Jazz Theory Resources - Volume 1 & 2

Contents

i

CONTENTS INTRODUCTION ........................................................................... vi I. REVIEW of BASIC THEORY MATERIALS............................................... 1 II. RHYTHM ..................................................................................... 14 III. BASIC TONALITY .......................................................................... 60 IV. TRIADIC GENERALIZATION............................................................ 77 V. DIATONIC HARMONY................................................................. 103 VI. HARMONIC PROGRESSION.......................................................... 116 VII. HARMONIC ANALYSIS ................................................................. 147 VIII. HARMONIC SUBSTITUTIONS & TURNAROUNDS............................ 167 IX. HARMONIC SPECIFICITY.............................................................. 195 X. COMMON MELODIC OUTLINES.................................................... 240 XI. HARMONY: OVERVIEW of VOICINGS ............................................ 280 XII. MODES & MODAL FRAMEWORKS ................................................. 319 XIII. QUARTAL HARMONY.................................................................. 341 XIV. OTHER SCALES & COLORS ........................................................... 349 XV. EXTENDED TERTIAN STRUCTURES & TRIADIC SUPERIMPOSITION... 389 XVI. PENTATONIC APPLICATIONS ....................................................... 407 XVII. COLORING “OUTSIDE” the LINES & BEYOND................................ 413 XVIII. ANALYSIS: the BIG PICTURE.......................................................... 424 XIX. EXPANDING HARMONIC VOCABULARY ........................................ 460 XX. CODA........................................................................................ 474 Appendix I: Reference for Chord/Scale Relationships ........................................ 475 Appendix II: Elaborations of Static Harmony ................................................... 486 Appendix III: Endings.................................................................................. 492 Appendix IV: Composing Tips ...................................................................... 500 Appendix V: Theory Applications.................................................................. 503

Jazz Theory Resources

Introduction

vii

INTRODUCTION PURPOSE Jazz is an aural tradition. The music is passed from one teacher to a student, from one generation to the next, not from written books, but from the tradition of personal interaction, listening and imitation. The success of this method is proven world wide. There are no etude books for Indian classical music; a student of African drumming does not run to the store to buy a copy of the well-tempered drum book. Most of the great jazz artists we listen to learned from the aural traditions and not from written textbooks. Why write one? This book is meant to be a supplement to and not a substitute for the aural musical education. This book is a resource to augment the learning experience of listening, transcribing classic jazz performances, and performing the music with peers. The book has been developed over the last ten years of teaching. I want to extend thanks to the hundreds of students who helped me determine areas that needed clarification and allowed me to formulate answers. Thanks also to Reed Kotler whose internet discussion group offered me the opportunity to offer my answers to many common questions. I appreciated the opportunity to try out parts of chapters in those electronic chats, honing my opinions in some productive (and sometimes heated) discussions.

ORGANIZATION It is my contention that jazz music theory should not be separated from traditional tonal music theory. C major is C major. Music of many different styles still share fundamental building blocks. Jazz shares tonal principles, harmonic frameworks, forms, and melodic construction with tonal music from the Baroque, Classical, and Romantic periods, and with ancient folk and contemporary popular music. The book is divided into two volumes that correspond with two levels of jazz theory classes at the university level. Volume I deals with the relationship of jazz improvisation to the traditional major/minor system (Chapters 1-11). This section includes a lengthy chapter on rhythms in jazz performance. Volume II examines additions to and extensions beyond the major/minor systems (Chapters 12-17). Many of the concepts in the second section are best understood in relation to the foundation of the major/minor system. After study of the component parts of jazz, a student should be prepared to recognize how pieces fit into the whole of a jazz improvisation and be able to transcribe and analyze complete jazz improvisations. Chapter 18 provides analyses models of five well-known improvisations. Chapter 18 could be used as a graduate level jazz theory class using the transcriptions included here as a beginning. There are five appendices included at the end of Volume II which should be valuable resources for students of jazz: Reference for Chord/Scale Relationships, Elaborations of Static Harmony, Endings, Composing Tips, and Theory Applications. Students are encouraged to supplement this book by consulting the many available sources for the history of jazz, lists of representative musicians and recordings, and lists of standard jazz tunes for performance. Good music theory should describe how the music sounds. And music theory has only two rules: (1) does it sound good? and (2) does it sound good? All else is a discussion of principles: “if I do this, it sounds good; if I do that, it doesn’t.” I have tried to keep all discussions relative to the aural experience.


viii

Introduction

There are no mathematical charts that are irrelevant to practical applications. The book’s concepts were based on personal research of jazz improvisation by outstanding jazz artists and the study of great musicians from all eras. The book includes musical examples from a wide range of sources including Bach, Mozart, Charlie Parker, Duke Ellington, Tom Harrell and Mike Stern. It is these artists who are the ultimate authority and who have determined the fundamental laws of music theory. I have never liked the distinction between an “ear player” and a “theory player.” It implies that one who knows theory is separated from the aural, and implies that one who plays by ear knows nothing of what he plays. A good player (“ear” or “theory”) knows what it is that he hears, plays by ear, and understands the concepts of what he plays. Whether he is able to articulate what it is that he does is another matter. A “theory player” who does not sound good has not used music theory well. I based this book on music theory that describes how the music sounds never loosing sight of the two rules. What about those students who define jazz as “playing what you feel” and often shun theory discussions? Art can express feelings. Without some knowledge these students wander about musically and consequently express very little. There are many skills to be mastered. I am reminded of something said by the great baseball philosopher, Yogi Berra, “If you don’t know where you are going, you might wind up someplace else.” Learning theory can give these students some direction and goals so they wind up playing what they feel instead of winding up someplace else. As a writer studies grammar and vocabulary, an improviser and composer studies music theory: to find and master the tools necessary for the goal of personal expression. Any young improviser who wants to “play what he hears” or “play what he feels” has an idea about some notes that sound good in a context. That idea is music theory. Those who do not improvise often wonder what it is that we do. This is the simplest answer to the question, “on what do we improvise?”—We improvise on the melody (paraphrasing), or improvise on the harmony (being either specific or general). A dictionary defines improvisation as “inventing with little or no preparation.” Few improvise on the melody or harmony without a great deal of preparation. Preparation for jazz improvisation can occupy a lifetime. The study of music is a never ending puzzle. One piece may be solved, but in doing so one finds it connects to a larger piece of the puzzle. When we are done with the Sunday crossword puzzle we tossed it aside; but, thankfully, music is a puzzle that can entertain and fascinate an artist for a lifetime. When I began to play, improvise and compose music, I was confronted with twelve pitches and no patterns or preconceived notions about structure. I spent years practicing and studying patterns of scales, arpeggios, melodic shapes, embellishment figurations, harmonic possibilities, and rhythms. I find I get closer to completing a circle and returning to the point where I am confronted with twelve pitches and no patterns or preconceived notions about structure.

LANGUAGE & MUSIC There are numerous analogies between the musical and verbal languages. Some similarities are relevant to the music learning process. Anyone who has tried to learn a spoken language as an adult can only marvel at the ease at which extremely young children learn a language. Children begin learning language in the womb. Studies in music education have also found the best time to develop the musical language is at an early age, and that the chances for developing complete musical skills diminish with each passing year. Babies only four days old can distinguish one language from another by noticing the general rhythms and melodies. This confirms the relationship between musical perceptions and language. A child will imitate distinctive sounds, words and phrases before linking them to any meaning. Around age one, meanings are associated with words and single words appear in their speech. By age three they are analyzing grammar and recognize that sentences are constructed from noun phrases (“The big bad wolf”) and verb phrases (“ate the grandmother”). As they advance and mature, they construct sentences using this common grammar to express independent and individual thoughts. At the point when the child be-


Introduction

ix

gins reading, the reading material is much more elementary than the child’s aural languages skills, and they work to balance the two skills. This is the opposite of the musical learning experience for so many children. The first day with an instrument is often spent looking at whole notes on a page. By the time many students attempt to understand the aural significance (the real musical language!) they are past their prime learning period. While their reading skills may be quite advanced, many of these students attach little actual musical meaning to what they have been trained to reproduce. At the age when training the ear is finally stressed, it is often more difficult to ever achieve any balance. Children can distinguish noun and verb phrases and individual words even though language is not spoken one . . . word . . . at . . . a . . . time. Language, like a musical line, is often a nonstopstreamofsound. So often a musical student will attempt melodic dictation trying to hear each individual note of a phrase rather than trying to hear groups of notes analogous to noun and verb phrases. A child can perceive the basic meaning of “The big bad wolf ate the grandmother,” to be “wolf ate grandmother.” A music student should learn to distinguish groups of pitches in a phrase as pointing to a single pitch that is more important than the surrounded pitches. The phrase below includes all twelve chromatic pitches, yet the bracketed groups of pitches point to the three notes of the C major triad. The line is not heard as random chromaticism, but as an embellished tonal idea in the key of C major. We can hear the bracketed groups of pitches in the same way we hear noun and verb phrases. C

&c Ó

↓

↓ ↓ j n œ b œ œ ‰ #œ œ #œ œ bœ œ nœ œ #œ œ 3

Identifying each pitch by its vertical alignment with the given chord provides no insight and serves no real purpose. We do not hear separate words or letters in a sentence, nor would we analyze a sentence in this way. C

&c Ó

↓

↓ ↓ j n œ b œ œ ‰ #œ œ œ b œ œ nœ œ #œ œ #œ 3

#6 M7 M9 m9

1

#4 M6 m6 P5 P4 M2 A2

M3

One of the characteristics of music and jazz music in particular is that the musical ideas may not be contained within the measure lines. The measure lines do not exist in music; they exist only in music notation. If melodies are highly polyrhythmic, as they are in many jazz compositions and improvisations, the melodies will often overlap the measure lines, and the notes will not align vertically with the written chord symbols. It is extremely important when listening or analyzing to realize that music is linear and not vertical. If we analyze music vertically confining the notes to neat groups of four eighth notes it makes as much sense as trying to read the sentence “The big bad wolf ate the grandmother,” as “Theb igba dwol fate theg rand moth er.” A valuable tool for teaching language is the use of memorization of common phrases. All language courses teach basic conversational, useful phrases: “how are you?” “which way to the [train station] [bathroom] [theater]?” “will you accept my credit card?” At the more advanced level, a student of language may memorize portions of great literature or important documents. (“Shall I compare thee to a summer’s day? . . ,” “We hold these truths to be self-evident . . .”) The value of this exercise is obvious: the student learns to appreciate the sound, structure and finer use of the language. The musical analogy


x

Introduction

is also obvious: students wishing to learn the jazz language should memorize short and long phrases from important jazz improvisations in order to appreciate the sound, structure and finer use of the musical language. We diagram and analyze sentences to determine the noun and verb phrases and identify the modifiers. We diagram sentences to learn to use the basic structures to construct our own sentences. Different modifiers can be used, the sentences reordered and the potential for expression is infinite. Musical analysis can parallel this grammar exercise. Analyzing well constructed musical lines can teach us how to play our own individual lines. We can borrow the fundamental principles and shapes of a well constructed line, add or subtract decorative chromaticism and embellishments (modifiers), change the rhythmic character and create infinite lines of individual expression. Pat Metheny responded to a question about jazz improvisation and echoed the language analogy: Improvising on chord changes is a lot like giving a speech about a fairly complex subject using fairly complex grammar—there is no way you can just wing it, you have to have done a lot of research into the subject and have a pretty wide ranging vocabulary that makes the language in all its potential available to you. much in the same way that all of us are capable of kind of “improvising” our sentences without really thinking too much about verbs, adjectives, pronouns, etc. A really good improviser who has studied harmony and its implications for years can sort of just “play.” There is no getting around it, if you are serious about playing on a tune like Giant Steps or even Phase Dance for that matter, you will have to know everything there is to know about particular chords, series of chords, key changes, etc. The only way to get past the problems . . . is to practice a lot for many years and to learn all you can about music. There are no short cuts or quick fixes. (3.24.99)

CONCLUSION I have written three books with the goal of making it easier for students to learn all they can about jazz music. The books are certainly not short cuts or quick fixes, but companions for many years of practice and study. This theory book was to have been the first that I published, but I spent so much time on Chapter 10 on common melodic outlines that it became a book itself, Connecting Chords with Linear Harmony. Comprehensive Technique for Jazz Musicians is meant to be the practice room companion to this theory book, though published first. Jazz Theory Resources can provide theoretical explanations and suggestions that may be pursued in the practice room and provide insight into the organization of jazz improvisation and composition. Music is more than the sum of the parts. This book is just about “some” of the parts.


Chapter 1

Review of Basic Theory Materials

1

I. REVIEW of BASIC THEORY MATERIALS This book assumes the student is more than familiar with the basics of music theory: the notes of the staves, intervals and inversions, tertian chord construction, notation principles, key signatures and the order of accidentals. There are a number of good books which were designed to teach these basics. This chapter reviews a few of the fundamentals in the interest of clarity.

CHROMATIC SCALE The one scale that all jazz musicians use is the chromatic scale. It is shown below written ascending and descending. Altered notes want to continue in the direction in which they have been altered. Sharps indicate a raised note and the direction it wants to resolve. Flats indicate a lowered note and the direction it wants to resolve. Accidentals, when written correctly, make lines easier to read. The note above Cn is not always a C#. It may be a Db under certain circumstances. If a line moves up from C to D through a chromatic note, that note is C# , indicating the alteration and the direction of the resolution. If a line moves down from D to C through a chromatic note, that note would be Db, indicating the alteration and the direction of the resolution.

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#œ

˙

œ

bœ

˙

Chromatic Scale: Difference in ascending and descending

& ˙ #˙ ˙ #˙ ˙ ˙ #˙ ˙ #˙ ˙ #˙ ˙ ˙ ? ˙ #˙ ˙ #˙ ˙ ˙ #˙ ˙ #˙ ˙ #˙ ˙ ˙

˙ ˙ b˙ ˙ b˙ ˙ b˙ ˙ ˙ b˙ ˙ b˙ ˙ ˙ ˙ b˙ ˙ b˙ ˙ b˙ ˙ ˙ b˙ ˙ b˙ ˙


2

Chapter 1


INTERVALS & INVERSIONS Intervals, the distance between two pitches in a melody line or in a chord, are primary musical building blocks. It is important to understand their construction and their individual sounds. Intervals are easier to understand and hear in the context of actual music, but a review of the principles here will expedite understanding material presented in this book. To find the intervals between two pitches count the first as one and continue to the second pitch. For example, the interval from D up to F is a third: D (1) - E (2) - F (3). If the interval is inverted, D down to F or F up to D, the interval is a sixth: D (1) - E (2) - F (3) - D (4) - E (5) - F (6), or F (1) - G (2) - A (3) - B (4) - C (5) - D (6). The presence of accidentals does not change the numeric value of intervals. Db to F and Dn to F are both separated by the interval of a third: Db to F is made of four half steps and is a major third; and Dn to F is made of three half steps and is a minor third. Intervals will have different qualities depending on the number of half steps. Seconds can be minor, major or augmented. Thirds are usually either minor or major. Octaves, fourths and fifths are diminished, perfect or augmented. Sixths can be minor, major, and sometimes augmented. Sevenths are usually minor or major. All intervals can be inverted as shown below. Inverted intervals added together equal 9: Unison (1) Second (2) Third (3) Fourth (4)

Octave (8) Seventh (7) Sixth (6) Fifth (5)

Interval qualities are inverted as shown below: Major Perfect Augmented

Minor Perfect Diminished

An inverted third becomes a sixth and a major becomes a minor, so a major third inverts to a minor sixth. Spelling makes an considerable difference in analyzing intervals. The pair of intervals and their inversions below will sound the same, but are spelled and should be analyzed distinctly. An augmented second has the same number of half steps as a minor third, but the letter names of the pitches decide the numerical interval. Any C to any D is the interval of a second and therefore inverts to a seventh; any C to any E is a third and therefore inverts to a sixth. A2

d7

& ˙ #˙ #˙

˙

m3

M6

˙ b˙ b˙

˙

Intervals and spelling will be easier to understand with discussion of scales. Scales are made of intervals, and intervals come from scales.


Chapter 1


3

MAJOR SCALE CONSTRUCTION There are two ways of understanding the construction of a major scale. The major scale can be defined as intervals relating to tonic or intervals relating to adjacent pitches. C major scale shown with intervals relating to tonic pitch: P8 M7 M6 P5 P4 M3

&˙ ?˙

M2

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˙

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C major scale shown with intervals relating to adjacent pitches: W M2

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W M2

H m2

W M2

W M2

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W M2

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H m2

˙ ˙

˙

In order to create the same order of intervals starting on F, it is necessary to lower the Bn to Bb. Most scales have one pitch for each letter, so there are only seven pitches in the scale. It is for this reason that Bb is used instead of A# in the F major scale regardless of ascending or descending. This avoids having an An and an A# in the same scale. Any additional chromatic pitches that might occur it the key of F would follow the principle that altered notes want to continue in the direction in which they have been altered. W M2

&˙ ?

˙

W M2

H m2

˙

˙ b˙

˙

˙ b˙

W M2

˙ ˙

W M2

˙ ˙

W M2

˙ ˙

H m2

˙ ˙


4

Chapter 1


In order to create the same scale starting on G,. it is necessary to raise the Fn to F#. W M2

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W M2

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H m2

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W M2

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W M2

W M2

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H m2

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MINOR SCALE CONSTRUCTION Natural or pure minor is found on the sixth degree of a major scale. A natural minor scale is related to a major scale in the sense that they share the same pitches and therefore the same key signature. An minor is the relative minor of C major . A natural minor scale can be parallel to a major key if they share the same tonic. C minor is the parallel minor to C major. Parallel minor can be created by lowering the third, sixth and seventh degrees of the major scale. C Natural Minor - Parallel Minor to C major

&˙ ?˙

A Natural Minor - Relative Minor to C major

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The natural minor scale does not have a leading tone. In order to create a dominant chord and harmonize minor keys, the seventh degree must be raised. This creates the leading tone and the interval of an augmented second between the sixth and seventh degrees. The augmented second has the same number of half steps as a minor third, but will not sound like a minor third in the scales below. The altered leading tone is added in order to create harmony with a dominant chord, and the scale is therefore called harmonic minor. C Harmonic Minor:

A Harmonic Minor: A2

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˙ b˙ ˙ b˙


˙ ˙

˙ b˙ A2

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A2

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A2

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Chapter 1


5

It is a natural tendency to raise the sixth and seventh degrees when ascending from the dominant to the tonic and lower them when descending. This principle was addressed concerning chromatic scales: raised pitches want to ascend, lowered pitches want to descend. A Melodic Minor:

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C Melodic Minor:

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CIRCLE of FIFTHS Review of the circle of fifths with key signatures. There are other possible keys. Continuing around the circle would yield the keys of C# major with seven sharps and Cb major with seven flats. Using the parallel keys is advisable whenever possible. Most would prefer Db (5bs) to C# (7#s) and B (5#s) to Cb (7bs). C major/A minor F major/D minor

b

1

# D major/B minor

2

3

G major/E minor

b #

1

B b major/G minor

E b major/C minor

0 0

b

2

#

b

3

4

b

4

A b major/F minor

5

b

b

5

b # 6 6

b

D major/B minor

#

#

#

A major/F minor

# Emajor/C

#

B major/G

G b major/Eb minor

#

# minor

minor

#

F major/D minor


6

Chapter 1


SCALE DEGREE NAMES Commonly used names for the steps of any scale:

Tonic

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Supertonic

Mediant

Subdominant

Dominant

Submediant

Subtonic

Leading Tone

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n˙

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The names were derived from their relationship to tonic. This is important to understand as it shows the importance of learning pitches as they relate to the home pitch, and not as they relate to adjacent pitches. This principle will have great significance regarding hearing tonal music. A subdominant is not named for being the pitch below the dominant, rather it is named for because it is the pitch a fifth below the tonic. Dominant

&˙ Tonic ˙ ?

˙œ œ˙ Subdominant

Mediant

Supertonic

œ˙œ œ˙œ Submediant

œ˙ b ˙œ

n ˙œ

Subtonic

Leading Tone

KEY SIGNATURES & ORDER of ACCIDENTALS Key signatures and the order of accidentals should be memorized. C major/A minor F major/D minor B b major/G minor E b major/C minor A b major/F minor D b major/Bb minor G b major/Eb minor F # major/D# minor B major/G# minor E major/C# minor A major/F# minor D major/B minor G major/E minor


No #s/Nobs 1b 2b 3b 4b 5b 6b 6# 5# 4# 3# 2# 1#

Bb Bb, E b Bb, Eb, Ab Bb, Eb, Ab, Db Bb, Eb, Ab, Db, Gb Bb, Eb, Ab, Db, Gb, Cb F#, C#, G#, D#, A#, E# F#, C#, G#, D#, A# F#, C#, G#, D# F#, C#, G# F#, C# F#

Chapter 1


7

COMMON NOTATION ERRORS The principles and rules of notation are designed to make the music easier to read. Here are a few common errors. Correcting them will make homework assignments, solo transcriptions, arrangements and compositions easier to read.

STEMS Notes above the middle line of any clef have stems down, below middle line have stems up. Correct stems:

Incorrect stems:

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NOTE ALIGNMENT Check the vertical alignment of notes. If two notes occur at the same rhythmic place, it should be visually reflected on the page. The notes in the second measure below are not aligned vertically as they are in the first measure, making it difficult to tell which notes are to be played together. Correct vertical alignment:

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œ

œ

œ

?c

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œ

Incorrect vertical alignment:

œ

œ œ œ œ

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ACCIDENTALS Accidentals should precede the notes in the corresponding space or on the line as in the first measure. If they are placed arbitrarily before the note, as in the second measure, it makes reading difficult. The accidental should never follow the note: in a paragraph we may write “Bb,” but in the staff it should be written “bB.”

Alignment of Accidentals:

& œ bœ bœ

œ

œ bœ

œb œ


8

Chapter 1


Accidentals should follow the logic of the chromatic scale. For raised notes: use sharps, for lowered notes: use flats. Accidentals that indicate modulations should be used when appropriate rather than their enharmonic equivalents. The first two measures of the example below are drawn from a published transcription of a Charlie Parker improvisation. The second two measures is a preferable version. The change in the first measure from Dn to Db might seem correct since the flat lowers D. However, the C# is preferable to the Db. The C# is a tone that indicates the modulation from the key of F to the key of D minor, is the leading tone to D minor, and is the third of the indicated A7 chord. A Db is meaningless in this context. Would it be the diminished fourth of the A7 chord and the lowered tonic of D minor? The Ab, as a lowered note, wants to move down. It slows down reading when the Ab is followed by an An: the Ab indicated downward motion which was contradicted by the An. The An should have had a courtesy accidental in the first two measures. The courtesy accidental is unnecessary with the use of G#. A Gn followed by a G# indicates upward resolution, and allows anticipation of the An. Using the C# and G# also avoids having repeated pitches of the same letter name: Dn to Db and Ab to An. Ambiguous Accidentals: Eø7

A7

Preferred Notation: Dm7

& b œ œ œ œ bœ œ œ bœ œ œ

Eø7

A7

Dm7

œ œ œ œ œ #œ œ #œ œ œ

BEAMING For instrumental writing in common time, beam eighth notes in groups of two or four, and beam sixteenth notes in groups of four. or:

cÛ Û Û Û Û Û Û Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ Beam eighth notes in groups of two, and sixteenth notes in groups of four, when writing for instruments in triple meter.

34 Û Û Û Û Û Û

Û Û Û Û Û Û Û Û Û Û Û Û

The time signature 68 has the same number of eighth notes as 34, but the subdivisions should be grouped differently to indicate the pulse difference. 68 indicates two beats per measure so eighth notes should be grouped in threes and sixteenth notes in groups of six.

68 Û Û Û Û Û Û


Û Û Û Û Û Û Û Û Û Û Û Û

Chapter 1


9

IMAGINARY MEASURE LINE Observe an imaginary measure line between beats two and three in common time when subdivided by eighth notes, between every beat when subdivided by sixteenth notes. The top line notation is preferred to that on the bottom in the following examples. The notation on the bottom line while mathematically correct is more difficult to read because the imaginary measure line principle is not observed, making it difficult to see the separate beats in the measure. Make the notation as easy to read as possible. If musicians have to stop a rehearsal and to count out the notes in the measure, then there was probably a more logical way to notate the rhythms. Top line preferred to the bottom line:

Û.

Û Û J

Û

Û

Û Û Û Û Û

Œ

Û

Û Û. J

Û.

Û.

Û

Û

Û Û J

Œ

Û.

Û.

Û Û J

Top line preferred to the bottom line:

Û.

Û Û

Û

Û Û Û Û Û Û

‰

Û J

Û Û.

Û.

Û.

Û

Û Û Û

‰

Û.

Û.

Û Û


10

II.

Chapter 2

Rhythm in Jazz Performance

RHYTHM in JAZZ PERFORMANCE The rhythmic language is the main element that distinguishes jazz from the European musical traditions. Jazz music borrowed many things from European musical traditions (major/minor harmonic systems, scales and pitch sets, instruments) but jazz has drawn much of its rhythmic heritage from the African culture. A single chapter could never begin to cover all the aspects of rhythm in musical performance. This chapter will touch on rhythmic concepts that are unique and prevalent in improvised and composed jazz performances. A basic understanding of rhythmic notation, relationships of note values, ability to accurately read and write simple rhythms is assumed. For more background, there are many other sources for basic rhythmic concepts and notation.

POLYRHYTHMS No attempt will be made here to thoroughly explain the inner workings of an African drum ensemble, but some generalizations will be helpful for understanding certain aspects of jazz rhythm. In an African drum ensemble there are many different pulses occurring at once, making the music polyrhythmic. One role in the band may be to play a primary pulse on a cowbell, something we could write in Western notation as quarter notes. These quarter notes can be subdivided into two eighth notes. Another role is to suggest a second pulse which could be notated as a dotted quarter, which can be divided into three eighth notes. The two pulses will continue throughout the piece. There will probably be other pulses introduced including half note triplets, and their subdivisions of quarter note and eighth note triplets. 2.1

Soloist

Polyrhythms

œ œ. œ œ. œ. œ œ. œ. œ. œ c >œ œ >œ œ œ >œ œ >œ œ œ >œ œ œ >œ œ >œ œ œ >œ œ œ >œ œ œ >œ Œ Ó

Pulse #3

c ˙

˙3

Pulse #2

c >œ .

Pulse #1

c œ

>œ œ J œ œ

˙

˙ >œ œ

œ >œ . J œ œ

˙3

˙ >œ . œ

˙

˙3

˙

>œ œ >œ . >œ . J œ œ œ œ œ

>œ Œ Ó >œ Œ Ó >œ Œ Ó

As a piece progresses, individuals may improvise rhythms suggesting combinations of the pulse; for awhile suggesting the quarter note pulse, and other times suggesting the dotted quarter pulse. The emphasis of one or the other pulse is suggested by the use of accents. These polyrhythms are probably


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recognized now as being a part of more than just jazz, as they have permeated the American and World pop music.

SWING EIGHTH NOTE Defining a swing eighth note is to define the indefinable. As with all the material written about jazz, the real meaning is in the playing, listening and the experience. Nowhere is this more true than understanding the eighth note feel. In the European tradition, the pulse can be divided into two or into three. Quarter notes are usually divided into two even eighth notes, or three eighth notes as in a triplet. When dividing a quarter note in a swing feel into a subdivision of two, the two notes are rarely of equal value. The first eighth note in a swing feel typically has a longer duration than the second eighth note. Even eighth notes have the ratio 1:1. A dotted eighth note followed by a sixteenth note has a ratio of 3:1 and this is too much of a difference to create a convincing pair of swinging eighth notes. The jazz eighth note ratio is more commonly explained as a ratio of 2:1, as in a triplet figure with the first two eighths tied. 2.2

Different ratios of subdivision:

1:1

3:1

2:1

œ. œ

œ œ

œœœ 3

Some research has been done using a computer system to time the relationship between the first and second notes in the improvisations of artists like Oscar Peterson, Sonny Stitt, John Coltrane, Miles Davis and many others. The results were tabulated and the average ratio was in the neighborhood of 58:42. This ratio can be rounded to 60:40 and then reduced to 3:2. 3:2 can be conventionally notated: 2.3

Subdivision with 3:2 ratio:

3:2

3:2

œœœœœ

œ. œ

5

5

This study was fascinating but it offered little help for the aspiring young jazz musician. The 3:2 ratio is difficult to read and even more difficult to teach. The best way to understand the jazz swing feel is to listen to hours of great musicians playing jazz. A close examination reveals many different concepts from one player to the next and even from one player within a single performance. There will be times when the eighths notes are perfectly even, others where they will be more like the dotted rhythms, others may fall in that indefinable area between the 3:2 and 2:1 ratios. What makes the music swing is not just the ratio of eighth notes, but the combination of forward drive, swing eighth notes, well placed accents and articulations.

The best way to understand the jazz swing feel is to listen to hours of great musicians playing jazz. What makes the music swing is not just the ratio of eighth notes, but the combination of forward drive, swing eighth notes, well placed accents and articulations.


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ACCENTS & ARTICULATIONS Anyone who has practiced European art music has at one time practiced scales, being careful not to accent any notes, making long, smooth legato lines up and down their instruments. Classical music performance demands the refined, lyrical, legato line be performed with no accents so musicians must practice in order to perform it correctly. Part of the African music tradition is the use of irregular and sometimes unpredictable accents. The accents are a way of bringing out the polyrhythmic character of the music. The irregular accents should not be mistaken for haphazard. The music may be in march time, while the accents played by the improviser may suggest a meter or combinations of meters that actually extend over the measure line. If a line of eighth notes is played with no accents, the polyrhythmic character is lost. I heard a pianist complimenting another pianist saying he could play all the Oscar Peterson lines, but without the accents, and this, to him made him the better player. I think they both missed the point. Heavy irregular accents are part of the tapestry of jazz music. In order to play Mozart, the objective is to play smooth lines without accents. To play jazz convincingly, you must learn to control accents, not randomly, but as a part of suggesting the polyrhythmic nature of jazz. In the European model of a common time measure, beats one and three are the strong beats with beat one being the stronger of the two. Beats three and four are the weaker beats. From the influence of African rhythmic traditions, in some music, the opposite is true: beats two and four get more of an emphasis. A traditional jazz band will play four quarter notes in a row and beats two and four will get slightly more of an accent than beats one and three. Quarter notes will usually be played short regardless of their location in the measure. 2.4

c œ.

Short quarter notes:

œ^

œ.

œ^

‰ œ^

œ œ œ^ J J

œ^ J

Watch a jazz musician count off a tune. Usually he will snap his fingers on beats two and four to establish the tempo and then count, “One - (snap) - two - (snap) - one - TWO - three - FOUR.” This emphasizes the back beat rather than the traditional strong downbeats one and three. Many jazz musicians set their metronome to click on two and four to simulate this accent. Try this rhythmic test. Sing the tune Hit the Road Jack while clapping your hands. You are probably clapping on beats two and four, and not on beats one and three. “Hit the Road (clap) Jack (clap)...” The accented upbeats are not limited to the pulse but also effect the subdivisions of the pulse. Eighth notes will get a slight accent on the upbeat rather than the downbeat. Players will achieve this by slurring the upbeat to the downbeat. Horn players will tongue the upbeats and slur to the downbeats. Guitarists may pick the upbeat and hammer the finger or slide to the downbeat. String players must change the bow on an upbeat rather than the downbeat as they may have been accustomed. 2.5

Accented upbeats:

> > > >œ ˙ &c œ œ œ œ œ œ œ

Ó

Many jazz lines end on an upbeat and these notes should be accented. Remember, that to accent a note it must be louder than the surrounding notes. Often this means playing the surrounding notes softer. It is hard to play a line with all loud notes and then play a note with an accent. Making the surrounding notes softer will help the accented note stand out.


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Lines that end on short notes on the upbeat should are usually played short and accented and will often be notated with a “^” symbol. 2.6

End on short accent:

^ c œ œ œ œ Œ do

ba

do DAHT

œ œ

^ œ œ Œ

^ œ œ œ œ

do

do DAHT

do

ba

ba

do DAHT

Long notes on the upbeat at the end of lines should also be played with an accent. 2.7 End on long accent:

> c œ œ œ œ œ do

ba

do

DAH

œ œ

> œ œ œ

> œ œ œ œ

do

do

do

ba

DAH

ba

do

˙

Ó

DAH

Upbeat dotted quarter notes lead to a downbeat and should be accented. 2.8 Accented upbeat:

>œ . . . œ œ &c ‰ DAH

dot

dot

.œ . œ b >œ . œ J dot dot

^œ Œ Ó

do DAH

DAHT

The upbeats of a jazz line generally get accented, but the shape of the line is the most important thing to consider when determining accents. The top notes of a line and any changes of direction call for an accent. The resulting accents will often suggest another pulse and help create the polyrhythms inherent in jazz. In the following example (which is closely related to a favorite line of Charlie Parker) the top notes of the line should receive an accent. These accents create a counter-rhythm to the four quarter notes per measure. The resulting rhythm is a series of dotted quarter notes. This kind of accenting is often called “bopping the top” of the lines.

The shape of the line is the most important thing to consider when determining accents. 2.9

“Bopping the top:”

œ.

&c

œ.

œ.

œ.

œ.

œ.

j œ

> 3 > > > > > ^ ‰ # œj œ b œ œ œ œ # œ œ œ # œ n œ b œ œ œ # œ œ b œ œ œ œ

Many of the tunes used for jazz improvisations are show tunes, and are often written with very simple melodic rhythms. Jazz improvisers will almost never play the melody the way it is written in sheet music. Often, the first “improvements” made by a jazz improviser are to the melodic rhythms. Important notes


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which typically land on the downbeat will be moved ahead to the upbeat. The anticipation pushes the melody forward, and calls attention to the more common upbeat accents. While some notes are played earlier, others are delayed, and others may be hurried along to make up for differences. Here is a five-note melodic idea as it may appear on sheet music. 2.10a

“Square melody”

&c œ œ œ œ

Ó

˙

And here are a number of ways a jazz musician may alter the rhythms to “jazz them up.” 2.10b

Delaying the first note, anticipating the final note.

> j. . c ‰ & œ œ œ œ œ ˙ 2.10d

Ó

More anticipation.

Ó

3 down, 2 up.

2.10h

Ó

Using a repeated note (iteration).

>j > > ^ &c ‰œ œœœœœ œ 2.10j

Downbeat followed by upbeats.

Ó

Starting with upbeat.

&c Ó 2.10c

. > ^ Œ ‰ œj ‰ œ . œ œ œ Delayed by a beat and the rest hurried along.

^ ^ c Œ & œ œ œ œ œ

∑

Ó

. > c ‰ ‰ j & œ œ œ œ j œ ˙ 2.10g

. . > c ‰ & œ œ œ œ j œ ˙

Anticipating beats three and one.

. > > c & œ œ œ œ œ œ ˙ 2.10e

>j > c ‰ & œ œ œ œ œ œ ˙ 2.10f

2.10c

∑

Ending on a downbeat preceded by an accented dotted quarter.

. . > j c & œ œ œ œ.

^ œ

Œ

Ó

Long notes, any value from a dotted quarter note and above, are usually played forte-piano (Í ). There may be a slight crescendo at the end of the note into either the cut-off or the next melodic pitch. This is


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more prevalent in ensemble work than in improvisation and will vary in intensity depending on the ensemble. In early baroque music, articulations and phrase markings were not included. The player was expected to know how to phrase and articulate in the style. The same is true for much of the music written for jazz bands. The jazz musicians were expected to see the notes and interpret them in a jazz style. Probably few of the earlier jazz musicians thought a great deal of exactly what things went in to making the music sound like jazz, relying on their ears to imitate and govern their decisions. In a rehearsal recently, a seasoned professional was reluctant to provide verbal details on how to articulate certain unmarked passages. He then played the passages for the younger players. He expressed surprise at playing quarter notes short and playing all the long notes forte-piano. For him this was just part of how to make it sound like jazz. Historically, this and many other aspects of jazz have been learned and passed on aurally: learning by imitating the master. This underscores another major difference in the European and African cultures. The European tradition of learning involves the written page. The African oral tradition depends on the master/apprentice approach. There are no African drumming etude books in the African drum tradition. Most contemporary music published for jazz ensembles includes all articulation markings, in part due to the large education market. While this might insure a more accurate performance of the composer’s ideas, there is still no substitute for listening to the style and imitating. One disadvantage to reading charts with all articulations written in is the students never develop the critical skills to make the appropriate articulations and phrasing decisions themselves. There is no substitute for the aural experience.

There is no substitute for the aural experience.

RHYTHMIC ROLES For a basketball, baseball or soccer team to be successful, each member must understand their role and its relationship to the rest of the team. This is also true in the African drum ensemble and the jazz rhythm section. What follows is some general guidelines for the roles and responsibilities within the jazz rhythm section. With any jazz performance, depending on the players, the historical period and the time of night, these lines of demarcation may be clear or deliberately obscured. Determining the basic roles will help in understanding the foundation and help to understand the deviations from the norm. The pulse is generated from two parts of the rhythm section: the ride cymbal and the bass. The ride cymbal pattern can be many variations of quarter and eighth note combinations, but fundamentally has to supply the quarter note pulse. Without the solid pulse as a foundation there can be no subdivision of that pulse. The bass player locks in to that quarter note pulse and “walks” a quarter note accompaniment. The backbeat is emphasized by the drummer’s hi-hat closing on beats two and four. The bass player may slightly emphasize the backbeat by accenting two and four with the hi-hat. Once these roles are established, the subdivisions can be easily felt. The drummer may add a pair of eighth notes on the back beats creating what is generally considered the jazz “ride” pattern. This may be only a point of departure for many great jazz drummers. The pair of eighth notes may shift and in doing so imply time signatures other than 44 . Within an eight measure phrase you may hear:


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2.11 Ride cymbal pattern implying multiple mixed meters:

c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ

œ

The bass player adds to this by playing subdivisions between his quarter notes. Often these notes are muffled or ghosted. These little spit notes have more importance as rhythm than pitch. 2.12 Bass line with ghosted “spit” notes:

?

3

œ b c œ œ ¿ œ nœ ¿ œ œ bœ ¿ nœ œ ¿ ¿ œ œ bœ ¿ œ bœ ¿ nœ bœ Œ Ó

In a rock beat, the bass drum has the role of providing the pulse while the snare has the backbeat. In a swing feel, the pulse is played by the ride cymbal while the hi-hat plays the backbeat. That leaves the snare drum to accent other rhythmic figures. Some possible snare drum combinations include: 2.13

c œ.

“Charleston” rhythm:

œ Ó J

Anticipation of beats one and three: 2.14

Anticipated accompaniment rhythm:

c Œ ‰ œ Œ ‰ œ J J A combination of “Charleston” rhythm displaced and on the beat: 2.15

Combination accompaniment rhythm:

c ‰ œ Œ œ Œ J

œ ‰ œ Ó J

The guitarist and pianist can reinforce the snare drum rhythms shown in 2.13-2.15. The use of combinations of quarter note and dotted quarter rhythms add to the polyrhythmic character. Listen to some of the great jazz rhythm sections and how they develop the rhythmic interplay while accompanying (“comping” for) a soloist. The rhythm sections of the Miles Davis Quintet from the 1950’s with Philly


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Joe Jones on drums, Paul Chambers on bass, and either Red Garland or Wynton Kelly on piano provide excellent listening models. Ex. 2.16 represents possible accompaniment figures which could be played by the guitarist or pianist and maybe also the snare drum using rhythms from ex. 2.13-2.15. It is unlikely that all would decide to play the same figures without prior planning. The structural places in a piece will usually be anticipated with an upbeat of four accent. In the blues, this may occur at the end of four measure phrases as shown below. 2.16

Possible “comping” patterns for Blues:

F7

& c Û. 1

Û Ó J

b Û Ó J

& Û.

B 7

& Û.

Gm7

5

Û Ó J

b Û.

B 7

F7

b Û ‰ Û ‰ Û J J J

Cm 7

F7

B 7

Û Ó ‰ Û Œ Û Œ Û. J J # G °7/B Aø7 D7 Gm7 F7 ‰ Û Œ Û. Û Œ ‰ Û Œ ‰ Û Œ ‰ Û ‰ Û ‰ Û J J J J J J J C7 F7 D7 Gm7 C7 ‰ Û Œ Û Û ‰ Û | ‰ Û. Û. Û | J J J

9

There are times when long streams of dotted quarter notes may be superimposed over the common time groove. Listen particularly to the rhythm sections of the John Coltrane Quartet where Elvin Jones on drums and McCoy Tyner on piano play streams of dotted quarter rhythms over the steady common time bass lines. Ex. 2.17 illustrates the dotted quarter rhythm over the last four measure of the blues. 2.17

Last four measures of Blues:

b j œ & b c Œ œœœœ œœœ b b œœœœ ... . ?b c œ œ œ nœ Gm9

D 13 C9sus4 C13

œœœ .. œ .. œ

b

G 13 Fm aj7

# b9

D7 13

C13

Gm9

j œœœ œœœ b b b œœœ ‰ œœj Œ n œ . œj œœ œœ ... œœ œ œ œ #œ nœ œ b œ œ bœ œ œ bœ

œœœ œ œ

b

G 13

F13

œœœ ‰ b b b œœœ ... b œœ Œ Ó œ œ . œœ Œ Ó œ œ bœ œ

The Miles Davis Quintet rhythm sections of the early 1960’s with Ron Carter on bass, Tony Williams on drums and Herbie Hancock on piano stretched the boundaries of polyrhythms more than ever before, creating great waves of rhythmic dissonance between the drums and piano and the steady pulse from the bass. This group has recorded some trio and quintet material together in the 1970’s and 1980’s. When listening to them stretch rhythmic boundaries, note how often the eight measure phrase served as a guidepost for resolving rhythmic dissonances. The bass drum in contemporary jazz is usually used to accent major structural points or strong accents in the music. It is rare in modern playing to hear the bass drum play the “four on the floor” four beats per measure on a swing feel. The jazz improviser, as the improviser in the African drum ensemble, plays a variety of rhythms over the top of the rhythm section. The basic rhythmic currency for swing improvisation is the swing eighth, but rhythmic variety is created in a number of ways. Accent groupings of two eighth notes correspond to the quarter pulse while accent groupings of three eighth notes refers to the secondary dotted quarter


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pulse. A jazz improviser, having established the eighth note, will use any combination of other subdivisions and rhythmic units. I often ask, when standing in front of a student band, “Who keeps the time in the band.” Almost everyone in the band will point at the drummer. It is everyone’s job to keep the time. A drummer cannot fix the bad time played by one, much less sixteen other musicians. When I was a young novice player, I sat in with an outstanding bass player and drummer. They did not swing nearly as well when I played with them. It was clearly not them, but me. It was a valuable learning experience. A saxophone student in an improvisation class once complained that the rhythm section was not keeping good time and would occasionally play wrong chords. The next time through the tune I stopped the rhythm section and allowed the saxophone to play an unaccompanied chorus. He could not keep the time or the changes by himself. It pointed out something to all of the class: keeping time and the chords was everyone’s responsibility. We practiced a drill for a few rehearsals to gain control of these elements. Every one played one chorus with accompaniment and one without until we all could make it through the form keeping the time and playing the chord changes convincingly. Drummers learned to play the tune and keep the form on their solos.

HARMONIC RHYTHM in JAZZ PERFORMANCE Harmonic rhythm is the rhythm of the harmonic changes. If chords change every two beats, the harmonic rhythm is half-notes. If chords change every four beats, the harmonic rhythm is whole notes. There is a variety of harmonic rhythm in jazz performances and not all of it corresponds to the meter or to where it is written on the page. If there is one chord per measure in 44, we expect the bass to play the root of the chord on beat one, corresponding to where the chord symbol is notated on the page. The pianist or guitarist may anticipate each chord symbol playing the changes on the upbeat of four. This is part of the polyrhythmic energy of a jazz rhythm section. The melody or improvised solo may play with the bass, with the accompaniment instruments, anticipate the changes even more, or delay the resolution into the next measure. It is important to remember this when analyzing written solos. We confine the written notes of a line to measures for reading ease, but the harmonic implications are not always confined to those measures. The vertical alignment of notes may often seem senseless, but when viewed in the larger harmonic scheme the soloists may have anticipated or suspended the melodic material of one chord over another chord. This is not unique to jazz; church hymnals and music from all style periods are full of suspensions and anticipations. Jazz suspensions may involve several notes. Do not fall into the trap of labeling everything by its vertical arrangement. Music is heard and conceived in a linear manner and should be studied in the same way.

Music is heard and conceived in a linear manner and should be studied in the same way. Below is an example of how different harmonic rhythms may be suggested in a jazz performance. The discrepancy created by the different players making the chord changes occur at different times is a large part of what makes the jazz performance interesting. The rhythmic and melodic pieces sometimes agree and sometimes clash, creating waves of consonance and dissonance. A chord chart may show the harmonic rhythm as whole notes: Dm7 for four beats, G7 for four beats and C major 7 for eight beats. The bass player may directly follow the chord chart playing the roots of the chords on the downbeats as shown. The pianist or guitarist may anticipate or delay the changes. In the example below, the pianist anticipates the Dm7, delays the G7, and anticipates the C major 7. A soloist has more freedom and may anticipate or delay a great deal when creating his lines. The trumpet line begins the Dm7 on the upbeat, and the 3-5-7-9 arpeggio of the Dm7 begins on the fourth beat and spills over into the G7 measure. G7 is clearly heard on the third beat with a 3-5-7-b9 arpeggio and again the


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line spills into the next measure before coming to rest on the C major, a half note later than the chord chart suggests. Being aware that all music is experienced in linear time will help in understanding the necessity of linear and not strictly vertical analysis of music. 2.18

Harmonic rhythm discrepancies in jazz performance:

Trumpet

&c

Piano

&c

Bass

?c

G7 Cm aj7 œ œ œ œ bœ œ œ œ J œ œ ‰ œ œ bœ œ œ œ œ œ #œ ˙ G7 Cmaj7 Dm 7 . Û Û ‰Û| ‰ÛŒ Û Û Û. ÛÓ J J J J J Dm 7 G7 Cmaj7 œ œ œ #œ œ œ œ bœ œ œ ˙ Dm7

THE LARGER VIEW: FORM as RHYTHMIC STRUCTURE Many music theory books include a rhythmic subdivision chart showing the whole note subdivided into two halves, the halves into quarters, and so on down to sixteenths or maybe thirty-second notes. It is better to begin with something larger than the whole note for an overview of rhythmic subdivision. A whole note is a small unit of time in relationship to the entire piece, so a better place to begin may be with the entire piece. The first line (1.) of the graph below, represents entire piece from beginning to end, Imagine that the entire piece represents one unit of time, which will be five minutes for the sake of this discussion. The second line (2.) shows the piece divided into five choruses or repetitions of an AABA form. Each chorus represents a subdivision of the original time unit. Most of the jazz standard tunes used as vehicles for improvisation fall into one of the following forms: BLUES: usually 12 measures, sometimes 16 or 24 measures. AABA: all usually 8 measures in length. The second and last A section may be slightly different than the first. The second A may lead to the B, and the last A provides some closing material. (Example AABA tune: I Got Rhythm) ABAB 1 : all usually 8 measures in length. The second B may be slightly different than the first. The first B leads back down to the second A, where the second B provides some closing material. (Example ABAB tune: Just Friends) (More will be discussed regarding form and its relationship to harmonic analysis in a later chapter.) By zooming in on one chorus (3.), a subdivision of the original unit, its own subdivision is revealed. Each chorus is further subdivided into four eight measure phrases labeled AABA. Zooming in another power at (4.) reveals the A section further subdivided into eight different measures. This eight measure phrase can be heard as four two measure phrases or two four measure phrases. It is important to be able to hear and respond musically within these larger units of time, not just the smaller units of note values within a measure.


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2.19

Large form rhythmic subdivision:

1.

ENTIRE PIECE

2. CHORUS I (AABA form)

CHORUS II (AABA form)

CHORUS III (AABA form)

CHORUS IV (AABA form)

CHORUS V (AABA form)

3.

A

A

B

A

8 measure phrase

8 measure phrase

8 measure phrase

8 measure phrase

2 measure phrase

2 measure phrase

4. 4 measure phrase

The eight measure fragment (4.) from the previous graph can be divided into one-measure segments. The single measure is represented by the whole note in the graph below. This single measure in 2.20 must be viewed in the larger scope as a subdivision of an eight measure phrase (4.) which is a part of a thirty-two measure AABA form (3.) which may repeat several times to create the entire piece (1. & 2.) With this larger perspective, the discussion of the whole note chart showing the note values and relationships is appropriate. 2.20

Single measure rhythmic subdivision

w ˙

˙

œ

œ

œ

œ 3

œ

œ

œ 3

œ

œ

œ 3

œ

œ 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ


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Seasoned improvisers and composers sense and feel larger units of time. An improviser learns to feel an entire thirty two measure form. Sometimes a musician will improvise several times through the form, sensing one hundred and twenty eight measures, building his ideas to a logical conclusion. A improviser may learn to feel a thirty-two measure form as one unit of a four-chorus improvisation. Within each form, the eight measure phrase is shaped by all members of the band. In fact, just as a beginning musician can tell the difference between beats one and four, an experienced jazz musician senses the difference between the first A and the last A of an AABA form. With this perspective knowing where beat three is in a measure is analogous to knowing where the B section is in an AABA form. The B is the third beat of the form, the form being an augmentation of the measure. This takes some time to master, as any beginning improviser who has lost the form will attest. To continue this example, say the jazz performance of this piece lasts for five minutes (the Entire Piece). The band plays the melody of the song for the first minute (Chorus I: AABA). The alto sax improvises over the form for a minute (Chorus II), followed by the trumpet (Chorus III), and the piano (Chorus IV). The band plays the melody again at the end (Chorus V). The entire piece being subdivided into five parts makes the jazz performance very much like the five paragraph paper form as shown below: Jazz Performance Statement of the melody: Introduces the form and themes on which the band will improvise. Alto solo: The alto player expresses his version of the melody and harmony. Trumpet solo: The trumpet player expresses his version of the melody and harmony. Piano solo: The piano player expresses his version of the melody and harmony. Restatement of the melody: Reminds the listener of original themes.

Five Paragraph Paper Introductory paragraph: Tell them what you are going to tell them. Paragraph One: Discuss one aspect of the subject. Paragraph Two: Discuss another aspect of the subject. Paragraph Three: Discuss another aspect of the subject. Closing paragraph: Tell them what you told them.

PLACEMENT of the NOTES One deficiency of the standard notation system is its inability to show minute variances in placement of individual notes. A simple line composed of eighth notes can be played in different ways depending on the placement of those notes in relationship to the pulse. Different players will, in varied musical settings, play slightly ahead of, right on top of, or slightly behind the actual pulse. These variances in the hands of mature players give life to the performance. In younger players it may be an underdeveloped sense of time, and they actually may be rushing or dragging the pulse. There are some players who consistently play slightly ahead of the beat which can give the music a forward drive. They are not necessarily rushing the beat, but just pushing it ahead by playing “on top” of the beat. There are other players who, no matter how the rhythm section is playing around them seem to play their notes squarely in the middle of the pulse. Others can artfully play just behind the band, creating at once a laid-back feeling and a tension from the pull created by the rhythmic discrepancy between the soloist and the rest of the band. Anyone who has heard music created on computers and quantized to “perfect” rhythmic units knows how inhuman perfection sounds. The push-pull inaccuracies are part of the life-blood of the music. But do not throw your metronomes away quite yet. Mature players gain a great sense of where the pulse is and adapt to musical situations. They can shift from playing ahead to playing behind, always knowing where the actual pulse is. To be able to play around the pulse effectively and convincingly, one has to know where that pulse is. A beginning improviser should practice playing with a metronome and develop a strong sense of pulse before attempting to play around that pulse.


22

Chapter 2


A beginning improviser should practice playing with a metronome and develop a strong sense of pulse before attempting to play around that pulse.

SYNCOPATION STUDIES The eighth note is the basic unit of currency for jazz, but it is the groupings of the eighth notes that create the rhythmic business. Syncopation is created by a shift of the accent in a musical passage, where beats that were normally weak may now be accented. Typically in the European model, within a quarter note pulse, every other eighth note is on an accented down beat. By accenting every third eighth note, a shift will occur contradicting the basic pulse. This is the most fundamental type of syncopation used in jazz: the dotted quarter pulse (grouping of three eighth notes) against the quarter note pulse (grouping of two eighth notes). This is one of the many rhythmic characteristics borrowed from African culture. In jazz performances, the polyrhythms usually fit into the eight bar phrases defined by the forms of many show and pop tunes which are the basis for so much of the jazz literature. Much of the syncopated dissonance with the primary pulse is resolved after four or eight measures. There are thirty-two eighth notes in a four measure phrase which divides into sixteen even quarter note beats. Thirty-two is not divisible by three (the dotted quarter pulse) without a remainder of two. The jazz improviser/composer uses mixtures of threes (dotted quarter pulse) and twos (quarter pulse) to create the cross-rhythms associated with jazz. The dotted quarter note imposition can occur anywhere in the measure and can be articulated in many ways. In the following example, the dotted quarter rhythm occurs on beat one. It is shown with four different articulations: long-long, long-short, short-long, and short-short. This rhythm is typically called the “Charleston Rhythm.” 2.21

c œ.

Different articulations of the “Charleston Rhythm”

œ ˙ J

œ.

œ Ó J

œ

‰ œ ˙ J

œ

‰ œ Ó J

A dotted quarter note is equal to three eighth notes, and three can be expressed as 3, 2 + 1, 1 + 2 and 1 + 1 + 1. In musical notation that would be a dotted quarter (3), a quarter and an eighth (2 + 1), and eighth and a quarter (1 + 2), and three individual eighth notes (1 + 1 + 1). In many musical passages where the dotted quarter pulse “Charleston Rhythm” is implied, it may be divided into any of these combinations: 2.22 (3)

c œ.

Variations of the “Charleston Rhythm”

œ ˙ J


(2 + 1)

œ

œ œ ˙

(1 + 2)

œ œ ‰ œ ˙ J

(1 + 1 + 1)

œ œ œ œ ˙

Chapter 2


23

Negative space is implied space created by a positive image. Below are four black boxes (positive space). The negative space, a white cross, is also clearly visible and important to the image. 2.23

Negative space

Visual artists depend on the recognition of negative space. The concept of negative space is also important in music. Any pitches that are played (positive space) may imply other pitches that are not played. A certain pitch may be stressed by playing a number of pitches around that pitch that point to that pitch, while never actually playing the pitch. This type of manipulation is one thing that creates dramatic interest in the music. As with pitches, any rhythm that is played (positive space) may imply a rhythm not played (negative space). The dotted quarter “Charleston Rhythm” is shown on the top line repeated over a four measure phrase, creating a constant dotted quarter pulse against the quarter note pulse. The bottom line in the following examples shows the rhythm of the notes that are not being played by the top line. The bottom line is then the negative space of the top line. Try dividing the class into two sections. Have one section tap the top lines and the other tap the bottom lines on this and following examples. Switch every four measures. 2.24

c œ.

Dotted quarter “Charleston Rhythm” extended over four measure phrase shown with implied negative space rhythms:

œ œ. J

œœ œ J

œ.

œ œ œ J

c ‰œœ œœ‰œ œ œœ‰œœ J J J

œ œ. J

œ.

œœ œ J

œ Œ Ó

œœ‰œœ œœ ‰œœ œœ‰œ œ Œ Ó J J J

This may sound like a mathematical game, and it can be, but here are some musical examples that occur frequently and naturally. Dexter Gordon, in a blues improvisation, and Dave Brubeck both used the negative space rhythm from ex. 2.24. 2.25

œ.

œ.

œ.

b . & b c ‰ œj œ œ b œ ‰ œj œ

œ.

˙

œ bœ Ó

œ.

œ.

œ.

‰ œj œ. œ b œ Œ

œ.

b Xœ

˙

œ œ Ó


24

Chapter 2


2.26

œ.

œ.

œ.

œ œ œ œ J ‰ Jœ œ &c ‰

œ.

˙

œ œ Ó

The dotted quarter rhythm from ex. 2.24 can be displaced by an eighth note creating the following line shown with positive and negative rhythms. 2.27

c ‰ œ.

Dotted quarter rhythm displaced and extended over four measure phrase shown with implied negative space rhythms:

œ.

œ œ J

c œ œœ‰œœ J

œ

œ.

œ œ. J

œœ œ J

‰ œ.

œ.

œ œ Œ Ó J

œœ‰œœ œœ ‰œœ œœ‰œ œ œœ‰œœ J J J J

œ Œ Ó

Duke used the negative rhythm from ex. 2.27 in the piece It Don’t Mean a Thing if it Ain’t Got That Swing. 2.28

‰ œ.

œ.

b & b c Œ œ œ ‰ œJ œ

j œ œ

œ

j œ œ.

œ.

j œ œ

œ

œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ Œ Ó J J J

It appears at this point that if you use these syncopated rhythms, you will be playing either The Charleston, or It Don’t Mean a Thing if it Ain’t Got That Swing!


∑

Chapter 2


25

The dotted quarter rhythm from ex. 2.24 can be displaced by a quarter note creating the following line shown with positive and negative rhythms. 2.29

c Œ œ

Dotted quarter rhythm displaced and extended over four measure phrase shown with implied negative space rhythms:

œ œ. J

œ.

œœ œ J

‰ œ.

œ.

œ œ œ J

c œœ‰œœ œœ ‰œœ œœ‰œ œ œœ‰œœ J J J J

œ œ. J

œ Œ Ó

œœ‰œœ œœ œ Œ Ó J

You can see the negative rhythm from ex. 2.29 in the following melody composed by Sonny Rollins. 2.30

œ œ ‰ œ bœ œ nœ ‰ œ bœ œ nœ ‰ œ ˙ J J J

& c ‰ œj œ # œ œ œ œ œ

bœ .

j œ

The next stage in developing a sense for these rhythms involves understanding the subdivision of the dotted quarter notes. As discussed previously and shown below, the dotted quarter note equals three eighth notes which can be expressed as 3, 2 + 1, 1 + 2 and 1 + 1 + 1. 2.31 (3)

c œ.

Variations of the dotted eighth note “Charleston Rhythm”

œ ˙ J

(2 + 1)

œ

œ œ ˙

(1 + 2)

œ œ ‰ œ ˙ J

(1 + 1 + 1)

œ œ œ œ ˙

More musical rhythmic material can be created by substituting combinations of the variations to the dotted quarters in ex. 2.24, 2.27, 2.29. In the following several examples, every other dotted quarter value is substituted with another combination of a quarter and an eighth (2 + 1), and eighth and a quarter (1 + 2), or three individual eighth notes (1 + 1 + 1). Changing the rhythm will also change the implied negative space rhythm. 2.32

Ex. 2.24 with the pattern: (2 + 1), 3, (2 + 1), 3, etc.

c œ œœœ œ

œ œ. J

œ œ œ œ œ œ œ. J

c ‰œŒ œœ‰œ Œ œœ‰œŒ J J J

œ œœœ œ

œ Œ Ó

œœ‰œŒ œœ ‰œŒ œœ‰œ œ Œ Ó J J J


26

Chapter 2


2.33


c ‰ œ ‰ œ œ. J J

œ ‰ œ œ ‰ œ ‰ œ œ. J J J J

c œ œ ‰œœ J 2.34

œ ‰œœ œ J

‰ œ ‰ œ œ. œ J J J

œ Œ Ó

‰œœ œ ‰œ œ œ ‰œœ J J J

œ Œ Ó

œ‰œœ J J


c Œ œ œ œ. J

œ œ. J

œ œœœ œ


c œœ‰œŒ œœ ‰œŒ œœ‰œ Œ œœ‰œŒ J J J J 2.35

œœ‰œŒ œœ œ Œ Ó J


c œ œ ‰ œ œ œ œ ‰ œ. J c Œ œ œœŒ

œ œ ‰ œ œ œ œ ‰ œ. J

œ œœŒ œ

œœ‰œœ œœ œ Œ Ó J

œœŒ œ œœ Œ œ œœŒ

If you are singing along, you probably noticed that the negative space to ex 2.35 resembles the Dizzy Gillespie tune Salt Peanuts. 2.36

œ.

&c Œ

œ Œ Ó

bœ Salt


œ.

bœ

œ

Pea nuts

j œ

œ.

Œ

bœ Salt

bœ

œ

Pea nuts

Ó

œ Œ Ó

Chapter 2

2.37

c œ ‰œ‰œœ J J

œ œ œ œ. œ J

œ Œ Ó

‰œ‰œœ ‰œ ‰œœ ‰œ‰œ œ ‰œ‰œœ J J J J J J J J

œ Œ Ó

œ œ œ œœœ J


c œœŒ œ œœ Œ œ œœŒ

œœŒ

2.40

œœ œ J


œ œœŒ œ

œ Œ Ó

œœŒ œ œœ œ Œ Ó

Ex. 2.24 with the pattern: (1 + 1 + 1), 3, (1 + 1 + 1), 3, etc.

c œ œ œ œ œ œ œ œ œ. J c Ó

œ.


c Œ œ œ ‰ œ.

2.39

27


c ‰ œ œ œ. J

2.38


œ œ œ œ œ œ œ œ œ. J

Œ œœÓ

œœœœœ œœ œ Œ Ó

œœŒ Œ œœ Ó

œœŒ

œ Œ Ó


c ‰ œ œ œ œ. J c œ Œ ‰œœ J

œ œ œ œ œ. œ J

œ Œ Ó

‰œœ Œ ‰œ œ Œ ‰œœ J J J

œ Œ Ó

œ œ œ œ œ œ œ œ œ. J Œ ‰œœ Œ J

œœœœ J


28

Chapter 2


2.41


c Œ œ œ œ œ. J


c œœŒ Œ œœ Ó

A musician • • • •

œœŒ


Œ œœÓ

œ Œ Ó

œœŒ Œ œœ œ Œ Ó

involved in the creation of music needs several rhythmic skills including: a strong sense of pulse and its subdivision a strong sense of any secondary polyrhythmic pulses and their subdivisions the ability to aurally recognize and create music using rhythmic material the ability to visually recognize and interpret rhythmic material in written music

Singing and tapping the rhythmic examples in this chapter will help develop the rhythmic independence, the aural and visual recognition needed to read, invent and interpret rhythmic musical material.

SYNCOPATION in the JAZZ WALTZ The majority of the music played by jazz musicians is in common time, four beats to the measure. Jazz musicians do have a version of the waltz that goes beyond “oom-pah-pah.” The syncopation principle is the same. If the primary pulse is a quarter note, the secondary pulse is a dotted quarter. Three quarter notes per measure defines the waltz. A superimposition of two dotted quarters creates the feeling of 68 meter with the first dotted quarter on beat one, the second on the upbeat of two. Displacing the two dotted quarters by and eighth note puts a dotted quarter on the upbeat of beat one and another on beat three. All three rhythms are shown in ex. 2.42. It may help to hear the combination of dotted quarter rhythms by singing “Who parked the car?” as shown.

2.42

Jazz Waltz

3 œœœ & 4 ‰ œœœœ .... œ parked car? ? 34 œ . œ. 34 Who œ œ the œ


‰ œœ .. œœœ œœ .. œ parked car? œ. œ. Who œ œ the œ

.. .. ..

Chapter 2


29

POLYRHYTHMS in PERFORMANCE All of the discussion of possible rhythmic variations and superimpositions are meaningless and merely mathematical games without understanding and recognizing their place in musical performance. Many ask, after studying the previous material, how to get these ideas into their own playing. It is beneficial to study several examples from jazz performances to see how great jazz artists incorporate polyrhythms in their improvisations and compositions. Several examples have already been shown from Dexter Gordon (ex. 2.25), Dave Brubeck (ex. 2.26), Duke Ellington (ex. 2.28) and Sonny Rollins (ex. 2.30). To learn language or a craft of any kind, the proven method is to study the masters. To develop individual vocabulary within that craft one must borrow from the vocabulary of those masters. This may seem contradictory to develop individual vocabulary by borrowing from others. What one does with the borrowed material is what separates mimicking and parroting from true personal development. I composed a blues that used nothing but Parker lines, stolen to show students ways to develop ideas from borrowed material. I called the piece Ornithelestes which means literally “Bird-stealer.” Anyone who plays jazz is just that, whether they intended to or not, as Parker, the “Bird,” has influenced so many jazz improvisers. The following example is created with a line borrowed from Parker that has a different conclusion added. Beginning with the pick-up notes, the melodic accents are based on the dotted quarter pulse shown creating a secondary pulse to the primary quarter note pulse of the bass line. 2.43

Line similar to Charlie Parker line:

œ.

œ.

œ.

œ.

œ.

j œ

œ.

>j 3 œ >œ œ # œ >œ n >œ œ # œ b œ œ >œ # œ œ b>œ œ œ ^œ ‰ #œ œ bœ

&c ?c

Gm 7

∑

C7

œ

œ bœ nœ

œ

F

œ bœ nœ œ

The superimposed dotted quarter note pulse need not be constant. Shifting between combinations of quarter and dotted quarter groupings makes this improvised line by Miles Davis interesting. The implied divisions are shown above the line for reference. 2.44

˙

œ.

œ.

œ.

. > > & b c œ œ œ œ œ œ œ ‰ œJ œ

œ.

œ

œ.

œ.

. œ œ. ‰ œ >œ œ œ œ œ Œ J

Clifford Brown used the dotted quarter note pulse to break up an otherwise straight forward eighth note line. The idea began in the second complete measure and for the two measures Brown implied 3, (2 + 1), 3, (2 + 1), 3, and 2 before continuing the line with eighth notes. This idea recurred in many forms throughout this solo.


30

Chapter 2


2.45

&b c Ó

3 bœ œ bœ œ œ œ œ bœ œ œ bœ . œ œ œ œ Œ J

j œ œ œj b œ . œJ

& b œ œ bœ œ nœ œ œ bœ bœ œ Œ Ó Displaced accents are created by odd combinations of twos and threes and give the music the excitement and unpredictability that makes listening challenging and interesting. Parker, in the melody to Au Privave began with suggested dotted quarter groupings and slipped in a pair of displaced quarter notes in the ex 2.46 below. Parker continued the play on the dotted quarter note in mm.5-6 of the same piece, shown in ex. 2.47. 2.46

œ.

œ.

œ.

œ

œ.

œ

j & b c œ œ œ Œ œ # œ œ ‰ œj ‰ œ œ œ œ œ 2.47

œ.

œ.

œ & b c n œ . J ‰ Jœ b œ

˙

œ.

œ.

œ

œ

bœ œ œ œ

A pair of superimposed dotted quarter rhythms are sequenced in this improvised example from Charlie Parker. 2.48

‰ œ.

œ.

œ.

b c ‰ j œ œ3 œ œ ‰ j b & œ œ


œ

Ó

3 œœœœ Ó

‰ œ.

œ.

œ.

3 ‰ b œj œ œ œ œ ‰ œj

œ

Ó

3 œœœœ Ó

Chapter 2


31

In the first two measures of this improvisation, Parker emphasized the downbeats one and three by coming to rest on chord tones and using notes with longer values. The second two measures had no melodic motion as Parker just drew attention to the rhythmic superimposition of dotted quarter values. 2.49

œ.

œ.

˙

j & b c œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ . œ œ œ œ

j œ œ.

˙

˙

˙

˙

œ.

œ.

˙

Parker achieved a balance between on the beat and off the beat material, with a sense of when to give the listener the expected and when to give the unexpected.

In the melody to the blues tune Billie’s Bounce, Parker imposed a long passage of dotted quarter displaced accents. Ex. 2.50 shows the first three measures of the melody. Ex. 2.51 shows the accents implied by the entire melody. Parker was inventive and dramatic in the development of his rhythmic ideas. Parker achieved a balance between on the beat and off the beat material, with a sense of when to give the listener the expected and when to give the unexpected. Reducing the melody of Billie’s Bounce to rhythmic notation alone helps to focus on the rhythmic development. Parker used strings of dotted quarter note superimpositions beginning on beat three of m.1, labeled (a). It occurred in the exposition of this idea in mm.1-3, (a) overlapped itself several times. After so many dotted quarter notes, one would expect the first note of m.6 to be on beat two, but instead, Parker played it earlier on the upbeat of beat one creating a second motive (b) which is really a variation of motive (a). Parker then returned to the first rhythmic motive beginning on the third beat of m.6. Motive (a) returned beginning on the upbeat of beat three in m.8. Motive (b) returned on the downbeat of m.10 followed by the overlapping motive (a) in mm.11-12. The chart in ex. 2.51 does not show all the notes of the melody, simply the accents suggested by the melody. 2.50

œ.

