygian 46
Mix01ydian
CHAPTER I X
CONTRIVED CONTOUR MODAL CONTRAST
This is where we use the order of darknessbrightness of the modes. It i s an attempt to give a sense of contour to the chord-to-chord relarionship. If you recall thc m o d d cantour of the traditional didtonic cddenre, ic is Dorian-MixolydianIonian. That is an order of dark, brighrer to brightest It is also an order of less stable ro most stable. And being in the diatonic system, it is a satisfaction of momentum: the desire of the chord roots ro cycle to the tonic root.
Although the harmonic vocabulary of this book is mostly contained in a chromatic environment, we can use the diatonic cadence as a model for obtaining harmonic contour. The options include root mowmenr: of a fifih but wirh a modal relationship other than chat found in the diatonic formula; the diatonic modal formuIa with chromatic root relationships and both chromatic root relationships; and nondia~anicmodal selection but with the $arbness/brightness foIIowing that of rhe diatonic use.
The most used process is to simply conmast che brightness/darkness oFthe modes to obtain a sense of contour and deveIoprnenr, without any reference co the diatonic system. Example 9-7:Modal Contour
I btighc -dark
-==
--=====
release
(a) Typical use: increase of tension to a release. Conmary directions of the top and bass melodies enhance the effect A skip o F a third, fifth or tritone co the release chords is recommended. Lastly, notice the change of chord spacing. @) Use of pedd poinc o v e d rneIodic dkecrion downward. Use of rritone skip to final
release chord. Example 9-8: Parody o f Diatonic Cadence (Il-V-I) (a) Mixolydian b6
Fhtygian
Lydian 15
c-= AL *
(b) Dorian
(a) Root movement like diatonic cadence, b e - f o r m modaliry.
@) Diatonic cadential modal Formula, freeform bass melody.
Mixolydian
P Ionian
COMPLETING THE C H O R D COHNECTIOH P R O C E S S
MELODIC MANIPULATION 1. TOP MELODY
Not the actual melody ofa composition, but the melodic shape or contour chat a11 rhe top notes o f a group of chords, if spelled out, would create. Of course, we are going to work in rhe opposire way spell o u t our chords to follow a preset melody. 2. BASS MELODY
The actual melodic qudity of b m p a x if played by itself. Because the nondiatonic modal sysrern we are working in is not tied to root movements of a fifth, we need to work the xmal melody of a cornpasition. with our bass rneiody just a if it 3. RECOGNIZABLE PATERNS
Creating a set of chords that foUaws a melody which is easily recognized by the listener is a quick and easy way rw gain musical accessibility.Symmetry just pIain "sounds good," But you must use ir conserva&ely, as it can quickly become contriuidity. Another approach is to use an asymmetric source which is farniIiar to the listener: a mode or terrachord or any hown melody or melodic fragment. 4. MELODIC EFFECTS
Lastly, following rhe conceprs of melody writing (as found in Volume Z), you can create a contour by manipulationd r h e intervdic relacionships and by working with the overall
direcrion of the melody by phrases (the top and bass melodies).
CHAPTER IX
SUGGESTED EXERCISES
1. Compose four 2-bar claves. 2. Compose a +chord vamp, using sus 2 US with a composed bass melody. 3. Compose a 4 to 6-chord vamp using compound meter, with your choice of US;have the US FolIew a given melody and rhe bass be pedd point. 4. Compose an &bar harmonic scheme, srarting with a 2-bar vamp, with the remaining six b a s showing use of mrnrnon tone, pedal point, and modal contour. Use at least six
chords.
T r y to be musical; approach this exercise z a n artistic assignment rather than an academic
one. Create a result you Iike so much you wanr: to play it for someone.
C h ~ l rE R X
Form
. . . .,. I . - - - .- . .
- -...-
b.
I
,Ii
I----
1. Song Form n~roughComposed
.,
.<: L:
:<<.
- - -
. .
3 . Sectional
.>.*.I :.. , .-
..:, .=,
>. .
.>
..*-:.-.. .
, -.=-.-,? ., ,
--
.cr , ,; -. :-a=-
.*$
zL
s:.:,*
med earlier in the tm,most of the compositions in che free chromatic rnodd g are also firee in their form. This freedom also means chat you are free to use rradiciond f .&you so desire. Although most OF h e compositions are free-form, some are still omanized,hy if the composition has ties m traditional style, lilre the nea the song form. Parti&ly kind of aom posidoIn.
-
C7
-2- C A -I
auiur U L ult. l u r n m
we will see are.
G FORM
..
with 8 bars per section, following the traditional MBh, d peac, a new s d o n then a repeat ofthe first A section, giving a rota
11ysymmestic,
l
aculuu.
dons are u s d y in the use of varying the bar numbers of the sectio 2. M R (
IMPOSED
Corn]posed fro1n beginni
~d without a concern for devetopmenc by repetinr r 3 r ne aeveiopmenr 1s ~y mocM/ernotional contour.
*I!
-:>ns,
-
of which can be rmeated. S has drhough not direct repetitions, are obviou
N a t song-torm,but does have dear seccians, some
examples have previlDUS sections.
T h e main1 paint is nor to be: as concerned about form as you shoul
enr.
lout
ha^
-
: - --
,
,
CHAPTER X
SUGGESTED EXERCISES
Listen ro eight of the compositions lisced in the discography, plot their farm as AABC, ABCCDA, or whatever the form is.
,
List the name, source and the form.
Example: "Pee Wee" by Tony Williams f r ~ m B e Smerer, Miles Davis - through composed, 21 bars
I
!
!
"Masqudero" by Wayne Shorter from Thc Sorcerer, Miles Davis rota1 = I&
- ABC, A
=
8, B
=
6, C
=4
CHAPTER XI
Harmo~ Con
i a m o n i c Khythn
2. Repose
3. Transition 4. Climax
5. I
1) The a verdt organir=-on d a nt moda1 chords ~ s m a unified mu w M e , showing d mwelopment an mnwur.
solution
CHPrPTER X I
METHODS OF ORGANIZATION 1. Common tone connection 2. Common upper structure
3. Harmonic rhyrhm of the chords 4. Melodic rhythm of bass line
5. Darkness and momentum cadences (see p. 60) 6. Overall harmonic rhythm - vertical, pIateau, etc.
7. Point of cIimax 8. Relationship of first to last chord
CONTOUR BY HARMONIC RHYTHM I. Repose/Transition - Gives shape by contrasting fast and slow harmonic rhythm. 2. Repose - An area within the chord scheme in which there are two or more chords with the same root (pedal point) or only one h o r d for a bar or more. Like linear modal, chese are areas uf inacrivicy and rest.
3. Transition - Areas with nvo or mare chords wirh different roots, or chords of short duratian, usually changing one bar or Iess depending on tempo. These are the areas of activig and are usually vertical mo$aL Tonal harmony is also found in chese areas. 4. IF repose areas are long, a bass part vamp may be needed to add rhyrhmic interest.
5. Transition areas shoutd be devised to increase tension just prior t o a repose area+
CADENTIAL AREAS 1. Should be placed jnsc prior to repose areas or at the ends of phrases or sections. 2. Use darkness/brighcness for longer areas. 3. Use momenmm, 11-V,TI-v-1parody cadences where smong "finality"is desired 4. Use melodic rnanipuIation to enhance rhe above or where subde contour is desired
'POINT O F CLIMAX It should be mentioned, now, that a main goal of the harmonic coneour is ro provide h e
improvisor with a "map" EOassist in creative development of the improvisation The harmonic and rhyrhmic contour should be designed with that in mind
A point of cIEmax, a place where the emotional intensity is ar its peak,should be plomd Refer cothe following examples for an indication of general area of place men^ I d d y , the decision will be made by rnamre musical j u d p e n c UsuallyIrhe climax is found ar the end ofthe most intense transidon area T USE prior ro lche most relaxed repose area.
CYCLIC FORM Again, with the improvisor in mind (who most likely will b e y ? ) , in order t o make it e a s y to punctuate a chorus of improvisation and allow the setting up of a new chorus, it is recommended chat the first chord and the last chord ofrepeated sections relare in a w a y that assures an easy access to melodic voice-leading. The clearest means is For the last chord oFa section have a dominant function to t h e target chord (firsr chord OF the repeated section). The last chord should be buiIc on a loot that is a firth away, a tritone, away or of an upper o r a lower neighboring tone with a modaliry that is darker or has less stabiliry than the target chord. For exarnpIe, if the First chord of a section is F Lydian-augmented, rhe lasr chord could be C
HARMONIC COHTOUR
Mixolydian sus 4, C Phrygian, E altered, or G b-1 1, to name a few possibilities. There are many techniques for doing this and more will be given in later chapters and in following examples.
Creating a harmonic conrour is the process oforganizing the chords, connected wich devices from the preceding chapter into a complete musical whole. Not dl rhe techniques will or should be used. The god is to create a set of chords that are beth musical and "playable." Armining beaug with simplicity is an amibute that is acquired with rnaturky. Before you are to create your own complete set of chords for a composition, we Will analyze a number of compositions to see how the composer accomplished the above procedures.
ANALYSIS OF EXISTING COMPOS3TlOEES Analysis ofthe harmonic ho~vsand whys ofa composition requires a comprehensive mastery o F d the concepts that have been covered so far. In addition, speed o f recognition will keep the process from becoming overbearing. OccasionaEly, the student can become disrressed, overcome by an apparent ambiguity created by the availabiIity oFso many ways ofexplaining how the harmonic contour is derived. Try 'to remember chat there is no absolute explanarion for any composieisnal method.
THE PROCf DURE Start by spelling out all the chords. Try to dewrrnine if US technique for chord consrrucdon was used. A listening to the recording, i f avaiIable, would be helpful but not necessary.
Look for a general melodic concour of che top notes of the chords. You may need some chords or change t-fie canstrucrion method ro give smoother voice-leading.
to
invert
When satisfied, wrire down only the cop and bass melodies and any pertinent harmonic dam: common US, important color cones, etc. Analyze the bass, then rhe mp melodies.
Make note of melodic devices that may be of importance: 1. Morific development: sequence, repetition, etc. 2. Symmetric patterns
4. General directional contour
5. Active and tcnse or relaxed Arrange the chords in a way that the harmonic rhythm can be vlsua1ized: long values as whole nor-, short as a quarter. The chords do not need re be spelled with the original note values, but iFthere is an important vamp figure, do write our the nore values. If &ere is a long area wirh one chard only, label the duration by measures. And Iasdy, number each chord for reference. Once the melodic anaIysis is compIere, refer to all the methods presenred in rhe previous few chapters and Iabel: common tone, repose/transition,common upper structure, etc.
Hopehlly, studying the folIowing txarnples wiIl clear up any conFsion. The first four examples are compositions similar in harmonic syle a d emotional content. Their harmonic rhythm comes close co the prototypical verrical modal in areas, iF not rhe whole rune. They can generally bc described as having a generally darkly romantic mood, varying according to tempo and key. They are all free-farm, chromatic, wirh no clear key center, although one couId pick a pivotal key area from cheir beginning and ending chords. They a11 contain a good variety of modes. The second group ofcornpositionshas a more *open"harmonic rhythm, with the first wo of
CHAPTER X I
&ern clearly plateau modal and the third almost within the linear modal category. In addition, rhe Ersr chree of this p u p are more "traighr aheadn player's tunes, each with subtle ties ro qualiries that are cypical of
bebop tunes.
The last mne of this group is representativeof the European-influenced ECM svle olcornposition, with a few subtle references to Arnetican fotk harmony. Each composition ro be analyzed will have an exampte of the chords spelled out with harmonic rhythm but nor all the rhythmic fipres. T h e example should be sufficient for reference. Also, the chard spellings are not direct transmip~ionsbur quire close in mwsr cases. In the actual analysis with comments, using the harmonic synopsis as rehrence marerid, one could get very deraiIed wich compositional analysis, with references t o all the esoreric theory merhods at one's disposal. Shenker anaIysis, the "Lydian Chromatic Concepr," etc. The thrust of the following is to "ger to the poinif and keep it simple.
In addirion, keep in mind that the goal OF harmonic contour analysis is ro discover how the composes of these great tunes used the merhods thac have been given in previous chapters of this textbaok.
7, RUTH"
- RON MILLER,1969
This composition shows an influence of the Herbie Hancock tune "Little One," found on the recording Madm Voyage-Irs pcedominant theme is that of gentle romanticism, Er is a throughcomposed waItz, 36 b a s with no repeated sections. Its harmonic rhythm, fairly symmetric and fasf, can be described as vemcat modal Example 11 -1:
13
14
75
16
17
18
19
R
20
21
(8 bars)
COMMENTS A. BASS MELODY: CHORDS:
1-3 46
repose (pedal point), skip of a fourrh to...
...rransition area, downward chromatic melody, relaxes to...
22
H A R M O N I C CONTOUR
...repose, slightly higher center, preparation Far acciviry very active transition area, dominant cycle sequence or 10-12, increase of rension inversion of 9-10 very relaxed repose area with Iow tessimra melodic figure, occurs always, acts as signpost or "hook,"also short transition ro... long repose area, root has desire to resolve ca... the first chord of the m e
...
B. TOP MELODY CHOrnS:
1-6 7-9
10-12 13-15 14-15 16-18 19-20 21
common tone connection upward mebdy, increased tension continued upward trend, increased tension, 11-12common cones sequence of 10-12 common rone connection downward flow, relaxing, 16-21 Ab Ionian recurring melodic idea, signpost or "hook" doubling of bass emphasizes sense OF finaliy
CHORDS:
3-6 1-4
common inner structure common diatonic source - Bb Ionian,Ab Tonian 5-6 chords voiceled 7-9 darkest area, diatonic source: Eb Ionian 10-15 quasi-dominanr:cycle, wry active, serting up the.. 15 ...point ofclimax 16-18 upper strumre trirone pattern - Db/Eb, G/Eb, Db/E6; diatonic source: Ab Ionian 19-20 no chord - '?lookn melody, poinc OFreference fmal chord, exotic yet dpminant sound, desire to resoIve to first chord 2L
D. GENERAL QUALITIES,
EMOTIONAL CONTOUR
1. Syrnrnenic repose/transition areas 2. Diverse rnodaliry, clear emotional contour or "map" 3. Three main diatonic areas
- Bb, Eb and ~
b impIied , cyck
CHOrnS:
1-6 78 10-15 16-18 39-20 21
I) k n y Golson cornposi~ion
gende, romantic dark and mysterious increase acdvity and tension, almost swinglike quire romantic point of rehence exotic, "colors" area
The above e m o t i o d contour provides a dear "map"for the improvisor as we11 as the listener. Keep this in mind when creating your own ser of chords. By mapping out the diatonic acoustic sources orall the char&, one mn both gain an insight into the harmonic contour and determine a source of substitute chords. As an example, the first chord, F13sus4 implies F Mixolydian with t h e source ofBb Ionian, so che first chord could be Eb Lydian, D Phrygian or any of Bb Ionian's modes. The second chord, F Aeolian's source is Ab lonian, so che substitution of an Eb Mixolydian 13 for that chord does work well, in f a n it is used ocsasionalIy to get a "Killer ~oe'")sound,
CHAPTER
XI
Example 1 1-2: "Ruth" by Ron Miller
F Aeolian
F9sus
I3b Dorian
G Phrygian
DJsus
Eb Lydian 8.5
E7sus
Gl3sus
~bgsus
(hold for 7 more)
HARPIONIC CDNTOUR
2. MIKELLS')- 30EY CALDERAZZO. ca. 1989 Having symmetric harmonic rhythm and overall positive emotional stance, this is a nice tune," the harmonic rhythm is fasr enough to imply vercid modal. Example 11-3: Phrygian 16
1
bb
2
lonian
Lydian
3
Phrygian L;6 Lochan V Mixolydian 14 minor 11
5
4
6
7
lonian
Lydian b3
8
lonian Mixolydian sus
9
Lydian b3
10
11
lonian
COMMENTS: A. BASS MELODY CHORDS:
1- 5
repose, with pedal point, the ~b is diatonically related to the C pedals, both are related to Bb melodic minor 6 - 7 a short transition area, d o w n u d flaw, heading For... 8 - 11 ...an ending to the first emotional area 12- 15 four note motif, new area, new mood 16-19 repeat OF 12-15 20 exrension of 19 for cadenrial purposes
CHORDS:
1- 9 10-11 12- 15 16- 19 19-20
diatonic melody derived From primary color tones common tones upward contour, positive building of intensity, Spanish tetrachord repeat o f 12-15 common tone by repetidon
C. HARMONIC MATERIAL CHORDS:
1-5
modes are dl diaroIlicd1y related to Bb melodic minor
6- 7 7-8
voice-led with some common inner connection Bb Mixolydian #4acts as tritone substicute resolution to A minor paralIel movement
-
1) h r n in 77n DOGTCCDP 95738
8 9 10
resolution to the relative major
CHAPTER
XI
the dominant V chord o r the next section 11 12- 13 parallel chords, implied plateau modal parent source is harmonic major (see Chapter X V ) 14 16- 19 repeat of 12-15 closest there i s to a point of c l i w rather subtle 19 20 cadence through repose, as last chord, resolves to first chord as upper neighbor and
diatonic relation 0.GENERAL Q U A m E S
I. There are similarities between this tune, "Ruth," "Pee Wee," and "Helto Goodbye": root relationships, emotionaI effect, and similar key cenrers. Looking them over, try determine the common source of inspiration.
KI
2. The emotional, mapping is simple with two areas: she first, chords 1-11 a little dark and subdued because of its genera1 modality and because of irs slorv harmonic rhythm wirh repose by pedd point and because of its having lirrle b a s melodic contour. Chords 12-28 ate mare active both modally and by bass melodic contour with faster harmonic rhythm
3. Another through-composed rune, the form is symmetric with two semons: A- 14 bars and B- 10 bars, Example 11-4: "Mikellks by Joey Calderano Phlysirn J6
Phtygian b6
minor 11
Phrygian \6
Lydian
minor 11
Mixolydian sus
lonian
lonian
aIonian
lonian
Lydian b3
Phrygian b6
lonian
Lydian b3
Locrian b2 Mixolydian
(Lydian)
Ionian
k
nAanoNlc
3. PEE WEE'"
CONTOUR
TONY WILLIAMS
This gentle waltz has symmetric harmonic rhythm and has a few areas o f quasi-Functional chord movement, which is typical of a composition that is rransitional From tonal to modal
chromatic. Example 11-5:
2
1
3
4
5
7
6
1
a
9 I
Pedal
h
Lydian
lonian
Mixolydian b9
Mixorydian
lonian
Aeolian
Lydian 12
Mixolydian
Lydian #5
U
I1 u
Repose
A. BASS MELODY CHORDS:
1-3 4-7
repose area (pedal point) chromatic, Fairly slow transition area, increase oF tension
8-10 repose area 11-12 transirion with cycle of M h s 13-14 repose area 15-17 transition with signpost "boor occurs at all times, including improvisarion (see "Ru~h"and "Teru") 18-19 last repose area 19 resolves to first chord by modal shift wirh pedal point 3.TOP MELODY CHORDS:
1-2 3-4
5-7 8-10
11-13 13-14 15-17 1) 7 7 S~ m~ m r Miles Davis
CoIurnbia CS 9532
17-19
common tone connection
common tone chromatic melody upward inversion of 5-7 sequence of 8-10 common tone strong leap downward, cantrary motion to bass melody, a "hook" motif, a~ found in many compositions form of inversion of 15-17,a remm co starting place
CHAPTER X1
C. HARMONIC MATERIAL CHORDS:
1-3
3-4 5-7 8-10 11-12 13-14 15-16 17-19
increase in tension common US, brighr to darker common US
common US, cryptic cadence, (see Chapter XPII) quasi 11-V(D-7 to 67b9 KO C-T) cycle of Lydian chords repeat of 8-9 common inner smucture, point of climax tritone related common US ( F / G ~to B/Db)
D. GENERAL qUAUTIES
1. In spite of its symmetric harmonic rhyrhm arid itr ties to funcciona1 harmony, this is a &ff~cultt u n e to play. 2. The 3-bar phrase a t the end is unusual, giving the tune a 21-bar through-composed form. 3. The emotional contour is_ nor e x m e , but the inserted cycles do give the harmonic
rhythm a bocsr. 4. Ir seems to have been composed purely by intuici~n,without much pre-planning.
Example 11-6: "Pee Wee" by Tony Williams
Db Lydian
05 Lydian 115
HaRHONIC
-
CONTOUR
4.TERU" - WAYNE SHORTER This is a very slow balIad, based on the n-adiuonal song form; i t has an AABR form bur the bridge has only seven bars. Example 11-7:
Aeolian Mixolydian Phrjgian Mixolydian lonian minor
M~xorydian ...... Lyrlian $5
0
rnm.11 ...... Phiygian.......
altered
...........-
Mixolydian
lonian
Lydian #5
COMMENTS A. BASS MELODY CHORDS:
I 2-3 4-9
10-ll 12-13 14 -16
17-19
20-2 1
a f 3 1 bar of Gb Lydian at the slow tempo shows repose
an imporcant "hook" or signpost of the composition an acEive ttansition area with an active bass mebdy downward, rehation toward the cadenrid repose area pedal point bass repose area, cycles to Erst chord by lower neighbor tone (leading-tone effect) pedal point repose area increase of m i o n wirh upward and acdve transition area, f i e staccato on chord 19 effectively sets up the release o f the tension at bar 20;the downward minor third skip ro chord 20 enhances the result the final repose cadence, rhe last chord cycles co the first by upper neighbor tone
6. TOP MELODY CHORDS:
primary color tone contrary motion to bass is effective in increasing tension 49 definidon cones 10-11 common tone connection 12-13 common tone connection 14- 16 d o w n w r d resolution of melody clarifies modal cadence 17-9 color tones 20-22 sequence of 14-16
1 2-3
1) Adam'rAppk Wayne Shorter Blue Note BLP 4232
CHAPTER
X1
CHORDS:
I
2-3
49
10-12 11-12 12-13 14-16
17-19 20-22 20-21
bright but tense a form of 11-V cadence, derived from a voice-leading method a good example of modal conrour and IT-V cadential parody, the Phrygian to Mixolydian ( 4 5 ) is a diatonically related cadence, with the acousric source being C Ionian. The Phrygian could be choughr OF as D Dorian over E, so it 1s a typical U-V with substituted root for the II chord The Mixolydian to Ionian (5-6)EoIlows the normal modal conmur ofa diaton~ccadence bur with free-form coots parallel Mixolydian chords moving a minor third is typical a dominant cycle of Mixolydian chords another parody cadence modd contour, parwdy d e n c e V-1 parallel chords, cEosesr rve have to a climax at bar 19, effecrive for setring up the FoIlowing dark area like 14-16 bur more extreme in modal resolncion the darkest part of composicion
D. GENERAL QUALITIES
1. Good variety and contrast of the modes. 2. With a quite chroma~icbass melody and short or no clear areas of emauond definition, this is vertical modal.
3, Good use of "honk,"signpost areas. Example 1 1 -8:"Teru" by Wayne Shorrer
Gb Lydian
F Aeolian
El 3no3rd
CI
MixaIydian sus
Lydian $5
I
C13sus
Locrian h2 minor 11
Phrygian
lonian
-3-
Ll3sus
lonian
minor 7 1
I4ARMOHIC CONTOUR
5. THE 'LIEB"- RON MILLER. 1984 This cornposision, wrinen for saxophonisr/composer David Liebman, is representative OF the plateau modal category with a vertical modal bridge. The emphasized modalicy is Aeolian, with a medium tempo; the overall mood is dark rornanricisrn. This tune could be described as American ECM. Example 11-9:
1
Mivolydian
Lydian E2
Aeolian
2
3
Lomian C2
5
4
6
sus
7
Aeolian
Lacrian bZ Mixolydian
8
9
70
71
(8 bars each)
12
13
(8 bars)
COMMENTS This being a plateau modd composition, the only significant harmonic movement is in the bridge, which is vertical modal. A. BASS MELODY
CHORD: two plateaus oFAeolian, a whole tone apart, the downward change creares more dark1-2 ness, a tritone skip down to next chord creates tension 4-5 drone skip, inversion of 2-3 3-8 a general upward mend, preparing to ser up a point o f d i m a x 7-8 sequence of 5-6 9-12 a definite stansition area, the movement is faster, upward, foIlowing a Dorian tetra-
chord 12-13 the normal resolurion here is for the melody t0 resolve up a semitone, rhe skip is un-
exped 3.TOP MELODY
CHORD:
1-2 3-4
primary color tones
4-6 7-8 9-12
common cone
same
13
common tone upward movement, Ionian tecachord, serting up climax highesr: poinr in the harmonic melody, dramatic
C. HARMONIC MATERIAL CHORD:
1-2
3-4 4-6
7-8 9-12 12
plateau Aeolian, dark,soft strong contrast, bright, tense, hard D b/D to Gb/Ab, cryptical cadence Db to Gb V-I US,chords 5 and 6,common US except Far one note of voice-leading Gb to P sequence of 5-6, up a miner third, overall posiuve resolution fasr moving chords, all sus, positive, sets up climax point of climax
CHAPTER X1
12-13 a kind of cryptic cadence (see chapter on slash chords), with a lower neighbor resolucion with the upper strucmre and a minor third up in the bass, a kind of sequence of 5-6 D. GENERAL QPJALmES 1. Dark, ECMish feel, New York Qna drizzle
fded autumn day
2. As is all plateau modal tunes, rather simple, bur nice to "blow" over
3. Fairly symmetric in Form, 8, 8, 16, 8, sectional through-composed 4. Emotional "map" CHORD:
1-2
3-5 5-12 13
darkIy "hipnto darker slightly "wrinkled," gercing hopehl doubthI love becoming full of hope dramatic
5. The rnaduhcion, change of key from the opening A A e o h ta the ending Bb Aeolian, contributes to the overall dramatic effecc of this rune and was a strong Factor in the plan of arrack when composing it. kample 11-10: T h e tieb" by Ron Miller
G Aeolian
O D b Lydian 42
B Mixotydian sus
D Lydian #2
Bb Locrian b2
Afi
Mixolydian sus
Esus
G Locrian h2
Rus
Gsus,
HARMONIC CONTOUR
6 . IC
O N THE LAND - RON MILLER This is a plateau modal cornposirion written for s ~ o p h o n i s c / a ~ t h o r / jeducaror ~ ~ ~ z Jetry Coker. Its overall modal qudicy being MixoIydian, it is one of the many placeau modal compositions that can be compared to Herbie Hancock'sMMaidenVoyage." This is only in the overad emotional quality associated with the Mixolydian mode as the following will show.
Example 11-11: Mixolydian h4....
Mixolydian h6
Mixo!ydian W
min.1 1 Mixolydian...........
Mixolydian qQ.........
Mixolydian b6 Mixolydian
rnin.7 1 Mixolydian
............
A. BASS MELODY CHORDS:
outline of a diminished triad, or a skip down a micone, cycling back to the starting note by minor thirds 46 common tone bass 7-9 passing tones to the czdential B root, notice that the entire bass melody of the A section could be derived from the diminished s d e 10-12 relaxed, downward contour, set* up an active area 12-14 a 11-VcycIe,12-13 to a substitute I chord (parody cadence) 15-16 is a signpost '%hookn 21 referring ro 13-14, the resolution ro the C is dramatic and sets up the turnaround ro 3-4
resolve co Ab 22-24 derived from 15-17, this is set up to resolve to the firsc chord of the tune 8. TOP MELODY CHORDS:
1-6 derived from color cones or voice-kading 7-9 contrary motion to bass melody, enhances cadentia1 quality 10-12 chromatic down, 10-31 a form of voice-leading 12-14 voice-leading a 11-Vto parody V-I 15-17 contrary metion 17-20 same as 10-13 22-24 secting up firsc chord of t h e composition
CHAPTER X I
C . HARMONIC MATEREAL CHORDS:
1-4 46
7-9 10-11 12-13 14 15-16 17-20
21 22-24
pardlel Mixolydian chords, 4 bars each, this is pIaceau modal the common use OF Mixolydian \4 ro lMixolydian 84 to Mixolydian b4, ir creates a positive emotional effecl: due to the brighrening of the fourth a minor third up is a very positive and typicd resolution of Mixolydian sus chords {remember "Maiden Voyage"?) raking the G Mixolydian b6 co be a C-A over G,this is a cvptic 11-V cadence, the cadence being C- ro Fsus a diatonic II-V, this parr is in fact a swing styIe section showing a rie zo a traditional hard bop aesthetic a substitute urger chord for the E-V a turnaround ro... ...a repeat of 10-13 a higher t a d center of chord 14, creates drama a turn down to top of tune, the note durations are set up to create cension which resolves wizh the first chord of che tune
a. GENERAL QUALITIES 1. Having symmetric plateaus oFessentiaIly rhe same mode, this is an example of plateau
modal, same mode. In addition, because each plareau has the same mode, the tune is similar to linear modal in that there is one overall emotional, effect. So this tune, like so many inspired by "Maiden Voyage," has the same emotional qualities as "Maiden Voyage" wich subtle differences. Refer to "Why Wait" by StanIey Clarke, '"Twelve More Bars" by Wayne Shorter, and "Follorv Your Hear? by John McLaughlin. 2. The tempo, rhythm section style OF playing, and the U-V sections make this a "blowing tune, in t h e hard bop tradition.
HARPlONlC C O N T O U R
Example 1 1-1 2:
"JCOn The Land' by Ron Miller
Ab Mixolydian wr
D Mixolydian sus
A
Ab Mixolydian b4
F Mixolydian sus
Mixolydian b6
B Mixolydian 5us
A13
F Mixolydian
Ab Mixolydian U4 Ab Mixolydian $4 Ab Mixolydian 14
Bb sus
E-1 I
A
A13
Csus h
F Mixolydian sus
mMixolydianb6
Csus
Bb sus
Asus
A
h
CHAPTER X I
7, PUMPKIN"
- ANDREW HILL
This very hip and dark composition almost fails in the linear modal caregoy. It is basically song form, but the A section has 10 bars. Addinonally, ir has a functional harmony (11-V-I) bridge and is a great example oFa modal tune with ties ro the traditional bebop aesthetic. Example 17-13:
1
2
3
4
5
6
T 7
. 8
9
( 6 bars)
COMMENTS A. BASS MELODY CHORD:
1-3 4-6
simply a root with a 11-V turnaround a trirone figure, che signpost "hook" OF this tune
a repear of 4 6 10-16 being m n d harmony, the melody is diatonicalIy related, defining the cycIe ofkeys: Eb to Ab to Db with the resolution ta Db made with tritene substitution
7-9
6.TOP MELOOY CHORD:
correct voice-leading of functional harmony active motive of the uhook" 10-15 again, wice-led functional harmony
1-3 4-9
C. HARMONIC MATERIAL CHORD:
1
2-3 4 3
6 bars of D AeoIian, clearIy perceived, this is linear modal, the emotional quality of Aeolian: dark and melancholy, is additionally tense due m the very €att e m p ofthis tune a turnaround cycle common upper srrucrures
H A R M O H I C CONTOUR
10-11 cycle of Ionian chords 12-13 rritone substiturd 11-V to Db (sub for Eb- to Ab13) 14 completed cycIe of the key centers: EL ro Ab to Db 15-16 a "stand alone"W ,resolved melodically, nor: funcuondy D. GENERAL QUALITIES
1. Because of general modaliv, ~rempo,and rhythm seccion style of accompaniment, chis is avety sophisticated compositian wMe sdlI being fairly simple in cansmction. This rune could be described by purists as the "real thing." Referring to the "Tree O f Composers"in the appendix, you can see rhat Andrew H a is influenced by M o k This tune is evidence of that. 2. Because oFits ties ro madirional bebop, this is a good "player's m e , " but it i s verydifficuIt M
play.
3. Thc emotional map is simple with three parrs, t h e dark Aeolian section, the quirky *honk" vamp and the energetic exvbemce of the 11-Vsection. Earnple 11-14: "Pumpkin' by Andrew Hill
D Aeolian
Phrygian Locrian Mixolydian
CHAPTER X I
8 . TOUCHSTONE" - RALPH TOWNER T h i s is anorher shorc, compact, gem o f a composition by one of the contemporary "master" composers. It starts out as pIazeau modal and compresses rhe harmonic rhyrhm to become vertical.
(2)
Mixolydian
(Z)
Lydian 15
lonian B6
Lydian 15
Lydian 85
Phwian
(2)
COMMENTS A. BASS MELODY CHORDS:
downward
1-2
a short 2-note motif,
3-4
a sequence of 1-2
45
a relaxed resolution down a major third
6-7 8-9
outline of a C major triad, increase of tension with the skips pedal point, clgar modal contrast and resolution
8. TOP MELODY
CHORDS: 1-3 common tone connection 4 - 6 general upward trend to increase cension
common cones a step downward For cadence
6-8 8-9
C. HARMONIC MATERlAL CHORDS:
I -3 3-4 5
6-8
8-9
common inner structures abrupt increase in tension (index =? 1 to R 8) use of exotic chord, Ionian b6, harmonic major (see Chapter XV) good example of tension index contour, the increase in tension setting up the final cadence crypFic cadence, upper smcture resolving dotm, index 1:9 to R 1
D. GENERALCOMMENTS 1. The overall tension cantour is derived from an inmasing compression of che harmonic
rhychm. 2. Good combination of tense,stark modes and clear open nonmodd chords. Ic sounds like i c was composed on the guitar.
C-IARHONIC
COHTOUR
Example 1 7-7 6:'Touchstone" by Ralph T m n e r
HARMONIC CONTOUR - CONCLUSION One 05 the besc methods for learning mrnpwsitjon is to transcribe compositions wirh harmonic m a t e d "above" one's I d OF abilities. 1.c is dificult because it requires going that "extra mile," but the gains are well worrh the pzin. A very beneficial project would be co transcribe a section of a ~travinskypiece or a section of a Gil Evans arrangement. Of lesser difficul~y,but of gear benefit, is to analyze a number of better compositions, chose compositions r h a ~have Ehac special quality that attracts a listener and becomes a classic, which is what has been dane in the last few previous pages. When creadng your own compositions, c y to organize the harmonic materials with the following:
1. Through-composed, with symmetric sections, but not necessariIy even numbered bars. 2. Modal chord movement that is easily voice-led. 3. A chordal o r melodic figure chat offers a signpost, or "hook" for the listener and improvisor. 4 A clear point ofclimax, note any similarirks of climax location in the previous examples.
5. A rounded harmonic farm - last chord resoIves m the fist chord 6. Keep the harmonic material simple enough For others ro play or your tunes will nor be played without coercion. 7. Have a clear emotional or programmatic "god" in mindwhen creacing your composition.
Review the previous composirions wirh rhe above in mind, ask if, in fact, rhe compositions satisfied the proposed guidelines.
CHAPTER X I
SUGGESTED EXERCISES
1. Using the included set oFchords for the composition "HcIlo Goodbye," analyze as in the previous examples. ''Hello Goodbye" is composed by bassist Ron McClure and Found on the recording The Sun and Moon Have Come Together, (Harvest SKAO-423) by a group caUed The Fourth Way, wirh Mike Nock, piano; Ron McCluse, bass; Michael Whlte, violin; and Eddie Marshall, d m . 2. Look at rhe included harmonic synapsis of the composition "Litde One" by Herbie Hmcock. Compare this with "Rurh," 'Mikell's," and " H e o Goodbye." Make as many cornmenm about similarities and differences as you can. T h e tune is found on Herbie Hancock"~Muidea Voydge recarding if you wanc t o hear ir for reftrence.
3. Analyze any composition of your choice, one that you find redly inspirational. At this point ic is time to create rhe first composition based on the concepts a€ the previous chapters. In addition, you should analyze the finished C O ~ ~ ~ O S as ~ Rthis O ~is, of great benefit in pointing out both strengths and weaknesses as we11 as helping to clarify a developing styIe.
HARMONIC CONTOUR
Example 1 1-1 7: "Hello Goodbye" by Ron McClure Locrian h2
altered h6
Id
*eolian
altered b6
Phrygian h6
Mixofydian
A
altered h6
altered b6
Lydian
Lydian 112
minor 1 I
CHAPTER
XI
Example 11-1 8:#tittle One" by Herbie Hancock
US
Solos
F(4)
F Aeolian
F(4)
FAmlian
Phrygian
d-11
Phryg~anh6 Phrygian b6
~ 5 9 ~ s F-1 7
G-1IfF
I
R (Vamp)
n
II -v;
C PhrygianlF
T (min.3rd)
Aeolian bS
U
R
C H A P T E R XI1
The Modes and Chords
of Altered Diatonic No. 2
c Minor)
CHAPTER XI1
Using Ehe tetrachord method of consrruction, the remaining three tetrachords are used in the construction process: harmonic, Hungarian major, and Hungarian minor.
THE TETRACHORD FORMULAS
Because of the amount of alteration, the order oFdarkness is nor obvious by looking at the
retrachord formulas. The best process is to compare each mode to its immediate predecessor and determine its quality by rhe aIreration. As an example, Aeolian b7, having the seventh sharped, would be brighter rhan Aeolian. In addition, the number and placement of tritones in the mode will affecr its stabiliry. Norice rhat Aeolian b7 has two critones: D ro Ab and E to B. This would make it more active than unalrered Aeolian. T o restate: Learn to hear these modes and their chords as a form of alcered Ionisn (Ionian $5 or Ionian b3, b6). Gcarnple 12-1: The Modes aF&e Altered Diatonic No. 2
Aeolian 47
altered bb7
Locrian h6
- Harmortic Miner (lonian 63,b6)
lonian B1S
T H E M O D E S A N D C H O R D S OF H h A H W N l C M l H O R
CONSTRUCTION O f THE CHORDS
OF HARMONIC MINOR
(Altered Diatonic No. 2, Ionian #5, Ionian b3, b6,Harmonic Minor)
These are mixed spacings which include use of the grip methad of chord construcricn.The following tabIe of coIor tones is derived again, by camparison with the parent Ionian mode.
THE TABLE
i
At least rhe fmt t h m of the cones are needed to define the mode. The order of the last three
i s noc strict.
CHORD EXAMPLES 1. AEOLIAN h7 - A brighter form of Aeolian, but less stable. One of the most used of this
Example 12-2: C-A $6
,
-
A Aeolian hi'
2. LOCRIAN Q6 Brighter than Locrim b6, not seen too much, it could be used as a substitute for auxiliary diminished. Example 12-3:
C
Locrian h6
3. IONFAN #5 - Tends co sound like Lydian-augmentedb4,so it is a s o f t e r s a ~ n d i n Lydian~ augmented or a less stable Ienian 44. It can be used as a substitute €or a Lydian-
augmented chord in mart romantic
4. DORIAN 114
- A brighter form ofDorian, it had use in pw-modal compositions. The first
chord is found in the Horace Silver tune "Sweet Stveery Dee" from Silver's S m a d e .
B Dorian 94
5 . PHRYGIAN b3 - A brighrer Phrygian, it can be used with rhe auxiliary diminished scale.
Z)ccasianalIy used on club dates.
G Phrygian 43
E7addb2
6. LYDIAN 12 - Mosc often used as a slash chard (VII/I). Note the optional substiturion for &mished scale aver a Mixolydian 99 chord (chord 2). This chord is aIso known as diminished major 7. a
Example
12-7: D Lydian $2
- 92
DOA
CHAPTER XI1
SUGGESTED EXERCISES
1
I I
1. Construct a number OF chords with all spacings; include a number of grip method consrmctions.
2. Play all the chords with an ear training goal in mind and try to identify their use on
recordings,
THE
MODES AND CHORDS Of
M A A H Q H I C HIWOR
7. ALTERED bb? - Its best use is as a slash chord (vr/I). It dso is closely related to she Mixolydian b9 chord and can be used rhac way. Example 12-8:
C altered bb7
This group ofchords is rhe first of the groups of esoteric modes and chords. Harmonic major and melodic minor 85 are the last two. The theorist experimentalist among you might warn to work with the rnodes/chords of Ionian #2 as weU. Although rhe modes of harmonic minor have been used in improvisation the chords are not found that o h n in compositional use. The chords ofharmonic rnajor and melodic minor 115 (Ionian b3,#3) are used by only rhe most adventuresome of today's composers. David Liebman, Richie Beirach, Ralph Towner, Kei& Jarretr, and Joey Calderazzo occasionally use these chords. Check out their recordings.
The emotional description of these modes can be determined in the same way as with aU the alcered modes: thac of raking the descriptions of the parent unaltered modes and considering the alceration as an enhancement. As an example, Phrygian b3 is brighrer than Phrygian 46, both brighter than Phrygian b6. The brighter the alterarion, the higher the degree of rension. Phrygian 66 is considered dark and mysterious, Phrygian \3 is not as mysterious due to its more "open: bright qualityI bur i s stdl exotic. Since there are multiple alterations in the last three sets ofchords, clear categorization is not so easy. It is best to group the chords by ear. Before we construct the modes and chords of the remaining two p u p s we will look ar one more harmonic connecdon/composition technique: slash chord harmony.
CHAPTER Xlll
Slash Chord Harmony
Slash C
!. Polych 3- <
4. Sy
5. Tension C
CHAPTEA X l l l
Slash chord harmony reEen to the harmonic style in which the chordal relationships and overall development can be applied separately rw the upper structure and bass parrs o f a group of chords. A slash chord is a m p a r t chord made up of an upper srructure over a bass nare. T h e "slash"in the name refers to che standard chord symbol For this kind of construction: a lercer representing rhe upper chord's tonality and a lercer representing a single bass pitch, separated by the slash character. EXAMPLE: E/C, A7/P, Db/C, eEc.