&b c Ó

œ.

Œ ‰ j œ œ nœ œ œ #œ œ œ œ

œ.

œ.

œ œ ‰ œ.

œ.

œ.

œ

j œ ‰ œ œ œ


32

Chapter 2


2.51

c œ 1

Ó

Rhythmic outline of implied melodic accents: a.

a.

œ.

Œ

œ J

œ

œ.

‰ œ.

œ J

5

6

œ

œ

2

b.

‰ œ ˙ J

œ

9

b.

‰ œ.

a.

œ

‰ œ œ J

œ

œ

3

a.

œ.

œ J

4

Œ

œ

7

‰ œ œ œ. J J

10

Œ

œ

a.

Œ

‰ œ œ J

‰ œ J a.

œ

11

œ

Œ

œ.

œ J a.

‰ œ.

8

‰ œ.

œ

Œ

12

A sense of mixed meter is created in ex. 2.52 by the assortment of irregular accents. These three measures could have been notated as one measure of 68 followed by a measure of 44, another measure of 68, and finally a measure of 24. Of course, Parker was not thinking of notational questions when he conceived of this line.

2.52

œ.

œ.

œ

b œ œ & b c œ œ œ œ nœ œ

œ

œ.

˙

œ.

˙

Œ œ #œ œ bœ œ nœ œ œ œ œ # œ œ œ

Wes Montgomery’s live recording of Impression is a lesson in creating rhythmic expectations, developing them, and adding surprising twists and turns. On the recording you can hear members of the band laugh at the way Montgomery set up a rhythmic idea only to turn it upside down or sideways just when they had it figured out. Ex. 2.53 is essentially a 34 idea played over the 44 measures. The idea was completed and reset at the end of the eight measure phrase, where he began again.

2.53

Dotted half-note accents:

>œ >œ >œ >œ >œ >œ c & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ >œ >œ >œ . œ œ œetc. ‰ œ œ œ œ œ œ œ œ œ &œ œ œ fast swing

Montgomery used the dotted quarter note implying resolved at the end of the eight measure phrase.


3 8

over 44. Again the conflict of the two pulses was

Chapter 2

2.54


33

Dotted quarter-note accents:

fast swing

&c Ó

‰

œ.

j j œ œ . œ . œ œ œ œj œ .

œ. œ œ œ J

j j & j œ. œ. œ œ œ œ œ. œ

œ . Jœ œ œ

œ.

˙

œ J

œ . œj œ œ œ

The repeated notes of ex. 2.55 make the focus of this idea clearly rhythmic. It is related to the rhythm in ex. 2.53 but resolved the conflict at the end of every four rather than eight measure phrase. In the solo, Montgomery developed this idea over an AABA form and eventually developed the four quarter note measure and elicited a surprised response from the band. 2.55

k > k > k > k > c & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ k > k > k > k k k k k > & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ fast swing

k k k k œ œ bœ œ ketc. > œœœœœ

Groupings of notes implying other pulses do not have to last for several measures to be interesting. There are countless examples of steady eighth note lines interrupted briefly with groupings like the ones from this Carl Fontana improvisation.

2.56

Dotted quarter-note accents:

œ.

&c

œ.

#œ œ œ œ

œ.

œ.

œ #œ œ œ œ œ

œ.

œ

œ

j œ

j j œ ‰ ‰ œ œ b œ œ bœ

Subdivision of a quarter note is not limited to a pair of eighth notes. Any number of combinations occur. Dividing the pulse into three or triplets provides another opportunity for cross rhythms. Any combination of triplets divided evenly or unevenly in relationship to the pulse may be found in jazz improvisations.


34

Chapter 2


2.57

Groupings of triplet subdivision

3

3

3

cœœœ œœœ œœœ

3

œ œœœ œœœ œœ

c œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ cœ

œ

œ

œ

œ

œ

œ

œ

This is a common blues idea played by thousands of guitarists in blues bars. It may be wickedly difficult to try to read figures like this but once heard, they are easily recognized. 2.58

Blues triplet cliché

F7

3 3 3 c b œ œ œ œ œ œ b œ œ bœ œ œ bœ œ œ œ œ œ nœ œ œ bœ Ó & 3

In 44, the metrical division is typically pairs or groups of four eighth notes. Ordering those eighth notes into groups of three can create the cross rhythms and syncopated polyrhythms. When the pulse is subdivided into triplets, notes are grouped into threes. In order to create the rhythmic dissonance and cross rhythms with triplets, then the notes must be grouped into pairs or fours. Herbie Hancock’s groupings of triplets into sets of four in ex. 2.59 suggested half-note triplets or a 32 measure imposed in the space of a 44 measure. Freddie Hubbard, on the same recording used similar rhythmic ideas at this point in Dolphin Dance. 2.59

Polyrhythms 3

b

3

3

˙ ˙ b ˙œ œ ˙œ œ œ b œ œ ˙œ œ œ ˙œ œ œ b ˙œ œ ˙œ œœ œ œ bœ œ bœ œ œ #œ œ œ nœ bœ b œ œ œ œ c œ & œ

B pedal

˙

3

˙

&

œ bœ 3

3

˙

3

3

3

G7

˙

3

3

3

3

3

3 3

3

Cm

œ œ œ bœ œ bœ œ œ œ Œ nœ œ œ œ 3 3 3

Ó

3

Grouping eighths into three note sets in 34 time may suggest an imposition of 68 over the 34 meter as shown on the top line of ex. 2.60. Grouping the eighths into four note groupings takes the syncopation over the measure line into the next measure, and may suggest 32 meter over the 34 . This is traditionally called “hemiola” and is shown on the second line of ex. 2.60. A common misconception is that all syncopation is hemiola, but traditionally it is the implication of a 32 measure over two 34 measures, particu-


Chapter 2


35

larly at cadential points. This idea was used frequently in Baroque music. Ex. 2.61 is an example of hemiola at a cadential point from a piano sonata from the classical period composed by Mozart. 2.60

Metric equivalents:

34 œ . 34 ˙

œ.

34 œ

œ 2.61

6 3 8 over 2

œ.

3 4

over

œ.

œ

œ

˙

œ

œ

œ

œ

Mozart: Piano Sonata in G major, K.283

œ # 3 œœœ œœœ œ œœœ œ œœœœœœœ œ & 4 œœ œœ œ Ò Ò œ Òœ œ Ò œœ ? # 34 œœ Œ Œ ˙ Ò Ò Three different divisions of 34 time are suggested in the melodic excerpt below, In mm.1-2, gested, mm.3-4 suggests 23 time and mm.5-6 suggests 68 time. 2.62

Bert Ligon: View From the Bridge

Fø7

B 13 9

& 34 œ

bœ

b b b˙

bœ

G13 9

Dø7

& nœ .

‰ œJ

b

1

bœ .

œ œ œ

b bœ .

E maj7

j bœ œ

œ bœ œ .

3 4

time is sug-

j œ

Cmaj7

nœ .

Œ

˙

5

Bill Evans was an artist who could play a waltz, make it swing and yet never suggest 34 time. In ex. 2.63, Evans used hemiola, the half note implied over the 34 meter. Later in the same solo, Evans suggested 68 meter as in ex. 2.64. 2.63

Hemiola:

˙

& 34

˙

˙

˙

˙

œ œ œ j #œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ Gm 7

A7

Dm7


36

Chapter 2


2.64

Dotted Quarter Superimposition

.

.

.

.

œ œ œ œ B bmaj7 E7 Am 7 œ 3 œ œœœ œ & 4 œ œ œ œ œ œ #œ œ œ J œ œ Many jazz waltzes are played fast; much faster than the dancers would want at a wedding party. A fast waltz can transform itself into a slower medium swing by something called metric modulation. In ex. 2.65 the relationships are shown between the two meters. In 34 meter, the rhythm section may begin to play series of dotted quarters and the rhythmic pattern shown on the top line. At the beginning of a new section or new eight bar phrase, they may switch to 44 meter where the dotted quarter becomes the new quarter note, the top line rhythm becomes the typical ride pattern. Two measures of the 34 becomes one measure of the 44. In order to get back to 34, the band may suggest quarter note triplets which, at the modulation point, become the quarter note of the original 34 meter. 2.65

34 œ . 34 œ . 34 œ

Metric modulations between

œ

œ J

œ. œ

œ

œ.

œ

œ.

œ.

œ

œ

3 4

and

œ J œ

4 4

q.»q

cœ

œ œ œ

œ œ

cœ

œ

œ

œ

c œ œ3 œ œ œ3 œ

Michael Brecker used another modulation idea on his piece Escher Sketch, a Tale of Two Rhythms. The ride pattern (shown in 12 8 ) began the piece and4 remained constant. What changed was the other rhythmic parts which alternately suggested 12 8 or the 4 meter. When the snare entered it played on two and four of the 44 meter, making the original ride pattern the syncopated figure shown in the 44 measures. The syncopated figure was created by groupings of 3, (2 + 1) repeated, and began again every three measures. 2.66

Metric Modulation

x»x 12 16 Jœ . œ œ Jœ . œ œ Jœ . œ œ Jœ . œ œ c œ . œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ Herbie Hancock is an artist with an amazing command of cross rhythms and over the bar-line phrasing. In ex. 2.67, Hancock began with the rhythm shown in ex. 2.27 (in sixteenths rather than eight notes), emphasizing dotted eighth notes over the quarter note pulse. In mm.4-8, the emphasis changed to quarter notes with groupings of four sixteenth notes. In mm.9-11, every fourth sixteenth was accented, but the accent was displaced, making the quarter note accent displaced by one sixteenth note. In mm.11-12, Hancock accented two then three sixteenth notes and managed to come out, resolving the rhythmic conflict on the downbeat of m.13. The accents (shown above mm.11-12) created the 3:2 type rhythm discussed in ex. 2.3, expanded and played over the measure line.


Chapter 2

2.67


37

Extensive Cross-rhythms

j j j j j j œ . œ . œ . œ . œ . œ .

j œ .

j j j j j œ . œ . œ . œ . œ .

j œ . œ

œ

œ

r œ œ œ œ œ œœœœœ œœ œœ œœ œœœ œœ œœ œœœœœ œœ œœ œœœœœœœœœœ

&c 1

> œ# œœœ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œœ œ œœ œ œœ œ œ œœœ œœœœ œ# œ œ œ & œœ œ œ œœœ œœœ œœœ œœ œ œœ 5 ` ` ` ` ` ` ` j j j j j j j œ œ . œ œ . œ œ . œ >œ œ >œ œ œ √ >œ œ #>œ œ >œ b œ œ # >œ n œ# œ >œ œ œn œb >œ b œb œ >œ œ >œ œ œ >œ # œ >œ œ œ >œ œ >œ œ œ >œ œ œœ nœ & œ œ œ œ œ bœ 9

j œ .

j j œ œ .

j j œ œ .

j œ

√ > > > > > > # œ œ œ œ & œ œ œ œœ œ œœ œœœ œ œ Œ Ó 12

Not all cross rhythms are created by groupings of three eighth notes over the 44 measures. Combinations of two and three note groupings create interesting cross rhythms. Hancock divided two 44 measure into 2 + 3 + (3 + 3) + 3 + 2 in the rhythmic ostinato foundation for Maiden Voyage. 2.68

œ D9sus4

?c œ

œ.

œ.

œ.

œ.

œ

œ œ. J

œ.

œ œ œ œ œ J

œ

What is the drummer doing with his ride cymbal while the soloists are playing so many polyrhythms? Other polyrhythms may be implied that correspond or contradict the metric implications of the tune and the soloist. If played with sensitivity, while never losing sight of the actual pulse and meter, it can create a swirling, intense forward drive while actually involving fewer notes. Less can be more. Jack DeJohnnette never played the textbook ride pattern over the first chorus of Keith Jarrett’s solo on the standard from which this was transcribed. He did play four quarters in a row later in the first chorus, but


38

Chapter 2


not until m.18. Here is the first eight measure phrase with some of the polyrhythmic implications indicated by the smaller notes above the staff. These patterns can be found in ex. 2.27, 2.33 and 2.37. 2.69

Polyrhythmic Ride Pattern:

‰ œ.

œ.

œ.

œ.

œ.

÷c ‰ œ ‰ œ œ ‰ œ J J J

Œ œ ‰ œ Œ J

1

2

˙.

5

˙.

‰ œ œ œ ‰ œ J J 4

˙.

˙

˙.

˙

œ ‰ œ œ œ œ Œ œ ‰ œ œ J J 6

˙.

œ ‰ œ Œ œ J 3

˙.

÷œ œ ‰ œ œ J

œ.

œ.

œ œ œ ‰ œ œ J

7

8

9

CLAVE BEAT The Clave beat is a rhythm which uses combinations of two and three eighth note groupings to create a syncopated pattern. The clave beat and its variations are extremely significant to the structure of some Latin music. The clave may not be as structurally significant as it is in some Latin music, but occurs frequently in jazz, pop, and funk styles. There are two basic clave beats (3-2 clave and a 2-3 clave) and then several variations. The 3 and 2 do not refer to groupings of eighth notes, but to the number of notes played in a measure. The 3-2 clave has three notes played in the first measure and two in the second. The 2-3 clave is the reverse of the 3-2. 2.70

c .. œ .

3-2 Clave:

œ œ J

œ

2-3 Clave:

Œ

œ

œ

Œ

.. .. Œ

œ

œ

Œ

œ.

œ œ J

œ

..

A good way to get the feel of the clave beat is to play the clave beat with one hand, the negative space rhythms in the other. Try reversing the hands and alternating four measure phrases after a few times. Playing in the holes, or the negative space helps to space the notes correctly. 2.71

3-2 Clave with two hands:

2-3 Clave with two hands:

j j Œ Œ Œ Œ . . œ œ œ œ œ œ œ œ œ œ . . . c . ‰ œ œ œ œ ‰ œ œ œ ‰ œ ‰ œ œ œ . . œ œ ‰ œ ‰ œ œ œ ‰ œ œ œœ œ œ‰ œ .. J J J J J J J J LH RH

Another good way to practice the clave beat (or any of the rhythms discussed) is to alternate the right and left hand playing the clave beat with accents. Again, playing all the notes in the measure helps reinforce the steady subdivision and helps sense the correct spacing.


Chapter 2

2.72

3-2 Clave with two alternating hands:


39

2-3 Clave with two alternating hands:

c .. >œ œ œ >œ œ œ >œ œ œ œ >œ œ >œ œ œ œ .. .. œ œ >œ œ >œ œ œ œ >œ œ œ >œ œ œ >œ œ ..

RH LH

There are several variations of the basic 3-2 and 2-3 clave beats. One or more of the notes may be shifted forward or backward by an eighth note. As with the original version, practicing playing with two hands will help integration and precision in playing these rhythms. In ex. 2.73, the second of the notes on the “2” side is shifted by an eighth note. The subdivisions of the two measures is 3 + 3 + 2 + 2 + 3 + 3 for the 3-2 clave and 2 + 3 + 3 + 3 + 3 + 2 for the 2-3 clave. 2.73

c .. œ .

3-2 Clave variation a:

œ œ J

œ

Œ

2-3 Clave variation a:

œ œ. J

œ

.. .. Œ

œ œ. J

œ

œ.

œ œ J

œ

..

Ex. 2.74 shifts the first of the notes on the two side forward by on eighth note. The subdivision of the two measures is 3 + 3 + 3 + 3 + 2 + 2 for the 3-2 clave, and 1 + 3 + 2 + 2 + 3 + 3 + 2 for the 2-3 clave. 2.74

c .. œ .

3-2 Clave variation b:

œ œ J

œ

2-3 Clave variation b:

‰ œ.

Œ .. .. ‰ œ .

œ

œ

œ.

Œ

œ œ J

œ

..

The following variations are created by delaying the last note on the “3” side combined with all three versions of the “2” side. 2.75

c .. œ .

3-2 Clave variations c, d, & e:

œ œ. J

Œ .. .. Œ œ

œ Œ œ œ J

.. œ .

œ œ. J

œ Œ J

.. œ .

œ œ. J

œ ‰ œ. J

œ

2-3 Clave variations c, d, & e:

œ œ. J

.. .. Œ

œ

.. .. ‰ œ .

Œ

œ

œ.

œ œ. J

œ .. J

œ œ. J

œ.

œ œ. J

œ .. J

œ

œ.

œ œ. J

œ .. J

œ Œ

Œ

The clave is a structural building block of many Latin styles of music, and while not structurally as significant, does occur frequently in swing and jazz styles. Charlie Parker used the 3-2 variation b several times on Moose the Mooch. Ex. 2.76 shows the opening two measures establishing the clave. Ex. 2.77 shows mm.15-16, the two measures preceding the bridge, and ex. 2.78 show the last two measures of the piece.


40

Chapter 2


2.76

3-2 Clave

œ.

œ.

œ.

œ.

œ b œ & b c œ ‰ J ‰ œJ 2.77

3 ‰ œ œ œ œ œ #œ œ J œ

3-2 Clave

œ.

b &b c

˙

œ.

œ.

œ.

‰ œj ‰ œJ œ œ #œ nœ

‰ œj ‰ œj œ œ

2.78

˙

3-2 Clave

œ.

œ.

œ.

b œ & b c œ ‰ b œJ œ œ œ œ 3

œ.

œ

Œ

‰ œ œœœœ œ Œ J 3

The 2-3 clave with the same variation b can be heard in the next two quite different examples. Ex. 2.79 is the pre-Jay Leno theme for the Tonight Show, Here’s Johnny, written by Paul Anka and Johnny Carson. The second is the bass ostinato from Herbie Hancock’s Chameleon. Chameleon may not look like the same rhythm as it is written with sixteenths and eighths rather than eighths and quarters. 2.79

TV theme:

œ.

œ

Œ

œ.

j œ œ

œ

& c ‰ œ.

bœ

bœ

œ.

j œ œ

Œ

‰

2.80

?c


Classic Funk Bass line:

. >j . . . . b œ. b œ. >j . . b œ. . b œ. b œJ >j . . . bœ nœ ‰ ≈ œ . bœ nœ . œ . bœ nœ . bœ . ‰ J ≈ œ .

Chapter 2


41

ODD METERS Odd meters have occasionally become fashionable, but the majority of the music played when jazz musicians get together is still in 44 and 34. Hank Levy, Herbie Hancock, John McLaughlin, and others have 15 21 come up with music in a variety of meters including 54, 47 and 78 , 11 8 , 16 , and even 8 . As odd as these meters seem, they are all created by different combinations of twos and threes in a measure. One of the more famous odd time signature jazz compositions is Paul Desmond’s Take Five, played by the Dave Brubeck Quartet. The 45 measure is much like a jazz waltz with an extra two beat answer. If you sing “who parked the car?” for a jazz waltz, add the answer “I did” to hear a 45 groove like Take Five. 2.81

Ostinato

b j & b b b b b 45 .. ‰ œœœ Œ œ E bm 7 ? b b b 5 .. œ ‰ œ bb b 4 J

‰ œœj Œ œœ E bm 7 œ ‰ œ J

œœœ Œ œœ œ b œ B m7 œ œ œ

œœœ Œ œœ œ b œ B m7 œ œ œ

.. ..

MIXED METERS Some jazz compositions are created using a variety of meters within phrases, and others where the meters may shift at different structural points in the form. Few of these compositions work their way into the mainstream of jazz literature and are rarely called casually at jam sessions. This is more a reflection of their complexity and intricacy rather than any lack of musical merit. The following is an example of a mixed meter piece. The piece floats on an ostinato moving from 34 to 44 to 24. The ostinato could have been written in 94 but the mixed meter notation assists visualizing the metric subdivision. The piece shifts from this ostinato to other meters including: 34 and 44, 83 and 68. 2.82

Bert Ligon: River Journey

& 34 .. Œ ‰ œœœœ ... . ? 34 .. œ œ œ œœ

44 œ . œœj ˙˙ œœœ ... # œœ ˙˙ 44 œ ‰ œ ‰ œJ œ J œœ

24

˙˙˙ ˙ 24 # œ œ

.. ..

What has endured more than the practice of improvising in mixed meters is the practice of playing in 34 and 44 which allows the soloist and the rhythm section the freedom to imply all combinations of mixed meters over the top. Syncopation is not confined to a predetermined grouping or mixed meter.


42

Chapter 2


RHYTHMIC READING & DICTATION EXERCISES Most of the rhythms discussed in this chapter probably sound familiar. They occur naturally in the improvisation of most students. The beginning student, however, will not be in control of the development of these rhythms or possibly even recognize their possibilities upon hearing them. I have heard several young rhythm sections experiment with polyrhythms intuitively and fail. Possibly a drummer will suggest the dotted quarter pulse over the quarter note, another may go with him and before they know it, the have lost the fundamental pulse and cannot get back. They should continue to experiment, but sometimes a little understanding, knowledge and practice can greatly help the intuition. Many beginning students have trouble notating and reading the notation of these complicated rhythms. Practicing singing, tapping and correctly writing these rhythms will help insure success when confronted with complicated rhythms appearing on the page or in improvisations. Practicing and understanding the rhythms will help with visual and aural recognition, and help the musician reach the true meaning of the performance of the music. The following exercises look at a simple polyrhythms and their variations. They should be practiced in several ways: •

Read them in time with a metronome either tapping or singing “do” or “dot” with the figures.

•

Tap the lines with one hand and tap the negative space with another

•

Tap your hands alternating RLRL and use accents to play the rhythm exercises

•

Compose one-part rhythm pieces using excerpts from the rhythm exercises and have class perform

•

Compose two-part rhythm pieces using excerpts from the rhythm exercises and have class perform

•

Sing or tap the rhythms and have individuals improvise in the two measure rests

•

Use the rhythm exercises for class dictation

•

For understanding and recognizing sixteenth note rhythms, transpose selected or all exercises to sixteenths and practice as before

Exercise 2.1 begins with a dotted quarter pulse imposed over two measures of 44. The first and alternating dotted quarter notes are replaced with a quarter and eighth note creating a (2 + 1) + 3 rhythm in the second line. The first and alternating dotted quarter notes are replaced with an eighth and a quarter creating a (1 + 2) + 3 rhythm in the third line. The first and alternating dotted quarter notes are replaced with three eighth notes creating a (1 + 1 + 1) + 3 rhythm in the fourth line.


Chapter 2


43

Exercise 2.1

÷ c œ. œ œ œ J

œ œ. œ. œ J J

œ œ œ œ œ

÷ œ œ ‰ œ œ œ œ ‰ œ. œ œ ‰ œ J J

œ œ. œ œ œ J

œ œ œ œ œ œ œ œ œ. œ œ œ œ J

Exercise 2.2: Exercise 2.1 displaced by one eighth note.

÷ ‰ œ. œ. œ œ œ œ œ. œ Œ Ó J J ÷ ‰ œ œ œ. œ œ œ œ œ œ J J

‰ œ ‰ œ œ. œ ‰ œ œ œ œ ‰ œ œ Œ Ó J J J J J ‰ œ œ œ œ ‰ œ œ œ. ‰ œ œ œ J J J J

œ Œ Ó

Exercise 2.3: Exercise 2.1 displaced by two eighth notes.

÷ c Œ œ œ œ. œ. œ œ œ œ Œ Ó J J ÷ Œ œ œ ‰ œ.

œœ‰œ œ œœ J

Œ œ œ œ. œ œ œ œ œ œ Œ Ó J Œ œ œ œ œ. J

∑

œ œ œ œ œ œ œ

Exercise 2.4: Exercise 2.1 displaced by a half note.

÷Ó

œ. œ œ œ œ œ. J J

œ Œ Ó

÷ Ó œ œ ‰ œ œ œ œ ‰ œ. œ Œ Ó J

Ó


œ Œ Ó

Ó œ œ œ œ œ œ œ œ œ. œ Œ Ó J


44

Chapter 2


Exercise 2.1 was based on replacing the first and every other dotted quarter by another combination equal to three. Exercise 2.5 replaces the second dotted quarter value and every other one with another combination. The first line begins 3 + (2 + 1), the second 3 + (1 + 2), and the third, 3 + (1 + 1+ 1). Exercise 2.5

c œ.

‰ œ ‰ œ œ. J J

œ ‰ œ œ J J

œ.

œ œ J

œ.

œ œ œ œ J

œ

œ.

‰ œ œ J

œ J

∑

œ J

‰ œ œ œ œ. J

∑

∑ œ J

∑

∑

∑

Exercise 2.6: Exercise 2.5 displaced by one eighth note.

c ‰ œ.

œ

œ œ

œ

œ

œ œ. J

œ

Œ

Ó

∑

‰ œ.

œ œ ‰ œ J

œ

œ œ ‰ œ.

œ

Œ

Ó

∑

‰ œ.

œ œ œ œ

œ

œ œ œ œ. J

œ

Œ

Ó

∑


Chapter 2


45

Exercise 2.7: Exercise 2.5 displaced by two eighth notes.

c Œ

Œ

œ

œ

‰ œ ‰ œ œ. J J œ œ œ

œ.

œ ‰ œ œ J J œ œ J

œ

Œ

œ œ

Ó

∑

∑

∑

Exercise 2.8 is based on exercise 2.1. In this exercise every dotted quarter note is replaced by a combination of 2 + 1. The second line is displaced by an eighth note and the third by a quarter note. Exercise 2.8

c œ œ œ ‰ œ œ J

œ œ ‰ œ œ J

‰ œ ‰ œ œ J J

‰ œ œ J

Œ

œ

œ œ

œ œ ‰ œ J

œ

œ œ

∑

∑

œ œ ‰ œ J

∑

∑

œ œ ‰ œ œ J

œ

Œ

Ó

∑

Exercise 2.9 is also based on exercise 2.1. In this exercise every dotted quarter note is replaced by a combination of 1 + 2. The second line is displaced by an eighth note and the third by a quarter note. Exercise 2.9

c œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ J J J ‰ œ œ J Œ

œ œ ‰ œ œ J

œ œ ‰ œ œ J

œ œ ‰ œ œ J

œ œ ‰ œ œ J

œ œ

œ

Œ ∑

∑

∑

Ó

∑ ∑

The possible combinations of 3 for a dotted quarter note (2 +1, 1 + 2, and 1 + 1 + 1), the possible displacements on any beat or upbeat in the measure, and combinations with quarter note values create a nearly infinite number of rhythms. Familiarization with these exercises will help create rhythmic confidence and inspire more experimentation.


46

Chapter 2


These rhythms in exercise 2.10 are found in many funk, pop, Latin and jazz tunes. The eighth note pairs are placed every three beats. The three beat rhythm shown above the eighth note line is the augmentation of the dotted quarter notes in exercise 2.1.

Exercise 2.10

˙. œ c œ œ Œ Œ œ œ Œ

˙. œ œ Ó

˙ Ó

˙. œ œ Œ

˙ œ œ Œ œ œ œ

Œ

œ Œ

˙. œ œ Ó

˙. œ œ Œ

∑

œ œ œ

Œ ∑

Much of the music written in pop, funk and Latin styles is written with sixteenth note subdivision. Well rounded musicians need to be adept at reading and writing these rhythms. The dotted quarter superimposition becomes a dotted sixteenth in the following exercise. Exercise 2.11 is the rhythmic diminution of exercise 2.1. It is recommended that all of the previous rhythmic reading and dictation exercises be rewritten in their diminished form to facilitate the reading of sixteenth note subdivisions.

Exercise 2.11

c œ. œ œ œ œ œ. œ. œ œ œ œ œ œ œ ≈ œ. œ œ œ J


∑ ∑

œ œ œ œ œ œ œ. œ œ œ

∑

œ œ œ œ œ œ œ œ œ. œ œ œ œ

∑

Chapter 2


47

The first set of exercises was based on the superimposition of dotted quarter notes over 44 time. The clave beat is another rhythm pattern to which combinations of 2 + 1, 1 + 2, and 1 + 1 + 1 can be substituted for the dotted quarter notes. Some variations are shown below. Exercise 2.12: Variations of the 3-2 & 2-3 clave.

Œ œ œ œ. J

÷c œ œ œ œ œ

÷ œ œ œ œ œ œ œ Œ œ œ œ œ. J ÷Œ œ

œ œ. J

÷ Œ œ œ œ œ. J

œ

œ œ œ

œ

œ œ œ œ œ œ œ

œ œ ‰ œ œ œ œ Œ œ œ ‰ œ. J œ œ œ ‰ œ œ J Œ œ œ ‰ œ.

Œ œ œ œ ‰ œ J œ œ ‰ œ œ J

œ œ

Œ œ œ œ ‰ œ œ œ œ ‰ œ œ J J

OTHER SUGGESTED EXERCISES •

Transcribe rhythms from jazz performances, Latin and pop music. Analyze the combinations of twos and threes. Experiment with displacement by eighth notes and quarter notes.

•

Take simple rhythms from speech patterns and notate. Experiment with displacement by eighth notes and quarter notes.

•

Take simple rhythms created with quarter and eighth notes and rewrite using eighth and sixteenth notes. Practice reading and recognizing the same rhythms written in any form.

•

Take the previous exercises and rewrite using sixteenths and eighth notes.

•

Take the previous exercises and notate and practice reading the negative space rhythms.


48

Chapter 2


READING EXERCISES Here are several exercises using a mixture of rhythms. Try singing or tapping these rhythms while tapping a steady beat with your other hand or foot. Be sure to practice with the metronome and practice a variety of tempos. Reading Exercise 2.1

c Œ

œ

œ.

œ œ Œ

œ œ œ œ ˙

˙.

Œ

‰ œ Œ J

œ.

œ œ J

œ J

œ

œ

œ

œ

œ œ

œ

œ œ œ œ

œ

œ

‰ œ.

‰ œ ˙ J

œ œ ˙.

‰ œ ‰ œ œ J J Œ

œ

Œ

˙

œ

œ

‰ œ œ œ œ ‰ œ J J

œ œ ‰ œ J

˙.

w

Œ

∑

Reading Exercise 2.2

c Œ

˙

‰ œ.

Œ

Œ

œ

˙

˙

œ

œ

œ œ ‰ œ œ J

˙

œ

œ

œ

˙

œ œ ‰ œ J

˙.

Œ

Œ

œ œ ‰ œ œ J

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œ œ ‰ œ J

œ œ ‰ œ œ J

Œ

œ Œ œ Œ

œ.

œ ‰ œ ˙ J

œ J

∑

Chapter 2


49


c Œ

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œ Ó J Jazz Theory Resources

50

Chapter 2



c ‰ œ.

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œ J

Œ

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≈ œ. œ œ œ œ œ ≈ œ œ J

‰ œœ≈œœ œœ œœ ‰ œœ≈œœ œ ≈œœ

Chapter 2


51


÷c ‰ œ œœ‰ œ œœ‰ œ œ œ œœ˙ J J ÷ œ. œ Œ ‰ œ œ œ. J

œ. œ Œ Ó

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œ œ œ œ ≈ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J

∑


52

Chapter 3

III.

Basic Tonal Materials

BASIC TONAL MATERIALS

TONALITY What is and what creates tonality? How can C major and A minor share the same pitches and what makes one hear C as the tonic of C major and A as the tonic of A minor? Tonality is created when one pitch sounds more important and more stable than all the surrounding pitches. This pitch is called tonic. It is the center of the musical organization and the other pitches often seem to progress towards this pitch. The tonic is not always the first pitch sounded in the musical setting, but is often the last. It may not be the pitch that occurs with the most frequency, but it will occur at significant rhythmic and structural points, which not only establishes its importance, but also facilitates the establishment of meter. A second pitch, a perfect fifth above or perfect fourth below the tonic pitch is often used to establish the tonic as the primary center. This pitch, called the dominant, may occur more often in the piece than the tonic, but often occurs in a rhythmic position which points to the tonic pitch. This dominant pitch is the second overtone or the third note of the harmonic series, and its relationship to acoustics may be why the dominant–tonic relationship is universal and not limited to the European major/minor system. The dominant is the third pitch of the harmonic series and the first pitch of the series that is not the fundamental pitch, and within the series, is bordered above and below by the fundamental pitch. 3.1

Harmonic series

&

˙

?

˙

˙1

2

˙

4

˙ 5

˙ bœ

˙

˙

˙ #œ

6

8

9

10

7

11

˙

œ bœ n˙

˙

12

13

16

14

15

œ = approximate pitch

3

The tonic is established in the example below, by the repeated B rising and falling to the E. The rhythmic placement suggests a three beat meter. The B, the dominant pitch, occurs more often than the E, but the E has a sense of finality and stability. The meter is not determined by what is written on the staff, but rather, how we experience the placement of the important notes determines how it is written on the staff. Here the two important notes occur every three beats, and the music—the aural experience, not just the notation, suggests the meter. 3.2

Tonic established using Dominant pitch

3 œ œ œ œœ œ œ œ ˙. &


3

3

œ œ œœœœ œ œœœ . ˙

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53

Ex. 3.2 established E as tonic, but is it E major or E minor? Most people tend to identify it as being in E major even though no pitch that would determine either major or minor has been sounded. The reason may be related to the overtone series in that the fifth note of the series is a major third and is often heard even when absent. This example needs a third pitch to definitively establish the modality as either major or minor. The pitch that determines the modality is the mediant, the middle note between dominant and tonic. Tonality, by definition, indicates a hierarchy of pitches, where one pitch is more stable than all the others. This means that not all pitches have the same importance in a tonal musical setting. What are the three most important pitches? Students with some training in European harmonic theory are quick to inaccurately respond I, IV, and V, referring to the triads on the first, fourth and fifth degrees of a major scale. Some wrongly list a leading tone pitch, but a leading tone pitch is not present in all modes. Tonal music existed long before any system of harmonic progression was developed. The three most important pitches are the tonic (the home pitch), the dominant (a perfect fifth above the tonic), and the mediant (which determines modality, either major or minor). A piece may be tonal and not necessarily in the major/minor system. There are pieces that may be in other major and minor modes or highly chromatic implying major or minor, but still imply one pitch as the center of the musical structure. Tonality is established in the selection below by the initial dominant to tonic statement. E sounds like the home pitch because it is preceded by its dominant and it is held for a longer duration. The E occurs two more times in the first full measure and begins the second measure. B, the dominant pitch, occurs three times in the second measure and begins the third. The mediant is heard for the first time in the third measure establishing the modality as minor and not major. The line ends tonic-dominant-tonic, reinforcing E as the primary pitch. The meter (not shown) is clearly audible due to the placement of the tonic and dominant and their relative durations. A glance at this melody with no sharps or flats might suggest C major or its relative minor A. The melody itself suggests E as the tonal center. No chords needed to hear E as the tonic. This melody is in the key of E phrygian, one of the minor modes that will be discussed in chapter 12. 3.3

E as Tonic of a phrygian melody

œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. R œ

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T

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D

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C would not be heard as tonic in the first phrase of Amazing Grace, shown below, even though it begins and ends with C. The first C sounds like a pickup note to the F. C to F is the dominant to tonic relationship and makes the F sound like the home pitch. The establishment of F as tonic is reinforced by holding the F for two counts. The A in the second measure indicates this melody is in a major mode. The four half notes in the example are the tonic, dominant and mediant. The G and D occur on weaker beats and for shorter durations. This melody is in an F major mode, not because of key signatures or harmonic progressions, but because of placement of the three important pitches. 3.4

&

Amazing Grace: first phrase

œ D

˙

œ œ ˙

T

M

M

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˙ D

The three important pitches were placed in rhythmically significant places in these two examples from Charlie Parker. In both, the underlying structure implied T-M-D-M-T, 1-3-5-3-1, or Do-Mi-So-Mi-Do. In the first example, a G major tonality was clearly indicated using strictly melodic principles. G was established without depending on a harmonic progression, chordal instrument, or a written key signature. The first one used only diatonic notes the second included some chromatic passing tones. Below each melody are letters indicating the tonic, dominant and mediant pitches.


54

Chapter 3


3.5

Diatonic notes

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M

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Here are two examples from Bach and one from Mozart to further illustrate how the rhythmic placement of the tonic, dominant and mediant pitches aid the establishment of tonality and meter. 3.7

J. S. Bach: Sonata VI, Preludio, for solo violin

œT œ œT Dœ M Dœ T T M D T D M M D T T T D œ œœœœœ D D T #### 3 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œr & 4 œ œ œ œ œ œ œ œ 3.8

J. S. Bach: Suite No. 1 in G major, for solo cello

M œ œ œ D T œœœ œD r œ ?# c œ œ œ œ œ œ œ œ œ T

M

3.9

Mozart: Eine Kleine Nachtmusik, K.525, First Movement

# & c œ ‰ œj œ ‰ œj œ œ œ œ œ Œ


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55

PITCH HIERARCHY There are twelve pitches available within the European tuning system. Tonality, by definition, indicates that all twelve pitches are not of equal importance. Here is a hierarchical list of the twelve pitches.

Primary Level 1.

TONIC: the home pitch. In tonal music, all other pitches ultimately point back to tonic.

2.

DOMINANT: This pitch a perfect fifth above the tonic is the primary pointer to the tonic.

3.

MEDIANT: If it is a major third above the tonic determines a major mode; a minor third above the tonic determines minor.

Secondary Level 4.

All other diatonic pitches. The four remaining pitches in a typical seven note scale. These would be the second, fourth, sixth and seventh degrees. They are defined by their relationship to the three pitches above. SUPERTONIC: The second note of the seven tone scale is above the tonic. It points back down to the tonic and may occur in passing between the tonic and mediant. SUBDOMINANT: The fourth note of a seven tone scale is a fifth below the tonic. It is not always a perfect fifth below. It often occurs connecting the mediant and the dominant in ascending and descending patterns. The sixth and seventh are the connectors between the dominant and the tonic. SUBMEDIANT: The sixth degree is the middle note between the tonic and the subdominant. The seventh degree may be a half step or a whole step below the tonic. SUBTONIC: Seventh scale tone, a whole step below the tonic. LEADING TONE: Seventh scale tone, a half step below the tonic.

Tertiary Level 5.

The five remaining chromatic tones. These tones point to the seven tones above. The remaining chromatic tones depend on the original diatonic mode. There are five, but with enharmonic spelling there appears to be more. For example: in the key of C major, the five remaining chromatic tones are easily visualized by imagining the five black keys on the piano. Careful use of enharmonics may suggest ten chromatic tones. The pitch between C and D may be a C# when ascending (C-C#-D) or a Db when descending (D-Db-C).

The most important reason to understand the pitch hierarchy is that it will aid in aural training and recognition. Trying to hear and understand tonal melodies will be easier knowing that the pitches are arranged naturally in a classifiable order. Learn the pitches in order of their importance and in relationship to tonic. The primary pitches will be the most prominent pitches in a line in both frequency of occurrence and rhythmic placement. The secondary and tertiary pitches point back to the primary pitches and will often occur on weaker beats and with lesser durations.


56

Chapter 3


EAR TRAINING Ear training can be accomplished with three tasks: singing, writing, and reading. Sing in order to learn the pitches and their relationships; write melodies by listening to an outside source or memory, identifying and writing the pitches on paper; and read and reproduce written music. Writing the pitches down without the “hunting and pecking” at notes on your instrument requires that one really knows and recognizes the pitches. Systematically singing of the pitches prepares one for melodic dictation. Writing simple melodies will help make the associations between the notation and the written that will aid with accurate reading in musical performance. These are the three areas that all musicians strive to master. Practice making the connections between all three skills. When looking at written music, imagine how it sounds and how it physically feels to play it; when hearing music imagine what it looks like on the page and how it would physically feel; and when playing, listen intently and imagine what it looks like on the page. There is always some discussion as to what syllables to sing. Some advocate the use of solfége with a movable “DO” which for a major scale would be: Do Re Mi Fa So La Ti Do; and for a minor scale: La Ti Do Re Mi Fa So La. This solfége system keeps the half steps between Mi and Fa and Ti and Do for all circumstances. Others prefer singing numbers. Advocates of using numbers make a good point that in all other discussions of music theory we refer to numbers. Scale degrees and diatonic scale chords are number in relationship to tonic which is labeled “one.” All intervals are described by numbers. The argument is, if so much of theory discussion is based on numbers then it should be reinforced during ear training. The major drawback is that getting the syllables out can be cumbersome, especially with the two syllable word “seven.” I advocate using something simple to sing and while singing imagine the numerical relationships. So instead of a movable “DO,” I advocate the use of a movable “Doo,” using “Doo” for all pitches, and for faster passages “Doo-be doo-be doo,” of course. The important thing is to be able to hear the pitches correctly not whether you sing the proper syllable. If syllables or numbers are used to strengthen the comprehension of pitches, then I support the process. If too much emphasis gets put on the learning of syllables and not the learning of pitch relations, then it is a waste of time. I once visited an ear training class where a student was asked to sight sing a particular passage. The student actually sang the correct pitches, but stumbled trying to remember the solfége syllables. He was told by his teacher that he performed incorrectly and the next student was called on. The instructor lost the focus of the exercise by correcting the solfége syllables and not praising the accurately sung pitches. The solfége system is a tool to aid in the learning of the pitches.

BEGINNING SINGING EXERCISES: Sound the pitches on an instrument or pitch pipe, then try to sing the exercises keeping the tonic pitch in memory and finding the others as they relate back to the tonic. Occasionally in the beginning the notes should be checked until a reasonable amount of independent pitch retention is confirmed. MAJOR KEYS Tonal ear training begins by identifying the tonic pitch. Begin to establish the C (or any tone) as tonic by singing the tonic and the dominant, 1 & 5.

&c œ

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˙

œ

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˙

œ œ œ œ ˙

Chapter 3


57

Sing the 3rd (major) along with 1 & 5. Sing scale passages from the tonic to the dominant and return.

œ œœœ œœ˙

&œ œ œ œ ˙

˙ œ œ œ ˙ œ œ œ ˙

Be able to hear and sing the 5 & 3 above or below the tonic pitch.

&˙ œ œ œ ˙

˙ œ œ œ œ ˙ œ

˙ œ œ œ ˙

˙ œœ œœœ˙

Find the supertonic (2) above the tonic: between the 1 & 3, and below 3.

&˙

œ

˙ œ ˙ œ ˙

˙

˙

œ

˙

˙ œ ˙ œ ˙

Find the subdominant (4) above the 3: between the 3 & 5. Hear the 2 and 4 in the scale between 1 & 5.

& ˙ œ ˙

˙ œ ˙ œ ˙

˙œ ˙œ˙œ ˙œ˙œ ˙œ˙

Find the submediant (6) as it relates to the 5th.

&˙ ˙ œ ˙ ˙

˙ œ ˙

˙ œ œ œ ˙

œ ˙ œ œ œ ˙

Hear the 6 & 7 passing between the tonic and dominant.

˙

&˙

˙ œ œ ˙

˙ œ œ ˙ œ œ ˙

MINOR KEYS Begin to establish the C (or any tone) as tonic by singing the tonic and the dominant, 1 & 5.

&c œ

œ

˙

œ

œ

˙

œ œ œ œ ˙


58

Chapter 3


Sing the 3rd (minor) along with 1 & 5. Sing scale passages from the tonic to the dominant and return.

& œ bœ œ œ ˙

œ œb œ œ œb œ ˙

˙ œ bœ œ ˙ œ bœ œ ˙

Be able to hear and sing the 5 & 3 above or below the tonic pitch.

& ˙ œ bœ œ ˙

˙ œ œ œ bœ ˙ bœ

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˙ bœ œ œ ˙

Find the supertonic (2) above the tonic: between the 1 & 3, and below 3.

&˙

œ

˙

˙ œ b˙ œ ˙

b˙

œ b˙

b˙ œ ˙ œ b˙

Find the subdominant (4) above the 3: between the 3 & 5. Hear the 2 and 4 in the scale between 1 & 5.

& b˙ œ b˙

b˙ œ ˙ œ b˙

˙ œb˙ œ ˙ œb˙ œ ˙ œb˙ œ ˙

Find the submediant (b6) above the 5.

& ˙ ˙ bœ ˙ ˙

˙ bœ ˙

bœ ˙ œbœ œ ˙ œbœ œ ˙ ˙

Hear the 6 & 7 passing between the tonic and dominant. What are your initial instincts? Do you hear a different version when ascending and descending? Sing the way you hear it first and learn other patterns based on what you normally hear.

&˙


˙

˙ nœ nœ ˙

˙ bœ bœ ˙ nœ nœ ˙

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59

BEGINNING WRITING EXERCISES: As a complete musician you will be expected to be competent in three areas: to physical be able to play your instrument; to be able to recognize the written symbols and understand the musical meaning behind them; and to hear music and be able to write the appropriate symbols or be able to physically play your instrument recreating the music you hear. All of these skills interact. When you are physically playing you should be connected to the aural recognition of what you play and be able to visually recognize or notate what you play. When you see music in the written form, you should be able to imagine the music for which the symbols stand. When listening to music you should be able to imagine what it feels like physically to play it and have the skills to accurately notate what you hear. These are lifelong goals of musicians. These skills can be developed separately, but at the same time the connections between these skills should be developed. Integrate these skills in your practice schedule. These beginning writing exercises will address the fundamental skills of recognizing the primary pitches (tonic, dominant and mediant), the basic meter, and rhythmic vocabulary. Develop a routine of writing melodies from memory or taking dictation from someone or a recording. What is difficult in the beginning will become easier with honest, diligent practice. Use your ears, but do not forget to use your intellect. Some think that hearing and thinking about the music are separate activities. Some notes may come to you with ease and with little thought. Another note or set of notes may cause you trouble. Stop and think about the possibilities. Use some deductive reasoning. Process of elimination will reveal some pitches that are at first difficult to aurally identify. For example: •

If a note sounds stable, chances are it belongs to the primary level of pitches. That narrows the choice to one of three notes.

•

If the note sounds a little less stable or transient, is probably is from the secondary level of pitches. The choices are narrowed to four pitches. This pitch probably moves to a pitch from the primary level, so listen ahead and then work back. If the note resolves down a step to the dominant, then the note in question must have been the sixth degree.

The deductive reasoning will lead to familiarity. With practice, longer lines of transient and stable pitches will be easier to hear and notate. Here is a list of tunes for transcription practice. The list is comprised of folk, childhood, holiday, and patriotic songs. The list is from my middle America background. You may want to amplify the list with tunes from your own region, nation, holidays and childhood if they differ greatly from this list. Consult the National Endowment for the Arts “Songs of the Century” list for additional melodies. These are tunes memorized from childhood so musical dictation from an outside source is not necessary. Work can be done anywhere without electrical devices or computers. You will need a pencil, paper, and until your skills get better, an eraser. This is an activity you could do with colleagues or alone. Your work can be easily checked after writing by playing them on your instruments. Since the most important pitch in tonal music is the tonic, aurally identify the tonic first. Without the tonic, the other notes are meaningless. Not all tunes begin on tonic. These beginning level writing tunes usually begin on one of the three primary pitches and usually gravitate towards the tonic very soon. Sing the melody until you can identify the tonic pitch. Return to the beginning of the piece and determine if the first pitch is the tonic or another pitch. You may have to sing with numbers up or down the scale until you identify the first pitch. Does the first note begin on the downbeat or does it begin with a pickup? Is the meter in two, three or four? Finish the melody listening to the intervals related to the tonic pitch in the piece. These exercises may seem simple, but you may be surprised at how much practice is needed to write these tunes quickly and accurately. It requires the command of all fundamental music skills, the most important being recognition of tonic and basic meter. If any skill area is weak, these exercises provide some necessary drilling and training.


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Practice writing and sight singing every day. Make yourself work quickly and accurately when writing melodies. Find weaknesses and work out the problems. If these tunes are too easy, there is plenty of recorded music to transcribe for ear training. These tunes are a much easier place to start than a five minute blistering improvisation by John Coltrane, Clifford Brown or Michael Brecker.

BEGINNING TUNES for EAR TRAINING: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60.

Folk Songs (any) Holiday Music (any) Patriotic Songs (any) Religious Music (any) TV/Movie theme songs (any) Alouette Alphabet Song Amazing Grace America (My Country ‘tis of Thee...) America the Beautiful Angels We Have Heard on High Are You Sleeping? Auld Lang Syne Aura Lee Away in A Manger Baa! Baa! Black Sheep Battle Hymn of The Republic Bicycle Built For Two Billy Boy Blue Bells of Scotland Brahm’s Lullaby Bring a Torch Caissons Camptown Races Can Can Carry Me Back To Old Virginny Christmas Song Circus Song Clementine Columbia, The Gem of the Ocean Come Ye Thankful People Crusaders Hymn Daisy Danny Boy Dark Eyes Deck the Halls Deep in the Heart of Texas Dixie Do You Know the Muffin Man? Doe, A Deer (Sound of Music) Don’t Sit Under the Apple Tree Down by Mill Stream Down in The Valley Doxology Dradle Song (Hanukah) Edelweiss Eeensy Weensy Spider Eyes of Texas are Upon You Fairest Lord Jesus Faith of Our Fathers Farmer in the Dell First Noel First Noel, The For He’s a Jolly Good Fellow Frere Jacques (Are You Sleeping, Brother John?) Frog Went-a-Courtin’ Funiculi, Funicula Go Down Moses Go Tell Aunt Rhodie Go Tell it on the Mountain


61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. 115.

God Rest Ye Merry Gentlemen Good King Wenceslas Good Night Ladies Greensleeves Happy Birthday Hark The Sound Hark! The Herald Angels Sing! Havanagila Have Yourself a Merry Little Christmas Holly & Ivy Home on the Range Hush Little Baby I Ain’t Gonna Study War No More I Dream of Jeanie with the Light Brown Hair I Love Lucy Theme Song I Saw Three Ships I’ll be Home for Christmas I’m Popeye Sailor Man I’ve Been Working On The Railroad In Southern Port of France It Came Upon a Midnight Clear Jesus Loves Me Jimmie Crack Corn Jingle Bells Jolly Old St. Nicholas Joshua Fit the Battle of Jericho Joy to the World Joyful, Joyful Kumbaya Let It Snow Let Me Call You Sweetheart Lightly Row Little Pierrot Lo How a Rose Loch Lomond London Bridge is Falling Down Long Long Ago Man on the Flying Trapeze, The Marine’s Hymn Mary Had a Little Lamb Merrily We Roll Along Mulberry Bush My Bonnie My Old Kentucky Home Nobody Knows the Trouble I’ve Seen O Christmas Tree O Come, All Ye Faithful O Come, O Come Emmanuel O Dear, What Can The Matter Be? O Hanukah O Holy Night O Little Town of Bethlehem O My Darlin’ Clementine O What Beautiful Morning Ode To Joy (Theme From Beethoven’s Ninth)

116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169.

Oh, Susanna Oh, Where, Oh Where Has My Little Dog Gone? Old MacDonald Had a Farm Old Rugged Cross On Top of Old Smokey Onward Christian Soldiers Polly Wolly Doodle Pop! Goes the Weasel! Puff The Magic Dragon Rain Barrel Rakes of Mallow Red River Valley Rock My Soul (In The Bosom of Abraham) Rock-A-Bye Baby Row, Row, Row, Your Boat Rudolf The Red-Nosed Reindeer Sail Navy Santa Claus is Coming to Town Scarborough Fair Scotland’s Burning Sentimental Journey Shall We Gather At The River She’ll Be Comin’ Round The Mountain Shoo Fly Shortnin’ Bread Silent Night Skip To My Lou Sleigh Ride Star Spangled Banner Stars And Stripes Forever Streets of Laredo Swanee River Sweet Betsy From Pike. Swing Low, Sweet Chariot Take Me Out to the Ballgame This Old Man Three Blind Mice Twinkle, Twinkle Little Star Voluntary Wayfaring Stranger We Three Kings We Wish You a Merry Christmas What a Friend We Have in Jesus What Child Is This? When Irish Eyes are Smiling When Johnny Comes Marching Home When The Saints Go Marching In Where Has My Little Dog Gone? While Strolling Through The Park One Day White Christmas Winter Wonderland Yankee Doodle You Are My Sunshine Zip-A-Di-Doo-Dah

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61

Every semester I begin the first jazz theory class asking students to write a simple melody such as the one that is sung on birthdays or “O Tannenbaum.” Looks around the class suggest they wonder how this connects to the study of jazz. A surprising number of music majors have trouble with these basic skills. If the student is unable to hear and notate simple melodies they have sung all their lives, it suggests they will have trouble hearing more complicated jazz lines from the literature and from their own imaginations. If it takes five minutes to pick out one of these simple tunes, how long will it take to imagine four chorus of blues in Bb? How well equipped are they to transcribe from memory if the quarter note was around 240+? Here is an example of how the exercise might work if we picked “O Tannenbaum” as the first tune to transcribe and notate in the key of F major. Sing the phrase through and identify the pitch that sounds like the stable home pitch. The last pitch in this phrase feels like the tonic. Sing the opening again. Is it the same pitch? No, it sounds lower. The first guess is that the pickup note should be either the dominant or the mediant because they are the most common remaining primary pitches. If you have trouble immediately identifying the opening pitch as the dominant, then try starting at the tonic and sing down until you find the correct pitch: 1-7-6-5-6-7-1, 1-5-1. Does the melody begin on the beat? How many beats in each measure? It begins with a quarter note pickup and the meter is three beats per measure. Learn to hear the rest of the melody as intervals related to the tonic. Do not concentrate on hearing the intervals between adjacent pitches. The A in m.2 should be heard as a major 3rd above the tonic, not a second above the preceding note. The last four notes should be heard as 4-7-2-1, all notes related to the tonic; not as the intervals diminished fifth, minor third, major second. 3.10

Correct

& b 34

œ. œ œ œ

œ

œ. œ œ.

j œ œ œ œ

œ

œ

œ

Here are some common mistakes when getting started. This version sounds correct if played, but the rhythm is incorrectly notated. Do not assume that all melodies start on the downbeat and have four beats per measure. 3.11

Incorrect

& b c œ œ. œ œ œ

œ. œ œ œ œ œ œ œ œ œ œ

This melody also sounds correct, but it is notated in the key of Bb major, regardless of what the key signature suggests. Do not assume that all tunes begin on tonic. 3.12

& b 34

Incorrect

œ

œ . œ œ œ œ . œ œ . œJ œ œ b œ œ œ œ


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Chapter 3


There are two ways to analyze melodic intervals. Intervals related to tonic. Intervals related to adjacent pitches. There are those who advocate learning intervals independently first, then trying to hear melodies listening to the intervals related to adjacent pitches. This is not the way tonal music works and trying to learn to hear this way will only cause frustration and waste time. Tonal music is based on the premise that all pitches relate to tonic. It reasons that we should learn to hear melodies based on the same principle. Hearing a melody as intervals related to adjacent pitches calls for ignoring the tonic relationship, dividing the melody into unrelated pairs of pitches. This is not the way one usually experiences a melody. It is unmusical, and anything unmusical should not be practiced. Composers expect a listener to remember a tonic center and play off of those expectations to tell their story or paint their picture. They use the stability of the primary pitches and the instability of the remaining pitches, and play off those expectations. As you will learn with many of these simple melodies, the tonic pitch status is established early before the melody moves away only to return at the end of the piece. In large works, such as sonata allegro forms, composers expected the audiences to remember the tonic key area, recognize its return after remote modulations, and recognize the second theme returning to the tonic key in the recapitulation. Some educators have put together lists of tunes to expedite the learning of intervals. These lists may help learn intervals by themselves but will not help with learning intervals in musical contexts. Some common tunes that are suggested to learn the perfect fourth interval are: “Here Comes the Bride” and “O Tannenbaum.” Within the major scale there are six different perfect fourth intervals. Which of these six perfect fourth intervals begin those tunes? Both of the tunes begin with the perfect fourth interval between the dominant and tonic. How then are the other perfect fourth intervals learned? They are learned by hearing them as intervals related to the tonic. Perfect Fourth Intervals in C Major Scale:

&˙

P4

P4

˙

˙

˙

P4

˙

˙

˙

P4

˙

˙

P4

˙

˙

P4

˙

Everyone seems to remember the major sixth interval with “NBC,” “My Bonnie,” or “Take the ‘A’ Train.” There are four major sixth intervals within the major scale. Which ones correspond to these tunes? These melodies use the major sixth interval from the dominant to the mediant, 5 up to 3. Those tunes do not help anyone to hear the other major sixth intervals found in the major scale. Major Sixth Intervals in C Major Scale:

&˙

M6

˙

M6

˙

˙

M6

˙

˙

˙

M6

˙

In another visit to an ear training class, I witnessed a teacher who played a C and asked a student to sing a major sixth interval. The teacher wanted the student to sing C then a major sixth above, A. The student sang a G and then an E. Clearly the student heard the C as tonic, remembered tunes for recalling a major sixth, and promptly and correctly sang the dominant and the mediant in the key of C. The teacher told him he was wrong with no explanation, and went on to the next student. The student learned nothing. He had actually sung the correct interval according to the way he was taught and should have been rewarded.


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63

Examine the intervals in the familiar melody below. The numbers below each note represent the intervallic relationship to the tonic note C. Great confusion can arise from trying to imagine the intervals between adjacent pitches independent of the tonic key. The melody begins with a major sixth interval (a.) from 5 to 1, and since this is one of the tunes used to illustrate that interval, it should be easy to hear. Two tunes are commonly used to learn the descending minor third: “America the Beautiful,” and “The Star Spangled Banner.” Both of these tunes begin with the minor third interval between 5 and 3. The descending minor third interval at (b.) is between the tonic and the submediant. In order to imagine either of the helper tunes, one would have to imagine F as the tonic in the middle of this passage in C major. The perfect fifth is often remembered from “Twinkle, Twinkle, Little Star.” At (c.), one would have to hear G as tonic in order to sing “Twinkle, Twinkle, Little Star” to find the perfect fifth. All of the tunes used to remember a perfect fourth use the perfect fourth between tonic and dominant (5-1). At (d.), the perfect fourth interval is from submediant to supertonic (6-2). One would have to hear D major as the tonic key to find the perfect fourth interval at (d.). The B section begins with a perfect fourth followed by a minor third and another perfect fourth. Using the tunes as reference, one would have to imagine C major, F major and D major in order to find the correct intervals if one is thinking only intervals between adjacent pitches. To hear intervals between adjacent pitches in this very short and simple piece requires thinking not only in the actual key of C major, but also in F major. D major and in G major. It is no wonder that students have trouble with melodic dictation when trying to use this method. It defies the logic of tonal music, the very music they are trying to master by the exercise. 3.13 a.

b.

5

œ. œ œ œ œ œ & 3

c.

j œ . œ œ œ œ œ œj j œ. œ œ œ œ œ œ. œ œ œ œ

& 68

e.

& œ.

2

1

2

œ.

1

6

j œ œ

3

2 1

g.

6

œ.

5

2

1

6

6

œ œ

œ J

2

1

5

5

d.

3

2 1

1

6

7

j œ œ œ œ œ œ œ 5

6

2

1

7

7

1

˙. 1

œ

2

j œ 5

œ œ œ œ œ œ

œ

œ J

œ.

7

1

2

3

f. 5

& œ. 5

1

œ. 1

6

œ. 6

7

7

7

6

7

œ

œ J

œ œ œ œ œ œ

œ.

2

1

7

1

7

7

7

6

7

There are endless examples proving how ineffective trying to hear melodies by relating intervals between adjacent pitches. It may be fun to make up a mnemonic list of tunes to remember the individual intervals, but it would be more useful to remember how those intervals relate to the tonic.


64

Chapter 3


Here is a simple folk song that could have been included on the list. The simple structure is shown on the bottom line. It might be easier to hear just the downbeats and then fill in the other pitches that lead to the downbeats. Learn to hear the melody as intervals (as shown) related to the tonic pitch. 3.14

Basic framework and melody to Wildwood

&c Ó &c &˙ P5

œ

œ

˙

œ

M3

P4

P5

M6

∑

œ M6

˙ w

M3

&

T

w œ T

&w &

œ

˙

œ

œ

˙

œ

œ

˙

M3

P4

M3

M2

M3

M2

T

w

M3

œ

œ

œ

˙

œ

œ

˙

M3

P4

M3

M2

M3

M2

T

M2

˙

w œ

œ

˙

w

P5

P5

M6

˙

œ

P5

P5

T

w

œ

M3

P4

w

˙ w

œ

w

œ

œ

œ

M3

P5

œ

œ

T

T

w œ T

œ

˙

M6

P5

w

0

&˙ M3

œ

œ

M3

M3

&w

w

œ

˙

œ

œ

˙

M3

M2

M3

M2

T

w

w

4

APPLICATION It is important to learn to apply the principles of tonal melodies to improvisations and composing. Before attempting to address the intricacies of melodic writing involving harmonic implications, it would be beneficial to gain some expertise and confidence with simple melodies based on the tonic, dominant and mediant pitches. Have you seen an artist draw a portrait of someone? They do not begin with the intricate details of the eyelashes. A series of decisions are made before beginning. The first decision is how big the canvas will be and how much space the face will cover on the canvas. They plan the space first so that later they do not wish for a larger canvas or find they have 80% blank space left. The most general shapes are sketched out lightly; an oval for the face and simple lines for neck and shoulders. From this basic framework, the artist begins to fine tune and pay closer attention to the details and unique features. Inventing a melody can be a similar process to the portrait painting example. How long should the melody be? What are its high and low points and do they fit on the canvas (instrument)? What is the simplest framework for the line? How can the simple framework be elaborated to create an interesting melody.


Chapter 3


65

“Amazing Grace” is a simply constructed melody that can be used as a model for this discussion. The melody is shown on the top line in ex. 3.15 and a simple framework is shown on the bottom line. All of the important notes have long rhythmic values, occur on strong beats, and consist of the three primary pitches: tonic, dominant and mediant. This melody immediately makes F sound like tonic with the dominant note used as a pickup and the long rhythmic value given to F. The question of major or minor is settled by the third beat of the first measure. The line is sixteen measures long. At the halfway point, the resting note is the dominant, creating a sense that while relatively stable, there is more to come. The melody winds down to the lower dominant before resolving back to the tonic. The general shape shown on the bottom line creates an interesting palindrome*. It rises from the tonic to the dominant and returns in the same way in reverse: 1-3-1-5-1-3-5 then 5-3-1-5-1-3-1. The notes that make up the framework for this tune, and so many others on the list above, are adjacent pitches (3, 4, 5 & 6) in the harmonic series. *Palindrome: A word, phrase, verse, or sentence that reads the same backward or forward. For example: Ada, Civic, Deified, Mum, Otto, Radar, Rotator, Live Devil, Ergo ogre, Madam I’m Adam, Able was ere I saw Elba, Poor Dan is in a droop, A man a plan a canal: Panama, Lewd did I live & evil did I dwel, Lid off a Daffodil 3.15

& b 34 & b 34

œ ∑

˙

œ œ ˙

˙.

˙.

&b ˙

œ œ ˙.

˙

& b ˙.

˙.

˙.

&b ˙ &b . ˙

œ

˙ ˙.

œ œ

œ

˙

œ

˙. œ œ

˙ ˙.

˙

œ œ ˙

˙.

˙.

œ œ

˙.

˙.

˙

œ

˙

œ

œ

˙

œ

˙.

˙.

˙

˙.

˙

If the fundamental structure is strong then the results of melodically connecting the principal tones has a strong chance for musical success. In addition to the three primary pitches, only two other pitches are used to create Amazing Grace. G (2, or supertonic) is used in passing between tonic and the mediant; D (6, or submediant) is used between the tonic and dominant. There is no leading tone or fourth degree of the scale. These five tones make up one of the pentatonic scales.


66

Chapter 3


Try composing your own melody based on the “Amazing Grace” three note structure. Use the other four diatonic pitches from the F major scale. Compose lines that have rhythmic character. Be aware of phrasing: do not write sixteen measures of notes with no points of repose. In the beginning, try composing smooth motion throughout. With more experience, try some leaps and listen carefully to where the leaps want to resolve. You may find that the leaps should happen after the main notes and that the main notes should be approached by steps from above or below. 3.16

& b 34 & b 34 ˙ .

˙.

˙.

˙.

˙.

˙.

˙.

˙.

˙.

˙.

w

w

w

w

w

˙.

&b & b ˙.

˙.

˙.

˙.

˙.

Compose a completely new version in a different meter: 3.17

&b c &b c w

w

w

w

w

&b &b w

w

w

w

w

w

A simple structure like this would work if transposed to minor. Compose versions in F minor in three and in four beats per measure. When you compose in minor you have to decide the character of the fifth and sixth degrees of the scale. It is perfectly musical to use the Db and Eb from the key signature. Do you hear other pitches? Do they change depending on the direction of the melodic lines? Often the fifth and sixth degrees of the minor scale are raised when ascending between the dominant and the tonic and lowered when descending.


Chapter 3

3.18


67

Framework in F minor:

b & b b b 34 b & b b b 34 ˙ .

˙.

˙.

˙.

˙.

˙.

˙.

˙.

˙.

˙.

w

w

w

w

w

˙.

b & b bb b & b bb ˙ .

3.19

˙.

˙.

˙.

˙.

Framework in F minor:

b & b bb c b & b bb c w

w

w

w

w

b & b bb b & b bb w

w

w

w

w

w


68

Chapter 3


Compose several simple frameworks for melodies using only the three primary pitches as shown below. These pitches are the 3-6 and 8th pitches in the harmonic series in the first measure. The second set has been transposed to the parallel minor. The primary melodic area should be within the perfect fifth between tonic and dominant. The higher tonic and the lower dominant then can be used for climactic or dramatic reaches above and below the bracketed areas.

&b c ˙

˙

˙

˙

˙

bbbb

˙

˙

˙

˙

˙

Limit your lines to four or eight measures in length. Within the short phrase try to achieve a rise and fall with a logical conclusion. Work on the framework until the simple shape is as pleasing as it can be without the aid of any elaborations. Many times when having difficulty composing melodies, composers try more notes and more exciting elaborate rhythms in attempting to make the pieces more interesting. Often times the flaw is not with the embellishments, it is with a weak underlying structure that no amount of decoration can disguise. This is why the previous composing exercise was based on a proven framework from an existing melody. Using the simple frameworks, compose several short melodies four to eight measures in length. In the beginning, use only the diatonic pitches shown below. There are ten remaining chromatic pitches that can be added to the assignments as skills progress.

&b c

œ ˙ œ ˙ œ ˙ ˙ œ œ ˙ œ


bbbb

œ ˙ œ ˙ œ ˙ ˙ œ œ ˙ œ

Chapter 4

IV.

Triadic Generalization

69

TRIADIC GENERALIZATION

This chapter will examine and analyze the use of the triad notes as linear melodic material that may be used over harmonic progressions in a way that generalizes the harmony rather than specifically addressing each chord.

T ERTIAN T RIAD A triad is often defined as three pitches sounding simultaneously (a chord) with the adjacent intervals being separated by the interval of a major or minor third. This definition works well for a great deal of music created in the nineteenth century and before, but does not explain many kinds of triads available to composers from the twentieth century and beyond. A triad would be better defined as three simultaneously sounding pitches constructed using any variety of intervals. The most common would be the triad whose adjacent intervals are separated by thirds called tertian triads. In chapter 13, there is a discussion of quartal triads constructed using intervals of fourths. There are four types of tertian triads: major, minor, augmented and diminished. The diminished triad has a diminished fifth, the augmented triad an augmented fifth. Only the major and minor triads have perfect fifths and are therefore the only two triads considered stable in the tonal system. The notes of these two triads are the primary pitches that create tonality and define modality: the tonic, dominant and mediant. In the last chapter these notes were used to create melodies that defined the tonal center and modality (major or minor) without consideration for harmonic conditions. These same notes are the primary melodic pitches in most traditional harmonic settings.

TRIADIC GENERALIZATION Jazz improvisers use these fundamental pitches to create melodies over the harmonic progressions even when many of the notes contradict the vertical alignment of the chords and melodies. These vertical contradictions are rarely heard as intolerable dissonances because music is performed and heard in a linear form. Any vertical dissonances and contradictions tend to resolve through linear aspects of the melodic lines. The essence of a harmonic progression creates the stability of a tonal center, moves away forming varying degrees of tension, and then returns and re-establishes the primacy of the original tonic key area. This is not very different from the function of a simple tonal melody. In a tonal melody the tonic is established by placement on strong structural beats and relationship to the dominant pitch. The melody then moves away to less stable tones and ultimately returns to the tonic. Many jazz improvisers use similar concepts basing improvisations on the primary triadic tones and sometimes ignore the exact harmonic implications. Why does it work? The melodies and the harmonies function in similar manners by creating, moving away and returning to the stable tonic area. Any vertical contradiction will just be a part of the instability that ultimately is, in a linear fashion, resolved by the end of the phrase. There is a tendency with many jazz improvisation students and some jazz educators to overemphasize the vertical relationships of each melodic pitch to the specific chords. Playing melodies that specifically


70

Chapter 4


address each chord in a harmonic progression is certainly a great part of jazz improvisation. Harmonic specificity or harmonic generalization should not be chosen at the exclusion of the other. Both approaches are found throughout the history of jazz performance. Both approaches may be found in a single improvisation, or within a single phrase. Melodies can be harmonically specific or general. The primary pitches of the tertian triad are commonly used for linear melodic material in a way that generalizes the harmony. The intricacies of harmonic progressions and the relationships to harmonically specific lines will be covered in detail in subsequent chapters.