Slash chords differ from polychords in that poIychords are nvo- or three-part chords in which each part can be a whole chord. The notation for a polychord is a lerrer separated by a horizontal line. EXAMPLE: D
C7
D-9 GCb
Ak F-
-
Iris the slash chord thar is used most oFten in modal harmony and,in addition, it i s the major triad chat is irs upper structure. The emphasis of rhis chapter is on slash chord usage with triadic US.
CHORD CONSTRUCTION The construction of slash chords follows the same process as Found in the chapter on the grip merhod. If you refer ro that chapter you will find rhac t h e basic rnajor triad in first inversion is one of the listed grips, A n entry level grip, the triad a s upper structure has predominant use in the harmony of pop and pop-jazz compositions. The sonority of a consonant triad over a root is stark and sametimes creates missing note, non-modal chords, but has a desired beaury because of irs transparency. To comrmct slash chords, it is suggested char the student learns the ratio of upper structure to root and its implied modality. As
an example, a Lydian-augmentedis a m/I, or major niad
a major third above the rooc E/C. The following is a c o n s t d o n of major Eliads over dl OF the nores of the chromatic scale, offering all possibilities of consmction.
In addition, the chords are placed in an order ofincreased rension as determinedby subjective class poll. Because all ofthe upper strucmres have the same sonorig, their order is dfecred by both modal contour and sonuric tension/relaxanon.And because the rnodali~,in most cases, is obscure, the tension order has priority. L e a n the ratios and the tension index number. Example 13-1:Slash Chords
I
Tonian
Mixolyd~an Lydian
Aeol~an
Lydian 95
Phrygian altered Cb7
tocrian
Lydian !2
SLASH CHORD HARMONY
CHORD CONNECTION Since the means o f chord connecdon for upper structure chords have been covered in a previous chapter, only rhe new methods, pecuIiar to slash chords, wiIl be shown in this chapter. Review the methods in the chapwr on upper s m c t u r e chord cannection if needed. The additiod methods used in this chapter are rhe resulr ofrheway that ghaups OFchords with transparent sonoriry need ro show a sense of development
HETHQDS O f CONNECTION 1. Common upper structure
2. Pedal poinr 3. Modd conrour 4. Tension courour
6. Symmetric patterns
The first three are covered in previous chapters.
TENSION CONTOUR R~ferringto the tension index number rather than the modal contour,this is the organization of a group of chords, usually three to six, that follow a preset conrour of tense to relaxed, relaxed m cense, or a mix BE the m o . Note that this technique is used most in areas of transition just prior to a repose ama,bur could be pIaced anywhere. You must bear in mind the effects of other musical elements: tessituta, harmonic melody, harmonic rhythm, and tempo when composing these. Example 13-2:
TENSE
MO!X TENSE
REW(ED
CRYPTlC CADENCES This is the slash chord version of cadence parody as found in Chapter W. Rather than mimic modal comparisons, the point OF emphasis in this method is on the melodic aspem of the roots of the diaronic cadence and the resoIution qualities of voice-leading. The upper srmcntre, being a basic triad, always has its tonic as pan of the chord so can be created as a separate tonality. You can organize the upper structures as a V-1, the toots as a V-I, and both the US a d roots as Ieading tones resolving upward or upper neighbor tones resolving downward. It is the different ratios OF the US to the bass chat give a variety of results.
C H L P T E R XI11
Example 13-3:
Pmkofiev: Romeo &Juliet
SYMMETRIC PAmERNS Symmetry in itself defines a sense of organization. In addition, the transparency of the triadic dash chord in no way obscures the symmetric melodic contour, so i t is a workable combination to be explored here. There are many sources of examples of melddic symmemy available for reference. The most comprehensive is probabIy Tbe %atam of Scales and Symmehic P u f t m ~ ~bys the theorist Nicholas SIonimsky..
Of course, you have access to the symmetric scales of everyday use: the diminished, a u g mented, whoIetone and chromatic scales. You may find ic musicaIly advantageous co be able w compose your o m The process is mathematical, and quire applrcable to computer programming (see appendix).
SymmecricaI patterns are basicaIIy m o 6 6 t h a ~are sequenced repeatedly at an increasing symmetric ratio.
You need
to
select:
1. A basic 2 to 6-note motif (a)select number ofsemirones for interva[s
(b) select direcdons (up or down) (c) seIecc note d u e s
2. An interval o f sequence 3. R direction of sequence
T h e combination of t h e motif and the sequence interval gives the rota1 leng~hof the morif. EXAMPLE:
1. 2-note motif plus one for sequence. 2. F i s t note down four semitones (major third).
3. Second note up three semitones (minor third).
SLASH CHORD HARMONY
4. Sequence interval up three semitones (minor chid).
start:
0
d4
u3
(u3) d4
u3
(u3) d4
result:
E
C
Eb
Ffl
D
F
Ab
E
Getc.
mociE
ul
u4
d3
u4
d3
(u2) u l
~4
d3
A
F#
GB
CR
A# erc.
sequence:
u2
0
ul
u4
d3
(u2) ul
C
DL
F
D
E
result:
F
u3
A
To create symmetric scales, keep the mvuf length under three and keep them all in rhe same direction. A I-note motif is best.
EXAMPLE 1: motiE
1
sequence:
2
result
0
1
2
1
2
1
2
1
2
C
Db
Eb
E
Ffl
G
A
Bb
C
(aw. diminished scale)
EXAMPLE 2: rnotiE
1
3
sequence
2
resuIe
0
1
3
2
1
3
2
C
Db
E
F4
G
Bb
C(~vorkswithCalt)
HARMONIZ1NG THE SYMIMETR!C PATTERNS PROCEDURE Once you have created or selemd the symmerric patrems you will me, the process is co place the US triad with the top note following the symrnecdc melody. There are thirty-sixpossible modal tesuIrs of the combination of a triad over its root. There is the choice o f one of twelve semitones of the chromatic scale, where the top melody's starringnote is placed, multipIied by t h e choice of one ofr h e three inversions of the upper criad. Each one of those choices Ereaces a chord with modality that diffets from the resuIcs of another choice. The easiest way to begin is to determine a median range tessitura for the cop and bass melodies within their u s d y found ranges. As an example, if the top melody has six notes which span over an ocmve going downward, you wilt need to start the melody above the second C above rniddIe C.This wouId resuIt in the overall melody being in a median tessitum FoIlo~vt h e same procedure fur the bass melody. Once the tessintras are set, select a modalicy for the first chord. Refer ro Example 13-4(bar I), the first root is a C;by selecting a Gft for the srarting note oFthe top melody, with the selected inversion of che triad, the resulting rnoddity i s Lydian augmented.Had the top melody started an a G natural instead, the first chord would have been a C-7. You will need to experiment with various starting notes to create a group of chords wich aesrhetically satisfying modal contour. The harmonic results of chis technique are used in active areas of che harmonic scheme: rumarounds, the transirion areas that approach a repose area and, if the harmonic rhythm is slow enough, a s e t of these chords could be the entire content of a section.
CHAPTER
Xlll
&le 13-4: Harmonized Symmetric Patcerns
TOP: chromatic scale, down
Top: chromatic down
Bass: cycle of ficths
Bass: cycle
Start: Lydian-augmented
Start: Locrian bb7
Top: chrornaric down
Top: sequenced pattern
Bass: sequenced thirds
Bass: sequenced partem
Start: Mixolydian sus 4
Starc Mixolydian sus 4
Top:auxiliary diminished scale Bass: sequenced Dorian tetrachord
Starc Ionian, no 3
As you can see from the examples, the symmetric motif starts to repeac after a number of
chords. The modal contour repeats as welt When creating these examples,you need to include enough chords to show the pattern oFrepetitian.
S L ~ S HC W O R D H A R M O N Y
ANALYSIS
OF SLASH CHORD HARMONIC CONTOURS
The analysis of slash chord harmonic contours is pretty much the same procedure as with non-slash chord contours. In addition ro that which was covered with non-slash chord harmonic schemes, we will poinr our US to bass ratios, qmrnerric parrerns, and cryptic cadences. Where we had concern for brightness to darkness comparisons and momenmm contours, now we need to point out tension CQntOUiS. We will look a t four compositions, au have harmonic contours chat can be organized as slash chords and all have typically romantic meIodles (covered in Volume 2).
1. LOST ILLUSIONS"
- RON MILLER,1978
This is a very srark sounding composition, its harmonic construction being primarily derived From slash chords. Its tempo is very fast. T h e emorional intent is anger. There are two sers of changes, one h r the "head" and one for "blowing," chis is to make the irnprovisacion more accessible and gives t h e composition a s m n g e r sense of development. Example 13-5:
Blowing: A/F r!!
C#/A
F/G
E/C
E~/F
D/B~
DL/&
C/D
B/G
B~/C
CHAPTER X l l l
COMMf NTS (the
"head" portion)
A. BASS MELODY CHOWS:
increased rension with the upward skip passing note to set up tessitura of the bridge section 4-9 cycles sequenced down chromaticalIy 10-11 another cycIe, up a major second from last 12 upper neighbor to nexr section 13-15 common tone (pedal point) connection 16-17 rhe much used minor third upward movement 1-2
3
B. TOP MELODY CHORDS:
color tones
1-2
3-4 5-6 7-8 5-18
conrrary morion common mne common tone general overall downward chromatic melody, rhe chords of the bridge were derived from symmetric parterns: rap-chromatic down, bass-cycle of frfrhs 11-17 comman tone connection 18-20 upward movement to increase tension for resolution tu the top of the tune
C. HARMONIC MATERIAL CHORDS:
paralIel Lydian-augmentedchords, plateau modal, approaching linear the Lydian-augmented, Mixolydian sus combinarion thar is a result of the symmetric partern merhod of C O ~ S E ~ U C ~ ~ O ~ ~ 3-4 cryptic cadence-V-I in upper, upper neighbor down in bass 5-6 common US 7-8 common US 9-10 pattern, contrary motion minor third up for rop, minor third down in bass 11-12 common US 1-2
3-20
13-15 modal shift 16-17 common US and rhe much used diatonirdiy related Phrygian to Mixolydian 18-19 p a r d e l Mixolydian sus chords 19-20 cryptic cadence
a. GENERAL QUAUTlES 1. Although more plateau rhan linear, the emotional quality of Lydian-augmented-active, rense and bright comes through. 2. The bridge is still very active dde to the Faster harmonic rhythm - it is verticd modal and due ro the implied cycie, root movemenrs of a f i f i are the most active of any.
COMMENTS ON THE BLOWING CHANGES
Actually very close to rhe "head" changes, rhe differences are: 1. More syrnmerric harmonic rhyzhrn. 2. Clear cycle of fifths in the bridge with... 3. 4.
...a shift of the symmetric patrern ar chord 8 re &w.,. ...a dominant sus 4 chord as the last chord which \viU resolve to the f i s r chord, giving a "rounded" form.
A11 ofthe above show a concern for making lthe tune more *playable."
SLASH C H O R D HARHOMY
Example '13-6:"Lost Ilfusions" by Ron Miller
Lydian #5
Lydian #5
(4) A
Lydian 15
sus
Lydian l S
sus
Mixolydian...........
Lydian AS Mixolydian
Lydian 85
sus
Lydian $5 minor 17
Lydian 15
Mixolydian
Lydian 15
Lydian 15
L
Blowing changes: Lydian C5
Mixolydian
Lydian 15
Mixolydian
Lydian 15
Mixolydian
Mixolydian
CHAPTER X l l l
2. YELLOW f IELDS" - EBERHARD WEBER This i s a compact and dearly vertical modaI composition with good examples oFsIash chord formulas. The melody, not being romantic in style, adds ;tothe starkness of the harmonic
Example 3 3-7: C C/A
cL/A~
B/G
C/k
~ l l / E b B/D
A/F
min.11
sus
B~/B
~(9)
I:.
j:
I
I , '
! I
I
!
COMMf NTS A. BASS MELODY CHORDS:
f -4 5-6 7-8
duwnward srepwise, nondiatonic
the tritone skip down is very active, an impbed cycle upward minor third, contrary morion to top melody, a slash chord parrern 9-13 stamng high in the ressirura, the downward contour assists in serring up the climax 13-14 the root movement of a v-f
B. TOP MELODY CHORDS:
common tones common tones 5-6 implied voice-leading 06 a cycle 6-7 common cone contmry motion ro bass rneIody, part of a patrern 7-8 9-13 pardie1 motion to bass melody 13-14 contrary motion to bass, another partern like 7-8 1-2
3-4
C. HARMONIC MATEREAL CHORDS:
common upper structure, cense to less tense (9 to 6) common US, less reme to tense (6 to 8) 5-6 a hidden C triad CUS,use of a chord from melodic minor fl5 (see Chapter XV) 7-8 a pattern of top triad down a major second, bass up a minor third, also a release of tension 9-13 paralIel modal chords setdng up the climax on a very tense Lydian 82 chord 13 the point of climax 13-14 a V-I release of all che prwiolls tension, rhe sus 2 ( 9 no 7)nonmodal chord being very bright, relaxed and find; ;his is a great example of cryptic cadence 1-2 3-4
D. GENERAL QUALITIES 1. This is a vetywell written and compact compositian; Eberhard is one ofthe contemporary "masters."All his compositions show a great d d of inrelligence and musicality. 2. Being vertical modal, the emotiond COnEOUr is derived from other zpecrs rhan modaIity,
SLASH CHORD HARMONY
Example 13-81"Yellow Fields" by Eberhard Weber
Phrygian
Lydian $5
minor 9
minor11
minor 9
minor11
sus
3. SOLSTICE^)
sus
Lydian12
E9no7
- KEITH JARRETT ca. 1973
This very shorc, through-composed piece, ar first g h c e seems quire simple. But, as the analysis reveals, there is hidden darkness here. The composition is one large rension ronrour with a gradual increase to a find release. Example 13-9:
COMMENTS A. TOP MELODY CHORDS:
1-8 lengthy chromatic melody, downward, getting dark= 8-1 1 a short upward return, preparation for t h e fallowing 11-12 ...upper neighbor resolution downward
...
8. BASS MELODY CHORDS:
common tone, repose area transition area by c y d e 8-10 repose 11-12 shorc transition,leading tone up 1-4 5-7
1) Bdongh& ECM 1U50
CAaPTER Xlll
C. HARMONIC MATERIAL CHORDS:
rension contour wirh gradual decrease, index +k 12, 11,7,4 cryptic cadence with typical rnlnor third movement in US D-F, modal cadence with 4-5 f i s r inversion D to a G Mixolydran chord modal cadence as dominant cycle Mixolydian #4 to Lydian-au,menred 67 8-10 tension contour with increase b y index R 4, 8, 9 resolving to... 10-11 index i? 4, resolution of previous tension 11-12 pattern o f chromatic contrary motion
1-5
...
D.GENERAL QUALlTIES 1. The overall rense and dark harmonic quality is sofrened by the composition's romantic melody. 2. The long tension contour creates an emotional qudiq of being "rhapsodic."In addition, chis is the emotional quality of the subsequent improvisation. Exarnple 13-1 0: "Solstice" by Keith f'arrett
Lydian #2(N)
Mixoyian #4
Lomian
Aeolian
Mixolydian 5us
Mixolydian 14
loniar h5 Lydian tS(44)
Mixolydian sus
Lydian 85
Phm-an
Mixolydian sm
Awlian
SLASH C H O R D HaRMONY
SUGGESTED fXERCISES
PART I 1. Create four symmetric parrems, motif length two to four. 2 . Harmonize six examples of symmemc parterns in both the upper and bass parts.
3. Create four symmetric scales; present like in the previous pages. 4. Create four cryptic cadences; label method used (see examples i n cext).
5. Create four tension contours; label tension index, and include cresendo and decresendo markings to show i n m d e d contour.
by the methods shown For previous examples. T t is found on the CD Native Danc~r(CBS VCK 46159) if you need a listening. AnaIyze rhe included synopsis of the composition "Ana Maria" by Wayne Shorter
I. Create a set ofchords for a composition in which all or a large section of the chords is derived from symmetric patrerns, tension contour, or cryptic cadences.
1
2. Analyze che finished composition, using t h e examples OF this chapter as a guide.
CHAPTER Xltl
S L ~ I M CHORD HAAHOHY
"ANA MARIA" BY WAYNE SHORTER - HARMONIC SYNOPSIS
11
Phrygian Aeolian
II
Aeolian
sus
Aeolian
Aeolian
Lydian
minor 1 1
Lydian
minor 9
sus
sus
minor 9
5 ~ 5
lonian
Aeolian
lonian Mixolydian b2 minor 9 minor 11 Lydian minor 9 Mbclydian lonian
(1
lonian Mixolydian bZ minor 9
minor 9
4/2
minor 9 Mimlydian
minor 9
minor 9
lonian minor 11
sus
II
Phrygian Aeolian
II
CHAPTER X1II
'ANA MARIA'" BY WAYNE SHORTER Latin Phrygian
Aeolian
Aeolian
Mixolydian
Miwlydian Locrian 42
Mimlydian
SUS
lonian Mixolydian b2
Aeolian
minor 9
Upper Structure rds
CHAPTER X I V
Three-pm upper structure chords are chords which can be separated inro three parts, each parz conrributing to the chord's modal definition. The three parts are: 1- T H E ROOT
2. A N lNNER !XRLICWRE which contains a rrirone, as found in rhe acoustic source scaIe.
If there is more than one rritone presenr, the one conraining the third of rhe acouscic source scale is preferred. These, of course, are the grips found in Chapter VI. 3. THE UPPER !3TUCrCIRE TRIAD i s one of rhe mads found on either the fourth or fifrh degrees o f the parent scak, which is usudy a major triad unless it has alterations.
this is a form of the grip rnerhod of chord construction wish the addition of the upper structure triad Also known as "roorless" voicings, for keyboard playing, the grip is played by the left hand with the rrfads played by rhe right. The root is completed by a bass player or by prior playing by the pianist's left hand in t h e rnechod of "scride" pianists.
As you can see,
Example 14-1 :The acoustic source s d e s wit31 triads on their fourth and fifth degrees and suggested inner simctures
diatonic
-
melodic minor
V
r5m
d
IV I . -
*melodic minor #5
V
ad
-
G
V
IV
IV I
0
G
IV
*harmonic major
w rMm
I ;
I
U
harmonic mi nor
_
V
m a
V
=
0
I
I
a1
G fl
I
V
61
I
hi
4:.,
*) See Chapter XV
Wish the inner smcrure and the top d a d s togerheractingas a combined upper structure, the process for creating chords k [he same as with two-part chord constnrcrion: placing h e US over alE the roots of the parent acoustic source or aperimenring by pIacing them w e r the remaining roots rhat are i n the chromatic scale. Example 14-2: Placing the upper structures over the acoustic source unaltered
~onianb3
THREE-PART U P P E R STRUCTVRE CHORDS
harmonic maior
ronian 63 56
The resulting modality of all of the above is found in previous chapters.
To find the acoustic source, resolve the tritone that has the leading-tone natural 7. EXAMPLE: T h e C meIadic minosexample (bar 2 ofExample 142) has the tritone F ro $3 which resoIves to C Ionian b3. Because one triad by irseIf, in most cases, dosen'c fully define a chord's modaliry, you often find that both triads are used in combination, on dlfferenr bears, of course. Example 14-3:
Use of both US triads melodic minor A5
melodic minor $5
It'
"
I.
6 melodic minor
w
unaltered
The three-way upper structure technique is not found only in jazz harmonic systems; it is a prominent technique of film scoring, big band arranging, and classical music-Try to identi+ its use in your listening sessions.
SUGGESTED EXERCISES
Construct the following chords with three-~arrUS. ~ n c l u d eboth US for four oF them. Also include a chord symbol over the chord.
2. E Phrygian \3
4.
Bb Dorian
5 . Db Amlian b.5 6. E altered
7 . F Mixolydian 84
8. F Lydian C2 9. C AeoIian \7 10. G Mixolydian b6
CHAPTER XV
The Mode!
7d Chords of
Diatonic No.3 and N ,JNIAN b6 (Harmonic Major) ana iONlAN b3 #5 (Melodic Minor n 3 I .
CHAPTER X V
These Iast two sers of modes and their chords are the most esoteric of rhe jazz harmonic vocabulary. Use of material from rhe firsc p u p is found on onIy the most contemporary of harmony b a e d compositions. Use of some chords from rhe second group can be found in early j~ harmony but withont a reference to its source.
A. IONIAN b6 (HARMON3C MAJOR) THE TiTRACHORD FORMULAS
As with previous altered diatonic modes, the descriptions can be determined by a comparison wich the parent Ionian, pointing out the difirences obrained by the alrerarion Ionian 66 is a darker version of Ionian, Lydian-augmented $2 a brighter and more tense version oFLydian, etc.
Example 15-1 : The Modes o f Harmonic Major lonian b6
Dorian 6.5
Ph tygiari b4
T H E M O D E S A N D C H O R D S Of A L T E R E D D I A T O N I C N O . 3 AND 4
CONSTRUCTION Of THE CHORDS OF WARMONlC MAJOR THE TABLE OF COLOR TONES
A t least the first three of the cones are needed ro define the mode. T h e order of che lasr three i s not strict.
REPRESENTATIVE CHORD EXAMPLES 1 . ION1A N b6 - Sounds W e a dreamy Lydran-augmentedor a dark Ionian; include rhe & to
show that it isn't Ionian #5 or Lydian-augmented. Example 15-2:
2. DORIAN bS Dorian t4.
- Has an irnelikd diminished sound, including rhe 44 verifies that it isn't
L a m ple 1 5-3:
3. PHRYGIAN b4 - Similar to aIrered b6, including the b5 verifies i r isn't IEhas a wry "dominanr" sound. Example 15-4:
CHAPTER XY
4. LYDIAN b3
- Being similar to Lydian 12, include the b2 for verificarion (see "Mike1l'sn by
Calderazze. Example 15-5:
5. MIXOLYDIAN 52 - This is the source of the much used dominant 69 chord. Example 15-6:
6. LYDIAN-AUGMENTED $2 - Can sound like a slash chord, AAJF, or poIychord D/Eb#5. Example 15-7:
7 . LOCRIAN bb7 - A
brighter, more active sounding Locrian.
Example 15-8:
~b-/C
F Locrian bb7
Because of the arnbiguiy and resident tension of most of these chords, rhey should be either mixed with more conventional chords or used with slower harmonic rhythm. Of course, there
will be a number of composers who find these chords to quite satisfy their aesthetic requirements.
THE MODES hHD CHORDS OF
ALTFRED
D I A T O N I C NO. 3 A N D 4
43. IQNIAN b3 $5 (MELODIC MINOR #5) This group ofmodes contains some very beautiful chords for achieving a modern sound. T h e combination of the darkness of the flatted third with rhe brigfimess of che sharped fifth of h e source scale offers a great qudir). of "interest"A number of these chords have been in use from the times ofMingus to Brecker, but there has noc been too much, if any, explanation of their source and consuucrion.Two such chords found in common use are the Mkmlydia 19 and rhe dtered 46. In addition, nvo new tetrachords are introduced and used in the mode's coastruccion. Looking at the exotic ternchord combinations, wne wouldn't think these rnodes/chords would sound as good as they do. d s o , nore that these modes are a Form of missing note diminished scaIe and a l l che chords can be used with a diminished scale - or for improvisors, the diminished scale can be used with any of the chords (see tetrachord consrruixion in the appendix).
THE TETRACHORD FORMULAS
Example 75-9: T h e Modes oFMelodic Minor #5 Dorian A7 15
A
Mixolydian 82
altered 46
M
Phtygian b6 #4
Lydian 13 15
altered bb6 bbJ
Aeolian 65 47
CHAPTER XV
CONSTRUCTION OF THE CHORDS OF MELODIC MINOR $5 Tftf TABLE OF COLOR TONES
1 Dorian
1
I
1
es
Ib3
Phrygian b6 #4
#4
b2
h6
b9
b3
5
Lydian-augmented #3
83
#5
i7
84
6
2
Mixolydian #Z 14
#2
b7
3
114
6
5
Altered bb6 bb7
bb6
bb7
b4
k2
b3
65
15
Aeolian bS p7
h6
h7
( 2 1 4
1 b 5 1 h 7 1 b 6 ) b 3 ( 2 1 4
f ? E P R E S € N ~ T I V fCHORD fXAMPLES 1. DO RlAN b7 115 - bright and rense Example 3 5-10:
2. 'PHRYGIAN h6 #4 - brighter
3. LYDIAN-AUGMENTED fl3
- sounds "dominant"
1 '
1
THE MODES AHD C H O R D 5
4. MiXOLYDtAN #2 #4 -
O F h L S E R E D D I A T O N I C N O . 3 APED 4
the much used b7#9 chord is in this group
Example 1 5-1 3:
5. ALTERED bb6 bb7 - nor used much Example 1 5-14:
G altered bb6 bb7
I 6.AEOLIAN h7 b5 - not much Aeolian quality left Example 15-15:
7. ALTERED b6
- the most used of this group, has a very positive sound
C altered \6
This completes the consmcuon of aIt the chords that will be presented for use in Volume 1 afthis textbook. Not including the nonrnodal group ofchords, we have a formidable palette OF thirty-five modaI caIots with which to work.
hoking a t the section on tetrachord construction in r h e appendix, one can see the possibiliries of unusual sombinanans and the creation of many more esoteric modes and their chords. Of course, with the btener of your creative efforts taken into account, more than a Few of rhese and the newly created chords may not be accessible. Bat experiment anyway; eventually che wodd will "catch up."
CHAPTER X Y
THE COLLATED ORDER Of ALL CONSTRUCTED MODES With the many alterations of rhe later consrmcted modes, there is much harmonic ambiguig introduced.Determining a n accurate order ofbrighr r o dark is not as easy as ir would seem. The effects OF the ambiguity is to obscure a clear comparison. Bur by considering a sharping oFa pitch as a brightening and a flaming as a darkening, this is the resulring orcler: 1. Lydian $5 $3
2. Lydian #5 113
3. Lydian #2 4. Lydian hS
5. Lydian b3
6. Ianian #5
7. Ionian h5 8. Ionian b 6
9. MixoIydian 112 $4 10. Mixolydian b2 #4
11. MixoIydian b6 12. Mixolydian &' h4 13. Mixolydian b2 h4 14. Dorian b7 $5
f 5. Dorian 47
16. Dorian 47 bS 17. Dorian b7 #4
18. Dorian b7 b4 f 9. AeoIian h7 1'15 20. Aeolian \7b5 21. Aeolian b7 @ 22. Aeolian b7 bS
23. Phrygian hi' 35
24. Phrygian h6 C4 25. Phrygian h6 h4
26. Phrygian b3 b6
27. Phrygian 63 66 28. Locrian h6 29. Locrian 66
30. Locrian bb7 31. Locrian b4
32. Locrian \4
33. Atered h6 34. Altered bb7
35. AItered bb6 bb7
The emotional qualities also can be obscured by rhe added rension of the alterations, but considering as before, the basic qualities of the unaltered modes being enhanced by rhe alteration, Mixolydian R2 #4 has the same qualiries as the unalrered hiixvlydian h4 bur a bit brighter and more active.
THE MODES
AND CHORDS
O F ALTERED D l A f O N l C
NO. 3 A N D
4
SUGGESTED EXERCISES
I. Construct
I
1
a number of chords wirh all spacings; include a number of grip method construcdons and a fern three-part upper smtcmre consrmctions.
2. PIay all rhe chords with an ar training goal in mind; try to idendfy char use on recordings.
This concludes che presentation oFthe materia15 oSVolumc 1 of this book. Although there is suGcient information for the creation oFbeautiFuI and forward-looking harmonic schemes, harmony alone does not define music. Needed to be covered are the elements of melody, rhythmic concepts, style, and tonal harmony.
Tonal harmony is so prevalent in the student's continuing educational and listening background chat f u r r h e r study is not that critical. Awarenes of its use within style categories is imponant to acquiring a well-rounded harmonic concept In pardcular, looking at the use OF tonal harmony by the masters of rhat genre - TheIonious Monk, Charles Mingus, Tadd Dameron and Benny GoIson - can be of benefit.
Referring t o T h e Categories ooFJazz Cornpositians found in the introduction of this book, i t is apparent rhar there 1s a diversity of jazz styles, each tvivich their own particular descriptions of harmonic, melodic, rhythmic, and orchesrral implementations.
The serious jazz composer should be aware ofthose means of implementationand be abIe to compose in any of the lisred styles. Even if the primary goal of rhe composer Is to develop a single personal sryle, che abilisy m compose in all styles wiII only enhance and clarify the development of one's own s q l e . The goals of further volumes of this book are toward char end, with the presentation o f the following subjects:
2. Penratnnic and bIues tunes 3. Tonal harmony: Monk, Mingus, and hardbop
4.Romantic melody writing 5. Avant-garde jazz compositions
6. Group c~rnposirionalstyles Wirhour access to furcher volumes, the smdent should pursue his own regimen ofstudy by transcribing and analyzing a number of compositions from each category and compose within the studied style. We cannot conclude wirhout reminding the student that h e rnusr bting the precess to its consummation: The presentation of his efforts m an attentive audience, whether through a live performance or &rough the recording process.
1. ACOUSTICS AND MOD (a) Th
me Serie
the PARENT SCALE and ACOUSTIC (b) D e t errninlng ~
(c) Chord Stability
( d ) D e t e n rlining th e Color Tones
3. ADDITIONAL EXAMPI (a) Common C onnectic~n
-
( b j Symmetric patterns (c) Computer Generated Examples
4. EAR T R A I N I N G
i.TREE OF INFLUENTIALJAZZ COMPOS
6. DISCOGRAPHY-BIBLIOGRAPHY
7.ABOUTTHE AUTHOR
The f~Ilowmgis not meant to be a rreatise on the science of amusria but a cursory introduction ro the subject for referenrial purposes. T h e student whose interests require a more in-depth study should consult eicher The Crufi of Mil~ictaIComposiiion by Paul Hindemith, Contemporary Hamony by Lurnila Ulehla, or Modem Humonic T ~ h n i q w by Gordon Delarnont.
AIl acoustic explanation for that which occurs in harmonic and melodic application can be derived from a reference to the Overtone Series. The overtone series (0s)is a phenomenon which is as much a part of our narural universe as is the force of gravity. Just as the prism splits the spectrum oflighc into a fked order, the OS produces a series o f pitches following strict natural Iaw. Any sounded tone produces ad&tion4 tones (overtones and sometimes undertones) of varying intensity. It is this variation af the intensity o f the generated overtones that creates timbre.
The OS consists oFpartiats: a fundamend pirch and its overtones. Overtones are computed by increasing mulriples of the frequency of the Fundamertcal. If x = rhe F d a m e n t a l , the partids are: l x , 2x, 3x........ nx, o r if h e fundamenta1 is 64 hz, rhe overtones are: 2x = 128, 3x 192, etc. The spaces benveen the individd parrials grow progressively smdler as the partial number gets higher.
-
Our use of she OS requires only the knowledge af parcial &o and pardd number. Ic is suggesnld that the serious student memorize the ratio of the pitches a€ the OS, i.e., the i n t e n d s - P8,P5, P4*etc.
T H E OVERTONE SERIES:
DETERMINING THE PARENT SCALE T h e parent scale, our point of reference in the stabilig comparisons, is the Ionian mode or commonly knmvn as the major scale.We know by inruirion and by actual listening experience that the mode seems totally u"at rest." Taking a look at all asymmetric scales, one wilI find an interval of a trirone (sometimes there are two in dtered scales). Tritona have a strong desire to resolve,up or down depending on the acoustic source. The interval of the resolved mtone is the point of reference for determining a scale's degree of stability.
When nvo pitches (an interval) are sounded together, a third pirch (or somecirnes more) is generated naturally. This pitch is c d e d a cornbinauon tone. Combination tones are usualIy determined by finding the difference in che ratio of rhe frequency ofthe sounding pitches. It is suff~cientco refer only to the parrial number. As an example, i f che two tones being produced are middle C and G a P5 above, their partial numbers ace 4 and 6, the difference tone in this case wodd be 6-4 = 2 or rhe second pardal, which is C below middle C.There are cases where additive tones are produced, bur: rhey are usually inaudible and not o f parricular interest M us. q
The filled plrchesarc slightly out oTme.
The point of all rhis is that oF all the possible asymmetric scales in use, only lonian has a tritone resolution r h a produces ~ a difference cone that completes the construction of a major triad on the tonic o f the scale, allowing a complere state ofrepose.
APPENDIX
- 1
d
5 ( - j :
?
-
mnic
i
* tonic
-
a
F
F
1. The major scale, with the tritone in filled notes. 2. The resulting interval and parrial numbers. 3. The computed difference tone,creating a mad. 4. A Phrygian mode, with
the tritone in filled notes.
5 . T h e results, a rriad not built upan the mode's tonic.
ACOUSTIC SOURCE The acoustic source is the Ionian mode whose root is h e f u n d m e n d of the ovettone series, defined by the critone resolution shown above. For the Phrygian exampIe above, iris C Ionian. Of course, the quick way is to refer to a mode's key signature: C Lydian's is 6, Eb Aeolian's is Gb, etc.
CHORD SllBI LITY A chord's stability or instability is a result of the divergence of the verdcal spacing of the chord's sones from the natural piacemenr ofthose tones in the overrone series. The degree of difference gives rhe resulting chord qualicy a "bite," starkness, or consonance. A chord's spacing can pervert the QS in these ways: a partid can be altered, it can be transposed, or it can be both altered and rransposed. In addition, the chord's ressimra can effect a dark or brighr qualig by a diffusion of the chord's fundamental. If a chord is too low, the resulting placement of ics fundarnend may be below the range of hearing, creating the effect of a11 the chord's pitches being transposed partials.
1. G - nu Junge
-
2. Eb altered, darker 3 Bb d~sptaccdown a n o c u m rmse 4. AL - altered &dispkrrd, dark & tense Resulc quire dark, nor too u n d e
-
L Bb
- right on!
2. G
- OK
1. Ff where it should be 2.D-OK
2. F - drspkrrd b altered d;uk & tense
3. Eb
- alrcred, a bir darker
3. A - down an octave, a bad r c t w
3. ~b
4.
D - displaced an ocavt, a bit less sr ablt
Rtsulr: nor too dark, not
too
mnse
- unchanged 5. J% - altcmd & displactd, btighr & 4. E
mse
Resdc r brighr and slightly rmnsc
chard
1.G-
OK
- alarcd &down an o c m , dark &
eense
4.C-OK 5. C O L bur not th.Fmdamcntal, a k c
-
weak
k u I r quite dark and tense
The nexr: scep here is to pIay chtsc chords and compare the subjective resulm TTry m e r e n t tessimras, note the result. Hindemith points out that the changes in partial placement md spelling resdcs in an actud increase in energy through molecular acduiry. Try to hear an increase in "heaviness" in the tense spacings.
APPEHDIX
DWERMINING THE COLOR TONES A
chord that would most clearly define the modalicy of a scale would conrain all seven notes
of chat scale. Obviously, that would not be too musical; a group of chords all voiced rhac way
would be much roo dense and overbearing as well as inhibitive of any sense ef voicing contour. Irt order EO selea fewer notes that wi1I give mi the transparent spacing that is needed while still defining the particular modalicy of the scale we are representing, we need a method to determine a priorir). of note selecrion.
T H E METHOD As shown an previous pages, the Ionian mode is the most srable of all the 35* modes available for use in contemporary jazz composition. Even without investigating its acoustic properties, the listener "knaws" h a t the Ionian mode is the one wich the least desire ro resolve. So, from this poinc an,we will consider it axiornadc thac the Ionian mode will be the point oF cornpxison for all other modes, whether they are brighter or darker than rhe compared Ionian.
With this in mind, to determine the modal definition of any scale, we need to make a nore-tonote comparison wich the Ionian mode that has the same roor as rhe mode to which it is being compared. The nores that differ are rhe notes we will use to define the new mode chordally.
rhe following examples show: Lydian could be thought o f as Ionian wich a sharp 4, the sharp 4 being the only difference between Ionian and Lydian built on the same root Dorian could be thoughc of as Mixolydian with a flat third or as Ionian with ics third and seventh flatred. To determine the primaty color cone, a comparison with a mode's immediate predecessor must be made, and the remaining color mncs are derived from cycling back to the original Ionian As one can see> this wouId give us a flat sixth as the primary color r o n e of Aeolian and a namrd sixth as the primary color cone of Dorian. The process goes on... As
DERIVING THE
COLOR TONES . Lydian #4b7
ronian h447
LYDIAN is brighter than Ionian and refers m a sharper key. Ic is like bnian with a sharp 4.
Sharp 4 is its primary color tone. A t &is point, the primary color tones of Ionian are rhe natural 4 and
lonian @ \4
-47
the natural 7.
Mixolydian 113 L14 b7
MIXOLYDIAN has che same spellings as Ionian except for che alteration of rhe flat 7. flat 7
and natural 4 are its primary qualities.
APPENDIX
lonian
Dotian b3 46 bJ
q4 96 47
DO R lAN is a darker version of Mixolydian. Looking ahead to Aeolian, because A e o h has a SIar 6, the primary quality of Dorian is natural 6.
I
lonian $2h3
Aeolian 42 45 b6
b6 47
clearly in the redm of darkness, with so many flats. Flat 6 is its primary E wne, natural 2 (9) completes it.
AEOUAN is
O ~ O ~
Phrygian 62 $4 PS
lonian 42 h3 h4 h6 47
PHRYGIAN" primacy color tone is flat 2 . There d l be mote Phrygians to come and flat 2 is a primary
quaLty of aII of them.
LOCRIAN is so altered ir approaches anocher key center. I t is like Phrygian with a flat 5 . Hat
5 is the primary quality o f hcrian.
Notice that many of t h e note choices include the pitch that is found a tritone from the primary color tone; that pitch is usually definitive of the mode. (Ex:the natural 2 ofAeolian, the fifth oEPhrygian). Looking a t the a ~ o u r t i csource &ere is a trimne between rwo oFthe notes: C lonian's are F and 8, and che two usually are found irr the first two notes oFche order table.
This also exphins why Lydian and Locrian are special modes regarding resolution tendencies; they both have a tritone built From the root.
Zhe method for determining color tones is the s a m e for the altered diatonic modes. The above example should be sufficient as a guide iEa student wants to pursue &at assignrnenr.
APPENDIX
CONSTRUCTION OF TETRACHORDS There are many more tetrachords that can be used by the forward-looking composer than is Found in contemparary examples. T h e following is a method for construcring the tetrachrsr& presently in use, as well as a means for deriving new ones.
The onIy "rulesnta follow are to incIude four notes and to keep the sum of che semitones of the tetrachord within the definitive limit. IFthe terrashod is to be used to conscrucr modes, the sum should not be higher than s i x semitones - a limit of less than four semitones would give a tetrachord chat couId not be transposed. h addition, one should assure that the pitch sequence folIow the normal alphabetical sequence: A B C D, C D E F, err. A semitone Iimit above six allows the creation OFpentatonic and ocher specid use tetrachords. A few will be included here and the subject will be covered in more detail in Volume 2 of this rextbook. Example: 4 Semitones
Phrygian 6b3
Spanish
Dorian b4
Example: 5 Semitones
Ianian
Phrygian
Dorian
u
I
Blues
I
I
harmonic
Blues
Example: 6 Semitones
tl
Lydian
Hungarb pentatonic
unnamed
Erebird I I
*
it-
x*
tl-
7T
Hungarian major
Hungarian Phrygian
Example: Pentatonic Tetrachords (perfect
fifth limit)
As one can see, as long as there is the four note Iimit, there are quice a few possibilities for
tetrachord construcrion. T h i s procedure can be of greac use for the Irnpsonsor/cornposes for the inscant creation of exotic "lines" while "blowing" over changes with relaxed harmonic rhyhrn - but this is a subject for another book.
ADDITIONAL EXAMPLES The following miscelIaneous examples are included for further reference for ideas, examples ro pIay at a keyboard, for ear raining, or for clarification of concepts. A number of&ern were created by computer ptograms - and are still useful. The examples include common tone connection, both upper and root, symmetric patterns, and harmonizations. Wirhin the exarnpIes are additional chord voicings for further study.
A. COMMON CHORD CONNECTION
Mixolydian
altered h6
Locrian bb7
Mixolydian
tonian
Aeolian
1 A
Aeolian
lonian
APPENDIX
C. COMPUTER GfNERATED EXAMPLES
APPENDIX
COMPUTER GENERATED PATTERNS
APPENDIX
EAR TRAINING GUIDE Ic has been emphasized more than a few times that one cannot work creatively w i h chromatically related modal chords wirhout first *hearingnthem in a rnusicd conrexr. The student whose musical background or innate tebiliries show a weakness in the area of aural identification of modal chords can use chis guide to ease the pain o f whac is a very difficult chore. There is no real shartcutro acquiring these aural skills - it is hard work, requiringhours of frustrating practice. As a musician who acquired his knowledge and skills before there was a Concept of jazz education, the aurhor and ochers of his generation learned all they could by the "aural tradition" of listening to records, attending concerts or jazz clubs, consrant 'Tammind and badgering our peers and heros for information. The listening to records was nor just for the inspiration rhey provided, but for all one could glean from &em - they were the "textbooks" of our group, as they are to many of today's students. Because there was so litde written information at chat time, the aural identlficarion of whac was on rhose recordings was more than an enhancement OFour skills, it was an absoIute requirement to attaining any skills. Transcribing improvisations,or learning them by playing along with the recordings is one OF the best ways KO team to play jazz. In the same way, one shouId transcribe compositions with all the correct chord voicings, melodies and bass and drum parts. This aurhor can attest that the rranscribi~lgof three compositions changed his musical life: "Little One" by Herbie Hancock, Tilles de KiIirnanjaro" by W a y n e Shorter, and "Power to che People" by Joe Henderson.These compositions became avaiIable to the listening public in the middle ro late '60s, when the author was writing runes rhat showed an influence of Horace Silver, Thelonious Monk, and the compsitions typical of those performed by CanntrnbaIl AdderIey and the Jazz Messengers. It was very painful to transcribe so far above one's abilities - but truly worth the effort. The plan ofattack For improving your "ear" abilities folIows:
I. Learn to identify dl the termchords played both up and down. 2. Learn to hear and identify retrachorb hidden within the playing o f chords.