ELABORATION DEVICES Triadic generalization does not mean that only three notes are being used, just that these three notes are more important than the other diatonic and chromatic pitches. The same hierarchy of pitches discussed in the previous chapter is relevant to this discussion. If a triadic melody is to include more than just the three triadic tones, some discussion of elaborating the basic three pitches is necessary. There are many terms for auxiliary tones. Tones which elaborate the basic triadic tones are often called non-essential tones to distinguish them from the essential triadic tones. This is an unfortunate designation as these tones are essential to the creation of an interesting melody. They are also known as auxiliary tones or non-harmonic tones. In traditional music, some auxiliary tones may be labeled as accented or unaccented depending on their rhythmic placement on or off the downbeat. In the polyrhythmic settings common to jazz, this distinction is unnecessary and may prove confusing. Auxiliary tones embellish the basic triadic tones and will be revisited in following chapters as they apply to embellishing harmonically specific lines.

P ASSING T ONES Passing tones (PT) are the diatonic and chromatic steps between the essential tones. In a chord, passing tones are the diatonic notes between the chord members: C major triad = C (d) E (f) G (a b) C. In a scale, the chromatic tones between the adjacent scale steps may be chromatic passing tones. A chromatic passing tone can be placed between adjacent diatonic tones a whole step apart. Any diatonic tone can have a chromatic leading tone. C# is the chromatic leading tone to D and the chromatic passing tone between Cn and D. Db is the chromatic passing tone between Dn and Cn. The difference between C# and Db is the direction implied by the accidental. Chromatically altered tones tend to continue in the direction in which they have been altered. Flatted notes are lowered and therefore tend to resolve downward, sharped notes are raised and tend to resolve upward.. The chromatic scale is written two different ways to indicate the direction of the accidentals. Sharps are used when ascending and flats when descending. Keep this principal in mind when writing music and the lines will be easier to read. After identifying the primary triad pitches, a scale may be viewed as a triad with passing tones between the primary pitches and a chromatic scale may be viewed as a diatonic scale with chromatic passing tones. C

& ˙ œ ˙ œ ˙ œ œ ˙ ˙ #œ ˙ #œ ˙ ˙ #œ ˙ #œ ˙ #œ ˙ ˙ ˙ ˙ bœ ˙ bœ ˙ bœ ˙ ˙ bœ ˙ bœ ˙


Chapter 4


71

Passing tones between Tonic (1) and Mediant (3) of a C major triad: 1-3 Diatonic PT Diatonic and Chromatic PTs C

C

C

&˙

˙

œ

œ

˙

œ œ #œ œ ˙

1

3

1

PT

3

1

PT

PT

3

Passing tones between Mediant (3) and Dominant (5) of a C major triad: 3-5 Diatonic PT Diatonic and Chromatic PTs C

C

C

&˙

˙

œ

œ

˙

œ œ #œ œ ˙

3

5

3

PT

5

3

PT

PT

5

Passing tones between Dominant (5) and Tonic (1) of a C major triad: 5-1 Diatonic PTs C

C

˙

&˙ 5

1

œ

œ œ ˙

5

PT PT

1

Passing tones between Tonic (1) and Mediant (3) of a C Minor triad: 1-3 Diatonic PT Diatonic and Chromatic PTs Cm

Cm

Cm

&˙

b˙

œ

œ b˙

œ #œ œ bœ ˙

1

3

1

PT

1

3

PT

PT

3

Passing tones between Mediant (3) and Dominant (5) of a C Minor triad: 3-5 Diatonic PT Diatonic and Chromatic PTs Cm

Cm

Cm

& b˙

˙

bœ

œ

˙

3

5

3

PT

5

bœ œ #œ œ ˙ 3

PT

PT

5

Passing tones between Dominant (5) and Tonic (1) of a C Minor triad: 5-1 Diatonic PTs Diatonic PTs Cm

&˙ 5

Cm

Cm

˙

œ bœ bœ ˙

œ nœ nœ ˙

1

5

5

PT

PT

1

PT

PT

1


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Chapter 4


Diatonic passing tones can be illustrated in this excerpt from a Charlie Parker line. The notes of the G triad are clearly delineated as they occur on the strong beats of the measure. The passing tones on the up beats move the line to the next chord tones. 4.1

Diatonic passing tones

# & c

j œ œ œ œ œ œ œ œ œ œ œ CT PT CT PT CT CT PT CT

This excerpt from a Charlie Parker blues improvisation illustrates the combinations of diatonic and chromatic passing tones between adjacent chord tones. The Gn is a diatonic passing tone between F and A, followed by the chromatic passing tone G#. The chromatic G# creates more pull to the chord tone An. The G# is not heard as a minor third of F (Ab), but as a raised pitch which wants to continue in the direction in which it has been altered. The Bb is a diatonic passing tone between An and C. The addition of the Bn reverses the tendency of the Bb to point down as an upper neighbor tone to the A, and propels the line up to the C. 4.2

Chromatic passing tones

& b c œ œ # œ œ œ n œ œJ CT

PT

PT CT

PT

PT

CT

N EIGHBOR T ONES Tones on either side of a primary pitch are called neighbor tones (NT). The common practice in most music from the Baroque period to the present is to use the diatonic (from the scale or mode) upper neighbor tone (UNT) and the chromatic lower neighbor tone (LNT). In some situations, the LNT may be labeled a chromatic leading tone (LT). A diatonic instead of chromatic LNT may be found in some folk and ethnic music which is often due to chromatic limitations of the instruments and not musical preferences. It is easy to determine the LNT since it is chromatic. It will always be a half step below the tone to which it points. It should be written with a different letter name and with either a sharp or a natural sign. F#, not Gb is the LNT to Gn. A#, not Bb, is the LNT to Bn. The UNT may be harder to determine and will change depending on the key signature, mode or scale. A simple C major triad (C-E-G) will have different UNTs depending on the key signature and context. A C major triad can be found as the tonic (I) in the key or C major, as the subdominant (IV) in the key of G major, and as the dominant (V) in the key of F major or F minor.


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73

A C major triad will have the same UNTs and LNTs in the key of C major or F major. C as I in C UNTs

C as V in F UNTs

LNTs

C

C

&œ ˙ œ ˙ œ ˙

C

#œ ˙ nœ ˙ #œ ˙

LNTs C

&b œ ˙ œ ˙ œ ˙ #œ ˙ nœ ˙ #œ ˙

The LNTs for the C major triad remain chromatic in the key of G major, but the UNT to E is an F# from the key signature. C as IV in G UNTs

#

LNTs

C

C

& œ ˙ #œ ˙ œ ˙ #œ ˙ nœ ˙ #œ ˙ If the C major triad is in the key of F minor, all of the diatonic UNTs are also chromatic. C as V in F minor C

C

b & b bb bœ ˙ œ n˙ bœ ˙ #œ ˙ nœ ˙ #œ n˙ The distinction is evident in Chopin’s choice of UNTs in this excerpt. The C7 chord is the dominant of F minor and yields the Db, F and Ab as UNTs to the C, E and G. Note how the Bn, a chromatic LT, points up to the Cn. The use of a Bb would have made the line want to move down to the Ab. Listen to how the penultimate Bb points down to and finally resolves to the Ab. 4.3

Chopin: Nocturne in Eb major, Op. 9, No. 2

bœ œ œ œ œ b n œ & b b 128 n œ œ b œ œ n œ œœœ œ ? b b 128 œ œ œ œ b

œ œ œ. œœ œ œ

œ b œ œœœ œ

œ

œœ œœœ

A C minor triad can be found as the supertonic chord (ii) in Bb major, the mediant (iii) in the key of Ab major, and as the submediant (vi) of Eb major or the tonic of C minor (i). Notice how the UNTs change according to the context. The UNT to the tonic is a whole step above when C minor is a ii, vi or i chord,


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but as a iii chord the UNT is a half step above tonic. When C minor is a ii chord, the UNT to the G is An, a whole step above, but when C minor is a vi, i or iii chord, the UNT is Ab. Cm as ii in Bb

Cm as vi in Eb or i in C minor

Cm

Cm

Cm

Cm

b bb b & b œ ˙ œ b˙ nœ ˙ ˙ & # œ œ b˙ bœ ˙ #œ ˙ ˙ œ œ ˙ ˙ nœ nœ ˙ œ ˙ Cm as iii in Ab Cm

Cm

b & b bb bœ ˙ œ b˙ bœ ˙ #œ ˙ nœ ˙ nœ ˙ N EIGHBOR T ONE C OMBINATIONS Neighbor tones are often found in combinations. These combination neighbor tone patterns have been called double neighbor tones, changing tones, encircling, or enclosing tones. There are a limited number of possible patterns that involve the basic chord tone (CT) and both the upper neighbor tones (UNT) and lower neighbor tones (LNT). The possible combinations are: Combination UNT–LNT–CT CT–UNT–LNT–CT UNT–CT–LNT–CT

Inverse LNT–UNT–CT CT–LNT–UNT–CT LNT–CT–UNT–CT

UNT–LNT–CT

LNT–UNT–CT C

&œ

C

œ #œ ˙

œ ˙

œ #œ ˙

UNT–LNT–CT

œ nœ ˙

Cm

nœ œ b˙

nœ ˙

bœ #œ ˙

CT–UNT–LNT–CT C

&œ œ œ œ #œ ˙ œ ˙ œ œ #œ ˙


#œ nœ ˙

LNT–UNT–CT

Cm

&œ

#œ œ ˙

#œ bœ ˙

œ nœ ˙

nœ œ ˙

CT–LNT–UNT–CT C

œ #œ œ ˙ œ #œ nœ ˙ œ œ nœ ˙

Chapter 4

CT–UNT–LNT–CT


75

CT–LNT–UNT–CT

Cm

Cm

&œ œ œ bœ #œ ˙ n œ b œ b ˙ œ ˙ nœ UNT–CT–LNT–CT

œ #œ bœ ˙ bœ œ nœ b˙ œ nœ œ ˙

LNT–CT–UNT–CT

C

C

&œ œ œ œ #œ ˙ œ œ #œ ˙ ˙ œ UNT–CT–LNT–CT

#œ œ œ ˙ #œ œ nœ ˙ œ œ nœ ˙ LNT–CT–UNT–CT

Cm

Cm

&œ œ nœ bœ œ b˙ bœ œ #œ ˙ ˙ nœ

#œ œ bœ ˙ œ bœ nœ b˙ nœ œ œ ˙

Charlie Parker and Oscar Peterson ignored the individual harmonic details and generalized the tonic triad in the following examples. The four note neighbor tone pattern follows the arpeggio. The first note of the pattern is the UNT followed by the chord tone (CT), the LNT and the CT again, then a jump is made to the next chord tone’s UNT. 4.4

Tonic triad encircled with UNT-CT-LNT-CT pattern C

A7

Dm7

G7

C

œ #œ œ œ œ # œ œ œ c ‰ œ & j œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ 4.5

Tonic triad encircled with UNT-CT-LNT-CT pattern

√

œ œ #œ œ œ œ #œ œ œ œ nœ œ b cœ œ œ b œ œ œ œ œ œ & œ œ nœ œ œ œ nœ œ

œ

As you can see from the following Beethoven example, this encircling idea is not new or unique to jazz. The pattern is the same one used by Parker and Peterson: UNT-CT-LNT-CT. 4.6

b &b c

Beethoven: Symphony no. 9, third movement

œ œ œœ œ œ nœ œ œ œ œ bœ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ Œ

Chopin’s Etude No. 2, Op. 25 is an excellent study in the use of neighbor tones over simple triads. Shown below are two short excerpts illustrating the simple F minor and Ab major triads embellished identically in parallel phrases. The circled notes indicate the pitches of the triad. The chord tones, even


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though surrounded by chromatic and diatonic neighbors are stressed due to their location on the strong beats, and because all surrounding notes point back directly to the chord tones. If all the neighbor tones were removed, what remains is a quarter note triplet melody of the chord tones: 5-5-5-3-3-3-1. 4.7

Chopin: Etude No. 2, Op. 25 (F minor)

b & b bb c

œ J

j œ œ œ nœ œ œ œ bœ œ œ œ œ nœ

Chopin: Etude No. 2, Op. 25 (Ab relative major to the F Minor)

4.8

œ J

b & b bb c

œ œ œ n œ œ n œ œ b œ œ œ œ œj œ

Mozart used the pattern found in the Beethoven, Parker and Peterson examples, but added a leap away to a chord tone and back to the original chord tone before continuing the sequence in the following two examples. Leaping away to another chord tone is called an arpeggiated tone.

œ nœ œ œ œ bœ œ #œ œ œ œ œ œ œ œ œ œœ œ œ 6 œ œ œ b ≈ n œ œ # œ œ œ œ œj & 8 4.9

Mozart: Piano Sonata in F major, K.332, Allegro Assai

4.10

Mozart: Sonata in F major, K.547a, Allegro

. œ œ œ œ œ œ œ. œ œ œ œ œ œ 3 nœ œ . œ œ #œ œ œ œ &b 4 œ Lee Morgan made this line interesting with the use of chromatic encircling of an F minor triad. Like the Chopin example, the chord tones 5-3-1 occur on the downbeats so that not only do the chromatic notes resolve to the chord tones, but do so at significant rhythmic locations. 4.11

F minor triad with NTs

Fm

& c œ # œ œ b œ b œ œ œ œ n œj Tete Montoliu displaced the rhythmic accent in this syncopated example. He used a three note pattern of UNT-LNT-CT. 4.12

Triad with NTs on the Blues

œœœ œœ œ œ œ œ & b c œ œ #œ œ œ œ nœ œ F

3


3

3

3

œ œœ

Ó

Chapter 4


77

Tom Harrell makes a case for practicing in all twelve keys in the next two examples. These are from different tunes, different tempos and a half-step apart. The melodic material is identical with the exception of rhythmic displacement. These examples should inspire trying rhythmic displacement as a developmental tool in improvisation and practice. The encircling pattern is LNT-UNT-CT. Harrell encircled the third and root of the chords in two octaves, but played the fifth of the chords without any embellishment. 4.13

E minor triad with NT elaboration

4.14

Eb minor triad with NT elaboration

Em 9 3 #œ œ œ #œ #œ œ œ J #œ œ œ #œ œ ˙

&c b

&c

3 œ bœ bœ œ œ bœ bœ œ bœ bœ œ œ b˙ J œ

E m9

Ó

Joe Pass often used encircling patterns. In the following excerpt, Pass began a scale in the first measure, but relied on the encircling pattern CT-LNT-UNT-CT for the rest of the passage. 4.15 Dm7

Encircling patterns G7

C

C7

F

& œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ nœ œ œ œ œ œ bœ #œ œ

Ó

If the folk-ethnic sound is desired, then a combination of all diatonic neighbor tones may be called for as in this modal melody. 4.16

& 128 ? 128

Diatonic upper and lower neighbor tones

œ œj œ œj œ j œj œ œ

Ó . Œ œJ b œ œJ r #œ

˙˙ .. œr ˙˙ ..

r #œ

˙˙ ..

r œ

˙˙ ..

j œ œj b œ œ ˙ . r #œ

˙˙ ..

r œ

˙˙ ..

The same neighbor tone pattern (CT-LNT-UNT-CT) used in the previous melody is used by Gluck in this example using the notes from a major scale. 4.17

&c

Gluck: Orfeo

œ œ œ œœœœ œœœœœ œ œœœ œœ

j œ

œ


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Chapter 4


A RPEGGIATED T ONES A simple stepwise line may be elaborated by leaping to other chord tones. The leap disrupts the calm of the stepwise line providing angularity and dramatic interest. Arpeggiated tones can replace the upper or lower neighbor tones as shown below. 4.18 Simple melody:

&˙ ˙

with PTs:

˙

Ó

with UNTs & PTs

œœœœ ˙ Ó

Arpeggiated tones replace UNTs:

œœœœœœœœ ˙ Ó

œœœœœœœœ ˙ Ó

CHROMATIC APPROACHES Chromatic approaches involve a diatonic note and a chromatically altered note leading to an essential tone. It may begin with the diatonic tone followed by the chromatic tone as a passing tone into the essential tone, or it may begin with the chromatic tone then a diatonic neighbor tone leading to the essential tone. The chromaticism adds color to the lines and the additional pitches often add rhythmic interest. The essential chord tones often occur on strong beats in the measure and may be chromatically approached from above or below. 4.19

&

nœ #œ ˙

œ #œ ˙

œ bœ ˙ 4.20

&

Notes of the C major Triad approached chromatically:

œ bœ ˙

Notes of the C minor Triad approached chromatically:

bœ nœ ˙

œ nœ b˙

#œ œ b˙

œ bœ ˙

œ #œ ˙

A chromatic approach may be used in conjunction with other devices. In the example below, the simple melodic fragment (G–E) can be elaborated with the F as a passing tone. The D# can be added after the passing tone to create a combination neighbor tone pattern. The chromatic approach (D–D#) can be added following the passing tone F to create one of the most common chromatic approaches. 4.21

Elaborated simple fragment

C

&˙


˙

œ

œ

˙

œ

œ #œ ˙

œ œ œ #œ ˙

Chapter 4


79

O CTAVE D ISPLACEMENT & LEAPS One or more tones of a simple line can be transposed to another octave. The leaps disrupt the smooth line and can add a dramatic element. Sometimes octave displacement may be a result of the range limitations of an instrument. An improviser may leap to a lower or higher register as the melodic lines reach the extremities of the instrument. The example below shows how a descending line from chord tones changes when the target tone is transposed to the upper octave. The octave displacement involves skipping over a chord tone (shown with the “¿”). Leaps usually occur from a strong beat to a weak beat and rarely occur over a measure line or from a weak to a strong beat. 4.22

&

˙ ˙ 3

1

˙ ˙ ¿

˙ ˙

3

5

1

3

˙ ˙ ¿

˙ ˙

5

1

3

˙ ¿ ˙

5

1

5

The simple triadic line shown in the first three measures may be transformed with octave displacement shown in the last three measures. The octave displacement adds range to the original idea and the leaps allow for more dramatic expression. 4.23

&c ˙ 3

˙ 1

˙ 5

˙

˙

˙

3

1

3

˙

˙

1

5

˙ 3

˙ 1

Leaps and octave displacement may be accompanied by other devices. The line below was created using the triadic line from above with the octave displaced notes. The first chord tone is chromatically approached from below. The line jumps up to the upper octave for the second chord tone, leaps past it and is chromatically approached . The next chord tones, the fifth and the third, are approached using an identical pair of upper and lower neighbor tones. The octave displacement of basic pitches and the addition of several chromatic approaches and neighbor tones has created a much more elaborate line, but at the same time, the line retains an uncomplicated understructure. The reduction of the line shown below illustrates the pure diatonic step construction of the elaborate line. 4.24

&c

œ #œ œ œ nœ œ œ bœ œ œ œ œ œ # œ œ #œ œ 3

&c

(œ) œ œ

1

œ

5

(œ) œ œ

3

œ

1

œœ


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Chapter 4


P EDAL P OINT & PIVOT T ONES Pedal point is traditionally the term for a sustained note in the lowest register (as in the pedals of an organ), usually the dominant setting up a return to the tonic. The motion against the pedal point is oblique as one part remains stationary and the other moves. Pedal point may occur internally with the structure of the music and may be termed a pivot note. The pivot note remains stationary while other notes move. A simple descending step line can take on a sawtooth appearance when interrupted by a pivot note. In the first example, the descending 5-4-3-2-1 line is made more angular by the pivot note C and the chromatic leading tone to the A.. The second example shows an ascending 3-4-5 line made angular and interesting using the tonic pitch as a pivot tone and using the B as chromatic passing tone leading to the C. 4.25

Simple line enhanced using pivot tones

F

&b c œ œ œ œ 4.26

˙

œ #œ œ nœ œ œ œ

Simple line enhanced using pivot tones

F

&b c ˙

œ

Ó

F

˙

˙

œ œ œ Œ œ œ œ œ nœ œ œ 3

3

3

TRIADIC MUSICAL EXAMPLES Jazz improvisers do not limit themselves to one elaboration approach within their melodic lines. Here are some excerpts from selected jazz improvisations to illustrate some of the devices described above. Clifford Brown used passing tones and chord tones in the first two measures below. In the last complete measure, Brown used a combination of neighbor tones (UNT-LNT) to approach the root, and chromatic approaches to arrive at the third and finally the fifth of the Bb triad. 4.27

b &b c

Chord tones and passing tones

‰ ˙j œ œ ˙ ˙ œ ˙ œ œ ˙ œ œ ˙ œ # œ ˙ œ n œ ˙ ˙

Brown chromatically approached the third (D), encircled the fifth (F) and root (Bb) with upper and lower neighbor tones in this excerpt. The melodic fragment is based on the Bb major triad as Brown seemed to ignore the specifics of the harmony. It would be misleading to analyze these tones according to their vertical positions relating to the chords. The C# should not be analyzed as the raised root of Cm, and the En as the major seventh of the F7 chord. They are better described as two chromatic leading tones to the third and fifth of the Bb triad.


Chapter 4

4.28


81

Chromatic approaches to triad

b &b c Œ ‰ Cm 7

F7

Dm 7

G7

œ œ œ Œ œ œ n œ œ #œ œ

It is doubtful that Clifford Brown conceived of the notes in this line as pitches related vertically to the shown chords. Analyzing the tones vertically, the Bn and G# over a Gm, or a Bn over a C7 are senseless. It is more likely that Brown used the tones from an F major triad as a generalization of the harmony and approached each F major chord tone with its lower neighbor or leading tone. 4.29

Leading tones

Gm 7

C7

F

& b c nœ œ #œ œ œ œ nœ œ œ Here are two more examples of Bb triad generalization. In the first, Charlie Parker used leading tones similarly to Brown’s previous example. In the second, Brown elaborated the triad with a few grace notes. 4.30

Triadic generalization with leading tones

Bb Gm 7 œ #œ b n œ &b c Œ

4.31

Cm 7

œ

F7

œ œ œ œ œ œ

Triadic generalization

b &b c Ó

Cm7

œœœ Œ

F7

Œ œ œ œ œ j #œ

b ˙

B

Charlie Parker used a number of elaborative devices on an F major triad in the following excerpt. At a., Parker used a lower neighbor tone which is mirrored at b. with the use of an upper neighbor tone. The primary pitches at c. and d. are the leap from C up to A. At c., the Cn was approached from its leading tone Bn. The leap took the line past the target A, and sounded the Bb and G#, encircled the A with its upper and lower neighbor tones. Passing tones were played at e. between the descending chord tones. 4.32

Triadic generalization with several elaborative devices c. d. a. b.

e.

œ & b c œ n œ œ œ œ œ œ œ œ ‰ j œ œ # œ œ œ œ œ œ œ œ n œ œj nœ


82

Chapter 4


Kenny Dorham began this phrase using the Bb triad pitches to generalize the harmony. In a subsequent phrase, Dorham began with the identical pitches, but as the line continued, addressed more of the specific chord tones from the progression. It is important to note that there is rarely one single approach used by any individual throughout an improvisation. 4.33

b b &b c Ó B

4.34

b &b b &b

Harmonic Generalization G7

Cm7

F7

Dm7

œ nœ œ #œ œ œ œ # œ œ œ œ

G7

3

œ œ œ œ œ j œ. œ

Cm 7

F7

˙

Ó

Harmonic Specificity

Bb G7 Cm7 F7 Dm7 G7 b œ F7 œ œ Cm7 œ œ n œ b œ œ œ # œ n œ œ œ œ œ # œ œ œ œ c Ó œ œ œ nœ œ œ œ œ œ B b7 Eb E°7 Bb Cm 7 F7 3 b œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ Œ œ œ bœ #œ œ œ

At the core of this line from a blues improvisation by Tete Montoliu is a simple line shown in the staff below the excerpt. Montoliu used F as a pivot tone in the first measure. The D is an upper neighbor to the C which was octave displacement in the second measure. The A in m.3 was preceded by its upper and lower neighbor tone. The A in m.4 was approached from above and below finally through the G#. 4.35

F triadic Generalization

œ œ œ œ nœ œ &b c C7

F

œ. œ

‰

œ œ bœ œ œ #œ œ œ œ œ œ œ # œ œ œ œJ 3

6

&b c

˙

˙

˙

˙

˙

˙

œ

œ

˙

Tete Montoliu encircled the primary pitches of the F triad in ex. 4.36 from a blues improvisation. In ex. 4.37 Montoliu ignored the specific implications of the C7 chord and concentrated on chord tones from the F triad. The A was chromatically approached from below, and after a descending F arpeggio, the A was preceded by its upper and lower neighbor tone, followed by the chromatic encircling of the C. 4.36

F triadic Generalization

œœœ œœ œ œ œ œ & b c œ œ #œ œ œ œ nœ œ F

3


3

3

3

œ œœ

Ó

Chapter 4

4.37

&b c


83

F triadic Generalization C7 3

F

j œ #œ œ œ œ œ b œ œ œ #œ œ nœ œ.

Examining this next example may lead one to conclude that anything goes since all twelve pitches are present in the line. All twelve pitches are used, but the chromaticism is not random. Each group of chromatic tones points to a chord tone of the C triad. Each chord tone of the C triad occurs in strong metric positions. The chromatic clusters create tension on the weaker beats which is resolved before moving to the next chromatic cluster. Clarity exists from the metric placement of the triad pitches and from the symmetry of the bracketed notes. The first two bracketed groups have identical intervals and the third is an exact inversion. 4.38 C

&c Ó

C Triad with chromatic embellishment

↓

3 ↓ ↓ j n œ b œ œ ‰ #œ œ œ b œ œ nœ œ #œ œ #œ


84

Chapter 4


TRIAD MOTIVE DEVELOPED

The triad shape by itself may produce interesting melodic lines, but imaginative manipulation of the triad may make the melodic lines more interesting. The simple arpeggio below is hardly enough to make an interesting theme. With the addition of simple developmental devices, Bach used this basic structure to create a memorable and workable theme for the Two-part Invention No. 8. The ascending arpeggio is transformed into a broken chord with the addition of the F as a pivot or pedal tone giving the first measure interesting angularity. The descending arpeggio is transformed into a smoother line with the use of passing and upper neighbor tones. The angular and smooth parts of the theme provide a contrast of musical ideas for development. 4.39

Simple arpeggio idea

& b 34 œ œ œ

Transformed to a theme by J. S. Bach

œ œ œ

˙.

œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ó

The last nine pitches of the Bach theme can be changed to eighth note values and would be useful to any jazz improviser: 4.40

&b c œ œœ œ œœ œœ ˙ Listen to what happens when the direction is changed. Upper neighbor tones are changed to lower neighbor tones. The line is still clear and musical, and works in major or when transposed to the parallel minor. 4.41

Opposite motion with LNTs

& c œ œ œ œ œ œ œ bœ ˙

In minor

œ œ œ œ bœ œ œ bœ ˙

Arpeggio tones could be inserted in place of the UNT tones, and the motive remains musical. This idea is found in a John Coltrane improvisation. 4.42 Bach theme with arpeggio tones:

œ œœœœœœ œ œ œœ œ & b 34

line with arpeggiated tones:

Ó

&c œœœœœœœœ ˙

Ó

If the idea works in major will it work in minor? Below are three more variations of the idea: the Coltrane line in minor, inverted in minor and in major. Listen to the Coltrane/Bach idea inverted and in a major key: it begins to sound like the Shaker tune Simple Gifts.


Chapter 4

4.43 in minor

& c œ œ œ œ bœ œ œ œ ˙

inverted in minor

Ó

œ œ œ œ bœ œ œ bœ


85

inverted in major

˙

Ó

œ œ œ œ œ œ œbœ

˙

Ó

Parker (a.) used chromatic passing tones to outline the F major triad in this excerpt from a blues improvisation. The F major triad pitches occurred on the strong beats. Lou Donaldson (b.) used almost the exact Parker line, adding only arpeggio tones. With the arpeggiated tones added to the Donaldson idea, the result is a jazzy version of Simple Gifts. 4.44

a.

b.

œ œ bœ nœ œ œ bœ œ œ œ œ & c œ œ #œ œ bœ nœ œ œ bœ œ œ œ œ œ œ # œ œ œ œ œ œ Shapes related to the Bach theme can be found in these Cannonball Adderley improvisation excerpts: 4.45

Descending using UNTs and PTs

D7

G

& c Œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œj 4.46

Ascending idea using LNTs

Gm 7

œ & b c œ #œ œ œ œ œ œ œ œ The previous line echoes this familiar melody: 4.47

Joshua Fought the Battle of Jerico

b œœ œ˙ & b c œ #œ œ œ œ œ œ œ J J

œ œ œ˙ J J

œœ œœ Œ J J

The following pages illustrate several of the many possible elaborations of the basic triad pitches referenced to the C major and C minor tonic triads.


86

Chapter 4


TRIADIC EMBELLISHMENT of C MAJOR TRIAD: Tonic

&

Mediant

Dominant

w

w

w

Leading tones (LT) and Lower Neighbor Tones (LNT) & Chord Tone (CT)

j œ ˙

&

œ

œ

˙

j #œ ˙

˙

j œ ˙

˙

j #œ ˙

œ

œ

˙

œ

œ

˙

j œ ˙

œ

œ

˙

œ

œ

˙

œ

œ

˙

œ

œ

Upper Neighbor tones (UNT)

j œ ˙

&

œ

œ

Encircled with UNT-LNT-CT patterns

& œ

˙

œ

œ

œ

œ #œ

˙

˙

œ #œ

˙

Encircled with UNT-CT-LNT-CT & LNT-CT-UNT-CT patterns

& œ œ œ ˙

#œ œ œ ˙

œ œ #œ ˙

œ œ œ ˙

œ œ #œ ˙

#œ œ œ ˙

œ œ #œ ˙

œ #œ œ ˙

Encircled with CT-UNT-LNT-CT & CT-LNT-UNT-CT patterns

&

œ œ œ ˙

œ œ #œ ˙

œ œ œ ˙

œ #œ œ ˙

Chromatic Approach from UNT or LNT through a Chromatic Passing Tone (PT)

&

œ bœ

œ #œ

˙

œ bœ

˙

nœ #œ

˙

˙

Encircled with combinations of UNTs, LNTs & Chromatic PTs

&

œ œ bœ ˙

œ œ #œ ˙

œ œ nœ bœ ˙

#œ œ bœ ˙

œ œ nœ #œ ˙

œ #œ nœ bœ ˙

Approached with arpeggio leaping from other chord tones above or below

& œ

œ

˙

˙

œ

œ

œ

œ

˙

œ

œ

˙

œ

œ

˙

˙

œ

œ

Using PTs to pass between two chord tones

&

˙

˙

œ

œ

˙

˙

œ

˙

œ

œ

œ

˙

˙

˙

œ

œ

˙

Leaping from one chord tone to a note above or below another, resolving in opposite direction of leap.

& œ

œ


˙

œ

œ

˙

œ

œ

˙

œ

œ

˙

œ

#œ

˙

œ

#œ

˙

Chapter 4


87

TRIADIC EMBELLISHMENT of C MINOR TRIAD: Tonic

&

Mediant

Dominant

bw

w

w

Leading tones (LT) and Lower Neighbor Tones (LNT) & Chord Tone (CT)

j nœ ˙

&

œ nœ

˙

j œ b˙

˙

j œ b˙

œ

œ

œ b˙

œ

œ

œ

œ

˙

j #œ ˙

œ

œ

˙

˙

j bœ ˙

œ

œ

˙

˙

œ

œ

˙

Upper Neighbor tones (UNT)

j œ ˙

&

œ

œ

Encircled with UNT-LNT-CT patterns

& œ nœ

˙

œ

nœ

œ

˙

bœ #œ

˙

Encircled with UNT-CT-LNT-CT & LNT-CT-UNT-CT patterns

& œ œ nœ ˙

nœ œ œ b˙

œ bœ œ b˙

nœ œ œ ˙

bœ œ #œ ˙

#œ œ œ ˙

œ bœ #œ ˙

œ #œ œ ˙

Encircled with CT-UNT-LNT-CT & CT-LNT-UNT-CT patterns

&

œ œ nœ ˙

bœ œ œ b˙

œ nœ œ ˙

bœ nœ œ b˙

Chromatic Approach from UNT or LNT through a Chromatic Passing Tone (PT)

&

œ bœ

˙

bœ nœ

˙

œ nœ b˙

œ b˙

#œ

˙

œ #œ

Encircled with combinations of UNTs, LNTs & Chromatic PTs

&

nœ œ bœ ˙

œ œ nœ b˙

bœ nœ nœ bœ ˙

bœ œ #œ ˙

#œ œ nœ nœ b˙

œ bœ nœ #œ ˙

Approached with arpeggio leaping from other chord tones above or below

& œ bœ

˙

˙

œ

œ

œ

œ b˙

œ b˙

œ

bœ

œ

˙

œ bœ

˙

bœ bœ

˙

Using PTs to pass between two chord tones

&

˙

œ

b˙

œ

˙

œ

b˙

˙

œ

˙

nœ nœ

˙

˙

Leaping from one chord tone to a note above or below another, resolving in opposite direction of leap.

& œ

bœ

˙

œ

œ

b˙

bœ

œ

˙

œ

nœ

˙

bœ

#œ

˙

œ

œ

b˙


88

Chapter 4


PENTATONIC SCALE One of the most common groups of notes or scales in universal music is the pentatonic scale. As the name implies, a pentatonic scale is a five tone scale. The most typical pentatonic scale is really nothing more than a major triad with two auxiliary tones. Pentatonic melodies are often merely triadic melodies using only the two additional pitches for elaboration. Amazing Grace contains only these five pitches: the tonic triad (primary pitches) and two additional tones (the second and sixth degrees). The major pentatonic scale is two notes shy of the major scale; the missing notes being the fourth and seventh degrees. With the absence of those two most dissonant notes of the major scale, the tritone, the remaining five notes are quite consonant. The relative consonance of the pentatonic scale may help to explain its ubiquitous melodic use. In the same way that major scales are related to minor scales, the major and minor pentatonic scales are related. An F major pentatonic shares the pitches with D minor pentatonic. 4.48

F Major Pentatonic

&b c ˙

˙

œ

˙

˙

œ

D Minor Pentatonic

˙

˙

œ

˙

œ

˙

There are many modes and applications of pentatonic scales that go beyond triadic generalization that are discussed in chapter 16.

BLUES SCALES Is there really a blues scale? They, like many aspects of music theory may be the result of academic labeling and codification. There is a certain grain of truth to the existence of blues scales. A blues improvisation by Parker, Clifford Brown or Wynton Kelly may contain elements of what could be labeled a blues scale, but the improvisations also draw on many other elements in the course of the improvisations. Also, many phrases that we would without a doubt call a blues lick may not be constructed strictly using notes from the labeled blues scale. These blues licks would probably have elements found in blues scales and triadic generalization. Blues scales are another form of triadic generalization. What is commonly called the blues scale would be better labeled the minor blues scale. The example below shows that an F minor blues scale is constructed from an F minor pentatonic scale with one added chromatic tone. This means the minor blues scale is just as useful as the minor pentatonic for use as triadic generalization material. 4.49

F Minor Pentatonic

b & b bb c ˙


˙

bœ

F Minor Blues Scale

˙

œ

˙

˙

˙

œ nœ

˙

œ

˙

Chapter 4


89

Every high school jazz band member seems to know the minor blues scale. This may be because many of their band directors know little else to teach them about jazz improvisation. Students are usually instructed to use this scale to improvise over Blues in F major. Up to a point, students will have fun playing this over a major blues, but after a while, the students intuitively begin to realize there is more to jazz than just the minor blues scale. They also begin to sense the missing major third. After playing the minor third and fourth over and over they are ready to hear it resolve to the major third, but alas, it is not in the scale given to them by their teacher. Knowing a major blues scale would help them play over F major blues. The major blues scale is nothing more than a major pentatonic with a chromatic tone added. The chromatic tone will sound like a chromatic approach tone to the major third, or in another context, will sound like a minor third. The two blues scales are related in the same way major and minor are related. An F major blues scale has the same notes as an D minor blues scale. An F minor blues scale is related to an Ab major blues scale. F major and F minor are parallel. 4.50

F Major Pentatonic

&b c ˙ 4.51

4.53

˙

œ

˙

bœ

œ

˙

˙

œ

˙

#œ

˙

œ

˙

˙

œ

˙

˙

œ

˙

F Minor Blues Scale

˙

œ

˙

A b Major Pentatonic

b & b bb c ˙

œ

˙

˙

F Minor Pentatonic

b & b bb c ˙

˙

#œ

D Minor Blues Scale

˙

œ

˙

œ

˙

D Minor Pentatonic

&b c ˙ 4.52

˙

œ

˙

˙

œ

F Major Blues Scale

˙

˙

œ nœ

A b Major Blues Scale

˙

œ

˙

˙

œ

nœ

˙

Jazz artists will use the major and minor blues scales as colors but will mix them in with other concepts and sounds. Aside from the obvious application (minor blues for minor tunes, major blues for major tunes) a minor blues scale can often be used in a major key, but it would be hard to find an example of major blues played in a minor key setting. In a major context both blues scales are often called upon, so that in an F major tune, F major or F minor blues scale may be heard. The imposition of the flatted third, flatted fifth and flatted seventh from the minor blues scale, notes often labeled “blue notes,” creates a nice tension over the major harmony, which is often resolved to the major triad notes. One can tell quite a good story just going back and forth between the woeful, gritty minor blues scale and the major blues scale with the “pretty notes,” and still be relying on the basic triads for the underlying structure of the improvisation.


90

Chapter 4


BLUE NOTES Blue notes can be more than just chromatic altered tones; they may be bent tones finding the in-between pitches not available in European equal tempered twelve tone chromatic scales. The easiest and most common definition for blue notes includes the flatted third, seventh and fifth tones of a major scale. You must listen to singers to understand the elastic quality of these pitches. Singers, guitarist, string players, and many horn players can find the blue notes more easily than a pianist who is stuck with the twelve keys on the piano. A blue note will not necessarily be a constant pitch: it may be approached and departed by a slide and when held, the intonation may vary by a few cents for expression. There are some outstanding R&B recordings that, depending on your perspective, are in either major or minor keys. One guitarist may have played a dominant seventh chord with a major third in the left channel; in the right channel another guitarist played a C minor seventh chord with a minor third; and the singer sang a blue note third that was in between the major and minor third. Limited by the notation system, the blue notes in the following examples will be labeled as b3, b7, and #4 or b5. A blue third may occur in place of a major third. The occurrence of a blue flatted third over the major chord creates a conflict with the major third that allows the expression of things not available with equal tempered scales. 4.54

3-1

Blue note replacement

F

F

&b c ˙

bœ .


F

j œ ˙

X

˙

3-2-1

F

nœ

œ

X

bœ œ œ œ ˙

˙

These same pitches occur in D minor, the relative minor to F major. The Ab is now the flatted fifth. 4.55

5-3


Dm

Dm

&b c ˙

j œ ˙

X

bœ .

˙

5-4-3


Dm

nœ

Dm

œ

X

bœ œ œ œ ˙

˙

The above example shown in the parallel key of F minor 4.56

5-3


Fm

Fm

b & b bb c ˙

X

bœ .

˙

5-4-3


Fm

j œ ˙

nœ

Fm

œ

b œX œ œ œ ˙

˙

The flat seventh may be used over a major chord. It often mirrors the kinds of motion of the blue third. The blue seventh and the blue third often point to the primary pitches tonic and dominant. 4.57

Lowered third and seventh Blue Notes F

& b c bœ .


j œ ˙

F

bœ .

F

œ ˙ J

bœ œ œ œ ˙

F

bœ œ œ œ œ œ œ

Chapter 4


91

The flatted fifth can point down the third or as a raised fourth up to the fifth. In this way they behave as chromatic passing or leading tones, but in performance with vocal inflections may be appropriately detuned. 4.58

Flatted fifth and raised fourth Blue Notes

X

X X > >œ . b œ > . b œ . b c œ n œ bœ bœ œ œ J & J J 3

bœ œ œ œ Ó

3

œ bœ œ nœ œ œ œ œ

Pianist may use grace notes to compensate for the inability of the piano to bend notes. 4.59

&b c

Blue Grace notes œ œ J

n œœ b œœ b œœ

œ

œœ

j #œ

n œœ

œ

BLUES SCALE MUSICAL EXAMPLES Here is a brief collection of major and minor blues scale ideas and a few examples with combinations of the two scales. Add to this list from your own search and create some of your own triadic generalization lines based on these blues scales. MAJOR BLUES SCALE Below are several straight forward and familiar examples of the major blues scale used in compositions and improvisations. The third note of the major blues scale can sound like a raised second or a lowered third depending on the context. In ex. 4.60, it sounds like a flatted third. In ex. 4.61 and 4.62, the note is a raised second leading into the major third. In ex. 4.63 the same pitch is used twice in two different ways: the first as a leading tone (G#) to the third, the second time as the minor third (Ab). 4.60

Major Blues Scale

b &b b c œ œ Œ œ Œ 4.61

‰ œJ ‰ b œj œ œ œ Œ œ Œ œ œ œ

‰ œJ ‰ b œj œ œ œ œ

Major Blues Scale

b &b c Ó 4.62

Œ

œ ‰ œJ # œ œ Ó œ œ œ œ œ œ œ #œ

Major Blues Scale F

&b c œ

œ œ œ œ œ #œ

œ

˙

œ œ


92

Chapter 4 4.63

Triadic Generalization Major Blues Scale

bœ Œ ‰ Jœ œ œ œ

3 ‰ # œj œ œ œ œ Œ Œ œ

F

&b c

MINOR BLUES SCALE Wynton Kelly used the minor blues scale in this emphatic climax to this Bb major blues improvisation. 4.64

Minor Blues Scale

œ œœ n œ nœ b & b c ‰ œJ n œ 3b œ b nœ bœ &b ‰

bœ bœ œ 3 bœ bœ bœ œ œ

œb œ œ bb œœ œ œ œ œ ‰ J œ

B 7

œ bœ œ œ œ œ œ ‰ J œ bœ œ

b œ œ b œ3 nœ bœ bœ œ J

Adderley also made the minor blues scale work over the Bb major blues progression. 4.65

Minor Blues Scale 3

3

‰ b Jœ œ b œ b œ œj n œ œ b œ bœ bœ œ œ œ bœ b˙

&c

3

Carl Fontana ignored the indicated chord progression and drove this minor blues scale through to an exciting conclusion in this improvisation. Notice that at the end, the minor third is finally resolved to a major third. It would be foolish to analyze each note in relationship to the chords above them. It would be better to recognize the strength of the melodic line through the use of the minor blues scale as a generalization, and the use of a repeated sequential idea that led to a logical conclusion. 4.66

Minor Blues Scale

bœ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ bœ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ nœ ?c D9

C

A7

Dm7

G7

Cmaj7

COMBINATIONS of MAJOR & MINOR BLUES SCALES These Charlie Parker and Wynton Kelly examples show how the two scales, although different in character, can be used side by side for a expressive blues line. Both are from a blues in C, both begin with a major and end with a minor blues scale idea. 4.67 C

Major & Minor Blues Scales 3

F

3

C

& c œ Œ ‰ œj œ œ œ œ œ Œ b œ œ b œ œ n œ œj Jazz Theory Resources

Chapter 4 4.68


93

Major & Minor Blues Scales

œ √œ œ # œ œ bœ œ œ bœ œ œ #œ œ œ œ œ # œ œ œ bœ œ œ œ &c bœ œ 3

GENERALIZATION EXAMPLES APPLIED An improviser may approach any given harmonic context using harmonic specificity or harmonic generalization (or may choose to ignore the implications entirely). These next examples illustrate how a simple triad, embellished with only upper and lower neighbor tones can be used to create melodies over traditional harmonic progressions. Cm7 - F7 - Bb (ii7 - V7 - I) is the most common progression in the key of Bb major. The circled notes illustrate the primary target triad notes to which all of the other notes point. All of the secondary pitches should be analyzed by their linear relationship to the Bb triad and not their vertical relationship to the actual chords. The C# is not the raised root of Cm7, but the leading tone pointing to D, the third of Bb. The En is not the major third of Cm7, but a lower neighbor tone to the F. Any vertical dissonances are resolved by logical linear conclusions. There are those who analyze melodic lines like this where each note is shown with a number below it representing its relationship to each chord symbol. There are times when analysis of direct chord-tone relationships is useful, but it is important to recognize the difference between harmonically specific and general melodic lines and one should always be aware of the linear nature of music. 4.69

Triadic generalization over ii7 - V7 - I progression

Cm7

F7

B

b

b & b c #œ œ œ nœ œ œ œ nœ œ œ œ #œ œ nœ œ œ 1. 2.

3.

4.

5.

The primary pitches in this line are the root, third and fifth of the Bb triad: Bb - D - F. 1. 2. 3. 4. 5.

D is approached through its leading tone C# Bb is preceded by its lower and upper neighbor tones (A & Cn) F is sounded, then its upper and lower neighbor tones (G & E), then F returns D is approached by its upper neighbor tone (Eb) and chromatically from below through the chromatic passing tone C# Bb is preceded by its lower and upper neighbor tones (A & Cn)

The same triadic generalization principles are can be effectivly applied when the progression is in a minor key. The line below corresponds directly to the Bb major line above transposed to its relative minor. The progression in G minor is Aø7 - D7 - Gm (iiø7 - V7 - i). The line is created generalizing the G minor triad. As before, any vertical dissonances should be analyzed and by their linear relationships to the basic G minor triad pitches.


94

Chapter 4


4.70

Triadic generalization over iiø7 - V7 - i progression

œ œ #œ œ œ œ œ b #œ œ œ œ nœ bœ #œ œ œ &b c Aø7

1.

D7

2.

3.

Gm

4.

5.

The primary pitches in this line are the root, third and fifth of the G minor triad: G - Bb - D. Bb is approached through its leading tone A G is preceded by its lower and upper neighbor tones (F# & A) D is sounded, then its upper and lower neighbor tones (Eb & C#), then D returns Bb is approached by its lower neighbor tone (A) and from above through the chromatic passing tone Bn . The chromatic approach is different here than in the preceding example. (This approach is to a minor third, the previous was to a major third, so the shapes must be inverted.) G is preceded by its lower and upper neighbor tones (F# & A)

1. 2. 3. 4.

5.

Sometimes the linear and vertical analysis will agree. Most of the notes in the second measure above could be labeled as chord tones of the D7 chord: Root - 5th - 7th - PT or n13 - b13 - 3rd - 5th. But when examining the melodic line as a whole, the analysis as tones related to the G minor triad proves more significant. It seems an impossible task to improvise melodic lines at any tempo by thinking of each individual pitch. Successful lines would be difficult to achieve. This would be analogous to conceiving of a sentence thinking of individual syllables. It would probably lead to incomprehensible results. A better strategy would be to conceive melodic shapes of single pitches with larger rhythmic units (basic triad pitches) and the tones that surround and point to those pitches (neighbor tones). This would mirror the creation of sentences out of noun and verb groups and their modifiers. In your analysis of melodic material, be prepared to encounter many types of melodic lines. Be careful not to lose sight of the larger picture: if one looks too closely at the vertical structures, the larger linear dimensions may be missed. Triadic generalization as a tool for melodic invention requires the ability to recognize larger key areas aurally and by written chord symbols. Many tunes used for improvisation by jazz musicians stay close enough to the tonic key area that very large sections may be generalized. Other tunes shift and modulate rapidly to remote keys areas before returning to the original key thus making generalization with a single triad impossible, but may be possible to generalize within each of the remote keys. A study of harmonic progressions is necessary to understand its impact on harmonically specific melodic develop ment.

SUGGESTED ACTIVITIES •

Return the simple triadic forms in Chapter 3 and create new melodies incorporating non-harmonic tones as illustrated in this chapter.

•

Transcribe examples of triadic generalization. Analyze specific devices used to elaborate the simple triadic shapes. Apply to improvisation.

•

Practice exercises and study examples found in Comprehensive Technique for Jazz Musicians, Chapter 3, Triads & Generalization.


Chapter 5

Diatonic Harmony

95

V. DIATONIC HARMONY DIATONIC HARMONY: MAJOR There are only seven basic spellings for all tertian triads. The seven pitches may be altered chromatically depending on the key signature. The basic triad spellings are created using every other letter in the seven letter musical alphabet. It is important to memorize them to correctly identify and notate the triads. In jazz and modern music, the chord is usually extended beyond the triad by adding intervals of a third. A tertian triad is spelled 1-3-5; a seventh chord adds a third beyond the fifth and is spelled 1-3-5-7; a ninth chord is spelled 1-3-5-7-9; extended to the limit using seven diatonic pitches: 1-3-5-7-9-11-13. All of these chords can theoretically be built on any degree of any scale, although some, as will be discovered, will be impractical. ALL TERTIAN CHORD SPELLINGS TRIAD 1 3 5 A C E B D F C E G D F A E G B F A C G B D

SEVENTH CHORD 1 3 5 7 A C E G B D F A C E G B D F A C E G B D F A C E G B D F

1 A B C D E F G

EXTENDED 3 5 7 C E G D F A E G B F A C G B D A C E B D F

TERTIAN 9 11 13 B D F C E G D F A E G B F A C G B D A C E

INVERSIONS To determine the root of a tertian triad, the notes should be arranged as shown above. If the pitches C, A and F are found, rearrange them in the order of thirds to produce FAC, an F triad. Often the triads will not have the root as the lowest tone. When arranged with the third or fifth in the bass, the triads are said to be inverted. With the third in the bass, the triad is in first inversion; with the fifth in the bass, the triad is in second inversion. 5.1 C

& ˙˙˙ Root

Triads and inversions

˙˙ ˙ 1st

˙˙ ˙

˙˙ ˙

2nd

1st

˙ ˙ ˙ 2nd

Cm

b ˙˙˙ Root

˙ b ˙˙ 1st

b ˙˙ ˙ 2nd

˙˙ b˙ 1st

˙ b˙ ˙ 2nd


96

Chapter 5

Diatonic Harmony

Seventh chords may be in third inversion where the seventh is in the bass. 5.2

&

Seventh chords and inversions

b ˙˙˙˙

b ˙˙˙˙

b ˙˙˙ ˙ Root

1st

˙ b ˙˙˙

2nd

3rd

It is extremely important to spell the triads correctly. A misspelled chord in a melody line or harmony part will be harder to read and understand. It might sound exactly the same with alternate spellings, but proper spellings should be adhered to. I call this the “Ghoti” principle. It is doubtful that any two people would pronounce “Ghoti” the same way, yet the sounds are commonly found in the English language. Pronounce “Ghoti” using the “gh” sound from enough, the “o” sound from women, and the “ti” sound from motion. “Ghoti” would be more easily read if written as “Fish.” The triads below may sound like C minor chords, but they are confusing to read as they are misspelled. A C triad must contain the letters C, E and G. A C minor triad should be spelled C - Eb - G, not C - D# - G. 5.3 Cm ?

&

# ˙˙˙

Violation of the “Ghoti” Principle

˙ # ˙˙

# ˙˙˙

˙˙ #˙

˙ # ˙˙

FUNCTIONAL HARMONY From the definition of tonal music, it is understood that melodic pitches tend to gravitate towards a single pitch, the tonic, which is the center of the musical organization. If chords built from major and minor scales are combined in harmonic progressions, they typically progress towards the chord built on the tonic. When progression of this kind are present, the harmony is said to function. Functional harmony is the chords working together in a progression pointing towards the tonic. Most European music since the early Baroque has been based on a concept called the major/minor system. This system depends on the tertian chords built on pitches from the major and harmonic minor scales in progressions of functional harmony. Roman numerals are associated with the seven different chords found in each key. This author prefers the custom of using upper case for chords with major thirds, and lower case for chords with minor thirds. The series of available seventh chords diatonic to the key of C major is shown below. 5.4

& ?


Diatonic seventh chords in key of C

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

I(maj7)

ii7

iii7

IV(maj7)

V7

vi7

viiø7

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

Chapter 5

Diatonic Harmony

97

The common shorthand method for labeling the chords from the key of C are shown below. Cmaj7 I (maj7)

Dm7 ii7

Em7 iii7

Fmaj7 IV (maj7)

G7 V7

Am7 vi7

Bø7 viiø7

If the music is in the key of C, then the chords are spelled and sound as shown above. Just as the intervals of major scales, the chords and their roman numerals remain constant when transposing to new keys. A chord built on the first degree of any major scale is a major seventh chord; a chord built on the second degree is always a minor seventh chord, and so on. If other chords occur on the same C major scale degrees, but are different than what is shown above, then they are not in the key of C. A dominant seventh chord could be built on the second degree of the C major scale: D - F# - A - C. This cannot be a II7 chord in the key of C, as it contradicts the no sharps or flats definition of C major. Chords on the second degree must be minor seventh chords (ii7). This D7 chord would be from the key of G major. This can be determined by examining the chart above where the only scale degree that yields a dominant seventh chord is the fifth degree. The fifth degree of G is D, so a dominant chord built on D must be from the key of G. The key can also be deduced by the F# from the key signature of G major. A minor seventh chord could be built on the fifth note of a C major scale, but this Gm7 chord could not be in the key of C as its third, Bb, contradicts the no sharps or flats definition C major. The Gm7 could be a ii7 chord in F, a iii7 chord in Eb, or a vi7 chord in the key of Bb. Fill in the chart below in order to become more familiar with the specific chords in the thirteen major keys. There are only twelve pitches in the chromatic scale, but the enharmonic equivalents Gb (6bs) and F# (6#s) are listed below. The keys of Cb major (7bs) and C# major (7#s) have been omitted in favor of the enharmonic equivalents of B major (5# s) and Db major (5b s). Be sure that the chords are spelled correctly, and not with an incorrect enharmonic spelling. The V7 chord in Db major will be Ab7, not G#7. The V7 chord of Gb and F# should be spelled with different roots even though they sound the same. After filling out the chart, write out each of these chords in the thirteen major keys on staff paper. Do not write the key signatures at the beginning of each line, instead, place each accidental in front of notes to gain familiarity with the spelling of each chord. KEY C F Bb Eb Ab Db Gb F# B E A D G

Imaj7 Cmaj7

ii7 Dm7

iii7 Em7

IVmaj7 Fmaj7

V7 G7

vi7 Am7

viiø7 Bø7

Looking at the chart above, you will notice that several chords function differently depending on their key origins. A C major seventh chord may function as the I chord in C major, but also functions as the IV chord in the key of G. Minor seventh chords occur as ii7, iii7 or vi7 chords. Dominant seventh chords can only be found on the dominant (V7) pitch in each key. These are the most important pointer chords to the key area and the tonic chord. This makes perfect sense as the dominant pitch points to tonic, and the other pitches of a dominant seventh chord point to the other pitches of a tonic triad.


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The half-diminished chord occurs only on the seventh degree of major keys. It is called half-diminished because the basic triad is diminished (m3-m3) but the seventh is the interval of a minor seventh and not a diminished seventh. This chord is sometimes called a minor 7 b5. This is a terribly ambiguous designation. A minor chord must have a perfect fifth in order to be minor, so it cannot be minor with a b5. The b5 also implies that this chord is somehow altered from its natural state, yet it is found quite naturally on the seventh degree of every major scale. The “ø” symbol, meaning half-diminished, suggests the chord has a 7th, so using “ø7” is redundant, but common.

DETERMINING THE KEY There are four types of seventh chords available from any major scale: CHORD TYPE Major 7th Minor 7th Dominant 7th Half-Diminished 7th

INTERVAL M3 m3 M3 M3

CONSTRUCTION - m3 - M3 - M3 - m3 - m3 - M3 - m3 - M3

PLACE IN MAJOR KEY I or IV ii7, ii7, or vi7 V7 viiø7

This chart can be used to identify the key when examining a set of chords from music. If the chord is a V7 or viiø7, the key will be easy to identify as they only occur on one degree of the scale. If a chord is a major 7th, it could be the I or IV from two possible keys. If it is a minor seventh, it is from one of three possible keys as a ii7, iii7 or vi7. The key can be determined when encountering major seventh or minor seventh chords by examining the chords that surround them. A Dm7 chord can be found as the ii7 chord of C major, the iii7 of Bb major and the vi7 of F major. Chords occur by themselves only in theory classes; in a harmonic progression, there will be other chords that will help identify the function and the indicated tonic. The dominant chord is the most useful for identification as there is only one per key. To determine the function of the Dm7 chord, look first for the V7 of C (G7), the V7 of Bb (F7), and the V7 of F (C7) as they will clearly identify the key. If they are not present, the other surrounding chords will help. Contrast the three types of chords built on E in these three keys. In C = Em7 (iii7); in F = Eø7 (viiø7); and in Bb = Ebmaj7 (IV). All are distinctly different quality chords. The key should be easily determined by the combination of the Dm7 and whatever E chord is present in the surrounding musical context. An F major 7 chord could be the I of F or the IV of C. Dm7 chord could be the ii7 of C major, the iii7 of Bb major or the vi7 of F major. An Am7 chord might be the ii7 of G major, the iii7 of F major or the vi7 of C major. What if they are all in one progression? Which of these four keys (F, C, Bb and G) is implied? The Fmaj7 and Dm7 chords rule out the key of G. The Am7 and Fmaj7 rule out the key of Bb. That leaves the keys of C and F. Without further chords, a single key cannot be determined. It could be either key as shown below.


Key of C:

Am7 vi7

Fmaj7 IV

Dm7 ii7

Key of F:

iii7

I

vi7

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99

At least one more chord is needed in the progression to narrow the choice to just one key. What chords are different between the two keys of F and C major? The difference between the two keys is the Bn in the key of C, and the Bb in the key of F. One of the four seventh chords that contain a B is needed to make the determination: BDFA, GBDF, EGBD or CEGB. In the key of F those chords would be Bbmaj7 (IV), Gm7 (ii7), Eø7 (viiø7), and C7 (V7). In C they would be Bø7 (viiø7), G7 (V7), Em7 (iii), and Cmaj7 (I). Anyone of these chords in combination with the three shown above would narrow the choice to only one key.

CHORD IDENTIFICATION PRACTICE

I.

Practice the identification of chords by their relationship to home keys by quickly filling in the blanks in the following exercises. (solutions shown on pages 114-115)

CHORD C #7 b E maj7 Eø7 Fm7 B b7 Fmaj7 A bm7 Cm7

CHORD D bmaj7 Dø7 A7 Fmaj7 F#ø7 Am7 Cmaj7 Cø7

FUNCTION ii7 V7 viiø7 V7

IVmaj7 iii7 Imaj7 vi7

FUNCTION ii7

KEY F Bb

CHORD Dmaj7 A b7

G Db Eb G Gb A

Dm7

ii7 iii7 V7

Gm7 B bmaj7 C #7 b D maj7

IVmaj7 V7 ii7

KEY Bb Ab

CHORD F7 b A ma7

FUNCTION V7 Imaj7 ii7

F D Ab C

IVmaj7 V7

V7 iii7

Dm7

viiø7 V7 iii7 vi7 viiø7

FUNCTION

C Db

E7 Bm7 C7 Gmaj7 Bm7 Fm7

KEY D C F Db Gb Bb Db Ab

KEY Eb Ab G A

vi7 ii7 IVmaj7

F C A

ii7 iii7

Ab


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CHORD Cmaj7

Diatonic Harmony

FUNCTION Imaj7 V7

Em7 E bmaj7 Gm7 Fm7 B bmaj7 G bmaj7 F#m7

II.

ii7 Imaj7 vi7 I ii7 iii7

KEY Ab G F# Eb

CHORD Em7

FUNCTION

Am7 C7 G7 D7

Ab A Db

vi7

V7 ii7

F V7 ii7 V7 ii7

Dm7 Gmaj7 Dmaj7

KEY D Bb

V7 Imaj7

F Bb C D A

Identify the key that is home to the following combination of chords. Some combinations are written more than once because they could be from more than one key.

CHORDS Dm7 - Em7 F#m7 - G#m7 Am7 - Bbmaj7 Gmaj7 - A7 Dm7 - Bø7 Ebmaj7 - Gm7 Ebmaj7 - Gm7


FUNCTION ii7 - iii7

KEY C

CHORDS Amaj7 - Dmaj7 D bmaj7 - Bbm7 D bmaj7 - Bbm7 Ebmaj7 - Dm7 Ebmaj7 - Dø7 Cm7 - F7 Gm7 - C7

FUNCTION

KEY

Chapter 5

Diatonic Harmony

101

DIATONIC HARMONY: MINOR Lowering the third, sixth and seventh degrees of a major scale creates a parallel minor scale. This minor scale is known by several names including natural or pure minor, and aeolian mode. The natural minor scale has no leading tone and is therefore not used to derive the minor harmony in the major/minor system. In order to create a major/minor seventh chord (M3-m3-m3) on the dominant scale degree, the subtonic (seventh degree) of the natural minor scale must be raised to create a leading tone. This creates an exotic sounding interval of an augmented second between the sixth and seventh degrees of the scale. This scale, with its raised seventh degree, is appropriately named the harmonic minor scale and allows for the creation of two very important harmonic pointers: the V7 and vii°7 chords. Though designed for harmonic reasons, it is also quite useful for melodic construction. 5.5

&˙ ?˙

Natural or Pure Minor

˙ b˙ ˙ b˙

Harmonic Minor

˙

˙ b˙ b˙

˙

˙

˙ b˙ b˙

˙

A2

&˙ ?˙

˙ b˙ ˙ b˙

˙

˙ b˙

˙

˙ b˙

A2

˙

˙

˙

˙

These chords are created from the C harmonic minor scale and are shown with the appropriate Roman numerals. The chord built on the third degree of the scale is shown in parentheses as it is not a functional chord. 5.6

b &b b

Diatonic chords in key of C Minor

˙˙˙ ˙

n ˙˙˙ ˙ i(maj7)

? b bb

iiø7

˙˙˙ ˙

n ˙˙˙ ˙

n ˙˙˙˙ ( bIIImaj7 #5)

n ˙˙˙˙

˙˙˙ ˙

n ˙˙˙˙

˙˙˙ ˙

˙ n ˙˙˙

iv7

n ˙˙˙˙

bVI(maj7)

vii°7

˙˙˙ ˙

V7

˙˙˙ ˙

˙ n ˙˙˙

The common shorthand method for labeling the chords from the key of C minor is shown below. These listed chords are derived from the harmonic minor scale only. The chord built on the third degree of the harmonic minor scale is not functional and is not used in the major/minor system. It does occur a great deal in contemporary compositions. Remember that functional chords point towards the tonic. This chord and many others may be ambiguous, and therefore they cannot point to the tonic. This does not mean that they are not musically useful, in fact they are useful for the purpose of ambiguity. Cm maj7 i (maj7)

Dø7 iiø7

(Ebmaj7#5) (bIIImaj7#5)

Fm7 iv7

G7 V7

A bmaj7 bVImaj7

B°7 vii°7

Some theory books may list up to fifteen possible chords using the natural, harmonic and melodic minor scales as sources. All of those chords do not function in the sense that they all do not point to the tonic minor. Without the leading tone, all of the chords would be identical to the chords in the relative key of Eb major. The chords on the third, fifth and seventh degrees of the scale would be: Ebmaj7, Gm7, and Bb7. These chords no longer would function to point to the tonic C minor. The Gm7 is not a dominant seventh chord and therefore points away from rather than towards C minor. The Bb7 and Eb chords


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will be heard as the dominant and tonic in the key of Eb. These chords point away from and so cannot function as pointers to C minor. The other chord affected by the raised leading tone is the tonic chord. In traditional music, a tonic chord cannot have a seventh. In jazz, where unresolved dissonance is more common, a seventh can be accepted. The minor/major seventh chord can be found in minor jazz progressions, but more often, when the resolution to the tonic minor occurs, it is either a simple triad with no seventh, or has a minor seventh. When a minor progression resolves to a minor seventh chord, it will sound less like a tonic chord and more like a ii7 or vi7 chord that signals a modulation to a new key. There will be more examples of this when harmonic progressions and modulations are discussed. It could be argued that within the major/minor system, only major tonality is stable, as the major third is found in the harmonic series and not the minor third. This may explain the tierce de Picardie, or Picardy third, the Renaissance and Baroque practice of ending pieces in minor with a major third. There are fewer stable chords in minor keys than in major. In major, I, ii, iii, IV, V and vi are stable, with viiø7 being unstable. The instability of the tonic minor chord was discussed above. The iiø7 and the vii°7 chords are not stable because of their diminished fifth and the III chord from harmonic minor is unstable because of its augmented fifth. A iv7 chord is stable and often becomes a pivot chord in modulating to the relative major. A pivot chord is shared by two keys signatures and may function relative to each in a modulation A iv7 chord in C minor, Fm7, is also the ii7 of Eb, the relative major key to C minor. The iv chord often begins a modulation to the relative major as in: Fm7 - Bb7 - Eb. The bVI chord is stable and often acts as a pivot chord between a minor key and its relative major. A bVI chord in minor becomes the IV chord in the relative major. For the purposes of discussing functional harmony in minor, only six chords will be discussed: 5.7

b &b b

Diatonic chords in key of C minor (harmonic minor)

˙˙˙

˙˙˙ ˙

˙˙˙ ˙

n ˙˙˙˙

˙˙˙ ˙

˙ n ˙˙˙

i

iiø7

iv7

V7

bVI(maj7)

vii°7

Three chords shown above do not include the leading tone: the supertonic, subdominant and submediant. Melodically these chords are often treated using the notes of pure or natural minor to avoid the awkward augmented second degree. Since the tonic chord in minor is often a pivot chord to other keys, it too will often be treated with natural or pure minor, and in some instances with melodic minor. Other melodic substitutions will be discussed in chapter 14.


Chapter 5

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103

Fill in the chart below in order to become more familiar with the specific chords in the thirteen minor keys. After filling out the chart, write out each of these chords on staff paper. These are listed in the same order of key signatures as the chart shown for major keys. This chart lists thirteen keys again using the equivalents of Eb minor (6bs) and D# minor (6#s). The keys of Ab minor (7bs) and A# minor (7#s) have been omitted in favor of the enharmonic equivalents of G# minor (5#s) and Bb minor (5bs). Be sure to use the correct spelling and not mix accidentals. KEY A minor D minor G minor C minor F minor B b minor E b minor D # minor G # minor C # minor F# minor B minor E minor

i Am

iiø7 Bø7

bIII maj 7 #5 Cmaj7 #5

iv7 Dm7

V7 E7

bVImaj7 Fmaj7

vii°7 G#°7

There were four types of seventh chords derived from the major scale: major/major seventh, minor/minor seventh, major/minor, and half diminished seventh. All four of these chords found in major keys have a place in minor keys. The harmonic minor scale adds three new seventh chords to the list: the minor/major seventh and the fully diminished seventh. Chords available from the Major and Harmonic Minor Scales CHORD TYPE Major 7th Minor 7th Dominant 7th Half-diminished 7th Minor Major 7th Major 7th # 5 Diminished 7th

PLACE IN MAJOR KEY Imaj7, IVmaj7 ii7, iii7, vi7 V7 viiø7 n/a n/a n/a

PLACE IN MINOR KEY bVImaj7 iv7 V7 iiø7 i (major 7th) bIII major 7# 5 vii°7

It cannot be assumed that a major seventh chord is always a I chord (it could be a I, IV or bVI) or that a minor seventh chord is always a ii7 chord (it could be a ii, iii, vi, or iv). These assumptions get many beginning improvisers into trouble. Groups of chords within the progression must be analyzed in order to determine the key for a particular passage. The chart above shows that the only occurrence of a major/minor seventh chord in major or minor keys, is on the dominant pitch. This is why a major/minor seventh chord is called the dominant seventh chord. That means that for now in this discussion, all dominant chord symbols are, in fact, dominant chords: a G7 is the V7 of C major or C minor, a D7 is the dominant of G major or G minor. In later chapters dealing with substitutions, chords that sound like dominant chords but do not function as dominant chords will be discussed. But for now a V7 is a V7 of major or minor.