3. Do as the above with the modes.
4. Be able to identify rhe primary cobr tones as an inrervd of root to coIor cone. This first part wiIl not be me diff~cultbecause of the arnounr of melodic ear training rhat is a part of one's early training.
5. Learn to identify the arpeggiated unaltered diatonic modal chords - this, still a Form o f melodic ear training, shouldn't be too difficult 6. Try to hear the unaltered chords with three notes only root, primary, and secondary color cones. Refer to the following guide.
THE GUIDE This is organized by categories of a primary color tone with its added secondary qualities. Once you learn the primary qualiry as an intervalic definition, add the secondary color tone.
1. Groups of 117 Ionian
Ionid0
lonian b4
Lydian
2. Groups of b7 Mixolydian
1
minor 7
Mixolydian
Mixolydian
*
Mixolydian 14
II
3. Minor rhird group
{I
rnim 7
Dorian
Aeolian
minor
(
s
4. b2 Phrygian
Phrygian b7 P h ~ a in6 Phtygisn I S
Locrim
Phrygian
Phryg*n h3
1
5.- 7. The remaining groups
51
Lydian
Lydian $7 Lydian 12
e
II
II
il
You can further organize the chords iE you wish, maybe by groups of major thirds, a11 the altered types or all Lydians: Lydian, Lydian-augmented, Lydian BZ, etc.
Moving on ro full spacings, it is best to learn the chords by their composite sound and by their grip. When you hear a chord, your right hand should have a "Feel" for what you are hearing. Learning the chords by their composite sound has no real shortcut - you musr spend a lot of time in practice. S m by learning the voidrrgs that are most commonly used; rhey are available within the pages of this book. IF needed, practice with atpeggiations at first. In addition t o "ear raining" practice, much keyboard playing of the chords will be of benefic, particularly for the "grip"merhod of idmcification (see Exampk 8). Slash chard idmtificatian c a n be Iearned by an inrervaIic method. As you will recall, the upper structure triad has a root as part of its construction;learn to identify rhe ratio of that roar to the root of the chord (see ExampIe 9). 8. Grips
9.9ash chords
down major 3rd
up rninorfd
Once you are fairly proficient with modal chord identification you should move on to the mansccibing of h I l compositions, with fuU transcriptions of the chordal voicings. An ultimate goal is to be abIe ro identi$ everything that you hear and to be able to transcribe
it to musical notation: all drum parts, bass parrs, horns, voices, rhythmic figures, chord vaicings, and drnbral or instrumencaI assignrnenrs. The mamre student should include identificatiort of the players by style and sound. And for the meticulous, identification of makes of instruments, reed size and mouthpiece and even synthesizer makes and "patchesn;in shocc, all you know and hear.
Your ear training shodd not just be in the academic environment or in the car listening ta the stereo: while watchingw at movies, identify and, later transcribe the music - the film scores have some great scuff. Try to rranscribe Stravinsky or Gil Evans; go for d you hear. Everyone has different abiIities for aurd identificadon, from those wivh perfect pitch so those whose listening background has been mostly "pop" harmony - but all can benefit from more ear training.
APPEN
DlX
THE TREE OF INFLUENTIAL
Jazz COMPOSERS
T h e Following is nor meant to be a comprehensive representation of the evolution ofjazz and its composers; ic is meant to be a guide for the discography chat foliows. In addition, it emphasizes the composers whose materials are closer to the materials presented in this rextbook.
The key word here is infienhifi because mosr jazz musiciarfi arc composers. Yet, there are composers who, because ofthe strength of their compositional skills, have inspired others to wtite in a sirn~larstyle. That is tvhy some names are nor included, names that once mentioned bring forth memories oFgreat compositians. Names Iike Kenny Dorharn, Freddie Hubbard, Cedar Walton, Benny GoLon and Hank MobIey - great tunes, but no movements starred because o€ them. So, using t h e FolIowing visual reference, rcy to hear rhe influences as you listen to the suggested recordings found in the discography.
I Blues / Church /
-
M
I
( ~lassical
!
-+ Horace Silver
Monk
Andrew Hill 1
+Billy Strayhorn
-+Randy Weston
Herb~eHancock
'If
Joe Hedederson
Chick Corea
,
v
C h a r l ~Mingus 4
Eberhard Weber
Ralph Townw Kenny Wheeler
if
Omette Coleman
Cada Bley
I Albert Ayler
r k
v
Ron Miller 4
Par Merheny
David Liebrnan 4
Keith Jarretr
RECORDINGS The following, although net complete and not torally up to dace, as there are so many new releases each month, are represencarive of the composer's works as advocated By this .texr As mentioned early o n in rhe text, knowing the music on these recording is essential to mastery of the harmonic/composicionaI techniques presented. More than a cursory listening, the music must become a part of your inner being: it must change your musical life. DUKE ELLINGTON
Ly .EI!ington
1. Ma-ieces
6.T h e Far East Suite
2. E!lmgron At Newpwt
7.And His Mother Called Him Bill
3. The Ellington Suites
8. New Odeans Suite
4. Aj-o Bossa
9.Anatomy Of R Murder
5. Such Sweet Thnder WAYNE SHORTER
JOE HENDERSON
1. Nkht Dreamer
I . Paww to tbc People
2. Spedk No E d
2. In P u m i t of B k k f i e s i
3. Etcemd
3. Pdge One
4. Adam's Apple
4. isnw Utge
5. N r b h Ddncer
6. Ahatis HERBIE HANCOCK
1. M&
Voyage
2. Speak Like
A
MILES DAVIS 1. T%e Sorcerer
Child
2. My Fwnny V a h t i n e
3. Cmsringr
3. ESP
HORACE SILVER
JAZZ MESSENGERS
1- Finger Poppin'
1. trgetslc
2. Silwr'r S
d
e
2. Juzz C m w of tfic W d d
THELONIOUS MONK
CHARLES MINGUS
1. Who's A f i d of the Big B a d Monk
1. Barnlab Sessimrr
2. Live at thc Eiue Spot
2. Ah Urn
3. TSle Black Saint The Sinner Lady CANNONBALL ADDERLEY
GIL EVANS / MILES DAVlS
1. Live in New
I. Q#i& Ni@&
York
2. Live in &pun
2. Miles + 12
3. Live i?? Sari Frankco
3. id;r&hIism
APPEHDlX
EBERWARD WEBER
RALPH TOWNER / OREGON
1. Yellow Fields
I . SoI5ricc
2. The FollowfngMornkg
2. Winter L i t
3. Little M o v e m m
3. B h e Stsn
AVANT-GARDE
MISCELLANEOUS
I. Paul Bley - Barrage
1. Keith Jarcert - Belonging T r e m ~ mIsland
2. Ornerte Coleman - Omette on Tmm
2. Jan Garbarek - Th Rtkne~
3. Albert Ayler
3.McCoy Tyner - Expansions, Tmdm Mmnenh
-
Ghosrs
4. Sun Ra - HeluKenhic Worlds
4.Weacher Report - Weunber Reporl
5. Mareria1 - Memoly S m s
5. Joe ZawinuI
6. LaswelI - Baseltnes
6.Kenny Wheeler - D ~ a b kDouble , You
-
Zawinnb
7.Dave Liebman - Dmm O d e 8. Joey Calderazza - In the Door
9. Andrew Hill - B k k Pi# 10. Kenny B a m n
- Golden Lohsr
CLASSICAL LISTENING The following sample selection should provide good starting point for additional harmonic and meIodic source rnateriaL Most of h e non-idiomaric harmonic and melodic mawrials, as presented in this book, are derived from rhe listed sourcex Romantic melodies are very much a panr of the jazz Ianguage and these compositions also provide great examples OF modal harmony, chord voicing, romantic harmony and, of course, the skills of the rrtorld's best composers. I t is suggested that you obrain rhe scores and read along with the recording, making notes of particular areas of interest Like the jazz recordings, you should attempt co make rhese musicaI exampIes a permanent part of your inner self.
1. Tchaikovsky - Romeo and Juliet
2. Rachrnaninov - Piano Concerto No. 2 3. Mendelssohn - Songs Without Words 4.
Rimsky Korsakov - Scheherezzde
5. Prokofiev - Romeo and Juliet 6. Rave1 - Daphnis er ChIoe 7. Ravel - Valses Nobles e t Sentinencdes
8. Respighi - Pines of Rome
9. Stravinsb - Firebird 1 0 Stravinsky - Symphony of Psalms
11. Messiaen - Seven Haiku 12. Copland - Rodea
13. Wagner - Tristm und IsoIde 14. Stravinsky - Pulcinella
IS. Frank - VioIin Sonata in A
APPENDIX
BOOKS A. THEORY
I. Anything by Jerry Coker 2. % ] ~ z z T h e 0 9 IVorkbook by Mark Bofing 3. Jazz Hmmony by Andy Jaffe
4.Jazz Arranging and Composing - A Linear Appmch by Bill Dobbins 5. Changes Over T i - n e EvoEurion ofJcz Andngivg by Fred Stunn 6. A C h w d c Approach tujl~zzH a m m y and Mehdy by David Liebrnan
7. Cmfi of Wc6sicrsl Connpon'tiotn VoZ. 3
dnd
2 by Paul Hindemith
8. Conternply Harmony by Ludrnila UIehla 9.
AU books by Godon Delamonc
10. Mmic Mdnscscllpt Techniques by Paul Harder f 1. Tuvntierh.C e n t q Com+tion
by Leon DalIin
12. Thesdwcs of S c d u &' Syrnmetricd P u m s by Nicholas SIonirnsky 13. Thej d z r Composer's Companion by Gil Goldstein
8. HISTORY
1. Milei Davir by Tan Carr 2. Minps by Brian Priestly 3. JmS t y h by Mark Gridley
C. MlSCELLANEOUS 1. The Music ofRon Miller
2. The Poeh'cr ofMusic by lgor Stavinsky
APPEMDIX
ABOUT THE AUTHOR Ron MilIer is a professor OFjazz studies at the Univesicy of Miami. His areas of expertise are and jazz piano. He also directs he Monk-Mingus, Horace Silver, ECM and Avant-Garde ensembles.
jazz composition, advanced improvisation,
Ron's compositions have been perfomed worldwide by many musicians including the faculty and studena at the Jamey Aebsrsold clinics.
His compositions also have been recorded and/or performed by notable musicians such as Hal Gaiper, Red Rodney, uE1ernen~s,"Ira Sdlivan, and Stan G e m
Composition students OF Ron's that have accained notoriety include Par Metheny, Stwe Morse, 'T' Lavitz, Bruce Hornsby, Gil Goldsrein, Mark Egan, Mart Harris, Denis DiBIasio,
and Rick Margiba
The Jazz
hed dry Workbook
O R D E RNO.
11201
(125 P A G E B O O K )
Theory WarkbwK is a primer i n j z theory, intendedto prepare the nudent for the serious study of jazz imprwiutwn, anangement and c o r n p i t i o n The f o c u is on the harmonic Tanguage djan, especially the harmonic practjEes which malasced in the bebop and pwt bop periods of the 19405 and 1950s when M o p and standard tunes formed the care of the mainstream repertoire. The harmonic language of that period is still the framework nn which contemporary jan musiciam build Included are many musical examples and written assignments for pracrice in the theoretical skilk. Appropriate w e h e r , are provided 20 ranforce theoretical concepts by immediate applicationt o the T h e 1-
instrument.
..*... 8 r t L DOBBIWS
Jazz Arranging and Composing a Linear Approadr ORDER
NO. 31305
(BOOK W/CD)
Many different p i b i l i i e s for harmonizingthe same melody n iflustrated and analysed, using techniques by such influential arrangers and composers ar, Duke Enington, Bifly
Strayhorn, Oliver NeTsorr, Gil Evans;and Clare Fixher. -Techniques of melody harmonisah, linear rvriting and hourrterpoint for 2,3, 4 and 5 horns. -A chapter on witing far t h e rhythm section dearly illustrates the techniques mmmanly d by jan anangus and cornpasem
-Six complete scows in concert key are ideal for a n a w for playing the horn parts on the piano or for followingthe pehrrnamces an the CD. -An extemive h p w r on form and development deals with e x t e d e d mmpasitional f o m
and the use of cumpositional techniques in m t i n g for the small jazz ensemble. -A useful diswgraphy is includeda t the end of each chapter. Lineer Apprwch is a w&me and greatly mrded addition to jan educafional lit~ratureIt ir the jrrt bwk to provide a dear and lagicnl b-e Jram the more basic techniques of arranging and melody hmmenishn m the m r e adwrrred linear metham employ& by mme ofthr most interm'ng and infhrenoal jm m g e n d cumparerr. The m&I exarnpl~and om urn we!! organized and the anriw~is clmr and txces~ible.I have bng known Bill's unique abrlities ar a pfted pianist and cornparer, and I highly recammend this most recent m n r n i n to jm writen uf all lmIs a! expen'meY Ffsk)
" J w Amrnging and Carnw"g:
-.....
G ~ GOLDSTEIH L
-
Jazz Composer's Companion O R D E RN O . 43304
(116 P A G E B O O K ]
T h i s book i s divided imo three main sectiom: Melody, Rhythm, and Harmony. Dozens musical examples x well as mmpwkions by 8ill Evans (pianist), laco Pastonou, Jim Hall, Ralph Towner, Steve Swdlour, Pat Metheny Michael t i b b s ao.am induded in order t o illustrate &fic compositional techniques. An extensive rhapter on fhe Grnpositiamal Prfeatures interviews with jazz composers Bill E m s , Carla Bley, George Rwell, Home Srlver, Pat M&eny, Hancock, Richie Beinch, W p h Towner, a n .
Chick Carea, Lyk Map, Anthony Davis, Herbie
'Gil doer a service here on a high level. The mnrcpn he ofm impuse im stye and thur, can be used and extended fa enrich my mw&s vocubdaly. 7he rest ir up to you." (EllFvum)
ANDY J A F F E
Jazz Harmony * O R D E R NO. 11210
(CA.
100 P A G E S ]
2nd edition, mrnpleteb w i s e d and enlarged. 14 chapters induding exercises and assignments: I m a l s , Chords, Inversions, Modes; DiatwlicAnd Modal Chard Progrersions; The Blues; Lead Sheetr; Song Forms
and Melodic Variations; Secondary Dominant Chords; Substitute Dominant Sewnth Chords and Tritone Subr; Minor Key Hanmny; Modal Interchange and Minor 8 1 ~ sCommon ; Chord Progresrionr and VoiceLeadin% Modulation; Pentatoniuand Other SymmeWic Scdu; Blues Variations; Rhythm
Chang-
Caltrane's 3-Tonic Syscem; Slash Chords and Hybrid Chord Voi~ngs.
The first edition was one of the most widely wed b o o k on jan harmony. For classmom and mdividual use.
" J m Harmony is a brilfimt addirmn to the fwMofjm theory. It ir well-wdm and beautiJullyarganited, and the infirmation i t mntvins is drornughg mearchedsnd aurhmtiral~prrrented I mcammmd it hrgh." (David Baker)
FRED S T U R M
Changes Over Time: The Ewlution of J a n Arranging O R D E RNO. 11350 ( 2 1 4 P A G E B O O K W / C D ) 'Chanps Over Tme: The Evolutian of J a n Arranging" was conceived to illustrate, thmugh cornpamtive case srudiec, the dramatic development of rhythmic, mel* harrnorric, orchcstrat~ond,and nrucrural variation in jm arranging from the 1920s to the present A broad -Dry of cornpitions that have each inspird numerous jazz arrangements was ertablished. and the arrangements assmiated d h each of the crig~nalworks were examined t o determine the level of quality, the span of jazz history represent-
e d a d the number of renditions creatod by historically significantjam arrangefi, including Dan Redman, Fletmer Henderson, Benny Carter.Duke fllinpn, Billy Strayham, Gfl Evans, Thad J o n q Bill Hdman, Bob Bmokmq.er, and dare Fixher The c a s studteq were n a r m d to 35 arrangements of three classic jazz mrnp&ions and one Amenan papular standard song: Jelly "Roll" M o m ' s Kimg Porter Smrnp, Don Rdman's Chant ofthe W, Gerald Mavks' and kpmur Simon's All OfMe, and Billy Strayhorn's Tuk The "A* Train. and/or parts representing nine decades were suppl~edby llving mangers, bwrowed from colkctions, m o n s t n r w d from sketches or tranwnlxd from recording. Fmr contemporary rnaners were ultimately mmmissiuned ta create new arrangements af four selected mrnpositions.
L U D M I L A ULEHLA
-
Contemporary Harmony Romanticism through the 12-Tone ROW O R D E RNO. 17440
(534
PAGE BOOK)
The undemandingof the musical techniques of campasitioncan rrot be reduced to a handbook of sim-
CONTEMPORARY HARMONY n?rrmuun ch-
rhc Tweh.-Tmc R
a
plified ruler Music is complex and ever changin~It is the p p o s e of this b d t o tracethe path of musical growth fmm the late Romantic period to the serial techniques of the contemporary composer. Through the detajledanalysis of the musical characteristjcs that dominate a specific styie of writing, a graduated plan is o r p i z e d and presented here in the fawn of explanations and exemses. A new analytical method substitutes fur the diatonic figured bass and makes exercises and the analysis of non-diatonic I h t U r e mum manageable. The mplanat~om de~ribmg each techn~queare thoroqk They are dsfgned to help the teacher and the nudent ree i h e many extenuating circumshnces that affect a particular analpid decision. More important than a dogmatic decision on a particular key cmter or a rowt tone, for example, is the underM n g a f why such an underdeterminatecondition may exist
"I bve ued diir b o o k ~ n n a l y r i r f i rwading and ar a creative mol in rrq own cmparitkn* h i s e n m w l y useful md p m ~ m t i v e(Robert .~ M Abranm~u,The JuifIiilliord 5rhwl, New York) "Qntonpomry Harmony is& anly b w b that adquatdy matr conmpomry urmposithml t h i q u e r ar rhemn'ml erpansions upon the part . .one OJ t h e m andpiml essays oJ our century' (Ron mamas, Nnin) 'Conremporary Hmmony IS one oj the finest, most comprehensive tertr wef written od thc subject A unique and imaluaMe ronrribardon to MIthe nudolt a d the pmfexknal muskinn" (fiAnthoqy R l c i g l h , Manhatrun Sdruol ofhlurrc, New York)
RON MILLER I
CONTENTS CHAPTER I: MELODY Melody Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
-I ne Elcrncnrs o i s Meloby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
c
7 A . Sourze Materrals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ;z
6. Thernr ani- Dewiopmen: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C . Melodic Contour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D.Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E. Poinr of Ciimax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F.MelodicForm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G . Melodic Rnythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . K . Pzrformance D ~ e c i o n s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I .Tess~turdKey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stvle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meiaaic S y l Analus15 ~ ........................................... Nan-Romanric Melod! . samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . k . Idramatic Angular . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.Idioma~icReferenda1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C . IdiomaU: Proyammacic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~omanric~vlebodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Examples of ~kteUse of Romanxic Melody Wriring . . . . . . . . . . . . . . . . . . . . . f i e PratorypicaT Romanric/ldeal Meiody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Examples ofRarnan.cic:'Melodic Jarz Composic~ons . . . . . . . . . . . . . . . . . . . . Conclusion n i Cnap:er I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sugg~stedkxtrc~ses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Special Pro-ieci: Folk MUSIC Sunley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meioa~cAfialwis Refemnce Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recordings an2 Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
.i 6
76
18
.I? 10 1_a
27 -22 23 24 -2E
-16 26 ?-
.-f
-30
-34 -35 27
-38 40
-40 -42
CHAPTER It: REHARMONIZATION Harmoni~cion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
The preplannzd Meihod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
-4
............................................ ~ h t ~ r o c e d. .u. ~
-4.4
G e m n g S ~ a ~ e .d. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
.
. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Rehamonirar~on. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The JZ Composer's Preoicamenr 4E TheTechniaues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Substitux Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -51 A . Diatonic Substrru~ions. . . . . . . . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . 51 E Chmmzric Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -53 c.styie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 D . tfarrnonic Rhphm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -56 Reharmoniza~ianofCadenrial Areas . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . -3 - .1.Cadences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >C 2 . Cvcles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5F 2-Turnarounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 5uostrrutc 5ynmrtr1: P a ~ e r n s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-52 Cnanglng the Yarrnon~cRhytnm ef Nov-Cadanrial Areas . . . . . . . . . . . . . . . . -56 . .-a -Arrangrng Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reharmon~zarlonExamples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1' Fkworkin~ The Melocy . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7e Conclus~onorChaoie- ll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Suggesreti Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Recoraln~5an5 Reahngs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Harmonlz~ng Gwen Meludies
8
J
-
.
CHAFTER Ill: P=N7lTObtlCS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 SS K~ndsof Fpntacan~cCorn3osi:rons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 ~ c n a r o n i ct+4.-lodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Crear~ngPen~atonicSource Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . X9 Symrnemc Penxconic Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .?I FormandStylr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Harmonizarion and ilarmonic Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . - 9 6 . Cnord Selection!Harmonic Rhychm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -96 Carnpos~tronExarnnles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 01 Extan1 Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Folt Influenced Composiaons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Miscellaneous Pert:aronic Compos~tioss . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Concius~onof Cnaoter 11 I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Recordings and Readlngs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Concluston and Flral Cornmencs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -108 Pentatonic Composrrlons
De~crr?tionand Deiln~rion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
...................................................... 110 M o ~ f i r D w l o p m e n i. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710 hrticulations and E%cu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 53 Appendix11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Trirone Subsrrrurion and Acousrin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Stamng Chords - Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 7 . kdciitiona! Reharmonizarion - N e w Melodies . . . . . . . . . . . . . . . . . . . . . . . . -118 Appendix1
Appendix Ill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
722
............................... -122 Lis: o f AIL Usabic Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -126 Lan~uageLisr~ng. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -134 Mrsceltaneocs Marerials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -737 Palm X,piano 5core . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Lls: o f Af! Usable Pzntztonic Scales
Abou: ;he Author
..............................................
-141
zeal a: Volume 2
of Mohllt Camposztzon and 3arnall7- 1s ro conanue rhe disscmlnatlon of ~niormatlonthar npresens a paen of study for the xpirin: composer. Krnerc J'olurne 1 05 rhe book emphzslzed he preparation of a modal harmonic foun&tlar.. r h ~ s volume will inrroduce concepm of melody ulnang and a xtudrr of che s+s of i-
Thc
Those ~nccrestedIn securing a new venue ofmpress~onwill fsnd h e cha?tcr or, ?enzronlc runes of pamculz 1nreres.l M ~ h o u ~here h are m q - e x t a r pen-mtoGc runes mailable ro die jizz pdorncr &re +re nor man!.-~hata t e hamanrzeb with a modem mocial h ~ m o n i c ioun&uon =ce?uns a fm :hat have been connihu~edby R72!me Shortc-
.45 wish Voiumc 1 3 5 t h e book. an a~oendi,: .. wrirh addirional p e r ~ ~ h e i ainfomatlo3 l is included for rhe smdenr deslnnE rheorerical explanarinn and additional examp!es. Thls volurnt will differ From \;olurne 1 br che inclusion of srrggested recordins m d rea51n~sar the en6 of mil chapter uzrh specific conlposlrions Tor Ilstenin_r w~rhlnche tei. AS -ihere arr sus~esredassignmen= 2nd wcsnses ~ncludedat the end of each ~hapter.
Ho?cblly, hzwng corn~lecedthe smdy of h e marenals of both i~olumesof L!C book, rhe srudenr wiU reaiize that &e informarion is presented to form a holisnc smci?~, Ewln: mzsrered the mod& harmonic foundzrion of Volume 1 rhe srudenr should next stud!. melody n ~ h concepx ~ ~ g which c a n &en be apphed to the creaman of rneiodies in a vane? of styles.l r 1s adciiuonal!v Important char rhi.le jap and pop composer be abit ro wnrc a romanuc melody - rhc su'qjec; 1s covered at iengrh in Chapter I
F ~ r r d y .che meiod!. wnr1ungprocedures are a ~ p h e dto t h e composing of Fenram:onic m e s , which are aiso I:a-manrted ~vihthe karmnnlzarion techn~ques@vm In Chapter 11. To repeat from Voiume 1.:he auzhor's bale intcnuon is cc prowde i;lfomanon in rhe pnnted format &ar nil1 =pose and dcvelap rht smdent's iatenc ciearive abihum s we11 a: aliou~ him-;'herselfr~ u n h a s h e d y express a m e love of m c s ~ c 2nd of course to f~dfilthar t&ich he/she go; into mmic io; ro begn uith - have fun!
Chapter I
WORDS O R CONCEPTS TO K N O W
I Folk/Ar: Specrrum
Melodic Elernenrs ~rlronic:~e;rato??ic/penratoniC
Earmanic Reference Guide~oies!P~vo~ poini
Mocrfic Deveioamen; Me\odic Contour tompress~on/~smansion
Melod~cGalance Melodrc Rhyrhm Melod~cCadence ,ton Syncop-5i.zremen~lResponse F.ntecedcnt/Consequenr~ai ISI 0 rnaric A b s ~ r a ~ ldiorntt~cPrngrammar~t Rornan~lrrI d ~ a l
Fiornan:~~ Meiod~c binary blelody Co:m
C Y W7CR I. M E L ~ D Y
MELODY WRITING 7.
rrom a ? e d a p _ ~ i c a?ornt l or'vlew. meiady utrrtxng 1s thr mosr :orn;liec of fn? bz51: skilis of cmposet - there are man); rex5ow why this 15 SO
h4douy searlor. 1:. rhe mosr ?ersona] of composit~ona?acrivitics md shows t h e icasr degree o'.iuccess b11 rhe implemenm;anonof p e d z n t ~ cmeti~a&.Although there arc "rules" given in .,k1rional Pl tex: 3 o o h for uaa.zysof crca;ing melo6ies. the!, in thc ions run end to inhib~t person;! expressron rather h a g prornow free crtativq. However. h e r e are man!. merhocis for dcvelop~n,na meiod~c,cia [ha: when crafthdi~~rnplernenred,c n develop caps, the mosr uninspired F e r n ~ d into e 2 m u s d end product The rnosr: usable pechgopcal systems -ake in:^ ap?i+oachConstdenng h e tnomou5 varittq- of rndahc expression, ~t:s undersrandable rhtr mosr theorisr/awrhors OFslpificance tend LO for90 2 cornprehe3siw presentation or' mdody alrltin? procedures. As a point of r-ferencc. one of the sugzested wzs In \;olume 1 of rhls book is T13e Crafi of Mimca! Cote?onhor: by Pau! Hmdemirh. Of the 233 pzrcs of h e boak. 26 are 9 v e n io rhe discussion crfmelody rr.nong n x h Lie ~ernaining2c75 pzges dcvored rro concepts OF harmony and a c o ~ ~ tThii ~ u .one exampie is q ~ p r danti un6ersmdabie.
--
S r ~ c he e ernphzsls ol'rhis baolc is or;j n composltior., :he problem L\ n a ~ n ~ v i ends:1 SCO?? 2nd worl;able ~fiidrlincsfor melody a r i ~ n gcan be e s r ~ b ~ i s h e.knother d rons~derador! u - h c h 1s certainly open to crmclsrn s: the 5el1eFrhar of the crcanw acuvlties of tfif cornp i e r , mclc>dyw r i t l n ~IS ihe o n e mos: dependent upon Innart musical rdm:
THE ROOTS Of MELODY CREATION Music m general and rne1ody ct-raaon s~ecfilcaljrrcan be rraced zo a root q r e s s l o n oi&e human condlaon b o ~ has urntrance (speech/siilgin~]2nd bod!. movemen: (dancq'rhyt;~rn). PE c h ~ spnmerd music evolved, he pa& became more diverse wr
Popular (folk) music in the samt way incorporare5 the qualities char are zssoclatcd with he se?d development of arr rnwlc. LXT afI!ricrsm. romanriclsm and "sennusness.'
3AZZ AND POPULAR MUSIC is 2 ~ U I C h a t evolved From popula. r n ~ s i and c has lncr~nsrctles to foll; music, populzr rnuslr 'nern_~the conremporary form of folk muslc. -4norher wzy of describing h e d~fiere n t e s beween art m u 3 c and folk music is rhar falk mr?sicis crcarlon. rradit~onand crrolu~ion 15 carried our h r amateur or rn:nlmall!j m n e d musinans. T2e converse for art music IS :liar
I=
i~ crcarors are h ~ g h l yrrarned ant expenc much of their Ilfc's ener-9 on h e study and produztlon of rn~slc-iazz srnce the 1950s h u been wwlv~ngmm zn ar: music: fils is m evidence 31-im drop m popuiuin. from that time onward With rhe deveiorrnen; O'JZ z q an u r muslc came rhe reqmrcrnenr o
.4lr'nougE:ja72 has evolved to ZIY arr music lwei ~ r connecooi? s m folk music cannor be denled wlthour t h e milslc lcsinE I= ~ n h e r e n pzssion r or ~ r Iucenr s expressive and c a a m m i =rive quai~ues..4lf5ou$1 ,ZT hzrrnony has a dlrecr referenc? LC Europear. art music. 1ts r k r h m i r developmenr and y o r e ~mporranrij.h r this chapter. r n x y o f rtr melodic mzreri21s hme sa.or_sand inpor:mr rles 10 folk music T h e most crvcrt oi&esr fo!l< reRrcnccs a r e to cht- fall: musics of .4friGi E r a i l 2nd t;?r Brrrish Isles. As jazz e\rolves and the world's culcures Sesome more unified, rhere are a n d rvill be more o v e n references.
thr above 1n mind. t h e scrlous c o n c e m p o t y l a z composer >zeds LO miriare s cam~;c.t'e~x.sn~c of :he ~ ~ o r l ?iolE; ' s muslcs Dnc shaul3 pry pamcular z:_rrcnclon :o scalar snarie rnaceiid. moniic developma c. phr=inc. znZ most irr,po:-~~nri\~ thr or~antzaclonof z x c j ~ d5 j :.1:s staternei~: 2nd ses?onse forrnuiu. Thrrc are man\-addl~lona:eiemcnts oTa mflodr rhar zrc ro be cons~iered2nd r h ~ r 1nlI . br yvcn and discussed l a w In this chzprcr wl~h
MELODY WRmNG
JAZZ AND ART MUSIC As smted earlier, dthough jazz evolved from folk music. there are many exampIes wherethe rnelod~ccontent of a jazz composidon closely compares with thar of a n art muslc rnelod!r. At [he point in time where jazz compos~tionstarted its e ~ d u t l o ncoward becoming an art music, much of irs compositional structure u.as based on the popular music of rhe dme which we now call the ''~*md&rd''repcnolrc. These songform cornpositions were modeled
an rhe art music of perhaps a centurjrearlier: the Rornanuc era, and show a direct influence both harmonically and melodically of rhe music rhat is typical of Rachmaninoff and ~chaikovsk!,.ro state obvious examples. In fact. many of che themes of these great composers, being %borrowedm by popular music's brigand producers became populx music themes - examples include "Srran~ersIn Parad~se,"based on a theme from Borodin's "Polovers:an Qances." "This is My Beloved" and "Bangles, Baubles and Beads,' borh based on themes from the "Srring Quarter In D,'' ayain by Borodsn. "Full Moon and Empy Arms," is dmost a direct extracrion of a main theme from Rachmaninoff s Piano Concerto N o . 2. There are many more warnples rhat can be cited based o n the works of Tchaiko\psky, Chopin and orhers The point is that the expressions of rhe Romantic composers are ve?. much a part of the jazz composer's lexicon zs a result ofjazz music's ries to the popular music of rhe 1930s t h r o u ~ hthe 1950s.
THE SPECTRUM The essence of the above is that che rnelod~esof the world's culmres and for our interest. iazz melodies fall somervhere ~virhina speccnrrn described by the peripheral limits of Art Music w ~ t hrornmuc. Iyncal melodies ar one end painr and single-pitched dancc. oriented melodies at the opposite. In addirion. d~fferentphrases or secdons of a melody tan be described as being at opposite paints of the spectrum, providing a clear sense of conmast and develop-, m e n t This concept 4 1 be discussed and illustrated in more d e ~ a i later l In the chapter.
STYLE Referring particularly to jazz rnelod)?wnnng, rhe composer, when defining h ~ melodic s goals needs to clarifi.
CHAPTER I: HELODY
THE ELEMENTS OF A MELODY The elements of a melody are cornpr~scdof the following groups: source rna~erials.a m m s of crea~onand development. phrase oryanizat~on,rcssirura, contour and expressive devices. In adddon, a zoaI and point of climax should be dwlsed for cach section at phrase of a
melody.
A. SOURCE MATERIALS Melodies may be based on any of Ehe follouin,0 sources: 1. Single notes 2. Tritonic scale f r a p c n t s
3. Tetraronic scale fragments (terrachords - see Vol. I ) 4. Pentatonic scales (a) diatonic
(b) alrrred
(c) add note (sextaronlc) (d) blues scales 5- Diatonic and altered hatonic modes (septaronic) 6. Symmetric scales 7. H m o n i c references (a) qaeggiations/piderones (b) common tones/pivor pdnts , (c) leadng ronesfnei~hbor tones
8. Quotes 9. Non-western scales (ocratonic and more) A rneldic source is h e pird? orgmizadon of a motif, phrase, section. or any area ofa melody that shows musical u n i ~A. group of qmmemcally orpnizcd pitches numbering four or more in a scalar format can impIy a modality and its perceived emotional quality (see VoL 1,
Chaprer I!?). I f an example is nor scalar - having consecutive skips - in mast cases it will have notes in common W I ~ aI particular modatin. Jt is possible that if the phrase is long enough, more than one scalar source can be detected. In addition, the modal quality of rhe motif or phrase can be enhanced or obscured by its relarionship to the harmonic foundation of that particular area EXAMPLES OF MELODIC SOURCE MATERIALS
The following, like most of t h e samples found in rhe remainder af the book, are mcerprs, of a l e n g h suficient to i l l u s ~ a t crhe defined concept. To put t h e cample in concexq it is s u g g e s ~ dthe smden: refer to rhe recommended listenings and readings found at thc end of che chapcer as a source of scores and recordings for furrher study. 1. SINGLE N O I T T h e starcing poinc o f t h e categories of melodic sourcc materials, havlng no pitch cornparison it is a melodic device in which the rhythmic deveIopmenr of the motif or phrase creaces musical cohesion. VCF effective in jazz melodies, it 1s a demce that Horace Silver and Joe Henderson use cxtcnsivcIy. Example 1-la: "Caribbean Fire Dance"
(B section) byJoe Henderson
THE ELEMENTS OF A MELODY
Example 1 .I b: "Sweet S w e e y Dee" (A section) by Horace Silver
Fi /A 7
n
I
IW I*
4''
1
L
*
I
-
-
I
-
>
I
I
L
I
I
w L
>
I
U
I
-em
L I !
I.,
[
2 I I
i, ?-m---'c'
1 I
I
I/ I/.
I
-4 3-noce scale fragment, it is the basic strvcture of chc pentatonic scale. Prirnwal and pure, 1~ use is found rnosdy in primluixe and children's s o n g or in rhe more rhyrhmic sections of jazz compositions. Example 1 . 2 ~ "Caribbean fire Dance" (A section) by Joe Henderson
Example 1.2b: T h e Girl From Ipanema" [A section) by Antonio Carlos Jobim
3. TETRATONIC ORTETRACHORDIC A 4-note scale fragment long enough to imply a m o d d i y ifthe pitches are scalar (see VoL I,
Chapter U). b r n p l e 1.3a: "Rhapsodic Espagnole" by Maurice Ravel
Example '1.3b: "Firebird" by Igor Stravinsky
4.
PENTATONIC
A 5-note scde consrructed by the cornbinatron of nvo mconic s c d c Fragmenw. These scales ndl be covered in derail rn Chaprer LU. Example 1 . 4 ~ "Gibraltar" byJosef Zawinul
CHkPfER I: MELODY Example 1.43: Symphony No. 6 (main theme) by Peter I. Trhaikovsky
5. DlATONIC AND ALTERED DIATONIC MODES These are rhe most well known scalar somces and should need little explanation. Those not familiar with the altered diamnic modes should refer cu 1701. 3 of this book.
6. SYMMETRIC 5 C A B Formulas show a pattern of s y m r n e ~These . are used pri~nariIy for effect or colorariion due to their hasrnon~cand melodic obscuriry. Included 13 this group are the chromatic scale and materials derived by 12-cone techniques. Scales whose tone/semitone
Exampie 1.5a: 'Touchstone" by Ralph Tamer
Example 1.Sb: ' ' k t Illusion" by Ron Miller F A ? Z ~(F+~ Scale)
7. H A R M O N Y REFERENCED MELODIES Arpeggiatians This is an arm ofa melody char simply outlines parr if nor a11 ofa parricular chord wr chords of a section of a composition. Only the most gifted of composers can use this dcvlcc musically. Pianisrs and other chord oriented composers are ar nsk of averusing arpeggiarion as a means of melody creation. Example 1.6a: "Ask
Me Now" by Thelonious Monk
Guide tones
This m e l d c somcc, based on rhe voice-leading ofa particular harmonic rnwrrnenz is useful for o b l i ~ mmelodies bu: Iilce arpegpanon, should bf used nich discretion for main melodltu. Common tones
Cornmon-tone melodies collsist of a single pitch found In common over a numher of chord changes. C a d e n d in nature. the!. can be eirhcr sustained or haile rhyrhmic de\relopment (sec Val. I. p. 45).
THE ftEM€MTS OF A MEtODY Pivot Point
Pjvor poinr refers to a common pitch t b x the melod?- r e t u r n ro every fen, ilotes in a motif or phrase. A pivot polnt could be wi~ithinor without thc marific shape or phrase. Pivot poinr d s e afiects a melody's shape or conrour as a d be described later. Example 1.6b: "Prince o f Darkness" by Wayne Shorter N.C.
D7sus
P
P 0 I
C
h r g r pitch C a marked
P
w-0
I
"P.p
Leading Tones and Neighbor Tones These nave harmonic ~nfemncesdue to their resolution rcndencies. A Ieading cone is rhe pirch a semitone below the rargeted cadence pirch; a neighbor tone 1s usually a semitone above the cadence pitch but could also be a whole tone found either above or beloar. Their relevance will be given in later examples.
This rders to rhe use of extant material usually in the form of a motif or short phrase. Quotes show a § extraction from a documenred source and are usually personalized by che subsecluent cornposetquotes but are generally recognized as common melodic figures that are found in many melodies by many composers usually contained within a syle carepry. Due m their reference to a syIc period and ~ h c i roveruse, they are considered clichis. Examples would include melodic figures that are found in abundance by many different composers sf bebop melodies, fusion and pop melodies of a particular era, or of the melodic figures found in common to many hard bop runes.
CIichPs can be
It will be pointed out in examples found Iarer when quotes or clichks are found in the
melody. Example 1 . 7 Scherzo ~ No. 1 (ms. 16-1 7) by Frederic Chopin
Example 1.7b:
"JCon the Land" by Ron Miller
b r n p l e 7.7~: "JC in the Cit)?' by Ron Miller
9. NON-WESTERN MELODlC SOURCES
These are scales uzhose oc:ave divisions produce pitches rhar are nor Ln conformance wirh h e tempered tuning system. They are recommended as s o u r c ~marerids For further ~nvesrigation for rhe eclecclc srudent. As most ofrhese scalar sources are nor pl;l).able by f i e d pitch instruments, their w e can be limited but are imporcant nonerhekss. * 15 *
CHAPTER I: MELODY
B.THEME AND DNELOPMENT A rnotiFls ~ h seed c me1odtc ci canon that is subThe basic premise of a melody is the sequently given m u s i d credence by a?. ofthe follouGng means:
Repetition Sequence Inversion Retrograde
. Reno-gradeInversion Isorhythrn Isoarr~cralation Truncation/Extension D~splacement Mutat~on
The pra
IKshould bc pointed o m nowrhat for all melodic anal!zarions found in sh~sbook. rhe main point of inrercst is in what the composer did to create the beautiful and classlc melody rhar m i l l bc included in h e foUou.ing examples. Being overly demiled and scientific in an analysis is of less impormnce than gecEing to the core of rhe composer's creauve and developmental effom with sufficient understanding of EEle process to successfully affect our OR^ efforts.