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DETERMINING the KEY HALF DIMINISHED CHORDS A half diminished chord is found on the second degree (iiø7) of a harmonic minor scale and from the seventh degree (viiø7) of a major scale. The half diminished chord is more often used as a iiø7 chord in minor than as a viiø7 in major. The fact that relative major and minor keys share the same half diminished chord is significant. This chord is often used as the common or pivot chord when modulating from the major to its relative minor. It is often accurate to assume that a half diminished chord is a pointer to a minor key, so that Eø7 is more likely the iiø7 of D minor than the viiø7 of its relative F major. FULLY DIMINISHED CHORDS The only place within the major/minor system that a fully diminished seventh chord can be found is on the seventh degree (vii°7) of harmonic minor. This is an often misunderstood chord. It can be spelled in many different ways and still sound the same when heard out of context. It is the chord sound that is most often violated by the “Ghoti” principle. The vii°7 chord, B°7, must be spelled: B-D-F-Ab in order to be from the key of C minor. Play these notes on the keyboard and they sound the same as a D°7, F°7 or E#°7, and Ab°7 or G#°7. All of these chords should be spelled differently according to their function. The D°7 is the vii°7 of Eb minor and should be spelled D-F-Ab-Cb which corresponds to the key to which it points. F°7 is the vii°7 of Gb minor which is the key of nine flats! The chord would be spelled F-Ab-Cbb-Ebb. While most of us would prefer to see the Fn rather than E#, E# is the better choice for spelling this chord. The E#°7 (E#-G#-B-D) is the vii°7 of F# minor, which with only three sharps, is a much easier key to think about than nine flats. Using the same logic, G#°7 (G#-B-D-F) is a better choice than Ab°7, since G#°7 is the vii°7 of A minor, with a no sharps or flats key signature, rather than Ab°7 (Ab-Cb-Ebb-Gbb) the vii°7 of Bbb minor with its twelve flats. The fully diminished chord may be used in inversion and this often leads to the spelling errors. It may take some deciphering to accurately identify the fully diminished seventh chord in some instances, but let logic and simplicity prevail. In a passage like Cm - B°7 - Cm, the function of the diminished chord is clear. Trouble may arise if some of these chords are to be played in an inversion. If the passage asks that the chords be played with different bass notes (shown on the bottom of the slash with the chord on top) the diminished chord is often misspelled as : Cm/Eb - D°7 - Cm. The D°7 may sound like a B°7 in first inversion, but it may be misleading as labeled. A D°7 is really the vii°7 of Eb minor suggesting six flats. It would be more clearly labeled: Cm/Eb - B°7/D - Cm. It has been argued that this labeling is unnecessary as the D°7 and B°7 chords are enharmonically the same pitches. It will be easier to determine the key if the diminished seventh chords are labeled more accurately, but in real world musical settings, be prepared for unusual spellings. MAJOR SEVENTH CHORDS To determine whether a Bbmaj7 chord is a I or IV in major or a bVI in minor, the surrounding chords must be taken into consideration. Bbmaj7 is the I chord in the key of Bb (2b), the IV chord in the key of F (1b), and the bVI chord in the key of D minor (also the key of one flat, but with the leading tone C#). The difference between one flat and two flats is the En or Eb. Any dominant chord will readily identify the key. Bbmaj7 is a I chord when an F7 is present, a IV chord when a C7 is present, and a bVI chord when A7 is present. An Fmaj7 would mean the Bbmaj7 chord is a IV chord. The presence of an Eø7 could mean the Bbmaj7 chord is from F major or D minor, so another chord would be needed to clarify the key. The determination can be made by looking for chords that contain either a Cn or a C#, the pitch difference between F major and D minor. Those chords are C#°7, C7, or A7.


Chapter 5

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105

MINOR SEVENTH CHORDS Because a minor seventh chord can occur as a ii7, iii7, vi7 in major and a iv7 in minor, it is a bit more difficult to make a determination of the correct key. An Am7 chord could be the ii7 or G major (1#), the iii7 chord in the key of F (1b), the vi7 chord in the key of C major, and the iv7 chord from the key of E minor (also the key of one sharp, but with the leading tone D#). Dominant chords are the easiest indicators, so look for them first. The presence of a D7, C7, G7 or A7 will establish the key. If the dominant chords are not present, look for chords which contain the difference pitches between the keys. Consider these possibilities: Am7 with chords that contain F# and Dn will be from the key of G: Am7 (Bm7 Gmaj7 D7) ii7 (iii7 Imaj7 V7) Am7 with chords that F# and D# will be from the key of E minor: Am7 (B7 D#°7) iv7 (V7 vii°7) Am7 with chords that contain Bn and Fn will be from C major: Am7 (Bø7 G7) vi7 (viiø7 V7) Am7 with chords that contain Bb will be from F major: Am7 (B bmaj7 Gm7 Eø7 iii7 (IVmaj7 ii7 viiø7

C7) V7)

Am7 with an F#ø7 could be in the key of G major or E minor. Am7 with an Fmaj7 or Dm7 could be in the key of F or C major. Am7 with an Em7 or Cmaj7 could be in the key of G or C major. These lists of possibilities makes finding the correct key look more difficult than it actually is. Most pieces stay in or stay close to one key. More familiarity with the diatonic chords of keys makes them easier to recognize in groups and common progressions. These chords do not occur out of context, and there will almost always be enough information to make the correct decision regarding key signatures.


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CHORD IDENTIFICATION PRACTICE SOLVED CHORD Gm7 C #7 b E maj7 Eø7 D7 Fm7 B b7 Fmaj7 Bm7 A bm7 Amaj7 Cm7

FUNCTION ii7 V7 IV viiø7 V7 iii7 V7 IVmaj7 iii7 ii7 Imaj7 vi7

KEY F F# Bb F G Db Eb C G Gb A Eb

CHORD F7 A bma7 A bma7 Am7 E7 Bm7 C7 Dm7 Gmaj7 Bm7 Fm7 Cm7

FUNCTION V7 IV I ii7 V7 vi7 V7 ii7 IV ii7 ii7 iii7

KEY Bb Eb Ab G A D F C D A Eb Ab

CHORD Cm7 D bmaj7 Dø7 A7 Fmaj7 F#m7 Fm7 F#ø7 Am7 Cmaj7 G7 Cø7

FUNCTION ii7 IV viiø7 V7 I iii7 vi7 viiø7 vi7 IVmaj7 V7 viiø7

KEY Bb Ab Eb D F D Ab G C G C Db

CHORD Cmaj7 E b7 Em7 G#m7 E bmaj7 Gm7 Fm7 B bmaj7 B bm7 C #m7 G bmaj7 F#m7

FUNCTION I V7 vi7 ii7 I iii7 vi7 I ii7 iii7 IV vi7

KEY C Ab G F# Eb Eb Ab Bb Ab A Db A

CHORD Dmaj7 A b7 Em7 Dm7 Ebm7 Dm7 D b7 Gm7 B bmaj7 C #7 b D maj7 B bm7

FUNCTION I V7 iii7 vi7 ii7 iii7 V7 vi7 IV V7 I ii7

KEY D Db C F Db Bb Gb Bb F F# Db Ab

CHORD Em7 F7 Am7 C7 G7 Gm7 D7 Cm7 Dm7 A7 Gmaj7 Dmaj7

FUNCTION ii7 V7 ii7 V7 V7 ii7 V7 ii7 ii7 V7 I IV

KEY D Bb G F C F G Bb C D G A


Chapter 5

CHORDS Dm7 - Em7 F#m7 - G#m7 Am7 - Bbmaj7 Gmaj7 - A7 Dm7 - Bø7 b E maj7 - Gm7 Ebmaj7 - Gm7

FUNCTION ii7 - iii7 ii7 - iii7 iii7 - IV IV - V7 ii7 - viiø7 I - iii7 IV - vi7

KEY C E F D C Eb Bb

CHORDS Amaj7 - Dmaj7 D bmaj7 - Bbm7 D bmaj7 - Bbm7 Ebmaj7 - Dm7 Ebmaj7 - Dø7 Cm7 - F7 Gm7 - C7

Diatonic Harmony

FUNCTION I - IV I - vi7 IV - ii7 IV - iii7 I - viiø7 ii7 - V7 ii7 - V7

107

KEY A Db Ab Bb Eb Bb F


108

VI.

Chapter 6

Harmonic Progressions

HARMONIC PROGRESSIONS

COMMON ROOT MOVEMENT The root of chords can move by any interval to the root of the next chord. Root movement can be by fifths and their inversion fourths, thirds and their inversion sixths, and seconds and their inversion sevenths. Some interval motion and direction is more common than the others. The most powerful melodic motion is the downward fifth movement from the dominant to the tonic or its inversion, movement up a perfect fourth from dominant to tonic. The power of this motion has been surmised to be due to its relationship to the overtone series: that the first interval in the series, other than the octave, is a perfect fifth above the fundamental. What is true for melodic motion is also true for root motion in harmonic progressions: the most common root movement is downward fifths (type 1). The second most common root movements are upward in seconds (type 2) and downward in thirds (type 3). The inversion of these root movements are available, but less common. The most common root movement of downward fifths is apparent in the most prevalent harmonic progression: ii7 - V7 - I in major keys and iiø7 - V7 - i in minor keys. This progression occurs so often like a building block in major/minor system that it is imperative that they be memorized as any young student memorizes the multiplication tables. Fill out the two tables below and begin to memorize these chords as a group. When a ii7 chord is encountered, the V7 and I may be next. Even if the progression is not followed through to the I chord, the ii7 and V7 chords point to and are still derived from the key of I. Remember to spell the chords correctly. The ii7 chord of F# major is G#m7, not Abm7. Spelling correctly will save time and energy and earn respect from your peers. [Once, on a recording session, a composer had written the melody in the key of six sharps, but wrote all the chord symbols in six flats. While one hand was playing G# - B - D#, the other hand had to think Ab - Cb - Eb. It was playable, but it unnecessarily difficult and one of the worst violations of the “Ghoti” principle I have encountered.]

COMMON PROGRESSIONS in MAJOR KEY C F Bb Eb Ab Db Gb F# B E A D G


ii7 Dm7

V7 G7

Imaj7 Cmaj7

Chapter 6


109

COMMON PROGRESSIONS in MINOR KEY A minor D minor G minor C minor F minor B b minor E b minor D # minor G # minor C # minor F# minor B minor E minor

iiø7 Bø7

V7 E7

i Am

A harmonic progression will not always follow one type of root movement and is usually a mixture of several types. Root movement by seconds and thirds is used as a contrast before eventually returning to the strong, more common downward fifth movement. The following progression begins with type 3 root movement of downward thirds, followed by type 2 movement up in seconds and then the final movement to the tonic is type 1 movement of a downward fifth.

C I

[Down 3rd] [Down 3rd] [Up 2nd] [Down 5th] Am7 |F G7 |C vi7 IV V7 I

Type 1 movement can be inserted sooner using the ii7 chord in place of the IV chord. The roots move down a third, down a fifth, down a fifth, and down a fifth. This progression is stronger because of the more frequent downward fifth movement.

C I

[Down 3rd] [Down 5th] [Down 5th] [Down 5th] Am7 | Dm7 G7 |C vi7 ii7 V7 I

This common progression is often repeated to make longer phrases. When repeated, the second tonic chord is often replaced with a iii7 chord. This removes the downward fifth movement (V7 - I) and replaces it with a downward third movement (V7 - iii7), but the continuation of the line (iii7 - vi7 - ii7 - V7 - I) is all type 1 downward fifth movement. Another possibility is using the tonic chord in first inversion in place of the I or iii7 chord. The tonic inversion and the iii7 chord are often interchangeable and indistinguishable from each other.

[Dn. 5th] [Dn. 3rd]

|C

Am7

| Dm7

G7

|C

Am7

| Dm7

G7

|C

Am7

| Dm7

G7

|C

Am7

| Dm7

G7

|C

| Em7 Am7

| Dm7

G7

|C

| C/E

| Dm7

G7

|C

[Dn. 3rd] [Dn. 5th]

Am7


110

Chapter 6


These same progressions are logical and musical in the parallel minor key. Cm i

A bmaj7 bVI7

| Fm7 iv7

G7 V7

| Cm . . . i

Cm I

A bmaj7 bVI7

| Dø7 iiø7

G7 V7

| Cm . . . i

The progression is often inverted, aiming for, rather than beginning with the tonic chord. | Dm7 ii7

G7 V7

|C I

Am7 vi7

| Dm7 . . . ii7

| Dø7 iiø7

G7 V7

| Cm i

A bmaj7 bVI7

| Dø7 . . . iiø7

APPLICATION of HARMONIC ANALYSIS Recognizing that several chords are derived from one key allows an improviser to think in that one key for larger sections of a piece. In the following progression, the Roman Numeral Analysis (RNA) tells us that the source for all of these chords is the key of C (I). Two facts can be deduced from that: (1) if the chords were constructed from a C major scale, it follows that a C major scale is a source for melodic material over the chords; (2) If the chords are functioning to point to C as a tonic chord, it follows that a C major triad could be used for harmonic generalization over the passage. One scale works for all those chords because those chords were derived from the scale. Since all the chords are functioning to point to the C tonic triad, then melodies which generalize the tonic triad will function the same way on a different level. Any vertical dissonances are resolved as the line progresses towards its goal. Understanding RNA is more than assigning numbers to chords; it is directly related to melodic improvisation decisions. | Em7 iii7

| Am7 | Dm7 | G7 | Cmaj7 | Fmaj7 . . . vi7 ii7 V7 I IV7 Implications: (1) C major scale works for melodic generalization . . . (2) C major triad works for melodic generalization . . .

HIERARCHY of CHORDS The harmonic progressions ii7 - V7 - I in major keys and iiø7 - V7 - i in minor keys also illustrate the hierarchy of chords. The tonic chord, as the tonic pitch, is by definition where all progressions point. When preceded by its dominant, the strongest cadence or conclusion is perceived. The ii7 chord is the most common of several chords that precede the dominant. The chart below classifies the most common pre-dominant., dominant, and tonic chords available from the major and harmonic minor scales. PRE-DOMINANT CHORDS IV ii7 iiø7 iv7 bVImaj7*

DOMINANT CHORDS V7 viiø7 (rare) vii°7

TONIC CHORDS I i I6 or iii as substitute for I (sometimes vi7 as substitute for I)

*bVI can be a predominant chord because of its similarity to iiø7 and iv7 and it can point to V7.


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From the chart, it is clear that a ii7 and iiø7 chords both function as pre-dominant chords. This concept can lead to modal mixture where chords from the parallel minor key are used in place of the corresponding diatonic chords from the major key. The progression may point to the same tonic, but will suggest a minor modality. These chords are said to be “borrowed” from the parallel minor key. | Dm7 ii7

G7 V7

|C I

with a borrowed supertonic chord would become: | Dø7 iiø7

G7 V7

|C I

Am7 vi7

| Dm7 ii7

& | C I

G7 V7

|C I

with borrowed submediant and supertonic chords would become: | C A bmaj7 | Dø7 G7 |C bVI7 iiø7 I V7 I When improvising through a passage of borrowed chords, remember that the source scale and tonic chord have changed. The harmonic minor scale and tonic minor triad may be used for melodic material through the chords borrowed from minor. The dominant seventh chords for both major and minor appear the same when using RNA. To determined the scale from which the V7 chord is derived, examine the preceding chords. If a V7 is preceded by pre-dominant chords from major (ii7 or IV) it is probably also derived from major. If a V7 chord is preceded by pre-dominant chords from harmonic minor (iiø7, iv7, bVI) then the dominant should continue as the V7 of a minor tonic. Examining the melody will provide clues. If notes from the minor key are in the melody, then the V7 chord is derived from the minor key. There is no difference between a G7 chord from C major and a G7 chord from C minor if the chord is only spelled to the seventh: they are both spelled G-B-D-F. The difference occurs when considering passing tones between the chord tones. The key of C contains En and An, while C minor contains Eb and A b. When upper tertian extensions are added, the difference also becomes apparent. The ninth of a G7 chord is An in the key of C major and Ab in the key of C minor. The thirteenth of a G7 chord is an En in the key of C and an Eb in the key of C minor. Learning to recognize these basic alterations will help identify the sound called for in chord notation. In the chords below that include a thirteenth, the fifth was eliminated. 6.1

Differences between V7 of C major and V7 of C minor

n9

n 13

˙ ˙˙˙˙

˙˙ ˙˙

bbb bbb

&

˙˙˙ ˙

?

G7

G9

G913

˙

˙

˙

b9

G7

b ˙˙˙ n ˙˙ b G7 9

˙

˙

n ˙˙˙˙

b

13 b ˙ b ˙˙ n˙ b9 G7b 13 ˙


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Modal mixture and substituting more common root progressions can energize this simple progression. | F IV

| Em7 iii7

| Dm7 ii7

|C I

The first stepwise progression has more forward motion when chords are added between the original chords which change the root movement to downward fifths. | F IV

| Em7 iii7

Am7 vi7

| Dm7 ii7

G7 V7

|C I

Adding three chords (iv7, iiø7 and G7b9) from the parallel minor add another colorful dimension. | F IV

Fm7 iv7

| Em7 iii7

Am7 vi7

| Dø7 iiø7

G7b9 V7

|C I

CLOSELY RELATED KEYS Up to now this discussion has been confined to harmonic progressions that stay in one key center. Most compositions do not stay in one key, but temporarily modulate or tonicize keys that are closely related. Some progressions point away from the tonic almost immediately and go on long harmonic excursions before returning to the home key. While it is possible to find music that journeys to very remote keys, a great deal of music is created which moves in and out of closely related keys. Closely related keys are those whose key signatures are one accidental away from the tonic key. If the key of C is the home key, then related keys would be the relative minor which shares the same key signature (A minor), the key of 1b (F major and D minor), and the key of 1# (G major and E minor). Primary Closely Related Keys to C major 1b F

0 #/0 b

1#

C

G

(home key)

D minor

A minor

E minor

If these related keys are lined up alphabetically, it is apparent that the closely related keys are also the five other stable diatonic chords in the key of C major: (The chord on the seventh degree of major is an unstable chord because of its diminished fifth, and there is no diminished key.) The closely related keys have a Roman numeral listed below indicating their relationship to the original key. D minor is the key of ii, and so on. Home: C major I

D minor ii

Closely Related Keys E minor F major G major iii IV V

A minor vi

Borrowed chords were discussed before as a way to get from a major key area to its parallel minor key. Jumping from the key of C with no sharps or flats to the key of three flats may appear to be remote, but considering that C major and C minor are parallel and they share the same dominant chord, then the jump is not so far. The closely related keys to parallel key of C minor (three flats) would be the keys of two flats and four flats. From the parallel move to C minor, the keys of Eb major, F minor, G minor, Ab major, and Bb major become available.


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Secondary Keys Available to C major through parallel C minor 4b

3b

2b

F minor

C minor

G minor

(parallel home key)

Ab major

Eb major

Bb major

C minor is parallel to the home key of C major. F minor and G minor are parallel to the primary closely related keys of F and G major. The secondary closely related are shown with a Roman numeral listed below indicating their relationship to the original key. These Roman numerals do not indicate a chord function. Parallel Home: C minor i

Secondary Keys from Modal Mixture: E b major F minor G minor A b major bIII bVI iv v

B b major bVII

A third level of closely related keys are available through another modal mixture. C minor and C major are related as a parallel tonal centers but one is minor and the other major. The three primary closely related minor keys to C major are D minor, E minor and A minor; the keys of ii, iii and vi. Each of these primary closely related keys has a parallel major so that D major (II), E major (III), and A major (VI) are available from the key of C major through modal mixture of close diatonic chords. This chart illustrates several possible levels of modulation from the primary key of C major. Tertiary Keys from modal mixture

D major (II)

A major (VI)

E major (III)

PRIMARY KEYS

D minor (ii) F major (IV)

A minor (vi) C major (I) (home key) ↓

E minor (iii) G major (V)

F minor (iv) A b major (bVI)

C minor (i) Eb major (bIII)

G minor (v) B b major (bVII)

Secondary Keys from parallel minor

The combined keys available for smooth modulation from the home key of C major are illustrated in the chart below. The keys are shown by the three levels: closely related diatonic keys with one accidental difference; keys closely related to the parallel minor; and keys available using modal mixture with the keys of second, third and sixth degrees of the home key. The Roman numerals in this case do not refer to chords, but to the new key in relationship to the home key. For example, the key of Bb is the major key on the bVII related to the key of C; does not refer to a chord built on the seventh degree of the C major scale. Closely Related Diatonic From Parallel Minor Using Modal Mixture

I i

ii II

bIII

iii III

IV iv

V v

bVI

vi

bVII

VI


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SECONDARY DOMINANTS The primary chords are built without alterations on diatonic scale degrees. There is only one dominant and its function is to point out the tonic chord. If other dominants occur in a progression other than the primary dominant, then some chord has been chromatically altered to create the new dominant and this new dominant will point to a key other than tonic. This new key is a secondary key from the original making the dominant chord a secondary dominant. The dominant chord is the most identifiable indicator in the harmonic progression because it occurs only on the dominant pitch in major and minor. Minor seventh chords that can occur as ii7, iii7, vi7 or iv7 do not point as conclusively. Modulations to the closely related and remote keys are usually accomplished with the use of a secondary dominant. In the key of C, expect modulations or temporary tonicizations, and look for the dominants of the closely related keys. If any dominant other than the primary dominant G7 is encountered, it is a secondary dominant pointing away from the primary key and to a secondary key. Look for the dominants pointing to the closely related keys of D, E and A minor and F and G major. An A7 points to the key of D minor. It cannot be considered a VI chord in the key of C: there is no C# available in the key of C; it must be a secondary dominant. The RNA for this chord is V7/ii. The “V7” defines its relationship to D minor; the “ii” defines the relationship of the secondary key to the home key of C. This symbol, V7/ii, means “A7 is the dominant (V7) of the D minor, the minor key on the second degree (ii) of C major.” It also suggests that individual pitches have been changed. The key of D minor has to have a C# leading tone in order to create the A7 chord, and a Bb by its key signature definition. These pitches are necessary in order to modulate from C major to D minor and define the difference between the two keys. The chromatically altered pitches want to resolve in the direction in which they have been altered. The C# points up to D and the Bb down to A. With D and A as targets, it is easy to see and hear how D minor is temporarily tonicized by the A7. The dominant for E minor is B7 and is shown with the symbol V7/iii. The key signature for E minor is one sharp plus the leading tone D# needed to create the dominant chord. The F# and D# are the pitches necessary to modulate from the key of C to the key of E minor. Both the F# and D# resolve up in the direction in which they have been altered to E and G, two primary pitches in the key of E minor. The dominant for F major, the key of IV, is a C7 chord. This is often erroneously labeled as I7. There cannot be a dominant chord on a pitch other than the dominant pitch and since there is no Bb in the key of C, this chord must be the V7/IV. The Bb is the defining difference between the keys of C and F major. The Bb wants to resolve down to the A, the note that defines the major quality in the key of F. D7 is the V7/V. The F# that is needed to create the D7 chord is the one sharp from the key signature of G. The Fn in the key of C usually points down to the En. The F# points up to G. C major and A minor share the same key signature but there must be a leading tone in the key of A minor in order to create a dominant chord. E7 is the V7/vi. The pitch G# distinguishes the keys of C major and A minor and creates the E7 dominant chord. The following chart reviews the closely related keys to the key of C major, their secondary dominants, RNA and lists the necessary accidentals needed to tonicize or modulate to the secondary keys. NEW KEY AREA TO TONICIZE ii: D minor iii: E minor IV: F major V: G major vi: A minor

SECONDARY DOMINANT A7 (V7/ii) B7 (V7/iii) C7 (V7/IV) D7 (V7/V) E7 (V7/vi)

NECESSARY ACCIDENTALS Bb and C# F# and D# Bb F# G#

Note that all twelve pitches are used in the chart above. The are seven pitches in the C major scale and the accidentals needed for modulation comprise the remaining five.


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Secondary dominants create more forward motion in a harmonic progression. The introduction of chromatic notes shifts the focus away from the tonic to secondary chords. The secondary chords then progress back to the tonic. Some of the basic progressions that were shown before using only chords from one key area can be enhanced using secondary dominants to point to diatonic chords. A tonic chord can move to any diatonic chord but this progression may be strengthened with the addition of the secondary dominant. The downward fifth motion and the addition of chromatic pitches temporarily removes the focus from the original key making the resolution to the diatonic chord stronger. C I

A7 V7/ii

Dm7 ii

C I

B7 V7/iii

Em7 iii

C I

C7 V7/IV

F IV

C I

D7 V7/V

G V

C I

E7 V7/vi

Am7 vi

The following progression to the ii7 chord includes just chords from the key of C major: C I

Em7 iii7

Am7 vi7

Dm7 ii7

A secondary dominant can be added to both emphasize the pull away from the tonic and point towards other chords. A7 as the secondary dominant for D minor can replace Am7. Dm7 is still ii7, it has just been tonicized with its dominant. Em7 is still the iii7 chord in the key of C, not the ii7 chord in the key of D minor. Eø7 is the iiø7 chord in D minor. The basic melodic resources would come from the key of C major except for the A7 chord. The A7 chord, as the RNA implies, uses the D harmonic minor scale, with C# and Bb being the important distinguishing tones. C I

Em7 iii7

A7 V7/ii

Dm7 ii7

The progression to the A could be strengthened by using its dominant instead of the iii7 chord. The E7, V7/vi, points to A minor, but at the resolution, A minor is a dominant chord pointing to the key of D minor. When the progression arrives at Dm7, it is not actually in the key of D minor, as Dm7 is a ii7 chord in the original key of C major. The C and Dm7 chords are still derived from the C major scale, and the notes from that scale can be used as a melodic resource. The E7 is derived from the A harmonic minor scale and would use that scale as a melodic resource. C I

E7 V7/vi

A7 V7/ii

Dm7 ii7

A7 is V7/ii only in the key of C. D minor may be the ii, iii, vi in major keys, or i and iv in minor keys, so its dominant can also be shown in relationship to other keys. For example, if A7 occurs in a passage in the key of Bb pointing to the iii7 chord, Dm7, the A7 would be the V7/iii. If A7 occurs in a passage in the key of F major, then A7 would be V7/vi. In the key of A minor, A7 points to the iv chord and would be


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labeled V7/iv. Everything is labeled relative to the tonic key. But in all of those cases, the melodic resource for the A7 chord is still the D harmonic minor scale. One of the most common progressions is I - vi7 - ii7 - V7. Secondary dominants are often used to increase the level of tension and forward motion. The most common substitution replaces the vi7 chord with a V7/ii. In the key of Bb, the original progression would be Bb - Gm7 - Cm7 - F7, often returning to the tonic chord. With the secondary dominant of Cm (G7 = V7/ii) in place of the Gm7, the progression would be Bb - G7 - Cm7 - F7. The pull away from the key of Bb is intensified by the G7 chord, as it has a Bn and an implied Ab from the C minor key signature. These two notes that changed the key from Bb to the key of C minor and are often the first notes played by experienced jazz musicians. Below are two examples from improvisations by Charlie Parker. In both of these examples Parker addressed the secondary dominant chords by immediately playing the pitches necessary to modulate or tonicize the secondary key. To tonicize C minor from the key of Bb, a Bn and Ab must be heard, and they are the first two notes Parker played over the G7 (V7/ii) in the first example. To get from the key of Ab ( four flats) to the key of ii, Bb minor, two accidentals are needed: the fifth flat (Gb) and the leading tone (An). These were also the first two pitches played by Parker in the second example. The examples are identical except for the octave displacement in the first one, which suggests that Parker had practiced these lines in all keys. 6.2

Bb

I - V7/ii - ii7

b G7 9

I - V7/ii - ii7

b b F7 9 B bm7 b œ & b b b c œ œ œ n œ b œ œ œ œj ‰

Cm 7

A

b & b c œ œ œ œ b œ œ œ œj ‰ nœ

Clifford Brown played exactly the same melodic figure in ex. 6.3 as Parker did in ex. 6.2. Brown began in G major. To modulate from G (1#) to the key of A minor (0#, 0b), the F# must become Fn, and the leading tone G# is needed. These were the first pitches sounded by Brown at the E7. Red Garland used many chromatic embellishments and approaches, but at the point of the G7, he played the Bn and Ab called for by the secondary dominant below. 6.3

I - V7/ii - ii7

b

E7 9

Gmaj7

I - V7/ii - ii7 Am 7

B

# ~ & c œ œ œ œ # œ n œ œ œ œj ‰ ~

b

b

G7 9

Cm

b bœ œ #œ œ œ nœ œ & b c œ œ œ #œ œ nœ n œ œ #œ

In this Jimmy Guiffre example, the iii7 chord follows the V7, substituting for the I chord. This keeps the progression moving in downward fifths from the Em7 to the A7 (iii7 - V7/ii). As in examples above, Guiffre knows the tones necessary for modulation (Bb from the key signature of D minor and the leading tone, C#) and plays them immediately at the occurrence of the secondary dominant A7. 6.4 Dm 7

b

ii7 - V7 - iii7 (instead of I) - V7/ii - ii7 G7

Em 7

A7 9

Dm7

& c œ œ œ œ œ œ œ œ œ œ œ #œ bœ œ œ œ œ œ


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Since a V7 chord is often preceded by the ii7 or iiø7, secondary ii7 and iiø7 chords may precede secondary dominant chords. The roots of the chords on the top line move in descending thirds. Before each new chord, a secondary dominant may be inserted with its corresponding ii7 or iiø7 chord. The cadences to Gm7, Ebmaj7 and Cm7 are strengthened by their preceding ii7 - V7 or iiø7 - V7 chords. Bb I Bb I

E bmaj7 IV

Gm7 vi7 [ Aø7 - D7 ] iiø7 - V7 vi

Gm7 vi7

[ Fm7 - Bb7 ] ii7 - V7 IV

E bmaj7 IV

Cm7 vi7 [ Dø7 - G7 ] iiø7 - V7 ii

Cm7 vi7

Review what each RNA symbol actually means to the sound. The Aø7 - D7 indicates a temporary modulation to the key of G minor with the necessary leading tone F#. The F# is the most important identifying note for the D7 chord. The Fm7 - Bb7 indicates a modulation to the key of Eb major and necessitates the addition of an Ab. The Ab is the most important identifying note for the Fm7 chord, and is the seventh of the Bb7 chord. The Ab resolves down to a Gn, the most important identifying note for the Eb major chord. The Dø7 - G7 indicates a modulation to the key of C minor, which demands an Ab and a Bn. The Bn is the most important identifying note for the G7 chord which points to C minor. RNA can help identify the most important tones that indicate the harmonic direction. If those tones are emphasized for melodic direction, then linear harmony, lines with strong harmonic implications, will be the result. In the following progression of roots moving upward in seconds, three possible sets of secondary chords are shown. All are possible and often occur interchangeably in jazz performances. The D7, F#°7, or Aø7 - D7 indicate the key change from F major to G minor, requiring an F# and an Eb. The E7, G#°7, or Bø7 - E7 chords indicate a key change to A minor, requiring an G# and an Bn. Notice how important those pitches are to the identification of the corresponding chords. F I

Gm7 ii7

Am7 iii7

F I

D7 V7/ii

Gm7 ii7

E7 V7/iii

Am7 iii7

F I

F#°7 vii°7/ii

Gm7 ii7

G#°7 vii°7/iii

Am7 iii7

F I

Aø7 - D7 iiø7 V7 ii

Gm7 ii7

Bø7 - E7 iiø7 V7 iii

Am7 iii7

The very simple progression shown below moves down in diatonic seconds and can be altered using secondary dominants. 6.5 Fm aj7

& c ˙˙˙

IV

?c ˙

Diatonic chords Em7

Dm7

Cmaj7

˙˙ ˙

˙˙ ˙

˙˙ ˙

iii7

ii7

I

˙

˙

˙


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Preceding each diatonic chord with its dominant adds momentum to this progression. The root progression is made stronger moving down in fifths than in seconds. 6.6 Fmaj7

& œœœ

IV

With added secondary dominants B7

œœ #œ

V7/iii

?œ

Em7

A7

Dm7

G7

Cmaj7

œ n œœ

bœ # œœ

œ n œœ

œœ œ

˙˙ ˙

ii7

V7

I

iii7

œ

œ

V7/ii

œ

œ

˙

œ

The progression initially began on the diatonic IV chord. By substituting the F# ø7, a secondary iiø7 chord from the key of Em, all the root movement is by descending perfect fifths. The G7 chord is borrowed from the parallel key C minor which yields the Ab, the b9 of G7. 6.7

F #ø7 & œœœ

iiø7/iii

? #œ

With added secondary dominants B7

œœ #œ

V7/iii

œ

Em7

A7

Dm7

G7

Cmaj7

œ n œœ

bœ # œœ

œ n œœ

b œœ œ

˙˙ ˙

V7/i

I

iii7

V7/ii

œ

œ

ii7

œ

œ

˙

There are many tunes that stay within one key signature for almost the entire form. The contrast between the two keys, major and relative minor, and their corresponding progressions provides enough interesting diversions. The following progression, shown in the key of no sharps or flats, is found in thousands of compositions from the Baroque era to current popular music and has been used by several jazz composers from Antonio Carlos Jobim to Chick Corea. Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am7

Is this passage in the key of C major or A minor? The first few measures sound like the key of C major. The key of A minor is not heard or anticipated until at least the Bø7 chord. While the Bø7 chord is the viiø7 of C, it is more often heard as the iiø7 in minor. The E7 definitely points the progression to A minor. Is it in the key of C (I) and then modulates to A minor (vi), or in the key of A minor (i) and modulates from the Dm7 chord (iv7) to the relative key of C (I/bIII) and back again to A minor. How this is analyzed may depend on the larger context. Initially, most would hear the Dm7 as the ii7 in the key of C major, and not expect A minor until the more definitive pointers Bø7 and E7. Here is one analysis with the progression based in C major. The E7 is shown as the secondary dominant to A minor. It is possible to tonicize the Dm7 (ii7) with its dominant so that an A7 chord is inserted after the Am7 and before repeating the progression. Dm7 ii7


G7 V7

Cmaj7 I

Fmaj7 IV

Bø7 iiø7/vi

E7 V7/vi

Am7 vi7

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The progression could be analyzed relating to the key of A minor. The major area is so strong that it feels less like a departure than the A minor area. Note that ending the progression with an A minor chord without a seventh makes it feel more like A minor is the ultimate destination of the progression. When it ends with an Am7, the Am7 feels like a vi7 chord even when preceded by its dominant, E7. Dm7 iv7

G7 V7/bIII

Cmaj7 I/bIII

Fmaj7 bVI

Bø7 iiø7

E7 V7

Am i

Could the G be labeled bVII and the C bIII in the key of A minor? These would be diatonic chords derived from A natural minor. Remember that minor harmony is derived from the harmonic minor scales in order to get the leading tone G#. G7 to C so convincingly suggests C as tonic that it is almost impossible to hear these chords as related to A minor. Here is another progression with roots descending in downward fifths. Even though the following progression starts with an Am7, it sounds more like a progression in the key of C major starting on the vi7. Am7 vi7

Dm7 ii7

G7 V7

Cmaj7 I

Fmaj7 IV

Bø7 iiø7/vi

E7 V7/vi

Am7 vi7

These two cycles will help aural recognition of the secondary dominant related to diatonic chords. Practice them at a keyboard in this key and others. Secondary Dominant Cycle No. 1: DEVELOPING AURAL HARMONIC RECOGNITION Descending diatonic chords with secondary dominants: I - V7/vi - vi - V7/V - V - V7/IV - IV - V7/iii - iii - V7/ii - ii - V7 - I Play at the keyboard:

œ & c œœœ # œœœœ

n œœœœ

# œœœœ

œœœ œ

? c œ œ #œ œ œ #œ œ

b œœœ œ

œœœ # # œœœ œ œ

œ œ œ

œ #œ

œœœ œ

# œœœœ

n œœœœ

œœœ œ

www w

œ œ #œ œ œ œ w

Secondary Dominant Cycle No. 1: DEVELOPING AURAL MELODIC RECOGNITION Descending diatonic chords with secondary dominants: I - V7/vi - vi - V7/V - V - V7/IV - IV - V7/iii - iii - V7/ii - ii - V7 - I Play the lower part on the keyboard and sing the upper part to master hearing the identifying tones necessary for tonicization:

& c œœ œœ#œœ œœ œ œ œnœ#œœ œ œ œ œœ œ ? c œœ œ œ

œœ œœ œœbœ œœ œœ#œœnœœ œœ œœ bœ œœ œœ œ œœ œ w #œ nœ œ œ œœ b œ œœ œ œœ œ œœ œ ww œ œ œ œ


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Secondary Dominant Cycle No. 2: DEVELOPING AURAL HARMONIC RECOGNITION Ascending diatonic chords with secondary dominants: I - V7/ii - ii - V7/iii - iii - V7/IV - IV - V7/V - V - V7/vi - vi - V7/V - V - V7 - I Play at the keyboard

& c œœ œœ œœ œœ # œœ œœ œœ œ œ œ œ œ œ œ ? c œ #œ œ #œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœœ ˙˙˙ œ #œ œ #œ œ œ #œ ˙ œ

œœ b œœ œœ œ œ œ œ

Secondary Dominant Cycle No. 2: DEVELOPING MELODIC RECOGNITION Ascending diatonic chords with secondary dominants: I - V7/ii - ii - V7/iii - iii - V7/IV - IV - V7/V - V - V7/vi - vi - V7/V - V - V7 - I Play the lower part on the keyboard and sing the upper part to master hearing the identifying tones necessary for tonicization:

& c œ . œ #œ bœ œ œ œ . œ #œ œ nœ œ œ œ œ œ bœ œ . œ #œ œ œ œ œ #œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ ˙ œ. œ œ œœ œœ œœ œœ œ ˙ œœ œœ œœ b œœ ? c œœ œ œœ œœ œ œ œ ˙ It is useful to fill out a chart for each of the thirteen major keys (including F3 and Gb) like the one shown below for the key of C. The charts will reinforce the memorization of secondary dominant relationships, the necessary accidentals for modulations, and the proper chord spelling. HOME KEY: C major NEW KEY AREA TO TONICIZE ii: D minor (1b) iii: E minor (1#) IV: F major (1b) V: G major (1#) vi: A minor


PRIMARY KEY SIGNATURE: No #s or bs SECONDARY SECONDARY SUPERTONIC DOMINANT Eø7 (iiø7/ii) A7 (V7/ii) F #ø7 (iiø7/iii) B7 (V7/iii) Gm7 (ii7/IV) C7 (V7/IV) Am7 (ii7/V) D7 (V7/V) Bø7 (iiø7/vi) E7 (V7/vi)

NECESSARY ACCIDENTALS Bb and (LT) C# F# and (LT) D# Bb F# (LT) G#

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DECEPTIVE RESOLUTIONS The definition of functional harmony submits that dominant chords point towards tonic and that other chords progress to particular places that ultimately lead back to tonic. Composers use the natural tendencies of these harmonic progressions to manipulate a listener’s expectations. It is important to understand that while certain chords point clearly to a specific chord, in musical situations, they do not always resolve as expected. If each chord always resolved as expected, music would be unbearably boring. On the other hand, if these chords were not expected to resolve certain ways, and if listeners universally did not anticipate these resolutions, then the deceptive resolutions would have little emotional or dramatic impact on the music. Fortunately for composers, listeners do react to the unexpected, which implies they do listen and listen with certain expectations. Deception is the device that comedians, magicians, storytellers and musicians count on to work their craft. For a joke to work, a certain possibility is anticipated, and then a surprise turn triggers the laugh. The magician with one hand draws your attention away then pulls the coin out of your ear with his other hand. The playwright uses our sense of expectation to elicit a response to a unexpected dramatic turn. The fact that deceptive resolutions are effective in music is proof of the functional harmony system. If the deceptions did not surprise to a degree, then the listeners had no expectations. Try this on a group of students of any age. Play the first measure and stop before resolving to the tonic chord. Everyone, musicians with training and even those without, anticipate the tonic chord. Play the second or third example when the G chord resolves to the A minor or Ab major and the reaction will be laughs and raised eyebrows. No one is reacting because from years of music theory study, reacting to some technical concept. They are reacting instinctively to the unexpected resolutions, proving that what was expected was the tonic chord. 6.8 a. Expected Resolution

b. Unexpected

& c œœœ œ œ œ œœœ œ œ œœœ www IV

?c ˙

˙

V

I

w

c. More Unexpected

œœ œ œ œ œœ œ œ œœ www œ œ œ IV

˙

˙

V

w

vi

œœ œ œ œ œœ œ œ œœ b b www œ œ œ IV

˙

˙

V

b VI

bw

All would agree that the G chord is a V chord in the first example above as it functions properly resolving to the I chord. Is it still the V chord when it resolves to the vi or the bVI chords? A V chord means that it points in a specific direction, it does not insist on a particular resolution. In all three cases the expectation was for the V chord to resolve to I: that is what makes it a V chord. In the two cases where the V chord resolved unexpectedly, the surprise is precisely because the G chord is the V of C and is expected to resolve accordingly. Route 66 winds from Chicago to LA, but one could stop or turn off anywhere along the road (Flagstaff, Arizona, don’t forget Winona), without changing the fact that Route 66 still points from Chicago to LA. Chords function to point to specific tonic chords whether they actually arrive where expected. (I often call this the “Route 66” principle.) In the following progression the G7 (V7 of C) resolves to Em7 once and to C later. G7 is the V7 in both instances. The resolution to Em7 is not a very deceptive resolution as Em7 can be a substitute for C or for C/E in first inversion. |

C

Am7

| Dm7 G7 V7

| Em7* iii7

Am7

| Dm7 G7 V7

|C I


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DOMINANT SEVENTH CHORDS & DECEPTIVE RESOLUTIONS The most common deceptive resolution is V7 resolving to vi (a.). This element of surprise has been diminished because these deceptive resolutions have occurred with such frequency for the last few hundred years. No one will hear these and be shocked. The deception is relative, but the terms and concepts are useful. The deceptive resolution is the same in the parallel minor (b.). A V7 in a major key is also effective in the deceptive resolution to bVI of the parallel minor key. a. Dm7 ii7

b. G7 V7

Am7 vi7

Dø7 ii7

G7 V7

A bmaj7 bVI

c. Dm7 ii7

G7 V7

A bmaj7 bVI

DIMINISHED SEVENTH CHORDS & DECEPTIVE RESOLUTIONS Diminished seventh chords are the most often misunderstood and misspelled. Since they are related to the dominant chords, they are often involved in deceptive resolutions. Diminished seventh chords can only be found within the major/minor system as the vii°7 in minor. The classification of a vii°7, just like the V7 chord and Route 66, does not change because of an irregular resolution. Diminished seventh chords that resolve deceptively often get mislabeled and cause much confusion, but chords still function, as the V7 chords function above, even when resolving deceptively. Diminished seventh chords sound and function as V7 chords in first inversion. The common deceptive resolution in minor is V7 - bVI. Dominant seventh chords are often found in first inversion with the third in the bass. The V7 in first inversion is often replaced by the vii°7 chord which creates the vii°7 bVI deceptive resolution. Listen in ex. 6.9 how the vii°7 resolves to i (G#°7 - Am) and then listen to the vii°7 - bVI deceptive resolution (G#°7 - F). This diminished chord is one of the most misspelled chords. It is often labeled Ab°7. This of course is an enharmonic spelling of the same pitches, yet it makes no sense. If a diminished chord is from the seventh degree of a minor key, then Ab is the seventh degree of Bbb minor, which is the key of twelve flats! The key of no sharps and flats is clearly preferable. The vii°7, i, and bVI chord may occur in other inversions. In ex. 6.10 the vii°7 chord is shown resolving to the i with both chords in first inversion. The second measure shows the vii°7 chord in first inversion resolving to the bVI chord in second inversion. The vii°7 chord is still spelled G#-B-D-F, as it should be in the key of A minor. When used in inversions, it is often misspelled. The G#°7/B below is often spelled B°7 rather than G#°7. A pianist reading the B°7 may play the same enharmonic notes, but the mislabeled chord confuses the function. A B°7 is the vii°7 of C minor which has nothing to do with these progressions in the key of A minor. The G#°7 chord in ex. 6.11 is often labeled F°7. Because of the bass note, it may be a convenient but incorrect label. F°7 is the vii°7 of Gb minor, the key of nine flats; a long way from A minor. 6.9

6.10 vii°7 - bVI6

vii°7 - i

& ˙˙ # ˙˙

˙˙˙

˙˙ # ˙˙

˙˙ ˙

6.11 vii°65 - bVI64

vii°65 - i6

# ˙˙˙ ˙

˙˙ ˙

# ˙˙˙ ˙

˙˙ ˙

vii°65 - bVI

vii°65 - i64

# ˙˙˙ ˙

˙˙ ˙

# ˙˙˙ ˙

˙˙ ˙

Why is it important to name and spell the chords correctly? Ab°7, B°7, D°7, F°7 or G#°7 may sound the sound the same, but will have completely different implications. Each of the G#°7 chords in ex. 6.9-6.11 are derived from the same scale (A harmonic minor), and spelling the chord correctly as a G#°7 makes


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it easier to comprehend. Any other spelling invites confusion. It takes no more effort and time to correctly label a chord and it saves time on the interpretation of its function. However, be prepared to see any number of enharmonic spellings in published and unpublished music. The key of bVI is a closely related key in minor. A progression in A minor may move to the key of F using the secondary ii7 and V7 chords. A minor may be tonicized by it own dominant. Am i

E7 V7

Am i

Gm7 ii7

bVI

C7 V7

F I

It is easy to see that E7 is the V7 of Am in the example above. Confusion arises when the E7 progresses directly to the G minor (ii7/bVI). How can it be the V7 of Am if it does not resolve to A minor? It is the same with all deceptive resolutions, it illustrates the “Route 66” principle in action. Even more confusion is produced when the vii°7 (G#°7) chord is used in the place of the V7 chord. The bass line from A to the G# to the G is very smooth. The principle of chromatics suggests the bass line should be written A Ab - G, and this is the reason this diminished chord is often spelled Ab°7. But no matter the enharmonic spelling, the function of the diminished chord remains vii°7 of A minor. Some call this a passing diminished, and it does pass between the A minor and G minor chords, but it is vii°7 of A minor in both the first and third measure of ex. 6.12 below. 6.12

&

œœœ

œœ œ

i

vii°7

? c œ #œ

œœ # œœ œ œ

ww w

œœœ

œœ œ

i

i

i

vii°7

œ

V7

œ

œ

w

#œ

b œœœ

œœ œ

ii7/bVI V7/bVI

nœ

œ

ww w I/bVI

w

If these diminished seventh chords and their deceptive resolutions were isolated instances or always confined to small rhythmic units, understanding their function would be less important. These diminished chords last for several beats in many settings and an improviser must understand their function in order to effectively create melodies over the harmonic passages. If the diminished chord lasts for two entire measures, it cannot be ignored. A strategy should be available for addressing these diminished chords. Labeling the chords “passing diminished” offers nothing in the way of melodic resources for dealing with the progression. Consider the following progression from a standard jazz bossa nova. The first version is how it appears in many printed versions. The Ab°7 and the F°7 spellings reflect the bass lines, but how and what should be played over the chords? Some have explained the Ab°7 is a passing chord and that the F°7 is really just non-harmonic tones that resolve to the F major chord. Both assessments are correct and yet neither offer a strategy for playing through the passage. The second passage spells both diminished chords as G#°7 which facilitates the understanding of its function in both places as the vii°7 of A minor. It functions as vii°7 in both places even though resolving deceptively. If the diminished chords are both derived from the A harmonic minor scale, then the A harmonic minor scale is a source for melodic material. 6.13a

‘

Am7 6.13b Am7

Typical printed version: Ab°7

Gm7

C7

F°7

C7

G#°7/F

Accurate spellings indicate function:

‘

G#°7

Gm7

Fmaj7

Fmaj7


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Transposing this progression to other keys may make it easier to understand. In Cm, which would you rather see: Cm - Cb°7 - Bbm7 or Cm - B°7 - Bbm7? The B°7 is related to the Cm and not to the Bbm 7 chord that follows, just as the G#°7 is related to the Am. 6.13c

Transposed to Cm:

‘

Cm7

B bm7

B°7

E b7

B°7/A b Abmaj7

A vii°7 chord is useful as a secondary leading tone chord to modulate from I to the key of iii. In G, that would be an A#°7 pointing to B minor. In ex. 6.14a, the A#°7 resolves deceptively back to the G. This means the A# and C# act as leading tones or lower neighbor tones to the pitches from the G triad: B and D. The A#°7 chord could have easily resolved to a B minor chord. This resolution is exactly the same kind as seen in sixth measure of ex. 6.13a-c. Chord symbols for this passage might have read G°7 - G, which would have been incorrect and misleading. A similar example of non-harmonic tones creating a deceptive diminished chord resolving to I is often used in the beginning to Misty. It could be argued that these chords are not actually deceptive in that many would not expect them to resolve in these contexts to the minor key from which these chords were derived. But understanding their relationship to the harmonic minor source is important for identifying melodic material. 6.14 a Mozart: Piano Sonata, K. 545, Andante

b. Popular Cadence

& 24

#œ œ œ #œ œ œ œ œ œ

&Ó

? 24

œ #œ #œ œ œ œ œ œ œ R

?Ó

œœ œ œ # # œœ ˙ ˙

# # # ˙˙˙

˙˙˙

w

Consider the enharmonic spellings carefully when labeling diminished chords. It may be sensible to label certain chords dictated by the logic of the bass line, but this also may cause confusion. Diminished chords often occur that are misspelled vii°7 chords. Determining the functional relationship of the enharmonically spelled diminished chords will unlock melodic resources. The following harmonic passage is found in many jazz standards. The Eb°7 spelling correctly reflects the downward chromatic root movement and the internal line (G - Gb - F), but offers no clue to available melodic resources. Spelling it as a vii°7 in the key of E minor suggests the E harmonic minor scale as a melodic resource. How can it be vii°7/iii if there is no E minor around? The D#°7 is derived from the E harmonic minor scale regardless of the resolution. 6.15 Typical incorrect spelling I6 ??? C/E

&

ww w

? c ww


ii7

Correct spelling indicates function I6 vii°7/iii ii7

E b°7

Dm7

C/E

D #°7

Dm7

b ww

ww

ww

# ww

n ww

b www

ww w

ww w

# www

n www

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The diminished chord in the second measure of ex. 6.15 can be proven to be the vii°7/iii by examining it in context from different perspectives. Take the chord tones (D# - F# - A - C) and add the Bn found in the melody. These together suggests a B7 in first inversion. If it were notated as a B7 it is doubtful anyone would question it being the V7 of E minor. The five pitches suggested by the melody and the chord symbol are two notes short of a scale: B - C - D# - ? - F# - ? - A. What kind of an E and G would fit with the given five notes? Examining the surrounding chords leaves no doubt they should be E and Gn. The resulting scale? B - C - D# - E - F# - G - A, all the notes of E harmonic minor. The vii°7/iii chord may follow or precede the iii chord. When it follows the iii7 chord it may deceptively resolve to the ii7 chord in progressions like the following: In the first progression, the D#°7 seems to clearly be the vii°7/iii as it resolves up to the Em7 chord. When ascending the D#°7 is the vii°7/iii, so it is rational to conclude that it is the same chord when descending, regardless of its resolution. If a G7 that resolves deceptively to Am is still the V7 of C, then a D#°7 can be the vii°7/iii even when resolving to Dm7. 6.16a

D#°7 (vii°7/iii) with typical and deceptive resolutions: Dm7 – D#°7 ii7 – vii°7/iii

Cmaj7 I 6.17b

Em7 – D#°7 iii7 – vii°7/iii

Dm7 – G7 ii7 – V7

Cmaj7 I

D#°7 (vii°7/iii) with deceptive resolutions:

Cmaj7 – Dm7 I – ii7

Em7 – D#°7 iii7 – vii°7/iii

Dm7 – G7 ii7 – V7

Cmaj7 I

The vii°7/iii is used in place of the V7 chord in this progression, but it is not the V7 of I. When the ii7 V7 points back to the I chord and the iii7 chord is used in its place, the iii7 chord can then be preceded by its dominant or dominant substitute. E7 (V7/iii) is the dominant of Am7 and G# °7 (vii°7/ii)i is a dominant substitute. 6.18 Fmaj7 I

Gm7 – C7 ii7 – V7

Am7 iii7

OR

Fmaj7 I

Gm7 – G#°7 ii7 – vii°7/iii

Am7 iii7

This imposition of a vii°7/iii can be used whether or not the progression actually goes to the iii7 chord. In this excerpt from a Charlie Parker improvisation, the G#°7 was used to progress to the I chord and not the iii7 chord. Is it a vii°7/iii? If it is, then the notes necessary for modulation or tonicization would be the Bn to change the key signature to no sharps or flats, and the leading tone G#. Parker plays those necessary tones clearly and unambiguously. 6.19 F

Gm7

#

G °7

F

œ & b œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ Œ Ó


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VALUE & LIMITS of ROMAN NUMERAL ANALYSIS (RNA) RNA should identify what is heard. It is not an abstract theoretical concept, but a tool explaining what is experienced musically. As with all tools, there are limits to their use. A hammer is inefficient with a screw and a screw driver will not drive a nail. Resist the temptation to force square pegs into round holes. RNA is useful when analyzing music within the major/minor system. When chords are arranged within functional harmony, i.e., harmony that functions to point to a tonic chord or pitch, then the RNA identifies the key signatures and the basic melodic materials. RNA proves useful for a large body of music including most of the jazz standards. There is also a large body of music that was not conceived with functional harmony, and so RNA is the wrong tool for analysis. If a composer has deliberately used harmony to obscure the sense of a tonal center, then a system designed to describe how chords function to point to a tonal center will be of no use. There are some compositions where there is a mixture of approaches: a section of the piece will have no relation to functional harmony relying on color harmony or modes, followed by a section where the harmony is quite traditional using ii7 - V7 progressions. To dissect this music, two or more analytical tools may be needed. The first section of the book is concerned with establishing an understanding of the major/minor system which is used as a foundation for so much of the literature performed by jazz artists. With the foundation established, the exceptions, additions and departures studied in the second part of the book will make more sense. Chords can also be built on many different scales and modes, and can be built using a wide variety and mixture of intervals. These chords can be used to create music, but they are not necessarily functioning in the major/minor system of which RNA is designed to define. Some of these other sounds will be explored in later chapters. RNA is not just labeling each chord with a Roman numeral. This imparts no helpful information. If the point is to label the chords, then use chord symbols. RNA is more useful in the practice room than on the bandstand. When Roman numerals are used correctly, they identify all the important pitches that imply the harmonic motion that may be used for melodic material. Used incorrectly, they are just numbers. If part of a progression includes chords from other keys, then modulation or tonicization has occurred and the RNA should identify those new keys and the pitches necessary for modulation. The pitches necessary for modulation are the most important source for harmonic specific melodies. A progression like the one below cannot be in one key, because there is not one key that contains all these chords. This example shows an incorrect use of Roman numerals. There cannot be F#ø7, B7 or A7 chords built using tones from the C major scale. The numbers reflect the proper intervals related to the tonic pitch, but are erroneous and misleading. The symbol “#ivø7” indicates that the half-diminished chord is from the raised fourth of C major. There is no raised fourth in C major! The “VII7” symbol suggests there is a D# and a F# in the key of C, and the “VI7” is suggests the impossible C# in the key of C. The symbols, if used correctly, should identify the keys. This progression cannot be from one key. 6.20 Cmaj7 I

Incorrect RNA:

F#ø7 – B7 #ivø7 – VII7

Em7 – A7 iii7 – VI7

Dm7 – G7 ii7 – V7

Cmaj7 I

The symbols below disclose more useful information. The F#ø7 - B7 is identified as being from the key of iii, E minor. D# and a F# then can be identified as the necessary tones needed to clarify this part of the progression. Knowing that the A7 chord is not just a dominant chord built on the sixth degree of the C major scale, but is the dominant of D minor, the key of ii, yields the necessary pitches C#, the leading tone, and Bb from the key signature.


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127

Correct RNA:

F#ø7 – B7 iiø7 – V7 iii

Cmaj7 I

Em7 – A7 iii7 – V7/ii

Dm7 – G7 ii7 – V7

Cmaj7 I

RNA is a tool used to explain the aural experience of harmony. Anyone listening to the progression above would know, upon hearing the F#ø7, B7 and A7 chords, that the key of C had been left behind. Leaving the home key is what makes the music interesting, and listeners respond accordingly. RNA can facilitate the understanding of these harmonic diversions. The most important part of understanding is being able to hear these progressions, the pitches that determine the tonic key and the pitches that create modulations to remote keys.

DOMINANT CHORD EXCEPTIONS In the discussion of chord types and function, dominant chords were found only on the dominant pitch of major or minor keys. They functioned to point down a fifth to those tonic chords regardless of actual resolution. There are three other types of chords that will be encountered in jazz that sound like dominant chords but do not function as a V7 in major or minor. A tritone substitution dominant chord is the substitution of a dominant chord a tritone away from the actual dominant which resolves down a half step in either major or minor keys. A chord which sounds like and is labeled a dominant seventh chord built on the flatted sixth degree in minor and resolves to the dominant chord is related to the traditional augmented sixth chord. A backdoor dominant deceptively resolves up a whole step to major keys and is related to a plagal cadence.

TRITONE SUBSTITUTION The dissonant augmented fourth interval between the fourth and seventh scale tones of a major or a harmonic minor scale is called a tritone (from the three whole steps between the pitches). The tritone is the major third and minor seventh of the dominant chord, and the active tones of the chord. The tritone dissonance wants to resolve in contrary stepwise motion. At (a), the B pulls up to the tonic pitch C and the F resolves down to the major or minor third. 6.22 G7

(a)

The tritone resolves in contrary stepwise motion:

C

G7

Cm

& ˙˙

˙ ˙

˙˙

˙ b˙

?

˙

˙

˙

˙

Two dominant chords a tritone apart share the same tritone (b). A G7 and a Db7 have the same third and seventh, although inverted and with an enharmonic spelling. The F is the third of Db7 and the seventh of G7; the Bn is the third of G7 and Cb is the seventh of Db7. If the Cb is spelled as a Bn, an interval of an augmented sixth in created between the Db and the Bn. In jazz chord notation practice, this chord is labeled a dominant seventh, as it sounds, rather than an augmented sixth chord as it may be spelled. Since these two dominants share the same tritone, and the tritone still wants to resolve in contrary stepwise motion, the Db7 chord can substitute for the G7 chord.


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Harmonic Progressions (b) G7 and a Db7 share the same tritone.

6.22 D b7

G7

& ˙˙ ?

3 7

˙

b ˙˙

D b7

D b7

C

D b7

Cm

˙˙

˙˙

˙ ˙

˙˙

˙ b˙

b˙

˙

b˙

˙

7 3

b˙

b˙

A6

Any dominant chord may be replaced in a progression by the dominant chord a tritone away if its resolution is down a half step to the tonic chord. (It is not used in the progression where the dominant moves to chords other than tonic). This is called tritone substitution. 6.22

(c) Tritone Substitution: Db7 may substitute for the G7 G7

C

Dm7

D b7

C

& ˙˙

˙˙

w w

˙˙

˙˙

w w

?˙

˙

w

˙

b˙

w

Dm 7

The tritone substitute dominant chord will often contain the actual dominant pitch. The dominant pitch is critical in melodies as it helps extablish the tonality and its occurrence over the tritone substitute dominant supports this melodic function. The inclusion of the dominant tone in a tritone substitute dominant explains why it does not sound or function like a typical dominant. The tritone substitute dominant does not want to resolve down a perfect fifth. The Db7 in the example below contains the pitch “G,” which confirms its identity as the tritone substitute for the G7 chord. It is doubtful that anyone listening to the passage would expect the Db7 to resolve to Gb major. It could be argued that the Db7 chord is actually an inverted G7 chord evidenced by the enharmonic spelling: G - B - Db - F. 6.23 Em7

A7

Tritone substitute dominants that contain the dominant pitch: Dm7

G7

& œœ # œœ n œœœ œœ œ ?œ œ œ œ

Cm aj7

Em 7

E b7

Dm 7

D b7

Cm aj7

ww w

œœ b œœ

œœœ œœœ

ww w

w

œ bœ

œ bœ

w

A4

There is no traditional agreed upon RNA notation for a tritone substitution. There are symbols for augmented sixth chords, but tritone substitute dominants do not behave as augmented sixth chords. Augmented sixth chords commonly substitute for a ii7 or a IV chord and resolve to a dominant chord so using the augmented sixth chord symbols here would be misleading. For the purposes of this book, the symbol “TT7” will be used to indicate a tritone substitute dominant chord. The two progressions at (c) above would then be: ii7 - V7 - I, and ii7 - TT7 - I.


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Knowing that dominant chords a tritone apart function in similar ways complicates the harmonic analysis process by only a small degree. Until now in this discussion, a dominant chord was always a V7 pointing down a fifth to a tonic chord. Dominant chords substituting for V7 point down a half step to the chord of resolution. It will be easy to determine the type of dominant by examining the context. SECONDARY DOMINANTS & TRITONE SUBSTITUTION A piece of music may modulate to closely related keys using secondary dominants. Any dominant chord may have a tritone substitution. The tritone substitution chord is usually spelled in the easiest to read enharmonic form, commonly avoiding chords like Fb7 and Bbb7. An example from the key of C major is shown below. TONIC KEY

SECONDARY DOMINANT

C C C C C

A7 B7 C7 D7 E7

TRITONE SUBSTITUTE DOMINANT E b7 F7 Gb7 A b7 B b7

NEW KEY

D E F G A

minor minor major major minor

Learn to recognize dominant chord paired with their tritone substitute chord and the home key to which they point.

DOMINANT CHORD (V7) G7 C7 F7 B b7 E b7 D #7 A b7 G#7 D b7 C #7 F#7 B7 E7 A7 D7

TRITONE SUBSTITUTE DOMINANT (TT7) D b7 Gb7 B7 E7 A7 A7 D7 D7 G7 G7 C7 F7 B b7 E b7 A b7

TONIC KEY

C F Bb Eb

F# B E A D G

(I or i) major & C minor major & F minor major & Bb minor major & Eb minor A b major G # minor D b major C # minor G b major major & F# minor major & B minor major & E minor major & A minor major & D minor major & G minor

TRADITIONAL AUGMENTED SIXTH CHORDS Good music theory should always describe the way the music sounds. One exception in traditional music theory is the augmented sixth chord. It sounds like a dominant seventh but is labeled a sixth chord because its spelling includes the interval of an augmented sixth. Adding to the confusion is that three geographical labels are often attached to these chords. The augmented sixth chord is usually found in first inversion.


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Historically, the entire concept of harmony came about as a result of melodic lines. The convergence of linear materials evolved into the recognition of certain vertical sonorities, chords and finally harmonic progressions. As certain sonorities occurred with more frequency, they became easier and necessary to name. The dominant seventh was not considered a chord at one time, but the voice leading circumstance of a dissonant passing tone (seventh) resolving to the third of the subsequent tonic triad. As composers used the chord with more frequency and for longer durations, the vertical sonority became the dominant seventh chord. Similar histories are true for most chords including the augmented sixth chord. The augmented sixth chord was originally considered a circumstance of chromatic voice leading between the IV or iv chords and the V7 chord and not an independent chord. When the IV chord (a) is in first inversion, the fourth scale degree may move up chromatically while the sixth degree moves chromatically down to the fifth degree, resolving to an octave. The interval between the two chromatic passing tones is an augmented sixth (as shown between the Ab and F#). Though the actual tertian spelling of the chord at (a) is F# - Ab - C, it sounds like an Ab7 chord without the fifth (Ab C - Gb). This type of augmented sixth chord is commonly labeled the “Italian sixth.” The “French sixth” at (b) is often preceded by a iiø7 chord in second inversion. The fourth scale degree moves through a chromatic passing tone to the fifth, creating the augmented sixth interval between the Ab and F#. The tertian spelling of the chord is D - F# - Ab - C, but with the Ab in the bass, to a jazz musicians, it sounds like an Ab 7 chord with a b 5 or a # 11. The “German sixth” is often preceded by a iv7 chord in first inversion. The fourth scale degree again progresses through a chromatic passing tone to the fifth, creating the augmented sixth interval. The resulting chord is spelled F# - Ab - C - Eb, but with the Ab in the bass, sounds like an Ab7 chord (Ab - C - Eb - Gb). An augmented sixth chord can occur following its sound-alike dominant seventh chord as in the modulation from C major to E minor shown at (d). The C moves to C7, the V7/IV, but with the enharmonic change of the Bb to A#, the chord becomes a “German sixth” leading to the cadence to E minor. The international labels are meaningless. There are many examples in literature where all three of the defining notes are present melodically over the augmented sixth chord. Example (e) is a virtual “Tour of Europe Sixth” chord. 6.24 (a) “Italian Sixth”

& c ˙˙ ?c

(a)

(b) “French Sixth”

# ˙˙

˙ ˙

n ˙˙

ww

IV 6

A6

V

V7

I

˙

b˙

˙

˙

A6

(c) “German Sixth” (c)

b & b b c ˙˙ ˙ ? b c ˙ bb


# ˙˙ ˙˙

A6

˙˙ n ˙œ œ ˙ ˙ ˙ ˙

b b b ˙˙ ˙˙ bbb

(b)

# ˙˙

4

iiø 3

w

˙˙

A6

A6

˙˙ n ˙œ œ 6 V˙4 V7 ˙ ˙˙

w w wi w

(d) “German sixth” (d)

w w

n n n ˙˙ b œœ # œœ ˙˙

# ˙˙

ww

w w

˙ nnn ˙

#˙ ˙

ww

œ A6œ ˙ œ œ ˙

Chapter 6


131

(e) “Tour of Europe Sixth” Chord

œ œ bœ œ œ 6 J &8 œœ ... #Gr/Fr/It œœ .. b œ œ. ? 68

˙. ˙. ˙˙ ..

The augmented sixth chord is relevant to jazz and occurs often in compositions in minor keys. Jazz musicians, with the chord symbol shorthand notation, label the chord as it sounds, not as it may be spelled in 17th and 18th century part writing. This chord is used in place of other pre-dominant chords like the IV, iv7, ii7 and iiø7 as any augmented sixth chord. The sound of a dominant chord resolving down a half step is related to the half step resolution of the tritone substitute dominant chord which also has the augmented sixth interval. The concept of chord symbol notation is to aid musicians in quick reading of the chord symbols. For this reason, this augmented sixth chord and the tritone dominant substitute are often identified with the easiest enharmonic spelling, usually avoiding chords like Bbb7 in favor of A7. The traditional notation of “A6” for augmented sixth, or some symbol indicating the international names (#iv It, ii7Fr , #ivGr ) are not used by jazz musicians. These symbols would only cause confusion in a jazz world. The “A6” might be confused with the A triad with an added F#. Since this chord behaves as a tritone substitute dominant resolving down a half step, for analysis the symbol “TT7” will be used for this book. For jazz shorthand chord notation, all of the augmented sixth chords above (a-e) would be labeled as they sound: as Ab7 chords. The augmented sixth chord could have presented simply as a dominant seventh chord that may resolve down a half step to the dominant chord, but it is important to understand the historical background and relationship of jazz music styles to those of other eras. Complete the table below showing the typical pre-dominant - dominant resolving to minor progression.

Augmented 6th chord sounding like a dominant chord on bVI F7 A b7

V7

i

E7

A minor D minor G minor C minor F minor B b minor E b minor

G7

Augmented 6th chord sounding like a dominant chord on bVI

A7

V7

G#7

i D # minor G # minor C # minor F# minor B minor E minor


132

Chapter 6


BACKDOOR DOMINANTS A backdoor dominant is a dominant chord that deceptively resolves up a whole step to major keys. It is often preceded by the IV chord. It may resolve to the iii7 or the I6 chords which often substitute for the I chord in the middle of a progression. A plagal cadence occurs when IV resolves to I as in “amen” shown at (a). Another plagal cadence is the progression iv - I, or IV - iv - I at (b). The natural tendency for roots to descend in fifths suggests the natural evolution of the IV chord resolving to a chord on the lowered seventh degree at (c) in place of the iv chord. This chord then seems to resolve to the I chord from the backdoor. 6.25 (a)

Plagal Cadences (b)

(c)

F

C

F

Fm

C

F

B b9

&˙ ˙˙ IV ?˙

˙˙ ˙ I ˙

œœ œ IV ˙

œ b œœ

˙˙ ˙ I ˙

œœ œ

œ b œœœ

œ

bœ

iv

Cmaj7

˙˙˙ ˙ ˙

The backdoor dominant chord may also contain the interval of an augmented fourth above the root. The major seventh of the IV chord is often retained in the backdoor dominant and anticipates the major third of the tonic chord. This note is why the backdoor dominant typically resolves to major and not minor. The Bb7 shown below will not sound like a V7 in the key of Eb because of the surrounding context of C major and the En occurring in the chord. The chords below are shown with more extended voicings. The F chord includes the major seventh and ninth. The Bb7 chord includes the 9 - #11 - 13. The 9 - #11 - 13 (C - E - G) of the Bb7 chord are the primary pitches of the upcoming tonic chord “C.” For the purposes of this book, the symbol “BD7” will refer to this type of dominant chord. The Bb7 chord in the second example is not a backdoor dominant. Backdoor dominants point to major keys and not minor keys. In this typical deceptive cadence, the Bb7 would be heard as the V7 or Eb and the Cm7 as vi7. 6.26 Backdoor Dominant with Extended Voicings Fm aj7

œœ œœ ?œ œ &

# B b9 11

œœ œœ bœ bœ


Cmaj7

A4

˙˙˙ ˙ ˙˙

V7 - vi7 Deceptive Cadence Fm 9

& b œœœœ ? bœ œ

B b13

Cm9

œœ œœ œ bœ

˙˙˙ ˙ ˙˙

Chapter 6


133

Simple harmonic passages can be energized by the addition of tritone substitutions and backdoor dominants. 6.27 Basic step progression: IV - iii7 - ii7 - Imaj7. Fmaj7

Em7

Dm7

Cm aj7

& www

ww w

ww w

w ww

?w

w

iii7

ii7

Imaj7

IVmaj7

w

w

A iv7 chord (Fm7) can be borrowed from the parallel minor. The ii7 (Dm7) chord can be preceded by its secondary dominant (A7 = V7/ii) and the tonic chord by the primary dominant (G7 = V7). 6.28 Fmaj7

Fm 7

& ˙˙˙

˙ b b ˙˙

IVmaj7

?˙

iv7

˙

Em7

A7

Dm7

G7

Cm aj7

˙˙ ˙

b˙ # ˙˙

˙˙ ˙

˙˙ ˙

ww w

iii7

˙

V7/ii

˙

ii7

˙

V7

˙

w

I maj7

The backdoor dominant (Bb7) can replace the borrowed iv7 chord. This backdoor dominant did not resolve to the I chord, but moves to the substituting iii7 chord. The Eb7 is the tritone substitution for the A7 and the Db7 for the G7. 6.29 Fmaj7

& ˙˙˙˙ IVmaj7

?˙

B b7

b ˙˙˙˙ BD7

b˙

Em7

E b7

Dm7

D b7

˙˙˙ ˙

b ˙˙˙

˙˙˙

˙˙˙

iii7

b˙

˙

TT7/ii

˙

ii7

TT7

b˙

Cm aj7

ww w w

I maj7


134

Chapter 6


The addition of these special dominant chords allows for several possible cadences to the tonic major or minor chord. This is a list of possible chords. Not all pre-dominant chords lead to all dominant chords. The backdoor dominant is usually preceded by the IV or iv7 chord. A partial list of combinations follows this chart. PRE-DOMINANT CHORDS IV ii7 iiø7 iv7 V7/V

DOMINANT CHORDS V7 viiø7 (rare) vii°7 Augmented 6th chord on bII as tritone substitute dominant (TT7) Backdoor dominant on bVII as plagal cadence (BD7)

TONIC CHORDS I i I6 or iii as substitute for I (sometimes vi7 as deceptive resolution)

vii°7/v 6 vii° 5 /iii

bVImaj7 Augmented 6th chord sounding like a dominant chord on bVI PARTIAL LIST of CADENTIAL COMBINATIONS Diatonic Chords:

With Secondary Dominant (V7/V):

Dm7 ii7

G7 V7

Cmaj7 I

Dø7 iiø7

G7 V7

Cm i

G7 V7

Cmaj7 I

With Tritone Dominant Substitution: Dm7 ii7 Dø7 iiø7

D b7 TT7

Cmaj7 I

D b7 TT7

Cm i

With Tritone Dominant Substitution & Borrowed iiø7 chord: Dø7 iiø7

D b7 TT7

Cmaj7 I

Plagal Cadence with Backdoor Dominant: Fmaj7 IV


B b7 BD7

Cmaj7 I

G7 V7

Cmaj7 I

With Secondary Dominant (V7/V) & Tritone Substitution: D7 V7/V

With Borrowed iiø7: Dø7 iiø7

D7 V7/V

D b7 TT7

Cmaj7 I

With Tritone Dominant Substitution for Secondary Dominant: A b7 TT7/V

G7 V7

Cmaj7 I

A b7 TT7/V

G7 V7

Cm i

With Tritone Dominant Substitution for Secondary Dominant & Dominant: A b7 TT7/V

D b7 TT7

Cmaj7 I

A b7 TT7/V

D b7 TT7

Cm i

Chapter 7

VII.

Harmonic Analysis

135

HARMONIC ANALYSIS:

ROMAN NUMERAL ANALYSIS with COMMON JAZZ PROGRESSIONS Practice identifying key areas using Roman Numeral Analysis in the following progressions. Begin by labeling the diatonic chords of the primary key. Next, label secondary chords showing their relationship to those primary diatonic chords. Label the form suggested by each progression (AABA, ABAB1, ABA, Blues, etc.). List the necessary notes for modulation to the secondary keys. How do these notes relate to the chords? Apply turnaround progressions in the last two measures of the forms when appropriate. Progressions are numbered from a list used with theory classes Titles are not shown due to copyright laws.

PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS

Progression no. 1 Am7

Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am7 A7

Dm7

G7

Cmaj7

A7

Dm7

G7

Fm C

E7

Am7

Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am7 A7

Dm7

G7

Eø7

A7

Dm7

G7

C

‘

Progression no. 2 C

‘

E7

‘

A7

‘

Dm7

‘

Bø7

E7

Am7

‘

D7

‘

Dm7

G7

C

‘

E7

‘

A7

‘

Dm7

‘

F

Fm

Em7

A7

Dm7

G7

C

‘


136

Chapter 7

Harmonic Analysis

Progression no. 5 Bb

D7

Eb

G7

Cm7

G7

Cm7

F7

Dm7

C#°7

Cm7

F7

Dm7

C#°7

Cm7

F7

Bb

D7

Eb

G7

Cm7

G7

Cm7

F7

Fm7

B b7

Eb

C #°7/E

B b/F

G7

Cm7

F7

TURNAROUND TUNES Progression no. 7 F

D7

Gm7

C7

Am7

Dm7

Gm7

C7

F

D7

Gm7

C7

Am7

Dm7

Cm7

F7

B bmaj7

Abm7 - Db7

G bmaj7

Em7 - A7

Dmaj7

Abm7 - Db7

G bmaj7

Gm7 - C7

F

D7

Gm7

C7 - Bb7

Am7 - D7

Gm7 - C7

F

‘

Progression no. 8 C - Am7

Dm7 - G7

C - Am7

Dm7 - G7

Em7 - Am7

Dm7 - G7

C - Am7

Dm7 - G7

C - Am7

Dm7 - G7

C - Am7

Dm7 - G7

Em7 - Am7

Dm7 - G7

C

Gm7 - C7

Fmaj7 - E7

A7 - D7

G7 - C7

B7 - E7

Fmaj7 - E7

A7 - D7

G7 - C7

D7 - G7

C - Am7

Dm7 - G7

C - Am7

Dm7 - G7

Em7 - Am7

Dm7 - G7

C

‘

The harmonic progression from the Gershwin’s I Got Rhythm is used for hundreds of jazz compositions including Oleo, Moose the Mooche, Cottontail, Anthropology and many others, is also based on a turnaround progression. Several versions of the harmonic possibilities for “rhythm changes” will be considered in chapter 8.


Chapter 7

Harmonic Analysis

137

PROGRESSES TO IV with SECONDARY ii7/IV - V7/IV Progression no. 9

E bmaj7

Bbm7 - Eb7

A bmaj7

Abm7 - Db7

Gm7 - Cm7

Fm7 - Bb7

Gm7 - Cm7

Fm7 - Bb7

E bmaj7

Bbm7 - Eb7

A bmaj7

Abm7 - Db7

Gm7 - Cm7

Fm7 - Bb7

Eb - Db7

Eb

B bm7

E b7

A bmaj7

A bmaj7

Aø7

D7

Gm7 - Cm7

Fm7 - Bb7

E bmaj7

Bbm7 - Eb7

A bmaj7

Abm7 - Db7

Gm7 - Cm7

Fm7 - Bb7

Eb - Db7

Eb

See also progression no. 10 under remote modulations, p. 140.

PROGRESSES to vi with SECONDARY iiø7/vi - V7/vi Progression no. 11 Fmaj7

Eø7 - A7

Dm7 - G7

Cm7 - F7

Fm7 - Bb7

Aø7 - D7

G7

Gø7 - C7

Fmaj7

Eø7 - A7

Dm7 - G7

Cm7 - F7

Fm7 - Bb7

Aø7 - D7

Gm7 - C7

Fmaj7

Cm7

F7

B bmaj7

B bmaj7

Ebm7

A b7

D bmaj7

Gø7 - C7

Fmaj7

Eø7 - A7

Dm7 - G7

Cm7 - F7

Fm7 - Bb7

Aø7 - D7

Gm7 - C7

Fmaj7

Progression no. 12

Blues with “Pretty Chords” or “West Coast” Blues

Fmaj7

Eø7 - A7

Dm7 - G7

Cm7 - F7

Gm7

C7

F - Dm7

Gm7 - C7

B bmaj7

Bbm7 - Eb7

Am7 - D7

Abm7 - Db7

Progression no. 13

E bmaj7

‘

Dø7

G7

Cm7

(F7)

B bm7

E b7

A bmaj7

D b7

E bmaj7

‘

Cm7

F7

Fm7

B b7

E bmaj7

‘

Dø7

G7

Cm7

(F7)

B bm7

E b7

A bmaj7

D b7

E bmaj7

Aø7 - D7

E bmaj7

Gø7 - C7

Fm7 - Bb7

E bmaj7


138

Chapter 7

Harmonic Analysis

USES SECONDARY vii°7 CHORDS Progression no. 14

F - F#°7

Gm7 - G#°7

Am7 - F7

Bbmaj7 - Eb7

Am7 - D7

Gm7 - C7

F - F#°7

Gm7 - G#°7

Am7 - F7

Bbmaj7 - Eb7

Am7 - D7

Gm7 - C7 Fmaj7 Bb7

D bmaj7 -

Ebm7 - Ab7

Fm7 - Bbm7

Ebm7 - Ab7

D bmaj7

B bm7

Gm7

C7

F - F#°7

Gm7 - G#°7

Am7 - F7

Bbmaj7 - Eb7

Am7 - D7

Gm7 - C7

Fmaj7

‘

B bm7

Progression no. 15

A7 - D7

G7 - C7 Ebm7 A b7

F

F#°7

Gm7

G#°7

F

B bmaj7

Aø7

D7

Gm7

E b7

F

Eø7 - A7

Dm7

G7

Gm7

C7

F

Aø7 - D7

Gm7

Bø7 - E7

F

B bmaj7

Aø7

D7

Gm7

E b7

F

Am7 - D7

Gm7

C7

F

‘

USES CYCLE of SECONDARY DOMINANTS Progression no. 16 G7

‘

‘

‘

C7

‘

‘

‘

F7

‘

‘

‘

Bb

Cm7 - F7

Bb

Aø7 - D7

G7

‘

‘

‘

C7

‘

‘

D7

Gm

Aø7 - D7

Gm

Aø7 - D7

Bb

G7

C7 - F7

Bb


Chapter 7

Harmonic Analysis

139

Progression no. 17 D7 - G7

C - Fmaj7

B7 - E7

A7 - Dm7

Dm7 G7

Am7 - D7

Dm7 - G7

C - A7

D7 - G7

C - Fmaj7

B7 - E7

A7 - Dm7

Dm7 G7

Am7 - D7

Dm7 - G7

C - F#ø7-B7

E - C#m7

F#ø7 - B7

G#m7- F‹°7

F#m7 - B7

E - C#m7

F#ø7 - B7

E7 - A7

Dm7 - Ebm7 - Em7 - E b7

D7 - G7

C - Fmaj7

Progression no. 18 D7

‘

B7 - E7

A7 - Dm7

Dm7 G7

Am7 - D7

Dm7 - G7

C

‘

F7

‘

B SECTION of RHYTHM CHANGES G7

‘

C7

CHORDS BORROWED from PARALLEL MINOR Progression no. 19 Gø7

C7

Fm

‘

Dø7

G7

C

‘

Gø7

C7

Fm

‘

Dø7

G7

C

‘

Cm7

F7

B bmaj7

‘

A b7

‘

G7

‘

Gø7

C7

Fm

‘

Dø7

G7

C

‘

Progression no. 20 Gø7

C7

Fmaj7

D7

Gm7

C7

Fmaj7

Fmaj7

Gø7

C7

Fmaj7

Bø7 - E7

Amaj7

Bm7 - E7

Amaj7

C

Gm7

C7

Fmaj7

‘

Aø7

D7

G7

C7

Gø7

C7

Am7

D7

Gm7

C7

Fmaj7

‘


140

Chapter 7

Harmonic Analysis

TUNES with SIMILAR A SECTIONS There are several tunes which share the same common A Section. A partial list with their usual keys includes: Take the “A” Train (C & Ab), O Pato (D), Girl from Ipanema (F & Db), Lucky Southern (D), and Watch What Happens (Eb & F). Progression no. 21.Common A section C

‘

D7

‘

Dm7

G7

C

‘

MODULATES to REMOTE KEYS Progression no. 22 Bb

‘

Aø7

D7

Gm7

C7

Fm7

B b7

E bmaj7

‘

Ebm7

A b7

D bmaj7

‘

C #m7

F#7

Bmaj7

‘

Cø7

F7

Dm7

D b7

Cm7

F7

Progression no. 10

B bmaj7

(F7)

Fm7

B b7

E bmaj7

‘

A b7

‘

B bmaj7

‘

C7

‘

Cm7

G7

Cm7

F7

B bmaj7

(F7)

Fm7

B b7

E bmaj7

‘

A b7

‘

B bmaj7

‘

C7

‘

Cm7

F7

B bmaj7

‘

C #m7

F#7

Bmaj7

‘

Bm7

E7

Amaj7

‘

Am7

D7

Gmaj7

‘

Gm7

C7

Cm7

F7

B bmaj7

(F7)

Fm7

B b7

E bmaj7

‘

A b7

‘

B bmaj7

‘

C7

‘

Cm7

F7

B bmaj7

‘


Chapter 7

Progression no. 23

Harmonic Analysis

Fm7

B bm7

E b7

A bmaj7

D bmaj7

Dø7 - G7

Cmaj7

‘

Cm7

Fm7

B b7

E bmaj7

A bmaj7

Aø7 - D7

Gmaj7

‘

Am7

D7

Gmaj7

‘

F#ø7

B7

Emaj7

C7

Fm7

B bm7

E b7

A bmaj7

D bmaj7

Gb7

A b/ C

B°7

B bm7

E b7

A bmaj7

(Gø7 - C7)

141

Five Common Tunes: All Twelve Keys A well prepared jazz musician can play in all twelve keys. These five commonly called jazz tunes require knowledge of all twelve keys: All the Things You Are (4bs, 0#s or bs, 3bs, 1#, & 4#s), Cherokee (2bs, 3bs, 1b, 5#s, 3 #s, & 1#), Body & Soul (5bs, 2#s, & 0#s or bs), ‘Round Midnight (6bs, 5bs, 3#s, 4bs, & 4#s) and Joy Spring (1b, 4bs, 6bs, 3#s, 1#, & 3bs).

PROGRESSIONS SHOWN with RNA PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS The leading tone of the key of vi (G#) is needed in mm.6-7 and mm.22-23. The leading tone C#, and a Bb are needed to tonicize the key of ii in mm.8, 16, and 27-28. The plagal cadence at m.15 (iv - I) requires at least an Ab and suggests an Eb for the first two beats. The form is ABAB1 . The first phrase of progression no. 1 appears again in progression no. 23 in two other keys. It also is found in the Mozart excerpt in ex 7.1.

Progression no. 1 Am7 vi7

Dm7 ii7

G7 V7

Cmaj7 I

Fmaj7 IV

Bø7 iiø7/vi

E7 V7/vi

Am7 A7 vi7 V7/ii

Dm7 ii7

G7 V7

Cmaj7 I

A7 V7/ii

Dm7 ii7

G7 V7

Fm C iv - I

E7 V7/vi

Am7 vi7

Dm7 ii7

G7 V7

Cmaj7 I

Fmaj7 IV

Bø7 iiø7/vi

E7 V7/vi

Am7 A7 vi7 V7/ii

Dm7 ii7

G7 V7

Eø7 iiø7/ii

A7 V7/ii

Dm7 ii7

G7 V7

C I

‘


142

Chapter 7

Harmonic Analysis

7.1

&c ≈

Mozart: Piano Sonata, K.545, Allegro

œœœœœœ

œœ

vi7

?c œ

Œ ii7

Œ

&

≈

œ œ œ œ œ œœœ

V7

I

Œ

≈ œœœœ œœ œ œ

Œ

≈

œ œ œ œ œœœœ

Œ

≈œ

œ œ# œ œ

œœœ

iiø7/vi œ œ œ œ œ V7/vi œ œ #œ Œ Œ ?≈

IV

≈ œœœ œ œœ œ œ

Œ vi7

œœ ≈ œ œn œ œ œ ˙

ii

The E7 in m.3 of progression no. 2 points to A minor and needs the G# , the leading tone of A minor. It does not resolve to the A minor, but to an A7, the V7 of D minor. The A7 requires a Bb from the key signature and C# leading tone. The D7 in m.13 is the V7 of G, needing an F#, although it never resolves to G, instead changes to a minor 7 chord becoming the ii7. The A7 chord in m.28 would normally be labeled V7/ii, which is where it actually resolves. However, the melody note at this point in the piece is a Bn, suggesting A7 is the dominant of D major and not D minor. The form is ABAC. Progression no. 2

‘

C

‘

E7 V7/vi (G # )

I

A7

‘

V7/ii

Dm7

‘

ii7

(Bb , C# )

Bø7

E7

Am7

iiø7/vi

V7/vi (G# )

vi

C

‘

E7

I

‘

D7

‘

V7/V (F # )

‘

V7/vi

A7

‘

V7/ii

Dm7

G7

ii7

V7

Dm7

‘

ii7

(Bb , C# )

F

Fm

Em7

A7

Dm7

G7

C

IV

iv

iii7

V7/II*

ii7

V7

I

‘

(F# , C# )

The form for progression no. 5 is ABAB1 . Progression no. 5 is often misunderstood because of several deceptive resolutions. The D7 in m.2 is the V7/vi even though it resolves up the IV chord. In G minor, the most common deceptive resolution is V bVI, which is D7 - Ebmaj7. These same two chords occur here, but instead of V - bVI in G minor, it is V7/vi - IV in the relative Bb major. Only one note changes: Fn to F#. With Bb in the melody, the D7 chord is often labeled a D7#5. The A# (#5) and the Bb (b13) are same pitch with an enharmonic spelling, but A# is senseless in the context of G minor or Bb. An augmented fifth wants to resolve up: A# - Bn, but the melody moves down Bb - An, the kind of resolution associated with a b13. The G7 in m.5 is also often labeled G7#5 because of an Eb in the melody. This contradiction leads to confusion. Since there is no D# in this context, and there is an Eb, it makes more sense to label the chord a G7b13. The chord functions as the V7 in C minor, and the Eb melody note and the b13 chord designation reflect this. The C#°7 in m.10 also causes much confusion. Since the bass moves down, the chord is often spelled Db°7. The C# is a better choice than Db since the chord is the secondary leading tone chord in the key of D minor and calls for a C# and an En. Db°7 would be the leading tone chord in the key of Ebb minor with


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a key signature of thirteen flats! Some argue that this chord is a passing diminished chord and does not function as a leading tone chord in D minor since it does not resolve to D minor. It does pass between Dm and Cm, but labeling it a passing diminished gives no information about its harmonic function, necessary alterations, or any suggestions for melodic resources. The functional relationship of C#°7 to the Dm7 suggests the altered En and C# tones. This is the “Route 66” principle again: a chord may resolve somewhere other than where it points. A dominant chord usually points to, but may follow a tonic chord. Dm moved to C#°7 just as the Cm moved to its dominant G7 in mm.5-6. The F7 in m.12 is still the dominant of Bb even though it resolves to Dm7. An An in the melody further illustrates the relationship of the C#°7 to the key of D minor. The notes of the diminished chord added to the melody note form the notes of an A7b9 chord (A - C# - En - G - Bb). These five notes are two notes shy of a scale, missing only some kind of a D and a F. The logical choices to fill out the scale are Dn and Fn, being in the key of Bb major and following a D minor chord. Add the notes implied by the melody, the chord symbol and the context together and you have the D harmonic minor scale (A - Bb - C# - D - En - F - G - A). Another deceptive resolution is rarely questioned. No one questions whether F7 is the V7 chord in the key of Bb major even though in mm. 8-9 and mm. 11-12 the F7 resolves to a Dm7. For some, it is easier to accept deceptive dominant than deceptive diminished resolutions. The diminished chord in m. 28 is often spelled as E°7. This makes the bass line easy to see, but may cause confusion in the analysis. Recognizing it as C#°7/E, a diminished chord in first inversion, reveals its function as vii°7/iii, a closely related secondary chord. E°7 suggests vii°7/v, and F minor, with four flats is a very remote key and completely out of context. An E°7 and a C#°7 share the same enharmonic pitches (E-G-Bb-Db/C#) but sound the same only when taken out of context. It is important to remember that these chords occur in a musical contexts and must be analyzed accordingly. A C#°7 is the vii°7 of Dm, a closely related key to Bb. The third in the bass puts the vii°7 in first inversion, the most typical setting of a vii°7 chord in traditional music. Learn to recognize the possible functions of diminished chord no matter how they are spelled and no matter where they resolve. The correct identification identifies the smoothest note choices. Every time a diminished chord is encountered a process of elimination could be applied to determine the logical melodic resources. Understanding the value of RNA can save time, realizing that in most cases a diminished chord, whether it occurs as a leading tone resolving traditionally, as a passing diminished, or a diminished resolving deceptively, the chord is derived from the seventh degree of a harmonic minor scale. Progression no. 5 Bb I

D7 V7/vi

E bmaj7 IV

Dm7 iii7

C#°7 vii°7/iii

Bb I

D7 V7/vi

Fm7 ii7/IV

(F#)

(En, C#)

B b7 V7/IV

G7 V7/ii

Cm7 ii7

G7 V7/ii

Cm7 ii7

F7 V7

Cm7 ii7

F7 F7

Dm7 iii7

C#°7 vii°7/iii

Cm7 ii7

F7 F7

Eb IV

G7 V7/ii

Cm7 ii7

G7 V7/ii

Cm7 ii7

F7 V7

G7 V7/ii

Cm7 ii7

F7 V7

Eb IV

(Ab, B n)

C #°7/E vii°7/iii

B b/F I


144

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TURNAROUND TUNES These tunes are based on the common cycle progression I - vi7 - ii7 - V7, and its most common variation, I - V7/ii - ii7 - V7. This progression is often used at the end of a form to turnaround back to the top of the form. This turnaround progression could be used in the last two measures of progression no. 7 to avoid having eight beats of F then repeating to the top of the form for another F chord. The turnaround progression is shown in mm. 31-32. Most of progression no. 7 stays in the key of F utilizing the turnaround chords. The challenge to the progression is the bridge which goes to the close key of IV (Bb), and then to the remote keys of Gb and D. The form is AABA. Progression no. 7 F I

D7 V7/ii

Gm7 ii7

C7 V7

Am7 iii7

Dm7 vi7

Gm7 ii7

C7 V7

F I

D7 V7/ii

Gm7 ii7

C7 V7

Am7 iii7

Dm7 vi7

Cm7 ii7/IV

F7 V7/IV

Em7 - A7 ii7-V7 VI

Dmaj7 I/VI

B bmaj7 IV

Abm7 - Db7 ii7-V7 bII

G bmaj7 I/bII

F I

D7 V7/ii

Gm7 ii7

C7 - Bb7 V7 TT7/iii

Am7 - D7 iii7 V7 ii

Abm7 - Db7 ii7-V7 bII

G bmaj7 I/bII

Gm7 - C7 ii7-V7

Gm7 - C7 ii7 - V7

F - (D7 I - (V7/ii

Gm7 - C7) ii7-V7)

Progression no. 8 is the one that every child in America seems to know on the piano and plays with this accompaniment. 7.2

&cŒ

œœœ œœœ Œ

?c œ œ Œ

œœœ œœœ Œ

œœ Œ

œœ

œœœ œœœ Œ

Œ

œœœ œœœ

œœ Œ

‰ j ‰ jœ œ ‰ j œ ‰ j œ œ œ œ œ œ œ œ œ ˙

˙

˙

˙

Progression no. 8 C - Am7 I - vi7

Dm7 - G7 ii7 - V7

C - Am7 I - vi7

Dm7 - G7 ii7 - V7

Em7 - Am7 iii7 - vi7

Dm7 - G7 ii7 - V7

C - Am7 I - vi7

Dm7 - G7 ii7 - V7

C - Am7 I - vi7

Dm7 - G7 ii7 - V7

C - Am7 I - vi7

Dm7 - G7 ii7 - V7


Dm7 - G7 ii7 - V7

C I

Gm7 - C7 ii7 - V7 IV

Fmaj7 - E7 IV - V7/vi

A7 - D7 V7/ii V7/V

G7 - C7 V7 - V7/IV

B7 - E7 V7/iii V7/vi

Fmaj7 - E7 IV - V7/vi

A7 - D7 V7/ii V7/V

G7 - C7 V7 - V7/IV

D7 - G7 V7/V - V7

C - Am7 I - vi7

Dm7 - G7 ii7 - V7

C - Am7 I - vi7

Dm7 - G7 ii7 - V7


Dm7 - G7 ii7 - V7

C I


‘

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145

Every child knows the melody to the A section of progression no. 8, but few seem to know the bridge. There is an interesting cycle of dominants in the bridge that point to different closely related keys without actually getting to those keys. Each dominant resolves to the correct root, but each chord quality is changed to a dominant which propels the progression forward. There are two descending chromatic lines a tritone apart suggested by this progression. 1. 2. 3. 4. 5. 6. 7.

E7 = V7/vi, the G# is required as the leading tone to Am. A7 = V7/ii, the C# is the leading tone to D minor. D7 = V7/V, the F# is from the key signature of G major. G7 = V7, the Fn is from the key signature of C major. C7 = V7/IV, the Bb is from the key signature of F major. B7 = V7/iii, the D# is from the key signature of E minor. E7 = V7/vi, the G# is required as the leading tone to Am.

7.3 E7

A7

& c # ˙˙ n # ˙˙ 1.

?c ˙

D7

# ˙˙

2.

˙

G7

n ˙˙

3.

˙

C7

˙

b ˙˙ 4.

B7

E7

# ˙˙

n # ˙˙

5.

˙

6.

˙

7.

˙

PROGRESSES to IV with SECONDARY ii7/IV - V7/IV The backdoor dominant in mm4 resolves to the iii7, a tonic chord substitute. The form is AABA. Progression no. 9

E bmaj7 I E bmaj7 I B bm7 ii7/IV

Bbm7 - Eb7 ii7 - V7 IV Bbm7 - Eb7 ii7 - V7 IV E b7 V7/IV

A bmaj7 IV

Abm7 - Db7 iv7 - BD7

Gm7 - Cm7

Fm7 - Bb7 ii7 - V7

Gm7 - Cm7

iii7 - vi7

Fm7 - Bb7 ii7 - V7

A bmaj7 IV

Abm7 - Db7 iv7 - BD7

Gm7 - Cm7

iii7 - vi7

Fm7 - Bb7 ii7 - V7

Eb - Db7 I - BD7

Eb I

A bmaj7 IV

‘

Aø7 iiø7/iii

D7 V7/iii

Gm7 - Cm7

Fm7 - Bb7 ii7 - V7

iii7 - vi7

E bmaj7

Bbm7 - Eb7

A bmaj7

Abm7 - Db7

Gm7 - Cm7

Fm7 - Bb7

I

ii7 - V7 IV

IV

iv7 - BD7

iii7 - vi7

ii7 - V7

iii7 - vi7 Eb - Db7 I - BD7

Eb I

See also progression no. 10 under remote modulations, p. 149.


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PROGRESSES to vi with SECONDARY iiø7/vi - V7/vi The form is AABA. Progression no. 11 Fmaj7 I

Eø7 - A7 iiø7-V7 vi

Dm7 - G7 vi7 - V7 V

Cm7 - F7 ii7-V7 IV

Fmaj7 I


Dm7 - G7 vi7 - V7 V

Cm7 ii7/IV

F7 V7/IV

B bmaj7 I/IV

Cm7 - F7 ii7-V7 IV

Fmaj7 I


Dm7 - G7 vi7 - V7 V

B bmaj7 I/IV

Cm7 - F7 ii7-V7 IV

Fm7 - Bb7 ii7-V7 bVII Fm7 - Bb7 ii7-V7 bVII Ebm7 ii7/bVI

Fm7 - Bb7 ii7-V7 bVII

Aø7 - D7 iiø7-V7 ii

G7 V7/V

Gø7 - C7 iiø7-V7 i


Gm7 - C7 ii7 - V7

Fmaj7 I

A b7 V7/ bVI

D bmaj7 I/bVI

Gø7 - C7 iiø7-V7/i


Gm7 - C7 ii7 - V7

Fmaj7 I

The form is twelve measure Blues. Progression no. 12

Blues with “Pretty Chords” or “West Coast” Blues

Fmaj7 I


Dm7 - G7 vi7 - V7 V

Cm7 - F7 ii7-V7 IV

Gm7 ii7

C7 V7

F - Dm7 I - vi7

Gm7 - C7 ii7 - V7

Dø7 iiø7/vi

G7 V7/vi

B bmaj7 IV

Bbm7 - Eb7 vi7 - V7 bIII

Am7 - D7 vi7 - V7/ii

Abm7 - Db7 vi7 - V7 bII

Cm7 vi7

(F7) (V7/v)

B bm7 ii7/IV

E b7 V7/IV

Cm7 vi7

F7 V7/V

Fm7 ii7

Cm7 vi7

(F7) vi7

The form is ABAB1 . Progression no. 13

E bmaj7 I

A bmaj7 IV E bmaj7 I

A bmaj7 IV


‘ D b7 BD7

‘ D b7 BD7

E bmaj7 I

Dø7 iiø7/vi

E bmaj7 I

‘ G7 V7/vi Aø7 - D7 iiø7 - V7 iii

E bmaj7 I

Gø7 - C7 iiø7 - V7 ii

B bm7 ii7/IV

Fm7 - Bb7 ii7 - V7

B b7 V7

E b7 V7/IV

E bmaj7 I

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USES SECONDARY vii°7 CHORDS The form is AABA. The B section modulates the remote key of bVI. bVI (Db, 5bs) is closely related to the parallel F minor (4bs). Progression no. 14

F - F#°7 I - vii°7/ii F - F#°7 I - vii°7/ii D bmaj7 B bm7

I - vi7 bVI

Gm7 - G#°7 Am7 - F7 ii7 iii7 - V7/IV vii°7/iii Gm7 - G#°7 Am7 - F7 ii7 iii7 - V7/IV vii°7/iii

Bb - Eb7 IV - BD7

Am7 - D7 iii7 - V7/ii

Gm7 - C7 ii7 - V7

Bb - Eb7 IV - BD7


Gm7 - C7 ii7 - V7

Fmaj7 Bb7 I - V7/bvii

Ebm7 - Ab7 ii7 - V7 bVI

Gm7

C7

A7 - D7 V7/vi V7/ii

G7 - C7 V7/V - V

Ebm7 - Ab7

Fm7 -

Ebm7 - Ab7

D bmaj7

B bm7

ii7 - V7 bVI

iii7 - vi7 bVI

ii7 - V7 bVI

bVI

I

vi7 bVI

ii7

V7

Gm7 - C7

Fmaj7

‘

iii7 - V7/IV

E b7 IV - BD7


ii7 - V7

I

Gm7 ii7

G#°7 vii°7/iii

F I

B bmaj7 IV

Aø7 iiø7/ii

D7 V7/ii

F - F#°7

Gm7 - G#°7

I - vii°7/ii

ii7 vii°7/iii

B bm7

Am7 - F7

B bmaj7 -

The form is ABAB1 . Progression no. 15 F I Gm7 ii7 F I Gm7 ii7

F#°7 vii°7/ii E b7 BD7

Aø7 - D7 iiø7 - V7 ii E b7 BD7

F I

Eø7 - A7 iiø7 - V7 vi

Dm7 vi7

G7 V7/V

Gm7 ii7

C7 V7

Gm7 ii7

Bø7 - E7 iiø7 - V7 iii

F I

B bmaj7 IV

Aø7 iiø7/ii

D7 V7/ii

F I


Gm7 ii7

C7 V7

F I

‘


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USES CYCLE of SECONDARY DOMINANTS The form is ABAC. Progression no. 16

‘

‘

‘

‘

‘

‘

‘

‘

‘

Aø7 - D7 iiø7-V7 vi

Gm vi

Aø7 - D7 iiø7-V7 vi

G7 V7/II F7 V7 G7 V7/II Gm vi

‘

‘

Cm7 - F7 ii7 - V7

Bb I

‘

‘

G7 V7/ii

C7 - F7 V7/V - V7

C7 V7/V Bb I

C7 V7/V Bb I

‘ Aø7 - D7 iiø7-V7 vi D7 V7/vi Bb I

The form is AABA The end of the second A section points to the closely related key of E minor, but the B section is in E major. Progression no. 17 D7 - G7 V7/V - V7

C - Fmaj7 I - IV


A7 - Dm7 V7/ii - ii7

Dm7 G7 ii7 - V7

Am7 - D7 vi7 - V7/V

Dm7 - G7 ii7 - V7

C - A7 I - V7/ii

D7 - G7 V7

C - Fmaj7 V7

B7 - E7 V7

A7 - Dm7 V7

Dm7 G7 I

Am7 - D7 ii7 - V7

Dm7 - G7 I

E - C#m7

F#ø7 - B7

G#m7- F‹°7

F#m7 - B7

E - C#m7

F#ø7 - B7

C - F#ø7-B7 I - iiø7-V7 iii

E7 - A7

Dm7 -

Ebm7 -

I-vi7 III

iiø7-V7 iii

iii/III vii°7/#v

ii7-V7/III

I-vi7 III

iiø7-V7 iii

V7/vi V7/ii

Em7 - Eb7 ii7 - ii7/bII iii7 - TT7/ii

D7 - G7 V7/V - V7

C - Fmaj7 I - IV


A7 - Dm7 V7/ii - ii7

Dm7 G7 ii7 - V7

Am7 - D7 vi7 - V7/V

Dm7 - G7 ii7 - V7

C I

Progression no. 18 D7 V7/VI


‘

B SECTION of RHYTHM CHANGES G7 V7/II

‘

C7 V7/V

‘

F7 V7

‘

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149

CHORDS BORROWED from PARALLEL MINOR The form is AABA. Progression no. 19 Gø7 iiø7

C7 V7/iv

Fm iv

Gø7 iiø7

C7 V7/iv

Fm iv

Cm7 ii7/bVII

F7 V7/bVII

Bb I/bVII

Gø7 iiø7

C7 V7/iv

Fm iv

‘ ‘

Dø7 iiø7/i

G7 V7/i

C I

Dø7 iiø7/i

G7 V7/i

C I

A b7 TT7/V

‘ ‘

‘

Dø7 iiø7/i

G7 V7/i

‘ ‘ ‘

G7 V7/i

‘

C I

The form is ABCD. The B and D sections could be labeled variations of the A section. Progression no. 20 Gø7 iiø7/i

C7 V7/i

Fmaj7 I

D7 V7/ii

Gm7 ii7

C7 V7

Fmaj7 I

Gø7 iiø7/i

C7 V7/i

Fmaj7 I

Bø7 - E7 iiø7-V7 iii

Amaj7 I/III

Bm7 - E7 ii7-V7 III

Amaj7 I/III

Gm7 ii7

C7 V7

Fmaj7 I

Aø7 iiø7/ii

D7 V7/ii

G7 V7/V

Gø7 iiø7/i

C7 V7/i

Am7 iii7

Gm7 ii7

C7 V7

Fmaj7 I

G7 V7

C I

‘ D7 V7/ii

‘ ‘ C7 V7

‘

SIMILAR A SECTION Progression no. 21 C I

‘

Common A section D7 V7/V

‘

Dm7 ii7

‘

MODULATES to REMOTE KEYS Twenty four measure cycle progression. Internal harmonic sequencing help establish form. Progression no. 22 Bb I

E bmaj7 IV Bmaj7 I/bII

‘ ‘ ‘

Aø7 iiø7/vi

D7 V7/vi

Gm7 vi7

Ebm7 ii7/bIII

A b7 V7/bIII

D bmaj7 I/bIII

Cø7 iiø7/i

F7 V7

Dm7 iii7

C7 V7/V

‘ D b7 TT7/ii

Fm7 ii7/IV

B b7 V7/IV

C #m7 ii7/bII

F#7 V7/bII

Cm7 ii7

F7 V7


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The form is AABA. B section wanders through several remote keys. Progression no. 10

B bmaj7 I B bmaj7 I B bmaj7 I

B bmaj7 I

(F7) (V7)

‘ (F7) (V7)

‘

Fm7 ii7/IV C7 V7/V Fm7 ii7/IV C7 V7/V

C #m7 ii7/bII

F#7 V7/bII

Bmaj7 I/bII

Am7 ii7/VI

D7 V7/VI

Gmaj7 I/VI

(F7) (V7)

Fm7 ii7/IV

B bmaj7 I B bmaj7 I

‘

C7 V7/V

B b7 V7/IV

‘ B b7 V7/IV

‘ ‘ ‘ B b7 V7/IV

‘

E bmaj7 IV

‘

A b7 BD7

‘

Cm7 ii7

G7 V7/ii

Cm7 ii7

F7 V7

E bmaj7 IV

‘

A b7 BD7

Cm7 ii7

F7 V7

B bmaj7 I

Bm7 ii7/VII

E7 V7/VII

Amaj7 I/VII

Gm7 ii7/V

C7 V7/V

Cm7 ii7

E bmaj7 IV Cm7 ii7

‘ F7 V7

A b7 BD7

B bmaj7 I

‘ ‘ ‘ F7 V7

‘ ‘

The form is AABA. The second A section is in a different key and the last A section is extended by four measures. Progression no. 23 Fm7 vi7

B bm7 ii7

E b7 V7

A bmaj7 I

D bmaj7 IV

Cm7 vi7/V

Fm7 ii7/V

B b7 V7/V

E bmaj7 I/V

A bmaj7 IV/V

Am7 ii7/VII

D7 V7/VII

Gmaj7 I/VII

‘

F#ø7 iiø7/ bVI

Fm7 vi7

B bm7 ii7


B bm7 ii7 E b7 V7

E b7 V7

A bmaj7 I

A bmaj7 I (Gø7 - C7) iiø7 - V7 vi

D bmaj7 IV

Dø7 - G7 iiø7 - V7 vi

Cmaj7 I/VI

Aø7 - D7 iiø7 - V7 vii

Gmaj7 I/VII

B7 V7/ bVI

Emaj7 I/bVI

Gb7 BD7

A b/ C I

‘ ‘ C7 V7/vi B°7 vii°7/iii

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151

VIII. Harmonic Substitutions & Turnarounds Harmonic progressions in a jazz performance are very liquid and pliable. Many commonly performed jazz standard tunes have no agreed upon “correct” set of chords. Comparing several performances or recordings will reveal different harmonic progressions for the same tune. The differences may vary greatly depending on the artist and the arranger. Experienced artists may change the harmonic progression from chorus to chorus during a single performance; the harmony used as a developmental device for creating more or less tension in the course of the performance. The progression may change within a single performance, shifting between complex and simple. Assumptions about the “correct” set of chords to a particular piece are usually based on the first source experienced. First sources include old style lead sheets, legal or illegal fake books, and recordings of a specific artists. Harmonic preferences and even standard keys for some tunes change for different regions of the world usually determined by a influential group of local musicians. The creative approach of a single well-known artist may influence the harmonic choices for many. Ironically, the most often played progressions, including blues and “rhythm changes,” may have the most harmonic variations rather than having an authoritative agreed upon harmonic framework. Before there were legal “fake” books, illegal versions could be purchased from various sources. Published sheet music typically had three lines: one for the melody and lyric, plus the two line staff easy piano arrangement. Earlier sheet music might have included simplified chord symbols for guitar, banjo or ukulele above the top line. “Fake” books were made by cutting off the top melodic line of music with whatever limited chord symbols appeared. These skeletal pieces were pasted two tunes to the page and put together into books used by working musicians. Working musicians expanded the sparse harmonic vocabulary in performances by inserting extra chords progressing from one primary point to another. The limitations of ukulele and banjo led to many omissions and some confusing looking chord symbols. A progression marked F - G7 for the ukulele or guitar might have actually been Dm7 - G7 in the piano part; the D bass note having been cut off for the “fake” book version. A iiø7 - V7 to the key of A minor might appear as Dm6 - E7 in the banjo chords. The Dm6 shares the same notes as the Bø7, and with a B in the bass in the cut off piano part would sound like a Bø7. As musicians played these tunes over the years, much of the original harmony was “improved,” new substitutions were added and passed on either from new lead sheets, arrangements, or through the oral traditions. Compare several legal copyrighted versions of standard jazz tunes today and a number of different of “correct” versions of the chord changes emerge. Any creative, experienced jazz performer will have a personal approach to many of these common progressions. A jazz performer must have the tools to master the elastic state of jazz harmony. These tools include understanding formula progressions that can be applied to sections of standard jazz tunes and strategies for enhancing lead sheet progressions. Several versions of the same progressions are compared below addressing practical applications of harmony. These principles will then be applied to the most common forms played by jazz musicians: the blues and rhythm changes. All of the harmonic considerations in this chapter will be confined to the major/minor system. There are other harmonic possibilities that can be addressed only after acquiring a thorough understanding of the major/minor system.


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TURNAROUND PROGRESSIONS I . Turnarounds to Tonic (I) Many progressions end with two measures of the tonic chord and begin again on the same tonic chord. This creates twelve or more beats of the same static sound. Several other chords may be placed in this area which create motion to replace the static harmony. The new progressions are called “turnarounds” as they turn the piece around the top of the form. There are many tunes that are based on a variation of these turnaround progressions. Try to determine the accidentals necessary in these turnarounds. Static harmony: the last two measures of the form and the first measure all on the tonic chord begs for harmonic motion to replace the static harmony. C I

C I

Additional harmony is inserted in a passage by working backwards from the targeted resolution. The tonic chord (C) at the top of the chart can be preceded with its diatonic ii7 and V7 (Dm7 - G7) in the final measure. The root motion of downward fifths is strong. C I

Dm7 ii7

G7 V7

C I

Backing up one more place in the progression allows the insertion of vi7 which creates a longer passage of downward fifth root motion: vi7 - ii7 - V7 - I. C I

Am7 vi7

Dm7 ii7

G7 V7

C I

Secondary dominant chords can replace diatonic chords. The vi7 chord can be replaced by a V7/ii; the ii7 chord can be replaced by the V7/V. Secondary dominants produce more forward motion by introducing chromatic voices that briefly point away from the primary tonal center. C I

A7 V7/ii

D7 V7/V

G7 V7

C I

A secondary leading tone chord can be used in place of a secondary dominant chord. The C#°7, the vii°7/ii, creates a chromatically ascending bass line which returns to the downward fifth motion with the ii7 - V7 - I. C I

C#°7 vii°7/ii

Dm7 ii7

G7 V7

C I

A dominant chord may be replaced by its tritone substitute dominant when the dominant chord is resolving down a fifth. If the dominant chord is resolving deceptively, as ii - V7 - vi, a tritone substitute dominant would not appropriate. The roots of a sequence of tritone substitutions may progress in downward fifths The bass line and the chromatic harmony create motion which points away and ultimately resolves back to the tonic chord. C I


E b7 TT sub for V7/ii

A b7 TT sub for V7/V

D b7 TT sub for V7

C I

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Progression in countless thirty-two measure forms and the blues resolve back to the tonic chord in the last two measures and begin again on the same tonic chord. The resolution to the tonic chord in those final two measures can be avoided by using the iii7 chord or the I6 chord as a substitute for I. The iii7 chord leads well to the vi7 or V7/ii7 chords with descending fifth root motion. The iii7 chord leads chromatically to the tritone substitute for V7/ii. A descending chromatic bass line can be created by substituting iii7 for I, and using the tritone substitutes for V7/ii and V7 as shown below. Em7 iii7


Dm7 ii7

D b7 TT sub for V7

C I

E7 is the V7/vi and can also be inserted in the progression to avoid the tonic chord. If the tonic chord tones are sounded over the E7, they create colorful upper extensions (C= b13, E = Root, G = #9 of E7). A descending chromatic bass line is shown below using all dominant chords. E7 V7/vi


D7 V7/V

D b7 TT sub for V7

C I

E7 can also have a tritone substitution. Bb7 may be a long way from the tonic chord, but it may sound interesting as the C triad over the Bb7 chord yields other colorful upper extensions (C = 9, E = #11, G = 13 of Bb7). The progression below has a bass line of descending fifths using all tritone substitute dominants. B b7 TT sub for V7/vi



D b7 TT sub for V7

C I

A chromatic bass line can be created using a combination of tritone substitution, secondary dominants and the dominant. B b7 TT sub for V7/vi

A7 V7/ii


G7 V7

C I

G7 V7

C I

The vii°7/iii can be used deceptively in this turnaround. Cmaj7 or Em7 I or iii7

D#°7 vii°7/iii

Dm7 ii7

Chords from the parallel minor can be used for a color change. The diatonic major chords, vi7 - ii7 V7, are replaced by corresponding chords from the parallel minor. The fundamental G7 chord will sound the same but would have different upper extensions. The lowered third and sixth degrees of the C minor scale yield the b13 and b9 over the G7. Cmaj7 I

A bmaj7 bVI/i

Dø7 iiø7/i

G7 (b13 b9) V7/i

C I

This is not a commonly used turnaround, but is possible and may inspire an arrangement or composition. Cmaj7 I

Am7 vi7

Fmaj7 or Fm7 IV or iv/i

B b7 Backdoor deceptive resolution

C I

An artist may use a different turnaround progression within the performance of a tune. Different turnarounds may be chosen for different emotional or structural moments in the solo. In a four chorus improvisation on a jazz standard progression in Bb major, Keith Jarrett used three different turnarounds.


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At the end of the first chorus Jarrett played only two chords over the dominant pedal note F. This restrained the forward motion for a moment before releasing it at the top of the second form. B bmaj7/F Over dominant pedal

C bmaj7/F

Bb I

At the end of the second chorus he used this diatonic progression: B bmaj7 I

Gm7 vi7

Cm7 ii7

F7 V7

Bb I

As the solo built to the more climactic third chorus, Jarrett changed only the second chord. Jarrett’s melodic material over this turnaround was a flurry of sixteenth notes. B bmaj7 I

G7 V7/ii

Cm7 ii7

F7 V7

Bb I

The last turnaround set up the end of the solo and Jarrett returned to the diatonic progression and slowed the rhythmic activity of the melodic material to help the improvisation come to a close. B bmaj7 I

Gm7 vi7

Cm7 ii7

F7 V7

Bb I

I I . Turnarounds to Supertonic (ii) Pieces may end with a tonic chord in the last two measures of the form and may begin on the ii7 chord. Many compositions will at some point modulate from the key of I to the key of ii. The following progressions are possible for that temporary modulation. Any chord can be preceded by its dominant and its ii7 or iiø7 chord. The insertion of these chords introduces chromatic pitches which point away from the tonic chord and point the progression towards the ii7 chord. The root motion is strong utilizing descending fifths. Cmaj7 I

Eø7 iiø7/ii

A7 V7/ii

Dm ii

The strong downward fifth root movement from I to IV can precede the iiø7/ii - V7/ii - ii7 progression. The half-step resolution from IV to iiø7/ii is strong. The F chord is a common chord between the key of C (as IV) and the key of D minor (as bVI). Cmaj7 I

Fmaj7 IV

Eø7 iiø7/ii

A7 V7/ii

Dm ii

A diatonic iii7 chord can be used instead of the iiø7/ii. This delays pointing to the ii7 chord (V7/ii) until the last moment in this progression. The iii7 chord may be preceded by its dominant. Cmaj7 I

B7 V7/iii

Em7 iii7

A7 V7/ii

Dm ii

A chromatic bass line can be created by using a series of secondary tritone substitute dominants. Cmaj7 I


B7 V7/iii

B b9 TT sub for V7/vi

A7 V7/ii

Dm ii

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A strong downward fifth bass line through a series of tritone substitutions finally resolves to the ii7 chord in the following turnaround progression. Cmaj7 I III.

F9 TT sub for V7/iii



Dm ii

Turnarounds to Submediant (vi)

Pieces may end with a tonic chord in the last two measures of the form and may begin on the vi7 chord. There are several tunes whose bridge or middle sections modulate to the key of vi. The following progressions modulate from the key of I to the key of vi. The most common approach is to precede the vi7 chord with its iiø7 and V7. Cmaj7 I

Bø7 iiø7/vi

E7 V7/vi

Am vi

The strong downward fifth movement from I to IV often precedes the iiø7/vi - V7/vi. The downward fifth motion continues from IV to iiø7/vi and is still strong even though F to Bn is a diminished fifth. Cmaj7 I

Fmaj7 IV

Bø7 iiø7/vi

E7 V7/vi

Am vi

The IV chord can be made into a dominant chord, which makes it a tritone substitute for the V7/iii. This chord occurs countless times in traditional music and might then be labeled an augmented sixth chord with any number of international titles (French, Italian, German). Cmaj7 I


E7 V7/vi

Am vi

By using the tritone substitute for the V7/vi, a bass line of descending fifths can be created that resolves down a half-step to the vi chord. Cmaj7 I IV.



Am vi

Turnarounds to Subdominant (IV) While rarely found at the beginning of tunes, many tunes modulate to the IV chord at significant points in the form. Here are typical turnaround modulating from the key of I to the key of IV.

Key changed by inserting the ii7/IV - V7/IV. Cmaj7 I

Gm7 ii7/IV

C7 V7/IV

F IV

Sliding chromatically to the ii7/IV. The chromatic Ab m7 chord is not as much functional as it is a chromatic passing chord, but would probably sound like the ii7/bV. Cmaj7 I

Am7 - (Abm7) vi - (ii7/bV)

Gm7 ii7/IV

C7 V7/IV

F IV


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A chromatic bass line can be created using tritone substitute and secondary dominants. Cmaj7 I

A b7 TT sub for V7/v

Cmaj7 I IV.

G7 V7/IV

Gb7 TT sub for V7/IV

F IV

D b7 TT sub for V7/IV

C7 V7/IV

F IV

Turnarounds to mediant Tunes rarely begin on a iii chord, but many tunes modulate to the key of iii at the bridge or other sections. The following progressions modulate from the key of I to the key of iii.

Root movement down in thirds produces a smooth transition as adjacent chords share three pitches. The simple triad (1-3-5) becomes the 3-5-7 of the next, so that the C triad (C-E-G) becomes the 3-5-7 of the Am7 chord; the A minor triad (A-C-E) becomes the 3-5-7 of the F# ø7 chord. The iiø7/iii - V7/iii points the iii chord. Cmaj7 I

Am7 vi

F#ø7 iiø7/iii

B7 V7/iii

Em iii

The tonic chord could change to a dominant quality and then progress to the V7/iii as shown below. In this instance, the C7 does not function as the V7/IV, but as an augmented sixth chord or a tritone substitute for the V7/vii. Cmaj7 I

C7 Augmented 6th chord or TT sub for V/vii

B7 V7/iii

Em iii

APPLICATION to STANDARD PROGRESSIONS There are only two rules in music theory: (1) Does it sound good; and (2) does it sound good. With those rules in mind, principles for reharmonization would include: •

The harmony supports the melody. Do not force harmony onto a piece that does not serve the melody. I witnessed a pianist trying to get a singer to change the melody notes of an old standard to fit a reharmonization. There is no good reason to impose incompatible harmony onto a melody, no matter how interesting the progression.

•

Certain additions or deductions of harmony will alter the mood. Keep in mind what the focus should be at any given moment in the piece before altering the harmony.

•

There are certain significant junctures that may be expected within the form of a standard tune. For instance, some kind of chord built on the fourth degree is expected in m.5 of the blues. Figure out what can and cannot change within a tune before getting carried away with substitutions.

The standard progression is shown below with four different harmonic settings. The top line is straight from very old lead sheet. The second and third lines are from different recently published versions. The last line is how I personally might play it. The passing Gm chord, which was probably in first inversion with Bb in the bass in the original sheet music, does not show at all in the recent versions. I have added the Bb7 chord (acting as a TT7/vi),


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which enhances the bass motion down to the A7. None of the recent versions use the V7/V in m.2 relying on the unaltered ii7 chord. All of the modern versions feature some kind of a turnaround to get to the ii7 chord coming up in m.5. The Fmaj7 and the Dm7 chords in m.3 are similar sounding and work to progress to the iii7 chord in m.4. Progression no. 31 Cmaj7 Gm A7 ’

’

Cmaj7

’

A7

’ A7 ’ Cmaj7 Bb7 A7 ’ Cmaj7

D7

’

G7

’

C

’

’

’

Dm7

’

G7

’

C

’

Fmaj7

’

Em7

’

A7

’

Dm7

’

G7

’

C

’

Dm7

’

Em7

’

A7

’

Dm7

’

G7

’

C

’

Fmaj7

Em7

’

’

’

’ ’

1

C dim.

A7 ’ (or D#°7)

The F chord in the original lead sheet at m.5 was probably a Dm7 chord with a D in the bass of the piano arrangement, but that part was cut off to make the fake books. The tonic chord has been replaced by the iii7 chord in two versions. In the bottom line there is a descending bass line to the root of the iii7 chord. All versions used typical turnaround progressions to get back to the tonic chord that begins the repeat of the A section in m.9. Progression no. 31 Fmaj7 ’ ’

’

G7

’

’

’

C

’

A7

’

F

’

G7

’

’

A7

’

Dm7

’

G7

’

A7

’

Dm7

’

G7

’

A7

’

Dm7

Dm7

’

’

’

G7

’

’

’

Em7

Dm7

’

’

’

G7

’

’

’

C

Dm7

’

’

’

G7

’

G/F

’

Em7

’ ’

’

G7

’

5

The biggest harmonic differences between the versions occur in the bridge of the tune. The F chord in m.17 is commonly replaced by Dm7. The D#°7 is labeled by two other names: C dim. and Eb°7. D#°7, the vii°7 of iii, is the most logical label. The three modern versions use Dm7 in place of the F at the beginning of the next phrase and prepare for it with the secondary dominant, A7 (V7/ii). Progression no. 31 F ’ G7 ’

C

’

C dim. Eb°7

Dm7

’

G7

’

Em7

’

Dm7

’

G7

’

Em7

’

Eb°7

Dm7

’

G7 G/F

Em7

’

D#°7

’ ’

F

’

G7

’

C

’

’

’

Dm7

’

G7

’

C

’

A7

’

’

Dm7

’

G7

’

C

’

A7

’

’

Dm7

C

’

A7

’

’

G7

’

17


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The modern versions use a Dm7 in place of the F at m.21. There are three choices for arriving at the Am7. The first and third versions use the deceptive V7 - vi7 cadence with no preparation for the A minor area. The second version uses the iiø7/vi7 - V7/vi, strong because of the descending fifths in the bass line. The bottom version uses a chromatic bass line moving from the G7 (V7) to the G#°7 (vii°7/vi). Progression no. 31 F ’ G7 ’

’

Am

Dm7

’

Bø7 E7

Dm7

’

G7

Dm7

’

G7

’ G#°7

’

C

B7

’

’ B7

Am7

’

Am/G

’

F#m7

’

Am7

’

Am/G

’

F#m7

’

Am7

’

Am/G

’

F#ø7

’

’ ’

’

’ G7 ’ Emaj7 C#m7 Dm7 G7

’

B7

G7

Emaj7

’

B7

’

E

Emaj7

’

Dm7 G7

21

The following compares the bridge from a sheet music version to a possible reharmonization. Both versions begin on F and land on the Dm7 chord in m.3. The reharmonization approaches the Dm7 by descending fifths. A7 is the secondary dominant (V7/ii) which suggests using Em7 (iii7) or I in first inversion instead of the I chord. If Em7 is used in place of I, then it can be tonicized by the iiø7/iii - V7/iii progression. The F chord, as IV in the key of C, shares the same third, fifth and seventh with the F#ø7 so the only change between those chords is in the bass line. Progression no. 32 chords from sheet music F ’ ’ ’ C ’ C#°7 1

F

F#ø7 B7

’

Em7

’

’ ’

A7

Dm7

’

G7

Dm7

’

G7

’ ’

C

’

C

’

’

’

Bø7 E7

Listen to the descending bass line in m.5 in the lower staff. Both versions agree at the Am7, Em7, D7, G7 and the C in the second phrase. The lower version has more motion with the added iiø7/iii - V7/iii, the V7/ii, the vii°7/iii, and the iii7 - V7/ii - ii7 - V7 leading back to the tonic chord. Progression no. 32 chords from sheet music Am ’ ’ ’ Em ’ ’ ’ 5

Am

Am/G

F#ø7

B7 Em7

’

A7

’

D7

’

D7

’

’ ’ D#°7 ’

G7 Em7

’ A7

’

’

C

Dm7 G7 C

A common substitution in jazz performance is to use a iiø7 - V7 or a ii7 - V7 in place of the vii°7 from old published versions. Many performers considered the diminished seventh chord to be old fashioned compared with the “new and improved bebop ii7 - V7” progression. In progression no. 33, neither the G#°7 nor the Bm7 - E7 point to the Gm7. The Bm7 - E7 functions the same a G#°7, pointing to the key of A or A minor. This G#°7, the vii°7/iii, is often found resolving to a ii7 chord. The Bbmaj7 keeps the bass moving down in fifths. Progression no. 33 G#°7 ’ ’ ’ Gm7 ’

C7

’

Fmaj7

’ ’ ’

Eø7

’

A7

’

Dmaj7

’ C7 ’ Fmaj7 ’Bbmaj7 ’ Eø7 ’ A7 ’ Dmaj7 In progressions no. 34, the G#°7 is replaced with a change of quality. The Abm7 and The G#°7 share the Bm7

’

E7

’

Gm7

same root and third, but have different qualities because of the difference between the perfect fifth of the Abm7 and the diminished fifth of the G#°7. The Abm7 - Db7 does not point the same place as the G #°7, but creates a chromatic side-slipping passage from the Am7 to Abm7 and finally the Gm7. The chords slip down by half step, but the Abm7 and Db7 chords are from the key of Gb, a half step above F.


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Progression no. 34 B bmaj7 ‘

B bm7

E b7

Fmaj7

‘

G#°7

B bmaj7

B bm7

E b7

Am7

‘

A bm7

‘

‘

159

Gm7

D b7

Gm7

A diminished seventh chord and a iiø7 - V7 point to a minor key and can be used interchangeably. In an actual performance there may be no way to tell the difference. The soloist may be thinking one progression and the bass player another as both sets of chords share the same pitches and those pitches point to the same minor key. This common passage may be thought of in either of the two ways shown or both ways simultaneously. The G#°7 or the Bø7 - E7 point to the ii7 chord Am7. The A#°7 or the C#ø7 - F#7 point to the iii7 chord Bm7. Sometimes, instead of resolving to the iii7 chord Bm7, the I chord G major in first inversion may occur in this passage as a deceptive resolution of the F#7. Progression no. 15 Gmaj7 ’ ’ ’ G#°7

’ ’ ’

Am7

’ ’ ’

A#°7

’ ’ ’

Bm7

Gmaj7 ’

’

Am7

’ ’ ’

C#ø7

’

F#7

Bm7

’ ’

Bø7

’

E7

’

Jazz performers often reharmonize simple passages from the original published versions of jazz standards. These extra chords create more motion and add color. The original version of progression no. 35 has the tonic chord lasting for two measures before moving to the ii7 chord. A more commonly performed version utilizes a turnaround progression to the ii7 chord: I - IV - iii7 - V7/ii - ii7. Instead of the ambiguous A diminished, the iiø7/iii - V7/iii chords are commonly used in the fourth measure and point to a Dm7 (iii7) chord in m.5. Progression no. 35 Bb ’ ’ Bbmaj7 1

’

’ Ebmaj7 ’

‘ Dm7

’

Cm7

G7

’

Cm7

’ ’

G7

’

A dim.

Cm/Bb

’

Eø7/A

’ ’

’

’

A7

’

In order to keep the progression moving and sustain the dissonance, the I chord is often avoided in the middle of a progression. If the progression leads back to the tonic chord too soon or too often, it becomes commonplace. If the return to tonic has been averted by using other chords, tonicizations and substitutions, then when the music finally returns to tonic it will be all the more potent. It retains more of its strength from not being overused. Imagine a trip around the block: how much would you miss home if gone only a few minutes? Weeks on the road will make someone long for home again. You must depart in order to return. If the I chord is heard in the first measure, again in the fifth, and again at the repeat of the first section at m.9, the impact of the tonic chord will be lessened. At m.5 of progression no. 35, the original sheet music called for a return to the tonic chord. The use of the iii7 (or a I chord in inversion) saves the return to tonic for the next phrase. The D7 is a secondary dominant which points to the vi7 chord. The Db9 chord is a tritone substitute to for the V7/ii (G7) and points to the Cm7 chord. The Cø7 is a borrowed chord from the parallel key of Bb minor and adds another dimension of color to the progression. Setting up a cadence to Bb minor is another way of strengthening the resolution to major in the second eight measure phrase. The lowered pitches suggested by the borrowed iiø7/i chord create a darker sound which will make the ultimate resolution to major sound brighter than it would have coming from the diatonic ii7 - V7 chords Cm7 - F7. Progression no. 35 Bb ’ ’ ’ 5

Dm7

’

D7

’

’ ’ ’

Gm7 Gm7

’

’

Db9

Cm7

’ ’ ’

F7

Cm7

’ ’ ’

Cø7/Gb

’ ’ ’ ’

F7

’


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Many passages lend themselves to multiple reharmonizations. Four versions are shown below for mm.13-16 of progression no. 35. This is the end of the B section that leads back to the A section and the tonic Bb chord. The top line is from an old lead sheet version; the other three are from published or performance variations. All four begin with Gm and end with F7, but are quite different in between. The second line reinforces the Gm7 in m.13 by using its dominant D7. The V7/V, C7 never resolves to F, but instead changes chord quality from a dominant to a minor 7 and becomes the diatonic ii7 chord, Cm7. The Cm7 - G7 - Cm7 in mm.15-16 mirrors the earlier passage Gm7 - D7 - Gm7. The ii7 chord, Cm7, is then followed by the F7, the dominant which prepares the return to tonic. The third line path is the same as the second line until the C7, the V7/V. The C7 moves to a C#°7, the vii°7/iii, setting up the last two measure turnaround iii7 - V7/ii - ii7 - V7. The C7 and the C#°7 share the same third, fifth and seventh so only the bass note changes. The C7 points to the key of F (1b) and then the C#°7 points to the key of D minor (1b plus the leading tone C#). The fourth line begins with a descending bass line to the Eø7. The last three measures utilizes a circle of fifth root progression with iiø7 - V7 of iii, iii - V7/ii and then the ii7 - V7 leading back to the I chord. In the second measure, the Dm7 (iii) is tonicized sooner by the Eø7 and A7 than it was in the third line. Progression no. 35 Gm ’ ’ ’ 13

’ ’ ’

C7

Gm

’

D7

’

Gm7

’

C7

Gm

’

D7

’

Gm7

’

Gm

’

Gm/F

’

Eø7

’

F7

’ ’ ’

F7

’ ’ ’

Cm7

’

G7

’

Cm7

’

F7

’

C7

’ C#°7

Dm7

’

G7

’

Cm7

’

F7

’

A7

’

Dm7

’

G7

’

Cm7

’

F7

’

Sometimes an old lead sheet version is so simple it not only allows, it demands reharmonization. The I chord in progression 36 below lasts four measures and then the vi7 chord appears suddenly without preparation. While there is nothing wrong with this, at slow and medium tempos the lack of motion can impair the momentum of the piece (and may be interpreted by some to be a bad musical joke at the expense of a beautiful composition). A few moving chords can create motion to keep the progression alive. Working backwards, the E7, V7/vi prepares the Am7 chord. The diatonic ii7 - V7 chords can anticipate the short return of tonic in the fourth measure. To prepare the ii7 chord a typical I - IV - iii7 V7/ii could be considered. Why then is the D#°7 used instead of the A7, the V7/ii? The melody must always be considered when reharmonizing. There is a Bn in the melody in the second half of m.2 that contraindicates the use of an A7. The A7, as the V7 in the key of D minor suggests the key of one flat (Bb). The vii°7/iii resolving deceptively, as it often does, to the ii7 chord provides chromatic color and satisfies the Bn in the melody. With Bn in the melody over the D#°7, it will sound like a B7b9 in first inversion. How can that point to Dm7? It does not point to Dm7, but is logical as a chord following the Em. Progression no. 36 C ’ ’ ’ 1

Cmaj7

’ Fmaj7 ’

‘ Em7

’ D#°7 ’

‘ Dm7

’

G7

‘ ’

C

’

E7

’

Am

’ ’ ’

Am

’ ’ ’

(Dm7) The melody is the most important factor when consideration any harmonic setting. The second concern should be with the bass line and its relationship to the melody. Most of the progressions dealt with so far have had chords only in root position. The bass lines have been considered with emphasis on the typical downward fifth progressions like V7 - I and ii7 - V7 - I. There are times when the use of an inversion can create interest in a harmonic progression that supports the melody. The commonly played


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version on the top line of progression no. 6 serves the melody and is itself interesting enough. The lower version has a descending step line in the bass: F - E - (A) - D - Db - C - B - Bb - A. Both progressions arrive at the Aø7 but by different paths. The lower version uses two chords over a pedal F, the dominant of Bb in m.9. The F bass note easily moves down a step to the Eø7. The A7 chord interrupts the step line briefly but resolves to Dm7, the next note in the descending line. The Dm7 moves to Dbmaj7, to keep the bass line moving down in steps. The Dbmaj7 is related to the Bbm7 chord (and may be heard as a Bbm in first inversion) and moves easily to the F chord in second inversion. The F/C mirrors the Bb/F chord in m.9 and continues the step line. The C bass note moves to the Bn and Bb, creating two different quality G chords (G major and Gø7) and then steps down chromatically to the Aø7. Progression no. 6 Bb ’ ’ ’ 9

Cb/F Bb/F Fmaj7

’ ’

Gb/C F/C

’

A7

’

Dm7

’

’

’

Bbm7

Eø7

’

A7

’

Dm7

’

’

’

Dbmaj7

Gm7 ’ C7 C/Bb (Eø7 ’ A7 ’) G/B ’ Gø7/Bb ’

’ ’ ’

13

Eø7

’ ’

’Eb7 ’ ’

’

’

Aø7

’ ’ ’

D7

’ ’ ’

G7

’ ’ ’

Aø7

’ ’ ’

D7

’ ’ ’

G7

’ ’ ’

Not all harmonic substitutions are interchangeable. A pianist cannot assume the bass player will imagine all of his inventive substitutions and the soloist cannot assume the piano player will know or hear what unusual substitutions he has practiced. Many basic substitutions will cause little conflict, and if so, only for short episodes. For example, there is no real difference between a V7/ii and a vii°7/ii. If there are to be major departures from the normal progressions, then some consultation should occur before the performance. However, the band as a unit should be listening to each other for subtle changes and alterations, being sensitive to each role and the overall character of the music. There are times when the soloist will impose substitute harmony over a progression with or without the rhythm section. These work as linear substitutions. The chords and lines are working on different levels to point to a particular place. Things may not always agree vertically between the improvised line and the rhythm section, but dissonances will resolve in a linear manner. This is a typical turnaround progression found in blues, rhythm changes, and many other tunes. The Am7 could be a substitute for the I chord in the middle of repeating the progression. F

’ ’

D7

’

’

Gm7

’ ’

C7

’

’

Am7

’

With Am7 as the goal, the C7 (V7) could be replaced by G#°7 (vii°7 of iii). F

’ ’

D7

’

’

Gm7

’ ’

G#°7

’

’

Am7

’

The progression could return to the F in first inversion instead of the Am7 and would still sound good. The two chromatic tones suggested by the G#°7, the G# and the Bn, will resolve to the A and C whether chord is an F or Am7. F

’ ’

D7

’

’

Gm7

’ ’

G#°7

’

’

F/A

’

Charlie Parker used the harmonic substitution from above in the following excerpt from a blues improvisation. The rhythm section may not have had time to adjust or predict the G#°7 chord. The bass player


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could have played a C7 and resolved to Am7 and the lines still work. There are two chromatic voices suggested by this passage which are shown below the melodic line.