C. MELODIC CONTOUR Contour refers ro the "shape" of a melody whether describing ~ t direcnon, s irs intervdic mend or I Unote values. Melodic contour is of particular importance KO chis chapter because of its clear definirion of the emononal contenr of a melody. As wilI be shown later, a melody's shape will show changes that were derived either by a s t a r k or dynamic means. The follou~ingare the dements of a melody thar refer to irs contour:
1. Direction 2. Incervd (a) diatonic Ib) chromacir (c)
sktps
3. Nore Value (a) augmenrauon (h) d~minution (c) c~rnpression
(d) expansion fc) articulations
4. Balance
"411of the above affect t h e emotional qwlq of a melody in tandem. Keep in mind that for the follou~lngdescnpdons. any melod!. has a number of the elements listed. As an example, the direction of a melody ha5 certain qualities char arc enhanced or sofrened depending on whether the melody is larzely skips or steps in addiuan to its modal source, ressitura, rhythm and other elements. 1. DIRECTIONAL CONTOUR
In general, a phrase or section of a melody thar has an upward movement wi1I show an ernphzsis of rhe emotional descriprions of lrs elements: increased modaI definition. increxed tension, and enthusiasm.
In general. a phrase or se&on of a melody h a t has a downward movemenc will tend toward relaxation and f i n a l i ~or rcsolurlon Altbourh the modal qualiv of thr melody is not affected significantly: rhe remaining ehments tend to be de-emphasized.
THE ELEMENTS O F A MELODY
- 2. lNTERVALlC CONTOUR
En general, a phrase Q r secnon of a melo* that is diatonic is the most defined by in modaliy and is relaovely neutral in affecting the other elements of a melody. The ather elernenrs also have a less dramatic effect on diaronic melobes. A phrase or sechion ofa melody that is chromatic has increased tension and is darker wirh
obscured modaliy. A phrase ar section of a meIody that has skips of a P4 or more u d I mongly emphasize the osher dements, will be very active, will induce tension and be veqr dramanc. 11s m o d a l i ~ will be somm?hat obscured depending on iu cadenti4 pitches.
3. NOEVALLJECONTOUR A change in note valurs of a secnon or phrase has subrle emotional effects as well as a being a means ofmelodic and motific dwelopmenr. The note value change can be by either a smric or a dynamic ratio. Of irnporcance is the change in rnelohc rhythm relauve to h e pulse af the harmen~crh,ythrn. A sraric rario is one in which all note values are c h a n ~ e dby the same amount; a dynamic ratio has changing note values by increasing or decreasing amounts. T h e fallouring, probably Familiar ro all is given purely as a farm of review and KO mainrain a continuity of presentacion.
A u g m m b o n and dimmutian are examples of changing nore values by a sratic rario. Alrhough h e y are rradirionall!, I~stedunder examples of motific developmenr. they are included here became of their abiliy to affect an mational change in the melody and as a point of comparison with compression and expansion. Augmenarion is the changing of the note values of a motif or phrase by increasing t h e amount uniformly. The emotional effect, alrhough subtle, is ofrelaxation.
opposite. with increase in tension
Dimination is rhe
h e
note values uniformly de-ed
causing a subtle
Example 1 .&: Scacic Ratios a. augmentmion
G
@
E alt
Phrygian
motif
incrcmen;
by 1/8
c Aeolian
BLI
motif
decrement by 118
1
Comjwmi'on and expansion arc Iikc the above but with the note value mxeased or decreased by a progressively changing amount. Both show a dear emotional effecr and can also be a Corm oimetific development.
Com,msion is the dynamic decrease of the note values of a phrase and shorvs an Increase of tension wlth an emphasis of t h e effefecrs of the other elements of a melody. Example 1.9: "Seventh Sign" by Ron Miller
n + t: Bears;
Y,.
a
m 3
-
A
'n
5
I L
8
2
.L
2
3
:/2
--G-,,'
I
L
" Y
0
'I
I
:
I
- +? r
Y '
I
u
*
r,
I
$ + '+ ,3
Expansion is rhe opposite of rhe above, it i s the increase of che note values of a phrase by a dvnamlc amount. LE cfftct LS t h x of relaxation and repose.
' 17
CHAPTEG I' MELODY
Example 1 .I 0:"Kepler's Dream" by Ron Miller
1;
-------------------
@ Copyright 1997 Ronjam MUSIC. BMI
Arriculacions have &cbe effecc of changing note values althou$ the nore's placement in the melodic rhychm dms nor change. For instance. rhc dceration of a p u p of legato marked nores to s r a c c w has an effect similar 10 diminution. LxampIes m d definitions of a r d d a t i o n s are indudedl in che appendix for further review-.
D. BALANCE Balance in a melody refers to rhe aesthenc sequlrement thac a c h a n y take place arhecher in hreccion, intenlalic quaLy, rneloclic r h y ~ h mor any of the elements of a melody char have becn implemented for a Iengh of nme. There are a number of rules given in madition4 text books for balancing a melody - an example is thac one should cl~angedrection d t e r three consemrive skips. The problem with rules is char h e y aren'~always applicable to a specific aestheric requiremcnr. I t 1s better to look ar melodies thaz stand the test of dme and see how the composer solved any musical problems that mayhave occurred in rhar parucuIar example
Essenudly, balance can be thought of as a means otworking with tension and release. As stated above. most of the melodic devices are emotion affeccine and there is a point where a melody as motif, phrase or section musr change irs direcrion, its rhythm, its modaliy or a n y of the remaining elements rhat have been m use for a time in order t~ allott. a cathartic response from the listener. Libran in concepr, b a l a n c ~exemplifies complimentary procedures - the 1-w and Fang of mdody writins.
The best way to creare a balanced melody is by relying upon ones inruirive skills when making she decisions that dererrninc the acsrhcric result Also, how 2 meIody is balanced, at t h e basic rnatific Iwel, to the overall form, is the most imponant concept t o consider and understand u~henanalpzing a given rndody. Sutement and rrspunse i s an example ofthe use of balance rvirh the response being the release
of the staremenr Tne same can be said of antecedent and consequenrial p h m i n ~The . con. cept of balance IS essential ro dl she aestherir aspccrs of composition: harmonic rhythm, modal contour:rh~-chmicderrelupment and of course. melodic materials. Thc levels of mclodic balance are from the smallest, the rnonf, to the tomi form. It is with mclodic rhyrhm thar well chought-out balance is mast critical As we will see in subsequent examples. if 2 motifbegins with fasr melodic rh!~hrn, ir should be balanced wich a concrasring slow response co its cadence polnt - phrases should be treated the same way.
W E ELEMENTS OF A MELODY
E. POINT OF CLIMAX There is a point in t h e melodic contour where the ernotionaI intensity is w its peak, usually &our 4/5 through the composition. There are mathemadcal formulae to plot where h i s point shouId be but ir is recommended thar rhc composer derermlne rhe poinr of climax by relying on Iistcning experience and inruitive skills. The point of climax and its subsequent release could be cons~deredrhe grand statement and response of rhe composirion and r h e ultimate balancing of the compositional form. Point of climax will be dtscussed more in h e analysis of melodies to cornc later in rhe chapter.
f: MELODIC fO&M I. V A E M E N T AND RESPONSE
,410ng uirh h e phrase qudiq. of a j a u melody. r h e most imporranr aspect is its use of sratement and response. With wolutionq ties to African folk music, phrarin~a melody by a call and response formula, whether in a jazz cornposlnon o r an improvisation, indicates a clear sense of melodic development uhilc rnaintainlng a placernenr of che melody at a point ro\vards FoIk area of the folk/art spectrum. Additlond15 it prorides an efFecuve means of balancing a motif.
Of course, this technique is not important only for jazz compositions: its use will show clear development in any melody wherher pure foIk or pure art In its descriprion. Sraternenr and response will be further defined by ~ r exrensive s use in rhe many examples thar niIl follorr. in all chapters of the book. 2. PHRASE Q U A L m
T h e m a n inwrest in the phrase qualities of the melodies i n this book wdl include t h e descriptions of their sysnmetr).: whether the composition or a section of it shows a phrase organbation that is symmetric or asymmerriq and if there is phrase balance by rhe use of antecedenr/consequenrial organization. Usuall!~there is a carrelanon between a cornposi[Ion's harmonic style, its harmonic r h j ~ h mand i s melodic phrasing. Song form and p h d u modal compositions rend ra have symmetric phrasing. wirh ~ ~ m ' cmau& l!, lznedr modal and throughc~mposedforms having asymmetric phrasing (see VoL 1,Chapcer If. C e r ~ d one y may find exceptions t o chis, and the mixing and contrasuns of melodic and harmonic styles may be a method of a e a u n ~uniqueness in a composirion. Overall, a melody's phrase quality wiU be relative to its posinon in rhe folk/arc spectrum 14th the harmonic content having a q u a l i of ~ izs o m .
Most of the melodies chat uilI be a n a l y d in chis book will show a symmetry of phrasing because of the kinds of compositions and their harmonic macerials rhat are the emphasis of this volume. More will be said regarding symmetric phrasing at rhat time. Melodies with asymmetric p h r a s ~ nusually ~ do nor show a usc of antecedens/consequenriaI organizarion and in general are vocal, melismatic, and have a through composed qualiv all descrlpticlns of a linear melodic sty1e.
G. MELODIC RHTTHM 1. TEMPO
Melodic rempo refers to how fast or slow rhe p~tchcsof a melody change relative ro the harmonic rhythm. Melodic tempo is one ofthe syle defining elements ulhcrhcr historic or harmonic. As an examp]?, many bluegrass, countq and Irish folk melodies have extended 8th nore phrases over relatively slo~r-harmonic rhythm or a sinslc chord (hornpipe), dernonstraung thejr common des. As with prcklous descriptions, there can be a h v e r s l y of mclo&c rempi wirhin a composirion wrh perhaps a fast rnonng rnclod!. far the A secdons and contrasting slow melodic rhyrhm in chc B section I t all comes down to c l ~ rimportance of rhe concept of balance, varicy, and contour in all aspem of rhe compositional process. Due to I= musical imporcance. balance will be refwred to repearedl!? in this tcxr.
CHAPTER I: HELODY
2. CADENCE
Meloclic cadence is defined as the point where the mdodic movement comes to a srop: etther by sustaining the last note or b r ~simply ending the mouf or phrase and fillins che rest of h e secdon with a rest. Working in accordance with melodic and harmonic tension and release+melodic cadence is rhe puncmarion point of motific and phrase organization.
The chosen pirch For the cadence point can affect t h e overall syle of rhe phrase or s e m o n a?well as t h e modal definition and resolution qualit?.. The following order of cadence note cholces is from rhe most relaxed to mosr tense. Orders of modal dcfinrrion c a n bc found an various pasts of Volume 1. ORDER OF CADENTIAL NOTE CHOICES Relaxed Root
, 1
P5 (perfect fifrh) M3 (major third} b3 (minor rhird) M6 (majorsixth) M2 (malor second)
m2 (minor second)
M i (majot seventh) b7 (minor swmrh) P4 (perfecr fourth)
Tense
$4 (65)
As an example, if rhc r n o d a l i ~of rhe phrase were Ionian, the most relaxcd note choices wauId include the root, 5th and 3rd with rhe M7 or P4 having the most modd dehition. Were the p h m e in chc Phrygian mode: b2 would have the most modal definiuon with the met or the fifth being the most cadential. There is much to mns~derwbcn selecdng a cadence note pitch and the best _guide is probably to let thc melodicvoice-leading take preccdence in note selec&n.
3. CADENCE NOTE DURATION A cadence note's duration can be used in a way that compliments rhe m o d a l i ~of che harmonlc foundation of a secnon. For instance, the cornposiduns "Maiden Voyage" (Herblc Hanwck). "FwlIon.I'our Heart" Oohn h4cLaugblin) -d "JCo n the Land" (Ron Miller) are composirlons based largely on Mixolydian sus4 chords. Lisrenina, t o rhese will m e a l that their melodies are balanced with acrive, rerse melodic smrcrnencs folIou~dby sustained cadenria1 notes - melodic devices [hat compliment the quahties of the Mu;oIyd~anmode. In addir~onro usins long-held cadence notes to compliment a modality, they work well as common-tonepivot points chat connect a group of chords and focus the lisrener's atrention to the harmonic movement of the composinon. As a form of melodic and harmonic b&qce, long held cadence point pitches are paraicularlYaffective. Usually. rhere is active meIodic macerial which sets up a degree of tension which is effectively released by the held cadence picch. Wayne Shoner is a master of chis concept and uses ~tquite often m a variery of his cornposirions from r h e e v l i c s t to his most recent. One recording that has many clear examples is Speak N o Evil
THE ELEMEMS O F A MELODY
&le1 .I l a: "Speak N o Evil" (ms. 9-13) by Wayne Shorcer
Example1.I 1 b: "C on the Land" by Ron Miller
4. SYNCOPATION
Melodies that cadence often en weak (up) bears are aggressive and acdve. and if rhe m o d s are constructed so drat most of h e i r pitches fall on weak beats, the eEecr is enhanced. Syncopa~~on is rhe term to describe rhar qualiy. Melodies char cadence on or have monfic constructions that start on strong (doum) beau, conversely are relaxed and passive. With char in mind, chere i s more to consider when working on the emotional sods of a melody. In addinon, the use or nan-use of syncopation is anorher gle description.
5. RIFFS AND "LICKS" A riff is a s h o melodic ~ idea that has rhychrnic iden~ity.Usually based on a tritonir: or tetratonic source. ir is repeatcd a number of a m e s emphasizing its rhythmic q u d i ~Riffs . are a good example of an African folk influence in jazz melody writing.
Licks arc similar to riffs bur with more emphasis on the technique or performance requirements of thc melodic figure. Licks arc also sgle definitive m d often are quores, taken horn doclrmen ted or recorded impro~isations.
ff. PERF'ORMAblCf Dl-CTIONS One of the more overlooked melodic descripdons is h e inclusion of performance drreccions in the form of expression markings: arucdadons, dynamics, effects and breaching cues. Iris these ~nrerprerivedlrecuons that give a melody a dynamic quality.
Formnately, rhe languase ofjazz interpretation is learned largely aurally and in most cases a jazz melod!. will be perKorrned as intended by the composer wd-tour performance directions - provided rhat t h e performer "grew up" wirh h a t pardcular style. To assure that h e r e are no ~ntcrpretiveproblems. ir is suggested chat rhc composer include complete expressive d ~ r ~ c d owith n s all his mdodies. A listing of ex~ressivedirecrives includes:
+
Articularions Dynamics Effects Sound support phrasing Ternpa markings
Definitions a d examples of rhe above rerrns are included an page 113 in the appendh for review and clmficarion.
CHAPYEU t: MELODY --
I. TESS ITURNKEY Onc last subject ro be men~ionedbefore going on co style and melodic analysis is the quali n a melody has due to ics cessitura and its key cencer. Due to rhe laus of acousncs, rnelodres whose general range ffa low in chc grand staff tend ro sound "darker.' "heavier." and marc ambiguous than those found in a median or high area. The opposite, those melodies with tessimrae found high in grand stafF~cndto sound "brigh~"clear and &in. In addimeIo&es that are centered in the "sharp" keys sound tion. here are chose who believe brighter chan chose found in the "flar"ke).s. This is a good subiecc to drscuss over a fen beers as it is subjecrive and probably has no documenred proofof its reallty. One can possibi!) find some examples rhat may work on stringed instruments u.hosc s m n p are tuned to "sharp" pitches tE. A, D, G) as t h e opcn s t r i n g uritl respond to "sharp" keyed pitches by resonance (qmpatheric vibrarions). The sharp/fla~ke\.conrrovessy wiII be found again in Chapter D.
The styles of jazz melodies can be categorized inro trvo main groups:
ROMANTIC
Jazz ballads: bossa novas, boleros and some medium and Fast tempo songs have rndo&es thar are consmcred following the dcveloprnend procedures rhat have come from the melodic syle of Tchaiko~~sky and Rachmaninoff by way of the pop~iarmusic composers of r h e 20s to the 50s. Included are rhe efforn of expert film composers from thc earliest co conremporar). times. Kirh this in mind i t is v r v Imporcant that che jazz composer as well a s those apiring to compose- for the popular marker. CDs, radio, television and films, be able to compose a romantic melody.
These j~;!melohes are construmd to canform to particular qnali ties that are defined by an historic era: bebop, swing, Dixieland, hardbop: a Folk/ethnic reFerence: blues, Caribbean, pentatonic, pop; or by rhe performance peculiarities of an instrument or voice. Melodies can also be described by any noteworthy w e of rhe elements: angular. lyrical, progrmmatic, s)mmecric, temarhordlc, or any of zhe others. THE GENERAL MELODIC STYLE CATEGORIE
Romantic/ldeal: rhcse melodies/cornpasitions arc based on the Romantic period philesophicall:; rneIodicaIly and ro some-dcpee, harmonically. Romantic/Melodic: these melodies show consisrendes with romantic melody writing prucedures but differ in philosophy, harmonic macends and emotiond goals. Idiornatic/Referential: modeled on the melodic descriptions of a style era, folk reference or insrumen t/voice performance characterisucs.
Idiernatic/Abrrracz chese melodies are constructed ro have a qualiry described as jagged, smooth, consonanr chromatic and similar depictions. Idiomacic/Pmgrammatic: the construction of a melody to define an emotional: modaI or pro,mnrnatic goal: pastoral, energetic: dark, mysterious and so forrh.
Tn t h e rnain,?azz melodies are eichm romantic or non-romantic. The non-romancic melodies are so diverse - having so m a n y m ~ a b l e in s h e i r descriptions - thar a comprehensive representanon of how the elemencs of melody writing were ro be applied for each wouId be beyond rhe scope of this book. In addjrion, rhere are many melodies that have mixed influences: folk/modal, rifi/pencatonic, and m a n y more. Anocher point to conslder is that'rnstna compositions have differenr styles of melohes in different sections.Some examples are: SONG SECTION STYLE - Contrasted and Combined Melodic Styles Example I .I ?a:' T h e Girl from Ipanema" (excerpts from A and 5 secrions) by Antonio Carlos Jobim
CHAPTER 1: M L O D Y Example 1.12b: "Passion Dance" (excerprs from A and B sections) by McCoy Tyner
Example 1 .I 2c: "Hoe Down" (excerpts from A and B sections) by Oliver Nelson
LO t h a t the fact thac many jazz melodies have contrasung harmonic styles and form, ir should become dezr why the study of melody writing is as difficulr as it seems and requires many years of studv. lisrening and playing experience. Ir is A e diversity and overu~hclrningly comprehensive vaiiery of melodic combinarions that makes r h e r x k seem formidable.
Add
The approach to be d e n for the remainder of r h e chap~eris chat: of forming a mehod or a guide to follo~vthac wilt establish a rncms forresearch and analysis of existing melodies that can serve as models fnl- one's own meIo&c goals. along with the actual analysis of existing melodies. Additional m e I o d i c analysis will be found in each subsequent chapter of this book dons with harmonic and formd analysis. T h e covert premise for all of \?olume 7 of this book is in fact melody writing.
MELODIC STYLE ANALYSIS Havin~established a sylisric goal for a melody wridnz project, rhc composer may want to pather some insights into the means of organizing the elements of a melody ro define that syle. Using he analysis guide found on page 40 of this book, f l l o w these recommended procedm-cs: *
*
-
Transcribe or refer to documented examples represcndng thc s ~ i i s n goal. c Lisren ro or phy rhe example m a k i n ~note of the emonond quaiin- OF the meied!. by sections. Plot rvherc you think zhc melody of each section Eails on the foIk/m specmm. Using the analysis guide, analyze a: least t\r70examples. List any consistmc~esbcnveen rhc examples. Listen again and assirnilare t h e melodies and thelr syIisnc qualities.
.4lthough chc main point of interest in h i s chapter is r n ~ l o d ywriting. ro understand a style definition, all [he elcmena of a cornposiuon must be looked at simultaneously .4nalysis: hardbop style, including meIody, harmony, rh!lchrn and form.
STYLE
Typical Song: "On rhe Ginza" by W ' a p e Shorter and "Nineteen Ban'' by Horace Silver
Both cornposidons show use of the foIlowing: A. FOLK REFERENCES
1. A h c a n {a) szaternent
and response
(b)blues riffs and ppcnratonic scales (c) aggresslvcr f i a / L a u n rhyrhrnic concepts
(d) riff motifs and figures 2. II~fscerrtEuropean Reference (a) rnodaliry (mdodlc and harmonic)
@) diaronic harmony (c) d~versiqand concrasr of harmonic rhvthm (e) drama - exuemcs of ressirura and dynamics B. HISTORIC REFERENCE
1. Bebop roots (a)s w i n ~rhprhmic concepuon (b) "front line" horn sound (c) some melodic sqde reference 2. Big band (a) form and dwelopment @) predomnanr "brass" sound (c) arrangernenrs: backgrounds, "shouts," tuai sections
hrrrnsicalIy bebop in reference, hardbop differs by t h e conscious striving For high drama and excirement by extreme contrasts of dynamics, harmonic rhythm and rhyrhrnic styles within the composiuon: shifts from swing to Afro/Laun to shuMe and back. Additionally, There is cxtens~veuse of TIES, "kicks,"breaks, and rhythmic motifs and figures played mtri.
Hardbop shoivs evolutionary significance by rhe extensive use of rnodalrn and con.crasm of harmon~crhythm. (See "Repose,Transiriqn" in 1'01. 1and lasc question on p. 14.)
Like bebop, hardbop shows a deparmre from jazz performance as dance music o r as a music whose purpose IS to "serve" rhe cusrorncr. Hardbop is jazz wirh aspirations toward "an" It is sdll entemning, but under the composer/performer's scc of rules rather than the mstorn~r's. Of parricular interest i s hardbop's use of rh!.thrnic and rnclodic materids arid approaches associated w i t h t h e folk area of the art/folk spectrum while referring to European art music uirh i t s harmonic materials. For the remainder of rhe chapter. ive will look at a number of melodies in their entire^. $ r a n 4 off with three mamples of idiomadc {non-romantic)melodies of varying degrees of divcrslq; and because of their importance, che procedures for twitins romantic melodies rvill be emphasized for rhc later part of t h e chapter with more specific non-romantic q l c s covcred in Iarer chapters.
CHAPTER I: MELODY
NQN-RO'MANTFC MELODY EXAMPLES Of the fol2ou.ing examples, as with pre\l~ousexcerprs, only che most salient poinrs will be listed. It is suggested chat t h e student. using the analysis guide found on page 421 do a subsequent comprehensive analysis as ume al1ou.s.
A. IDIOMATIC ANGULAR Example 1-13a:"One Up and Down" (ms. 1-2) by Eric Dolphy, from Out to Lunch, Blue Note 841 63
This melody is clearly anyular and non-romantic. Ir s t a m off with a blues based motif defined by che downward s k ~ pfrom the b3 to the PS,balvlccd by an upnwd Ilrap ofz rri~one to the b2 of the key. The accent on the second beat (che backbeat) addsdondly is blues oriented. Example 1. .13x 'Qne Up and Down" (ms.
3-5)by bic Dolphy,
from Out to L~tnch,Blue Note 847 63
The next three measures. in~en-alicallyangular and rhythmically quirlcv, set h e general tanc of rhe melody. Very chromatic, tense incervdic skips and disjointed melodic rhyrhrn suggest thal: Ericu-as rnflucnced by a 22-cane technique shaped by a bIues scale when organizing rh~s melody.
The Iast measure, v e q ~rense by intenpalic skips and cadential note choices IS finally balanced out bj- the final caden tial resolution to t h e tonic; the k t chree pitches being an arpeggiauon of a G7P4 chord. %. IDIOMATIC REFEREldTlAC Example 1 .I 4a: "Caribbean Fire Dance" (ms. 7-41 by Joe Henderson
The first four measures provldc a Freat example of [he primirive qualirics 2 melody can have when based on a criron~csource. Having oniy thrcc picches. the melody must he developed rhyhmicaIIy - as this one does. There is clear sntement and response, wlrh much use ofsyncopanon. Relative to the roocs, the cadence pirches definc EL Lvdian rnodall~.
NOHdOMhNTlC MELODY €XAHPL€S
Nonce the effecr af merric compressi~nby the eighth note shifi re t h e left o f t h e response. Ofnote also 1s the inclusion of the C @non-harmonic cone (nonmodal ro Eb Lyd~m). Joe uses this rension inducing device often and rc is found in most of hu melodies. Example 1 .I 4br "Caribbean Fire Dance" (ms. 5-81 by Joe Henderson
The remainins four measures of rhe firs^ secdon balance our rhc first four as a consequentiaJ phrase. Or'note is rhe cornpress~onof the phrase by the shifting of chc cadence points in rhe form of herniala The occurrence of che lasr; cadence point on the fourth bcar: of che seventh measure followed by silencc (a break} induces a great deal of tension which is resolved by the pickup on beat four of the last measure of chis secrion. Compare rhis u i h che 7rh md 8th bars of "Speak No Evil" and many other melodies by Wame Shorter. Example 1 . 1 4 ~ "f : aribbcan Fire Dance" (ms.9-12) by Joe Henderson
Most significant in rhe-4-bar bridge IS the use of a single prtch as a mclaciic source developed rhythmically for the first threc measures. T h e balanc~ngof the section wmrh a compressed Phrygian terrachord in the last measure is pm~cularlyeKecrive.The scaternenr!rcsponse organiza~ionof chis section is slmilar to many blues tunes with a scaternent, a response, a repeat of the first statement and then a new second response. (S1, R1, Sl,R2) T h e combinanon of the simplicity of tritonic and single-now melodic source as well as rhc irnpIied pentzawnlc q u a l i ~of rrironrcs organized rhyrhmicdy produces a dance-like quality thar defines r h ~ melody s as idiomatic folk.
C. IDIOMATIC PROGRAMMATIC T h e p r o ~ a r n m a t i cintent of the next melody (Example 1 15) is so crcace a relaxed pascord setting. Influenced by Aussrian folk music, this Ionian linear modal cemposinon accornplishes its god by:
* The overall melody mccpting one pitch is based on E lonian. Most motifs and phrases s m and cadence o n pitches rhar eirher clearly define lonian or are cadentially complete due EO rheir consonance (see p. 20). * Relaxed melodic rhyrhrn and relaxed linear modal harmonic rh!.rhm. (see p 13, Val. 1) Use of statement and response along with ~ y r n m e c r i crnelismatic , phrasing. The melody l ~ a sa relwed median ressitura. Balanced conrrascs m h r e c r i o n
CHAPTER 1: MELODY
-
- fi
clear find cadence includes: dmmward d~reccion,expansion of intervals by slaps, starting on t h e E, a m 3 down to CtI, a M3 down to A, a P4 darrn co E. and finaIIy, a P5 down ro the cadence pitch of B. Notim thar: an A triad is oudlned for funher consonance.
Example 1 .I 5: "In a Silent Way" by Josef Zawinul
E tonian
rubalo
n
/
J I* - m k
-
R
L
'
S 8
b ,-
I
-
--.
.
b#
,-I
I
-
*
I
A
r
U
I
U
I
L
LIO
-
4
u
t.
I
-
-
--.
d* -
E lonian
E9sus
Example 1 . I & "American Hopen by Ron Miller Vamp
I
=
160
2dx ~b6'
F13sus
7slk
I
0
e
n
-
1
- 3
---
I I
I
I
I
l.a
I
I
I
w \
2-
1 k
I
-
I
I
I
1
I
I
:
i
Y -
!
h
1
I
f
, I
-'
I
m
o
,
* C *
=
.
U'
.
>
I A
'C
-
'
1
,
I #
.
I .
I-'
I,
- --I=-
'
-
&
I
sfzp -===
NOH-ROMANTIC MELODY EXAMPLES
1I
I
This compos~rion,like zhe previous one, is proprnrnatic and influenced h*rhe quaIides of folk musrc, In this case, the influence is American folk/pop as rhe follo~vingpoints will attempt to reveal. In addinon, the composiion is an another example of lonian h e a r modal. providing a poinr of comparison. Commenrs and salient poinrs indude:
-
A non-harmonic pickup (Ctl) ro bar 1 is found also rn bar 9.Compare it to rhe u s e of Nfl mnes by Joe Henderson (ex.1.14) and Tchaikovsky (Ex. 1.20). In addi~ion? rhe motif is a quote, raken from Gcrshuin's "Prejude No. I." A G minor chordal outlined opening smcemenr is balanced by a response which cadences on a consonam held pitch. Compare this wirh che cadence polnrs in che prelious example Yn d Silent Way." Found in bars 9-16 1s a m e m c shift to rhe right and a compression of the openins statement, with new material m its sesponsr (51-R1,SI-R2J. The rnorif in bar 13 is an cxtanr: folk!pop cliche . P m ZI of r h e melody (bars 16-19)Is based on a C minor pentatonic source, further
defining the composinon's folk qualities. Ears 17 and 18 include a hiconic sracernenr: which is responded by a mronic FoEk/pop cliche in a contrasting direcdon. There is increased rhyrhmic miviq-and ypical penwtnnic melody treatment in bars 2022. More Folk/pop extant material in bars 25-27. Emmples of held cadence pitchcs over Mixolyd~ansus4 chords are Found in bars 29-31, 3335, 37-39, and 43-15. The goaI of rhe heighrened rhythmic accnlir dong xvivrrk rhe chrornaricism of bars 41 and 42 is to significantly increase the rneiody's cension to empliasizc a clear and final cadence pirch. The use of a consonant (5ch of che home key) cadcnce pitch bars 47-50), further defines rhe cadence's finality and is definitive of Ionian Linear Modd melodies. Notice chat excepring for she aforemenrioned h ! tones and the shorc bit of chromatic marerial found in bars 41 and 43, the meJodrc source oFrhe melody is generall!, diatoxic to Eb Ionran. The melody performed rnonophon~calipshould define Eb Ionian and be r~laxcdand pcaceFu1. a q lonian is intended. Ocher points of imponance would include chc melody's cessirura, rnorifrc dwelopmenc, melodic form, general rnelochc rhythm. and specific melodic rhyhrn !usr prior ro cadence points. lnvesrigate these points,
C H W E R t: MELODY
ROMANTIC MELODIES One usuaIly associates ramantiasm in music with the general era known as rhe Romantic Pcriod (ca 1800-3900)and i t s associared composers. ~ I r h o u g hchar. era and i a composers epitomize our perceprioa of romannclsm in music, ir should be pointed out that romanuclsrn s described i n chis book refers to a s ~ l uf e melody writing rhac can be found in the works of Bach. Mozart, Ellington, Jarretr and Shorter as xvc11 zs Tchaikovsky and Rachmaninoff. for run at el!^, the quditles &at define a romantic melodic syle are easy to implem~ntinto a pedantic formula.
In order to better clarify the 2 4 s of a r-mandc melody wriung project. a brief description of romandcism is in order. Romanufism i s not merely a musical s y l e period bur I S an aesthetic "point ofvien;"a m e a u r e of the d e ~ ofe expressiveness found in any of che forms of human endeavor including rbe arrs as well as day-to-day uuscence. As an expression, Romanticism is easily rewgnized in the works of writers, visual artisrs, dramatists, philosophers and composers having thzr "point of view" or of being of rhc Romzndc period. To fully grasp the general definitions of romanticism, it i s susgesred chat the student, if n o t already having done so. srudy and experience h e worlrs of the Romanticists in all areas of endeavor. Listed n o t by time period but by similarides In incensiries of fxpression, a partial Eiscin~1ncludc.s the writers Poe, Twain, Hawthorne, Goethe. Shelley, Melville, Coleridge, and Byron and the painters Kokoschka, C.D. Friedrich, Derain, I7an Gozh, Eelacro~xand Marisse. Nor including drama and dance, it is still qmtc an undertaking - buc is a strongly recommended regimen of study for the aspiring composer. Descriptions of the works of the romanticists and romanticism in ecneral indude: A conrrived intent of drama {melodrama} A degree of preten~ousness E x a g p t e d a-pressiveness Seriousness * OverIy emotiand/sentimen:al/persond A striving, yearning qualimy Enraptured. heaunful, progammatic A quest for the ~ d e dt:h e infimte
Depending on rhe Iistemer's background and musical tastes, rhe rraits of romantic music could bc interpreted as beautiful, l?+cd,ideal and perfecr or contrarily could be thought of as simpIiscic. pedestsian. overdone, mre or "corny." Unfirmarel!-, due co rhe cancacurizaaon of the elements of rornandc music in film scores, man?*agree with rhe later descriptions. The author has had both points of vim and at rhe time of this rvriring is convinced char: romannc melodies a r e the most beaudfd and mosr sorely needed in today's music.
The folloaing is a listing ob~ainedby a careful cornpanson of a number of romantic melodies from all el-as as ro how rhe elements of a melody are worked ro creare a me!ody whose main gods are r:o drarnauze, to overly express and co create a sense of striving for the ideal. Found in tomantic rneIodies are the use OF:
I. Many upward skips (some downward) of a major or minor sixth. These skips arc v e y 2.
3. 4.
5.
-6.
I.
drarnauc and arc traditionally known as rhe "herotc leap" or the "romantic sixth." Keep in mrnd t h a t they are consomnt intervds and singable. Orher intervdic skips borh up or down for various degrees o f tension and dramatic efkctr Final cadence pitches usually are consonant, che general mtcn.ahc qual~tyis Iyricd. Use ofmelod~cchroma~idsmas a ccnsion inducing device, or as non-harmonrc tones to emphasize emonnnal expression or ro enhance cadcnud resolut~onjsec No. 7 ) . Balanced three part rnotlfs with smtemenrs h a v i n ~slounmelodic rhythm conrrasred by a response with f a t melodic rhyrhrn which chen becomes slou~again at the cadence. Also, them arc many examples of rruncaced versions of rhe above: fast smcemenrs fo!lowed by a slom~,or delaved cadence. In general, many rcpeared notes. In ~ a ~ c u l amany r , repeaced notes that become n o n - h m o n ~ tones c that are sustained and rhen resoIvcd at the appropriate emotional " m ~ ~ m c"nTheir t direcuon of resolur~on is dependent on the dil-ecrional concour of t h e melody prior to the non-harmonic tone
ROHANTIC MELODlES
or on chc radential qualiry of the rone. Usually, but nor always, n o n - h m o n i c tones found in cadential resolutions go downward and nan-harmonic tOnFS found in moufic statements go upward S. Simple binary form: Part 1 - an expos~tionsection showing predorninanr use of simple diatonic rnotific statement and development with themes clearly presented. Pan 2 - extensive use of repeated phrases or sequences usually deveioping upward to attain a sense of longing for rhe deal. T h is the mast drarnanc, ernoriondly fervent pomon ofrhe melody; a11 the expresswe effecrs are used co the maximum. Note char romanric melodies a d cornposirions can range frarn being l i ~ h arid r happy in tone to dark and rneiancholic. Other romantic definin~devices include the use of 3/4 m e w and the often found b6 pitch ar key cadential p o i n ~ ,
The following exarnpIes are short exccrprs of melodies from diverse sources and dispare eras which srill have many romantic melody writing conccprs in common. In addicicn, most of the examples have a number of f i e above listed descriptions of romanor melody wiring ~echniquesirnplemenrcd in randcrn.
EXAMPLES Of THE USE O f ROMANTIC MELODY WRITING Nate rhat in rhe following excerprs (excepting rhc jazz tunes) and all remaining examples in this chaprer, h e o n p a l harmonic matwid has been changed by urilizing the reharmonization techniques that will be given in Chapter 11. You may find chat b!? doins so,man!. of the works from the classical repertoire can be performed in a jazz/pop semng.
Example 1-1 7a: "Prayer" by Keirh Jarren (Intervalic Skips)
Measure 3 has a n upward ski^ of a m6, in addinon, there are three repeared notes. Note the balanced melodic rhythm.
Example 2 -17b: "Where Do I BeginJ' by C. Sigman Iw~nnntlc/dwl)
G-9
This excerpt has bo:h dounu~ardand upu~ardshps of a m6 in ~ncasures1 and 2, many repeated nares and an upward Ieap of a M6 (rornannc 6th) in measure 3.
h m p l e 1 . 7 7c: "American Dirge" by Ron Miller
See " k t Illvsion" and "Romeo &]ulier"
Measure 1 has a downward m6, measure 7 a n upward M6.
CHAPTER I: MELODY
Example 1.17d:A T h e m e from "Samson and Delilah" by Camille Saint Saems
stmu
fast
(Chord 7mbo8 are slsgedoar,
slow
fast
not,fotandin the o n p i n ! composma.)
This example has many mrnandc devices An upward skip of a rn7, in measure 1 and 3, rr is more tense than he skips in rhe previous ~ p l c s . Use of chrornaEicism in measure 1 and 2. Repeated nores chat become a non-harmonic:mne which resolves downward found 50th in rncasurcs 1 and 2. and 3 and 4. A slowing down of rhe melodic rhyhrn at cadence points. And lastl!*, although an incomplete example, it starrs KO shorn- the typicai development of part t w o of the melodic form in which mdriple repetisions of phrases or motifs in an upward trend created a sense of vearning for the infm~rcExample 1.18a: ATheme from "Samson and Delilah" by Camille Saint-Sens (Melodic Chromaticism)
(Chord gw.mhoIs rn sugesuonr, nor-form&
in the
original cowposition.)
As inrroduced in example 1.lSd of rhc previous examples. the use of chromaticism in measures 1-3 creates a n emotionalism desired in romantic melodies. Example 1 -18b: "Prelude to a Kiss" by Duke Ellingcon
From a contrasting source. again chrornatlcisrn for crnorional effect: Example 1.I 9a:"May Breezes" by Felix Mendelssohn-Bartholdy from "Songs Without Words" (balanced melodrc *dmn)
D 7!Ff:
n
2
t* k
-
I
-
m
I
C 1 I
-
r
G , I
I
-.
"
I I
I :
; m i - . #
A
I
As Iabeled in the excerpt. E r has a s j m r n r t n c balance o f concrasdng melodic rhythms. The fast rhyrhm prlor t o she cadence emphasizes the cadenrial effect There is in addition, an examplc of a repeated tone becoming a non-harmonic tone shar in this case resolves up KO rhe cadence pitch.
ROHANTliC HELODIES
h a m p i e '1.1 9b: "Ana Maria"
by Wayne Shorter
-
3
4
slav
-3-1
fast
(delayed cadence)
slow
From a conlrrasdng source, balanced melodic rh!r&rn with the cadence rcsolvin~downward Example f -19c: Adagio in 0 minor by Wolf'garrg Amadeus Mozart
-
'
k t
fast
51-
slow
(Cbord 9rnlioIs are Juggextron5. not f o l d in tbe onpnal somponuon.)
IlIustradng the diversiv of romantic melody sources and chat h e y are not tied to a specific time penod, &is excerpt is clearl!. romanuc as is the whole piece. Compare ir direcrly LO rhe Mendelssohn and Sainc SaEns melodies then C Q T L S U ~a~ music histo71 text for the work~ng rime periods of these composers. In addition m balanced and conrrascingmeIodic rhythm, there are repeared news chat become nen-harmonic rones nrhlch resolve downu,ard - overt romantic melody wrinng technrques. hample 1.I 9d: Theme from Symphony No. 6 by Peter 1. Tchaikovsky
- -fast
!&rd
slow
-
-
~ m h a arc b rugr&ns, nor+h??cndIn rile orrplrrplmI compsitaon.)
fast
-
5
1
0
W
-
The theme from Tchatkovsky's Symphony No. 6 YPathttlquc") is another m p l e which demonstrates the use of a number of the previous1y lis~edrornanuc melody concepts.
CHAPTER I: MELODY
THE PROTOTYPICAL ROMANTICII DEAL MELODY T h e fo11owing melod!. is a perfect =ample to be referred to for a complete understanding of t h e concepa of romantic melody writing. It has most of t h e prenio~slyp e n techniques used in the clearest ways; ir is a melody that h a become chc "classic" reference and musical accompaniment co any rornandc image whether prawn~edseriously or as a joke. In spite of its caricaturization o f all that is wrong with she concept of romanricism. nt is nonetheless one ofthe most beautiful rnclodies ever written. The melndj-. of course, is: Example 7 -20: The Main Theme from "Romeo and Juliet" by Peter I. Tchaikovsky (Chmd ~ h !are j nrggesnmrs, not &d ir! rhe oripnal compostion.)
See "Last Illusion"
The melodic form is modified Gina?. ( t w o part irith a repticion): an c~posiuon,rhc dramatic "!>earnin$ for rhe ~nfinite"second part and a repetldon of the first part. Sdienr points and romandc devkes include: I. The melody smrts ofT with a non-harmonic tone which rcsokes upward. Eonnd In ms. 71 is the converse. a non-harmen~crepeated tone which this rime resolves dou7nrvard. 2 . CIear statement (ms. 1) and response (ms.2) ~ i i the h openins statement hwmy slow mclodic rhythm and the responsr being faster, providing hnlmcc 3. The cadcntial note (F)of measure three is consonant and final as arc most of the significant cadence poinrs.
ROHANTIC MELODIES
4. ZntenraEic skips: (a) MG downward, ms. 1-2
(b) P4 In ms. 3. relaxed harmonic/mdodic resoiudon (c) M6 upward. the classic romancic leap in ms. 5 and ms.27 Id) 05 downward ms. 6-7, tense interval to set up cadence (c) P5 in ms.21-22 I z i s r dramacic skip of pan 11, rhr "yearning portion of t h e melody 5 . Chsornaricisrn For emotional tCnSlQtI is found in ms. 6 and 7 and ms. 9, 21,13,1; and 21.