F

Gm7

G #°7

F

œ & b œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ & b ww

˙˙

ww

# n ˙˙

A similar linear substitution occurs in this example from Dexter Gordon. Is the last part of this progression V7 - I (F7 to Bb) or is it A7 or C#°7 pointing to Dm7 or pointing to Bb in first inversion?

b &b c

Bb

Gm7

Bb 3

F7

Cm 7

œ œ #œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ œ œ œ œ

Adding more harmonic movement can add life to static passages. The relation of the bass note to the melody is an important consideration, but remember that inner voices can create motion, too. The passage below is a common I - ii7/IV - V7/IV - IV progression. Progression no. 37 Ebmaj7 ’ ’ ’

‘

Bbm7

’ ’ ’

Eb7

’ ’ ’

Abmaj7

’ ’ ’

The passage is transformed with the additions below. The chord symbols on the top line below do not tell the whole story. The diatonic ii7, iii7, and IV chords have been added in the first two measures. In the last beat of m.2 the vii°7/v prepares for the change to Bbm7, which as ii7/IV signals the change to the key of IV. Preceding the Eb 7 and the Ab maj7 chords are tritone substitutions dominants. These chords alone satisfactorily ornament the original simple progression. The chromatic inner voice in the first two measures changes the focus from plodding chords to dramatic linear motion.

&

E bmaj7

Fm7

˙˙

˙˙

bbb

? b b b œ˙ n œ œ˙ # œ

Gm7

˙˙

A bmaj7 A°7

œœ b œœ œ

œ˙ œ œœ bn œœ

B bm9

˙ b ˙˙

E13

# #n ˙˙˙

œ˙ œ #n ˙˙

E b13

A13

A bmaj7

n ˙˙

˙ n˙

w bw

n bn ˙˙˙ # #n ˙˙˙

n bn www

Tempo and the overall mood and character of the piece should be considered when adding or subtracting harmonic content. The above passage works well in slow settings. The subtleties may be lost at faster tempos. Do not assume that slow passages must have added harmony to be interesting. Even very slow ballads can benefit from the simplification of harmonic motion.


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After a passage with half-note harmonic rhythm, it might be effective to slow the motion down rather than add more. There are two ways to achieve less motion. One device is to use fewer chords in the progression; the other is to use a pedal point in the bass while the chords continue moving. The dominant pitch holding in the bass creates a restlessness after the moving passages, and when the bass releases the pedal, gives a forward thrust to the next section. The progression below is an A section to a beautiful ballad. The harmonic motion is constant with chords changing every two beats and then every beat. E bmaj7

C7

Fm7

B b7

Ebmaj7 Db7 Cm7 Gb7

E bmaj7

A b7

D bmaj7

Gø7 C7

F7

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’

C b7

’ ’

F7

C b 7 Bb 7

’ ’

’ ’

Fm7/B b

B b7

’ ’

’ ’

After the active A section, the B section continues with more half note harmonic rhythm using the I - vi7 - ii7 - V7 progression below. E bmaj7

’ ’

Cm7

’ ’

Fm7

’ ’

B b7

’ ’

Using two devices in conjunction slows the pace. The vi7 and V7 chords have been removed and the I and ii7 chords are placed over a Bb pedal below. The break in the harmonic rhythm allows the soloist or singer some freedom and will give the music a boost when the pedal is released. E bmaj7/B b

’ ’

’ ’

Fm7/B b

’ ’

’ ’

Pedals can be effective at any tempo. They can save a long performance of an up tempo piece by giving the listener (and the bass player) a reprieve from the constant four beat swing feel. After a few choruses of the following progression, dominant pedals through the B section might be welcome. Progression no. 23. B bm7

E b7

A bmaj7

D bmaj7

Dø7 - G7

B b7

E bmaj7

A bmaj7

Aø7 - D7

‘ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’

Fm7

Cmaj7

‘ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’

Cm7

Fm7

Gmaj7

(D pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ) (B pedal . . . . . . . . . . . . . . . . . . . . . . . . . )

‘ F#ø7/B B7 Emaj7/B C7 ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’

Am7/D

D7

Gmaj7/D

Pedal released: motion returns Fm7

B bm7

E b7

A bmaj7

B bm7

E b7

A bmaj7

(Gø7 - C7)

D bmaj7

Gb7

A b/ C

B°7

’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’


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The backdoor dominant chord is a variation of a plagal IV - iv - I resolution. In the second phrase of progression no. 38, the IV chord (Bb) is followed by the iv (Bbm7) then the backdoor dominant Eb7 resolves to the I chord, F. To avoid an anticlimactic return to the home tonic chord too soon, the iii7 chord, Am7 can replace the I chord as shown in the second line. Cannonball Adderley recorded a tune with this progression and replaced the iii chord with a major chord on the bIII. In another context anyone would have expected the Abmaj7 to follow Bbm7 and Eb7, but in the context of F major, the characteristic resolution of Eb7 would have been to the F or Am7. The use of the bIII chord creates a situation where the Eb7 to Abmaj7 is a surprise deceptive cadence! The A bmaj7 chord is not far removed from the parallel key of F minor, and in this case, the melody note C fits all of the possible chords m.7: F, Am7 and Abmaj7. Progression no. 38 F ’ ’ ’ 1

Fmaj7 ’ Bbmaj7 5

Bbmaj7

’

E7

’

Bm7

’

’

’

’ E7

F

’

’

’

’

Bbm7

’ Eb7

’

’

’

’

Bbm7

’ Eb7

’

’

Fmaj7 ’

’ ’

’ ’

F Am7 ’ Dm7 b (A maj7’ ’

’ ’)

Cm7

’

F7

’

Cm7

’

F7

’

Gm7

’ C7

’

Gm7

’ C7

’

Two progressions are played more often than any others in jazz performances: the twelve measure blues and “Rhythm Changes.” The forms for these two tunes allow for much freedom of expression with tempo and style. They both lend themselves to numerous harmonic possibilities. The variety of progressions can fit any number of moods, tempos and rhythmic settings. Blues may occur in all major and minor keys and Rhythm Changes may occur in any major key. The most prevalent keys for both are Bb and F major. Here are the some basic harmonic progressions for blues in F major and minor and for Rhythm Changes in Bb major with common substitutions. These progressions should be transposed and studied for other commonly performed keys.

HARMONIC SUBSTITUTIONS for BLUES in F Major Jazz musicians rarely use the three chord blues common to rock ‘n’ roll or country. A rock ‘n’ roll or country version of the basic blues would have a V chord in m.9 followed by a IV chord in m.10. In most jazz performances, the ii7 - V7 progression is used. The barest jazz version of the blues progression is shown below. The most important structural points are: •

Usually begins on some chord built on tonic degree. It may be a modal chord and not necessarily a I chord in the major/minor traditional sense

•

m.5 almost always includes a chord built on the fourth scale degree

•

m.9-10 is a dominant area with either a V - IV (country, rock, simple jazz versions), ii7 - V7, or V7/V - V7 or other variations

•

MM.11-12 may have some kind of a turnaround to return to I at the top of the form. The tonic chord will not necessarily be a part of that turnaround as iii7 and other chords may substitute for I.


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BARE MINIMUM JAZZ BLUES F Bb7 1

’ ’

5

’ ’

’

Gm7

’

‘

’ ’

‘

‘ ’

C7

’

’

’

’

F7

’

F

’

’

’

‘

F

’

’

’

‘

’

9

The progression below is a more common version for improvisation in jazz performance. There is typically a departure in m.2 to some chord built on the fourth degree. A secondary V7/IV may occur in m.4 setting up the chord in m.5. A G#°7 in first inversion moves the bass note from Bb to Bn and then to the C with the F chord in inversion in m.7. The diminished chord in m.6 is often labeled a B°7. In m.8, a secondary dominant chord D7 (V7/ii) prepares the coming ii7 chord. The most common turnaround occurs in the last two measures: I - V7/ii - ii7 - V7 returning to the top of the form.

BASIC JAZZ BLUES with COMMON HARMONIC ADDITIONS F Bb7 1

5

Gm7

’ ’

’ ’

’

’

’

G#°7/B

’ ’

Bb7

’

C7

’

’ ’

’ ’

’

’

F

’

’

F/C

’

’

’

F

’

’

F7

’ ’

D7

’

’

’

D7

’

’

’

Gm7

’

C7

’

’

F7

’

9

Measures 1-4 A common addition is the ii7/IV - V7/IV in m.4: F7

’

’

’

Bb7

’

’

’

F7

’

’

’

Cm7

1

B b7 5

A ii7 - V7 in m.2 provides another variation of the slight departure from the I chord: F7

’

’

’

Gm7

’

C7

’

F7

’

’

’

Cm7

’

F7

’

1

B b7 5

Sometimes the tritone substitute dominant can occur in m.2. A tritone substitute dominant may also occur in m.4: F7

’

’

’

Gb7

’

’

’

F7

’

’

’

Cm7

’

Cb7

’

1

B b7 5

Here is a progression that Charlie Parker suggested in a example shown earlier. The Gm7 - G#°7 - Am7 elaborates the tonic F area. F7 1

’

’

’

Gm7

’

G#°7

’

Am7

’

’

’

Cm7

’

F7

’

B b7 5

Sometimes a logical progression can be created by backing up from the destination. The destination of all harmonic activity in the first four measures points to a chord built on the fourth degree occurring in m.5. The ii7/IV - V7/IV (Cm7 - F7) in m.4 prepare the Bb in m.5. The Cm7 is tonicized by its dominant G7, and the G7 can be preceded by the iii7 chord, Dm7 in m.3. The Dm7 chord is set up by the iiø7/vi -


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V7/vi, Eø7 - A7 in m.2. The strong bass line of descending fifths begins the progression with the I - IV in m.1. As with all harmonic possibilities, consider the desired results and context. These changes are considered “pretty” chords and would not be the best choice if trying to create “down ‘n’ dirty” blues. F

’

(Bbmaj7)

’

Eø7

’

’

A7

’

Dm7

G7

’

Cm7

’

F7

’

1

B b7 5

The concept of backing up from a destination is taken to the extreme in this example. Each dominant chord points down a fifth to the next and ultimately resolves to the expected Bb chord in m.5. This set of changes creates a great deal of melodic and harmonic tension, and may not be a good choice for a first or second chorus. After a few choruses, this idea can wake up the entire band. The first dominant chord is a half-step above the expected F7. F#7

’

B7

’

E7

’

’

A7

D7

’

G7

’

C7

’

F7

B b7

’

1

5

Measures 5-8 This common version of the second phrase suggests an ascending bass line: Bb - Bn - C - D then resolves down a fifth to the ii7 chord. Why not call the G#°7/B a B°7? The G#°7 is the vii°7 of Am, a key that is closely related to the key of F. The B°7 is the vii°7 of C minor, a much more remote key to the key of F. Labeling the chord as G#°7/B makes the distinction. (It would be possible to use B°7 in this context or other colorations, but vii°7/iii is the path of least resistance.) Bb7

’

’

’

G#°7/B

’

’

’

F7/C

’

’

’

D7

’

’

’

5

Gm7 9

It is possible to precede the V7/ii with the iiø7/ii in m.8: Bb7

’

’

’

G#°7/B

’

’

’

F7/C

’

’

’

Aø7

’

D7

’

5

Gm7 9

The iiø7/ii, Aø7, can occur in m.7 before the V7/ii, D7 in m.8. It might be hard to distinguish the Aø7 from an F9 chord as they share four pitches, and if the bass player chooses to play the F chord in first inversion, it will sound like an Aø7. Bb7

’

’

’

‘

Aø7

’

’

’

D7

’

’

’

5

Gm7 9

The secondary dominant A7, the V7/vi, can be used to set up the D chord. The A7 points to D minor, which becomes D7 in m.8. The A7 chord in first inversion continues the ascending step progression as shown before by adding the chromatic C#. The A7 chord is more common in slower gospel style blues. Bb7

’

’

’

G#°7/B

’

’

’

F/C

’

A7/C#

’

D7

’

’

’

5

Gm7 9

A more bebop style setting may include a series of chromatic ii7 - V7 chords often inserted in mm.6-8. Bb

’

’

5

’

Bbm7

’

Eb7

’

Am7

’

D7

’

Abm7

’

Db7

’

Gm7 9

A series of descending dominant chords may be used in mm.7-8. The D7 is the V7/ii. The Eb7 is a tritone substitute for the A7, the V7 of D. The E7 points to the A chord which could have been used in place of the Eb7. This cycle is similar to the cycle that began on F#7 shown for the first four measures.


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Instead of the dominants progressing in downward fifths, they progress to their destination in downward half steps by using tritone substitutions. Bb7

’

’

’

‘

F7

’

E7

’

5

Eb7

’

D7

’

Gm7 9

Measures 9-10 The most typical progression in mm.9-10 is the ii7 - V7:

’

Gm7

’ ’

C7

’

’ ’

9

F 11

A V7/V may replace the ii7 chord:

’

G7

’ ’

C7

’

’ ’

9

F 11

Chords may be borrowed from the parallel minor key of F minor. A iiø7/i and V7/I suggest the key of four flats:

’

Gø7

’ ’

C7

’

’ ’

9

F 11

A Db7 chord is the tritone substitute for the G7, the V7/V: Db7

’

’ ’

C7

’

’ ’

9

F 11

A Gb7, the tritone substitute dominant can replace the C7:

’

Gm7

’ ’

Gb7

’

’ ’

9

F 11

Measures 11-12: The Turnaround back to the top The most common turnaround is I - V7/ii – ii7 – V7: F7

’

D7

’

Gm7

’

C7

’

11

F 1

The I chord may be avoided in m.11 by using the iii7: Am7

’

D7

’

Gm7

’

C7

’

11

F 1

The iiø7/ii can precede the V7/ii and replace the I or iii7 chord. The Aø7 chord is very similar to the F9 chord and is indistinguishable from an F7 chord in first inversion. Aø7 11

’

D7

’

Gm7

’

C7

’

F 1


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An A7 can be used to point to the D7. The Ab7 and Gb7 chords are tritone substitutes for the D7 and C7. This creates a descending chromatic line in the bass. Ab7

’

A7

’

Gm7

’

Gb7

’

F

11

1

Eb7 and Db7 are tritone substitutes for the A7 and G7. This creates another descending chromatic line in the bass. Eb7

’

’

D7

Db7

’

’

C7

F

11

1

Using the tritone substitutes for D7, G7 and C7 creates a cycle of tritone substitute dominants and a bass line of descending fifths that finally resolves down a half step to the F. F7

Ab7

’

Db7

’

’

Gb7

’

11

F 1

Measures 9-12 Tritone Substitution Implications from bass lines The tritone substitutions may be implied by the nature of a walking bass line. The D7, G7, C7 and F7 chords are preceded by chromatic upper neighbor tones, which suggest the tritone substitutions as shown.

& b ˙˙ .. Gm7

?b

C7

œ bœ

œ

œ

b œœ

b ˙˙ ..

n œœ D b7

# ˙˙

n n ˙˙

b b œ bœ œ bœ

A7 E 7 D7 A 7

œ œ œ œ

9

# n ˙˙

10

b

b ˙˙

b œœ

b

G7 D 7 C7 G 7

F7

œ bœ œ bœ

11

œ

12

13

“WEST COAST” or “PRETTY” BLUES The blues progression below is sometimes called the “pretty” or “West Coast” blues. This progression may occur for the whole form if agreed upon ahead of time. It can sometimes be used as the last chorus or two of a longer solo ending with a more elaborate chord progression. The I chord moves down a fifth to the IV chord. The IV chord moves down a diatonic fifth to the Eø7, the viiø7 of F, but functioning as the iiø7/vi moving to the V7/vi. The Dm7 is the vi7 and naturally moves to the V7/v. The Cm7 F7, ii/IV - V7/IV set up the Bb m.5. The second phrase is a series of descending chromatic ii7 - V7 progressions finally reaching the ii7 - V7 in the key of F in m.9. The last four measures are usually played without too much alteration from the common blues progression. F Bb 1

5

Gm7

’

(Bbmaj7)

’

’ ’

’

’ ’

9


’

Eø7

’

A7

Bbm7

’

Eb7

C7

’

’

’ ’

Am7

’

’

Dm7

F7

’

’

G7

D7 D7

’

’ ’

Cm7

’

F7

Abm7

’

Db7

Gm7

’

C7

’ ’

’

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169

HARMONIC SUBSTITUTIONS for BLUES in F Minor There are a number of harmonic variations for minor blues. Minor blues share similar characteristics with major blues including the chord in m.5 being built on the fourth degree and dominant area in mm.9-10. The chords are usually drawn from diatonic chords of minor keys. Common Minor Blues Progression including a secondary iiø7/iv - V7/iv in m.4: Fm

’

’

’

Bbm7

’

’

’

’

’

’

1

5

Gø7

Bbm7

’

’

’

‘ ’

C7

’

’

Fm

’

’

’

Fm

’

’

’

Fm

’

’

’

’

(Cø7)

’

F7

‘ ’

Gø7

’

C7

9

This minor blues progression includes iiø7 - V7 departure in m.2 instead of the iv7 chord. The Gb7 in m.6 is a tritone substitute dominant preparing the return of the Fm chord in m.7. Db7 is a tritone substitute dominant functioning in the traditional sense, as an augmented sixth chord pointing to the V7. The V7 sets up the return of the Fm chord in m.11. The turnaround includes the tritone substitute dominants Ab7 and Db7. Fm

’

’

’

Gø7

’

C7

Bbm7

’

’

’

Bbm7

’

Gb7

Db9

’

’

’

C7

’

’

1

5

’

Fm

’

’

’

’

Fm

’

’

’

’

Fm

’

Ab9

’

’

(Cø7)

’

F7

‘ Db9

’

’

C7

9

This minor blues progression remains on the tonic pitch for the first few measures and suggests an inner chromatic voice: C – Db – D – Eb. The chord in m.2 sounds like a VI chord in first inversion, but is often notated as Fm#5. Obviously, a minor chord by definition has a perfect and not an augmented fifth, but the Fm#5 shorthand in this context may help suggest the chromatic moving voice. The F7 in m.4 prepares the iv7 chord in m.5. The iv7 is also the ii7 chord in the relative Ab major (bIII) and continues to cycle in the key of Ab, through the V7/bIII - I/bIII - IV/bIII. The Gø7, even though shared by the two keys of F minor and Ab major signals the return to F minor. Fm

’

’

’

Db/F

Bbm7

’

’

’

Eb7

’

’

’

1

5

Gø7

C7

’

’

’

’ ’ ’ ’

’

’

Fm6 ’ (Dø7/F) Abmaj7 ’ Fm

’

’

’

’ Ab9

’ ’

F7

’

Dbmaj7 Db9

’

’ ’

’ ’

C7

’ ’

9


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The boundaries of the blues have been stretched very far as evidenced by these next two examples. These harmonic progressions are for specific tunes and not standard blues substitutions. This first progression could be considered a blues progression that wanders to remote keys and back in the short twelve measure form. Some may argue this is not a blues progression, but it is a twelve measure form that moves to a chord built on the fourth degree in m.5. In performances of this piece, improvisers use only this progression, never inserting traditional blues progressions.

’

Cmmaj7 1

Fmaj7

’

’

’

’

’

’

’

’

Ebmaj7 5

Ebm7

‘

Gm7

‘

Fm7

Ab7

’

’ ’

Dbmaj7

’

’ ’

’

’

C7

’ ’

’

’

’

’

Bb7

’

’

’

Dø7

’

G7

’

9

The first five measures of the following blues progression behave as a typical blues, establishing the tonic key area first and then moving towards the iv7 chord in m.5. Things change quickly from m.6. The Abm7 - Bb7 - Cbmaj7 are the iv7 - V7 - and VImaj7 chords from the remote key of Ebm. The Bbm7 and A7 act as a ii7 and tritone substitute V7 to the key of Ab, but the Ab chord is a suspended dominant in the key of Db. Order seems restored with the Fø7 - Bb7, the iiø7 - V7 to Eb minor, but wait, isn’t this blues is in C minor? The last measure brings it back around to the top and the tonic key with the V7/V - V7. In a performance of the piece from which this progression was extracted, the improvisers use these changes for the melody and only the last few choruses of each improvisation. Other improvised choruses use one of the standard minor blues progressions.

’

Cm7 1

Fm9

’

Absus7 5

’

’ ’

’ ’

’

’

’

D7 Abm7 Fø7

Bb7

’ ’

’

G7

Bb7

Cm7 Cbmaj7

’

Ebm7

’

’ ’ ’

’

’

’ ’

C7

’ ’

Bbm7 D7

’ ’ ’

’ A7

’ ’ ’

G7

9

HARMONIC SUBSTITUTIONS for RHYTHM CHANGES The form for Rhythm changes is AABA. There are numerous possibilities for harmonic variations. A few of the more common variations and substitutions are examined below, phrase by phrase.

A SECTION Measures 1-4 This basic pattern for the first four measures uses the diatonic vi7 chord Gm7 in m.1, and substitutes the secondary V7/ii chord G7 in m.3. All the chords cycle back to the tonic chord Bb. Bb

’ ’

Gm7

’

1


’

Cm7

’ ’

F7

’

’

Bb

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

Bb

’ 5

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A strong cadence to the tonic chord is avoided in m.3 by using the tonic chord in first inversion. Because of the inversion, the roots descend in fifths in mm.3-5. Bb

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

B b/ D

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

1

Bb

’ 5

The iii7 chord functions in the same way the first inversion tonic chord did in the previous example. It avoids the strong immediate return to tonic and keeps the root progression in fifths. Bb

’ ’

G7

’

’

C7

’ ’

F7

’

’

Dm7

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

1

Bb

’ 5

Occasionally, the iii7 chord will chromatically pass through a C#m7 chord resolving to Cm7. This chord happens quickly and may sound like a brief allusion to B major as C# m7 is the ii7 of B. Even if the rhythm section plays the G7 the dissonant notes will resolve themselves in a linear fashion. The C#m7 pitches, C#, E, G# and B may sound like the #11, 13, b9 and major third of the G7 chord whose place it takes. Bb

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

Dm7

’ ’

C #m7

’

’

Cm7

’ ’

F7

’

’

1

Bb

’ 5

An interesting bass line can be created using secondary dominants in inversion. The G7 is V7/ii. The A7 is the V7/iii and points to the Dm7 chord standing in place of the original tonic chord Bb. After the ascending chromatic line Bb-Bn-C-C#, the roots again move in descending fifths back to the tonic chord. Bb

’ ’

G7/B

’

’

Cm7

’ ’

A7/C #

’

’

Dm7

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

1

Bb

’ 5

There is little difference between the use of secondary dominants or secondary vii°7 chords when pointing to minor keys. A G7 or B°7 points to Cm7, and an A7 or C#°7 points to Dm7. The secondary vii°7 chords create the same ascending bass line as the example above with inverted secondary dominants. Bb

’ ’

B°7

’

’

Cm7

’ ’

C#°7

’

’

Dm7

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

1

Bb

’ 5

This passage contains secondary dominants and tritone substitutions. The Db7 stands in the place of G7. The C7 is the V7/V and points to the F7 chord. The Cb7 is the tritone substitute for the F7 and points back to Bb. The second two measures reverses the secondary dominants and the tritone substitutions. The Gb7 substitutes for the C7 and points to the F7. Bb

’ ’

1

D b7

’

’

C7

’ ’

C b7

’

’

Bb

’ ’

G7

’

’

Gb7

’ ’

F7

’

’

Bb

’ 5

Clifford Brown used this progression for a composition. The Db7, Gb7 and Cb7 are tritone substitutes in the first two measures. The second phrase features descending dominants.


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Bb

’ ’


D b7

’

’

Gb7

’ ’

C b7

’

’

B b7

’ ’

A b7

’

’

Gb7

’ ’

F7

’

’

1

Bb

’ 5

It is possible to work backwards from the Bb in m.5 and to find a cycle of dominants. This, like the similar example in the blues progressions, starts the progression on a chord very remote from the key signature. This can be effective later in an improvisation, but is usually not used in the first chorus. F#7

’ ’

B7

’

’

E7

’ ’

A7

’

’

D7

’ ’

G7

’

’

C7

’ ’

F7

’

’

1

Bb

’ 5

It is possible to impose a progression similar Coltrane’s Giant Steps harmonic cycle (progression no. 24). This progression points to remote rather than closely related keys. Closely related keys are one accidental removed from the home key. Coltrane modulated to keys that divided the octave into major thirds. From the home key of Bb, the progression modulates to Gb and D. Bb

’ ’

D b7

’

’

Gb

’ ’

A7

’

’

D

’ ’

F7

’

’

Bb

’ ’

’

’

1

Bb

’ 5

Measures 5-8 There is usually a modulation in m.5 to the IV chord in m.6. The tonic chord changes quality and becomes the V7/IV which anticipates the Eb in m.6. The bass line ascends to En but the chord is labeled a C #°7 as the vii°7/iii7. The Bb chord in m.7 could just as easily be a Dm7 which helps explain the C#°7. The basic turnaround figure returns in mm.7-8. The second chord in m.5 is often in first inversion creating the ascending bass line: Bb - D - Eb - En - F. Bb

’ ’

B b7/D

’

’

Eb

’ ’

C #°7/E

’

’

B b/F

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

5

Bb

’ 9

This version of mm.5-8 features a descending bass line: Bb - Ab - G - Gb - F: Bb

’ ’

B b7/A b

’

’

Eb/G

’ ’

Ebm/G b

’

’

B b/F

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

5

Bb

’ 9

A ii7/IV - V7/IV could be used in m.5 and Ab7, a backdoor dominant, can be used in m.6. Fm7

’ ’

B b7

’

5


’

Eb

’ ’

A b7

’

’

B b/ D

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

Bb

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Measures 5-6 Any combination of chords which point to IV may be used in m.5: A tritone substitute dominant may be preceded by a V7/IV: B b7

’ ’

E7

’

’

5

or the ii7/IV: Eb

Fm7

6

5

’

’ ’

E7

’

’

Eb

’

6

Measures 7-9 Any variation of the basic turnaround figure may occur in mm.7-9 to return the progression to the tonic chord at the beginning of the second A section. Diatonic chords: Bb

’ ’

Gm7

’

’

Cm7

’ ’

F7

’

’

7

Bb

’

9

The first inversion of the tonic chord followed by the V7/ii: B b/ D

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

7

Bb

’

9

The secondary chords iiø7/ii and V7/ii point to the ii7: Dø7

’ ’

G7

’

’

Cm7

’ ’

F7

’

’

7

Bb

’

9

Tritone substitute dominants in place of G7 and F7: Bb

’ ’

7

D b7

’

’

C7

’ ’

C b7

’

’

Bb

’

9


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Measures 15-17 The last two measures of the second A section, mm.15-17, are different than the end of the first A section. This part of the progression resolves back to the tonic chord in m.16 and before moving to the B section. F7

’ ’

’

’

Bb

’ ’

’

’

15

D7

’

17

B b/F

’ ’

F7

’

’

Bb

’ ’

’

’

15

D7

’

17

B SECTION: Measures 5-8 The bridge is a variation of the traditional turnaround chords with longer harmonic values. The most basic turnaround progression is Bb - Gm7 - Cm7 - F7. With the iii7 chord in place of the Bb chord it would be Dm7 - Gm7 - Cm7 - F7. Using all secondary dominants would be D7 - G7 - C7 - F7, the identical chords for the basic B section. In the A sections the chords occur with a half note harmonic rhythm; in the B section each chord lasts for eight beats. When encountering a D7 in the key of Bb, it is normally the V7/vi pointing to the relative G minor. The G7 would be assumed to be the V7/ii pointing to the Cm7 chord. It is possible to mix modes making the D7 the V7 of G (V7/VI) and the G7 the V7 of C (V7/II.). An improviser may choose any number of combinations using these dominant chords to point to major or minor secondary keys. The basic bridge : V7/VI - V7/II - V7/V - V7. D7

’’’’

‘ ’’’’

G7

’’’’

‘ ’’’’

C7

’’’’

‘ ’’’’

F7

’’’’

‘ ’’’’

C7

Cm7

F7

17

Any dominant chord may be paired with a ii7 chord. Am7

’’’’

D7

’’’’

Dm7

’’’’

G7

’’’’

Gm7

’’’’

’’’’

’’’’

’’’’

17

The G7 is replaced by the tritone substitute dominant Db7 and the F7 replace by the tritone substitute dominant Cb7 creating a descending chromatic line in the bass in the example below. D7

’’’’

‘ ’’’’

17


D b7

’’’’

‘ ’’’’

C7

’’’’

‘ ’’’’

C b7

’’’’

‘ ’’’’

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The D7 is replaced by the tritone substitute dominant Ab7 and the C7 replace by the tritone substitute dominant Gb7 creating a different descending chromatic line in the bass in the following example . A b7

’’’’

‘ ’’’’

G7

’’’’

‘ ’’’’

Gb7

’’’’

‘ ’’’’

F7

’’’’

‘ ’’’’

17

The cycle of dominants with tritone substitutions from the above example can be preceded by ii7 chords. This creates a descending chromatic progression in three keys (bIII, II, and bII) leading back to the tonic key of I, Bb. Ebm7

’’’’ 17 ii7/bIII

A b7

’’’’ V7/bIII

Dm7

’’’’

G7

’’’’

ii7/II

V7/II

C #m7

’’’’ ii7/bII

F#7

’’’’ V7/bII

Cm7

’’’’

F7

’’’’

ii7

V7

Another set of chromatically descending dominants may be preceded by ii7 chords creating this descending chromatic progression. After descending through the keys of G, Gb, and F, the B7 can act as a tritone substitute dominant pointing back to the tonic key of Bb. Am7

’’’’

17

D7

’’’’

ii7/VI

V7/VI

A bm7

’’’’ ii7/bVI

D b7

’’’’ V7/ bVI

Gm7

’’’’ ii7/V

C7

’’’’ V7/V

F#m7

’’’’ ii7/ b V

B7

’’’’ V7/ bV

This is a less common, but possible B section progression that utilizes a series of descending chromatic ii7 - V7 progressions. It begins in A, and goes through Ab, Gb, F, and E major. Again the B7 chord in m.24 acts as a tritone substitute dominant pointing back to the tonic key of Bb. The harmonic progression is rhythmically compressed as the progression moves forward. The original B section changes were a reprieve from the crowded, fast harmonic rhythm of the A section. It is ironic how jam-packed chords the progression in the B section can become. Bm7

’’’’

E7

’’’’

B bm7

’’’’

E b7

’’’’

Am7 D7

’’’’

Abm7 Db7

’’’’

Gm7 C7

’’’’

F#m7 B7

’’’’

17

There are a few tunes that have a different sort of eight measure B section that begins with the V7/IV and moves to the IV, the V7/V and V7 chord before returning to the tonic chord at the beginning of the last A section. B b7

’’’’

‘ ’’’’

Eb

’’’’

‘ ’’’’

C7

’’’’

‘ ’’’’

F7

’’’’

‘ ’’’’

17


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COMPLETE RHYTHM CHANGES PROGRESSION Here is a possible set of chord changes for the entire progression. This is not THE version, only one of many possible variations. Bb

’ ’

1

Bb

’ ’

G7

Cm7

B b7/D

Eb

B°7

Cm7

B b7

Eb

’ ’ ’ ’

’ ’ ’ ’

5

Bb

’ ’

9

Fm7

’ ’

’ ’ ’ ’

’ ’ ’ ’

F7

Dm7

A b7

Dm7

C#°7

Dm7

C #°7/E

B b/F

’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’ ’ ’ ’ ’

G7

Cm7

D b7

Cm7

G7

Cm7

F7

Bb

’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’

F7

’ ’ F7

’ ’ F7

’ ’

’ ’

’ ’

’ ’

13

Am7

’ ’

’ ’

D7

’ ’

’ ’

Dm7

’ ’

’ ’

G7

’ ’

’ ’

’ ’

’ ’

17

Gm7

’ ’

’ ’

’ ’

’ ’

C7

’ ’

’ ’

Cm7

’ ’

’ ’

F7

21

Bb

G7

Cm7

E7

Eb

25

Fm7

’ ’

’ ’

29


’ ’ ’ ’

F7

D7

C #°7/E

B b/F

’ ’ ’ ’

’ ’ ’ ’

G7

C7

F7

Bb

’ ’ ’ ’

F7

’ ’

’ ’

’ ’

’ ’

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STANDARD TUNE APPLICATION Here is a very simple progression from a tune performed by everyone from Bobby Darrin to Sonny Rollins. The basic diatonic chords are I, ii7, V7, and vi7 as shown below. Fill in the blanks using typical harmonic progressions pointing to the given destinations. At the *, use a tritone substitute and at the ‡, use a deceptive diminished chord from half step above. Progression no. 39 Bb ________

’ ’

’ ’

________

’ ’

1

Cm7

’ ’

________* F7

’ ’

’ ’

________

’ ’

Cm7

________* B b

’ ’

’ ’

’ ’

’ ’

’ ’

________

________

’ ’

________

’ ’

________

’ ’

________

’ ’

5

Gm7

’ ’

’ ’

’ ’

________‡

Cm7

________*

Bb

’ ’

9

Cm7

’ ’

________*

’ ’

F7

’ ’

’ ’

’ ’

’ ’

’ ’

’ ’

________

________

________

________

________

’ ’ ’ ’

’ ’ ’ ’

17


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Progression no. 39 with harmonic additions. B bmaj7 E bmaj7 Dø7 G7

’ ’

1

Cm7

’ ’

’ ’ IV G b 9*

’ ’

’ ’

iiø7/ii F7

’ ’

5

Gm7

’ ’

9

Cm7

’ ’

’ ’ G b 9*

’ ’

’ ’ F7

17

’ ’

’ ’ V7/ii C b 9*

’ ’

Cm7

’ ’

Bb

’ ’

C#°7‡ ’ ’

Cm7

C b 9*

Bb

’ ’

’ ’ ’ ’

’ ’

Dø7

’ ’

E bmaj7

iiø7/ii Aø7

IV

iiø7/vi Dø7

’ ’ ’ ’

’ ’ ’ ’

G7

iiø7/ii Cm7

V7/ii

ii7

’ ’

’ ’

G7

’ ’ V7/ii D7

’ ’ V7/vi G7

’ ’ V7/ii F7

’ ’ V7

SUGGESTED EXERCISES •

Augment other common harmonic progressions using secondary dominants, working back from a specific harmonic point.

•

Find recordings and compare the harmonic structures with other recordings of the same music

•

Compare different published versions of the same music

•

How do recorded performances compare with published versions of the harmony?

•

Compare the harmonic vocabulary between different improvisers on the same recording of a tune? Does the same improviser approach similar sections with the same harmonic progressions? Do all the improvisers approach the music using the same harmonic progressions?

•

Examine melodic transcriptions and compare the relationship of the melodies to the underlying harmony. Was the improviser adhering to all the harmonic implications? Were sections being generalized? Were certain chords ignored? Were other harmonic substitutions suggested by the lines?


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IX. HARMONIC SPECIFICITY SPECIFICITY & GENERALIZATION Melodies that utilize the identifying pitches of individual chords as guide tones, arpeggiate the chords, and comply with voice leading principles are considered to be harmonically specific. Melodies that ignore the specific implications of the harmony and use the primary pitches of the tonic triad with some diatonic and chromatic embellishment are considered to be harmonically general. Forms like the blues, rhythm changes and other tunes that stay in closely related keys allow improvisers to generalize using the tonic triad or notes of the tonic key for melodic material. The tonic triad and scale may be elaborated with chromatic embellishment. Expressive melodies may be created using this generalization technique and the melodic material may or may not align exactly with the harmonic material. Harmonic generalization is only one approach to improvisation. Another approach is to specifically address the harmony where the melodic material correlates with the harmonic material. With a good understanding of individual chord structures and the tones necessary to modulate from one key to the next, an improviser can create expressive melodies that use the dramatic elements of functional harmony as a guide for melodic material. These two examples will help illustrate the distinction between harmonic general and harmonic specific melodic approaches. This turnaround progression from rhythm changes stays in or close to Bb major for the entire phrase allowing for harmonic generalization. All of the melodic material in the first example from an improvisation by Kenny Dorham was based on the Bb major triad notes (circled) elaborate in various ways. If the line was played without accompaniment, it is unlikely that any harmonic progression would be inferred by the listener. It would likely sound like Bb major for the entire phrase. The G7 as V7 of ii calls for an Ab (from the key signature for C minor) and an Bn leading tone, yet the melodic line ignored these implications. None of the individual chords were arpeggiated. 9.1

Bb b &b c Ó

Harmonic Generalization F7 œ œ nœ n œ œ # œ œ # œ œ œ œ

G7

Cm7

Dm7

3

G7

œ œ œ œ œ j œ. œ

Cm7

˙

F7

This second line from the same improvisation specifically addressed individual chords in the progression. It began as exactly as the last line, ignoring the implications of the G7 and Cm7. Dorham shifted to a more specific approach in the third measure. The two notes, Bn and Ab, suggested by the G7, the V7 of C minor, were played. These notes were not available from the key of Bb. Dorham played a 3-5-7-b9 arpeggio over the G7 chord and came down the scale to the F, the seventh of G7. The F resolved in the next measure to the third of Cm7 and the line continued down the scale landing on the third of F7 and the third of Bb. These thirds occurred directly on the downbeat, were approached by the seventh of the chords that preceded them; the melody line was directly related to the indicated harmony. Dorham used a 3-5-7-9 arpeggio again in the fifth measure for the Bb7 chord, the V7/IV, and used the note Ab, necessary for modulating to Eb. The Eb chord was arpeggiated, and the C#°7 was clearly outlined. The line


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ended with another 3-5-7-9 arpeggio over the Bbmaj7 chord. The use of both general and specific approaches is one of the elements that makes this an interesting improvisation. 9.2


b G7 Cm 7 F7 Dm7 G7 Cm 7 F7 b œ 3 3 3 œ nœ œ œ bœ nœ œ œ nœ œ œ œ œ œ œ œ œ œ b c Ó œ œ # œ b œ & œ œ œ œ œ arpeggio B b7 Eb C #°7/E Bb 3 arpeggio arpeggio 3 b œ œ # œ œ bœ nœ œ ∑ œœ œ Œ & b œ œ bœ œ œ œ œ œ œ œ œ œ #œ B

arpeggio Harmonic specific melodies may incorporate all variety of embellishing tones while addressing the pitches that identify the harmony.

GUIDE TONES Guide tones are an underlying simple structure from which lines of greater complexity may be created. They are tones that specifically identify the chords and the notes that point to those chord tones. The guide tones are the dots in the dot-to-dot drawings and the melody connecting them reveals the whole picture. For every chord there is often one single pitch that when sounded over a bass line in context clarifies the quality of the chord. If a major chord can be distinguished from a minor chord it is because of one pitch: the mediant. If a major third is heard, the chord is major; a minor third indicates a minor chord. The third can be used in a melodic line to clarify the chord quality. Sing the melody to Three Blind Mice. If it sounds major, it is because of the major third in the melody. It is the minor third in the melody line that makes Greensleeves sound minor. Harmonically specific lines clarify the major and minor qualities of chords. If the quality of the chords can be identified when listening to a melody, it is these significant guide tones that reveal those qualities. To use guide tones is to use the identifying pitches of the harmonic progression. If one harmonic progression can be aurally distinguished from another it is because of these tones. Guide tones are not just a theoretical discussion, they are the very notes which guide the listener and the performer through a piece. Great melodies can exist independent of harmonic implications, but melody and harmony are often are inextricably related. Harmony, so often taught as strictly a vertical entity, is historically a result of melodic lines. The premise of voice leading is that the individual voices lead somewhere: each voice has a linear implication. As soon as a line begins or stresses a chord tone, there is a linear expectation connected with that note. Melodies do not always have to continue to follow their expected harmonic path, or all melodies would be so predictable that no one would listen. Composers and improvisers are aware of the natural tendencies and expectations connected to voice leading. They are also aware that the audience will respond to these principles intuitively whether or not the audience is musically educated. The composers and improvisers will give the listener at times what is expected and at other times set them up for a surprise. The only way a musical surprise works is that the listener on some level has an expectation about where notes should resolve. Musicians who understand the expectations can manipulate them for interesting improvisations or compositions. Most melodies create a balance between a line that follows the expected resolutions dictated by voice leading principles and a line that departs and is independent from those expectations. The ability to understand and hear the lines suggested by individual notes of the harmony is a necessary skill in order to successfully negotiate the harmonic progressions in jazz literature.


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BASS LINES as GUIDE TONE LINES The simplest example of a using guide tones to create larger lines is the bass line in four beat swing feel. The bass at its most basic level plays the chord roots (the guide tones) on the downbeats signified by the chord symbols, then improvises three notes to get to the next chord. Guide tone melodic lines involving other voices will be easier to understand after examining bass line construction. The bass line is expected to be harmonically specific. The bass does not wander aimlessly randomly generalizing the key area. A well constructed bass line: •

Arrives on the roots of chords at the times signified by chord symbol placement in the music.

•

Fills in notes that adhere to the chord quality and key signature to take the line to the next root.

•

Plays chord tones typically on the stronger beats one and three.

•

Precedes the roots with notes that are usually a step away. It can be diatonic or chromatic from above or below.

•

May slightly accent beats two and four which correspond with the hi-hat pattern played by the drummer in a swing feel.

• After addressing the first principles, other characteristic rhythmic elements may be added. The role of the bass is to accompany. The primary goal should be rhythmic and harmonic clarity. Bass lines can be found that stray from the clear harmonic path, but often quickly return providing a strong foundation for the rest of the ensemble. FUNDAMENTAL BASS LINE PATTERNS The fundamental bass line patterns on the following page can be used to create bass lines with rhythmic and harmonic clarity. These examples are shown over a ii7 - V7 in the key of Bb major. 1. 2.

The most basic pattern is the descending scale. No chromatic notes are needed. Another basic pattern moves up the scale and may use a chromatic passing tone (CPT) to lead to the root of the next chord. 3. The ascending scale pattern may leap over the goal note and step into it from its upper neighbor tone (UNT). 4. If the line does not move in steps, then it may move in leaps. The arpeggio allows for harmonic clarity and some larger intervals than steps. After the ascending arpeggio, it may approach the next root through a chromatic passing tone. 5. The arpeggio may be inverted. The leap down creates more interest following measures of just step motion. 6. Descending arpeggios may be followed by a chromatic passing tone into the next root. 7. The arpeggio may also be inverted or broken, skipping over one tone to reach the next. 8. The constant stream of steps and leap may be interrupted by a pattern using the upper neighbor tones. (From personal experience at faster tempos, this pattern can save a fatigued bassist.) 9. Repeated notes can also provide a reprieve from constant motion. 10. This simple pattern should not be avoided. It can prove very useful and effective musically. Roots and fifths are the bass players primary tools. (OK, OK, here’s the joke: How many bass players does it take to change a light bulb? One . . . Five . . . One . . . Five . . . )


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TEN BASIC PATTERNS for BASS LINES

1.

Down Scale

? bb c œ œ œ œ Cm7

3.

? bb c œ œ œ œ

œ

Cm7

œ œ bœ

F7

œ

Inverted Arpeggio + CPT Cm7

? bb c œ œ œ nœ 9.

œ

F7

œ

Repeated Notes Cm7

? bb c œ œ œ œ


Up Scale + CPT Cm7

? bb c œ œ œ nœ 4.

F7

Inverted Arpeggio + CPT

? bb c 7.

œ

Up Scale + UNT Cm7

5.

2. F7

? bb c œ œ œ bœ

F7

œ

Descending Arpeggio + CPT

? bb c œ œ œ nœ Cm7

8.

œ

Ascending Arpeggio + CPT Cm7

6.

F7

F7

œ

UNT Cm7

? bb c œ œ œ œ

F7

œ

10. Root & Fifth F7

œ

? bb c œ œ œ œ Cm7

F7

œ

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Bass players can add rhythmic and textural interest to a line by adding notes in between the downbeats. This subdivision corresponds to the ride patterns played by the drums. These notes may be ghosted or muffled in a way that makes them more percussive. These notes are shown as “¿” in the following examples. 9.3

9.4

Cm7

F7

Cm7

? bb c œ œ ¿ œ nœ ¿ œ

? bb œ

F7

œ ¿ œ ¿ bœ

œ

Rapidly played arpeggios can add some interest to a bass line. These notes are not exactly articulated and may be ghosted and played percussively. 9.5

? bb œ œ œ œ œ nœ Cm7

F7

œ

3

At least ten thousand different lines can be played over the common turnaround pattern below using the ten fundamental bass patterns shown previously. (Each measure could have one of the ten patterns so that 10 x 10 x 10 x 10, or 104 equals 10,000.) For practice, write out a few possibilities for the progression below. Avoid repeating the same pattern too many times in a row. Try occasionally substituting an Em7 for the C chord Bass players should write and learn to play several versions for at least the common keys of C, F, Bb, and Eb. Here is possible solution: 9.6 Pattern nos.

5

8

Cmaj7

? c .. œ

6

A7

œ

œ #œ

œ bœ œ

œ

2

Dm7

œ

G7

œ œ #œ

œ #œ

œ

œ

..

The progression can be inverted so that it starts on the ii7 chord. Write out a few possibilities for this progression in C and other common keys. Here is possible solution: 9.7 Pattern nos. Dm7

? c .. œ

3

œ

1

œ bœ

G7

œ

4

œ

œ

œ

Cm aj7

œ

10

œ

œ #œ

œ

A7

œ

œ

œ

..


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The previous examples were based on a harmonic rhythm of whole notes. When the harmonic rhythm is half notes, the root is played then the line jumps to the note above or below the next root. The roots for the following turnaround progression should be played on the downbeats as shown. There are up to four pitches available in between each root: each root may be preceded from above or below with its chromatic or diatonic neighbor. The G could be preceded by F, F#; A or Ab; a Bb; Bn, D or Db could lead to the C; and F may be preceded by Eb, En, G or Gb. 9.8 Roots on Downbeats Dm7

G7

? bb c œ

With Added Approach Tones Cm7

F7

œ

œ

œ

Dm7

G7

Cm7

F7

œ œ œ

? bb c œ bœ œ nœ

There are progressions where the chords occur in a variety of rhythmic values. For chords that last for two measures it is not necessary to land on the root in the second measure. Another chord tone can be played on the downbeat of the second measure. Chords occur in the following progression with three different rhythmic values. The C and D last for eight beats, the Dm7 and G7 for four beats, and the turnaround chords change every two beats. The fifth of the chord is played in the second measure for both the C and the D7 chords. Pattern no. 5 is used in m.5 and pattern no. 4 is used in m.6 for the chords with a whole note harmonic rhythm. The last two measures have a half note harmonic rhythm and the roots are preceded from above and then below by half step motion. 9.9 C

?c œ

œ

œ #œ

R Dm7

?œ

œ

œ

œ bœ

œ

5 G7

œ œ bœ

D7

œ œ œ #œ

œ #œ

R Em7

A7

œ bœ œ #œ

œ

œ

œ

œ #œ

5 Dm7

œ bœ

G7

œ

C

nœ

œ

244,140,625 BASS LINES for BLUES The following pages show 244,140,625 bass lines for blues in Bb and F major. Each of the twelve measures for the blues form is shown with five possible bass line patterns. Any one of the five possible patterns in a given measure can move to any of the five patterns in the measure that follows. Several measures are shown with optional notes. The optional notes allow for octave displacement or chord inversions to make smooth connecting lines. Since there are five patterns to choose from for every measure, the possibilities are 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 or 512 which equals 244,140,625. To create a twelve measure bass line, choose any of the five patterns for m.1, then pick any pattern from m.2, and continue through the form. It is similar to a menu where you pick one from column A then one from column B, except with twelve columns. Always choose to step from the note on beat four to the note on beat one. This is not to suggest that any bass player creates lines by imagining a charts like these. The chart is meant as a tool for creating bass lines. There are many more possibilities than shown here, but these patterns should get a bass player or an arranger started creating harmonically clear bass lines.


Chapter 9


244,140,625 Bass lines for Blues in Bb:

9.10 B b7

E b7

B b7

B b7

? b c œ #œ œ œ b

œ bœ ? b bœ œ b

? b œ œ œ bœ b œ

? b œ bœ œ nœ b

? b c œ œ œ nœ b

? b bœ bœ œ bœ b

? b œœ œ œ n œ b

? b œ bœ œ œ b

? b c œ œ œ nœ b

? b bœ œ bœ nœ b

? b œœ b œ œ b œ b

? b œ bœ œ nœ b

? b c œ bœ œ œ b

? b bœ nœ œ b œ œ bœ ? b bœ œ b

? b œœ œ n œ n œ b

œ œ ? b œ œ b

? b œœ n œ œ b œ b

? b œ bœ œ œ b

? b c œ œ œ nœ b 1 E b7

2 C #°7/E

? b bœ œ œ œ b

? b nœ œ œ œ b

? b bœ œ œ œ b

œ bœ ? b nœ œ b

? b bœ œ bœ œ b

? b nœ œ bœ œ b

œ ? b bœ œ œ b

œ ? b nœ œ œ b

? b b œ œœ œ œ b

#œ ? b nœ œ œ b

5

Fm7

3 B b7

4

œ ? b œœ n œ œ # œ b œ ? b œœ œ œ b œ b

œ bœ ? b œ nœ b

? b œœ œ œ # œ b œ ? b œœ œ œ # œ b œ ? b œœ œ œ # œ b

? b œ œ œ œ b

6

7 B b7

G7

? b œ bœ œ bœ b

? b œ nœ œ bœ b œ ? b œ bœ nœ b 8

? b œœ œ œ n œ b

? b œ œ #œ œ b

? b œœ b œ œ b œ b

? b œ œ œ bœ b

œ bœ ? b œ œ b

? b œœ # œ œ n œ b

œ ? b œ œ œ bœ b

? b œ œ œ œ b

œ bœ ? b œ bœ œ b

œ ? b œ œ œ œ b

? b œ œ œ œ b

? b œœ b œ œ n œ b ( Dø7 ) ? b œ œ œ bœ b

œ ? b œ #œ œ bœ b

? b œ b œ œ bœ

( Dø7 ) ? b œ bœ œ nœ b

œ bœ ? b œ bœ œ b

Cm7

9

185

F7

10

G7

11

C7 F7 ? b œœ b œ œ b œ œ ? b œ nœ œ œ b

œ ? b œ œ œ bœ b

12


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9.11

244,140,625 Bass lines for Blues in F:

F7

B b7

F7

Cm7

F7

? c b œ œ #œ œ

?

œ bœ b bœ œ

? œ b œ œ œ bœ

? œ bœ œ nœ b

? c œ œ nœ b œ

? bœ b bœ œ bœ

? œ b œ œ œ nœ

? œ bœ œ b œ

? c œ œ nœ b œ

? bœ œ bœ nœ b

? œ bœ œ bœ b œ

? œ b bœ œ nœ

? c œ bœ œ œ b

? bœ nœ œ b œ ? bœ œ œ bœ b

? œ b œ œ nœ nœ

? œ œ œ b œ

? œ nœ œ bœ b œ

? œ bœ œ b œ

? c b œ œ œ nœ 1 B b7

2 B°7

3 F7

4 D7

b nœ œ œ œ

? œœœ b nœ œ #œ

? œ #œ œ bœ b

? bœ œ œ œ b

? nœ œ œ bœ b

œ bœ ? œœœ b œ

? œ bœ œ b bœ

? bœ b œ bœ œ

? nœ b œ bœ œ

? œœœ b œ œ #œ

? œ œ œ b œ

? bœ œ œ œ b

? nœ œ œ œ b

? œœœ œ b œ #œ

? bœ œ œ œ b œ

? nœ œ œ #œ b

? œœœ œ œ # œ b

? œ b #œ œ bœ ? œ bœ #œ œ b

?

œ œ b bœ œ

?

5 Gm7

6 C7

7 F7

D7

? œ b œ œ œ nœ

? œ œ #œ œ b

? œ bœ œ b œ bœ

?

b œ œ œ bœ

? œ œ œ bœ b

? œ #œ œ b œ #œ

? œ œ œ bœ b œ

? œ œ b œ œ

? œ œ œ œ b œ

? œ œ œ œ b

? œ #œ œ bœ b œ

? œ b œ œ bœ

? œ bœ œ b œ #œ ( Aø7 ) ? b œ œ œ bœ ( Aø7 ) #œ ? b œ bœ œ

9


10

11

8 Gm7

C7

? œ bœ œ b œ œ ? œ nœ œ œ b œ ? œ bœ œ bœ b œ ? œ œ œ b œ bœ ? œ bœ œ bœ b œ 12

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187

Five Chorus Blues Bass Line in Bb Here is a five chorus bass line for Bb blues using only patterns from the previous pages. No two corresponding measures are the same; it uses each of the sixty patterns once. (I have done the first five, that leaves only 244,140,620 for you to do.) 9.12

Bb

? b b c .. œ E b7

1

? bb œ

œ

C #°7/E

nœ

œ bœ

œ

? bb œ nœ

œ nœ

F7

œ

œ bœ

B b7

œ bœ

B b7

5

Cm7

Bb

œ bœ

bœ œ

œ œ nœ œ

œ

E b7

œ bœ

œ

œ

œ bœ œ #œ

G7

bœ

œ bœ

œ œ

Fm7

b G7 9

œ bœ

B b7

œ

œ

œ bœ

Cm7

F7

œ bœ

œ bœ

9

Bb

? bb œ 13

œ

œ nœ

E b7

? bb œ

E b7

bœ bœ E°7

œ

nœ

œ bœ

F7

œ bœ

Bb

œ

œ bœ œ

œ

17

Cm7

? bb œ

œ

œ nœ #œ

œ

œ bœ

œ nœ

B b7

œ nœ

B b7

œ bœ

œ #œ G7

œ

Fm7

œ bœ

b G7 9

œ nœ

Cm7

nœ

œ bœ

B b7

œ

œ

œ œ

F7

œ

œ

21

Bb

? bb œ 25

E b7

œ #œ

E b7

? bb bœ

œ

œ

œ œ

œ bœ

œ nœ E°7

nœ

œ bœ

œ

Bb

œ

œ nœ

B b7

œ

œ

œ

œ #œ

Fm7

œ bœ

B b7

œ nœ

b G7 9

œ

nœ

œ bœ

29

Cm7

? bb œ

œ

œ bœ

F7

œ nœ

œ

œ

Dø7

œ

œ

G7

œ bœ

Cm7

œ nœ

F7

œ

œ

33


188

Chapter 9


Bb

? bb œ 37

œ

œ nœ

œ

œ

œ

œ

E b7

? bb bœ 41

? bb

œ

Cm7

E b7

œ

bœ nœ nœ F7

œ

œ bœ

œ

œ nœ

œ

œ bœ

B b7

œ

œ

œ bœ œ

œ

œ

E°7

œ œ

Bb

B b7

œ #œ

G7

œ

œ nœ

œ bœ

b G7 9

œ bœ nœ

Cm7

nœ

B b7

Fm7

œ

œ

œ

F7

œ bœ

45

Bb

? bb œ 49

E b7

? bb œ

œ

œ nœ

œ

œ

œ

E b7

Bb

œ

œ bœ nœ

bœ

E°7

œ

œ

nœ

œ

œ bœ

œ

B b7

œ

œ #œ

œ

53

Cm7

? bb œ #œ

œ bœ

F7

œ

œ

Dø7

œ

œ

œ bœ

œ nœ

G7

Fm7

œ bœ

B b7

œ

œ

b G7 9

œ

œ bœ

Cm7

œ bœ

nœ F7

œ bœ

..

57

GUIDE TONES APPLIED to MELODIC LINES A melodic line and a bass line both follow guide tones but a melody line has more rhythmic and melodic freedom. A bass line is in constant motion with consistent rhythms while a melody line stops and starts, contrasting short and long phrases separated by all important silence. A bass line begins a measure on a consonant note, the root, and moves to the more dissonant note at the end of the measure. The dissonant note resolves to the next root on the following downbeat. Melody lines can follow guide tones lines in the same way aiming for a consonant note and moving towards a dissonant note which resolves to a consonant note. The bass line is expected to arrive on the downbeat, but more liberty is allowed with the rhythmic placement of melodic guide tones: a guide tone note may occur on the down beat in time with the root in the bass line; it may be anticipated arriving on the upbeat of four or on beat four; it may be delayed by two beats or more, or delayed into the subsequent measure. Because of the rhythmic latitude allowed melodies, their harmonic relations must be analyzed horizontally and not always vertically. There are always twelve pitches available for melodic of pitches. There is a wide range of consonance and sure. The root, third and fifth of any given chord pitches represent one level of dissonance; and the level of dissonance.


use, but they are used with respect to the hierarchy dissonance that may change from measure to meaare the most consonant; the other four diatonic five remaining chromatic tones represent another

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Assume a bass plays the root of a chord and an improviser plays one single melodic pitch over the bass note. What single pitch will provide the most harmonic clarity? The five chromatic pitches not in the present key can be eliminated first. Of the remaining seven, the root of the chord is covered by the bass, so using the root in the melody would reveal nothing new. The chord tones are the obvious choice for clarity. The fifth of the chord certainly helps to establish the tonality, but by itself over the root in the bass, the fifth does nothing to reveal the quality of the chord. (The fifth would be heard as a result of the physics of the harmonic series anyway). The third when played over the root in the bass provides an immediately recognizable chord quality. Two pitches, the root and the third can convey a complete sounding chord quality. It is for this reason that the thirds are the most important guide tones. Harmonic clarity provided by a single pitch over a the root in the bass: 9.13 C

Cm

&cw

bw

?c w

w

When improvisers wish to be clear about the harmonic progression, they aim for the thirds over the roots played in the bass lines. Hank Mobley aimed for thirds in the example below. Mobley landed on the third of Gm (Bb ) and Cm7 (Eb ) without any preparation. The third of F (A) was approach by ascending scale steps. The third of the Dm7 (F) was approached from an upper neighbor. The third of G (Bn) was delayed until beat four, and the third of Cm (Eb) was delayed until beat three. 9.14 Bb

œ Œ b &b c

˙

Gm7 j œ

F7 Dm7 G7 Cm 7 œ œ œ œœ Œ ‰ J œ œ œ œ œ œ n œ œ œ n œ œ œ œJ

Cm7

LINEAR IMPLICATIONS of HARMONY What is meant by the term “chord changes?” It usually refers to a given chord progression or the written chords symbols. In any progression, some notes change between two adjacent chords and some pitches stay the same. Chord changes in the truest theoretical and aural sense refers to the notes that change between two chords. Melodic lines can emphasize the notes that stay the same or the notes that change. If a melodic line is to create the sense of harmonic motion, it must address the notes that change. A player who is “making the changes” addresses the notes that identifies the chords (consonant notes: usually thirds) and finds the notes that move one chord to the next (dissonant notes that often pull towards the consonant thirds). The voices that lead to the next voice follow certain principles. Any pitch that is played over a harmonic progression has linear implications. Guide tone lines may be created by following the given voice leading lines implicated by the harmonic progressions. The guide tone lines are easy to hear and listeners intuitively follow them with a set of ex-


190

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pectations. Melodic inventiveness is a result of manipulation, elaboration, rhythmic enhancement, and playful departure from these paths. When the roots of chords in a progression move in descending fifths, the most common root movement, it suggests specific voice leading principles. The voice leading principles can be stated simply: • • • •

Thirds resolve to sevenths Sevenths resolve to thirds Fifths resolve to ninths Ninths resolve to fifths

9.15 Dm 7 G7

&c ˙ ˙ 3

7

C

w 3

Dm7 G7

C

˙ ˙

w

5

5

9

Dm7 G7

C

˙

˙

w

7

3

7

Dm7 G7

˙ ˙ 9

5

C

w 9

There may be some variants on dominant chords. •

•

The ninths may be altered, so the n9, b9 or #9 (usually shown as its enharmonic equivalent) may be used. Any of the three ninths would still resolve to the fifth of the subsequent chord as shown below. The b9 and #9 pitches are associated with minor keys though they are freely used in major keys to create more tension. The Ab and Bb pitches shown below could be from the key of C minor, three flats. The fifth of a dominant chord may be replaced by a n13 or a b13, the #11 or b5. Any of these substitute pitches behave as a fifth and resolve to the ninth of the subsequent chord. The b13 is associated with a V7 in minor as the b13 is the minor third of the key. The Eb below could be from the key of C minor, three flats.

9.16

Dominant Variants

#9 or b9 for n9 Dm 7 G7

C

& c ˙ bœ bœ w

n13 for n5 Dm7 G7

˙

˙

b13 for n5 C

w

Dm7 G7

˙ b˙

#11/b5 for n5 C

w

Dm7 G7

˙ #˙

C

w

Not all voices change between chords. When ninth chords are moving in a typical cycle of fifths progression, the roots in the bass change for each chord. Alternating pairs of voices resolve down stepwise. The E and C of the Dm9 move to the D and B of the G9 chord while the A and F remain stationary. Then the A and F of the G9 move to the G and E of the Cmaj9 while the D and B remain stationary.


Chapter 9 9.17

? c ˙˙

191

Pairs of voices alternating motion

Dm9

˙ & c ˙˙


G9

9 moves to 5 5 becomes 9 3 becomes 7 7 moves to 3

˙˙ ˙ ˙˙

Cm aj9

5 becomes 9 9 moves to 5 7 moves to 3 3 becomes 9

ww w w w

An experienced improviser need not depend on a rhythm section accompanist to supply the harmonic foundation (or the time). Harmony can be supplied as counterpoint between the single note bass against the single note melodic line. This can be accomplished by aiming for a consonant melodic pitch, usually the major or minor third, that clarifies the chord quality and then moving to a dissonant note that creates motion by wanting to resolve to the consonant pitch for the next chord. The chord tone that most often generates the motion to the next chord is the seventh. The seventh needs to resolve down, and when it does and the bass moving down by fifths, then the seventh will resolve to the third of the next chord. In this ii7 - V7 - I progression, the consonant note F, the third of the D minor, becomes the dissonant note over the G7, then resolves down to the consonant third of C major. This is a basic guide tone line. 9.18 Dm7

&cw 3

?c w

Basic Guide tone line beginning on third: G7

C

C

w

w

w

7

w

3

w

w

The more elaborate melodic line in ex. 9.19 follows the basic guide tone line shown from ex. 9.18. The F is approached using scale tones. The high and low points of the Dm7 measure are chord tones with G as a passing tone. The E and the G on beat four point to the F of the G7 measure. After a large leap from F to E, which is a step disguised by octave displacement, the step motion continues down the scale. The last four notes preceding the E are a broken arpeggio of a G7 chord. The F, the dissonant seventh, is saved for last to propel the line towards the E, the third of C. 9.19

More elaborate line based on Guide tone line: Dm7

&c

G7

Cm aj7

œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

Ó

To create a guide tone line with more motion, the third may move to the seventh of the D minor chord which will resolve to the third of the G7 chord. The seventh of the G7 chord resolves to the third of the C major. Each measure begins with a stable tone, moves to a dissonant tone and resolves over the measure line to a stable tone again.


192

Chapter 9


9.20 Dm7

&c˙

G7

˙

3

?c w

˙

7

3

˙

C

C

w

w

7

3

w

w

w

A bass line follows a guide tone line of roots in a fairly strict fashion: using quarter note rhythms and landing on roots on the beat one of a measure. There is more freedom in the development of melodic lines from their guide tones: the range of rhythmic variations is endless; the line can be embellished with many more diatonic and chromatic notes; and the guide tones are not restricted to the downbeats of measures. As long as the identifying pitches happen at significant places in the measure they will serve their function in the melodic line. The two lines below were improvised by Tom Harrell and followed the guide tones shown above. In ex. 9.21 the F did not occur on the downbeat and was approached from above. The Gb did not sound like an F #, the major third of D; it sounded like a chromatic passing tone. The C, the dissonant seventh, occurred just before beat four, so to avoid reaching the Bn too early, Harrell approached the B from below using a chromatic passing tone (A - A#). After playing notes borrowed from the parallel key of C minor (Eb, Ab, and Bb), Harrell played the seventh of G7 which resolved to the E on the downbeat of the Cmaj7 measure. In ex. 9.22, Harrell approached the F from below using scale steps, the D was surrounded by its upper and lower neighbors, followed by a leap past and then back to the dissonant C. The C resolved to the B which Harrell placed on the strong first and third beats separated by chromatic and diatonic passing tones. The line continued down the diatonic scale with the dissonant F resolving to the E over the bar line. Both of these examples illustrate how flexible a line can be and still incorporate the guide tones. 9.21

Improvised lines that follow guide tone lines:

œ bœ œ œ œ œ j c œ #œ œ œ bœ œ bœ bœ œ œ œ . œ ˙ & Dm 7

G7

Cm aj7

9.22 Dm 7

G7

Cm aj7

œ œ # œ œ œ œ n œ œ œ3 # œ œ n œ œ œ œ c & œ œ œj

The necessary notes for modulation, which should be committed to memory, will now be helpful in determining guide tone lines and melodic pitches. The progression in ex. 9.23 is I - ii7/IV - V7/IV - IV. A B b is needed to modulate from the key of C to the key of F major. What important pitch should be the guide tone to lead to the key of F over these chords? Bb, the necessary accidental. What is the most consonant pitch that will identify the G minor chord? Bb, the third of Gm7. What pitch creates the most motion from the C7 chord which will point to the Fmaj7 chord? Bb, the seventh of C7 which points to the A, the consonant third and identifying pitch of F major. If one can tell that a tune has modulated or temporarily tonicized another key area, it is because somewhere in the music the accidentals necessary


Chapter 9


193

for modulation have been used to point away from the tonic key. The guide tones lead the listener to the new key area. 9.23 C

Gm7

&cw

b˙ ˙

?c w

C7

˙ ˙

Fm aj7

w

w

If one can tell that a tune has modulated or temporarily tonicized another key area, it is because somewhere in the music accidentals necessary for modulation have been used to point away from the tonic key. The guide tones lead the listener to the new key area.

GUIDE TONES for F Major BLUES At the heart of the jazz blues harmonic progression are these guide tone lines. Sing these lines over a blues bass line and the harmonic progression can be heard. The progression will be heard not because some harmonic instrument like a piano or guitar is supplying the chords. The progression will be heard because the counterpoint of the two lines, the guide tone lines composed of thirds and sevenths over the bass line following roots, suggests the notes that identify and change the chords in the progression. Listen to a beginning improvisation class and hear how often there are clashes between the harmonic progression and their lines. They are not hearing the guide tones. An An may sound terrible in m.2 and in mm.5-6 because we expect the Ab. Knowing where these tones are, how they sound in the context, and when they create motion and when they are at rest will help with composing and improvising good melodic lines. The first set of guide tone lines follow a simple blues progression; the second one includes more secondary dominants and a typical turnaround. These should be transposed to any key in which the blues may be played. 9.24

Guide Tone Line for Simple F major Blues B b7

F

& b c .. w

bw

F

& b nw

nw Gm7

F7

Bb

bw

w

C7

B b7

bw

F

w

w

w

9.25

w

..

w

Guide Tone Line for more complex F major Blues B b7

F

& b c .. w D7

œ

# ˙w

Cm 7

F

bw

F

& b w˙ .

F

nw ˙

bw

Gm7

w˙

Bb

F7

C7

˙

w˙

G #°7/B

#w

w ˙

F

D7

Gm7

C7

wœ œ # œ œ wœ œ œ œ ..