6. Repeared nares a r e found in ms. 9,11.19,13and repeated notes thar become a non-harrnonic tom in ms.22-23 7 . Note the ~essimraof parr II. from a low G below middle C, the melody dramancally builds tension and drama w c h extensive rnorific reperinon by che use of sequence until r h e climax point of the s ~ c o n dD above middle C is reached This is a clear and classic example of how parc I1 of a rornannc rnelodj~should work
The remaining two compositions can be categorized as romanticjmelodic, or compositions c hat have romantic melodies bur differing harmanlc, and emotional qualides. h parricular, the Iast composition, by Keith Jarrett is a good model for a contemporary rornaTr1c composition. It has romantic elements in its melody which are balanced by h e inclusioa o f q m metric rnelo&c material, and a rather stark seundlng slash-chord modal harmonic scheme. EXAMPLES OF ROMAMTfC/MELODIC JAZZ COMPOSITIOt-fS Example 7.21 : "S.R. Ballad" by Ron Mirler
Final End
G ~ ~ S U S
A ~ + / G F9sus
n
f, ( d
I I
D T ? E ~C/D~ I
b e
I
Q
fine
Eopw~ghr1973 Ronjank MUSIC. BMI
CHAPTER t: MELODY
This melody f d s somewhere in benveen romantic!ideal and romantic/mclodic with a rypicall? rornancic melody, but a nor so differing harmonic foundac~onIrs harmony probabIy could be described as =-romantic with a few areas of smrk slash chord formulae (see pp96106 In Volume 1).
R ~ m a n t i cdevices as Iabeled by Ietrers on r h c score: (a) Repeated nores. (b) Repeated notes thaz become a hy [one, resolvin~upward. (c] A romantic leap of z M6. (d) A romantic cIichi. (e) The expansion and sequence of the previous dich t (9 h t e n d i c expansion in an u p ~ z dconrour to create tension and drama prior to a release. (g) The release of the previous tense expansion; it 1s also an extant rornmtic ciichi. (a quote) from the pop tune "If I loved You So" and many others. (h) Repeated nores becoming a NH tone which resoIves downward. (i) More leaps of a M6. (j) Four consecudve shps upward creating exmeme tension and drama for rhe find cadence. The final melod~cresolution is by lead~ngrone. OTHER SAUEhT POIhTS OF INTEREST
-= *
The opening sraternenr In bars I and 2 , of fairiy fasr melodic rhythm, is balanced by a sIow response in bars 3 and 4. There 1s a transposluon of the opening motif in bar 5. A compression of rhe phrase m bars 7 and S. A quasi srnving quality in bars 9 and 10. The monf ~n t h e beginning of bar 16 is jrnrerted in retrogade the end ofbar 16 ro 17. The motif in bas 10 1s sequenced and cnended in bar 17. Bar 19 is a sequence ofbar 12. Bar 23 shows a small compression of the macerial in bar21. Loakfnz ar the rnocif labeled (Id). one can idenn9 a sequence of it at the end ofbar 23 to bar 25. The f i p t c found In bars 6 and 7 relates to the materid in IS and 16.
.4nd so on... Quire a blr: could be poinred out. but the main idea is ro ident16 thc elements of romanticism and srrong rnelod~cconstrumion.
Example 1 . 2 2 "Solstice" ~ (ms.1-4) by Keichdarrett
Romantic and salient features include: Measure ! has three repeated notes w ~ t hthe last becoming part of the response in measure 2. Measure 2 has an upward shp of a m6 jvhich is pan of a rornannc clichfi; iir also has repcased notes (see Ex. ~.~TID). Measures 2 and 3 arc. connected b!. the top pivot poinc p i x h E. and there is an expmsion of rhe i m e n d s : 2 rn6 (G$ to E). a M6 (Gtl ro E)and a b7 (Fa to E) all conmibutins to rhc sense of development and defining rornandc~sm.
THE PROTONP1CAL ROM&NTICfIDEAL HELODY
Example 1.22b: "Solstice" {ms.5-81by Keith Jarrett
F/G
A/G
- -
-
-
E IC
D/E
A~/E
, Lo . ' I n
+Ayr=
S
E
!
7
I
I
I
h-
I
,-,
w
I I
I
!.
., + C
I
.
I
I
0
*-
Y
I
I
,
I
1
The previous finall!. resolves to thc Ct! in measure 4; a pickup at the end of the measure initiates a rruncated version of she material Found in measures 1 and 2 in measures 5-7. Measures S and 9 offer a relief from romanudsm by the peculiar qualin of the symmet,c patrrrn of an augmented scale. All winds down wirh a return TO romantic materid in bars 10 rhrough 12, with bar I1 conranmy a beautiful cllchi. and 12 a final sequence of it. Example 1 . 2 2 ~ "5olstice" : (ms.9-12) by Keith Jarrert
The ver? dark and smrk harmonic foundarion of chis cornposiuon is balanced by i t s beaunful romantic melody givinz this composi~ionan in-puacing quality wonh inves~igatin~. Note the harmon~canal!.sis OF chis cornpositron is mcluded on page 106 of Volume 1 for rhose rnterested m further refcrrnce.
CONCLUSION
.
As initially stated, melody u l r i r i n ~is a complex and comprehensive subiect No amount of
rearling or study can substituse for the years ofIistening to and/or playing ofgreat metodies that: is che most beneficial means of learning to c o n s m c t a p o d melody. I f :he smdcnt does nor have a repermire OF g e a r melodies of diverse ori$ns readil!, avaitable From rnemor). alone. now is rhe rime to start a serious Iisrening regiment
The suggested exercLscs and che recommended lisrcning list ar rhe end of the chapter i s a place to s t a r . In additlon to rekgating numerous mejohes to mernon, one should be able ro play or sing the important themes in any key; it uiU be of extreme henefi-c for both composiuon and irnprorisation. As suggested in Volume 1 of this book for harmonic materials, an? nmc music is prcsent, whether by car radio. home sound system, cinema televisicm or I i v ~performances, l i s ~ e nanalj.ticall!l. Generally; rry to describe a rnelodfs q u a 1 1as ~ folk or arc ~nflucnced,irs source (ui~onic.chromatic, modal); its style descriprion (romantic. idiomatic, programmatic);t~ m recoFizc ho~vche rnelnd!~is balanced boch at the rnorific and phrase lcvels Then determine if :nu like the melody or n o t and tvh!'. T h e nexr srep is ro sclecc a melody chac pasticdariy affects you, and anal!zc i t , determining whar 1t is that i t s anthor did to create a classic. In the ncxt chaprrer we wilI rerum ro rhe concepts ofharmony. Of importance are thc techniques +vcn to harmonize an exrant melody. \ ? e y much a part of the "new jazz" scene is the reworhng of materials from rhe "standard" repertoire. XQth that suhiecc. we wiH combine harmonization, rcharrnonizac~on,and melody writing into a unified a~hoIe.
CHAPTER
1: MELODY
SUGGESTED EXERCISES I. Listen to 6 metodies of diverse styles. f3>- section, comment on the f o f l o u q n ~ ( a ) Irs placement in the foIk!art specmum (b) Scdar source macerial(s) (c) The use of smrernent/response (d) Phrase qualiv (el Label the melodic s~le(romanticjided.idiomric or o t h t r ~ ) (f! Describe your emotional response. EXAMPLES:
"Badia"byJoe Zawinul, Weather Report, from Tail Spinwm' "One By One" by 7X;a:me Shorrer, T h e J a u Messengers, from upfir The Adagio from che Piano Cancerto in A by K".. Mozart 'cEllossom''by Kcirh jarrett, from BeIonpg "Hoe Dourn" by Oliver Nelson from Blue? and the Ahstrab Tmth "Look t o the Sl+' by Anmnio Carlos Jobim fi-om Wave "Rufus" by Archie Shepp from New Thng d Newpm "Work Song" by Nac Addcrley, from Cannonbdli In New I'm-lz
2. Compose four melodm Followrng r h e speclfic directions listed below; harmonization is optional but recornmcnded. (a) V i t h a tricon~csource. phrase a 11-bar melody with rhis staternenc,'rcsponsc forrnuIa: 1 I S1. Rl I Sl. K! 1 52, It3 1 1. (b) An S-bar Form with four bars of increased a c t i v i ~ro a held wdenie pitch for the remaining four bars (see Ex 1.11). (c) A 3-bar single pitch melody, developed rhythmically, balanced by contrasring material In chc fourth bar (see EA.1 . 1 4 ~F.~27). (d) Compose an &bar romantic melody which shows a srriving qualiry toward t h e infinite. Label rhe use of rnoufic dwclopment (see Ex 1-20. p. 34). 3. List ten mclodies from the "srandard,"jazz. Latin, or pop repertoire that can be Iabeled romantic.
"Some Enchanted Everung'' by Richard Rogers "Mayakamby Wayne Shorcer "IT71rboutSou" by lnmg Ecrlin "AU the Thing You Arc" by Jerome Kern "Something to Remember" by Leonard/Madoma "Beany and rhc Beast" by Mcnken 4. Compose a'rornantic melody. (a) Fofiowlng the farm of your choice (atleast ten bars).
(b) narrnonized ir; any syle. but indudc at l e a c nvo areas of slash chord techniclTae. (c) Includf all performance direcdves: ardculadons, dyamics, phrasinps, etc. (d) Following t h e andys~s_wide found on p a y 10,include a comprchcnslve anal?~sis; label sped51 romantic devices that you used.
5 . Refer to the "Adagio" by Tomaso Abinoni included here. Cornpletei!. analyze it using the analysis guide, include a labclin~of rhe romantic d w ~ c e ~vhlch s are u s e d
THE PROTOTYPICAL ROMAFmCIIDEJL H E W D Y
Adagio by Tomaso Albinoni slow and dirge-like
~b-
CHAPTER t: nELoDY
SPECIAL PROJECT
FOLK MUSIC SURVEY
This is a romprehensivc prqiea char is relamil [o the materials found in all chapters of this book - bur in p m i c u l x to the third: penca~oficComposirions. Tr neeis m be "in propss,'. wich most of the work being done no\fr.w~&revim and addldons raking place later in the study schedule.
Researching both texts and recordinp: selecrfrom h e world's folk musics. at- least ccn From different par^ ofthe globe, and and!=, pZ).ing particular artcnuon to the folImring:
---
Source scalar material Statement and Response organization (SIR) Melodic rh!&m relarive to harmonic rhythm Expressive dwlccs and pitch variations
SeIecr a number of the melodies thac you particularly liked, co be used later as a modd for your om7nmelodies. M a k e a note about the peculiarities that endeared you co any mdody.
Make note of any quaIiry chat is found in common with most melodies of all caeegories that may prove ro be a universal "mu&" of affec~ivemelody wrinng.
char rhe reader start uith the foIk sources closelj-related to jazz compositions ~ h a ncontinue o n to personal or nationalistic interests. S m with the Eolbwing folk musics: It is suggested
African Japanese
Brazilian
Indian - Britrsh/Insb American
Of che "nm*worIdsources, tv ro d e t e m ~ n the c percentage ofnarive EO Etlropcan influence: for instance- what is the real influence o r source of the (Cuban) Ctave?
MELODlC ANALYSIS REFERENCE GW ID€ T h e following is an outline of thc elements of a melody h a t were covered in the prewous p a p of rhis chapter and will be referred to in subsequent chapters. Ir should &a serve as an "instantnguide co be used u~henanalyz~ngrnciodies as a s s i y c d in rhis book. A. Source Materials
I. Single notes 2. Tritonic scale frapenrs 3. Tetratonic scale f-ents 4. Pencaronlc s d e s (a)diatonic (b) altered (c) add note {satar;onic)
(tetrachords - see I b l . 1)
(d) bkues scales 5 . Diatonic and altcred diatonic modes (septaronic) 6. Symmerric scales 7 . Harmonic references {a) arpeggiadons (b) guide wncs!common tones 8. Quotes 9. Kan-western scales (octaronic and more) B. MOTIRC DEVELOPMENT
I. Repcurion 2. Sequence 3. Inversion 4. Retrograde 5. Retrograde Inversion
6. Isorhythm 7. Isoarticillation
8. Truncauon/exrension 9. Displaccrncm 10. Muration C. CONTOUR 1. Direcrional 2. Intervalic (a) diatonic @) chromatic (c) skips
3. Note d u e
{a)augmenration (b) diminut~on (c) campression {d)decompression (e) art~culations 4. Point of dinlax
5. Balance 13. FORM 1. Statcmenr and response 2 Phrasing (a)antecedent/consequence
@) syrnm~ncd/asymmetrical (c) sectional (d) rhrough camposed E. MELO DtC RHYTHM 1. Melodic tempo 2. Cadence points 3. Spcoparion F. EXPRESSION
1. ArcicuEations 2 . Dynamics
'
3. Effecv 3 Sound supporn phrasing
5 . Tempo markin~s
CHAPTER I: MELODY
-
.-.
RECORDlNGS AND READFNGS As a listening source for melody \vriting conceprs, almosr ever)- available recording could be
a suitable rxamplc. Thc follo~vinglists the sources chat are referrcd to in the t a r plus a few more.
A. R E C O R D I N G S A t the tighrhouse
Joe Henderson
SiEver7sSerenade
Horace Silver Antonio Carlos Jobim Maunce Ravel Igor Stravinsky
wove
Rhopsady Gpagnole The firebird Bjack Market Zalvlnul Ballads The Mlcsic of Ron Miller The Sorcerer Samson and Delihh Brooklvn Biues The Real McCoy
Milestone 9028 Blue Note 841 31
A&M 3002 misc. recordings available m:sc. recordings available
Weather Report
Columbia 34099
JosefZawinul John Cofcrane Ron Miller MiEes Davis Carnil le Saint-Saens Danny Goalieb McCoy Tyner Wayne Shorter
Atlantic 1579
GRP156
CPP/Belwin Cojumbta 52974 mlsc. recordings available
Brg World 2005
StlverS Serenade
Elements Wayne Shorrer Wayne Shorter Horace Silver
Blue Note 356 Blue Note 3764A Blue Note 32096 Blue Note 841 63 Impulse 9301 Columbia 30954 MGM A 4 9 1 misc. record~ngsavailable rnisc. recordings available misc. recordings available ECM T 050 misc. recordings available Novus 3058-N Blue Note 541 73 Blue Note 32096 Blue Note 41 31
Adogio
Charhe Mariano
LIP 8924-2
JUJU Schizophrenia Out to Lunch Death and the Flower
Get H a p 0 Cinemo LeGrand 50np IWtthout Words
Symphonies No. 5 6 6 Romeo andjuhet B longing Conceflo M. 2 Liberal Am Native Dancer
Speok No Evi!
Wayne Shorter Eric Dolphy Keith Jarrerc
Tony BennettMichel Legrand FeEix Mendelssohn-Bartholdy Peter I. Tchaikovsky Peter I. Tchai kovsky Keith Jarrett Se%e~ Rachrnaninoff
B.READINGS Rumantrc MUSIC Leon Plantinga Contemoray Harmony: Romanticism Through the 72-Tone Row
W. W. Norton, 1985
Ludm~laUlehla Changes Over Time: The Evobtron o f j o z Arranging
Advance MUSIC,1994
Music Idioms
Fred Sturm G. Welron Marquis
Eric Dolphy
Simoko
A d ~ x n c eMusic, 1995 Prentice-Hall, 1964 Qa Capo Press, 1979
Sc Tepperman
Chapter 2 ;.
.I
---::I , .
/::.. -1.- ..
WORDS OR CONCEPTS TO KNOW
I
Standard Repettoire
2
Altered Modalit),
3
Substitution
4
D~atonic
5
Chromatic
6
Function
7
Harmonic R h ~ h r n
8
Cadence
9
Cycle
10
Turnaround
11
Approach Chord
72
Added Chord
13
Target Chord
14
Pedal Poinr:
15
Stock
16
Original
-
CHAPTER
2 REHARHONIZAYION
HARMONIZATION E v q so of%, a student mas inquire, 5 n the compesidonal process, is it berter to write the m d d y firs: or to corm up with a set of chords first? The answer of course, depends on the individual composer; mosc: like rile author. probably work with melody, harmony, and rhyrhm simulraneousl~,each influenung the outcome of the others. Often. a composition may develop out ofa seed idea in che form nf rhree or four chords in a vamp, or from z peculiar ba5s figure. Other times, a pardmlarIy satisfying morif or melodic frapent may mspire the complctron of 2 scction, or a complete composition. The poinr is that the Inicld inspiration. in whatever form ic ernanaces, is what really prcnlides chc basis of a composidon ofworth. For rhase ~ ~ h e melody se writing skilIs are more developed &an their harmonic abilincs usually ~tis the smdcnt ~ . h ohas had extensive craining m tradrtional theory/composition, bur is relanvely new re jazz composition and harmony - the FoIlowrng are some polnu to consider when attempting to create a harmonic progression co a 9;ir~enmelody. Alrfiouph the techniques are rneanr for use lvirh a rneIody o n ~ i n a to l the composer, t h y could be appiicd to an extant melody of any em
There are nvo u.a!r of accomplishing the goal: t h e preplanned and the inmidl~e.T h e inruitive merhod seems Iess efeccive in
THE PREPLAFINED METHOD To be sllccessful with this merhod. the student needs to be well accomplished with the materials found in 17oIume I of rhis text. In fact, the following could be thnuyhr of a synopsis of the imporrant features of Volume I. Of particular importance are the abilities 10 recagnize and work wich:
=
a
-
Tetrachords, modes,and symmernc scales and patterns. Modal chord consrmction rvirh the "grip" mcthod. The connecuon of chords by common tones and srruccurcs. The conccprs ofharmorric conrour. T h e concepts of momentum
THE PROCEDURES A. MELODrC ANALYSIS
Using the analysis p ~ d found e on p. 40 of rhis volume, nere any peculiarities rhar may predict a harmonic definition, paying pardcnlar attention to:
Imporcmr source materids - mchords, terrachords, overall consonant,slcrps. symrncrry and so forth. The emotional contour, cadence points. balancing rechniques, and rhe point of dimax. T h e general svle descrrption: Folk. hardbop, ECM.
B.BASS MELODY CREATION
-
T h e imporsancr of a strong, well developed bass melady cannot be overemphacized i r will hold together rhe h m o n i c foundation of an!. composidon, and wiIl contribute co rhe rnusicd development of other areas. Consider chc follolv~ngurhen composing a bass rnclociy I. Contour: (a)qlrnrnerric or asymmetric note dcrations. @) direction, use of counterpoint ca the given rnelod?.. (c) in tewdic mend. jd) use of melad!, wnnng procedures and develop men^.
HhRMONlfATION
3. ahychm: (a) slow/fast, sustained notes (b) repose and rransinon, cadence and pedd point (c) speed relative to the given melody (d) the use of vamps
I
C. CHORD SELECTION 1. Determrne rhe general harmonic sryIe god: ( a ) bebop, hardbop, E C U , pop!Larin. free form modal, (b) analyze a number of compositions in the selected style (see p. 24). 2. Rewew zhe descriptions of modal harmonic styles: (a)linear @) plateau (c) vertical
3. Review she concepts of modal contwur for modal chord selection. 4. Select chords that fuIfr11 a modal centaur goal, use of "grips"ads in the process. 5 . Create a chord-contour melody.
TO R13TE\KJ,THIS IS THE MELODY DERIVED FROM ALL TKE TOP PITCHES WHEN SPELLING 0LT THE CHORDS.
Use of common tones and structures. Use of counrerpoimt, intervaIic and directional contour.
This i s h e hard part - unless a lot of prepIannjng has been done and t h e goals are pretvl dear. There arc so many possibilides, thar unIess one has composed a lot and developed she dec~sionmaking pmcess to r h c point of being confident in the musical worth of one's initlal selections, the whoIc process can be ovenvhelrning ro r h e point of " g j v i n ~up.'' Scarr by composing a bass melody thac foUows the contour you fee1 besr suits the harmonic god. Tn a number of chords of varied modal qualiues for the first chord chat trill set the tenor for the development of the remaining chords. The neat step is ta add chords ar r h e cadential point., rhen filIin~in wi& the remaining chords between h o s e points according ro a preplanned harmonic contour. Unless you are evolvini to the intuitive approach by chis rime, much experimentahion nil1 probably be needed Trylng many different chords and harmon~cconcours will require pasience and perseverance Being accomplished with rhc " p p " method of chord conscruction will be of great assistance in h i s process. In a nutshell, rhis 3s r h e order of steps ro follow to help organize your rheugh~sfor the har-
monization process: Crearc a bass melody, following the prepIanned harmonic conrour and being a x w e of bass melodic cadence. Select a "first chord" per section. Experimenlvarious chords &ar saris@ both she preselecrcd modal contour and cadence resoludons. Re-voice h c chords to create a chord melody that conforms 1-0a preplanncd melodic contour and cadenuaI requiremenrs. Conunue experirnenring and nve&ing until both the aesthetic and style defining requirements are met.
The follow~ngexamples may offer some clariy and/or insighm intc rhe process. T h e cornrnents address the above steps in the order given, if applicable. The melodies of rhc examples were composed for illusrranve purposes aithotlt any concern for acsrhetics.
CHAPTER II: REHhRMONtZATION
HARMONIZlNG GWEN MELODIES MELODY l
Thc sourcc of chis melod!~can be rdentificd as being a diatonic G minor or Bb major scale. Its directronal conrour is genedl!? dorjmu.ard to rhc cadence pitch, wich the cadence pitch not being balanced by an addiriond pitch in concray direction. It has a final q u a l i ~ due to its melodic rhythm. Example 3.1: Harmonization of a Diatonic Melody (1) and a Chromatic Melody (11) I! - Chrornaric Melody
I - Diatonic Melody
Aeo
Mixo 11
att
I
COMMENTS:
HARMONtZATION (a) T h e Bass Melody - scans wirh the same pitch as bo& chc main and chord melody. m a r ing a clear "harmonic staremcnt.' It chen goes upward in a d~se&onconnary to the m a n and chord melodies: with inren~dsthat ~ epropessiveh~ t smaller, providing at increase af r ~ n s i o nh a t is resolved with the find cad~nccpitch a rrltonc away. Its general source. othcr than chc cadence ~ i r c hi.s d ~ a r o n ~ rocthe m a n melod~csource. rrhr main rnelod?. there is rhrn a P5 The Chord Melody - stzrdng on the same pitch
skip downward to a cadence pitch. chen another slcip to a repose-cadence. defined by t h e use of commnn tones.
HARMONIZATION -
-
The Chord Selection - rhe harmonic rhythm i s slow and symmetric, with the chord selec-
tion based on 3-no~egroupings (miconrcs)of the main melody. T h e firs1 tritonic - D, C, Bb - implies Bb major nr G minor and thc "first chord' choice of G minorJD is dizconically relarive to the melody.
The second chord choice, hatonic ra rhe A-G-F mitonic, gives an effect oFbeing brighter after he first dark Aeolian chord, providin~a sense of harmonic cansour. T h e nexr chord, the tonic. prnvrdes a resolurion of h e drama creared by rhc previous one.
The last chord, connected to the previous by common cone, has a subtlc dominanr qualiy due co the melodic q d l q . of the bass picch. Norice the dternatrng modal qualin. of the selected chock: dark/bright/dark,/br~ght,this provides harmonic contaur as well as a variety oFmodal description. Other considerations made in the selection process were the v a r i e ~of "grips,"and voice-leasling. HARMONIZATION (b)
The Bass Melody - starts wirh the use oi pedal pornr on the main melodv pitch, showing a repose~transicionconmur. The ovcrall source is a chrornat~cfragrnenr which implies Phr?xjan uith the EL. Its direcrional conrour is up\mrd in c o n r r q norion ro che main and chord melodies. The Chord Melody - 1s the same as the main melody due to t h e use oFparallel "gnps"to harmonize che m el ody. T h e Chord Selection - s t a r r i n ~wirh a tonic Bh {Gm)/D. y i p selecdon was made to increase the modaIJspacing tension ro the E minor chord wh~ckresolves to the F13sus4 in the form of a parody cadence. HARMONIZATION (c)
- a simple chromatic scale, downward to the targer F, starts on a Rondia~onicAb. The Chord Melody - starting on a diatonic pitch, alchoush irs melodic shape shows obscured direction, ir does move in contrast to the bass melody by groups of IWO. Ending on a nondatonic pitch, the source of this mdody is Bb major. The Chord Selection - alsernat-ing non-dominant (major 7) chords and dominant (b7) chordq implies a modal cycle resolving to a dominanr of the tonic Bb. The &ass Melody
MELODY ll
This melody is purposely chromaric to introduce h e problems peculiar to that sourcc: that of selening chords whose rnodaliv allor17 nvo or more pirches that are chromaric. In a general dnwnward confour. the melody 1s resolved b?tbalancing irs direcrion with an upward skip ofa P4. A general m o d d i y of che melody cannot be derermined, but the cadence point implies f or Bb major and their relarive miner tonal centers. h general, notice rhc nondiatonic q u a i i ~ of the bass meladies rrp to the cadence poinrs. The chord selection and spelling, needing to include one the main melody pirches, is more &atonic, at Icasc m onr pitch at a rime. O ~ h ethan r example (c), most of rhe selected modalities are homogeneous. These traits am descriptive o f the means taken to harmonize a melody &at is harmonically obscured by having a chromauc source.
By n m ~ furrher ; cornrnenrs may become redundant. It is suggesred that
a more detailed anal!?sis and cornmenrs be completed by t h e reader. The subject of harmonization will be continued in Chapccr 111 on page 96 under the subject of "Harmonization and Harmonic fipchm."
Having created an initial set of chords far a given mcIod!?,one can funher develop the skeleharmonic material by rhe use of reharmonization techniques. Alrhough the reharmonizacion process can be used ro develop h e harmony of one's own cornpositsons, it is mosr often applied to the chords of the "standard" jazz reperzoir~
CHAPTER It: REHARMOt4lZAT1ON
REHARMONEZATION
THE JAZZ COMPOSER'S PREDICAMENT Essential to the reprrroire of che learning jazz performer are a number of compositions known as "standards."These are h e sonp, ballads and dance mnes OL th e 20s to the 50s thar a r e the b&ls of the rradrionalist, bebop oriented jazz performance. Mosc iazz improvisors acquire t h e ~ craft r bT7learning standards, blues tunes md a few simple modal compositions. Haring invested so much effort into t h e learning of the srandard repertoire wrh i t s ties co tonal harmony and the syrnrnealc AABA song form, it i s undetstandable rhat many resist the sdecdon of compositions with unconirenrlond harmonic materia! and unusual f o m for h e p r o ~ m m i n gof concern and recordings. Add LO this rhc fact rhat once the voice-leading of the diatonic n-V-J cadence and tonal harmegg is learned: Ir can be applied ro all tunes thar are b a e d on cha: ststern. Consider also. that most of the hippest "licks" and melodic f i p r e s having been k a n e d from t h e recording of one's heroof-rhe-day can be used as ont's own in any tune having rhe s a m e harmonic foundation. What it all means is thas newTmusic: with harmonic anci meIodic marerial unique t o its crearor requires chat the performer, if orher &an the composer, must learn the new composidon and its improwsationa1 materials with Fitdc reference to aIready worked-our materials. Many of the more consenwive performers resist this.
Anorher consideration is that of rhis ~rmting,h e r e is the perception rhatjau is in danger of bccomlng Iike classical music, char of a re-creative music; char: the thrus: of jazz recordings and performances IS rhat of re-creating the music of the pasr tonal song form composirions with ~ e tso bebop and hardbop.
,411 this presenrs a predicament for t h e serious jazz composer desiring an expression of originality and c r e a u v i ~How . does one get g e a r players KO play his runes ~irhoutcoercion, and how does one address the mend [award jazz as a rc-creative music?
One uvay is to havc recorded examples of his or her works distribured widely enough chat players hear them and learn to enjoy them to the poinr chat they r r m t to learn ro play &ern. Of course, one needs to be in an environment where if one's compositional~performance skills ate knorvn and apprecrated. and h e r e is the possibi1iy of armining financial backing for the production of a recording. A more flexible approach is work within the sandard repertoire and rework the given materials in a way that the resulting product reflecm rhe composer's personal aesthenc and creat ~ v eabiIiries while allowing the improviser an access to his iearned imprmdsational skills.
That is chc goal of this porcion of the chapcer,
t o look at some techniques thar allow t h e composer or mrnposer/improrriser to pcrsonalizf a composicion from thc standard rcpertorre; from a mere "freshening up" of t h e changes to t h e crearion of a r o d y new composition which is a pasdchc of che orignd. In addidon, thc techniques can be used along with t h e previously given techniques, to h m o n i z c a p e n melody for those composers u ~ h oprer"erto ~irricemelodies and then Iarcr add the harmony. .4nd Iucly, the techniques can be of use to che b ~ gband arranger who 1s desirous of creating an innovative version of an overworked standard.
The ~nformariongiven presupposes thar the student has a warkrn? knoulledge of ronal harmony and the diatonic system and is aware of cadences. cycles. turnarounds and tricone srrbsricunon. If not. consuit rhc books listed at the end of this chapcer.
In addi~ionto chc techniques oripnal rc~&fie author, many were derived from an analysis of the recordings of Gil Evans, the '.smndard'' harmonic approach of Herbie Hancoclc (particularly from the Miles Dal~isrecording Ah Fr~nnj~ Valcnhne), and from r h e merhods of t h e many unknown arrangers of "eas!. l i s t c n ~ n ~music. "
Airhaugh chc techniques can be applied ro established jam compositions, j: is recomrnendcd that studenrs limir rhc firsr attempts to "standard" 11-V-I songs as they arc chc cornposinons thar most h a w a need to be personalized
The ~echniquesgenerally fall i n ~ othe FoHowin~categotles: A reworking oE
the chords rhc harmonic sh?~hrn the key, tempo and rhythmic style the form the melody A. CHORDS
The chords $wen pamcular attention are chords that begin secrions, target chords. and the chords of cadences, ~ c l e and s rurnarclunds.
The chords can have:
chanyed modalin. (alteration) changcd chord root (substitunon) Kormally the rnodaliy of a chord is changed when the root is changed. ALTERED CHORDS .4 chord alteration is simply a change in rhe modalig of rhe original chord iiithout char.1~ing the origlnai rooc Usudly the new- modally maintains the Funcuondiq. OF che original, bur it is nor a smcr require men^. I f chere is a number of notes nirhin a phrase of rhe origi-
nal melody, ny ro detect a nerrachord or modal fragment to assist in determination of the new chord's modalit).. If there is one melody note for h e chord, using commonrone technique (see Chapter ZrII in 1:ol. 1) m i l l allow a wide vancy of possible alterations. CHORD FUNCTION
T h e finchon of a chord refas to itr property of being ar rest or desiring resoludon. Chards defined as non-dorninanshaw l i d e or no desire ro resolve, chords labeled dominant do have a desire m resohe or are in association tvith chords rhar need co resolve (sec "Mornencum" in \ b l . I). To maintain a funcuon similar to che original chord. select an alreration with a rcsulring rnodaliy wirhin one to maochords above or beiou, in rhe order of modal resolution. CHORD FUNCTION CATEGORIES: Nondorninant - chords having a natural 7 o r no 7:
Lydian $5 Lydian b7 Lvdian 12 Lvdian 45 Lydian b3 Ionian #5 Ionian b5 Ionian b6
Ionian b3 sus4 no 7 sus 2 no 3
maj 9 no 7 min 9 no 7 Subdominant - can function as either dominant or non-dominant
Dorian 47;:5 Dorian 4'7: f5 Dorian 47, b5 Dorian h7. h5 Aeolian h7, b5
Doaan b7: 94 Donan b7, k4 Aeolian b7,V Aeolian b7, b5 PhI+Ilh7, $5
CH;a,PTER II :R E H AR HONI ZATI0t4
Dominant - chork having a b7 or a
112:
Mixolydian $2. $4 M~xolyd~an $2, $4 Mixolydian b6 Mixolydian Q2 Mixolydian 42,4 Mixolydian b?: 4 Phrysian h6, 84 Phygian b6,4 Phrvgian 6 . 6 6 P h ~ g i a nb3, b6
Laman ty6 Lomian 66 Loman bb5 Locrian b 4 Locrian p4 Alrered h6 Altered bb7 Almed bb6, bb7 Mixolydian sus4 Mixolydran no 4
Keep ir! mind that it is not really necessan KO sdecr a modality that has the same function as the original, thar the overall style of :he reharmonization rrpill dicrare the mode choice. (see t h e pamon on "sq4c")
GENERAL PRACTICE ALTERATION EXAMPLES ALTERED DIMINISHED CHORDS
Diminished chords are nonrnodal chords h a t can have a both a dominant and sub-dominant function. Due co thelr nonrnodal character, their vercical construction rends ro create an inconsistency of s o n c ~ r ;~s i ~ well a spacing quaiiy whm used in context with modal chords.
Diminished chords usuall!. have a sub-dominant function to hI miner or sus4 chords or a dominant function m I chords and are found borh in cadencia1 and non-cadential areas.
The following example is a listing of suggmted alterations to rhe basic O 7 chord ro create a homogeneous modal sound.
Example 1.2: Altered Diminished Chords
COMMENTS:
1 Tradirional rcsolat~onand spel3ing of the O r chord. 2 Aktcration of the 07 ro a Dorian f5 chord (see 1'01. I , C h a p ~ e r15). 3 Downr-vard r e s o l ~ ~ t ~altcrarion on. to a Dor~an$7 (minor/majos 7). 4 Use of the Locrian k2, half-diminished chord ro a sus chord.
SUBSTITUTE CHORDS A subsncu~echord will shoxl, a change in r h e root of r h e orignal chord: the chord's mod&-
vf is usually altered as well. The substirure root can be: a diatonic substitunon rvlrh diatonic chord spellmngs
a diatonic subsntution with chromatic chord spellings a chromaric substitution a "special case" subsnmtion based on the arpegpadon of a diminished seventh chord from the original roor iirhich includes the chrclrnatically subsntuted minor third and the tsitonc as well as h e diatonic substinrdon OF the M6 (b57).
A. DIATONIC SUBSTITUTIONS These reharmonnanon techniques have been desi-wed to be applied to rhe diatonlc tonal svscem. since mush of t h e harmonic material of the orieinal version mill shou-clear lliaronic key centers. A diatonic subsritucion refers ro a change of root char will be diatonrcdly rdaced to the Jonran mode of the key center of a p a r u d a r secdon if n o t the endre composition. As an example. if t h e chord being substituted i s an Fmaj7,9 and rhe key signature shows che key of C, a possible substitute root could be selecred from any of the notes of che C Ionian mode. DIATONIC SUBSTITUTIONS.
DIATONIC SPELLINGS
When a diatonic subsritution is madr and rhe melody note is diaronic to rhe lrey of the secrion or tune as a hole, the spelling of the neir- chord conforms ro the diatonic&!? related rnoddiv of h e modes derived from the original lonian. T h e folorving mble. based on rhe key of C, gives a cross reference to all of the diatonicalljr seiated roots u4tl1 datonica1ly spelled chords.T h e table i s constructed by d i n g rhe seven basic miads constructed from the seven different sreps of the Jonlan made and placing them over each of the seven dlEcrcnt steps. As one can see, this produces a combinadon of 49 possible diatonically substitutable chords. TABLE O f DIATONIC SCIB~ITUTIONS: Room
Triads:
G A80 C
DEl=
PIreferred: -
+
C G!C C6 C&2!4 C Ch6!4/2
CA
11
Ill
fV
V
VI
VII
D
E
F
G
A
B
G/D D-9
E-7 E4/6
G/f FA
G
A95u54
G4/6/2
A-
GJB 3 Phr
D-6
EPhr
F6M FAno3
G7
AAeo
BO
D9sus4 E A e o
C/G
A-7
D-
F6
G9no3
AAeo
BPhr Bo
A9no3
E Phr
D2/4/6ED-7 E Phr
FOt4 F
G6
F/C GfC
D9sus4 E-7
C/F
G9sus4 A9sus4
G9sus4 AAeo
BAeo B Loc B Phr
DIATONIC SUBSTITUTIONS. CHROMATIC SPELLINGS
When the rnelod!, norc of the original chord is not diatonically related to t h e composition's key, the chord speihng of the new7chord also w i l l be nondiatonic 10 the cornpos~rion'skey. In this czse, the nerr chord will be selected from one of c l ~ egroup of aitered-diatonic modes uhich h x both the melody note and one of its pitches in common.
Referrins 70 volume 1. the chords found in hech volumes art from the following sources:
unaltered parenr altcrcd no 1 altered no. 2 altered no. 3 alrered no. 4
Ionian h3 $7 (Ionian) Ianian h3.46 {melodic minor) k7 Ionian b3, b6 (hamonlc minor) 47 Ionian 9,bG (harmonicmaim) $7 Ienian b3, :5,9 (melohc mrnor $ 5 ) LtT
CHAPTER 11: RE+IARHONIZP;TION
AS an cxarnple: lf the an+d melody nore i s .4b, and the arig~nalchord is D Locnan t 2 (halfdiminished).and the key o i t h e rune or secdon 1s in C major (Iontan), any ofthe altered &atonic source scales and their modes &ar have &c pitches of C Ion~anand Ah in common mill be workable s~b~ticurions.
There are quite a number of selections that will work C harmonic major C harmonic minor f melodic minor F harmonic minor Bb Ionian Eb Ioman A harmon~cminor
C C
C C C C C
D
E$ EL
D
Eb
I3
Db Eh Db EL D? Eb I3
E
F
G
(AE)
F F F
G
G
(Ab)B (AE)B
G
(Ab)B
F
G6 ( ~ b )Bb G (Ab) Bb (G#)A\ B
F F
B
And so on... As ~$11 be covered in more detail later, the harmonic s y l e and will help determine which source scale ro select
its bas
rndod~crequire men^
As an example, some d~atonicsubsritunons for D Locrran 42 include: FROM F MELODIC MINOR (REFER TO EX. 2.3 BELOW) C lonian: F melodic mmor:
C C
D
E
D
E
F F
G G
A B { ~ b (Bb) )
G Phrygian 46, F Dorian if. E altered and C Mixolydian b6, having toots in common u l t h C Ionian as well as an Ah in their chord spelIing, arc selectable substitutions for he original
D Locnan k2. FROM Eb IONlAN
C lonian: Eb lonian:
C C
D D
E F (Eb)F
G G
A
B
(Ab)(Bb)
C Aeolian, F Dorian, and G P h n ~ s a nb6, haring room in common arirh C Ionian.as well as the .4b melody now in their spclllngs. are workable subsdmrions.
FROM A MELODIC MINOR: C lonian: A melodic minor:
C C
D
E
F
R
B
D
E
(Flf) ( ~ g )A
G
B
C Lydian 85: D Mixolydim $4,E Mixol~dianb6, IS Phrygian h6, and of course A Dorian k7 are subsrimcable. Example 2.3: Spelled-Out Versions
COMMENTS:
1 The oriyinal cadence wirh a D Lonian !42. 2 A dlaronlc substitu~ionof a Ph+an tl6 for che D chord with the G chord being an alteranon. both are daconic ta F rnelodlc minor. 3 Use of pedal point and a diatonic subsuruuon. 4 Subs~irurionsthat are diat-on~cro A melociic mrnor.
CHAPTER 11: REHARMONIZATION
by s y l e and function requirements. Note thar the diminished 7th chord s~mrncmcallydivides rhe ocmvc.
.4s wivlrh previous examples, choice of modaliv wilI be determined
Example 2.5a:The Roots ofthe Diminished Seventh Chord from the 4th (Key of Bb)
C1 I
I
rncone
Example 2.5b: Substitution Examples
COHHENTS:
Bar 1 : The basic nr-I' cadence Bar 2: Subsrimted roor (C) a third down Bar 3: A new root a rritone down (A) Bar 4: Subsdtuted roor a M6 down (Gb)
Example 2 . 5 ~T:h e Roors oft h e Diminished Seventh Chord from the 5th Including Tri tone Substitution (see page 116 )
v
-
trirone
III
bl I
bv~l
Example 2.5d: Substitution Examples
COMMENTS:
Bar f : The bzsic \:-I cadence Bar 2 : A subssituted b\'IIsus chord For the 1'7 Bar 3: A subsritured HIA- for the 1 7 Bar 4: A trironr subsnmtion for the 1'7 Bar 5: An added II chord to the ~rit0nesubstitution 1: is suSSested the smdenr conrinue rhe above process from tht \'I riegree and from the rocr.
SUBSTITUTE CHORDS
C.STYLE The first cansideration when startins a reharmonization project is co establish a svlistic goal. The style of thc rehmanlzanon uill dectmine the choice of chord qualin and!or function of dceianons and subsututions, the amounr of change in chr harmonic rhythm, the serecnon ofkey, rhyrhmic concepc, fern and any other of t h e previously cited arsan9ng conccprs. S ~ l ise most clearly defined by ~vhacreharmonhtion processes xcused at cadenrial areas: cycles. cadences and mmarounds.
Generally speaking,these are five ba5ic styles: 1. Standard - as the composer intended, usually h m i n ~ : (a) traditimal dorninanctnon-dorn~nantresoiurions (b) symmetric harmonic rhythm (c) similar modality and key "qualiq' (d) limrted reharmonizadon - s~rnplem e d u n g (e) limited chan2e in form 2. Blues/Urbane
- similar to the sound of the Ellington and M i n p scfiook
or dominant 7ch chard substimcions fur all minor chords found in cadenrial areas (b) selec~onof darker sounding "flaf keys (a) mtens~veuse of altered
(c) iower tessimra (d) use OF blue notes in melodic vanacions (e) "dark" colortones found at melodic cadence poinrs
3. Newbop - based on the syle of Charlie Parker's rewriting of"standards"bur moderated ro conform to a more conternporql harmanic/rnelod~capproach. (a)exrensi1.e use of trirone subsdcution (b) extenszve use of parallel II-15s (c) s,mmerric harmonic rhythm (d) limited use ofrcwricren melodies in a moderated bebop s ~ l e 4. Pop/Diatonic: (a) mrensive use of haronic subsricucions
(b) use of dominant sus4 chords at all cadenrial arm (c)seiection ofbrighrer kcy censers (d) relwed symmetric harmonic rhyrhrn (e) use of diatonic sLash/chord consmction (see Table of Diatonic Substitutions, p.51)
{F) use ofrelaxed, 8th-note subdivided rhythms 5. Modal: (a) u s e of reposejnansitioll harmonic rhythm (b) extensive use of pedal point (c) extensive use of the exonc modal chords Id) use of nondiatonic slash chords These general descriprions will be further illuscrated and explained in subsequent examples.
CHAPTER If: REHARMONIZATION
D. HARMONIC RHYTHM This rer'ers to the speed of rhe occurrence of he original chord5 - where and hoir ofren chords occur relative to [he pulse of the composition The harmonic rhythm of composidons of the "standard" r~pcnoircbased on the song form usuaIly is doiv and qmmetrlc The pal of h e reworking of the harmonic rhychrn is ro give l c a more dynamic q u a l i ~hv offcriny 2 conrrasr of s10\1- and quick movement and by offering a contrasr of o~enncssand denary In addinon, t h e resolu~onqualiq. of tadenrial areas can be cnhanced by rhe judicious use of ~ncrcasedharmonic rhythm immediately prior to rheii- resolution. The speed of the i i m o n i c rhythm is increased by rhe addidon of chords and is decreased by che delecion of chords or by the use of pedal point Refer to chc concepts of Repsc and Tranrrbion given in Irolume I of this book. Mutarions of a compos~rion'sharmonic rhythm are found ar nvo area?: C A E N T I A L AREAS
Cadenrid areas are sections of a mnal harmonic scheme which show an active movement toward a resolution god. Cadenrial a r e s are comprised of cycles. turnarounds and cadences. In addirion to having roor rnotrrments thar are &a~:anEcall?~ related and move bj. four~hs or fifths, their defin~tionis determined by rhe funmion and/or modalin. of the individual chords. The harmonic marerial of cadential areas can be of additional use in rags and endinss - alulaysa problem area for both the composer and performer. 7 . Cadences: Chords follouring rhc function formula of dominant t a non-dommmt. Thc formula is that of the \'-I, R'-\r-l and the ubiqtumus 11-\7-I w i t h i t s implied rnodaliq of
Dor~an-MkolyCiian-Ionian. 2. Cycles: A group of chords havlng Ehe same function andjor modality. or shou5ng a synmetry of funcnon andjor modality 3. Turnarounds: A group OF chords of mixed function/modJig thar are organized ro resolve LO a raryet starring point: usually ro the start of a section lf nor the bcgnning of the composlnon. N O N CADENTIAL AREAS Those areas in a set of chords ~vhercthe harmonic rhythm is slo~vesr.usually by having only one chord for a measure or nvo, or where chew is found a fen. passing chords thar havlc a non-functional role.
REHARMONIZATION OF CADENTEAL A M A S Mosr of the harmonic content of a mnal based ccompsidon i s made up ofcadencid forrnulas. In addition, mosr of this matenal is directly interchangeable uvrh alI compositions based on that system. W;I& this in m i n d it is advantageous ro have a number ofvariations (reharrnonizations) of cadenrial materials at r h e disposal of the jaw composer~improvisor.The foUouing is a pardd hsuns of exampIes of cadential reharmonizarions with explanations of the process. In addicion to chansed harmonic rhythm, the cechnlques used will include alrerations. swbstirurions, and permutarions of the chree. By no{\. the smdent should be able to recognize thar trimne substlcurion and some of the special case "7 subsdcurions are chromatic and only rhose which zse not ofthose groups wlIl be pointed out in the commenrs.
Note that in many cases rhe melody note o r notes may need ro be change6 ro conform to a cadendal reharmonization. There is no harm in doing so and usually the end result is aesrherically liable. A "target chord" is usually rhe fissr chard of2 section or of a phrase. l r usually IS identified by ics being rhe release point of a rensronfrclease cadence or irs being the object of a - p u p of chords in a modal refision contour. 1. CADENCES
T h e most bxlc cadence is the V-1 or the more defined n7-!,'-I. Takinz the IV-1'-I as a skclctal starting point. the followins example i l l ~ l s r r a ~ some es of h e above :wen techniques.
SUBSTITUTE CHORDS
trample 2.6a: Cadentiat Reharmonizations
Bb
1
IV
/ 1
:
1 2 ,
/
;
/
1j
/
I
Eb
i 3
Ao
,
Dalt
l4
Gb7
I
Fi
I
C-
n
I
,
/
t!
BB
I
n
c-7
I
I
v
'I
sba
I
G-9
'
i
BbA9
I
Db-
Gh7
Ff-
87
1
BbA
7
C-
Gb7
Fi'
87
1
Bbd
8
c-
n 1
F#-
87
/
/
!
1
Gb7
1 6 )
I
Bbd9
~ b -
5 1
/
I
13613
-
I,
9
Eb-9
I O ~
co
I
1111
72 '
1131 14 '
5
1 I
I
~7b9 F7P9
i
Bbd
Gb13
1
v f r 9
I
BLA
F9sus4
1
D/F
,
BbA
EhjF
Gb+ / F
C-4
F95v54
F73sus4
1
-
I
I
Ahl3/Eb
'
I
Bbd / F
i
BbA9
I
D-9
1
G-9
COMMENTS: 1 The baGc skeletal cadence. 2 The diatonic substitution of the 11 for the IV. 3 Tritone substinnion of the \TI chord for the I\?, diatonic substiturion for the remaining two. dl &ree chords have altered modalin. - rhe result is a cadence to t h relative ~ minor
key. 4 Tritone substirution of the 11 chord wlth alccration. 5 lncseascd harmonic rhythm by the addicion of chords through the use of II-Vs. 6 Tnrone subsdtution of rhe C- FJ 0')chords. T Uppcr neighbor approach chord so the rarpet F f and BbA. 8 Trirone substituted 11-\' for t h e V chord. 9 Alteration of rhe IV chord LO mmor. 1 0 ,4lteration of the I I chord to Aeolian b5 (Half-diminished). 1 1 Upper neighbor approach chord ro the tarset 177 uirh slower harmon~crhythm. 12 Slawer harmonic rhyEhm by t h e use of pedal poim. 7.3 More use of pedal point. use of a J S 7 , W to an altered V to a I/\'. 14 Resoluuon by thr Inner voice-led J3k in the C minor chord to the Bb of cbe F9s~is4chord 1 5 Thc "Small Fmu" cadence (see pg. 81).
outline of [he roots of the firsr chord ofthe first fotlr caclcnces - t h ~ illusnates s the use of that previously glven concept
y u t e rhe aimmished 7th chord
The above Iiscing could be increased significantly as could the Following examples The SCUdenr, having understood rhe concept shouid continue the process-
CHAPTER 14: REHARMON1ZP;TION
Example 2.6b: Selected Spelled-Out Versions ofthe Cadences
2. CYCLES Cycles arc a form of rumaround; the skeleral form has roots motqng In a series of fifih with chomls o E d the same modality. Thc reharmomzation process is purposely simple to manrain a cycle's modal defmition.
Example 2.7: Reharmonization of Cycles
I
10
! A/B
11 12
D/E !
B/E
73 ' E 7
B/E
1 DbiEb I
I AID
E/'A
Eb,'Ah
1
GiA
I
1 c!"
Eb/E
Db/Eh d113 A 1 3
A!O
Eb7
D7
AfD
I
D/G
I
BjCC C!i3
1
I G/C
F/G
DL/D
j
BICt
1 GIC
G!C
B~JC
~ h 1 3IG13 DL7 C 7
'
C/F
'
A.'B
I
B/E
I B!C
I
A: I3 Gh13
F13
, I
07
S V B S ~ T U T ECHORD^ I
COMMEhTS: 1 A b s i c skeletal cycle of dornlnant chords. 2 Tricone substicution of rhc Isr, 3rd and 5th chords. 3 Altered modally of rhe basic chords. 4 Altemaring c hang oFfunction and m o d a l i ~ rLydian augmented to s u d chords by slash chord consctucdon. 5 A non-dominanc cycle of slash chords. 6 T h e converse of $4. 7 Altered dorninmc cycIc. 8 Increase of harmonic rhythm by the use of TI-17s. 9 As abovt n4ch rritone substitution. 10 AI~ernadngmvddityJfuncrion,slash chord construction; note the pattern of both the bass line and rhe upper strucrure trlad in dl rhe slash chord tzcarnules. 1 7 Parnal pedal poina slowrr harmonic rhythm. 12 As above with difierent modali~/frmction. 'F 3 Added crirone substimred approach chord. 94 Use of I1-Vs. shifced harmonic rhythm.
1
3. TURNAROUNDS
The selection of [he skeletal rurnaround depends on che carger stan5ng chord's roc^ placement relar~veto the kg. of the section of the composldon. Most composi~ionsof the "srandard" repertoire start on a 1chord, a 111 chord (diatonic substlrution o f t h e I), a \4 chord or a I1 chord. Of course. rhwe is the possibility oFIinding a tune wich a chord's root smnng on a nondiatonic now but upon closer investigation it udl likely br Found that it had been reharmonized at some point before documentation. See che appendix. for a partial listing of runes and heir starting chord roocs
Example 2.8~: Reharmonization oFTurnamunds (From a 1 Chord to a I Target Chord)
C / 2
r
I E-7
1 E71r9
'
4
1 Bb13
"1
'6 7
h
/
; J
'3
15
1 II
i YI
I
A-9
1
1 G13
1F9
8b13 ' Bb-
Eb7
)
E-9
A13
8
'
A-9
813
Bb-9 EL13
19
1
F-3
Bb7
A13
110 I B-9
El3
111 ? C A
F9
1
Cb
1
i
! Ab13
3
G7
CA9
CA9
G7b9
1 GI3 Ab13 I D - 9
\
GI9 GI3
!
CA9
Eb-9 ~ ' ~ 7~3h - 9 Db13 I I A-9 0 7 3 Ab-9 Dblf
CA9
/
Dbl3
C19
3
Dbi
GI9
b - Db7
CA9
Db7
CA?
I
1 Ah-9
EL-9
A13
EL7
3
3
, Bh-
Eb7
) A-9
D7
1~
'E-7
A7
/A-9
D7
/Ah-
; Eb9rus4
1 Ahd9
I
I
j D7P9
A7h9
IEb-9
j
i
I
A13
El3
/
i D-
Bb13 ; E - 9
8-9
J
D-9
I
I farpet)
A-
IF-9
!
1 ;I2
I/
Iv
( i31b69
I
Cb9
cb69
COMMENTS:
1 The b s ~ skeletal c I-\'I-TI-\? turnaround. 2 Diaronic suhsnrurion of a In for the 1 chord - dl roo^ in 5&s3 Altered modality of No. 7 above in a blues/urbane svle. 4 Tri tone subsrimcion OF the 1II and Tl chords.
i
CHAPTER 11: REHARMONI~TION
5 Encrease of the harmonic rhy~11mofthe above IT the use of JI-Vs - this and rhc nmr ( 6 ) are in a bebop s ~ l e . 6 Tricanc s u b s t i t u t m ~of rhc U-17s of measures 2 and 4 above. 7 Use of 11-Vs and mitone substicudon. 8 A variation o f t h e previotrs example. 9 T h e F chord ha5 dominant fun&on to the Bb7 nitone substimr~onapproach chord to rhc A13: h e rema~ningbars continue the process. 10 Another variation of 85 wich the use of 11-lls and nitone substirution. 11 One more varianon. 12 Slower harmonic rh?rhm in a modal syle: chromatic substtturions. Example 2.8b: Application of Methods ro "I Can't Get Started" (ms.6-8)
COMMENTS: 1 Stock turnaround, cargrc 111 chord approached by a n upper n e ~ ~ h b otriton? r
subsrrmcion. 2 Arerarions in a bIuesiurbane style. 3 Increased harmonic rhyshrn by rhe addition of 11-17s. 4 Parallel II-\'s - Sehoppish in style.
SUETITUTE CHORDS -
Example 2.8~:From a I Chord t o aTarget 11 Chord
Example 2.8d: Application o f Methods to "Body and Soul" (ms. 6-8)
COMMENTS n % L € 2 . 8 ~ ) :
The bait turnaround 2 Added d0minan.t upper approach chord to the w e t III chord, also the rrirane subsrirution of the dominant \q1 chord. 3 Tntone substicution and alteranon of the 1 chord: also t h e IL chord of a 11-X7 to the w p e t III chord - bebop style. 1
bl
CHAPTER It: REHhRHONIfATlON
4 Alrered modalin'.
5 Tritonr subsutut~onand dcerauon of the nI and 17 chords. 6 More substitutions and alterauons - ~ i n ~ s l b ~ u e s / p o p 7 Another mriatton of %. S Incrca5cd harmonic shyrhm by he use of H-\k, ~ h Gb7 c is an upper neighbor approach chord to the target F minor. 9 .4 11-\1and altered version of 53. 10 U s e of peda1 point 10 slow t h e harmonic rhyrhm. COMMENTS (EXAMPLE 2 8 d , "BODY AND
SOUL"):
1 The stock r.arianon a~iitha cnrone sub approach chord to the I11 chord in ms. 8. 2 Added harmonic rhvthm, bIues/bop in style. 3 Simple chromatic bass line, blues s y l e alterations.
Example 2.6e: From a Minor I Chord to aTarget Minor I Chord
/ VI
I
F-
I/
/
/
I
II
/
1 D0
F-9
1
I
/
/
GI3
I Calt
2
E
F-9
Ab13
Galt
1 ~alr
3
:f-9
! ,4673
Dbb
Gb13
I
I
14
5
I
F-9
b
Datt
!~
9
b
6
F-9
1
7
F-9
1 AblBi
8
i~
-
7
Eb-
I Calt
~042 ~ Ah7
C-9 ~ ~
9
1~
h
I Ab-
I
~
9 C7V9
Db7
Db-
I Bb13
I
CSS5
I
4
Gb7
A9rur Bb13sud
COMMENTS: 1 The basic rumaround. 2 Tncane substirrution ofrhe 11 chord, alterations. 3 Alterations Ad tnrone subsamtion for the 11-1' cadence. 4 AIceranons ln the Mings,blues syle. 5 A pop%lues style, i.e.. "Hit The Road Jack." 6 Increased harmonic thyrhrn, closer to a bebop style. 7 Obscure modal variation. 8 A modal/pedal poinr variauon.
Turnarounds and cycles are of Eylrerne irnpomance for both che composer and che improvisor: a thorough undersmding of their construction, voice-leading and funcoon is a top priorit?. in the learning process. It has been sraced (by Kennp Werner) thar knowledge of.and thc a5iliq. to improvise over turnarounds wil! assure rhc aspiring jazr arcisr " 3 ~ galarc." s
SUBSTITUTE SYMMETRIC PATTERNS This is a method of rehamoninns a cadentid or turnaround area by subsnmring all of the roocs of the original with rhosf that are derived from a created symmetnc panern. T h e gods that are usudy met are that the subsnmred gmup resolve m the q e t chord in the same d e n t i d rnanncr as the orignal and thar the starrin~chard's root be thc same. There is quite an increase in harmonic rhyrhm with this rechnique so experimentation must be done until the resulting number of chords works with rhe specified tempo. Of course. this technique wiU require that rhe melody be Altered, recomposed or even deleted for thar sccdon. Subsntute syrnmerric patEerns can he of rnnslcal use at final endings or codas where there is always thr problem of redundanq at rhc least. and indecision ar rhe mosr. And in some cases, where che pattern is long enough. one could substitute an encire section. usually the bndge, rvi th y n m e t n c marerid.
This method is most represented by the reharmonizanon &om of John Colrrane, Joe Henderson and ! e m Bergonzi and because of the intrinsic qualities of syrnmeFr. the method should be used only occasionally and wizh caurion
There are two methods of creating symmetric pamerns for use as substituce roots in cadences and tslrnarounds. A simple, yer effective method is co merely scr up Larger pitdl tonalirips h a t symmetr~cailydivide the octave. then add cadenual macerial rhat defines the target tondiues. The m70considerations t o be made are the resulting harmonic rhythm and cwerd l direm-on of the mrget tonaliy pitches. For inst-ance, you can di171de t h e octave in an upward or downward direxion the foLIoiiing ways: Symmetric Division
Tonal Centers
84.mitone M3, augmented
2
Measures 2-4
3 4
2-4 48
6
4-12 6-24
m3, diminished M2. wholetone m2, chrornztic
12
The fewer tonal cenrers ~nvolvcd,h e less dense rhe harmonic rhythm and number of mcasures. and the more similar the new maceria1 udI be in funcdon to che origina1. Selecdon of the octave division will depend on che number of measures so be reharmvnized and rhc number of chord5 to be included In the skeled harmonic r h ~ h r nHaving . es~ablishedthc skeleral material, the next step is to add material to change h e h a m o n ~ crhythm, change modalirjes, or to reharmonize as in previous examples to meer 2 sryle goal.
For a more comprehensive approach to creatrng symrnersic patterns, refer ro Chapter XXB, p. 9s of Volume 1 of t6is book.
Example 2.9a: Substitute Symmetric Patterns
Tbe e y a ! d~tptscon(mtorre) of thr n c ~ ~ v :Precfion , doc1 not afect the m
1 T h e skeletal turnaround with its two t o n a l genter5 and basic dominanc chords. 2 An increae of ha~monicrhythm by addrng the PT chords of the \?7s.
CHAPTER li. REtlARMONIZhTION
Example 2.9b: Augmented Upward
The three-par: division of the octave (augmented), The use of chis divis~onof r h e octave is found in man), reharmonizations due ro its ex-tensiive use by, and subsequent influence of John Coltrarre COMMf NTS: 1 Key centers established by rhe skeletal partem. 2 Added 11-17 cadences. Example 2 . 9 ~Augmented : Downward
COMMENTS:
1 li? centers esrablished by the skeIetal panern. 2 Added Il-V cadences. Example 2.9d: Diminished Downward
SUBSTITUTE SYMMETRIC PAlTERMS
COMMENTS:
I Kq- centers esrablished by the skeletal pattern. 2 ~ d d c IT-\' d cad,-nces. Exarnpke 2.9e: Diminished Upward
COMMENTS:
1 Key centers es~ablishedby the skcled patern. 2 Added 11-V cadences.
Thc four-part division (diminished) can get quite rhyrhm.
active
wish che increase OF harmonic
-4s mentioned before, o m should be careful when working with spmmetr).. as i t can sound
conrrivial arrh over-use.
The above examples being skeletal could be f u d e r reharmonized by changed modally, crirone subsrimtion, or b~ increasing rhe harmonic rhythm with the addition of more II-\k or by slowing it dortm ixi-rrth the use of pedal poinr. or use of any OF rhe cechniqucs that were ciemonsmced in previous examples.
CHANGING THE HARMONIC RHYTHM CADENTIAC AREAS
OF NON-
As stared earlier, ths i s the chanSing o'rhe harmonic rhythm by t h e addicion or ciclction of chords i n he areas of a cnnd-based composition that are not defined as cadenrial. These WEaS can be one or two measures of same chord or areas where there is p a r d e l chord movement toward a target chord or secclon. Depending on she tempo of the camposition, the technique for increasing rhe harmonic rh~.thrncan include the simple addition of a chord irnrnediaceIy pnor to a target chord to rhc adding of as many as eight chords TO a measure (in 4!4 time). &o of use is the addition of cycles and cadences. T h e slow~ngof the harmonic rhythm is accornpIished by either deledng chords 01-by rhe use of pedal-point.
Arran~er/cornposerGil E n i - ~ sused &cse techniques txtensively, as a bit of listening LO (11s works wilI reveal. The rh\.thm section team of Herb~eWancock and Ron Carter w h ~ l ewith Miles Davis also used this rechnique eften when performing "smndards" alrhough to a lesser degree than Gil.
THE TECf-lNlOUfS: Tne sirnpIest change in harmonic rh,ythm is to add a chord immed~atelyprim to a target chord. These target-seekins chords are called approach chords.
Approach chords mn number more than one and are often used in groups of w o or three depenhng on rhc temps of the compwition. Thc me of mow than chrce chords found pnor to the target chord produces r h c perceived eff'ecr of being parallel "added chords." In addirion, approach and added h e r d s usually are of rhe duration of a half note or less dependunr upon tempo. The roar selecrion of rhe added chord(s) is detrrrnined by thc melodic qudity of t h e bass lrne; the desire to adhere to the moddiry (&/diatonicism)of the phrase or section or rhe desire ro use free-form chremadcism. If one chooses to Insen 2 #cIe or cadence, rhc root rnovemenr. is predetermined a s skips of a fifth or fourth. harnple 2.1 Oa: Added Harmonic Rhythm ("I'm Getting Sentimental Over You," ms. 7 -5)
E ~ A Dalt
I
~b
C-9
~b-9
~ h ? 3~ 7 ~ ~ ' /.13
Walt
Am
C-9
ski3
A-9
Galr
Dalr
Galr
~b13
C13sus
Calt
Gb13
F13sus
FI 3 : 4
CHRNGIMG THE HARMONIC .RHYTHM OF N O H - C A M m A L
WJith the above in mind, one could approach the taqer chord by eithcl- a half or whole step above che t a F e t (upper neighbor). or a half or whole step below rhe carget {lowerneighbor). The seiectlon of rhe approach chord's rnodaIiv depends on rhe need ro define chord h n c tion, mainmin a homogeneous modal contour or just to saris@ one's personal preference. In mosr cases an approach chord's rnodaliv will be the same as h a t of h e r q e t chord. For subsequent examples t h e term original will be used to refer to che chords that are presumed m be the composer's; rhe term stock will be used to mean the chords that are found in "fake books" and common practice performances.
COMMENTS (EXAMPLE 2.10a):
1 The original D6 and C7 made into a 11-V.tritone subscimcion of the DbG with a modd
alteran'un. 2 Two added approach chords of the s a m e modaliy just prior to t h e first urger chord A-11: an added upper neighbor (tri~onesubsritudon)chord prior to rhe G half-diminished target chord 3 One more added chord. D Ahered, completing the y o u p of approach chords ro measure 2; the use of t h e D. G Altered, the add& upper neighbor DL13 and Gk13 put this version in a '%lucsJurbane"styIe. 4 Starung ~ ~ the r diat-onic h subsntunon of a C minor for the previous A o chord the approach chords now have a new targer. The A67 acrs as an upper neizhbor t o the G7 in addirion to beins a tritone of the .4h chord of the previous version the 67 to Db13 is an added cycle to the targct C-9; the Bb7 is an upper neighbor to rhe A-9 wirh rhe remaining chords a d o m ~ n a ncycle t cn the primav target F chord in a bop,'bIues syle. 5 The f i n d version is In a quasi-modal style with the alteration of the C-9 to a C9sus4 and che addition of t h e B-11. Measures 3 and 4 show the use of parallel KT-Vs in a bebop sr;vle. Note the otleralI diatonic relationship of the bass melodies of each version ro Eb Ionian,the songs key. Also, the b a s melody moving in generally contrary motion &amaritally increases the wnsion until resolved by the targer c h o r d
Example 2.1 Ob: Spelled-Out Examples of Versions No. 4 and No. 5 of Exampbe 2.f 0.a
See
pg. 118 "Semi-Mental."
Those who have played "Yeswrda!s" know of rhe problem area of measures 5-8 where h e harmonic rhyshm 1s very slorrr as com~aredto che melodic rhythm. Thr following s h o ~ l nvo s wraysto resoivr chat problem
CHAPTER II: REHAAHONFZATIOP
Example 2.1 0c: "Yesterdays" (ms. 5-8,spelled out) byJerome Kern
Original: D-
G
Fa~th o nfc r&hmjur a v m b n with A
6e
I
E7
lou up rmpa.
COMMENTS:
'I & 2: Paralle! chords of rhe samc modally as rhe firsc in the bsrs rnelnd?' in c o n n a y motion co the main melody. The B dr acts as a dominant chord to rhe target Bb-9. 3 & 4:The P4sus4 is a trirone subsrirudon of the Bo,-4th a change in m 0 d 2 h ~ .it also is an upper nci~hbordominant chord ta rhe E9sns4 tatgec. Example 2.1 ad: "Yesterdays" (ms.5-9,spelled out) by Jerome Kern
COMMENTS:
5 & 6: Harmonized by two-note melody groupings ivkh parallel Lydim a u ~ m c n t c d chords, t h e style is c ~ n c e m p ~ r a r y - m ~ The d d . second half of rhe phrase is the same as the previous example.
In Ex-a,inplt 2 1la (nexc page), notice chat the selected subscicurions for t h e original BA are from t h e previously mentioned "special case" O 7 chord: 3-D-F-~b. The seIected subsnmces are then put over rhc dominant Bb pedal poinr producing an increasin~tension that udl ultimately be resolved when the Bh becomes an Eb. Part n is o f slower harmonic rhythm although rherr is no melodic movement in the bass part, the upper stru~auresdo aifec: the overaU harmon~ctension,j'rhythm. In Example 2.11E (I) the selected pedal poin: is thc ronic and has a lesser need for a bass rntlo&c resolurion and rcnds to be sIishrly more relaxed than pan 11. Nodce that the oripinal m d the substituted chords In the last measure are d~aronicallyin common with ~b melodic minor (.Ab Dorian 7 ) .The chord in measure 2 of 11 is derived from harmonic myor (Ionian h6j for those nor having stuclied Vol. 1 of rh'15 text. Recore yoins an ro rhe final p u p of reharrnonizac~ontcchnzques, we ufiU look ac an example which includes rVanomversions of 2 complete composluon thar utilizes a11 of the methods d~scussedprciqnmly.
CHANGING THE HARMONIC RHYTHM OF NONC&D€NTIAL
barnple 2.17: Slowed Harmonic Rhythm, Excerpt from "Night and Day" by Cole Porter
(b)
0b Phtygian
Slowed h o n i r rbthm 6;1. the MP ofpedalpoinr (sce pg. 120 and pg. SO).
Example 2.1 2: Excerpt from "Dancing In The Dark" by Dien and Schwam
-
-
I
I
I
I
I
I
i t
CI A
I
!
, I
urn
-
I
I
m m -
r.
I
-
t
I
e
1 ,
-
I 1
CHbPTER H: REHARHONIZATION
''Autumn Leaves" is an apprnpnate first u;ampfe in rhat its harmomc consrrucrion includes arensive use of cycles and turnarounds. Adhcionally, it i s a very popular harmon~cformula among improvisors, composers and the Itstening pubric. There are many recorded vetsions of rhe tune; the most sophkticare$ 1s b!~M i l a Dattis. The harmonic materia1 seems to have ties to folk music: probably of South Wesrern European source. Refer ro rhe "Theme From M.A.S.H." and "Europam (Gar0 Babieri) for orher songs based on rhe chords of ".4ummn Leaves." hample 2.73a: "Autumn Leaves," by Kosrna/Pr6vert (Reharmonizaion Table)
~b Svle stock
A sections
/
C-
C- CbiB
F7
87
BLb
n
1
Bop
Db- Gh7
C-
Fi
B-
E7
/ Bb-
I
W9wr
EL737
2 Modal
D Phrygian
1
1
4
1 aa
Bluer
Ebi
1
Eb7
DLDIU~
I
7
I C9rus
G Dvrli
Dalr
h t r 4bl3
Gilt
l
D7
G-
DAalian
~
I
I 1
%
Rh Z 5
1
%
G-9
G-
!A.
EL7
117
G-9
Galr
j A0
Eb13 Dsus Ah;3
G-Il
Galr
Gus
Dbsvs
l
!
/
Dsur
I=-
/
(F9sur
[ Ealc
Dbair
1
C-
Gsus
1
%
/ I
1 ~k.4 E9scs
~5'1~5
%
1
813
,
I ELA I
A9svs
%
E95115
Ebsus CL13 F7"
%
Dko!~an
I ~7
GI-13111
D~rvs
D7'
1
D Phtygian
IG-
D91vr
1~sus
D7
*O
I
I A ~ I~ ~
Erm
1137
/AD
3 Modal
LUS
Pwr
1 D!F
7 , Pop
1
Ebd BI-
I
Modal, F95w
i stock
1
EbA
BbA
/ Bop ;pop
/ / / / I / / I /
I////
!////
I
Dsur
1~
Bib E7
I
a l ? ~
fid
1 C sections
1
Srock pop
110
!
, EI~YI
I ~ o d a lEb9-
1 Pop Bop I
I BOP
1 /
Bb7
%
C~SWS.
1
D Phrygian COrur BIA Bhrur ASW
1 Bb-
1 1 /
D~III
1
-
C7
D7
EL~YI.
Dalr
Eb9ws
j Wsvs
(31"s
iibl3"'
I
G-9
8-9
E-9
i
Rsvr
1
8-
5'
Bk-
F
&ah
Ehus
A-
Di
G-
Ealr
I\-
Di
j G-
CaL
i
G-
D7
Ebd
ELAUS ELI
/
I
AB
Oalr
1-
x Gait
'Cpws ~
j
Di
C-
/Ah-
7
G-9
Dsvr ~
A-
G-
7
C7
DL7
/Gait
I - i e comments for the above a d subsequenr examples will include only h e mosr saIienr as by now rhe reader will have become quirt familiar ~ i c hthe techniques.
COMMENTS:
1. The me af the G altered in h e curnxound of vzrsion 2 provides a stron: dominant funcdan LO rhe II rnlnor s m i n g chord. 2. Vcrs~onchree u i ~ hits pardlei 11-\'s is a popular one among the bcboupers a n d is heard often at cnnccm and "jams." 3. T h e use of sus4. Pliry~ianand Aeolian chords in slow h a ~ m o n j crhythm, as we11 as the use o f pedal point, easily defines version 5 as a modd reharmnmzarion.
CHANGING THE HARMONIC R t f U H H Of HON-CaDEHTFAL A m 5
Bridge sedtons:
1. Version three provides an affective balance to 2 "busy" bop V M S ~ Dsuch ~ as version 3 above, ~ i r hrhe LL~Cof pedal point and modal chords. 2. Version 4 is of interest due to the use of chords from the unusual source, melodic minor $5 (Dorian #5 k altered bG).
k m p l e 2.1 3b: "Aurumn Leaves" (Illustrating a Combination of Many af the Above Given Reharmonization techniques)
d
-
e-64
D ~ S U S
En13sus
Ealr
Dalt
~b-11
D alcH
D9sus
Walt
6 C o p ~ l p h 1947 r by f no& & CIC., Par15 OCopgh~ 195P by Edwon Marbar GmbH, H a m b v fL.r ~ Deucschland
~b13:"
DOsus
G alt
Dalr
G-9
~b9sus
~ 7 f "
~b13sus
F-13
F i 3sus
,
~b13
Ir 1s suggested to the pla).crs rex&g chis book thac for chis and other mulci-versioned reharmonizations rhat a pcrfo-ancc lndude a different version i n z each choms. As an example, rhe author uses rhe f o l l o u ~ nFormat ~ when performing rhe mnc:
[PI11 vcrs~an2. I.U]version 3, [El version 3 andlo; version 4, [C] version 2 and/or version 3 Of course, alternating during
'%lo\ving" choruses is also suggested.
COM HENTS:
combination of h e reharmonizaSons No. 1 and 3 f o n d in Example 2.13a above. The inclusion of the Lydian augmenred chords gives it a contemporary modal sound as well. Bars 5-8: Like 1-4, a combinanon ofversions 1 and 3 above. Bars 9-12: A bit more bop-Iike with rbe included H-17s. Bars 1 3 -16:Similar to reharmon~zationof version 2, from a b m ~ Bars 1-4: A
T H E BRIDGE
Bars 17-20:SpeIled-our a m p l e ofversion 3 & w e Bars 21-24: Continuation of verslon 3 above.
C SECnON Bars 25-28: Like version 5 from Exarnple 2.13a Bars 29-32: Continuadon of version 5.
ARRANGING TECHNIQUES In addidon 10 changng chc chords, harmonic rhythm and melody of a preexisnng cornpos~rionre meet our creative goals: a number of mechock can be applied chat faIl a i t h i n the c a r c p n afatrang~ngrechniques.
An often overIooked but effective modification of a "standard" is to simply put it in a key thac is rarely used for shar parricular song. In rnnst saws, whar is referred co a rhc original key of a song differs f m m the orignal slncc ir is rare ca have access to original documentation of the source "scandard" whether in written or recorded form. A good example is the composition " S d a By Statlight." "StelIana beautifu! $though ovw-played jazz smndad is the main m u s ~ c drheme of the movie The Uninvited. The ori$nal versron. quite different from che familiar jazz version, is a rhapsodic, romannc theme in the key of B major. Most
jazz performers play "Stella" in the kq+of Bb major. f i e change of kc!' \%>asmost likely due to rhe desire to put i c in a key that works well for numpec and renor saxophone. both Bb keyed instruments. Since conccm Bb is rhe wlccen key o f C for trumpet and tenor sax. rhe new key cholce is probably related to a desire LO ecasc the improvisation difficulties of nhat can be a dificult tune in any key.
Rather chan change the key t o accommodate any perceived ~nstrumental problems, amining a freshness of sound or a sense ofan improvement of rhe original should be the primary purpose for a key change. iT'hcn select in^ a nm7bey, consider the follomin~
Alllchough open to ciiscussion. man!* respond to rhe the sharp keys a s bclng bright-sounding with rhe flat keys soundins dark. There may be some va1id1ty to this perception with strinsed instruments but ir best EO make your own judgment by experimentation.
"Tessimra" denotes che genera1 placcm~ntof &e ranye of the song wirhln t h e grand sraff, thrs has a clearer cffecc on the brighr to dark quality of a mne due to the laws of acoustics. If rhe selected new key places rhc overall range of the mnc much lower or higher than it was, i c affeccs how rhc fundamental of each chord is perceived which subsequently affects the sonariq of each chord. (see VoI. 1appendix)
STYLE Select a key chat enhances the stylistic qualiues of the reharmonization: a lighter, higher, brighrer key for 2 pop style; a lower, darker key far thc Minps,/urbane s q l c . You will find rhat the kej- choices thar work well for rhe Minguslurbanc are Bb, Db, Eb and Gb with C. D, E, F, G and A for a lighter style.
If you are reharmonivng for a specific instrument, conslder chz sound charactenstics of chat instrument by register and select t h e key char best satisfies char goal. Thar rhe I~eysof Bb and Db tend to sound dark and warm on tcnor s a x may be a garrial explananon for the use of chose kevs with the urlmne sryle. -41OF the above being subjective, t h e best approach is again - cxpcrirnentarion. Play rhc already reharmonized chords in various keys keeptng the styiistlc god in mind. If there is n o s t r a n ~ s y d i s d goal, c start b!' sclecnng 2 key thar 1s opposite in quallry from rhc reference key. If rhe reference kes is dark a n d low as rn Bb minor, cry E or E$ minor. If the original key 1s Eb or F major, r y A or I3 major. .& an example. thc aurhor. tired of playing "The Girl From Impmema'' in F malor at as rhe usual medium paced bossa nova pur i t in B major ro be performed very fkic in 2 swing scylc, the rcsdt was a renewed and excising sound. The new chord voicin~stook on a refreshins brizh~nessdue to the change oftessimrz. pamcularl~.the A6!9 and sus4 chords. The bndge. now in C major also took on a nvholc new qualq.
CHAPTER II: REHARHONIZRTION
MODULATION
This Lerm denotes che &angins of the key of a section or aU of a cornposioon wichin its arrangemenr. hdodulation can provide a dramatic effecr if the new k q ( s j are br~ghterand/or h r ~ h e than r the startlng key. It- is common to find a modulation up a whole KOnC oi a shird for the last cnorus of an arrangement. s o t as common, bur recommended is the changing of the key by section: r h firsr ~ key AAB. wit11 a hisher key last A. Or put the bridse (E)m a dlfferenr key: first key AA, new key B,firsr key 4.There are so many possible variations of t h e use of modulation you must again - experiment.
h o t h e r non-harmonic/non-melodic variation thar can be made rs to change he rhythmic 5i+e of chc onsnal verslon. This can be a change in the rernpo, the rnerer and/or h e intcnded performance style (swing, bossa n o v h Afm,'Ladn). A change of cempo n the sirnpIest ta accomplish: playing what is normally an up-rernpo as a dou~ballad. Or both a change in tempo and style: a slow bolero played a a v e 7 fast swing rune. Lasdy. changing the meter can be an affective means of creating a "fresh" version of a "tired' overdone standard Ty changing a 4/4 sswlng tune co 3/4,6/8 or rhc more wonc lo$, 7 / 4 or II/S. Of course you must cons~derthe change in harmonic and melohc rhythm a s a result of the changed meter. Evcn more exoric is the changing of the mecer by senions: AA 4/4, B 7/4. A 4J4. The possibilities are extensive - so imapne and experiment!
Thcse two are the Iasr irems to investigate ro complete t h e prqiect to a finished end-product. Whacmer the form of the original source material (most ~ 3 bc1 sons form AABA), the add~ngof cxtra sections uiIl allow the composer to exyrcss his/her mosr personal creac~ve abilities as the neu-material will be most onginal to the composer. Consider adding w tbe basic form an introduction: a coda, interim linking secaons within the arrangement and rocally new unrelated secnons if desired The new sections can he based on r h e original source material or completely new. Timbre refers to instmmmc selection for he ultimate performance. Scoring, orchesrrauon or instrumentauon should be ctmsidrreci in tandem wit11 style,tempo and key selections: all combined rogrher coward an end-produc~.Orchestranon 1s beyond the scope of this hook and ir 1s assumed thar t h e general reader has some background study in instrumenration. If not consulr the recommended readings at the end of che chapter.
Ar this point, much informanon has been prescnred which can be applied LO the task of a reharmonization projecr. Realize thar not all the techniques Nil1 be used at one nme but all cenainly should be considered.
T h e last subject of ths chapcer is t h e reworking of the melody of the ori_@nalsource song. Melodic dseration could include the simple tweaking of a few nnres to match a change in a chord ro the composing of a whole nen- melody as in bebop compositions. Bur firsr wc tvJ1 Imk at a number of rehatmonization examples which uill include comments resarding their most salient features.
I
ARRANGING TfetlNlQu~s
REHARMONt ZATION EXAMPLES Example 2.14a: "Body and Soul'9y johnny Greene
(original key: C, new key: DL)
l/
~b '7.
Cvnrk
/
I EL-9
~ b 7 ' ~ 'I EL-9
LUrbane I i~~~~
1. stock
I
8bThS
EL-9
I/ 1
/ ! I / /
/
A335us
Bb/h
/
/I/
/
/
/
/
/
Ab7
D~A
F/Ab
~ 7 ' ~ : " R-ll
CP
F-A
Eb-9
I
Eb-9
1
/
/
EO
bl:
Bbalt
F g
Bbsus
1
I
/I/
BL-9
Ah7
1
Db
Db
6-6
IDA
/
/
F9
Rrus
/I/
1 /
/I/
/
,
/ - / F 7
3b7
Urbane
Modal
I
1. Stock
-
E-9
IDb
1
2. Urbane at,a/c -
3. IModal 4.
1
TB~C'S
l l .Stock
12-Urbane
8
3. 1Modal
(' see .%I
9
IDA
~ DbiA
E-7
A7
E-7
ligsur
~ ~ h t - y gm t A
A Phr.Gsus f? A e d .
CUE. DSUSA
E- 7
G-9
I
DbA
E-9
A13
DbI
E-9
A73
IDA D39
R-9
A7
1
lirvr
A ~ B&us
~ U S
DA
V
BbA Db7
r
IDA
4
I
I
A7
I
DAj.4
/ DA
&US
F/G
Asus Ahus Gws
E/G;CAtG
BtG
EIG ICb
Bb-7 Ef.7 A ~ oBsus EA G7 C13 873 &95us
F/G
E!G
~ l 3 ~ 1 3 ~ 1 3 s v s ~ b ~
1.14b)
COMMENTS:
VERSION f ?: ( T O C K )
T h e reference set of chords and key for h i s tune u the generic "fake book" changes. T h e original key is C but performers preFer DL which 1s great for tenor saxophone a well as for the dark qualiry rhat rhe key implies. VERSION f2: (URBANE) see pg. 83
The overall svle. showing the influence of Monk and M i n p s , is the urban? sryle. This 1s a reharmonlzation by rhe author and is rhe harmonic basis of the composirion "Sou1 Bod" Found later in the chapter among the cxamplcs ~Creharmonizations~ 1 1 tah nerv melody. The amount ofnandiaconic subscic~tionrequires thar a new melody be included. Note rlic degree ~Fchroma~icisrn m thr bass melody. Thc use of a tritonc substitution for the Bk7?5 in bars 7 and 2 wouid have made the bass melody zlmosr cornplerely chromatic. The pedal poinr bridge ofirs a clear contrast co rhe bass melody of rhc A section boch rnclociicaljy and w ~ r hits harmonic rhythm. The extmnve use of altered, 7#5 and 7t.9 chorcis is t y i c a l of the blucs/urbane srylc.