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Guide tone notes may occur before, on or after the beat. In the skeleton outlines shown in ex. 9.24 -25, the guide tone line is shown with whole notes referring to harmonic rhythm and not necessarily a required rhythmic placement. Knowing that the third is a target note on the downbeat does not mean that it must be played on the downbeat. Melodic notes may be anticipated and delayed. Below is an excerpt from Sonny Rollins. Each of the guide tone notes are anticipated on the upbeat of four giving the line more forward motion and rhythmic drive. 9.26

Guide tone lines in blues progression

b j j j & b c Ó Œ ‰ œJ ‰ œJ ‰ œ œ ‰ b œJ ‰ œJ ‰ œ œ ‰ n œJ ‰ œJ ‰ œ œ b &b c

∑

Bb

w

E b7

bw

Bb

nw

The guide tones in this line from Thelonious Monk are delayed: they land on the upbeat of two. Each is approached using chromatic notes. The entire twelve measure line, from which this was extracted, includes eleven of the twelve chromatic pitches, but the peaks and important goals of the lines followed the guide tone lines of thirds and sevenths. 9.27


& b c Ó Œ ‰ œj œ œ # œ œ ‰ œj œ n œ # œ œ œ b œ œ ‰ œj œ œ # œ n œ &b c

∑

F

w

B b7

bw

F

nw

Clifford Brown placed the guide tones in a variety of rhythmic places in ex. 9.28. The guide tones arrived on the downbeat in the first two measures. The seventh of F (Eb) arrived a bit early in m.3. The Eb finally resolved to the D on the upbeat of one in m.5. Brown clearly distinguished between the Ab in m.6 and the An in m.7 and both were approached in a similar way and occurred on the downbeat.


Chapter 9 9.28


195

Guide tone lines in blues progression 3

3

j & b c œ . œJ Œ œ œ œ b œ ‰ œ œ œ œ œ œ œ œ b œ œ Œ B b7

F

&b c w

F

bw

œ.

Ó

œ J

F7

nw

bw

r & b œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ Bb

B b7

&b w

F

nw

bw

Ex. 9.29 is from mm.7-11 of the blues form. Charlie Parker suggested a more complex blues progression by his choice of guide tone notes. Parker began this phrase with the identical notes that Brown played in ex. 9.28. The notes necessary to modulate from F major to the key of ii, Gm, are Eb, from the key signature, and the leading tone F#. The secondary dominant D7 was suggested by the F# and the Eb. The F# - A - C - Eb arpeggio is the 3-5-7-b9 of D7. The C, the dissonant seventh of the D7 chord, was sounded again in the Gm7 measure and resolved to Bb, creating a 4-3 suspension. The Bb was reinforced over the C7, and moved down the scale to the E, the third. Parker arpeggiated the C7 chord from the third, borrowed the Db and Eb from the parallel F minor and finally moved down the scale to the target note A. Parker clearly delineated the harmonic progression with his note choices, but the rhythmic character was as important as the notes. There was a great variety of rhythmic activity within this short excerpt: the simple idea in the first measure, the triplet turns, displaced resolutions, thirty-second note pick-up notes, and the syncopated ending. 9.29

Guide tone lines in blues progression 3

bœ œ œ œ œ œ Œ ‰ œ œ œœ œ œ bœbœ œ œ œ œ œ Ó œ œ Œ ‰ b c œ œ œ œ . œ œ œ & œ œ œ # œ œ J J œ F

& b c w˙ .

D7

œ

# w˙

3

˙

Gm7

w˙

C7

˙

w˙

˙

F

w

The guide tones may occur in any register as shown in the following excerpts from a blues improvisation by Tete Montoliu. The non-chord tones always resolved back to chord tones. The two Bb pitches in the first measure resolved back to the guide tone A. The D, Db and Bn in m.2 resolved to C, the fifth of the F chord. The Ab, the guide tone for the Bb7 chord behaved as a G# leading back to the A in the final measure.


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9.30

œœ

&b c


œœ œ œ œ j œ. jœ œ œ œ œ bœ nœ œ œ œ b œ œ œ ‰ b œ œ bœ #œnœ œ b œ œ 3

F

F7

& b c nw

bw

Bb

B b7

bw

w 5

j œ F

nw

The Bb resolved back to the guide tone A. The guide tone Eb was followed by the chromatic C# which encircled and created more tension pointing to the guide tone D. 9.31

&b c Ó &b c


Œ ‰ Jœ ‰ œj ‰ œ œ œ ‰ b œj œ ‰ œJ b œ # œ ‰ œJ œJ J F

∑

nw

Bb

F7

bw

w 5

Montoliu suggested additional chromatic motion in m.2 with the Dn moving to Db. The Db suggested that the Bb major became Bb minor which created a traditional church sounding plagal cadence back to F: IV - iv - I. The harmonic motion in this passage was clear and was created by the harmonically specific melodic lines. 9.32


3 œ œ œ œ b œ œ œ b œ œ ‰ j œ #3œ œ b œ œ3b œ n œ œ œ b c œ œ œ œ œ œbœ œ œ œ œ œ œ & j œ œ œ œ bœ œ. F B b7 F F7 Bb b ˙ ˙ (b˙ ) ˙ n˙ &b c ˙ bw w 3


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BLUES ETUDE: GUIDE TONES Here is a short, simple blues etude based on guide tone lines. Try inventing, writing down and learning several blues choruses of your own. Borrow and steal from the examples here and others you may acquire from jazz artists. 9.33

&b c &b c

‰ œj œ # œ œ . œ ‰ j œ œ b œ œ œ œ Œ œ œ œ œ # œ œ n œ œ b œ ‰ Jœ œ œ b œ œ œ # œ J œ B b7

F

∑

w

& b œ œ œ bœ Ó B b7

bw

nw

F

w˙.

#w

F7

‰ œ œ œ œ #œ bœ œ œ

‰ œJ œ œ b œ œ œ # œ n œ œ Œ Ó G #°7/B

&b w

bw

Cm7

F

D7

œ

˙

# w˙

& b œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ # œ œ œ ‰ œj n œ œ Ó Gm7

& b w˙

C7

˙

w˙

˙

F

wœ œ

D7

#œ œ

Gm7

wœ

C7

œ

œ

GUIDE TONE LINE APPLICATIONS to STANDARD PROGRESSIONS Guide tones can be extremely helpful for creating lines through any progression. To determine a guide tone line for a harmonic progression, try beginning on the third of the first chord. This establishes the foundation from which the progression and the line will depart. Try to move only when necessary, finding a smooth path through the progression. Often a standard harmonic progression will lend itself to a guide tone line that moves only in steps. Dissonant notes should resolve across the measure line to a consonant note. When chords occur that modulate, the guide tone notes will often prove to be the notes necessary for modulation and will be important chord tones. Many progressions will loop so that after a series of harmonic excursions, the original chord will be heard again at the top of the form or at the second A section. As an example, progression no. 13 is a thirty-two measure ABAC form. The first half is shown below. All of the harmony moves away from the tonic Eb chord, but returns to it for the second A section at m.17. In this way, the guide tone lines should lead back to the starting pitch. CREATING a GUIDE TONE LINE A guide tone line could begin on any pitch, but the third is the most definitive note. The line below begins on the third of the tonic Eb chord. The G moves down a step to the third of the Dø7 chord. It is not necessary to move the F for the G7 chord. This is a case of the note changing its status from consonant


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to dissonant by the movement in the bass. The F is now the unstable seventh of G which resolves to the third of Cm, Eb. The Db is the third of Bbm7 and is the logical choice for the continuation of the line as it moves down a step from the Eb. The Db is chosen because it is the third of Bbm7, or since Bbm7 - Eb7 modulates to Ab, the Db is chosen as the required accidental to move from the key of Eb (3bs) to Ab (4bs). The Db as the seventh of Eb7 resolves to the consonant pitch C over the Ab major which must become Cb over the Db7 chord. The Db7 is a backdoor dominant and standing in for an Abm, the iv chord in a plagal cadence, and therefore must have a Cb. Any pitch tends to resolve in the direction in which it has been altered, so Cb wants to resolve to Bb over the Eb chord. Bb is not the third or seventh of Eb, but is a good choice for this chord in the middle of the progression for at least two reasons: (1), the Cb required the downward resolution, and (2), the Bb can then move smoothly to the next guide tone, An. Why is An the appropriate guide tone for the F7 chord? F7 is the V7 of Bb. Bb has the key signature of two flats, one less than the key of Eb. The An is the note that must change and it is also the third of F7. The Fm7 - Bb7 signals the return to the key of Eb and that necessitates the addition of Ab. Ab is also the third of the Fm7 chord and the seventh of the Bb7 chord which resolves down to the G, the third of Eb and the cycle is complete. The guide tone line is smooth, easy to hear and sing, harmonically very specific, and was composed of mostly thirds and sevenths, with the one exception, the fifth of Eb. When the roots move down in fifths, there is a secondary seventh to third guide tone line which may be suggested and is shown below with smaller notes. 9.34

Progression no. 13 E bmaj7

b & b b c .. w

Dø7

w

A bmaj7

&

bbb

D b9

w

bw

w E bmaj7

w

˙

b G7 9

Cm7

w

w

n˙

w

B bm7

w

F9

nw

w

bw

E b7

˙

Fm 7

bw

˙

w˙

B b7

w˙

..

GUIDE TONE LINES in PERFORMANCES These next several examples are from a live performance of Lou Donaldson and Clifford Brown. The vehicle used for improvisation was a tune based on progression no. 13. In m.7, Lou Donaldson landed on a Dn over the Bbm7 chord, but quickly came back to capture the Db, clarifying the minor chord quality. The Db is also the last note he played in the Eb7 measure and led to the C, the third of Ab major. After establishing the stability with the third of the chord, a melody line can venture far away and include a great deal of leaps and chromaticism. When the line returns to the third of next chord, a 3-5-7-9 arpeggio often follows, which removes any remaining harmonic ambiguity. Donaldson used this principle over the Abmaj7. 9.35

b &b b c

B bm 7

nœ

E b7

Œ

A bmaj7 3-5-7-9 arpeggio

D b9

bœ œ œ œ œ œ œ œ œ œ œ nœ bœ bœ œ œ œ œ bœ œ œ 3

Donaldson began the F7 measure with the An, went to the upper neighbor tone, descended the scale, and after an arpeggio that suggested the 3-5-7-9 of Cm7, came back to the An surrounding it with its upper and lower neighbor tones.


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9.36 F9

b & b b c nœ œ œ œ œ œ œ œ œ œ nœ œ #œ œ œ Œ 3

Ex. 9.37 immediately followed 9.36 in the Donaldson improvisation. Donaldson changed the An to an Ab to accommodate the Fm7 chord pointing back to the key of Eb. The Ab was approached by an arpeggiation of the F minor triad. There was a great deal of chromatic ambiguity over the Bb7 chord which created a desirable instability over the chord that leads to the tonic. Two chromatic lines were suggested that pointed to the guide tone Dn : F-En -E b -D n from above and C- C #- D n from below. When the line reached the Dn, the third of Bb, Donaldson used the 3-5-7-9 arpeggio principle that cleared up the harmonic ambiguity of the first half of the measure. The last three notes of the arpeggio were octave displaced. The line continued down to the guide tone note G, and then moved up, after encircling the Eb with neighbor tones, to the G in the upper octave. 9.37

B b7

Fm 7

3-5-7-9 Arpeggio

E bm aj7

j b & b b c Œ ‰ œj œ b œ œ œ n œ œ b œ # œ œ œ œ œ œ œ œ œ œ bœ œ œ œ The guide tone thirds appeared on the downbeats for the Cm7 and Bbm7 chords. The Dn in the third measure over the Eb7 chord is not an error. It would not be heard as the major seventh of the Eb7 chord but as the chromatic lower neighbor to the Eb note that followed. Again, when arriving at the third of the Abmaj7 chord, Donaldson used an arpeggio. 9.38

B bm7

Cm7

E b7

A bmaj7

Arpeggio

b & b b c œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œœœ œ œ n œ œ œ n œ œ œ œ œ œ #œ œ nœ 3

Donaldson began this phrase on the guide tone Db, then suggested the seventh to third guide tones Ab to G between the Bbm7 and Eb7 chord. Another arpeggio occurred after arriving at the third of Abmaj7. 9.39

B bm7

E b7

A bm aj7

3 bb c ‰ bœ œ œ nœ œ œ bœ b œ œ & œ #œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ Œ 3-5-7-9 Arpeggio 7 3 3

Clifford Brown played a very similar line to the Donaldson above. Both lines began on the Db and encircled the Bb with neighbor tones. Brown used an Ab paired with Fn to Donaldson’s Ab and F# to point to the G. Brown used notes borrowed from the parallel enharmonic minor key of G# minor that created more tension when pointing to the Abmaj7. When Brown reached the third of Abmaj7 he used the principle of arpeggiating the 3-5-7-9 of the chord, but octave displaced the last three notes.


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9.40

B bm 7

E b7

A bm aj7

#œ nœ #œ œ œ bœ œ nœ œ b & b b c bœ nœ œ œ œ bœ œ œ Œ œ œ bœ 3-5-7-9 Arpeggio

Brown supplied the third of every chord on the downbeat in this progression. While C minor and Eb major share the same key signature, the key of C minor needs a Bn, the leading tone, to create the dominant chord G7. Brown played it on the downbeat and followed it with an inverted 3-5-7-9 arpeggio. 9.41

b G7 9

Dø7

Cm 7

3

œ œœœœ œ b Ó nœ #œ nœ œ œ œ œ bœ œ œ œ œ œ &b b c œ œ 3-5-7-9 Arpeggio 3

3

7

3

7

3

The use of a 3-5-7-9 arpeggio as a way of elaborating a guide tone line is a universal jazz device. The 3-57-9 arpeggio may be found in ascending form or inverted where the last three notes, 5-7-9, are octave displaced. Tom Harrell sequenced this device in the following examples. The F7 arpeggio was inverted and the arpeggio for the Bbm7 ascended in ex. 9.42. 9.42

b

B bm7

F7 9 Arpeggio

Arpeggio

œ b & b b b b 34 n œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ The guide tone notes are circled in this excerpt from Tom Harrell. They do not always occur on the downbeat, but are always prepared and approached in a logical way. The 3-5-7-9 arpeggios are marked with brackets. Harrell made the sequence work in the last two measures even with the meter change on the Bbm7 chord. 9.43 Gø7

C7

Fm 7

B bm 7

3 bbb 3 œ . œ œ œ œ œ b œ œ œ & 4 œ œ nœ œ œ nœ œ œ œ œ œ œ œ œ œ c œ œ œ œ œ œ œ œ 3

Contemporary improvisers are also aware of and use guide tones to identify and connect chords. John Scofield aimed for the third and seventh of all the chords in the following progression. The Bb7 chord is a secondary dominant chord and points away from the key of Db (5bs) to the key of Eb minor (6bs plus a leading tone). The leading tone is Dn and the sixth flat is Cb. These are the first two pitches Scofield played over the Bb7 chord. Scofield arpeggiated the Ebm7 chord 3-5-7, but stopped before reaching the ninth, and let the seventh resolve to the third of Ab7. He almost used the 3-5-7-9 arpeggio over the Db chord, using a Bb instead of the C.


Chapter 9 9.44


201

b B b7 9

Db

b Œ & b b b b c œ œ œ ¿ œ œ œ . Jœ ‰ œJ œ œ œ œ nœ bœ œ œ œ ¿ œ ˙ 3 3 3 7 œ 7 7 3 E bm 7 . A b7 Db . b œ œ . b œ œ œ œ œ nœ nœ œ bœ œ œ œ œ &b b b œ œ œ J œ 3 7 œ œ 7 œ n œ œ3 Standard jazz progressions are still attractive to contemporary jazz performers. Mike Stern used progression no. 7, from a tune published in 1947, to compose a new composition. This is a very common idea. Many of the compositions from the early bop era were newly composed pieces based on established harmonic progressions, usually borrowed from or similar to popular show tunes. There is something that is still interesting and challenging about these traditional progressions. Sometimes they offer a contemporary player an opportunity to improvise lines that contradict the underlying harmonic implications, but here, Stern aimed for the coherent tones of each chord with at least one unexpected turn. The F# in the second measure informed the listener that F major was left behind. The D7 chord was arpeggiated and its seventh, the restless dissonant tone C, resolved over the measure line to the consonant third of Gm7. The Bb was encircled by upper and lower neighbor tones before continuing down the scale. At the C7 measure, a listener might expect to hear the Fn, the seventh of Gm7 resolve to a En, the third of C. Stern played an F#, this time as part of an encircling of the G before moving down to the Fn which did finally resolve to E, not just anywhere, but on the strong third beat. The line continued down the scale sounding the seventh of C7 before resolving smoothly over the measure line to the consonant third of F. 9.45 Fmaj7

&b c ˙

D7

˙

Gm7

C7

Fmaj7

œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ œœ œ 3

7

3

3

7

3

The idea that melody lines can implicate and outline the harmonic motion should not be difficult to imagine. Historically, the entire concept of harmony came about as a result of melodic lines. The concepts of vertical sonorities, chords and harmonic progressions evolved from the convergence of linear melodies. The melodies were implicating the harmony before harmony existed. Many years ago students asked me for book recommendations for melodic ideas. I always suggested Bach, Mozart, and works of other time tested geniuses of melody. They always looked puzzled and sadly, few of them took me seriously. Listen to the strength of the single line against another single line in two-part inventions. There is no chordal accompaniments and yet the harmonic motion is crystal clear. This is because the lines themselves incorporate the important chord tones as guide tones. The six suites for cello solo and the solo sonatas and partitas for violin are excellent material for harmonically specific lines. What can be learned from the study of Clifford Brown and Charlie Parker can be learned from even older masters of melodic invention. There are several melodic lines implied in this Menuet from Suite no. 1 for cello solo. No double stops are used to indicate the harmonic motion, only the single note melody line implying up to three separate voices.


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9.46

J. S. Bach: Suite No. 1 for Cello Solo, Menuet II

œ œ ? b b 34 œ œ œ œ œ œ œ 1

? bb œ #œ œ œ œ 7

œ #˙ nœ œ

œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œœ œœœœ œœœ œœœœœ œ œ œ # œ œœ .. .. œ œ nœ

œ œœœ œ œ œœ ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ bœ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. #œ œ

13

? bb

..

19

The primary line in mm.1-4 suggests Bb - A - G - F#, a descending step line at the interval of a third and an octave over the bass line G - F - Eb - D. The Bb over the G in the first measure left no doubt that the piece is in a minor key. The F#, leading tone in m.4 and m.8 is the third of the implied D7 chord and is approached from above and again made it clear that this piece is in G minor and not Bb major. Brown, Parker and Harrell used arpeggios from the thirds of chords. What about Bach? Examine the second part of the Menuet II. The chart below shows the implied harmonic progression and below details the melodic devices used to implicate the harmony. Implied harmony for second part of Menuet II: D7

F

Bb

11

12

Arpeggio En points to key of F

Encircled 3rd Eb points to key of B b

Gm

C7

9

10

Arpeggio

Encircled 3rd

F# and E b point to Gm

Eb

F7 Bb F7

Bb

13

14

15

16

Arpeggio

Arpeggio

Thirds

Arpeggio

lack of F# also points to B b

Fn indicates Bb and not Gm

G7

Cm

F7

Bb

D7

Gm

Aø7 D7

Gm

17

18

19

20

21

22

23

24

3rds

Root

Arpeggio 3-5-7-9 arpeggio with 7th -3rd resolution Bn and A b point to Cm


Arpeggio 3-5-7-9 arpeggio with 7th -3rd resolution Fn indicates Bb and not Gm

Arpeggio 3-5-7-9 arpeggio with 7th -3rd resolution Return of F # indicates G minor, not Bb major

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STEP PROGRESSION Many times the harmonic guide tones will suggest a simple step line over several chords. The first four measures of the Menuet II followed a step progression. The example below. IV - iii - ii - I shows the bass and the guide tone thirds following simple downward step progressions. 9.47

Step Progression

&cw

w

w

w

?c w

w

w

w

Mozart used this same step progression to create these longer florid lines. Mozart used ascending and descending diatonic scales to accentuate the guide tone step progression line in two octaves. 9.48

Mozart: Sonata in C major, Allegro, KV 545

œœ & c œœœœ ?c

œ œ œœœœœ

œ Œ

œœ

Œ

œ œœ œœœœœœœ œœœœœœœ œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœ œ œ Œ

œ œ

Œ

œ œ Œ

Œ

œ œ

œ œ Œ

Œ

œœ

Using some basic harmonic substitutions, the Mozart line can be transformed into a jazzy sounding line. 9.49

#9

B7b 13

b A7 9

b G7 9

œ œ œ œ œbœ œ œ œ œ œ œ œ œ #œ bœ œ œ œœœ œ œ œ œ c œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ ˙ & œ Fmaj7

Em 7

Dm7

Cmaj7

A step progression can be created using the primary guide tones over progression no. 13. This guide tone line is a harmonically specific step progression that begins and eventually returns to G after sixteen measures.


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9.50

Progression no. 13 E bmaj7

b & b b c .. w

Dø7

w

A bmaj7

&

bbb

w

D b9

w

Cm7

w

w

˙

E bmaj7

bw

b G7 9 n˙

w

F9

w

w

B bm7

nw

bw

E b7

˙

Fm 7

w

bw

˙

w˙

B b7

..

w˙

Clifford Brown used an extended step progression in this excerpt. The step line was interrupted with neighbor tones, an inverted 3-5-7-9 arpeggio, and octave displacement. The line pointed to the third of every chord in the progression and moved toward the seventh which resolved to the third of the subsequent chord. Some of the sevenths were delayed and resolved as 4 - 3 suspensions. This illustrates the dual nature of some notes. The Eb over the F7 is the seventh and points to the Db, the third of Bbm. The E b is both the seventh of F7 and the upper neighbor to the Eb. Not matter which analysis and term is used, in both roles, the Eb is a dissonant note wanting to resolve to the Db. The simplified step progression is shown on the bottom line. 9.51 Cm7

F7

B bm 7

3

7

E b7

3

b & b b b 34

3 j œ œ œ œ nœ œ j bœ nœ œ bœ œ œ œ Œ J œ œ œ nœ œ nœ œ œ bœ œ œ œ œ œ

b & b b b 34

œ œ 3

A bmaj7

3

œ

7

œ

F7 3

œ

nœ

3

3

bœ œ B bm7

œ

3

7 3

œœœ œ œ

œ œ 7œ

3

b & b bb œ Œ œ œ œ nœ œ œ bœ œ nœ œ œ œ œ œ nœ ˙ 3 b b œ &b b

œ

3

nœ

bœ

œ

7

3

œ

œ

Ex. 9.52 is another step progression example from Clifford Brown. Brown’s line incorporated the harmonically clear thirds in almost every measure. All twelve of the chromatic pitches were used, but never at random. All chromatic tones were resolved in predictable ways. The Db was a chromatic passing tone between D and C in the pick-up measure. In m.3, the C# and the A# pointed up to the chord tones D and B. The D# in m.5 indicated a shift to the key of E minor, and was the anticipated third of B7. The G# in m.7 clarified the key of E major. The Gn in the last measure verifies the return to the key of G. The step line was twice interrupted by octave displacement. In both cases of octave displacement, Brown leapt from the harmonically clear third up to the ninth before descending again.


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9.52 Am7

D7

Gmaj7

nœ ‰ Jœ ‰ b Jœ œ œ œ œ œ œ œ œ œ b œ Œ ‰ œJ # œ n œ œ œ n œ # œ œ ‰ j œ œ œ œ #œ œ 3 9 bœ œ œ nœ œ œ œœœ œ œœ

# c & # & c F #m 7

B7

#

Emaj7

Am 7

D7

& œ œ œ # œ Œ œ œ œ œ œ œ œ œ # œ œ # œ œ œ # œ œ ‰ n œj œ n œ œ œ Œ 3 9 # œ œ œ œ œ & œ œ œ #œ œ #œ nœ œ 3

This simple step progression framework may not seem like enough for an interesting piece of music, but it is the basis for one of the most familiar melodies of the twentieth century. Judy Garland sang it in an early disaster film about tornadoes. Play the simple framework below while singing the complete melody. What devices were used to create this melody out of a simple descending scale? 9.53

˙

&c ˙

w

w

w

w

w

w

w

A step line is often suggested by any harmonic progression. Learning to hear progressions usually involves being able to hear the one voice that indicates the change. The root of the F chord may not at first seem like the best choice to begin the step line below until examining the rest of the line. The Eb is the note that points to the Bb chord and resolves to the harmonically clear third of Bb, the Dn. The Dn must become the Db to accommodate the Eb7 chord. The C is the natural choice for the first inversion F chord for two reasons: (1) it is the logical resolution of the Db, and (2) is a third above the bass note. 9.54 F

˙ &b c ?b c

˙

F7/A

b˙

˙

Bb

E b7

˙

b˙

˙

b˙

F/A

D7

Gm7

C7

˙

˙

˙

bœ

˙

˙

˙

˙

F

œ

œ œ


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Ex. 9.55 is a embellished version of the simple framework in ex. 9.54. The notes on the downbeats of mm.2-3 are anticipated giving a rhythmic push to the line. There is more angularity created using arpeggios over the D7 and Gm7 chords. 9.55 F

Bb

F7/A

E b7

F/A

D7

Gm7

C7

F

3 3 j œ b œ œ œ œ b œ œ œ œ nœ œ œ ‰ œ œ #œ œ œ œ œ bœ œ bœ œ & b c #œ œ œ œ #œ œ œ œœ

OTHER VOICES as GUIDE TONES The third often proves to be the clearest note to begin a guide tone line. Beginning with the third insures the line will build dramatic intensity as it moves away from the consonant third. The third is often approached by the seventh of the previous chord which descends step wise from the dissonance to the consonance. Ninth chords are common in jazz, which makes it possible to have five separate voice leading lines occurring at once using the root, third, fifth, seventh and ninth of the chord as beginning pitches. All of these notes have linear harmonic implications. Lines may begin on chord tones other than the third. While these other pitches may be chord tones, and therefore harmonically specific, they may not be as clear as the third in establishing the quality of the chord.

GUIDE TONE LINE BEGINNING on the THIRD Thirds resolve to sevenths when chords are separated by a fifth. Progression no. 13 suggests a harmonically specific guide tone step progression that begins on the third and eventually returns to the same pitch after sixteen measures. The guide tone line never moves more than a whole step. The octave displacement in mm.11-12 keeps the line in the staff. Because it is preceded by a backdoor dominant, the guide tone for the Ebmaj7 chord is the fifth, Bb. The Bb resolves down a half step to the essential tone An, the third of the F7 chord. 9.56

Guide Tone Line No. 1: Progression no. 13 with line beginning on the third

E bmaj7

b & b b c .. w A bmaj7

&

bbb

3

Dø7

b G7 9

Cm7

F7

B bm7

E b7

w

w

w

w

bw

w

3

7

3

7

3

w D b9

E bmaj7

w

bw

w

3

7

w

F9

nw 3

w

7

Fm 7

B b7

3

7

bw

w

..

This etude follows guide tone line no. 1. In the first few measures, the guide tone is elaborated by movement up and down the diatonic scale returning to the guide tone. Many other notes are used in addition to the guide tones, and some other guide tone linear implications may be found. 3-5-7-9 arpeggios are found in mm, 9, 15 and 16.


Chapter 9 9.57


ETUDE based on Guide Tone Line No. 1:

E bmaj7

b9

Dø7 G7 j j ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ #œ nœ œ œ œ

b & b b c .. œ œ œ œ œ œ œ ˙

B bm 7

E b7

&

bbb

&

bbb

D 9 E maj7 j œ ‰ nœ bœ œ œ bœ œ œ œ œ œ bœ œ ˙ . F9

&

bbb

Cm 7

207

F7

j œ ‰ œ œ œ œ œ ˙

œ œ œ œ #œ œ . œ ‰ œj œ bœ œ œ œ J œ bœ œ

A bmaj7

b

b

Œ

‰ j œœœœ œ œœ B b7

Fm 7

b œ œ œ œ # œ .. ‰ n œj œ œ b œ œ œ œ œ œ œ œ œ #œ œ

nœ œ nœ œ œ œ œ Ó

GUIDE TONE LINE BEGINNING on the SEVENTH The seventh is a dissonant tone and creates motion to the third of the next chord. The first guide tone line began with thirds that moved to sevenths. Thirds lead to sevenths and sevenths lead to thirds. This guide tone lines reverses the location of sevenths and thirds from the guide tone line shown in ex. 9.56. Beginning on the seventh creates an initial dissonance note which alternates with consonant notes as the previous line. 9.58

Guide Tone Line No. 2: Progression no. 13 with line beginning on the seventh

E bmaj7

b & b b c .. w A bm aj7

&

bbb

7

b G7 9

Dø7

w

w

D b9

E bmaj7

w

w

w

7

3

9

Cm 7

nw 3

7

F9

w

w 7

B bm7

F7

bw

nw

7

3

bw 7

E b7

w 3

w

Fm7

B b7

7

7

3

w

w

..

The etude shown in ex. 9.59 follows the above guide tone line no. 2. The third of F7 is preceded by its upper neighbor, Bb, which is also the seventh of the Cm7 chord, and preceded by its lower neighbor, G#. This idea is sequenced over Bbm7 - Eb7. There are two lines suggested in mm.9-11: the top of the line follows the G - G - F of the guide tone line above, the C - Cb - Bb suggests the parallel measures in guide tone line no. 1.


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9.59


b9

E bmaj7

Dø7 G7 œ œ œ n œ œ b œ b œ œ œ b œ œ œ œ œ œ œ ‰ nœ œ œ œ Ó ‰ œ. œ & b b c .. J

b j & b b Œ ‰ œ œ œ #œ nœ œ . Cm 7

F7

A bm aj7

j œ Ó

B bm7

E b7

Œ ‰ œ œ œ #œ œ ˙ . J

D b9

Œ

E bmaj7

b j & b b ‰ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ b & b b ‰ œj ‰ œj œ œ œ œ œ œ œ Œ F9

B b7

‰ œj œ œ œ œ œ # œ œ .

Fm7

j œ Ó œ Ó J

..

GUIDE TONE LINE BEGINNING on the FIFTH Playing the consonant fifth alone over the root in the bass reveals nothing of the chord quality. Both major and minor chords have a perfect fifth, and the quality will remain unconfirmed until a third has been sounded. The harmonic implications of a guide tone line beginning on the fifth will be vague. As thirds lead to sevenths and sevenths to thirds, the fifth resolves to a ninth. The fifth of the Dø7 becomes the b9 of the G7 which resolves to the fifth of the Cm and so on. Creating lines using the fifths and ninths will require the use of thirds and sevenths elsewhere in the line or will depend on outside accompaniment to verify the quality of individual chords. Fifths must be perfect on major and minor chords. This does not prohibit using a chromatic leading tone to the fifth. Half diminished chords have diminished fifths. On dominant chord, fifths can be lowered or raised. The thirteenth or flatted thirteenth may substitute for the fifth in a dominant chord. When using a guide tone line of fifths and ninths, the loss of harmonic clarity by not using the fundamental thirds and sevenths is exchanged for the available color combinations of altered ninths fifths and thirteenths available on the dominant chords. 9.60

Guide Tone Line No. 3: Progression no. 13 with line beginning on the fifth

E bmaj7


&

bbb

5

b G7 9

Dø7

w

w

w

D b9

E bmaj7

w

w

w

5

9

7

5

Cm7

9

w

F9

w

(13)

F7

w

˙.

5

9

B bm7

E b7

œ w 5

˙ . bœ 9

w

Fm7

B b7

5

5

9

w

˙ . b œ ..

This etude follows guide tone line no. 3. The first line begins with and leads up to a Bb guide tone, but emphasizes the third in the second measure which clarifies the major chord quality. In several measures, after sounding the guide tone fifth, the line will reach towards the third for harmonic clarity.


Chapter 9 9.61


E bmaj7

b & b b c .. Œ ‰ j œ œ œ œ œ œ œ œ œ n œ b ˙ œ &

bbb

&

bbb

&

bbb


Dø7

D b9

E b7

‰ n œj bœ nœ

E bmaj7

‰ œj œ n œ b œ œ ‰ œ .

œ

œ œ œ œ Œ ‰ œj œ œ œ # œ

‰ œj b œ œ œ bœ œ œ œ nœ œ ˙

F7

A bm aj7

b G7 9

B bm7

j œ œ œ œ œ ‰ œ ˙

Cm 7

‰ j œ œ œ œ œ œ œ ˙

œ œ nœ œ œ œ Œ n œ œ œ œ œ nœ œ œ

∑ B b7

‰ Jœ œ œ œ œ œ œ b ˙ .

F9

209

Fm7

Œ

..

GUIDE TONE LINE BEGINNING on the NINTH As fifths resolve to ninths, ninths resolve to fifths. Guide tone line no. 4 begins on the ninth, and the ninths resolve to fifths when the chords are separated by fifths. The very dissonant ninth (Eb) of the Dø7 chord could resolve to the fifth of G (Dn) or remain as the b13 (Eb) of the G7. The b13 can resolve down to the fifth of G7. The fifth of G7 then becomes the ninth of the Cm7 and so on. The ambiguous and colorful ninths and fifths may require the clarity of thirds and sevenths to be included in the line or in a separate accompaniment. This guide tone line leads to the third for the Eb chord in m.11. 9.62

Guide Tone Line No. 4: Progression no. 13 with line beginning on the seventh

E bmaj7

w b & b b c .. A bm aj7

b &b b w 9

9

w D b9

˙

˙

13

5

Dø7

b G7 9

9

13

˙ ˙

w

E bmaj7

w 3

Cm7

w

F7

B bm7

E b7

9

13

9

13

5

w

F9

w

9

˙ b˙

w

w

˙ b˙

Fm7

w

B b7

9

13

˙ b˙

..

This etude follows guide tone line no. 4. The melody line suggested a seventh to third resolution from the Dø7 to the G7, as relief from the obscure harmonic information provided by the ninths and fifths.


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9.63


E bmaj7

b b c .. Œ œ œ œ œ ˙ b & F7

A bm aj7

b G7 9

œ œ œ

œ nœ ˙

B bm 7

b &b b œ œ œ œ œ œ ˙ Cm 7

‰ œJ œ œ œ

Dø7

œ œ ‰ J œ

E b7

‰ œJ b œ n œ œ b œ œ œ œ œ b œ ˙ . bœ D b9

Œ

E bmaj7

b & b b ‰ œj œ œ œ œ œ œ œ n œ b œ œ œ œ # œ œ œ n œ œ œ œ œ b & b b ‰ œj œ # œ œ œ œ œ œ . F9

j œ Ó

B b7

3

Fm 7

∑

œ œ œ œ œ œ ‰ # œj œ œ b œ ˙

..

FIVE GUIDE TONE LINES at ONE TIME If all four of the guide tone lines occur at once then five part harmony is the result. It is important, as an improviser or composer of melodic lines, to learn to think of the harmony as a consequence of the lines and not a separate unrelated vertical entity. 9.64 E bm aj7

w b & b b c .. ww

ww w

Dø7

w ? b c .. w bb

w w

w w

A bm aj7

b & b b www ? b w bb w

D b9

˙˙ ˙˙ b˙ ˙ b ww

b G7 9

ww w

˙˙ ˙ ˙ ˙˙

Cm7

ww w

F7

B bm 7

bw w

n ww

bw w

n ww

E bm aj7

F9

w ww

w ww

ww nw

w

w

w w

˙˙ b b ˙˙ ˙ ˙

ww nw w w

w b ww

E b7

˙ b˙ b ˙˙ b ˙˙ ww

Fm7

ww bw

B b7

w w

ww

˙˙ b b ˙˙ . ˙ ˙ . ..

GUIDE TONE LINES with DECEPTIVE RESOLUTIONS The first four guide tone lines should have been easy to hear. The resolutions that occurred were what most would expect; there were no surprises. Since these lines and their voice leading are common and anticipated by most listeners, it is important to learn what they are and how they work before trying to do the unexpected. After mastering the expected, one has a better chance to understand and effectively


Chapter 9


211

use the unexpected resolution. Here are a few possible guide tone lines which move against expectations. Since most of the voice leading lines tend to fall (a seventh resolves down to a third; a ninth to a fifth; a suspended fourth resolves down to the third) then it is not surprising that the unexpected lines move upward. There is a great deal of tension created by the following ascending guide tone lines. The tension that the ascending guide tone lines create can be an effective tool in constructing a dramatic improvisation or composition. The line in ex. 9.65 begins on the fifth of Eb. Instead of the Bb resolving down to the fifth of Dø7 and then becoming the ninth of G7 as it did in guide tone line no. 3 (9.60), the Bb moves up to the C, the seventh of Dø7. The motion is still smooth, but contradictory to expectations. The C, as the seventh of Dø7 points down the Bn, the third of G7. If it resolves up, the dissonance is compounded by the unexpected ascension and the resolution to the very dissonant #11 of the G7. The C# dissonance is appeased somewhat by the resolution to the relatively less dissonant Dn, the ninth of Cm. The D moves up to the Eb, a dissonant note to the Bbm7, but also the dominant of the new key of Ab. The Eb moves up to En, or F b, the flat ninth of Eb, which begs to resolve back down to Eb, the fifth of the next chord, Ab. It defies gravity again moving to the F over the Ab, a relatively calm dissonance. The G and Ab are comparatively relaxed over the Db7 and seem to point up to the Bb. Instead, the unexpected An occurs before resolving to the Bb. The Bb had previously at this point in the progression moved down to the An, but here moves up to the Bn, the #11 of F7. The Bn moves up to the consonant fifth (Cn) of Fm7 and then to the #9 (C#) of Bb. A guide tone line like this generates tension partly because of the unexpected resolutions. That most step progressions and guide tone lines descend and the fact that this line ascends contributes to the sense of mounting urgency. 9.65

Guide Tone Line No. 5: Progression no. 13 with ascending line

E bmaj7

b & b b c .. &

w

w

A bm aj7

D b9

w

˙

bbb

˙

Dø7

b G7 9

Cm7

F7

B bm7

E b7

w

#w

w

w

w

nw

E bm aj7

nw

w

F9

nw

nw

Fm7

w

B b7

#w

..


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9.66


E bmaj7

b & b b c .. ˙ .

Dø7

œ #œ œ œ œ œ œ œ nœ œ œ .

Cm 7 œ œ œ Ó b &b b œ A bm aj7

j œ œ œ ‰ # œJ ˙ .

3 E b7 œ bœ œ œ œ n œ œ œ b œ œ œ œ œ œ n œ œ œ œ

Ó

E bmaj7

D b9

œ œ n˙ Œ ‰ b œJ œ œ

œ œ nœ bœ ˙

3

œ œœœœ œ 3 b ‰ œ œ nœ œ œ Ó &b b F9

œ

B bm7

F7

b œ . nœ bœ œ Œ &b b J

b G7 9

œ œ nœ ‰ J

B b7

Fm7

‰ œJ œ œ œ œ œ œ b œ œ b œ b œ œ .. œ

The guide tone line in ex. 9.67 begins on F, the ninth of Eb. It resolves down to the ninth of Dø7, but to a En rather than an Eb. An Eb would be the expected pitch in this context where Dø7 is either the viiø7 of Eb major or the iiø7 of C minor. The En brightens the typically dark half-diminished chord. The En could easily resolve down to an Eb, the b13 of the G7 chord, but instead moves up to the F, the seventh. The F could resolve as expected to the Eb, the third of Cm, but moves up to the very dissonant F#. The F# points to and finally resolves as a leading tone to the G. The G moves smoothly up to the Ab, the seventh of B bm7, but does not resolve down to the expected third of Eb, resolving up instead to the dissonant An. The An points to the Bb and finally moves to it over the Abmaj7. The Cb over the Db7 points back down to the Bb, but in keeping with this example, moves up to the relatively consonant Cn over the Eb chord. The Dn, the thirteenth of F7, is approached from a chromatic passing tone, C#. The Dn moves up to the seventh of Fm7, Eb. The unexpected resolutions continue as the Eb moves to En rather than the anticipated Dn. The dissonant En points up to the F and brings the progression back to its starting point. 9.67

Guide Tone Line No. 6: Progression no. 13 with ascending line

E bmaj7


b &b b w


˙ ˙ D b9

bw

E bmaj7

w

Dø7

b G7 9

nw

w F9

˙ . #œ w

Cm 7

F7

#˙ ˙

w w

B bm7

w

w

Fm7

E b7

nw B b7

nw

..

Chapter 9 9.68


E bmaj7


213

b G7 9

b Ó & b b c .. Œ ‰ œj œ œ œ œ œ œ œ œ œ œ n œ œ œ œ n œ œ œ œ œ œ œ œ œ Dø7

B bm 7

E b7

bb ‰ j 3 b & #œ nœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ n˙ Cm 7

A bm aj7

F7

D b9

œ œœ œ

E bmaj7

b ‰ œj # œ # œ # œ & b b œ ‰ œj œ œ œ b œ œ œ b œ œ œ œ n œ œ œ œ œ œ œ œ nœ œ 3

b œ œ Ó & b b œ nœ œ œ œ œ œ œ œ œ F9

B b7

œ œ œ œ œ œ œ3 œ n œ . œ

Fm7

œ J Ó

..

MULTIPLE GUIDE TONE LINES: COMPOUND MELODIES Single lines may be created which suggest two or more individual lines. There are excellent examples from all style periods, with some of the best known found in Bach’s compositions for solo cello and solo violin. In order to distinguish two independent lines within a single line, the two lines should be separated by an interval larger than a third. Any smaller interval between them and it will be difficult to distinguish two independent lines. The following examples are single line melodies which imply more than one independent melody line. Often one of the implied lines will be more active and the other more passive. In this beautiful example, Bach suggested two melodies separated by the interval of a sixth. The reduction of the two lines is shown below. The line on the top is the more active; the one on the bottom more passive. 9.69

b &b b c b &b b c

J. S. Bach: IV. Choral, Cantata No. 140, Wachet Auf, Ruft Uns Die Stimme (1731)

Œ œœœ j œœœ œ œ œ œ œ œ œ œ œ œ œ w w

œ œ

œœ

˙ ˙


214

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Bach’s single line could have been easily adapted for two instruments as shown below. 9.70

b &b b c

j œ œ œ œ. œœœ œ œ œ Œ œ œ œ œ ˙. œœ œ œœ œ J

Here is a familiar line from Gershwin. The voice leading suggests the progression: IV - iv - I - V7/V - V7 I in the key of G. The bottom staff illustrates the two suggested step progression guide tone lines. 9.71

# cœ œ & œ œ b œj œ # . & c˙ Œ

‰ Jœ b ˙

œ œ œ J bœ œ #œ bœ nœ œ œ œ ˙ ˙

bœ #œ

œ nœ

w

œ Œ Ó

w w (

œ Œ Ó œ)

Compound lines also have a home in folk music. The bottom staff in ex. 9.72 illustrates the two suggested guide tone lines. The range between the two contrary step lines begins as sixth apart and moves to a unison. 9.72

# 6 j & 8œ # & 68 ‰

Home on the Range

œ œ œ . œ œ œ œ œ œ. œ œ œ. œ œ œ. œ œ œ œ Œ. Œ. œ. œ. ˙ œ. œ œ ˙. ˙. ˙. Œ.

j œ ‰

Keith Jarrett played this long passage that suggested two independent lines. The top line was the more active, but both were relatively simple as this was the beginning of an improvisation. The simplicity of the individual lines prevented the entire melodic line from being cluttered.


Chapter 9 9.73

‰ b œj b j & b c ˙ œ bœ ˙ œ œ œ . œ œ œ œ ‰ J‰ J B b/D

Gm7

b &b œ œ œ œ œ

Cm 7

F7

œ

œ

œ

Bb


Gm7

Cm 7

‰ œj œ œ œ œ œ

215

F7

œ . œj œ œ œ

Bb

#œ œ

œ œ œ œ œ nœ

Three lines may be suggested as shown in the following examples from Bach. The independent lines cannot be too complicated or the clarity of the whole may be lost. The lines in the Menuet example are separated by a sixth and a fifth which helps the listener discern the separate parts. The top line beginning on Bb is the primary line, with the line beginning on D as a secondary line. The third line on the bottom suggests the bass movement. 9.74

J. S. Bach: Suite No. 1 for Cello Solo, Menuet II

? b b 34 œ œ œ œ œ œ ? b b 34 ˙˙ .. ˙.

œ œ ˙˙ .. ˙.

œ

œ #œ œ œ œ # œJ œ œ œ œ œ ˙ #˙ . ˙ ˙˙ .. ˙

Each entrance of the compound melody from this Bourrée is separated by a large interval to ease the perception of the independent nature of the lines. Although played by the cello solo, the line could easily be orchestrated for three separate instruments grouped as shown. 9.75

? 22

J. S. Bach: Suite No. 3 for Cello Solo, Bourrée I 3. 1. 1.

œ œ œ œ œ œ œ 2.

œ œ œ œ œ œ œ œ œ œ œ

3.

œ œ œ œ œ

2.

USING LINEAR IMPLICATIONS of HARMONIC VOICE LEADING to CREATE COMPOUND MELODIES Review the basic voice leading principles: thirds resolve to sevenths, sevenths to thirds, fifths to ninths, and ninths resolve to fifths. The ninths of dominant chords may be n9, b9 or #9, but they still resolve to the fifths. The fifth of a dominant chord may be replaced by a n13, b13, #11 or b5. Any of these substitute pitches behave as a fifth and resolve to the ninth of the subsequent chord. Two voices usually remain stationary (3 & 5 become the 7 & 9 ) and two voices move down a step (9-5 and 7-3).


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9.76

Pairs of voices alternating motion

Dm9

˙ & c ˙˙ ? c ˙˙

G9

9 moves to 5 5 becomes 9 3 becomes 7 7 moves to 3

˙˙ ˙ ˙˙

Cm aj9

5 becomes 9 9 moves to 5 7 moves to 3 3 becomes 9

ww w w w

A single melodic line can be a compound melody by following two distinct guide tone lines implied from the harmony. Guide tone lines that follow voice leading may begin on four possible notes (apart from the root played by the bass): the third, seventh, fifth, and ninth. Compound melodies can be created by following two of these implicit lines in one single melodic line. Referring to the example above, a voice pair may move parallel at the same time or in oblique motion where one voice is stationary and the other moves. Two lines that move obliquely are easier to manipulate since they are active at opposite times in the progression. There are six possible pairing combinations. The pair of guide tone lines could begin on the: • • • • • •

3rd 3rd 3rd 5th 5th 7th

& & & & & &

5th 7th 9th 7th 9th 9th

parallel oblique oblique oblique oblique parallel

motion motion motion motion motion motion

Melodic frameworks based on the guide tone pairs and short melodic examples are illustrated below using each of the six pairs over an excerpt from progression no. 25. The repetition of the ii7 - V7 - I progression down a whole step lends itself to the use of sequences as a developmental tool. The most harmonically specific pair of lines follows the third and seventh, and this may be why it is the most commonly used pair. The third is stable and provides the harmonic clarity of chord quality (major or minor). The seventh is the primary note of dissonance which moves one chord to the next: the seventh usually resolves down to the next third. The top line begins on the third and suggests the voice leading 3 - 7 - 3, while the second line suggests 7 - 3 - 7. The voices do not move at the same time but alternate. The Eb is the third of Cm7, is the most consonant note and does not need to change for the F7. The Bb, the seventh of Cm7 is the dissonant note that must change in order to arrive at the F7. The Bb - An is the first voice that moves the line to the next chord. The motion is then answered in the primary voice resolving the dissonant (over the F7) Eb to the Dn. A note that may be consonant over one chord becomes dissonant over the next, as the Eb changed its classification from the Cm7 to the F7. The lines are sequenced in the final two measures. 9.77

Guide tone line suggesting two independent lines beginning on the 3rd & 7th

Cm7

3

b˙ bœ &c Œ 7


Bb

F7

Œ ˙

3

7

œ

3

B bm 7

E b7

3

ww

b˙ bœ Œ

7

7

Œ ˙

3

Ab

7

œ

3

ww

7

Chapter 9 9.78


217

Possible melodic line from guide tones

Cm7

Bb

F7

B bm7

E b7

Ab

bœ bœ œ œ #œ œ œ bœ œ bœ œ bœ œ œ w &c #œ œ œ ‰ œJ œ #œ The pair that follows the third and fifth is also harmonically clear because of the presence of the third. These two pitches should be separated by the interval of a sixth and not a third if the line is to be perceived as compound. If they are separated by only a third they will be too close to hear the separate voice leading. This pair of voices wants to move at the same time. The Eb and the G are chord tones of Cm7 and neither voice has to move anywhere for the F7, as G is the ninth of F7 and Eb is the 7th. Using the Gb, the b9 of F7, suggests a chromatic line (G - Gb - F) and creates motion where there was none. The lines are sequenced in the final two measures. 9.79


Cm7

Bb

F7

Œ œ b˙

3

b˙ &c Œ

œ

B bm 7

3

E b7

Œ œ b˙

3

w w

b9

5 9.80

7

b˙ Œ

3

œ

w bw

b9

5

5

Ab

7

5


Cm7

Bb

F7

bœ ‰ j œ ‰ œ œ . &c œ bœ J

j œ ˙

B bm 7

bœ

E b7

œ bœ bœ

Ab

œ œ œ w

The fifth of a chord by itself can be ambiguous. It does not reveal the chord quality. It can lead to a colorful line as it resolves to the ninth of the next chord. The voice pair in ex. 9.81 uses the ambiguous and colorful line beginning on the fifth and the harmonically clear line that begins on the seventh. A good compound line can be created using this pair of voices as they resolve at different rhythmic points in the progression. The G as the fifth of Cm becomes the ninth of F7. As above, a Gb can be used to create the chromatic line G - Gb - F. The independent lines are easier to hear when separated by the interval of a sixth rather than separated by a third. The lines are sequenced in the final two measures. 9.81

Guide tone line suggesting two independent lines beginning on the 5th & 7th

Cm7

F7

5

˙ c bœ & Œ 7

b9

Œ bœ ˙

3

Bb

5

w w

7

B bm7

E b7

Œ bœ ˙

5

˙ bœ Œ 7

b9

3

Ab

5

bw w 7


218

Chapter 9


9.82

Possible melodic line from guide tones Bb

B bm 7

E b7

Ab

œ œ œ bœ œ œ . œ œ œ œ œbœ w ‰ b œJ œ Œ ‰ bœ œ œ J b œ J #œ œ Cm 7

&c

F7

The voice pair that follows the third and the ninth must be separated by the interval of a seventh. No sense of independence would be perceived if they were separated by only a step. These two voices alternate their motion. The line beginning on the third provides the stability and the line from the ninth provides color. Instead of the fifth over the dominant chords, a b13th was used. Using the b13th creates the chromatic line: D - Db - C over the Cm7 - F7 - Bb. The b13 of F7, Db, is often erroneously labeled a #5. In this case it must be a b13 following the rule that an altered note wants to continue in the direction in which it has been altered. If it was a #5, a C#, it would suggest the chromatic line C - C#, - D, which it does not. To soften the harshness of the interval between the third and ninth, it may be filled in by an arpeggio, although the starkness of the large interval can be appealing. 9.83


Cm7

Bb

F7

Œ c & b˙

9

b13( #5)

œ b˙ Œ

3 9.84

B bm 7

œ

w w

Œ b˙

7

3

3

9

E b7

9

Ab

b13( #5)

œ b˙ Œ

9

œ

bw w

7

3


Cm7

Bb

F7

& c bœ œbœ œ bœ œ œ œ œ œ œ œ œ œ Œ

B bm 7

3

E b7

Ab

‰ j œbœ œbœ œ bœ bœ ˙ bœ œ œ bœ œ

The pair of lines following the ninth and fifth assumes the fundamental chord tones, the thirds and sevenths, will be supplied elsewhere in the accompaniment or inferred by the listener. These two voices alternate their motion. Both levels of the compound line will be colorful especially when using the possible alterations over the dominant chords. A b13 and a b9 are used over the dominant chords below, creating two chromatic lines: D - Db - C and G - Gb - F. The Gb (b9) and Db (b13) notes over the F7 chord are obviously borrowed from the parallel key of Bb minor. There are several familiar jazz standards which use this pairing in developing the melody. 9.85 Cm 7

& c ˙Œ

9

Guide tone line suggesting two independent lines beginning on the 9th & 5th F7

b13( #5)

Œ bœ œ b˙ 5


b9

Bb

B bm7

9

9

ww

5

˙ Œ

E b7

b13( #5)

Œ œ b˙ bœ 5

b9

Ab

9

b b ww 5

Chapter 9 9.86


219

Possible melodic line from guide tones Cm7

Bb

F7

& c œ œ œ b œ b œ ‰ œj œ .

B bm 7

œ Ó J

3

E b7

Ab

‰ Jœ œ b œ œ n œ n œ œ b œ œ œ b œ ˙

This pairing is rarely if ever used with much success, but is possible. The lines must be separated by a sixth and not a third to maintain their independence. This separation is part of why the pairing is weak, as it puts the colorful ninth below the fundamental seventh. The line may sound like it is in the wrong key. These pitches, rather than suggesting Cm7 - F7 - Bb, seem to suggest a compound line using the third and seventh of Gm7 - C7 - F. 9.87 Cm7

7

& c b˙ Œ

Guide tone line suggesting two independent lines beginning on the 7th & 9th

Œ œ b˙ 9

9.88 Cm7

Bb

F7

b13( #5)

3

œ

B bm 7

7

E b7

Œ

7

w w

b˙ Œ

9

œ b˙ 9

b13( #5)

Ab

3

œ

7

w bw 9

Possible melodic line from guide tones F7

Bb

& c bœ œ œ bœ œ œ œ ˙ .

B bm7

Œ

bœ

E b7

Ab

œ bœ bœ œ œ œ ˙ .

Œ

GUIDE TONES in ARRANGING and COUNTERPOINT Guide tone lines are helpful to arrangers and to musicians on the job who are “faking” arrangements. The melodies to many popular jazz standards follow the harmonic guide lines previously discussed. The arranger must determine which line the primary melody follows and then determine the best path for the secondary line. If the primary line begins on the third, then the improvised or arranged secondary line could begin on the seventh. To prevent the secondary melody line from being active at the same time as the primary line choose a secondary guide line that is stationary when the primary line moves and moves when the primary line is stationary. The root cycle of progression no. 1 make it an excellent vehicle for this demonstration. Three guide tones lines are shown below. Without rhythmic context or melodic movement this example has no suggested style. By adding idiomatic melodic and rhythmic figures to the lines they can be transformed into any style setting: Baroque, classical, swing, or Latin. The guide tone lines establish the harmony; there is no pressing need for guitar or piano to play chords in order for the listener to discern the harmonic progression. Any three instruments could play the parts. The top and middle voice move in alternate measures. The top part moves C to Bb while the second voice remains on F in the first two measures. The second voice move F to E while the top voice remains on Bb in the second two measures. This alternation continues to the end of the phrase. The alternate motion will help keep the parts rhythmically independent.


220

Chapter 9


9.89

Three-part guide tone framework without “style”

Dm7

Gm 7

w

&b &b

C7

w

w

Fm aj7

B bmaj7

Eø7

A7

Dm

w

w

w

w

w

7

3

7

3

7

3

7

3

w

w

w

w

w

w

#w

w

3

7

3

7

3

7

3

7

?b c w

w

w

w

w

w

w

w

Adding characteristic stylistic elements can make this framework swing. The bass line walks quarter notes making sure each new root is approached stepwise. The melodic rhythms anticipate downbeats, putting the guide tone notes on the upbeats. Only diatonic scale notes are used for elaboration. The lines are rhythmically independent: when one moves the other is stationary creating dialog between the upper voices. The two lines take turns moving the music forward. 9.90

Three-part guide tone framework in light swing jazz style. includes rhythmic anticipation & diatonic embellishments Gm7 j ‰ œ œ œ œ œ œ œ œ Œ

Dm7

&b Ó

&b œ œ œ œ ˙ 3

?b œ

7

œ

œ

7

&b œ œ œ œ ˙ œ

7

œ


œ

3

œ

œ

œ

œ

7

3

œ

‰ œj œ œ

˙

3

7

œ

œ

œ

œ

A7

Dm

˙

œ œ œ œ w 7

˙ œ

Ó

3

Eø7 œ œ œ œ œ œ œ œ œj œ .

&b Ó

?b

œ

œ œ

œ

Fm aj7

‰ œj œ œ œ œ œ œ Ó

‰ œj ‰ œj œ œ œ œ ˙

˙

3

B bmaj7

3

3

C7

3

‰ j œ œ #œ œ œ œ œ œ #œ œ œ w 7 3 œ œ w œ œ œ œ

œ

œ

3

Chapter 9


221

AVOID NOTES? The guide tones have all been shown with whole and half notes as if they must occur on a downbeat. This was just for illustration. The musical examples have shown that there is much flexibility about where the guide tones occur in actual melodic settings. The guide tones are often anticipated in a jazz swing style, as illustrated in ex. 9.90, and they may also be delayed. When they are delayed, the pitches that may occur on downbeats are often what some jazz educators have called “avoid” notes. Are there notes to avoid? This list of “avoid” notes usually includes the fourth degree over a major chord. A book could be filled with common examples of improvisations and compositions that prove this wrong. It would be better and more accurate with actual performance practice to explain that all twelve pitches work at any time, but not equally. Because of the pitch hierarchy, some are consonant (chord tones), some dissonant (related diatonic pitches) and others even more dissonant (the remaining chromatic pitches). It would not be desirable to leave arbitrary dissonances scattered around like dirty laundry on a dorm room floor. But the use of these dissonance, these “avoid” notes actually propel the music forward. The tensions they create are like the tension of a bow that propels the arrow, or how the gravitational force of a planet can be used to help catapult a spacecraft like a slingshot. So rather than “avoid” notes that are dissonant, think of them as paths pointing towards the consonant notes. This does not excuse the improviser or composer from any responsibility, rather it insists they must be able to identify consonant and dissonant notes, and realize that as the harmony progresses, the classification of a note may change. The third of a major chord must be recognized as the consonant goal note for harmonic clarity and that chromatic pitches a half step above (the “avoid” note fourth) and the chromatic note below (the leading tone) are dissonances that can be used as pointers. Visit a beginning improvisation class and you will hear many lines that stop on these “avoid” notes. The students know the notes are dissonant, they can hear the harmonic conflict, they are just too inexperienced to know which way to go to resolve them and so they stop. Given the opportunity, they usually can sing or play the correct resolution, but are not yet adept at finding the note in real time. Panic usually wins and the “wrong” note is left hanging in the air. This scenario was probably what led many educators to the term “avoid” notes. The dissonant tones are pointers that propel the music forward to the consonant tones. So rather than avoid those notes, they may be just the ones to aim for in order to achieve forward linear motion. First learn the tones that clarify the harmonic setting and then learn the notes which create tension and motion that point back to those consonant tones. Avoid notes are taken to the limit in this next setting based on the framework illustrated in ex. 9.89. The resolution to each guide tone note is delayed because the upper neighbor tones to the guide tones occur on the downbeat. This creates the ancient device known as a suspension. There is a 4-3 suspension in every measure. When the seventh of one chord is held into the next measure it becomes the dissonant fourth, the “avoid” note that pulls to the harmonically clear third. The dissonance on each downbeat propels the music forward. The bass pattern helps create a Bossa style. The rhythmic activity moves from one voice to the next and only in the last two measures are they active at the same time.


222

Chapter 9


9.91

&b

Three-part guide tone framework in bossa style. includes rhythmic delays creating 4-3 suspensions Dm7

∑

Gm7

‰ j œ œ œ. œ ˙ œ J

Ó

(7) (4)

& b Ó ‰ œj œ œ œ . œj ˙ ?b

(4)

B bm aj7

3

3

‰ jœ œ œ œ œ œ ˙ œ (7) (4) 3 j œ . œJ œ œ œ . œ œ

3

œ

A7

‰ jœ œ œ œ œ œ ˙ œ (7)

3

&b œ œœœ˙ (4)

(4)

3

˙

3

j œ œ

?b . œ

œ

‰ jœ œ œ œ œ œ ˙ œ

˙

Eø7

&b ˙

Fm aj7

(7) (4)

˙

œ. œ œ J

∑

C7

œ

‰ œj œ œ œ. (7)

j œ œ

œ.

œ

3

‰ jœ œ œ

˙ œ

œ. Dm

œ œ œ œ œ œ. œ œ (7) (4)

(4)

œ.

j #œ ˙

j œ œ

(7)

œ

j œ ˙ 3

œ œ œ ˙

3

j œ œ

3

œ.

œ

œ ˙ J

Guide tone lines can be found when the chords move in ways other than cycles of fifths. This progression includes several types of root motion and chord inversions. The top line follows the bass line at the interval of a third. The Dn over the Bb establishes the major triad. The logical resolution of the D is to the Cn because of the smooth stepwise motion. The third of the F would not be a good choice in the second measure: it would necessitate a leap from the D, and it would be redundant to double the bass note. The step motion continues the for the entire top guide tone line. The middle voice can be deduced by finding what notes remain after the top and bottom lines have been determined. A Bb triad includes the notes Bb - D - F. Since Bb is in the bass and D is in the top voice, F is the logical choice to begin the middle voice. The middle voice does not need to move between the first and second and third and fourth measures. The middle voice does finally arrive at the same pitch as the bass line at the conclusion of the phrase. Singing the second line illustrates why it must end the way it does as the Bn points up to the C. 9.92 Bb

Three-part guide tone framework without “style” E bmaj7

G7

Cm

w

w

w

w

w

w w

w

w

w

w

nw

w

w

? b c w b

w

w

w

w

˙ ˙

w

w

&

&b

b


w

Gm 7

Dm/F

F/A

bb

w

Chapter 9


223

The framework in ex. 9.92 can be brought to life by adding musical stylistic elements as shown below. The bass line suggests a light two-beat swing that develops into a four beat swing. The guide tones are rhythmically anticipated as one would expect in a jazz style. The F is approached with its upper neighbor tone. The D is surrounded by its diatonic upper neighbor tone and chromatic lower neighbor tone. The rhythmic activity of the two lines alternate. The G7, as V7/ii, requires the Ab from the key signature of C minor and the leading tone Bn. Both of these important identifying pitches occur in the melodic material. The last two resolutions are delayed until the final measure. The F is held from the G7 measure in the top voice creating a 4-3 suspension. The Bn is held over in the middle voice delaying its resolution to C. These lines will be musically effective with any combination of instruments. 9.93

&

Three-part guide tone framework in light swing jazz style. Bb

bb

&b

Gm7

Œ œ œœ w œ œ #œ

b

œœ w

E bm aj7

b j &b Œ ‰ œ œ œ œ œ

‰ œj œ

œ. œ œ J

G7

? b œ œ b

œ

œ

œ. œ œ J œ

œ œ bœ œ œ œ œ ˙

œ œ nw œ œ œ

‰ j œ œ œ œ œœ œ. œ œ œ J

œ w

Cm

b ˙.

Dm/F

Œ œœœœœœ w

˙

œ. œ œ œ J

? b c b

&b

F/A

œ œ œ œ w

‰ j nœ œ œ œ œ

œ

œ

œ

œ

nœ œ w œ

w

SUGGESTED ACTIVITIES When writing out a guide tone lines the most basic line may be the best. Strive for step progression and harmonic clarity. Save the complicated ideas for the development of the guide tone lines. Defining the consonant notes will also help determine the dissonant notes. •

Write out, sing and play guide tone lines over standard progressions like those in chapter 7.

•

Write out, sing and play guide tone lines over new tunes as part of practice.

•

Use the guide tone lines as vehicle for improvisation over selected progressions.

•

Using the guide tone lines write out elaborated versions over selected progressions.


224

X.

Chapter 10

Common Melodic Outlines

COMMON MELODIC OUTLINES

LINEAR HARMONY Harmony is often explained as a vertical entity. Chords are spelled up from the bass or voiced down from the soprano. While it is valuable to understand chords in this way, we experience music as it happens over time as a linear phenomenon. Melodic lines can address the voice leading principles and (vertical) harmony will be experienced as a result of linear melodic motion. When melodic lines address the important chord tones (the tones that identify the chord qualities) and then move towards dissonant tones (the tones that move one chord to the next like sevenths and ninths) the result is linear harmony. In one of my first teaching experiences with an improvisation class, I asked students to bring in short jazz transcription examples. As a class, we would extract basic principles of music from the examples. Sometimes several students would bring in almost identical lines from musicians playing different instruments from different time style periods. After a very short time, all of the examples seem to fit into three categories or shapes based on the same three basic skeletal frameworks. All of them followed the principles of linear harmony: consonant notes (usually thirds) in rhythmically significant places leading to dissonances (sevenths) which resolved to consonant notes again, usually over the measure line. These three simple melodic frameworks that occur so often deserve their own section in this book. I call these skeletal frameworks outlines. Outlines are harmonically specific lines which connect chords through guide tones. The structural simplicity of the outlines allows the improviser/composer much room for developing them in their own personal way. Thousands of musical lines based on the same basic outlines can each sound completely unique because different types of musical devices can be used in their development. This is comparable to discovering that thousands of doors and windows are rectangular, but can be finished, trimmed and decorated in many styles from simple to ornate. Musicians can stamp the outlines with their unique personality. Many sentences share the same structure and parts of speech, and yet can express many diverse ideas. Hundreds of musical examples can have the same basic outlines and still retain their individual musical identity. The outlines are also part of the collective musical vocabulary that carries a sociological identification: being conversant with the outlines helps identify one as knowing the language. Examples of outlines can be found in any musical style period that uses traditional harmonic progressions. Outlines are plentiful in the be-bop jazz vocabulary. There are entire solos by Clifford Brown based on nothing but outline no. 1. Knowing the outlines should not in any way stifle creativity. On the contrary, knowing them should inspire creativity. The outlines are a given over any harmonic progression. They are the linear equivalent of knowing the chords to a piece. Knowing them gives a sense of harmonic direction to improvised or composed melodies. The outlines are obviously not the only valuable material available as building blocks for constructing musical lines. They are excellent tools for teaching beginning improvisers for several reasons:


Chapter 10

• • • • •

•

•


225

students learn melodic patterns, not just scales and arpeggios students learn the connections between the chords students move away from thinking root to root approaches to harmony students hear the harmony by isolating the tones that clearly define the chords and the tones that clearly define the motion from one chord to the next students learn to think about where the lines are going rather than just where their lines are. Thinking about each individual chord and scale leads to the opposite: thinking about where they are and not where they are going. gives students another vehicle to learn their instruments. Practicing scales and arpeggios is absolutely necessary for students to learn their instruments. Outlines enhance the learning process by adding the dimension of melodic direction students can learn and apply all types of devices for melodic invention and embellishment using the outlines as a point of departure. This includes rhythmic displacement, adding notes, neighbor tones, passing tones, arpeggiated tones, octave displacement, chromatic approaches, sequencing, augmentation, diminution, fragmentation and other musical developmental techniques.

This cartoon may help to visualize the concept of outlines. If the entrance and exit to the park represent the single guide tones, the large dotted-line (grandmother’s path) represents the basic unembellished outline that connects them, and Billy’s dotted line represents the improvised embellished jazz line that does not want to miss out on any of the best things. Billy’s line and his grandmother’s line intersect and the entrance and exit to the park and may intersect at places within the park. We can imagine as their walk continues, that there will be times that Billy reaches a rendezvous point ahead of his grandmother and at other times may be late and have to run to catch up. It is not hard to translate these scenarios into musical terms.

(used by permission)

This section will explain outlines, their construction, offer examples from many artists and style periods, and suggest ways to incorporate them into ear-training, composing and improvising. For those who want more on the subject, there are hundreds of examples, explanations and exercises in my book on outlines, Connecting Chords With Linear Harmony, and hundreds of exercises and applications in my book, Comprehensive Technique for Jazz Musicians.