CHAPTER 11: EHi%UHONIZATION
VERSION +3: (MODAL)
T h e prominent use of sm4 chords as ell as che inclusion of Phrygian and Aeolian chords s u g g c s ~a modal style The rnodaliT is modera& by the use of altered, half-diminished and minor/rnajor seventh chords: chords found in use with the urbane syle. The Colrranc symmetric subsurunon is found at the l x r half of die bridge.
Of note is t h e following: The G-9 KO G7C9 1s a n-17 the diaconicd>7 subsrimred F-A for the DbA in bar 3 . The Eb/Ab acts as an upper neighbor dominant chord r~ the G-9. The use of the blTIo lower nci~h!gorto the \?9sus4 (Go to A b 9 ~ ~in4 bar ) 7 and 19 (Ab" ro .49sus4).
An added chord D9sus4 in bar 18.
In cur dme, John Colrrane's version has extended use of a pedal pornr vamp in the A secdms: rhe use of whole tone harmony at the turnarounds. (noce the augmented triadic upper structures movmg in whole tones) and of course the use of the s y r n e r r i c subscirution pattern in the bridge area O n she recording, there is an opening vamp figure and an out-of-rcmpo reading of rhc find turnaround before going inro an in-rempo coda (shown belo~vj. Example 2.1 4b: Absus Vamp
Coda:
DbA
1 FA
M
1
Eb-3.4b7
I DbA GhA 1 F-9 Eb-9
Note h e oiltline of the ausrnented triad for the first three roocs. b m p l e 2.1 4c: Version No. 3 (Spelled Out]
[
Db4
ARRANGING TECHNIQUES
"Stella by Starlighr." a v e T popular standard in the jazz ~ o m m ~ nhas i ~2 ,beaucifd melody and great blowi in^" chan~es.As mentioned previously i t is anothw sons chat came from the pen of of a movie composer. Ic became popular after Frank Sinam recorded ir and Miles Davis under Sinatra's influence subsequenrIy took l r as "his own."
I
1. Original
12. Generic 3.
[ ~boh
1
i ""--
~m
1 ,65
Eo
1
-
Herbie
-
i
C-9
Aalt
/ ~ 9 s u r 513ru5
(Db-9)
t
; F9sur
1
B13sus
Bi13u5 Bbf35u5
I
(stam or measure 91 I
1
f G E ~ E ~6;
Miles
i =-A
I
1B L ~ ' ~
?
F9
F13
~
I
1 d,b9 3
1 BA ~
~
Eb-6
l Z ( A ) l F 0b/F
&lfrur
! BIBbA-9G-9 I
%
Eb&
15bA
Ab9:11
A13sus
F9
1
Em
~7~'
ED
FVbS
I
1 13bh
I
I
Eo
i Em
Aalr
I
; Dalr
I. ~ngi.,!
I~
1 2. Generic
Gait
!3.MiCes ,
Galr
j4. Herbie
7
"
i ~ 1 3 s u s Galr
~
~
i
1
x x
cA
%
C-9
%
C-9
!
C-916
I
I
1 G-9 F'IIG
j
&9
1 Ee
x
~h-*13
%
~ b a Gb9sus
1
CHAPTER Ii: REH~RMONIZATION --
x
I. Original
2. Generic -
j D7" %
4. Merbie
Gbb
1. Original
1
z
iE-71
/
4-13~~s
SIJ'~/F
I E-11
E A13svs
Bb61F
I
G-9
1
lEdl
Gk-4
1
E-A 6
f 9
I
E-13
I
I
A Phwian
Ab6
,G i
Cv
0b
~bllsur -
/
1 nL9
Gh13sus
/ vP9
BLA
A-9
G-11 F11
Bh13
EL73
BLll
I
1.Generic
[Db-6i1415
i Q - 7 ~ ~
EbA6
3. Miles
-
-.
3. Miles
1
4.Herbie
/~hl3rus
~ l h u s
akus ALalr G P h Gal:
Cat
Fatt
1
F-11
1 ,
I Galt
COMMf NTS:
VERSION +I
The original chords as heard on the movie sound track. transposed to Bb for referentid purposes. The original key is D major. VERSION ?2:
A slight enhancement of rhe smck "fake book'- source changes, put more Into an open modal style - important points are:
1. Use of rhe ll min;maj7 to V9sus4 in bar 3 to 4 1.Use oFuppcr n e i g h b ~approach t chords In bars 4 and 7, and increased harmon~cs h ~ h m by added chords in bars 11.20,24,31 and 32 3. An example of a rrirone subsriruted sus4 chord far a half-diminished in bar 29.
A generalized compilation of u+iac occurs on the Milcs Davis recording "My Funny \?alentinc." There are so many variations by each chorus that he whole performance would have to be represented ro be compiete. For instance, when the band goes into double h e
the harmonic material shifts into more of a bebop style 1~1ththe use of side-slipping 11-IJs and less use of modal chords.
1. The use of approach sm4 chords and/or added chords - bars 4.7, 11.12 and 14 7. The use of bluesy altered chord cycles - bars 13, 16-7.29-32. 3. Use of modal chords (sus-4, Aeolian, Phrygian.) rn bars 4,s and 56-25. 4. In essence, t h e r~harrnonizauonshonrs the
influence of Herhe Hancock,
VERSION #4:
This is Herbie Wancock's solo and c1earEy reveals the deprh of his harmonic sophissicanon due ro hts musical education as it has oven ties to classical rnu~icas well as jau. 1. Extensiv~use of modal chords - the use of a an diminished chord alrered m s o m d modal in bar 13 and 23; Aeolian chords in bars 14. 15, 19 and 20;P h ~ g i a nin bars 19. 20 and 26, sus4s in 17. 18,21, a Lydian augmented in bar ?? and a Lydian C2 in bar 31. 2.Suli some reference to thc bIues In bars I1 and 12: and 30. 3. Use of pedal point in bars 17 to 21.
The remainder of the solo,going into doublc time, changes harmonic sryIe with qwallties of both bluesJurbane m d bebop. It is suggesred the interested student study rhe transcrip~ion as found in the book Herbfa Hancock CIassic Compontinn~fr Piano Solo: by BiIl Dobbins. Advance Music.
REWORKING THE MELODY Having: complered rhe reworking of the harmonic material and any changes and additions regardtins key: form, rempo and meter, it is time to consider the mearment of ~ h melodic e marerial. Of course, it is assumed thac some melodic s o d u7asestablished when the project was first initiated. Depending on the projecr goal, the chanses sa the original melody could include basic tweaking chores, parrial neu7melodic material or a complete new melody havlng a variable degree of reference ro the orisnal.
Basic meaking includes: 1. A reali~nmentof rhe melody to conform to any shifu in che harmonic rhyrhm. 2. T h e changing ofa feu1 pitches to match any chord substitutions or alresarions. 3. Changing the melody to conform ro a s y l e change. For example, changing what was originally an 8th note subd~rrldedbossa nova into a swing mne ~ o u l rtrqrnte d the use of spcopanon and trlpler: subdidsion. 4. Partial deletion of the melody. Deledon of some sections of h e melody is a common pracuce particularly where chere is ex-rensiveuse of substituted syrnrnerric patterns. The bridge to Coltrane's "Body and S o d " is a q.pical example. 5. Parcia1 new melodic marerid. Mosr commonly found is the addition of nmv meIadic material in a Fmr. phrases or sections. This partial melodic restructuring maintains a close alliance with the orignal version while demonstranng the melody a~rinngskills of the reharmomzing composer. This melodic treatment 1s typical of the hardbop style 6. Complete new melody. FlnalIy, there are reharmonizations that have completely new melodies w i t h their only ries ro rrhe orisnil being the skelcral harmonic reference. There is variarian in the degree of departure from t h e original as well. with r h c mosc extreme havlng no ~dendfiablereference to h e original except 111th the harmonic structure of the "blowing" changes. Any further deparmre would put the final product beyond t h e defini~ivelimits of a reharmonlzarion project TWEAKING T H E MELODY Example 2.16a: "Body and Soul" (ms. 5-8]]ohn Coltrane's Version
Example 2.1 6b: "Without a Song" (ms.I -7) Joe Henderson's Version
2.7 6c: "Nighr and Day" (rns. 7 -8) Jerry Bergonzi's Version
CHAPTER I I: E1-1 ARHObllZATION
Before w e look at somc reharmonization +xampfesu-ith altered or new melodies ir should be pointed out rhat rewr~cingthe melody over a set of srandard changes is intrins~cre the bebop s ~ l eI t is s u ~ e s t e dchat in order to crcare a more contempotaqr end-product, one should srrive co Iimic any rrferrd a bebop melodic snvlc when relvriting the melody.
NEW TITLES
Regarding the projeds udc, most composer/rehmoniz~rstend ro indudc somc verbd reference t o rhc original t i d e m the new nrle. How cryptic and dever rhe new tide uriII be can be one of t h e more "fun" chores of the refiarmonizanon project. If the degree of departure from thc original is subtle, the o n p a l ude is usually k e p ~ .
Example 2.17:"Dark Dance" by Ron Miller
Dalt
D Copyght 1992 by Ronjam Musrc
REwORt(IHG THE MELODY
MELODIC FEATURES
Eased on the show tune "Dancing In The Dark," rhe melody is partidly renrntten with alternating sections of nm. meIody and very slighrly altered original melody In addrnon, the new rnel~d!-falls in the rnwhere the rehamoniza~iionshouvs the most d e p a m r e from the original. The sections of new melody are typical of the melodies of t h e hardbop style of reharmonization melodies: dramaric skips. rhythmic rnorifs, tension inducing c ~ d e n c e sand covert bebop ornamentation. Note rhe usr of chrornaricism where ornamentanon is used Harmonic fearures include: (see Ex.2.11, p 69)
*
Use of pedal poinr {sion. harmonic r h ~ h mms. ) 143, 17-24 lnrhrch enhances the conaasc of the fast harmonic rhythm of the swing sections - ms. 9-16, 75-33.This is typ~cdof the hardbop style. More of a bebop syle ofreharmonization at the swing sectionsSubsritution of the final target I chord wirh a b11 - E Lydian.
kample 2.1 8: "Small Feats" by Ron Miller
Galt
C alt
D 9sus
C-A -7-
CHAPTER II: EHARMONIZ&TIQN
MELODIC FEATURES
This example has a complcrely new melody in a diatonic. relax-ed and I + d sylr. Based on rhe Jazz smdard "Giant Sreps" by John Colcrane: rhe cornpes~GonIS che result of rhe author's need t o provide an cxamp]e of the use efmtcnsive draronic subsriruDons for t h e jazz composition class at the Universi~of Mi-i The resuIring reharmonization sounded SO good: the process was completed by ~ h inclusion c of a nmpmelody. The lenphened harmonic rhythm allowed the creation o f a more &xed and lyrical melody as compared t~ the o r i ~ n a which l is essentially a chordal-outline qmmetric pacrem as found in Slonirnsky's Thesmtnts ofSca1es and Melodic Prsmmr. The most salient feature of dlis melody which is a rcsulc of h e diatonic q u a l i ~of chc reharmonization is the extensive u s e oFtriadic motifs.
Tnad: Cb Measure:2
Bh 5
Eb
G
ID
G
Cb D
6
7
9
10
14
21
GP- FP 2 3 24
G 22
B25
C27
Rb 79
Eb
30
Mosr of the remaining melodic materid is based on tri~onicsource macerid maintaining a consistent simple qualie. (see Chapter I, p. 13) REHARMONIZATION FEATURES
The prominenr technique used is diatonic substitution There is a shorn area of pedaI point, but rnosdy rhe reharmonization follows rhe s\mrnecrical harmonic rhythm of the ori$nal. T h e bigpest direrence is in che doubling of the harmonic rhythm u h c h allows 50th a more Iyrical mcIody and an easier timwf-it during improvisation.Of note is a series ofreharrnonized 11-V-1s based on diaronic subsricurions where [he II is repIaced bp a V9sus4. the 1' by a I\? minor/major 7 , and the 1 by a n3 minor or a XLI atrered (ms. 45,8-9, 10-1l and 14-15). Both the nn$nal and the new version's cadential areas move toward target roots based on an augmented triad The irnporranr point is not co depart too much from the original's srrong target cadential a r m ; it is t h e means ofkceping the harmonic intenr of rhe ori$nal. Fxample 2.19 Ron Miller's Reharmonization of "Gianr Steps"
Original:
BA
New:
EV- 9
D7
~b13
GA
BA
F- 9
n u, Y
by John Cotwane A-7
E ~ A
cf-ir
sb7
D7
~:i
.Y,
13
C W -
L J
I
c 73 A I 3sus
~b7sus
I
5
1~
~b33sus
A~-*
36
G-9
C-9
D;-
s
~1.13
REWORKlNG Tft-E MELODY
Example 2-20:"Soul Bod" by Ron Miller
Gsus
n
ELI1
BLI~
Falt
E/
G7
Cd/G
B/G
DL-t
1
F/G
~ b 7
C0
G7
'/~7
=,b5
87b5
Bb7b5 /I
V.ll
0. C.
C/
c
Now: ritardando & fine at 2nd ending
C o m h r 1985 by RoonJamMusic
MELODY
- IMPORTANT POINTS:
The melodic cadences resohe
to "darker" modal character tones: M1-ttS, M2-b9 kL3, Mj-bZ, M4-b6 and M6-b5 and 13. A Gb (F#)acts as a pivot point for most of the melody. A low ressitura enhancm the melodie's dark quality. Upward skips in Ms. 1,4, and 8 are dramatically resolved in rhe 2nd ending. The uptvard shps at the 2nd ending set up a climacuc release to the brighrer key of D major. Use of the delemd-melody method for the bridge. REHARMONIZATION - IMP0R"TANT POINTS:
The A sections arc reharmonized in a darker, bIues/urbane style showing an influence of Monk and Mingus. Contrasting brighr pedal pointJmodal s y l e of reharmonizauon in the B @ridge) secdon. Refer co Example 2 . 3 4 version ~ +2 for more details.
T h e last composition included a s an example illurnrates t l e use of a melody char has no overt ties to the originak &c 0 n l ~ clear refercncc ro h e onsnal is ~ h "blowing" c changes rvhich are only slightly reharmonlzed.
CHAPTER II: RMhRMONIZAllON
bample 2.2 1 : "Meeting At Terminus Corner"
Q bv MRC-MUSIC INC. Fur Deutschland, GUS und osteumpa~scheLander CHAPELF &
by Roland Kirk
CO CMBH. Hamburg
ME MELODY This melody, like "Soul Bod's.' has a qualinn h a t dcfines it as an obligarn melod!. or perhaps a bass Iine. T h e melody o f "Soul B o d was in fzcc writrcn to be a rener saxo?hone councermelody in a nvo horn arrangement. One can speculare that the melody to "Termini's Corner" possibly has irs geneas in a slmi'lar manner. Whatever t h e composer's motifs, the melody has licrlc resemblance to the original which is "On Green Dolphin S t r e c ~ "Norice that the last tlvo bars outline a turnaround t o rhe key of Bb.
RWDRKtNG THE MELODY
T H E REHARMONIZATION (BLOWING CHANGES)
As pointed out above. this composition is based on "On Green Dolphin S r r e e ~a, ~ jamsession tune, recorded exrensivelv by Miles Davis. The e r i s n d kc! is probably C major. Mose jazz versions are in EC major or C major. Roland &Clb's as you can see IS in Bb major. ofinrerest i s the use af a bm 13 (Dbl3) subsatuuon for whac 1s usually a E-9 (Bb-9) in bas 3.~ a r 5s rhmugh 8 show che use of a chromatic turnaround to the target C-9 chord ofbar 8. The rest of the harmonic material is dose 70 both the oriena1 and other jazz versions.
PIAN 0 ARRANGEMENTS A recommended reharmonization project to underrake is that of an arrangemen? for solo piano. Ir has che added merit of being a condensed score ro be used for possible expansion by orchestration.
CONCLUSION OF CHAPTER II Much information has been presented on the previous pages, hopefully nos so much as to be overbearing or roo lirtlc ro be unclear. Bear in mind thar not all the techniques xiiU be uscd in any one project and that h e r e should be same perceived reference to original song by the astute hsrener. The following suggestions wlll help to accomplish h c desired result. Have a sylistic goal in mind beforc starting the project. Somerimes you may change sryles within rhe projecr by section. Having esrablished a srylisric goal, select a key and tessitusa thar is appropria~efor &c syle selection. Reharmonize the mmarounds and cadences. Add only a few chords prior to targer chords at firsr. Extenstve playing of r h e project at h i s point will help determine how many more chords can!should be added. Try to keep the original cadence points and chord funcrion at thaw points. Keep the reharrnonizadon simple at these areas. Don't overlook r h e srrengths of modulation and added sections. * If keeping rhe original melody, don't be airaid to make slighr djusrments KO match any change in chords. Don't let rhe project become roo absrracr - get too removed from h e oripnd. The zrcsrheric problems chat have been revealed in a number of studenc teharmonizat~on efforts have been zraced to the use of too many techniques and nor: follow~ngrhe cadenrid and modal contour of the original. So e a r t h e project and keep ir simple.
Man). of rhe songs that have become parc of d ~ jazz e repertoire were inn-oduced .to the lisrening public by vocalists. I t h a been writcen that much of the Miles Daiis repermire came from rhe Frank Sinarra song book. It is recommended that those seeking ''goodsonzs ro add ta their Eist listen to che recordings of Frank Sinarra and Tony Bennecr, an added benefit is that the arrangements are of the highest qualiq. including h e reharmon~za~ons.
CHAPTER II: REHARMONIZATtON ...-.
SUGGESTED fXERCISES
..
/
I. List at least rwenqr tunes by heir starring chords: I major, I minor, II minor, 11 dominant, IrI minor and so forth. 2. Referring t o the tables of reharmonized cadences, c~clesand turnarounds, conrlnue by adding ar least 10 marc exampies to the table of rurnamunds, a J co a 1 and a I to a 11. REHARMONIZATION PROJECTS
I. Select a standard tune of a medium tempo and reharmonize according ro a preselected god, alter the melody m some extenc. 2. Select a standard with a slorr. tempo and reharmonize follon~inga vertical modal model: use both pedal point and many areas of added chords. 3. Indnde comments about goals, procedures and anything else that w a considered ~ when ini~iaLiIIgwish the project EXTRA
Listen to the J e r y Bergonzi version of "just Fnendsn from t h e CD Standard GORZ- what Coltrane rune provided rhe model for rhis reharmonization? Lisc she sirnilariuer
RECORDINGS AND READINGS From h e mid 80s to the early 90s;almost every major and may7minor jazz performers had KO present a CI3 of " s m d d s . ' 'There 1s no problem findng lisrening marenal for rhis subject. The follo\hg 11stis a goad place ro stars - each is of t h e highest quality and h~ghly recommended. A. RECORDINGS Alone Together Setting The Standard
9709003
Clare fischer
Advance
D+ve Liebman Jerry Sergonzi Mries Davis
RED 235 COL CK 53225
Ctnema LeCrand
Miles Davis/Gil Evans MileslGi! Evans john Coltrane Frank Sinacra Tony Bennea john Coltrane Keith Jarrett Fred Hersch Roland K~rk MicheI Legrand
Something The Kicker
Tony Bennett Joe Henderson
Standard Conz
My Funny Valentine Quiet Nights Miles Ahead Coltrane's Sound
Portwits From The Pasr
Jan
Balhds Standards L~ve Danang In The Ddrk Domino
BN 935
CK 48821
A n 1419 BRM 101
CBS 40424 GRP 156 ECM 731 7 ChesjD90 MG 20748 MGM 4491
COU0260 OJC 465
8. READINGS
Clare fisfher. Alone TogetherJJustMe Bill Dobbins Herbre Hancock: CIuzsirjan Compositions e? Piano Solos Bill Dobbins Jazz H d m o y AndyJafie Chard Scale Theoy 0Jazz Harmony Nertles/Graf
he an^' The Changes CokerJKnapp~ Vncen I t Changes Over Srme- Evalutton ofjazz A~rangtng Fred Sturrn Miles Davis Ian Carr Giants of B kck MUSIC R~velli& Levin Inside, Outside Reese/Markew~ch World'sGreates;Fakebaok Chuck5her Melo$v Wrrting Kasha & Hirshom Jazz Keyboard f c r y Coker
Advance Music Advance Music
Advance MUSIC Advance Music Advance Music Advance Music
Quill DaCapo Press New York Sher Music So n_price i-s SPP/B~EWI~
CHAPTER 111 : PENTATONICS
PENTATONIC COMPOSITIONS
DESCRIWION AND DEflNlflON For the cornposer who is loohng for an under-represented mode of expression - a means of aminins a "fresh" sound, pcnratonic compositfons are a recommended source ro pursue. Cerrainly. &ere are many recorded or documented jazz campesinons based on a penraronic s d e , but only a few that either are based on dtered peamtonic sources,or are harmonized with adi~ancedrnodd techniques. Also, with pentatonic compositions, rhe ernphaqis is on melody writing - conanuing t h e covert premise of this volume. Thas is rhe goal of this chapter - h e crearion of a composidon based on a simpIe, lucid pentatonic source wh~chis balanced by a contrasing complex harmonization. The simpbcity and puny of t h e folk-based pentatonic melody, particularE?. when o r g m j e d foIlouing folk melodic procedures, seems instanrlp to endear the listener, i t i s hard not ro compose a good melody based on a folk-music modeI.
KINDS O f PEt4TATONIC COMPOSITIONS There are hree general categories of penmconic compvsitions: 1. Harmonmuons of documented extant pencaronic folk merodies. 2- A newly composed rnelod!. based On the modfic and phrasing Formulae of exrant fok melodies. 3. A completely new melody with LitcEe reference to an existing melodic shape or organizarion, but stilt being based on a pentatonic source scale.
To assist in reader comprehension, a few representative composrtions from each group
include: Reharmonizations of an extant composition:
"Oriend Folk Song." by W a p c Shorter, ,Vzght Dreamer "Yaqui FoIk Melody," by Keith Jarretr; Trrasure Island "Gula Gulqn by Jan Garbarek, J Took Up The Rtmcs
New melodies based on follc organization:
"Badia," by Josef Zaa.inul,8:30 "Ponce de Areiq" by Milcon Nasciemento, Nahve Dancer "Tokyo Blues," by Horace Silver, Tokyo 3he.t
N e w melodies, pentatonic source scales:
This catego7 is quite extensive and includes all rhe composidons thar a r e norrndly &ought of when referring co a pentatonic composition. They ~ n c l u d cman). runes that arc found on the Blue Note label of the 60s era, many pop runes, and many mnes that are associated with john Colmane and McCoy Tyner. T h e main distinction berween these compositions and the prwiously lisred i s rhat the hasmon~zacionis usually quite simple or "common pramice," and the pentatonic source scales are usually chat of the unaltered diatonic p u p : the simple minor penmronic or sornerimcs the major pentaromc. Rcpresentacivc comp~sitionsinclude:
"Scarch For che New Land," by Lee Morgan. Search For The A-CUJ Ldnd "Pursuance," by john Coltrane. A h u e Srtpremc " S m l m ' s Place.'' by McCoy Tyner: Exp~msions To meet the goals of &is chapter. hat of creaung a work char h a a balanced conmast benveen chc p u r i y and sirnpliciq of a folk-modeled rnelod!. wirh the arc qualiry descnprron of advanced modal harmony, the two composers nrhosc recorded works deserve ~ n v e s r i p tion are Josef Laivinul and W'a!*ne Shorter - pardcularly with their contributions ro the
Chapter I l l
8
Palindrome
9
S/R Formula
10
Linear Pentatonic
PENTITONIC COMPOStTlONS ~ O U ~7.r:eacher F Repon: Joe,
in parncular and at present time shows an a f i n i for ~ folk-based
and "world music,"and should be a first choice For scud!.. this point in the chapcer, h e reader should revim~rhe concepts of the placement of music in general, and melodies in partjcdw, within the folk/arr specrmrn. (see p. 1 I). h addition. the reader should have completed the special assignment found on page 40.
PENTATONIC MELODIES SCALE SOURCE, DEFINITION AND CONSTRUCTIOM
Definition:
As the name implies, a pentatonic scale is a youping of five different pitches within an c a m e : a 5-note scale fraDmenr.Because there are missing pi~ches,modaliy is obscure or implied or more than one parent rnodaliq is represented.
There are some melodies char drhough based on a pcnratonic source, wiZl he seen to have added pirches at key cadenrial polnrs. They wil1 be referred to as adaed-note penraconics in subsequent examples.
Pentatonic source scales and subsequentI!; a cornpasicion's description, f a t into
trw groups
- those based on an unaltered source pentatonic and rhese based on an under-used altered pencaconic. I t is recommended that an emphasis be placed on a considerarion ofusing one of rhe altered pentatonics for arraining a deslred "fresh" sound Most we11 known pentatonic cornposinons are based on the common-practice minor pentatonic, as the examples given Iater mill reveal. An unaltered pentaronic source ulill be referred to as a common-pracnce source scale.
CREATING PENTATONIC SOURCE SCALES There are rhree upaysof creating pentatonic source scdes: 1. The delete note method 2. The combined michord method 3. The shape creation method
THE DELETE NOTE METHOD
Wth this tradirional method, one simply deletes any two pitches of any one of the 210 usable modes, (see page 12s in the appendix) reducrng what u m a seven pitch S C ~ ro E a five pitch scale - the resulring modal defininon is dependcnr upon which pitches are deleted. T h e resulting "shape"ofthe trunmed scale also should be considered with chis method. 7rTre uill look at that concept in more detail when covering shape crearion later in the chaprer. The usual naces deIenon procedure is to exrracr the picches that make up che interval of a mitone - some altered modes have two or mom sets oftrirones. Looking at the major scale (Ionian mode), rhc mmne is found on the fourth and seventh degrees. Erasing those pitches creates the major pentatonic. The melodic quality of this penmtonic - I K harmonic definition and pitch resolution quahties - will show a siznificant change; refer ro pentatonic scdes in the appendur.
Example 3.1a: T h e Unaltered Major Scale Source Mode
Rentamnic Result
-
CHAPTER Ill: PENTATONIC5
I
Example 3.1 b: Altered Diatonic No. 1
Example 3.1 c: Attered Diatonic No. 2
Example 3 . l d : Random Deletion o f P i ~ h e s
Example 3.1 e: Random Deletion of Pitches
Tradit~onalIy,once a source pentamtonic is created by the deIetion mechad the remaining diatonically related pentaronics are created by pitch transposiuon. THE TRITONIC COMBINATION METHOD
This merhod is the corollary OF the tetrachord method found in VoIume 1 of this rmr. Like the creaEion o f the modes, creating pentatonic s a l e s by chis mechod also gives an order to the created list. A order of brightest LO darkest is apparent as well as an implied order of rnodaliry. Where in Volume 1 rerrachords were combined to cream modes, we uiIl norr7combine trichords to creare pentatonic scales. Like the creanon of modes by chis method, the procedure requires that the sum of the Tones, semitones and the "connectar" pitch should equal ~ r c l v eThe . difference in this case is that the number of different pitches will be five. Trichord (tritonic, seep. 73): pure, primeval, natural and singable, 2 trichord is a three-note scale fragment and i s che simplest o f melodic shapes; it is the basic melodic structure o i c h e pentatonic scale.
If rhe reader wew ro construcr a simple two srringed lute-like instrument our of a box and spare ~vood,i hen by plucking an open string and chen smpping rhe srring ~ i t one h finger then plucking the suing again followed by plucking t h e next open suing, che result would bc a rrlchord This event, were lr to have happened in early hisror;v, sugggests r h e process for the advenr and woluuon of scales. Noricc &at many michords are the h e a r represenrarian of srrucmrcs. the sus2, sus4,Phygian. and more. We u
The EoIlorving is a lisnng of dl the trichords thar when combined will produce a usable pentatonic scales.
set
of
The table below is organized by interra! formula. it could be reorsanized by order of increasbrighmess LO darkness ~FdeslrcdT h e checked ($1 items are ajchords rhar are sbrrtchre_r.
-
PENTATONIC COMPOSITIONS
Example 3.2:TheTable ofTrichords 1 ) 3 semicones ( r r 1 3 ~ )
3 ) 5 semirones (P4) A
4)6 semitones (%, bS)
5) 7 semitones (P5)
I
The creation of penmtonics b!* rhe combination merhod requires hat there be five different p~cches,and including the connector pitch, the sum of the l n t ~ r ~ d equal s twelve. The process is ra place a rrichord going upward on the conic picch and a michord going downward from the p~rchrhat is Found an octave above the tonic pitch. T h e connenor interval is found bemreen the two. Care must be taken thar the sum of the two selected trichords does not exceed eleven; there needs ro be room for at Jeasta single semitone "connector" pitch.
tirarnple 3.3: Creating Pentatonics ByThe Combination Method
Kote. A complete lisnng orall usable mod- and pcnraconic =ales ts found m rhe appendix on p a p 112 These Itsrings werc c r e k by 2 compure: propam - rhe C progrmrnxng lang~ta~c l r s u n ~8s lncIuded on page 134 as rvell for tihe inrerested computer-literatema&.
SYMMETR1C PENTATONIC SCALES These arc scales char either are denvcd from symmesnc scales or are themselves sjlrnrnetric in their inten-alic formula
To create a pencaronic scale which implies he sonoric of chc source s!mmetcic scale, the procedure is to Write out the sourcc scale and then delete the number of pirches that will produce a 5-now scale. T h e prim? consideration is the I-esulnngshape and meiodic qudiof the creared scale and h o w well i t defines the sonoiic defininon of t h e original-
-
CHAPTER Ill: PENraTONlCS
h o t h e r method is to combin? tGchords ina uTaythat the resulting cone ro scm~toneformula S ~ O I V Sa Tmrnemc pattern. ,4n inkresting groupins among E ~ C - C is t h palindrome ~ a number of these =.il be l induded in ~httrefollou.ing examples.
DELETED NOTE Example 3.4a: Source Symrnevic Scale - Dominant Dimin~shed
Created penraronic scales: used by M a u r i c e Raw!
n Deleted:
2,5,&
3,7,8
Example 3.4b: Source Symmetric S d e
- Augmenwd
Created Pentatonic Scales:
C Phrygian 46
Deleted:
C Aeolian 47, b6
2
3
!=Aeolian 47 (Harmonic Minor)
6
SYMMETRIC .BY 1NTfRYAL
It may be rhar &ere is only one usable penratonic whlch Is found in this carego?.: perhaps the asturc reader may find more. The one Iissed is also a palindrome. Of course, if we were allmved to break the bounds of the octave, the Iisc would ~ncreasesignificantly.
PALINDROMES
Thesr are symmetric patcerns in which the paaern i s a mlrror imase from the center pitch to both the left and righr outer Iirnia. Or it 1s a pattern thar -111 read the same from left ro right, ar from right ro left
-
PEN'GAToNICCOMWSTTIONS
Table o f Intervals for Pentatonic Palindromes
Trichord ( c ) Trichord
Note that like the previous examples of construcdon by che cornbina~onmerhad, h e tones
and semicones add up ro 13. Example 3.5: Palindromes (listed in the same order as in the above cable)
C Phrygian b6,k7
G Aeolian
C Phrygian b7,43
C Altered b6
F Mixolydian 1 7
C Mixolydian sus
C MFxo b6
Bb Lydian Dominant
C Phrygian b7
By having coven: symmetry, palindromes offer an organizational model rhar can create an interesting and musical result - they should be considered when organizing any or dl rhe elements of muslc: harmonic rhythm or made selection, counrcrpoint, and form. as well as scale creation. CREATION OF PENllTONICS BY SHAPE CREATION
This process actually duplicates the previous two but differs by its goal and procedure. One of h e amibutes of a pentatonic melody is irs clarity of contour.The idea hcre is to visually draw-out a contour, or shape and manipulate the pitches to conform ro i t This is another example of working \vt.j& rhe concept of balancG it is also a technique that is inm~tiveand requires chat the composer be confident in decision-makingabifines. h o k i n g at the sf~upeoFa pentatonic scale created by one of the previously given techniques is a recommended ediring act-ivq.The cornour of a created penra~onicscale should not be so aqyrnrnctric or jagged thar ir loses irs folk-like simplic~y.More w i11 be said about this larer Another form of shape-baqcd scale cons~uctianprocess i s to take the unaltered major pentatonic, and add a number ~f sharps andjar flats co create a dts~redshape. each merhod creares pentzNote rhat the three means of creating pentaromcs overlap tonlcs ~ h w c a n be created by thc osher. Mrer creating a number of pentatonlcs with the merhods g l ~ mon these pages, turn to the lfsnng in the append= 10 vverifi chat the creared scales are indeed listed there - all usable penraconlc scales should be included.
CHAPTER Ilt: PENTATON'ltS
Clarificanon and Listing of the Common-Practice Pentatonics Major Pentatonic: C D
EG A C
SlmpIy. che major scale \vivhout the tritone ~ n t e ~ a(lFs and B). Minor Pentatonic: C Eb F G B b C A transposition of a major -pentatonic - not TO he confused with t h e following minor pentatonic. Dorian Pentatonic: C D EL G A C T h ~ sis deiived b r n the Dorian b7 (melodic minor) mode. Note that a rntone ( ~ and b A) is still presenr - the deleted trlronc 1s F and B. The Eb and A are defining pitches of a Dorian rnoddiry!.;the A being the 46. T h ~ sis often called the minor pentatonic but for compositional purposes, wc will refer to this one as che Donan penraronic, and h e previocs one as the minor penratonic. Blues Pentatonic: C Eb F Gb Bb C This pentatonic is derived from the Eb melodic minor scale. the b5 gives it a biucs-like sound, it also has many p~tchesrhar belong to a Ca (Locrian h2) chord, he 6th mode oSEb melod~cminor. More common-pracuce penraronics will be found in subsequent examples.
Having pirch materials with which to work, &rr nmr step is to organize them into a musical producr. MELODIC ORGANIZATION
Kwp in mind rhar the main goal of penratonic melodies is ro mainrain the puriry and simpliclq that is the endearing charactenstic offolk m u s i c The best way to meec thar goal 1s to organize your melody based o n pai-ticulariy effective mtant folk melodies. This is onc of the rfzions behind the suggesred assignment found in Chaprer I on page 40. The m m t irnportan~means of organizarion is morific and phrase buhnce. Having compIered a srudy o f folk musical examples it uill be found in mosr cases that rhe balancing of phrases and motifs is clear and symmcnlc. Ar rhe rnocific level, of rmporrance to us is the bdancing of an opening rtistcmrnfwith a complimcnmry response- We will refer to rhis as an SIR f o r m d a Within and wirhour this rext, this melodic device d l also be referred to as &I and response and statement and answer. Thc imporcant concepr is h a t many of the more accessible folk melodies have the same or similar combinations o f S/R relacionships. One of the mosr used is: S/R!R - a statement, a response, and a repeat o f the same response. Phrase organizanon is the same bur on a larger scale: longer ir! lengh by measures rather &an by pitches. Mosr phrase organization follows a simple anrccedent ro consequence formula, which is a larger version o f a statement and response. The poinc i s to strive for clarity and acccssibiliq' ro assure thar the aesrheric go& of penraronic melody creation are to be mee.
Another poinc EO consider is how the directional conrour (shape) o f rnotific material affects the desrrcd percrpuon of simpliciv. I r is suggmted thar for either the statemenr or the answer pornon of the motif, char he basic tritonic structure be clearly presented. In ocher wo& - do nor change direction within a morific shape until the tichord is defined.
There are a few meEodies in which that is not che a<@ - they are grear rndodies, but are less simple and folk-like. A short Iisting of tunes in which t h e tricon~crs nor dearly ptts~nted include; (1) "Ponre Areia," and (2) " B o o ~ i eWaogie \XTaltz."These compositions will be induded in the analyses Found later in rhc chapter. Another means of phrase or motific organizat~on- dthough a bit esoteric - is to follexv the spoken rhythms a
The tlolloaing examples u~illdemonscrace rhe o r p o i z a n o n of WQ altered source scales w r h rhc nlell-used Sl/R1/R1 forma=.In addicion. mainrainins a clear exposit-ion of the rntonlc and a balance of dircccional contour and melodic rhythm ~ l l be l shown.
Example 3 . 6 ~ Altered Na. 1, No. 93
F Melodic Minor
Example 3.65: Altered No. 2, No. 200
Bb Melodic Mmor
I
1
-
61
4
2
2
3
Additional examples of rhe use of rhe previousl~given wchniques 11411 be poinred our later when a number of penratonic compositions will be analyzed
FORM AND STYLE The only defining factor chat musr be me: w ~ t ha pcnraconrc composidon is chat the melody be, and clearly show the atuiburcs of a pentatonic source scale. Other than that. any harmonlc, rhyhrnic and formal presentation is possible. Considering the precepts of bulunce, conrrasrs of harmonic, rhythmic and orhcr musical elements are recommended There are penmtonic cornposiu*onsthat are based on only one source scale and one chord to compositions chat have w o or more source scales wirh as Fen WO melody pitches per chord. h adhdon, the composidon can be of any svle category ECM,hardbop. srving, A h Latin, rockjpop - you name it?
T h e following is a brief description of some of the groups: Homogeneous: Tfic EntlX composinon IS in one sfle - harmonic, rhythmic, or any of the descrip~onsof pop, hardbop and the others. Mixed: The most inreresting, one finds combinations of h d n scctions and snrng. Contrasung hannon~zarions,or any Contrast one can imagine. Often, a general style goal rvilI diccate the combination. As an a m p l e , many hardbop pencatonlr runes N ~ I I s m with an Afro-Latin syle and contrast that with a suing, U-1' type brid~e.
I-IARMONIZATION AND HARMONIC RHYTHM
T h e harmonic accompaniment of a pentatonic melody can vary from a single chord for the entire pentatonic melody to as many chords rhar rhere would be if every two notes ofmeledy were harmomzed. In addition,there could be chords ~ 9 1 t non-diatonic h root relationships and areas of tonal harmony. T h e goal of course is to balance the quality ofthe m e l d y with contrasting harmonic materials.
IT'irh thc harmonization process of penmconic compositions, we need to differentiate the descnpciens of melodic sources, harmonic rhythm and chord selection. The caregones are: linear penraronic and p l a ~ e apenraconic ~ - these relare to source scdc selection with linear modal, plateau moddl and verrical modal referring to chord select-ion. MELODIC DESCRIPTIONS
1. Linear penmronlc refers to there being one source scaIe for the encire section or the entire cornpos~tion 2. Plateau pentatonic refers t o there being different source scales found in s)mmcmc organizarion regarding measures - usually one scale per nvo or four measure division. In rnosr: cases, the change in key center rather than a change in source scale.
There is no description for melodrc verrical pentatonic since c h a n g i n ~the melodic source at too fast a pace would negate the premise and goals of the projecc.
CHORD SEL€CTIOM/HARMONIC RHTTHM LINEAR MODAL
When rhere is one source scale for h e ensire composi~unor snctian, she key center of a seIened chord could be etrhcr diatonic to the pentatonic parent source or non-d~atonic,and due to thetr missing pitches, pentaronic scales can have more rhan one parent source. Usinp the ubiqui~ousand simple F minor pentaronic as an example, the following is a parrial lisnng of parental source modes or chords. Diatonic Roo& S t a r t b!. sclectin~room that have the same pisches as the source pen~atonic.Comparing all pitches of the scale with each root pirch. che accumulated intervals define 2 set of color tones. O+ he most definitive are listed.
T h e Pentatonic: F Ab Bb C Eb F
Roots
Color Tones
Modes/Chords
F
b3, 4. b7 6 , 9,3
min I 1, Dorian, Aeolian, Phry$an A6:9, mix SUS, AF4, A85
Ab
FORM AND STYLE
Bb
5. bf,2 4 , b6, b7, b3 2,4,5. h5
C Eb
Mixo sus: Dorian, Aeolian Aeollan. Phrygian Dorian, melodic minor. MEO sus
SECOND LEVEL DIATON1CSINON-DIATONIC
There are a number of roo= &at although noe diaronic to the source penmtonic, are diatonic by chord implication o r b being a member of a set of modes rhat are uansposidons of
one of the diatonically relared modes!cho&. As an example, if the root is Ab (see above). one of h e modes is Ab Mixolydian, which is the fifth mode of Db loniam - so: any of rhe modes (ranspositions) of Db IonIan will be diatonically related to the source F minor pentatonic and be avaiIable to harmonize any of t h e five s o m e penmtonic. Usable examples include: DbA6/'9, Gbb6:/9,and Ab 9sus4. Selecting Other Non-Diatonic Roots
There are some othm roars that have oblique 15- to rhe source pentazonic. Again, look at the modes derived from an Eb rooq one is melodic rninor.Traking Eb melodic minor as a parent source, w o modes/chords that work well are GbAtl4 and D altered. Ochers i ~ c l u d e : GbIg5 and Bb Mao1,diatl b6.
Bear in mind that a11 of above is in reference to the simple F minor pentatonic. and one can see that the chord selection process can gec qulre comprehensirre and complex.
As has been seen in pretlous chapters, the acanon of a smnng roar melody helps to narrow
down the selection process a bit. The common pracricc rootjchord selccnon for F miner penracatonic weuId indude: F-11, DbAGj9. Ebb619 and Bb Mixo sus, with D drered and Ab Mixolydian sus having a s e c o n d a ~usage.
Example 3.7: F- Pentatonic with Seimed Source Modes a n d Chords
F Minor Pcnraronic
~ b h
Source: Db lonian
D alr
Eb Met. Minor
Ev9 sus
F-1 1
Ab lonian
Eb lonian
G
~
Eb lonian
A
~
~b9sus
Db lonian
8b 9
~b
lonian
To redlze the musical value of this example, have someone sing or play the scale while you pIay the given chords - you may "hear" a tune in r h e works
PLATEAU MODAL
In penmronic composinons. chls refcrs generdy ro a symmetric organization of the barmonir r h ~ h mor , to there being either a new penmronic source o r a new r o n d cencer for rhe original!! selecced penm~onicsource. ar. ~mrnerricallyassigned rnezsure incewals. Usually h e r e is a change at a two, four or eight bar interval. Chord selection is by rhe same method as ~ i v e nabovc.
CHAPTER lli: PEMITONICS
Tfiis refers tn the harmonrzatinn proceks in which there is a new chord for every nvo or three melody notes - depending on thc tempo of the performance Because there arc feiver melody pitches ro harrnon~ze,there can be many chords that are non-diatonic m rhe source penraronic. Because of t h e i m p o m c e of the rnconic shape in penmconic melod~es,mosc chard changes cakc piacc ar 2 threc pitch grouping. And as long as the trimnic 1s present In the melody, m T O pitch chord changes are quire affective, and actually tend to create a dearer cadential q u a l i ~The . harmonization process is the same as previously @en, but with more importance assigned to the rneIodic q u a l i ~of rhc root-melady. And because h e r e are fewer pitches to find chat are in common with the melodic f r a p e n t , there ulill be many more chord spellings thar arc accessible for selection. To lisc all possible chords thatwiIl "tvork for a three pirch fragment, iris s ~ ~ g z e x eshar d you segmenr r h e pentaronic source into three-pirch scrumres. These are the strucrures chat were inrroduced in VoI. I and wcre referred co as ~ppermschrw( s e ~Vo!. I).Having rhe s r m ~ t u r e s listed. comparing each with all roors of t h e chromatic scale will reveal all possible modes/chords available for selection. The process is the same for two-pirch melody fragrnenrs, with rhe resul~ngIisc being much larger, making the musical choicm thar much more d~fficult.To restare, the rnelod~cq u a l i of ~ rhe root selections will focus the resulrs.
THE PENTATONlC STRUCTURES
Example 3.8: Chord Selecrion for Three-Pitch F r a g m e n ~
F Minor Pentatonic
t.'
I
C.
b.
I
e.
For selected srruaurrss:
1 root F E
color cones b3, a, b7 43, P4, k7
Eb
44,5,1
D Db C B 6b A
b5, $6, b2 b4.46. $2 b6, b7, b3 h6, $7.b3 b7; I , b 4 k7, b2, b5
~b
G
1,\2#b4 b l , b3, h6
Gb
q2.$2, 46
made/chovd
I mot
color tones
rnade/chord
rn~nll Lydran sus4, no7
F
1, C3, h4
mln 11
E
Altered
Locrian
D
6/9 Aeolian
Db
b2, b3, i4 k2, \4, k5 $3, $ 4 , 1.6 f3. M, 66
C
b4,
Ionian
B
W, h6, t17
M1x0 5.~54
%b
y,h7, T
bocrian h7 add 2
A Ab
Phryg~an
G
b6, 47, b2 h6, 1, $2 b7, h2, b3
6/9
Gb
ti,&?,k3
Eh
66. C7
addd Altemd
A6 Aeolian Lyd~an PIixo 51154 Locnan 47
tit9 Phryg~an lon~an
I
FORM hND S n K -.
suggested thac rhe reader continue rhe process for all found smcmres - i t is a tedious acriviry but ma),be w o ~ the h effort to understand the harmon~cfoundation of the source s d e and .co have a listing of all "workable" chords. Consult che appendix for addirional information and examples ofscale to chord detivadonsIt is
Example 3.9: Selected Chords - Three-Pitch Structures
Dalr
~b13sus
Galt
Example 3.1 0:Selected Chords - Two-Pitch Structures
I
Galt
~bgsus
C alt
Occasionally, one may want to have a new chord for every different pirch ofh e melody usually to klcsease tension Just pnot to a cadence - this chord selecrion process is most dependent on 2 stfeng reat rnelod!-. Note the use of c o n r r q morion and rounnerpoinr ~0 h e melody in the following bass melodies.
CHaPTER Ill: FENTATONICS
Example 3.1 1 : Selected Chords - Single Pitch
The foIlo\rxing guide is meanr to assist in organizing the harmonization procedure, also refer to the harmonization process inrrodnced on page 44. There are additional examples of single pirch hamonizarion in rhc appen dk. HARMONlZAf!ON PROCEDURE
I. Identif?.: (a) The parent source modalir). and chords of rhe penratonic meIod!r. (b) T h e implied and seconday diatonic chords and modes. (c) The
tricherds, structures and "glps" found in the melody.
2. Select Harmonic Rhythm: (a) Linear 1 - one diatonic mode or chord For entire melody. (b) Linear 2 - many chords and roots are diatonic to the melody. {c) Linear 3 - one non-diamnlc mode/chord for rhe enrire melody (d) Plateau - many chords per melody, organized i n ~ osymmetric groups: usually 2 , 4 or 8 bars each. (e)verticd - fasr, qmmerric, nondiaconic roots, from one rnelod?,pitch per chord, two melo$!- pitches per chord: or one chord per trichord. use of repose and rransidon. 3. Create a Roos/Bass Melodlr (a) Orgmize by melody-writing procedures given In chaprer one.
(b) Try to use thirds inten-als followed by fourths and f frhs, rhen connect with chromatic filler pitches if needed. (c) Plot cadenrial poincs, set directional contour
4. SeIecr the Chords: (a) Select a "firsr chord" that sets the emotional goal of the composirion. (b) SeIect chords for rkc rarget cadential areas. (c) Select t h e rcrnaining chords 10 fulFrI1 a modal contour.
5 . Tweak: Flay through the project, noting an!. chord selecdon. bass melody or harmonic rhythm again. hat orends your musical mires. adjust and Note: There is a hanmonizauon example Found in the appenk: as we11 as In chc follorving composi cional analyses.
COMPOSITION EXAMPLES T h e following examples represent a varier? of styles that are available on recordings. Unfomnately, there are Feu- recordrngs wirh exampies rhat include compositions with an alrered pentatonic source. In a way, this couId be formitous as it presents a vacuum that could be filled by the Fon~ard-loolungcomposer.T h e mosr representative recorded examples are from he Wayne Shorter CD E m e r a - she source scales on a number of the composinons are quire exotic - but nor rmly pentatonic.
T h c cornmen- for che following wiU refer to the melodic source, monfic and phrase oryanization, and harmonization. Only salienr and pe~iinentpoints will be made, aliouring the inceresced reader to delve deeper if desired.
EXTANT HELODIES h m p t e 3.72a: "Oriental Folk Sang" (TradirionaI, Reharmonized by Wayne Shorter)
source scale
COMMENTS
Melody
Based on a Chinese folk meIody, rhe source scale is a common-pracdce G minor pentaconic. Mosr significant i s rhe SJR organizadon - S(s-r)/R/R, the often-found and accessible S/K formula. * T h e motif is well balanced uith the opening statement (s) In an ~ p ~ l l rdirecdon, d released by che reversal of drrecsion with &e response (r). The larser SIR is balanced by a contrast of fast melo&c rhyrhm OFthe sratemenr (S),and slow melodic rhythm of the nvo responses {R).Of ~rnporcanceis the clear audine ofthe trironic (sus2)shapes found In ms. 1 , 3 , 5 , and 7. Harmony
Without referring to a rnode/chord hsting. it is clear rhac mast of thc chords are &atonically related to the G minor sourcc scde - or I= csransposition - a l3b major pentaronic The harmonic rhythm is mostly s!mmerric, with a harmonization by nvo melody pitches. except where an increase of tension is desired far cadenrial definition. T h e Ab13 is a mtone subsrimred domlnanr chord t o the G minor tonic, w7lch the .47 being an upper netghbor dominant ro the ~b chord.
CHAPTER Ilt: PENlXToNtCS
Orher points As alilrvays. ITTaynechooses t o reharmonize by sccrian, adding a Few new chords to the scmnd part. thereby e n I q i n g the form beyond a mere repetition. The orchesaarion of this and all tunes found on the recording is veql asristlc and thoughtful - make now OF how the two horns relate regarding unison, inrcnlal and ocmvc assignments.
-
Example 3.1 2b: "Yaqui Indian folk Melody" (Tradicianal)
source-scale
This beautiful melody i s from an American lndian source:the Pascua Yaqui rribe ofArizona - descendants ofthe ancienc Toltecs OEMPXICO. This melody is found as a main theme in &c "India Symphony" by Carlos Ch5vez. The example is kom the Keith Jarrett CD Tr-emare IsIcznd. COMMEWS
Melody .The source scdc: major pentaronic with a passing add-pitch (dq. * T h e SJR is symmetrically organized =Clearrrichord shapes arc found in ms.2 and 4. Harmonization
*Simple diatonic harmony is most affectively u s e d Other points =The consequence phrase (ms 5-81, shows a nice balmce by an increase of melodic
rh~hm. Example 3.1 2c: "Gula Gula" by Mari Boine Persen source scale h
0
a3
C1
8
I' I
COMPOSITION EXAMPLES
I -
Although not menrioned on h e CD, rhls melody has a qualiq. that suggests an Tn&an inffuence - possibly S m i in orign. COMMENTS
Melody Like "Caribbean Fire Dance" introduced in Chapter I, rhis is a primitive but peaceful melody based on a mronic tcssitura There is a sus2 srructure outlined in t h e response portion (ms. 7-10]. And mosc impormndy, there is use of &c S/&IR formula Hamonizarion The main theme is very simple in ~ t harmonic s marerid, merely a ronic open fifrh interval which goes to a GC open fifth as indicated on t h e mns~caIexample. There :s ad&cional harmonization in larer melodic statements - a spopsis i s also provided on the
example.
fOLK INFLUENCEQ COMPOSITIONS Example 3.73a: "Badian by JosefZawinul
source scale
source scale
Ah :vl ixo ~
I
U S
A section: A v e y simple statmenr and response - clear and foIk-lllce. 0 section: An exoric balance, almost Iike an Eastern-European melody.
Example 3.13b: "Palm X" by Ron Miller
source K a l e
simple minor pentatonic - h e p r o g m m a n c intention of rhe tune, if one has been there, is nf t h e c r q experience of dr~vingthe palmerto expressway in Miami. Covertly Hispanic, hor and iervenh is the message! Of nore is the recommended S/WR or,&zation, like iexampJe 3.13~
* A
MISCELLANEOUS PENlXTONIC COMPOSITIONS Example 3 . 1 4 ~"Ponte de Ariea"
by Milton Nasciemento source scale
This beautiful melody is pencaronic, but because of irs organization and shape, IS not sea&ly identifiable as such. Compare this melody to orhers of a Brazilian source. Are there sirnilarjues?
-COMPOSlTlON EXAMPLE5
Example 3.1 4b: "Boogie Woogie Wain" by JosefZawinul
Source scale
lncro
ELII
Main theme r?-
Joe was with Milcs ar the rime of An recording and Miles' influence shows: there is much use of space - a lot of transparenq: but our intwesr is in the pemaromc quality. The first marerial is ofa simple diamnic source, in a clear exposiuon - the mitonic is evident, rhe direction is clear.
T h e main theme can almost be described as angular, but its rhyrhmic organization is almost hypnotic. The author includes this rune in his repertoire and can amest that one can play thrs theme over and over again wirhour its losing its hypnotic effecc - uy it, you'll likc it! It should be pointed out, there are conrrasting secnons to balance the penraronic melodies, but the! are rnosrly in the form of harmonic, rh!~hmic and texmral rnweriats.
-
CHAPTER Ill: PENTATONICS
CONCLUSION O f CHAPTER 111 T h e use ofa pentatonic source or the organizarion o f a melody based on a folk model is nor n m t o the composirional process - most classical composers of note show the use of the aforemen~onedinfluences in addition LO aaccullp using =.rant marerid An additional perk is char i c is a means of establishing a nanonalisdc qrraliy ro composition. T o name a feu. examples: Peter I. Tchaikomky - the penraronic theme in the 1st movement of t h e S-mphony No. 6 (see p. 33).
Example 3 . 1 5 ~A Prominent Theme from ' T h e Firebird" by lgos Stravinsly
R
f
t
Txample 3.1%: The "Shaker Hymn" from "Appalachian Spring" by Aaron Coptand
I
S
1
l
l5ample 3.15~:"Scheno No. f in B Minor" by Frederic Copin
lise @an
mmt Polish Cb;rtmac carol m the s
m d movrrmenr.
T h e me of folk elements is \-vhaxmakes Bartbk sound Hungar~an.Grreg sound Noweglan, Gcrshmin soand American, and Srrav~nskysound Russian. T h e polnc is rhar the classical repesroire is a g o d source of smdy for t h e use of folk elements as well as the use of harrnon~cand rnelohc materials as suggesred previously in Volume 1, and earlier chapters of
this book.
~
RECORDINGS AND READINGS A l r h o u ~ hrhem are nor many jazz recordings wirh rhe kind ef pentaromc compositions referred ro in rhe text, there is an cxeensive number ofb r h record in^ and books thar refer to the urorld's folk musics - only a feu. are lisred - b u t it is easy t o find more.
Native Dancer !Took Up The Runes Night Dreamer Etcetera
Jy-u To@ Blues Blackjack Search For T h e New Land Tail Splnnin '
Wayne Shotter Jan Garbarek
Wayne Shorter
Wayne Shorter Wayne Shorcer Herace Silver
Donald Byrd Lee Morgan Weather Repom
8130
M'earher Report
A Love Supreme +n~ions
John Coltrane McCoy Tyner
Columbia 461 59 E C M 27 41 9 BST 94173 EST 214 B S T 376A4 BNS 41 34
BNS 84259 BST 841 69 Col PC33417 Cot PC36060 Impulse 133 B n 84338 Impulse/MCA 39106
Trerrsure tsldnd Appalachian Spring China in Song and Dance AuthenticMusic of i h Amencan ~ Indun Whooo B y !
Justin Wtson
Legacy 3 12 SM-1'1815
In& Symphony
Carlos Chiivez
m ~ s c .recordings available
Folk Music of Chino Konkoma h p p L3ist;a The Afr~cunRoots ofJaa
Antonio ~ d o l p h o Jerry Bergonri Stephan Jones Robert Pehrson Kaufman & Guckl n
Advance Music Advance Music OxFord University Press
Merengue
Paul Austerlin
Keith Jarrert
Aaron Copland misc. record~ngsavailable National Folk Ensemble Bruno 50062
various
B. READINGS BraziIion Music Workshop Pentatonics
Norsk Alfred Publishing Temple Press
.-
CONCLUS!DN A N D FINAL COMMf NTS Taken togerher. t h e materials presented in Volumes 1 m d 2 should prove m be sufficient in esrablishlng a serious regimen of study for the aspiring composer of my level of expertise. Once again, the lrnportancc of much listening, to all klnds of music, with deliberate sttention, cannor bc over stressed. In Eacr if one's "ears" are good enough, and one has the nme and desire, and pursues a srringent listening casecr, one really doesn'r need these r a t books - but ~rwould rake years ofvery hard work ro do ic thar way! There may be much information in both volumes of the book - but rhere is mare to cover yet. Further smdy would cover: more melody-writing procedures uith the extension of pentaconic tunes to the smdy of blues runes and avanr-prdc compositions; More m-deprh
study of ronal (H-1') harmony and form with she works of Horace Silver. Thclonious Monk, Charles Mlngus and early 5TTa>meShorter. .4nd more speci Srcs regarding "rno\~ernen~" and sqde by looking at rhe compositions of "goup" effora like Weather Report, Return co Forer~er,Oregon and the ECM style. and orher sipificanr documented conn-ibucions - all possible subjects for a connnuation of rhe hook series to a Volume 3.
Ron Miller 1997
APPENDIX I
MOTIFlC DfdfLOPHENT
-
The following IS included mcrcly to provide an accessible source For re~leu-- it is assumed chat rhe reader has been exposed co the rechniques of morif;c development in previous readlngs or naming. Essentially, a change in the o r i ~ ~ motif nd be described by a difference in i n m d i c direction (up or dmvn), ratio (semi-tone fornula), or melodic rhychm (nose duration).
- this seemngly simple device of repeating a rnorif starcjcg from another pitch has proved cffectirre for cenmries. Usually, rhe inrend strucmre of the sequenced motif is altered to fit scale and harmony.
(a) Sequence
M onf
Sequence (tonal upward, key of Eb or Ab)
(b) Inversion - the original semitone formula stays the same, but the directions are reversed: what went up now goes down,and u~harwenr down now goes up. Original
Inversion
lntewat: Direction:
(E) Retrograde - both the direction and h e inrcrvalic formula are reversad
Original
Interval: Direction:
Retrogade
-
m2
MZ
P4
:
1
i
-
(d) Retrograde Inversion this is like a palindrome, rhe c h a n ~ ereflects a "mirror-imase" ~f the onglnal: not merely a change in ciirecdon. Original
Interval :
Direcuon:
Retrograde inversion
ADDltlONAL MATERIALS
- an impomnr techmque in jau orienced mdody writing, the &veloped motif shows a de to rhe original by hatling t h e same nore values (mcladic rhythm), but with dlffererenr pitches or direction.
(e) lsorhythm
Same rhythm
Motif
(f3
I s ~ a ~ i c u l a t i o-n like rhe above, but
the cie to the original in rhis case i s by common
articulations. Phrase
Same articulation
(g) Truncation - as the name implies, this shows a delec~onof some aE the pitches of the original monf, usually ar the end of the motif. bur not necessarily. .4lrhoogh other qudides of the original also can be changed, it is best to keep h e original shape to cIari@ rht musical development-. Example: 'Ida Lupinan by Carla Bley
Cur s h o q inverted
C/G I
I
-
I
I
I
M2
m3
.
: ,
I
m2
M2(rn3)
rn2
1:
i !
i
(missing)
(h) Extension - the opposire of above, the developed motif is lengrhened by additional melodic material. As Ions as a clear nc ro the original IS evident, other development tcchniques can be used as well. Example: "Lost Illusions" by Ron Miller Motif
Elongated & displaced
apPENDIX 1
(i) Displacement - this refers to a shiftins of the melodic rhyrhm re!ative to t h e harmonic r h ~ ~ h ranshift ; of uphere r h e new motif occurs in t h e measure compared to the ongind. Example: UMen in White" by Ron Miller from the CD Gliding
(j) Mutation - chis term is used m describe any anomalous change shown in t h e nmrmotif which still can be identified as being relatrvc ro the original.
There are many more desmipuons of techniques for developing an miginal moriF. but in the inrerest of clarity and simpliciy, h e abovc is sufficient Keep in mind that when analyzing melodies, our interest is in identiwng whac he composer did t o dmreiop t h e melody musically, nor in petting overly scientific or pedandc
&DDITIONhL MATERIALS --
ARTlCULATlOHS AND EFFECT5
This subject is beyond the scope of h i s Eook - one really should rcfer to an orchestramon or arranging ra-r for this. but to proride a quick access and a review, the followiny descripuons of arnculan'ons are included.
Ir has been smred that for a jazz performance, only nvo amcdations are needed: staccato and tenuco - there is no need to be so spanan.
Swccato and t m t o refer to note
length - how long the pitch is held - with no change in vol-
ume or emphasis. staccato
vocalization
interpretation
written
bit
vocalization
interpretation
writcen
I
I
I
I
I
1
I
bah
Tmuto/rtlccat~is a combincd articulation found often in big band and hardbop tunes. it creates a aery dramatic effem
renucoj smzcaro
n
-
-
e
*
m:
vocalization
interpretation
wntten
-
-
w I
F
I
I
I
II 1
--
-
-
-
.-
-.-
- - -
-
- F
--* C I
/
*
-
41
i
--
A
I ' I
direct rhe performer ro emphasize or increase the voiurne of the selecred pitch or pitches with a slighc variation of pitch durat~on.
Accents
horizontal accent
wrimn
interpretation
vocalitadon
bah?
vertical accent writre n
interpretxion
vocalization
bop!
113
EEects arc idiomatic expressive devices peculiar to individual instrumenml groups. Many are general to a11 ins~urnenrsand voices. Again. beyond the scope of this book. keep their use in mind when composing a melody. Consult an orchesmion book for an in-depth review. Know hour ro include them in your scores: some you should use indude:
triIls tremolos scoops bends
glissandos slurs slaps falls
There arc many more. rhe impomnr point is to keep rhem in mind mrhile nlriting out your melody. Ir is recommcndcd rhal-you consult fellow performers to demonscrate dl the effects thac are possib'lc on his or her instrument or voice - it may give you ideas for your melody ifnot for a whole composition.
SOUNb SUPPORT PHRASIHG
The last performance direcrive to cover is quite important, and one that is ofien ov~rlooked - that of sonnd support phrasing - the direction as when to starr and mhm to stop producing a sound melarive to picch chanp.
Wherher the sound is produced by blowing. plucking, scrapping or himng, there is a point when rhe performer need5 to take a breath, raise t h e arm, or move the bow to a srardng position; all aFfecr rhe phrase quality of a melody. There are two considerations the composer mnsr make: ( I ) how long the sound production can last depending on the cempo of the performance and the abilities of the performer, and (2) how uiIl the pause to take a breath or raise a bow affect the phrasing o f t h e melody. Careful preplann~ngi s requ~rcdro assure a successhl interpretation of your melody.
ADDITIONAL MATERiALS
There are rwo rtBa>a to direct the performer of your melody regarding sound production: 1. Breath marks - a simple single quore (') specifies thar the player is to take a breakh, or resmrc the sound production at thar p o i n t It has rhe effect of ending a phrase and should be considcred for use as a phrasing directive.
i3ample: Breath Mark Phrasing
COMMENT:
The placement of the breath mark has rhe effect of a slighr pause bemeen the consentnve quarccr notes, creating a second phrase. 2. Sound support phrasing - these are phrase rnarkin~st h a ~are in addition to melodic phrasin~s- they are meant ta direcr sound bur because of h e pause that occurs when che perfomcr &es a breach or in any way restarts a sound, rhe effect is that
of melodic phrasing and!os
punctuation, and has a similar cffecr as breath marks.
Ewmple: Sound Suppon Phrasing
COMHENT
The player, whether or nor taking a brcarh, 11ql1 restart the sound production, creating a newT
phrase. Be aware of dl rhe aForemendoned directive and melody interpresive devices in your I~srcningsessions and take note of rhosc that are particularly m u s ~ d effect~ve. y
APPENDIX II
TRITON€ SUBSTITUTlON AND ACOUSTICS Triconc subsumtion is a phenomenon rhar i s a result ofrempered tuning. Alrhough it works for non-fixed tuned insrruments, it is probabl)rdue to performance adjustrnencs from years of playing with fixed pitch instruments. h o k i n g at the overtone series, one can see chat enharmonically spelled intervals should resolve difirendy. Bur wirh tempered tuning, the differen; spellings nonetheless sound the same.
Example:
1. Thc overtone series based on C rvih the palrids numbered, 2. The 7th and 5th parcials creating a rricone inrerval - subtracting the 5 from 7 gives the difference rone, rhe ronic of h e critone. 3 . k 4. The same procedure for the series b a ~ e don F#,a critonc from C. 5. The upper srmcture trironc intenals sound the same and as a sound, can resoke the in rhe same way - producing the effect that the roots are s u b s t i r u ~ l c .
Tunes &at scart on: A. I Major or I II Minor Here's That Rainy Day T h e Gid From lrnpanema This Nearly Was Mine My Foolish Hearc A Foggy Day You Stepped Out of a Dream
C. VI Minor
R. I1 Minor What a Difference a Dzy Made Satin Doll
Body and Soul Autumn in New York Its You or No One Prisoner o f L o w
D. 1V Major or Dominant
My Funny Valentine
After You've Gone
All TheThings You Are Alone Together If I Should Lose You Lover Man
Just Friends
Love For Sale How Insensitive
E. Non-Diatonic or Miscellaneous
Night and Day Lover 1 Cover the ~ar;?rFranc Prelude 10 a Kiss
bVl 7 dominant II dominant V1 dominant
The reader is urged to fill the empty Cines.
APPENDIX II
ADDITIONAL
REHARMONIZATION - NEW PIELODIES
Included for additional smdy or as a source of c o n t e r n p o r ~rcsyled standards to play over or to add to your reperroire.
A. A reharrnonizarion of "Pm Getting Scntimenral Over You" ~ ' i c ha partial new rnelociy, chew is a return to the original melody at the second bar of the B seccron and the last three measures of Ehe third ending - ,oi\mg impetus so a partial nerv r~tle.
Example: "Getting Semi-Mental" by Ron Miller
C-Copyn$r 1BEE Ronjarn Music, Biull
5. Only slightly reharmonized version of "Su~eccGeorgia Brolm.'' bur with a q u l r b and angular new melody. The rune is meanc to bc a "burner" - it hFurfills irs premise.
ADDIT ION& MAXfRt&LS
Example: "Sweet GB" by Ron Miller new bop
F7
~b73 2-
A
G13 >
~b73
4
~ 1 3
sir7
~ b 7
~ 63 1
~b73
w
V
I 2'
Q C o p ~ n 1983 r Roolam Musac, BMI
solos: "Sweet Georgia Brown"
APPENDIX l l
C. Another reharrnonizar~onand new melody of ".Nisht and Dajr - chis rime by David Licbrnan. Compare i t to versions found in Chapter 11. Example: "Day and Nite" by David tiebman
ADDITIONAL MhT€RIAlrS
Q . A new-bop modal reharmonization of?and new melody for "What
L This Thing
Called Love." Example: "Love Thing" by Ron Miller vamp
C Aeolian
C Phrygian
C Aeolian
A / B (head only)
Gsus
ESUS
D Copyn~ht1983 Ronjam MUSIC, BMI
Esus
Ft;sus
F-11 J C
~bsus
sbsus
D~SUS
E ~ U S
APRENDIX III
APPENDIX 111 The foliowing materials are induded for further smdy, reference, and chrificrttion.
LIST Of ALL USABLE PENTATONIC SCALES This lisring was originally created by a computer program (lncIuded later) and spelled out in a more mus~call a n p g e here; the limits of the list are chat there bc no inrerval greater than a trirone. This is to attempt ro Iirnlt the number of created scdes that may have roo many adiacent s m t o n e s - an?; rnodall~wlthln rhe scale w o d d be roo obscure, and che shape of the generated pentatonic wouId not be musical.
This lisung is to be referred to as a source of altmed pentaronics and penratonics created by the combined method.
to cross-check any
ALL PENTATONlt SCALES WTH NO INTERVAL LARGER THAN A TRITON€
w
I
C . 8 .
I,
e
- "
or,
I) Y-'
I1 I
#
-- c )
-A
a>
---
C>
I1 I1 11
e
A
~1
hr -
OEI
XI
t'
t I
A
8
c1
109.
ria.
111.
112.
APPENDIX Ill 761.
162.
163.
164.
AODITFONAL MATERIALS
APPENDIX 111
&DDITION.IALMATERIALS
n
I
.
I I
I
,
.
I
.
.
I
. .
I >
P
I
.
-
I
I
'
I
'
I
P.
I&
I
,
c r * -
rn
-
* ,'
I
4
I
8
I
I
.
I
'
I
* p = b r I
C
,
; ;
I
-
1 II
m
- 8 1
I
,
I,
I'
11 I,
I .
I. I
,pew,
u
4-
"
I
I
I I
p
is
,
I
1
. )
nr
-
I,, I
I ,
I 1
- m r b I
m
'
A P P W D I X 111
LANGUAGE LISTING T h e actual C language Iisting of rhe program that created the lisr of usable modes. this is included for any programmers char may want m modify it to crcace orhcr sraIc lisunp. The program is purposely ineleganr to provide more pombilig to other platforms - this 11% onpnally uritren For the A h 1040 ST (Motorola 68K) and compiled u ~ r hche laser C development package - the version presented here is fully .WSI compliant and should compile on just about any system. A more dwcIopcd prosram would include graphic represenration of the scale dam by notes on a sraff, savin~the scales data or MIDI data to h s c . b c ~ n pable ro demonstrate any selected scales either by MIDI ourpur or by monitor speaker, being able to pnnr the grxphic notes/smffscreen and allowing user input ofdara ro create all possible scales with no particular limincions - dl wirh mouse, windows and menu interfacc of course. This does exlsr:- contact h e aurhor for more infurrnauon.
J C * * * ~ i C * 4 * * * * C + ~ * * * * * i * * * ~ 3 * f + * ~ * t * f * + * + * ~ + * * ~ ~ * * * ~ ~ * + + * * ~ * * * * + * ~ ~ t * * + +
"'* A!' ALGORTTHM TO CREATE ALL MODES W~~ NO XTERVAL G E 4 T E R THAN *+*
*** k N A U G M E N I Z D SECOND BY THE TETRACHORD METHOD - R Miller 1995'** *+*~*+X+**I*XW*+,+,+C*~********X**~****f~7*+***~*~~******+****u++**~t*+~/
f include
+include Finclude
600 3
222
int m d :
/* ternchord
data */ inr may[L][Kl=
i {32,1,3-12, 3,1.I, 0,0,0, 0.0,0,O.Q,O, 0.0.0}, {2,3.1, 22.7, 22.1, 2,1,3,2.1,2,1,1.1, CiJ.O}, { 13.2, lJ.1, 12.3, 1-22>1.2*lV 1,1,3,1.1.2 }
1;
char *noteslS] = ~c","D","E","P."G";A~,"B~;c~ inr vdue[8] = { 0 , 2 , 4 , 5 ,7 , 9 , 11, 12 j;
1;
void write-ta-disk{void);
void m;iin(vaid)
I int x, y. 2: w, p, q, done, a, A,B,C,13,E,F:G,HI T=L"X7;
char ke;
prinrfI"\nsclect screen info:\n hlc 'd' ro show data - \ hit 'space' to cornpure only'n\n\nm); while(!(key = geuhar())): if(kcy == W 0 ) prinrfv \,n\nL cornpuring data - \n\n"); whil e(l done){ for(!-& y
fnt(x=O; x;n7;x--3H for(w=& w
~~==YI.I I.l)I p=arrayLv][x] + array>] [x+ 13
array[!.] [x+2]:
ADamONAt MATERIALS
q-arra!jz]lw]
-
array[z]zl[w+I] array!z][w+Z];
1 else p=q=Q;
if sum of ~etrachords
J*
A=mode[totd][O]=0; B=modejro.otd][ 1 j = a m y ~ ] [ x ~ :
C-rnodeltowI][2]=array~][x-l];
D=mod~~t~d~~]=array~y]~x+~; F-mode[rod]~3]=army[zJ[w]; G=modelrotaI][6]=arrayIz][w-11:
H=mode[tod](7]=array[z](w-2]; E-modc[tom1][4]=12-(.4+K*DcF-G+H);
j' smcn display */ if(key == 'd')! prinrfr [ W d ]",rod-1): printf("s63d ".B); prind("%2d".C): prinrf("Wd ".D): printF("[%Zd] ",H); prinzf("l2d ".El: printf("X2d ",F); printfr962d \nn,G); } /* key-- 13 */
if(a3T && (B--3 Mi C--2 && D m - I ) ) done = rrue;!* test for 1 s t retrachord
"/
} /* end p+q<12.. */ ++a;!' lncsemcnr main counter ',I
ifIkey -= 0x20 ti& a % 120 == 0) printf("\ncyclcs completed: R3d",a); ~f(a SIZE) - done = 1: %
) /* cnd for(u,.*i } /* end For[x"/ 1 P end for(z */ ] /* end for y.*J
pr~ncf("\n\n\n- All Done ! - To& Scales Created: Z3d\in\n",rod): pr~ntfI"\n-hlr 's' to save oucpur to &k and q u l ~ 'd't o do again. \ '9' to gulr -\nu);
switch(key){ case 'sf,
prinMm'\n\n- saving data as 'scdes.~ir'In the defaulr d~recrmr)'\n\, exiss~ngFiles will be ovemmctcn!\n\n")1 u~nr~-ro-dlsk(); eXit(1):
brcak: case Id'. goco cop,
break
me 'q':
APPENDlX Ill
cxit(1); break;
defaulc: break;
I }
J* end ofmain * i
void write-m-disk(void) i inr x,y,z. A.B30.C.D,E; char ~rbuf1341; FlLE *&eEle;
thefile = fopen("scalcs.d. "rP): if(thefile != NULL){ fort.-0;ycrotal;!.+-){ if(y ? rota]) b&
/+ifcyclcwer orabortdcsired*/
D-0. if(rnodeb] [2] &&
!7
SEE){
fprinfltbefile:' %d :C ",(J*I)); for(x-l; xGX: xL+){ J" convert numeric data to alpha +J E~~due!x];
C-modeb] [XI; D +- C. if(D :, 12) B=12: fprintF(thefile."%s",notes[x]); if(EcDK /* check for enharrnon~cs* / iC((B-E)==2)fprinrf(thefile."%sn~"~ "); el= fprintf(thefile,"%sm/r' "1:
1 iflE>D){ if((E-D)m=2) Fprin~(thcKle,"%sE,%b "1; else fprinrfjthefde,%sm."):
1 if(E==D) fprintf(th&le,"k"," ) J" end of for(x.....'/
"):
1 /* end of if(rnod~..*;
} *!, end of forktotal ...*i fclose(thefi1e); puts("fd c successfuDy wrimen\n"): ) /* end of iqfopen ...IY/
else! prinrf("\ncodd nor open fde - press key..."); gcrchar();
1
ADDITIONAL HATERIALS
MISCELLANEOUS MATERIALS 1. Computer generared hamonizarions of alrered pentatonic scales, one chord per each
scale pitch.
Ex. 1
Ex. 4
Ex. 3
Ex. 8
Ex. 7 n
I
EK. 9
Ex. 11
-
Ex. 10
Ex. '12
APPENDIX 11:
2. Another example of harmonizin~a penta~onicmelody.
GC Lydian
C-ll
I
C Phrygian
)
Bb Phrygran
F Phrygian
I
EL-ll
F Phrygian
Eb Dorian
'
Galr
Qsus
~bsus
.Examples ofpentatonics created by the alccration method. a) $56: b4, Cj - Altered (Modes of: Db Me1 Minor)
b) *713: M, b7 - hRixoC4, Doriana (Modes of: G Me!M~nor,G Harm Minor)
c) +37: b6, CT- Mixoh6 Pht-)yan43 (Modes of: F Mel M~norlHarmMinor)
d) e79: Major Blues
f ) $155: lonian 66
g) $224: Phrygian 0
h) lonian t 5
i) lonian t2, b6
k)
Altered
APPENDIX Ill
4. h a n o score of "Palm X" for exrra
PALM
smdy and pcrfomancc use.
X comp./arr. Ron Miller
\
ED- 1 l
ADDITIONAL M&TERIAtS
ABOUT THE AUTHOR Ron Miller. Professor (Snzdio Music andlazz). received a B.F.A, degree from Ronda Adancic Universiy and a M.M. degree from the Universiql oF Miami. His compositions have been performed arorldwide, including rhe Jamcy Acbersold Camps. and have been recorded and/or performed by notables he likes of Red Rodney, Hal Galper,Joe b v a n o , Billy Hart, Kennp Werner, Ira Sullivan, Stan Getz, Mark Egan and Danny Goctlieb of E~ernenrs.
Ron's composition srudents have included, among others, Pat Meheny, Bobby \Trar;son, "T" Lavitz, Bruce Hornsby. Mark ED-, Jon Secada and Gil Goldstein. He has given iazz piano performances with Ira Sullivan. Allen Eager, Rick Margiu6 Mark Egan, and Pat Metheny, and has backed up many show busmess personalities as u.cll.
M q of his students, under his direction, have been granted the prestigious Down Bear award either as individuals or in a group effort The Best S d l Ensemble award wenc to t h c Fusion Ensemble in 1979, Prioiiqp in 1988, and the MonEcjMing~Ensemble in 1997. Indnldual awards of Besr Soloist went to Reed Arvin in 1979, and Rick Margitza in 1984. Of the Down Bear Ouucanding Performance awards, d i e Avant-Gardc ~nscmblewon in 1980, 1981 and 1982, the Fusion Ensemble won in 1951 and 1982. and the MankjMingus Ensemble received the awatd in 1984.
Ron's composlnons can be found on t h e following recordings: Broo&n Bhes, Danny Gordicb; Freadasn Tawe~;Mike O w D~dogs,Hd Galper; S m t b Sign, the U M Concert Jazz Band: fiberdl Arts, Elements; B b ~ s j 5 rthe OId New Age, Gary K d l q Loneb In a Crowd, Barry Ries; and G l d n g Sran Samole wirh EIemenrs. In addirion to r e d i n g jazz comgosisjon, advanced improvisation, and jazz piano, Miller direccs the Monk/Mingus ensemble, t h e Avant-Garde ensemble, and t h e Horace Silver ensemble.
Ron can be reached ar [email protected]
; Air.
:
a r r a n g i n g / composing /
harmony / theory
The jazz Theory Workbook O R D E RN O .
li201
( I ~ ~ - P R G 8011~1 E
This book is a primer in jau fheory, infended to prepare the student for t h e serious 5~udyof jaa impwsation. arrangement and composition. Included are many musical examples and written assignments for practice in the theoreticat skills. Appropriate exercises are prov~dedt o reinforce theoretical concepts by immedrate application to the instrilment.
S E R R V COKER 1 BOB KWAPP ; LARRY VINCENT
Hearin' the Changes * O R D E RNO. 1 4 2 7 0
( 1 0 2 - ~ 1 * 6B €O D E J
BILL D O B B I N S
JazzArranging and Composing.: a Linear Approach Jazz Arrangement und Komposition: ein BESTELL-MR.11306
lineares Konzept
[RIJCHJCD)
Arrangement et composition de la rnusique de jazz: une approche Linaire C O M M A H D E 11307
[LIYRC~CC)
Arregios de Jazzy cemposici6n: un miitado lineal O R D E RNO. t 1 3 D p
[EOOI:ICO)
-Many different mssibilities for hamonizlng the same mefody are illustrated and analysed, using techniques bv such influentla1 arrangers and composer5 as Duke Ellington, Billy Strayhorn, Ollver Nelson, Gil Evans and Ctare fisther. -Techniques of melodv harmonisation, [inear writing and counterpoint tor 2, 3. 4 and 5 horns. -A chapter on wr~tingFor the rhythm sectron clearly illustrates the techniques commonly used by jazz anangers and
composers. -SIX complete scores rn concert keu are ideal for analysrs, for playing the horn parts on the niano or for following the
performances on the CD. -4n extensive chapter on form and devetonment deals with extended composit~onalform5 and the use of cornposit~onal techn~ouesIn writin5 for the small jazz ensemble, -A cseful discogranhlf is induded at the end of each chapter.
"jazz Amging and Composing rs h e Jirst book to p m v i d ~a dear and logtca! bridge Jrom the mmo bodc techniques of a m g i n g and meloay homonisotion to the more advanced Iineor methods employed by some of the most interesting and tnfluential jaz arrangers ond composers. I have long known Bill's unique nabities m o _oiffedpianist and rorn~bset. und I hrghly recommend this book to jazz writers or all levels of experience." (Clare Fiwhed
G ~ G L OLOSTE~N
jazz Composefs Companion ORDER N O . 1 1 3 0 4
( Z T ~ - P A L ! BOOK!
The book is divided into three main sections: Melody, Rhythm, and Harmony. Dozens of musical examples 2s well as cumpositi~nsby Bill Euans {pianist), taco Pzstor~ous.Iim Hall Ralph Towner. Steve Swallon~,Pitt Methenp: Michael Gibbs, a.0. are inctuded in order t o illustrate specific c~rnpositiona t techniaves. An extensive chapter on the cornwsitional process features intew~ewswith jazz composers Bill Evans, Carla Bley. George Russell. Horace Silver, Pat Metheny, Chlck Coma. Lvte Mays, Anthony Davts, Herbie Hancock, Rlcn~eBeirach, Ralph Towner. a.0.
'GiE does o servirf I~ereon rr high /eve/. The concrpts he offers impwse no sfvle ond thus, con be t.sed and extended tu enrich any musicions vocobrrlay The rest is up to you. " (Bill Evans) AHDY
IAFFE
jazz Harmony 2nd edition, completely rwised and enlarged. tq chapters rncludinp ex~rcisesand assignments: Intenak, Chords. Invers~ons.Modes: D~atonicAnd Modal Chord Propssions: Tne Blues: Song Forms and Melodic Variations; Secondav Dominanl Chords: Substituie Dorn~nant7th Chords and Tritone SUDS: Minor Kev Harmony; Modal Interchange and Mlno: Blues; Common Chord Progressions and Vo~ce-Leading;Modulat~on;Pentatonic5 and Other Svmmetrlc Scales: Blues Varietions: Rhythm Chanvs: Coltrane's 3-Tonic System: Slash Chords and Hybrid Chord Voicinss.
"]ozz Harmony is c brilliant addthan to the Feld o r j o u theory It is wtl-writren and beautiJulty organized. and rhe informotion d contoins is tnoroughlv reswrched and authenticollv presented. I recommend rt hichly" (Dovid 8 ~ k e d "Whether wu ow o teacher: o student, a pioyer or lrstener who wan5 to know w h f to fisten [or in o i ~ r performance. z Andrlafle's Jczz Hamronv will help you to do whit? you do bener: Cherk it our!" (Bilfy Taylor)
"Everyone in lozz Studies should own jazz Horrnon~by AndylaFe. * lBill Rrn-1