226

Chapter 10


CONSTRUCTING the THREE BASIC OUTLINES Outline no. 1 begins on the third of a chord and moves down the scale to the seventh. The seventh, a dissonant tone, resolves to the third of the next chord. Outline no. 1 can be sequenced through a progression where chord roots continue to move down in fifths. Outline no. 1 is shown below connecting the ii7 to the V7 chord in C major and the iiø7 to the V7 chord in C minor. Outline no. 2 begins with the 1-3-5 arpeggio, consonant notes, and then adds the dissonant seventh. The seventh resolves as expected to the third of the chord that follows. Because the seventh resolves to the next third, outline no. 2 is often followed by outline no. 1 which begins on the third. Outline no. 2 is shown below connecting the ii7 to the V7 chord in C major and the iiø7 to the V7 chord in C minor. Outline no. 3 begins with the descending arpeggio 5-3-1, consonant notes, and then adds the dissonant seventh. The seventh resolves as expected to the third of the chord that follows. Because the seventh resolves to the next third, outline no. 3 is also often followed by outline no. 1 which begins on the third, or by a 3-5-7-9 arpeggio. Outline no. 3 is shown below connecting the ii7 to the V7 chord in C major and the iiø7 to the V7 chord in C minor. OUTLINES OVER ii7 - V7 in MAJOR

Outline no. 1

Outline no. 2

G7 œ œ œ œ ˙ &c Dm 7

Dm7

Outline no. 3 G7

œ ˙ œ œ œ

Ó

Dm7

Ó

G7

œ œ œ œ ˙

Ó

OUTLINES OVER iiø7 - V7 in MINOR

Outline no. 1

Outline no. 2

Dø7 G7 œ b œ œ œ n˙ &b b c

Dø7

Outline no. 3 G7

œ n˙ œ œ œ

Ó

Ó

Dø7

G7

œ œ œ œ n˙

Ó

Outlines may occur over any chords whose root movement follows the cycle of fifths. OUTLINES OVER V - I

Outline no. 1 G7

C

&c œ œ œ œ ˙


Ó

Outline no. 2

Outline no. 3

C œ ˙ œ œ œ

G7

G7

Ó

C

œ œ œ œ ˙

Ó

Chapter 10


227

OUTLINES OVER I - IV Outline no. 1 Cmaj7

&c

Outline no. 2 Fmaj7

œ œ œ œ ˙

Cm aj7

Ó

Outline no. 3

Fmaj7

œ ˙ œ œ œ

Cm aj7

Ó

Fm aj7

œ œ œ œ ˙

Ó

OUTLINES OVER IV - viiø7 (IV - iiø7/vi) Outline no. 1 Fmaj7

Outline no. 2 Bø7

&c œ œ œ œ ˙

Fmaj7

Ó

Outline no. 3 Bø7

œ ˙ œ œ œ

Fm aj7

Ó

Bø7

œ œ œ œ ˙

Ó

OUTLINES OVER iii7 - vi7 Outline no. 1 Em7

Outline no. 2 Am7

&c œ œ œ œ ˙

Em7

Ó

Outline no. 3 Am 7

œ ˙ œ œ œ

Em 7

Ó

Am 7

œ œ œ œ ˙

Ó

OUTLINES OVER vi7 - ii7 or i - iv7 Outline no. 1 Am 7

Outline no. 2 Dm 7

&c œ œ œ œ ˙

Am 7

Ó

Outline no. 3

Dm7

œ ˙ œ œ œ

Am7

Ó

Dm7

œ œ œ œ ˙

Ó

Outlines work when connecting diatonic chords with secondary dominants. OUTLINES OVER iii7 - V7/ii Do not confuse this Em7 - A7 (iii7 - V7/ii) in C major with the ii7 - V7 in D major! They may look the same, but will create completely different expectations. With Em7 as a iii7 chord in C major, Fn would be the expected passing tone between G and E. In D major, an F# would be expected. Not all minor seventh chords are ii7 chords even if followed by a dominant. Outline no. 1 Em7

Outline no. 2 A7

& c œ œ œ œ #˙

Em7

Ó

Outline no. 3 A7

œ #˙ œ œ œ

Em 7

Ó

A7

œ œ œ œ #˙

Ó


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The root progression from IV to the V7/iii is down a diminished fifth but still follows the cycle of fifths. OUTLINES OVER IV - V7/iii Outline no. 1 Fmaj7

Outline no. 2 B7

& c œ œ œ œ #˙

Fmaj7

Ó

Outline no. 3 B7

œ #˙ œ œ œ

Fm aj7

Ó

B7

œ œ œ œ #˙

Ó

OUTLINES OVER vi7 - V7/V Outline no. 1 Am 7

Outline no. 2 D7

& c œ œ œ œ #˙

Am 7

Ó

Outline no. 3 D7

œ œ #˙ œ œ

Am7

Ó

D7

œ œ œ œ #˙

Ó

Will the outlines work if the chords do not follow the cycle of fifths? Often they work if a chord is imagined that would make the progression follow the cycle of fifths. F to G, a IV - V progression does not follow the cycle of fifths progression. Imagining a Dm7 (ii7) instead of the F (IV) allows the insertion of the outlines. Dm7 and F are clearly related and this substitution will sound good. OUTLINES OVER IV - V Outline no. 1 F (Dm7)

Outline no. 2 G7

F

&c œ œ œ œ ˙

Ó

Outline no. 3 G7

(Dm7)

œ ˙ œ œ œ

F

Ó

G7 (Dm7)

œ œ œ œ ˙

Ó

When the progression moves down in thirds, the same principles can apply: imagine a chord that changes the root progression to descending fifths. C to Am7 could be Em7 to Am7 and then the outlines are easy to apply. Em7 is not that different than C major, in fact the notes of Em7 are the 3-5-7-9 of the C major seventh chord. OUTLINES OVER I - vi Outline no. 1 Cmaj7 (Em7)

Outline no. 2 Am7

&c œ œ œ œ ˙

Ó

Cm aj7 (Em7)

Outline no. 3 Am 7

œ ˙ œ œ œ

Ó

Cm aj7 (Em7)

Am 7

œ œ œ œ ˙

Ó

Imagine the Am7 as a Cmaj7 to change the root progression to downward fifths and then apply the outlines. The notes of a Cmaj7 chord are the 3-5-7-9 notes of Am.


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OUTLINES OVER vi - IV or i - VI Outline no. 1

Outline no. 2

Am 7 (Cmaj7)

Fm aj7

œ &c œ œ œ ˙

Ó

Am7 (Cmaj7)

Outline no. 3

Fm aj7

Ó

œ ˙ œ œ œ

Am7 (Cmaj7)

Fm aj7

œ œ œ œ ˙

Ó

Alterations of chords including chains of secondary dominant chords do not change the principles of outlines construction. Make sure that all necessary accidentals are addressed in the basic structure and in any embellishment of the outline. OUTLINES OVER V7/V - V7 Outline no. 1

Outline no. 2

D7

G7

& c #œ œ œ œ ˙

D7

Ó

Outline no. 3 G7

D7

œ ˙ œ # œ œ

Ó

G7

œ #œ œ œ ˙

Ó

OUTLINE EXAMPLES Here are several examples of outlines extracted from the improvisations of great jazz musicians. The excerpts begin with simple and move to more complex examples. The following examples are models for linear melodic development techniques. There are hundreds of other outline examples shown in the book, Connecting Chords With Linear Harmony, including pages of exercises and applications. There is also a chapter devoted to outlines in the book, Comprehensive Technique for Jazz Musicians, with more exercises and applications.

EXAMPLES of OUTLINE NO. 1 Outline no. 1 begins on the third of a chord and moves down the scale to the seventh. The seventh, a dissonant tone, resolves to the third of the next chord. SIMPLE SETTINGS Tom Harrell used outline no. 1 to connect the ii7 to the V7 and the V7 to the I chord in the following example. The third of the Gm7 chord is chromatically approached from above through the chromatic passing tone Bn. The half note harmonic rhythm leaves little time to embellish the bare outline by adding notes, but it remains a useful vehicle for connecting the chords. 10.1

&b c

Simple outline no. 1 over ii7 - V7 - I in F major.

œ nœ

bœ œ œ œ œ œ œ œ œ

Gm7

C7

F

The same simple outline is used in ex. 10.2, but this one from Charlie Parker, is in the parallel key of F minor. The notes necessary for establishing the key are all present: Ab and Db from the key signature, and the leading tone, En.


230

Chapter 10 10.2

Common Melodic Outlines Simple outline no. 1 over iiø7 - V7 - i in F minor.

Fm b œ b œ œ œ C7œ j b œ œ c b œ b œ & Gø7

The same simple outline occurred in this improvisation by Jeff Andrews. The progression is iiø7/ii V7/ii - ii7 in the key of F major. The Eb and F# are necessary in order to modulate to the key of G minor. Andrews anticipated the Aø7 and suggested a 3-5-7-9 arpeggio over the Gm7. 10.3

Simple outline no. 1 over iiø7/ii - V7/ii - ii7 in the key of F major. Aø7

D7

Gm7

‰ Jœ ‰ œ œ œ # œ b œ J œ œ œ œ œ œ œ

&b c

Since the harmonic rhythm is whole notes in ex. 10.4, Errol Garner had more time to embellish the bare outline. The line is embellished with diatonic notes that lead to the Eb and back down the to F#. The two notes necessary for modulation, Eb and F#, were not hidden, but occurred at the top and bottom of the line. After resolving the seventh of D7 to the third of Gm7 (C to Bb), Garner played a 3-5-7-9 arpeggio. 10.4

Diatonic scales embellish outline no. 1 over iiø7/ii - V7/ii - ii7 in the key of F major.

œ œJ b œ œ œ œ œ œ œ œ œ b c œ œ ‰ œ œ œ œ #œ & J œ Aø7

D7

Gm7

There was a sequence of outline no. 1 in ex. 10.5 from a tune named for four “brothers” of the tenor sax. Outline no. 1 connected the Dm7 to the G7 and is followed by a 3-5-7-9 arpeggio. Outline no. 1 connected the Em7 to the A7 and to the Dm7. There was a delayed resolution to the Dm caused by the addition of the arpeggiated En. The Em7 is NOT the ii7 or the iiø7 of D minor or D major: it is the iii7 of C major and called for the Fn. The C# and Bb are necessary in order to tonicize the key of D minor, and they signaled the modulation at the secondary dominant A7, the V7 of ii. 10.5 Dm7

Sequence of outline no. 1 over ii7 - V7 - iii7 - V7/ii - ii G7

Em7

A7

Dm7

& c œ œ œ œ œ œ œ œ œ œ œ #œ bœ œ œ œ œ Œ Ó œ Diatonic scale notes were used to embellish this outline no. 1 example from Harold Land. After connecting to the G7 chord, Land arpeggiated 3-5-7-b9, borrowing the b9 from the parallel key of C minor. The lowered note, Ab, propelled the line downward. The F# is not the major seventh over a G7, but a leading tone that points back to the G before finally descending to the third of C major through the Fn. Outline no. 1 connected G7 to C. The bare descending outline (B - Ab - G - F - E) was embellished by the inverted 3-5-7-9 arpeggio and the chromatic leading tone.


Chapter 10 10.6


231

Embellished outline no. 1 over ii7 - V7 - I in the key of C major.

C œ œ œ œ œ œ œ G7 œ j œ œ bœ ‰ #œ œ nœ œ œ œ &c œ Dm7

The Bb, the third of Gø7, was surrounded by its upper and lower neighbor tones in ex. 10.7 from Kenny Dorham. After sounding the Bb, the Ab is octave displaced to a higher register using scale tones. The Bb over the C7 usually would resolve to the third of F major or F minor. In this instance, Dorham chose to resolve to the Cb, the important identifying pitch of a Fø7. 10.7

Outline no. 1 with octave displacement over iiø7/iii - V7/iii - iiø7/ii

C7 Fø7 œ n œ œ nœ œ œ œ œ bœ œ œ b & b bbb c œ nœ œ œ œ J Gø7

OUTLINE NO. 1 over EXTENDED HARMONIC PROGRESSIONS The harmonic rhythm changed from half notes to whole notes and Clifford Brown used outline no. 1 throughout the phrase in ex. 10.8. Over the half note harmonic rhythm, Brown used a turn to suggest an upper neighbor tone. The G# and Fn over the E7 are the necessary tones that tonicize the ii7 chord Am. The C was octave displaced and Brown surrounded the A (bracket) with its upper and lower neighbor tones (B and G#) before connecting to the third of D7. Brown leapt away from the F# and suggested a 35-7-9 inverted arpeggio over the D7 before continuing down the scale to the Bn. The Eb and Fn are borrowed tones from the parallel key of G minor and are the b9 and #9 of the D7. The line resolved to the consonant third of G. 10.8 Bm7

Outline no. 1 with different harmonic rhythms E7

T

T

Am7

T

D7

G

# & c œ œ œ œ #œ nœ œ œ œ œ œ œ #œ œ œ nœ œ œ œ bœ nœ œ œ œ j ‰ Œ Ó œ œ 3

This progression begins with the root moving down a third (Fmaj7 - D7). If an Am7 is imagined over the F, then it is easy to apply outline no. 1. Mike Stern played a very simple outline down to the third of D7. He leapt away from the F# and arpeggiated the D7 chord with the seventh resolving to the third of Gm7. The outline from Gm7 to C7 to F is more elaborate. The Bb was surrounded by its upper and lower neighbor tones (a.) before moving down the scale. The F# over the C7 interrupted the downward motion. The F# and A are the upper and lower neighbor tones to the following G (b.). The outline continued uninterrupted down to the third of C7 (resolution delayed by the neighbor tone figures) and finally down to the third of F.


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10.9

Outline no. 1 over turnaround progression I - V7/ii - ii7 - V7 - I

Fm aj7

D7

&b c ˙

Gm7

C7

Fm aj7

œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ œœ œ a. b.

˙

(Am7)

Red Garland used the simple step progression of outline no. 1 for the following extended progression. None of the chords below are diatonic to the home key of F major. The Aø7 and D7 pointed to the key of ii, G minor, but resolved instead to G7, the V7/V. Garland addressed all of necessary accidentals suggested by the secondary chords. The F# and Eb pointed to G minor. The Bn created the G7 that pointed to the key of V, C major. The D7 and the G7 have delayed resolutions. Garland played the upper and lower neighbor tone where the F# was expected resolving to the D7 chord on beat two. The Bn arrives on beat three having been encircled from above and approached chromatically from below. The chromatic tones should be labeled using linear, and not by vertical analysis. The chromatic tones will not be heard as chord tones but as chromatic passing tones between diatonic pitches. The C# over the D7 will not sound like a major seventh; it sounds like the chromatic passing tone pointing up to the D. The A# over the G7 will not be mistaken for a Bb, the minor third; it sounds like a leading tone to the major third Bn. 10.10

Outline no. 1 over iiø7/ii - V7/ii - V7/V progression

œ

œ œ œ bœ œ œ #œ œ bœ œ #œ œ nœ œ #œ nœ Œ

Aø7

D7

&b c

G7

Clifford Brown used outline no. 1 to connect all the chords in the following progression. The Cm7 is not a ii7 chord, but a iii7 chord in Ab major, with the Db as evidence. The Bn is the leading tone to C. Brown played an inverted 3-5-7-9 arpeggio over the F7 both times. The rhythmic activity over the first F7 is eighth notes. The second time Brown used eighth note triplets over the F7 in order to add the extra neighbor tone embellishments. To cover more ground in the same amount of time requires more speed, and to play more notes in the same space requires moving faster with smaller rhythmic subdivisions. The An and Gb that create the F7b 9 chord are the necessary tones for modulating from the key of Ab to the key of Bb minor. Brown used octave displacement over the Bbm7 and the Eb7, leaping from the third of the chord to the ninth. The octave displacement leap usually occurs from a strong beat to a weak beat and rarely over a measure line. 10.11

Outline no. 1. with leading tones, inverted 3-5-7-9 arpeggio, octave displacement.

b & b b b 34 Ó

œ œ

E b7

bb &b b œ

Cm7

Œ

j nœ

3

B bm7

F7

œ n œ œ œ n œj b œ œ n œ œœœ b œ œ œ œ œ œ œ œ

Ab

œ bœ œ œ

3

Œ

F7

3

3

3

3

B bm7 3

œ œ œ nœ œ œ bœ œ nœ œ œ œ œ œ nœ ˙

Outlines can be found in jazz improvisations used by traditional and modern musicians, but they were also used by some of the greatest improvisers and composers in history. Bach used outline no. 1 to modulate to all the closely related keys in Invention No. 11. Below, Bach used outline no. 1 in this pas-


Chapter 10


233

sage over an extended diatonic progression. The F# signals the change from Bb major to G minor. The progression suggests Cm7 - F7 - Bb - Eb - Aø7 - D7 - Gm = ii7 - V7 - I - IV - iiø7/vi - V7/vi - vi or ii7/bIII V7/bIII - I/bIII - VI - iiø7 - V7 - i. 10.12

J. S. Bach: English Suite No. III, Prelude

œ œ b œœœœ & b 38 œJ ‰ ‰œ œ œ‰ Jœœ œœJ œœœœœœ œœœœœ ? b b 38 œ

œœ œœ œœ œ œ œ œ œ œ J ‰ ‰ ‰ œJ œJ œœœœœ œœœœœœ œ

œœ œ œ œ œ œ # œ œœœ œœœ J ‰ ‰ ‰ J J œ œ œ œ #œ nœ œ œ œ œœœ

j œœ J r œ

Bach used outline no. 1 in this passage with octave displacement. Notice the leap occurred from the downbeat to the upbeat. Play this with jazz articulations and it swings. 10.13

J. S. Bach: Sinfonia No. 3

## 2 œ œ œ œ œ œ œ œ R & 4œ ? # # 24 œ œ œ œ œJ

OUTLINE NO. 1 with CHROMATIC APPROACHES These next two examples contain double chromatic approaches to the third. Ex. 10.14 is from Clifford Brown and 10.15 is from Sonny Rollins. If melodic pitches were analyzed vertically, there could not be more ambiguous or incorrect sounding “avoid” notes over Cm7 than the C# and the En or the F and Ab over the Em7. But these notes are not heard vertically: melodies are linear. These notes are not the b9 and the major third of a minor chord, but melodic chromatic approach tones that lead to the unambiguous minor third. Both of these excerpts followed the ambiguous chromatic portion with strictly diatonic lines. Brown began on beat two and Rollins on beat three. Brown used a inverted Cm7 3-5-7-9 arpeggio that extended over the measure line and managed to land on the third of F7 and Bb on the downbeats. 10.14 Cm7

Outline no. 1 with double chromatic approach to the third of the ii7 chord F7

Bb

b c Œ #œ œ œ nœbœ œ œ œ œ b œ œ œ œ œj & œ 10.15 Em7

Outline no. 1 with double chromatic approach to the third of the ii7 chord A7

D

## c Ó nœ #œ œ bœ œ œ œ œ œ œ œœ œ Œ Ó &


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The third of Dm7 was chromatically approached from a whole step above and the third of G7 was chromatically approached from a whole step below in this example from Sonny Stitt. Stitt played a 3-57-9 arpeggio over the G7. 10.16

Outline no. 1 with chromatic approach to the third

Dm7

G7

œ œ bœ œ œ œ œ œ œ Ó œ #œ œ &c A 3-5-7-9 arpeggio led to the high Bb which began outline no. 1 in this excerpt from Roger Pemberton. The G was preceded by its lower then upper neighbor tones, F# and A. The En was approached and encircled from above and below, landing on beat three. The outline in its simple form then led to the third of F. The Db, the b9 of C7, is a borrowed note from the parallel key of F minor. 10.17

Outline no. 1 with 3-5-7-9 arpeggio, chromatic approach tones, and borrowed b9

C7 F 3 œ œ œ #œ œ œ j œ œ # œ œ b œ œ œ œj & b c ‰ œ œœ Gm7

Any diatonic tone may have a leading tone. The C# below is a leading tone that points to the D, and the G # a leading tone that points to the A. The leaps to the leading tones, which are both resolved to chord tones gave this line angularity. Sonny Rollins used two 3-5-7-9 arpeggios. The first arpeggio occurred over the Dm7 was inverted and included the G# leading tone to A; the second was clearly stated over the G7. Following voice leading principles, the A, the ninth of G7, resolved to the fifth of C. 10.18 Dm7

œ

&c

#œ œ œ œ

C

G7

œ œ Jœ ‰ Œ Ó œ œ œ n œ œ œ œ #œ œ

3-5-7-9 ARPEGGIOS APPLIED to OUTLINE NO. 1 The simple outline no. 1 is often embellished by using a 3-5-7-9 arpeggio after arriving at the third of a chord. The 3-5-7-9 arpeggio may ascend in thirds (a.) or be inverted (b.) down a sixth before ascending. 10.19 Dm7

G7

Dm7

œ œ ˙ œ œ œ œ œ œ c œ & œ œ a.

a.

œ

b.

G7

œ œ œ œ œ œ œ œ œ œ ˙ b.

In ex. 10.20, Red Garland used the inverted arpeggio over the V7/iii - iii7 progression. Notice that the necessary accidentals (F# & An) to get from Eb (3bs) to the key of G minor (2bs) were unambiguously placed. Dexter Gordon, in ex. 10.21, used a triplet rhythmic figure when arpeggiating the Fm7, and followed the outline down to the third of Eb using diatonic pitches.


Chapter 10 10.20


235

Simple versions of outline no. 1 using 3-5-7-9 arpeggio: D7

Gm7

bb c #œ nœ œ œ œ œ œ œ œ b & J 10.21 B b7

Fm7

Eb

b c bœ œ œ ‰ œ œ œ œ . œ œ œ œ bœ b & œ J œ 3

3

Red Garland used 3-5-7-9 arpeggios to embellish each chord in ex. 10.22. Garland played an ascending 3-5-7-9 arpeggio over the Dm7, an inverted one over the G7, and an ascending one over the Cmaj7. Outline no. 1 is still evident and is shown with the circled notes. Garland’s arpeggio over the Dm7 mirrors the one used by Roger Pemberton in ex. 10.17. The resolution to the G7 was delayed until beat two by the suspended fourth degree. Is this fourth an “avoid” note? After arriving at the Bn, Garland played an inverted 3-5-7-9 arpeggio with the borrowed b9. The Fn on beat four of the G7 measure pointed down to the third of C, but the F# changed the direction of the line: the F# had to ascend to the G on the following downbeat. The line descended from G through the Fn and resolved to the En on beat two. Garland then used a 3-5-7-9 arpeggio over the Cmaj7. 10.22 Dm7

Outline no. 1 using 3-5-7-9 arpeggios: 3

œ & c ‰ œj œ œ œ œ Œ

G7

C

œœœœ 3

3

œœ œ b œ œ œ œ œ # œ œ œ œ

The basic structure of ex. 10.23 is similar to the 10.22 in its use of 3-5-7-9 arpeggios. Garland aimed for the third of D7 by encircling the F# with its upper and lower neighbor tones. After arriving at the third (F #), the expected 3-5-7-9 arpeggio occurred, inverted this time. Notice in the previous example the arpeggio for the first measure was ascending and in the second measure was inverted. In this excerpt the directions were reversed: the first measure had the inverted and the second measure the ascending arpeggios. Garland used a b9 over the D7 borrowed from G minor and a b9 over the G7 borrowed from C minor. 10.23 D7

Outline no. 1 using 3-5-7-9 arpeggios G7

C

œ œ #œ œ bœ œ #œ œ œ œ œ bœ bœ œ œ #œ œ œ œ #œ œ c œ œ & J 3

3

The melodic shape Garland used to get from G7 to C in ex. 10.22 is identical to the shape he used to get from D7 to G7 in ex. 10.20 and 10.23 as shown below.


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10.24

Similar treatment using 3-5-7-9 arpeggios G7

C

3

œ œ œ b œ œ œ œ œ # œ œ œ œ D7 G7 # œ œ b œ œ # œ œ n œ œ œ3 œ b Jœ œ

&c

nœ

&c

From ex. 10.22

From ex. 10.20 and 10.23

Several devices make this Red Garland outline no. 1 example interesting. The chromatic triplets between the root and third of the Am7 energized the line and generated forward motion. The leap created by the inverted 3-5-7-9 arpeggio on the D7 is a welcome change from the preceding tight chromatic movement. An interesting sawtooth shape was created on beats three and four of m.2 by pivoting between the stationary A pedal tone and the moving notes D to C. 10.25

Outline no. 1 and 3-5-7-9 arpeggios

D7 Gm7 œ œ nœ œ œ bœ œ bœ œ œ #œ 3 œ œ b œ œ œ œ œ œ œ œ œ œ &b c Am7

3

3

MORE COMPLEX EXAMPLES of OUTLINE NO. 1 Complex melodic ideas are easier to create and hear when they are based on simple structures like the outlines. This very exciting and complex line in ex. 10.26a from Charlie Parker was based on outline no. 1. Parker began as if to play the outline without elaboration and then repeated the first three notes. The repetition set up a syncopation that continued throughout the excerpt. The An was approached by two chromatic lines: one from above (C - Bn - Bb - A) and one from below (G - G# - A). On the downbeat of the F7 measure, Parker played the upper and lower neighbor tones rather than the expected A, and the resolution on beat two added to the rhythmic syncopation. The Gb, the b9 borrowed from Bb minor, pulled toward the Fn, but before resolving to Fn, Parker leapt below and approached the F chromatically from Eb and En. Parker leapt away to the chord tone A after reaching the Fn. The final goal note was the D n, the third of Bb, and it was approached from above (F - Eb - D) and below (A - Bb - C - C# - D). It is difficult to imagine that Parker was able to spontaneously invent this melodic line at 300 bpm with out having, at much slower tempos in the practice room, isolated individual elements. 10.26a Outline no. 1 with multiple chromatic tones (simple outline shown on lower staff)

> >œ œ œ >œ œ œ > > > b Œ nœ œ bœ #œ œ bœ œ nœ œ &b c œ œ œ œ œ #œ b œ œœ bœ œ bœ &b c œ œ œ


Chapter 10 10.26b Polyrhythms implied by the melodic line

œ.

œ.

œ

œ

b œ œ & b c œ œ œ œ nœ œ

œ.

œ.

˙


237

˙

œ #œ œ bœ œ nœ œ Œ œ œ œ œ œ #œ

When a single pitch is approached from two directions it suggests a wedge. Three significant pitches are approached with these wedges in ex. 1026a. 10.26c

b & b c œ nœ œ bœ #œ ˙

bœ

œ nœ

˙

œ

œ œ œ œ #œ ˙

The simple descending step progression of outline no. 1 was disguised by John Scofield using octave displacement and melodic wedges in ex. 10.27. The simple outline is shown with the circled notes. The line began with D, the third of Bb7, then the Cb was octave displaced. The Cb resolved step wise to the Bb. The step from Bb to Ab was interrupted by the chromatic En to F. The En is the lower neighbor tone to the F, the fifth of the Bb7 chord. These tones ultimate resolved up to the Gb, the target note of the Ebm 7 chord. The Gb was approached stepwise from above (Cb - Bb - Ab - Gb) and chromatically from below (E F - Gb). The angularity of the line continued to the end when Scofield, after resolving the two lines to the Gb, suddenly jumped to the Bbb implying an Ebø7 rather than an Ebm. 10.27

Outline no. 1 with octave displacement and melodic wedges

b B b7 9

E bm7

b & b bbb c

j ‰ œj œ b œ ‰ œ Œ œ nœ œ nœ œ ∫œ œ

b & b bbb c

(n œ ) nœ

bœ œ nœ

œ

œ

˙

Red Garland used a complex embellished version of outline no. 1 in the double-time passage shown in ex. 10.28. Garland aimed for the third of each chord. Not all of the target notes arrived where the chord symbols indicate on the downbeats. He began on the third of Cm7 on the downbeat; he delayed the resolution to F7 by an eighth note; delayed the resolution to Bb by a quarter note; arrived on the beat for G7, and finally anticipated the Cm7 by a sixteenth note.


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10.28a Double-time step-progression Cm7

Bb

F7

G7

Cm7

b œ bœ œ #œ œ œ nœ œ & b c œ #œ œ œ bœ œ œ nœ #œ œ œ œ bœ œ nœ œ œ œ #œ œ nœ n œ œ #œ b œ œ œœ œ bœ bœ &b c œ œœ œœ œ œ nœ

After arriving at the third of F7, Garland played an inverted 3-5-7-9 arpeggio (in box) which included the b9, Gb. The Gb directed the momentum to the Fn, but Garland leapt past the F and approached it from below. Garland used a recurring melodic figure that gave the line a sense of unity. The notes A, F, D, Bn and G were all approached by the same chromatic four note figure shown by the brackets. 10.28b Cm7

F7

Bb

3-5-7-9

G7

Cm7

b œ bœ œ #œ œ œ nœ œ & b c œ #œ œ œ bœ œ œ nœ #œ œ œ œ bœ œ nœ œ œ œ #œ œ nœ œ #œ nœ

Red Garland began the line in ex. 10.29 with a chromatic approach to the third of the Dø7. The D, Bn, G and E were all approached using the exact four note figure from ex. 10.28: an upper neighbor tone and chromatically from a whole step below (shown by upper brackets). Garland played the 3-5-7-9 arpeggio of G7 in the middle of the measure. The target thirds did not occur on the downbeats: the thirds of Dø7 and G7 occurred on beat two and the third of Cmaj7 was delayed until beat three. The displaced target thirds create an interesting contradiction to the meter. There are two ways of explaining the results: either the addition of the chromatic notes delayed the resolution to the thirds which created a sense of displaced meter; or in order to displace the meter Garland added additional chromatic notes. 10.29

Outline no. 1: rhythmic displaced and chromatically approached thirds

œ bœ œ bœ œ #œ œ nœ œ #œ œ œ œ bœ œ #œ œ nœ œ #œ œ œ & Dø7

G7

C

The melodic line played by Red Garland from ex. 10.29 could be played with the target thirds arriving on the downbeats. The brackets show the four-note chromatic figure. The line would still interesting even without the metric contradiction due to the chromatic additions. 10.30

Outline no. 1: 10.29 with out the rhythmic displacement Dø7

&c

G7

C

œ bœ œ bœ œ #œ œ nœ œ #œ œ œ œ bœ œ œ œ #œ œ œ

Outlines are often used over modal tunes to suggest harmonic progressions where there are none. Randy Brecker implied a Gm7 - C7 progression over this passage in G dorian. The F# and A are neighbor tones


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that surround the G. There was a wedge that points to the En from above (Bb - A - G - F - E) and below (D - D# - E). The arpeggio, E - G - Bb - D, suggested the 3-5-7-9 of a C7 chord. 10.31

Outline no. 1 suggested in modal setting

G Dorian

& b c œ œ #œ œ œ œ nœ #œ œ œ œ œ EXAMPLES of OUTLINE NO. 2 Outline no. 2 begins with the 1-3-5 arpeggio and then adds the dissonant seventh. The seventh resolves as expected to the third of the chord that follows. SIMPLE SETTINGS Outline no. 2 could be called the ‘Round Midnight outline as it occurs twice in the melody to the Thelonious Monk piece by that name. Here is one of the occurrences as it appears in the piece contrasted with an interpretation by Wes Montgomery. Montgomery used the fifth of the Ebm7 chord as a pick up note, played the arpeggio to the seventh and then used a chromatic approach to the C. The use of sixteenth note triplets adds rhythmic drive to the simple outline. 10.32

Outline no. 2 simple form E bm7

A b7

b & b bbb c Œ œ œ œ œ ˙

E bm7

‰.

6

A b7

r œ œ œ œ œ nœ ˙ œ

Over a blues progression in F, Jeff Andrews used outline no. 2 to connect the Gm7 to the C7, and approached the E chromatically from below. 10.33 Gm 7

Outline no. 2 with common chromatic approach C7

&b c ‰ j œ œ œ œ #œ œ œ œ The end of the first phrase of progression no. 23 modulates from Ab to C major. Typically a iiø7 - V7 of C minor is used that would resolve to C major. Using the minor iiø7 - V7 makes a smoother transition because C minor is a closely related key to Ab (4bs to 3bs, I to iii). Jimmy Heath played this simple version of outline no. 2 over that part of the progression shown in ex. 10.34. When arriving at the Cmaj7 chord, he arpeggiated 3-5-7-9 which cleared the musical air of any feeling of Ab major and established C as the new (temporary) tonal center.


240

Chapter 10 10.34 Dø7

Common Melodic Outlines Outline no. 2 over iiø7 - V7 resolving to major I G7

C

Œ & c œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ The first note of outline no. 2 is omitted in the next two examples from Mike Stern. These lines begin with a chromatic leading tone to the third of the first chord. The general shape and character of the outline is retained. Voice leading is adhered to in both examples. The seventh of Em7 resolves to the third of A in both cases. After playing a 3-5-7-9 arpeggio, the ninth of A7 resolves to the fifth of D in 10.35a. The seventh of A7 resolves to the third of D in 10.35b. 10.35a Outline no. 2 variation

10.35b Outline no. 2 variation

œ œ n œ œJ œ # œ b c n œ & #œ œ Em7

A7

D œ œ # œ œ j œ # œ b c ‰ n œ J & #œ œ

D

Em 7

A7

3

It is a common practice to use melodic sequences over sequential harmonic passages. Outlines are ideal vehicles for sequential material. Red Garland used outline no. 2 over these chromatically sequenced ii7 V7 chords in ex. 10.36. 10.36

b

Outline no. 2 in sequence

b j bœ bœ bœ œ b c ‰ bœ & A m7

D 7

3

Gm7

Œ

C7

3 ‰ œj œ œ œ œ

œ

F

œ œ J ‰

PASSING TONES Outline no. 2 begins with an arpeggio. The skips between the chord tones of an arpeggio lends itself to the use of passing tones. With the passing tones added to the arpeggio, why not call it a scale? It may be better to think of the chord tones being connected by passing tones to expedite the understanding of harmonic specificity. The main chord tones of the outline typically land on the strong beats with the passing tones on the weaker beats which allows the basic shape of the outline to be heard as an arpeggio with passing tones. The passing tone between the fifth and seventh is never used. Why? That passing tone is the pitch to which the line points: it is the third of the chord that follows. Sounding it ahead of time diminishes the impact of the final resolution. The third of the second chord has a stronger sense resolution when preceded by the seventh of the first chord. This is illustrated below over a ii7 - V7 in the key of C. The E and G are available as passing tones, but the Bn between A and C is not used over the Dm7 in order to save it for the G7. 10.37 Dm7

Outline no. 2 with available passing tones G7

& c œ œ œœ œ¿ œ ˙


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These two excerpts from improvisations by Clifford Brown illustrate the use of passing tones and outline no. 2. In neither example was the third of the second chord prematurely played. In ex. 10.39, Brown delayed the start of the outline and did not get to the Bn, the identifying note of the G7 chord until beat two. He then descended using outline no. 1 and chromatically approached the third of C. 10.38

Outline no. 2 with passing tones

Gm7

C7

œ œ Œ Ó &b c Œ œ œ œ œ œ 10.39

Outline no. 2 with passing tones followed by outline no. 1

Dm7

&c Ó

G7

C

œ œ œ œ bœ œ Œ Ó œ œ œ œ œ #œ œ

LOWER NEIGHBOR TONE (LNT) or LEADING TONE (LT) CHROMATICISM Chromatic notes can add interest to any melodic line. Charlie Parker began this line with a leading tone to the G. This F# did not harmonically suggest a G minor chord with a major seventh; it functioned melodically as a leading tone. Outline no. 2 followed with the Gm7 arpeggio, with an Fn on the top, and a chromatic approach to the anticipated third of the C7 chord. Parker continued sequencing the chromatic passing tone idea. At the second bracket, Parker suggested outline no. 1 for Gm7 - C7. The E-G-BbD b arpeggio in the final measure were unresolved notes of the C7 chord, the logical end of the outline no. 1 idea. It would be foolish to analyze the E-G-Bb-Db as notes vertically related to the F chord. They belong to the C7 chord, and created a delayed resolution to F. 10.40

Outline no. 2 with LTs followed by outline no. 1

Gm7

C7

F

œ œ & b c ‰ # œj œ œ œ œ # œ œ # œ œ n œ œ œ œ œ œ œ œ b œ œ œ Œ 3

3-5-7-9 ARPEGGIOS A leading tone can become a lower neighbor tone when preceded and followed by the chord tone. Clifford Brown embellished outline no. 2 using a lower neighbor tone and passing tones. Note that Bn was not used as a passing tone over the Dm7 between the A and C, but saved for the G7 chord. After arriving at the Bn, Brown played an inverted 3-5-7-9 arpeggio borrowing the Ab and Bb from the parallel key of C minor, and resolves to the En. The borrowed tones, Ab and Bb, the b9 and b9 of the G7 chord, as lowered tones create a downward pull and help the line move back down to the En. 10.41 Dm7

Outline no. 2 with LNT inverted 3-5-7-9 arpeggio and borrowed tones G7

3

C

& c œ #œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ Œ Ó


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Outline no. 1 is a natural choice to follow outline no. 2 since no. 2 leads to the starting note of outline no. 1. Garland illustrates this in the following example. Outline no. 2 is simply stated in the first measure. An A# leading tone precedes the Bn, and the G7 chord is anticipated by one beat. The characteristic 3-57-9 inverted arpeggio begins outline no. 1 from G7 to C. Outline no. 1 is the step line Bn - Ab - G - F - E. The inverted 3-5-7-9 arpeggio, the chromatic approach figures F - F# - G and D - D# - E all help the listener hear the simple outline by pointing out the step progression on the top of the line. Garland also used a 3-5-7-9 arpeggio on the Cmaj7 chord. There was an interesting contradiction in harmonic rhythm between what the chords indicated and what Garland played in ex. 10.42. The chord symbols implied a harmonic rhythm of whole notes: four beats per chord. Garland began Dm7 late on beat two, anticipated G7 by a beat and played the Cmaj7 on time. Garland implied the harmonic rhythm of two beats of Dm7, five beats of G7 and then back to four for Cmaj7. 10.42

Outline no. 2 followed by outline no. 1 including 3-5-7-9 arpeggios

Dm7

G7

C

3

3

& c Œ œ œ œ œ #œ œ œ œ bœ œ #œ œ nœ œ #œ œ œ œ œ œ œ Garland again used outline no. 2 followed by outline no. 1 in ex. 10.43. The outlines are indicated by the two brackets. The Am7 is not a ii7 of G, but a iii7 from the key of F. In F, the upper neighbor tone to A is B b, and that is where Garland began his line. The A was approached above and below through the chromatic leading tone G#. The A began outline no. 2, an En was added which allowed the F# to land on the downbeat. The D7 is the V7 of G minor, not G major, as evidenced by the Eb. The C# is not a major seventh over a dominant chord, but a linear melodic chromatic tone leading to the D. The Cn is the dissonant seventh of D7 that points to the third of G, which instead of being a Gm7 chord, is made a G7, the V7 of C, by the use of the Bn. It is important to understand that while this may look like a ii7 - V7 - I in G, it is not. The proof is in the chosen melodic notes. The progression is iii7 - V7/ii - V7/V. 10.43

Outline no. 2 followed by outline no. 1 over iii7 - V7/ii - V7/V progression

Am7

D7

G7

œ œ # œ b œ œ # œ œ n œ œ3 œ œ œ œ b c œ n œ œ œ œ & œ #œ œ Garland again used outline no. 2 followed by outline no. 1 in the following examples. The G, E and Cn were approached from below through chromatic leading tones. The C7 and Fm7 were anticipated and Garland played a 3-5-7-9 arpeggio over both chords after landing on the third. Outline no. 2 connected Gm7 to C7 and outline no. 1 connected C7 to Fm7. 10.44 Gm 7

& œ #œ œ

Outline no. 2 followed by outline no. 1 including 3-5-7-9 arpeggios

bœ œ œ #œ œ 3

bœ bœ œ œ œ œ œ œ œ j b œ n œ b œ œ bœ œ nœ œ œ bœ bœ ‰ bœ œ C7

Fm

The third of Dø7 was approached chromatically from above and then the line moved down to the root to begin outline no. 2 in this Red Garland excerpt. The Bn was preceded by its leading tone and began


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the seemingly obligatory 3-5-7-9 arpeggio. Garland, in order to change the direction of the line, used the F# to pull back up to the G before going down the Fn which pointed and resolved to the E. 10.45

Outline no. 2 followed by outline no. 1 including a 3-5-7-9 arpeggio

Dø7

G7

Cm aj7

œ bœ œ #œ œ nœ œ œ ‰ j œ œ Œ œ œ c œ & œ bœ œ bœ œ œ bœ #œ œ 3

Two ideas were combined in ex. 1047 from Errol Garner. Garner suggested outline no. 2 to connect Gm7 to C7, and used outline no. 1 to clearly connect C7 to F. Within the outlines, Garner suggested a commonly used chromatic line to get from G to E. This chromatic line begins on the root of the ii7 chord and moves chromatically through the major and minor seventh resolving to the third of the V7 chord. Jerry Coker calls this movement a C.E.S.H. or chromatic elaboration of static harmony. This is the most common of many possible C.E.S.H. patterns. This kind of chromatic motion can be found on tunes ranging from My Funny Valentine to Led Zeppelin’s Stairway to Heaven. 10.46 Gm 7

& œ bœ 10.47

&b c

Outline no. 2

œ

œ

Common Chromatic line (C.E.S.H.) C7

˙

˙

Gm7

Ó

#œ

nœ

C7

˙

Ó

Combination of outlines and common chromatic line F Gm 7 C7 œ #œ œ n œ œ j œ œ œ œœ œ œ ‰ #œ œ œ œ #œ nœ œ

A similar chromatic line or C.E.S.H is in this Sonny Rollins line. Outline no. 2 was suggested even though the triad arpeggio descended rather than ascended. Regardless of the direction of the arpeggio, the dissonant notes over the Cm7 were resolved to the A, the third of F. 10.48

Outline no. 2 and common chromatic line Cm7

&

F7

‰ œJ ‰ œj ‰ œJ n œ œ b œ bœ œ #œ œ œ

EXAMPLES of OUTLINE NO. 3 Outline no. 3 begins with the descending arpeggio 5-3-1 and then adds the dissonant seventh. The seventh resolves as expected to the third of the chord that follows. SIMPLE SETTINGS This line is ubiquitous, and could be credited to thousands of artists. Improvisers often rely on the basic outlines when the harmonic rhythm is half notes, because there is little time for embellishment.


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Coltrane played ex. 10.49a in his improvisation on progression no. 24. After reaching the third of D7, he used outline no. 1 to connect D7 to G. John Scofield played the same line over a vi7 - V7/V - V7 in a turnaround in the key shown in ex. 10.49b. 10.49a Outline no. 3 followed by outline no. 1 in G Am7

D7

G

# œ bœ & c œ œ œ œ œ œ Jœ

10.49b Outline no. 3 & outline no. 1 in Db

b & b bbb c

B bm7

E b7

A b7

œœœ bœ œ œ œ œ Jœ

The next four examples are identical except for the key. They all used 3-5-7-9 arpeggios after playing outline no. 3. Ex. 10.50a is from a composition by Jimmy Guiffre, 10.50b from a line by Tom Harrell. Ex. 10.50c and 10.50d are from Mike Stern. 10.50a Outline no. 3 followed by 3-5-7-9 arpeggio in B

&

####

C #m7

F #7

B

Gm7

# œœ œœœœœœ œ œ

10.50c Outline no. 3 & 3-5-7-9 arpeggio in Gb A bm7

&b

D b7

bœ bœ bœ

10.50b Outline no. 3 & 3-5-7-9 arpeggio in F

Gb

C7

F

& b œ œ œ œ œ œ œbœ œ œ 10.50d Outline no. 3 & 3-5-7-9 arpeggio in D

nœ œ œ œ œ œ œ # œ &b Em 7

∫œ bœ bœ œ œ œ J

A7

The six above examples are in six different keys. Three of the keys are on the dark side of the circle of fifths (Db = 5bs, B = 5#s, & Gb = 6bs or F# = 6#s). Dark because it is so rarely visited in many practice rooms, and dark because of the number of sharps and flats in the key signatures. To play this music well, students must play in all twelve keys. If not, which keys should be left out of practice routines? CHROMATIC APPROACHES Chromatic notes can be added to outline no. 3 when the harmonic rhythm allows time. Charlie Parker managed to get extra notes in with half note harmonic rhythm which delayed the Bb resolution to beat two. The Ab and Gb are the altered ninths of F7 and are borrowed from Bb minor. The Gb pointed to the F, but Parker reached below and approached F with a chromatic passing tone En, then the F and Eb led to the Dn, the target note for Bb. After the delayed resolution, Parker clarified the Bb chord by playing a 3-57-9 arpeggio, encircling the root and playing the triad arpeggio again. 10.51

Outline no. 3 with chromatic approach, altered ninths, delayed resolution, & 3-5-7-9 arpeggio B bmaj7

3 œ. Ó b œ œ b c œ œ bœ bœ œ nœ œ œ œ œ œ œ J & œœœ œ œ

Cm 7


F7

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C.E.S.H. The step motion between the root of the first chord to the third of the second chord in outline no. 3 lends itself to the C.E.S.H. One added chromatic note creates the C.E.S.H. 10.52

Outline no. 3 with added chromatic note

Gm 7

C7

& b c œ œ œ # œ )n œ (

Ó

˙

The fifth of the ii7 chord is often used as a pivot note below the chromatic motion to create an angular sawtooth motion. The lower note may altered to approach the third of the V7 chord creating a double chromatic approach. Sometimes the addition of the chromatic device will delay the resolution to the V7 chord. 10.53

With pivot note

Gm 7

Pivot note & chromatic approach C7

Gm7

& b c œ œ œ œ #œ œ nœ ˙ 10.54 Gm 7

&b cœ ?b c œ.

C7

œ œ œ œ #œ #œ nœ ˙

Ó

Ó

A C.E.S.H. is evident in this typical figure. C7

j œ j œ j œœ œ # œ ‰ Jœ ‰ n œ ‰ Jœ ‰ œ ‰ Jœ ‰ # œ .. œ œ J

œ

œ.

j œ œ œ

..

Outline no. 3 with a C.E.S.H., a lower pivot note and a chromatic approach are present in this line from Freddie Hubbard. Hubbard used outline no. 1 to connect the C7 to F with a 3-5-7-9 arpeggio and altered ninths. 10.55 Gm7

Outline no. 3 with C.E.S.H. C7

Fm aj7

œ b œ b œ œ œ œ œj & b c œ œ ¿ #œ ¿ nœ #¿ œ œ œ œ 3

Cannonball Adderley was fond of the chromatic approaches applied to outline no. 3. Ex. 10.56a is from a piece with traditional changes. Cannonball implied a Dm7 - G7 progression over a modal G mixolydian setting in ex. 10.56b and 10.56c.


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10.56a Outline no. 3 with C.E.S.H.

b & b bb c

B bm 7

3

3

E b7

œ œ œ œ œ nœ œ œ œ œ bœ #œ œ œ ˙

10.56b G Mixolydian

3

j œ œœ œ # œ n œ œ œ œ œ

& 64 10.56c

G Mixolydian

& 64 œ œ œ j œ. œ œ # œ œ n œ œ œ œ œ œ There are two occurrences of outline no. 3 in ex. 10.57. Each is set in very different ways by Keith Jarrett. The Fm7 is connected to the Bb7 using outline no. 3, but the chromaticism caused a delayed resolution to the Bb7. The second setting of outline no. 3 has no chromatic elaboration and connects the Bb7 to the E b. Rhythm plays a key part in this example. The triplet speeds up the line in order to reach the goal note over the Bb, and the sixteenths are a diminution of the outline that seems to push the line early to the Eb chord. The long note Ab followed by a rest relaxes the previous compression and the quarter note triplet changes the pace one more time. The changing pace of melodic lines is a stylistic trademark of Jarrett and his trio. 10.57

Two different settings of outline no. 3

b

B 7 œ œ œ œ œ œ b œ n œ œ3 b œ œ œ œ œ b ˙ b c œ b & Fm 7

Eb

œ œ Œ œ œ œ 3

The rhythms below illustrate another way to get a stop and go feeling to a line. Roger Pemberton used outline no. 3, encircled the Bb and the G, impled a C.E.S.H. before landing on the third of C7 and used a 3-5-7-#9-b9 arpeggio. The longer values occurring on the downbeats relaxed the forward motion. 10.58 Gm 7

Stop & go rhythms with outline no. 3 C7

3

F

bœ j & b c œ œ œ œ œ #œ œ œ ‰ nœ œ œ œ bœ œ A compound melody was suggested in the Sonny Stitt line shown in ex. 10.59. The top of the line suggested a chromatic Bn - Bb - A. The bottom of the line suggested the common chromatic motion E - D# Dn - C#. Stitt began with an ascending arpeggio but by the second measure Stitt played the unaltered outline no. 3 with the descending arpeggio followed by a 3-5-7-b9 arpeggio over the A7.


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Outline no. 3, C.E.S.H. & compound melodic voice leading

Em7

A7

Dmaj7

## c & œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ Outline no. 3 was suggested by John Scofield in the two excerpts shown below. The chromatic C.E.S.H. is suggested, however Scofield skipped over the root of the C#m7 chord jumping to the leading tone Cn (B#). The 5-3-maj7 created an augmented triad arpeggio. The arpeggio was repeated leaping to the m7 (Bn) which resolved to A#, the third of F#7. Outline no. 1 followed with an octave displacement leap to the b9 that descended to the third of B. The second example began as the first with the augmented arpeggio 5-3-maj7, encircled the root, and played just the guide tone notes (3-7-3) in the second measure, and ended encircling the third of A. 10.60

&

Outline no. 3 with C.E.S.H. C #m 7

Œ #œ œ

F #7

œ #œ œ

B

j nœ œ #œ #œ œ #œ

Bm7

E7

A

‰ œj j #œ œ #œ œ œ œ œ œ # œ #œ œ œ #œ

COMBINATION of OUTLINES Outlines are often used sequentially and in combinations with other outlines. SIMPLE SETTINGS Hank Mobley squeezed three outlines into three measures. Outline no. 2 connected the Am7 to the D7 and was sequenced with diminution connecting the Dm7 to the G7. Outline no. 1 followed connecting the next Dm7 to G7. 10.61

Outline no. 2 sequenced & outline no. 1

D7 Dm7 G7 œ nG7œ œ œ b œ Dm7 j œ œ œ œ # œ œ œ b nœ nœ œ œ nœ Œ Œ œ & b c œ nœ œ J Am 7

3

In the same improvisation, Mobley played a similar combination of outline no. 2 and outline no. 1. 10.62

Outline no. 2 & outline no. 1

Dm7 G7 œ n œ œ œ œ b œ œ œ nœ œ œ nœ b &b c Œ œ J Dm7

G7

Outline no. 1 connected D7 to Gm7 in the Mike Stern line in ex. 10.63. After encircling the Bb and the G with upper and lower neighbor tones, Stern played outline no. 2 to connect Gm7 to C7. The resolution to C7 was delayed to beat three. An unembellished outline no. 1 connected the C7 to F.


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10.63

Outlines no. 1, no. 2 & no. 1

Am7

D7

Gm7

C7

F

œœœœœ bœ œ & b c Ó Œ œ œ # œ ‰ Jœ ‰ œJ œ œ œ œ œ œ œ # œ œ œ œ œ b œ œ Outline no. 1 and outline no. 3 were used in this turnaround line from Charlie Parker. The chromatic motion over the dominant chords was sequenced. 10.64

Outline no. 1 & outline no. 3

b

b

b

B m7 E 7 A b œ œ b œ œ œ n œ b œ œ œ œ œ nœ œ & b bb c œ œ œ nœ Cm7

F7

Turnaround progressions, like those in the two previous examples, occur in hundreds of standard jazz progressions. The common turnaround progression is: I (or iii7) - V7/ii - ii7 - V7 - I. Good practice time should be spent learning various combinations of outlines to negotiate the harmonic turnaround progressions. There are nine possible combinations of outlines over the turnaround which are shown below in the key of C. Remember that practice is to prepare for an actual performance. In an actual performance, all of the outline combinations may be possible, but so are many other musical ideas including triadic generalization, and the very important concept: silent space. 10.65 Turnaround with Nine Possible Outline Combinations Outline no. 1 & outline no. 1

œ œ œ œ #œ bœ œ œ œ œ œ nœ œ bœ œ œ ˙ & Em 7

A7

Dm 7

G7

C

G7

C

G7

C

Outline no. 1 & outline no. 2 Em 7

A7

Dm 7

& œ œ œ œ #œ œ œ œ œ œ œ nœ œ bœ œ œ ˙ Outline no. 1 & outline no. 3 Em 7

A7

Dm 7

& œ œ œ œ #œ bœ œ #œ œ œ œ nœ bœ œ #œ ˙ nœ Outline no. 2 & outline no. 1 Em 7

A7

Dm 7

G7

C

œ & œ œ œ œ #œ bœ œ œ œ œ nœ nœ bœ œ œ ˙


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A7

Dm 7

G7

C

G7

C

& œ œ œ œ #œ bœ œ œ œ œ œ nœ nœ bœ œ œ ˙ Outline no. 2 & outline no. 3 Em 7

A7

Dm 7

& œ œ œ œ #œ bœ œ #œ œ œ œ nœ bœ œ œ ˙ nœ Outline no. 3 & outline no. 1

bœ œ œ ˙ œ œ n œ œ b œ n œ œ œ œ & œ œ œ #œ Em 7

A7

Dm 7

G7

C

G7

C

G7

C


A7

Dm 7

& œ œ œ œ #œ œ œ œ œ œ œ nœ nœ bœ œ œ ˙ Outline no. 3 & outline no. 3 Em 7

A7

Dm 7

& œ œ œ œ #œ œ œ bœ œ œ œ nœ œ œ bœ ˙ nœ MORE COMPLEX EXAMPLES of OUTLINE NO. 3 This melodic line from Hank Jones is either outline no. 1 or no. 3 in two octaves. Adding passing tones to outline no. 3 makes it difficult to distinguish from outline no. 1. Either way, Jones accentuated the important pitches and resolved voices as expected. The C# in the second measure was approached chromatically from above (E - D# - Dn - C#) and below (B - Cn - C#). 10.66

&

##

&

##

# & #

Outline no. 1 or no. 3

D 3 3 œ œ œ œ œ œ # œ n œ œ œ œ œ A7œ œ œ ≈ œ œ #œ œ œœ œ œ œ bœ œ c #œ œ nœnœ #œ œ œ. œ Outline 1 œ œ No. œ nœ œ bœ œ c œ œ œ nœ #œ Outline No. 3 œœ œ nœ œ œœ bœ œ c œ nœ #œ Em7


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TRIAD GENERALIZATION REMINDER It is easy to get caught up in the details and challenges of harmonic specificity and forget that there are other approaches. Errol Garner approached this progression in two different ways in the same improvisation. In ex. 10.67, he was very specific about each chord, using two different outlines and an arpeggio of the Gm7 chord. In ex. 10.68, Garner primarily used the F triad flavored with the upper and lower neighbor tones to the A. 10.67

Harmonic Specificity: Outline no. 2 with LT followed by outline no. 1

Gm7

C7

F

œ j œ œ & b c # œ œ œ œ œ ‰ J Œ ‰ # œJ n œ œ œ œ 10.68

Harmonic Generalization:

F œ œ œ œ C7œ # œ œ œ œ # œ œ œ œ œ #œ œ œ #œ œ œ Œ ‰ # Jœ œ œ œ œ œ œ œ œ œ œ œ Gm 7

&b c &b c

OUTLINE APPLICATIONS APPLICATIONS to STANDARD PROGRESSIONS Learning the outlines is an important part of the process of physically, mentally and aurally internalizing harmonic progressions. The outlines offer a linear way of dealing directly with the harmonic motion of the progression. Learning and applying them in the practice room over a progression gives an improviser a fighting chance to create intelligent lines in a musical setting in real time. Playing unembellished outlines over the progression helps train the ear to hear the linear connections between chords. Begin by writing down each outline separately through an entire progression. An improvisation may not follow one single outline for the entire form of a piece, but it is best to limit practice to one concept at a time. Make sure that all accidentals agree with the key signature and agree with any secondary chords that may occur. The first phrase of progression no. 1 is shown below using outline no. 1. All the notes are from the key signature with the G# is suggested by the secondary dominant E7, the V7 of vi. Practice singing and playing this phrase. 10.69 Am7

Outline no. 1 applied to progression no. 1. Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am

œ & c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ Œ Ó


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251

One popular tune used progression no. 1 and also used outline no. 1 in the melody to connect every other measure. There have been others who have used the same progression with outline no. 1 including. Mozart who used outline no. 1 to connect each chord in contrapuntal imitation below. 10.70

&c ≈

Mozart: Piano Sonata, K.545, Allegro

œœœœœœ

?c œ

Œ

œœ

Œ

≈

œ œ œ œ œ œœœ Œ

& ≈œœœœœœ œ œ

Œ

≈

œ œ œ œ œœœœ

≈ œœ œ œœ œ œ œ

Œ

≈œ

Œ

? ≈œ

œ œ œ œœ

œ œ# œ œ

œ #œ

œœœ

Œ

Œ

œœ ≈ œ œn œ œ œ ˙

After playing and memorizing outline no. 1 through the entire progression, attempt to add some rhythmic, diatonic and chromatic elaboration to the basic line. The line below includes a chromatic encircling of the third of each chord. 10.71

Possible embellishment using outline no. 1 Am7

&c Ó

Dm7

G7

Cmaj7

‰ œ œ b œ œ ‰ œ œ œ œ b œ œj œ . œ œ œ # œ œ n œ œ œ J œ #œ ˙ J

Ó

Having practiced outline no. 1, apply outline no. 2 to the entire progression. 10.72

Outline no. 2 connecting all odd measures to even over progression no. 1

Am7

Dm7

œœ ˙ œ c œ & 10.73

Ó

Cmaj7

œ ˙ œ œ œ

Fmaj7

Ó

Bø7

œ ˙ œœ œ

E7

Ó

Am

œ ˙ œ #œ œ

Ó

Outline no. 2 connecting all even measures to odd over progression no. 1

Am7

&c ˙

G7

Dm7

Ó

G7

œ ˙ œ œ œ

Cmaj7

Ó

Fmaj7

œ ˙ œœœ

Bø7

Ó

E7

Am

Ó

œ #œ œ œ œ œ œ ˙ œ

Apply embellishment devices to the basic outlines throughout the progression. Sequences are an excellent tool for developing single musical ideas. Outline no. 2 is in ex. 10.74 is embellished using diatonic scale notes and chromatically approaching the third of Dm7 and Cmaj7. 10.74 Am7

Possible embellishment using outline no. 2 Dm7

œ bœ œ ˙ œ œ œ c œ œ &

G7

Ó

Cmaj7

œ nœ œ œ œ œ œ #œ ˙

Ó


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Apply outline no. 3 to the entire progression. A 3-5-7-9 arpeggio often follows outline no. 3, so use this as an opportunity to practice them. 10.75

Outline no. 3 in all odd measures/3-5-7-9 arpeggio in all even measures over progression no. 1

Am7

&c

Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am

œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ ˙ 10.76

3-5-7-9 arpeggio in all even measures/Outline no. 3 in all odd measures over progression no. 1

Am7

Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am

&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ ˙ 10.77

Ó

Possible diatonic embellishment of outline no. 3

Am7

&c

Ó

Dm7

G7

Cmaj7

œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ ‰ œJ œ ‰ Jœ œ œ ‰ œj œ œ œ œ œ Œ

Progression no. 23 is similar to progression no. 1, but modulates from the key of Ab (I) to the key of C (III) at the end of the first phrase. The outlines are still very useful tools. The G7 suggests the progression is moving to C minor, as the iii chord in Ab. To modulate to C minor (3bs) two notes are necessary: Dn from the key signature; and Bn, the leading tone. After suggesting the key of C minor, resolving to the En will clarify the surprise resolution to the major key. 10.78

Outline no. 1 for the first phrase of progression no. 23

Fm7

B bm7

E b7

A bmaj7

D bmaj7

G7

C

œ œ œ nw œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ nœ &b b c œ 10.79 Outlines over progression no. 23 Outline no. 2 applied to last cadence D bmaj7

G7

C

b & b bb c œ œ œ œ nœ œ œ œ nw


Outline no. 3 applied to last cadence D bmaj7

G7

C

b & b bb c œ œ œ œ nœ œ bœ ˙ n˙ nœ

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253

Outlines useful for tunes that modulate to unorthodox key relationships like progression no. 24. 10.80 B

. & c #œ

Outline no. 1 applied to progression no. 24 D7

Eb

Am7

œ #œ œ nœ œ œ . œ œ œ bœ bœ . J ˙ J B b7

G

B b7

G

Eb

F #7

‰ Jœ œ œ œ œ # œ œ œ œ

B

‰ Jœ

& ˙.

D7

G

B b7

Eb

œ œ œ œ #œ œ œ œ ˙ .

Fm7

& #˙ . 10.81 B

Fm7

D7

B b7

G

‰ # œj œ # œ # œ œ # œ # œ # œ œ C #m7

B b7

Eb

Am7

Œ

Eb

œ ‰ bœ œ œ œ #œ œ œ œ œ J Am7

D7

D7

C #m7

G

œ #œ œ œ œ . œ œ ˙ œ

b

b

D7 G B 7 E œ # œ # œ œ œ nœ œ œ œ œ œbœbœ ˙ . & c #œ

Fm7

#œ ‰ b œJ n œ # œ # œ œ # œ # œ œ ..

G

Œ

F #7

B

œ #œ œ #œ œ # œ œ #˙ . #œ

Œ

Outline no. 3 applied to beginning of progression no. 24

B

10.84

F #7

Outline no. 2 applied to the ii7 - V7 I progressions in the three keys from progression no. 24

bœ & c œbœ œ œ œbœ œ ˙ . 10.83

F #7

Outline no. 2 applied to beginning of progression no. 24

œ œ œ œ œ œ œbœ ˙ . # œ œ # œ n œ œ bœ

10.82

œ ‰ bœ bœ œ œ bœ œ bœ œ J C #m7

œ ‰ bœ bœ œ bœ œ œ bœ œ ˙ . J

B

&c

Am7

B b7

Fm7

œ œ b œ b œ . b œj # œ . œ œ & œ #œ #œ œ #˙ . J Eb

D7

Am7

D7

G

‰ œJ œ œ œ œ # œ œ œ œ œ

Outline no. 3 applied to the ii7 - V7 I progressions in the three keys from progression no. 24 B b7

Eb

& c œbœ œbœ œ œ œ œ ˙ .

Am7

Œ

œœœ

D7

œ #œ œ œ

C #m7

G

œ ˙.

Œ

#œ œ #œ

F #7

B

œ . œ #œ œ œ #˙

Œ


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Students often ask if real jazz musicians practice these things. These common lines were not labeled outlines until my book, Connecting Chords with Linear Harmony, but they occurred in improvisations and compositions by Bach and Mozart centuries ago, Charlie Parker and Clifford Brown from decades ago, and contemporary musicians such as Mike Stern and John Scofield. Usually, what gets practiced surfaces in performances, so it reasons that what shows up in performances was probably practiced. Outlines are one of the many tools practiced by jazz artists. Listen to the first line improvised by Coltrane on progression no. 24. Coltrane played a simple statement of outline no. 2. 10.85 C #m7

Outline no. 2 simple F #7

B

j & c #œ œ #œ œ #œ . œ #œ Tom Harrell used the same outline no. 2 in his solo over the same progression. Harrell adds passing tones (D# and F#) but the effect is the same. 10.86 C #m7

Outline no. 2 with passing tones F #7

B

& c #œ #œ œ #œ #œ œ #œ œ #œ Coltrane probably practiced outline no. 3 in all keys. 10.87 Am7

Outline no. 3 & outline no. 1 D7

G

œ bœ & c œ œ œ #œ œ œ ˙


Ó

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255

OUTLINE EMBELLISHMENT & DEVELOPMENT IDEAS This is a list of melodic embellishment devices that have been applied to the previous outline examples. Review the list and examples and be able to recognize them in their aural and written forms. Try creating many other melodic lines with outlines using the devices listed below. • • •

• • • • • • • • •

Rhythmic displacement Passing tones Neighbor tones — Upper diatonic — Lower chromatic leading tone or lower neighbor tone — Combinations that encircle or surround primary pitches — Chromatic approaches involving combinations of diatonic and chromatic tones above and or below target pitch C.E.S.H. Patterns Octave displacement Arpeggios from the third (3-5-7-9) ascending or inverted Anticipation Delayed resolution Arpeggiated tones — Pivot tone or pedal tone resulting in sawtooth shape Iteration or repeated notes Borrowed tones from the minor key over dominant chords. Includes b13, b9 and # 9 over dominant chords. Sequencing

Once a new progression has been practiced with simple, unadorned outlines, begin to apply some musical, developmental ideas to the outlines. Begin simply by using some rhythmic displacement ideas with some diatonic embellishments. Progress to the use of many chromatic tones including leading tones, chromatic passing, approach tones, and upper and lower neighbor tones. Be careful not to blur the clarity of the outlines with random, unresolved chromaticism. 10.88 Cm7

Outline No. 1 over a ii7 - V7 - I progression F7

b

B maj7

b œ &b c œ œ œ œ œ œ œ w 10.89

10.90

F7

. ‰ œj œ

b

F7

B maj7

œ œ œ œ œ œ œ w œ

Outline No. 1 with simple rhythmic displacement

> >œ œ. œ œ b œ œ œ œ &b c Cm7

Cm7

b

B maj7

> œ œ œ.

.j œ Ó

∑

Outline No. 1 with thirds surrounded by neighbor tones

F7 B bmaj7 > > . > bœ œ œ ˙ œ >œ œ œ œ œ œ b œ œ œ #œ œ &b c ‰ J œ #œ œ Cm7

∑


256

Chapter 10 10.91

Common Melodic Outlines Outline No. 1 with more chromaticism. The Eb, C, A, and F are surrounded with neighbor tones.

F7 B bmaj7 > > > >œ œ œ œ œ œ >œ œ > >œ ˙ b b c n œ b œ œ œ & œ #œ bœ œ œ nœ œ œ bœ œ œ Cm7

10.92

b &b c

Cm7


b

B maj7

œ œ œ œ œ w œ œ œ

10.93

F7

^ >j F7 . b & b c œ ‰ œj œ œ ‰ œ œ .

œ œ w œ œ œ œ œ œ b

B maj7

>j > ‰ j œ œ œ œ œ.

.j œ Ó

∑

Outline No. 2 with simple diatonic embellishment

Cm7

b

F7

B maj7

j b &b c œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ˙ 10.95

b

B maj7

Outline No. 2 with simple rhythmic displacement

Cm7

10.94

Cm7

Ó

œ ˙ œ œ œ

Ó

Outline No. 2 with chromatic leading tones, borrowed tones and chromatic approaches

F7 B bmaj7 > > > > > > b & b c ‰ j œ œ œ œ œ #œ œ œ œ bœ œ nœ œ nœ œ œ œ œ #œ ˙ Cm7

10.96 Cm7

b &b c


b

B maj7

œ œ œ œ w œ œ œ œ

10.97

b &b c


Cm7

F7

∑ b

B maj7

œ œ œ œ œ œ w œ œ

Outline No. 3 with diatonic and rhythmic embellishment

Cm7 F7 B bmaj7 > > > > œ œ œ œ >œ œ . œ. œœ œœœœœœ œ œ œ ‰J œœ œ J Ó

∑

Chapter 10 10.98

b &b c

257

Outline No. 3 with chromatic leading tones, borrowed tones and rhythmic embellishment Cm7

œ . >œ œ >œ œ ‰ œJ # œ J

b &b c 10.99


b

F7

B maj7

œ œ # œ œ œ œ b œ œ . œ. Ó J

∑

Outline no. 3 with highly chromatic treatment. Thirds surrounded by neighbor tones F7 B bmaj7 > > > œ œ œ >œ œ œ >œ œ > œ œ b œ œ >œ # œ œ . # œ œ œ ‰J nœ œ bœ #œ œ œŒ Cm7

∑

Three neighbor tone combination patterns and their inversions were illustrated in Chapter 4. These same patterns can be applied to the three outlines. The three basic patterns are: Combination UNT–LNT–CT CT–UNT–LNT–CT UNT–CT–LNT–CT

Inverse LNT–UNT–CT CT–LNT–UNT–CT LNT–CT–UNT–CT

10.100 Outline no. 1: UNT-LNT-CT pattern over Gm and F triads, common chromatic approach to E, 3rd of C7

&b c

Gm7

C7

F

j œ œ nœ œ œ œ œ œ œ œ #œ œ nœ œ #œ œ œ nœ œ œ #œ œ .

∑

10.101 Outline no. 1: CT-LNT-UNT-CT pattern Gm7

C7

F

& b œ œ œ œ œ œ #œ œ œ nœ œ #œ œ œ œ œ ˙

œ #œ œ œ

∑

œ œ #œ œ

∑

10.102 Outline no. 2: UNT-CT-LNT-CT pattern

œ œ & b œ œ #œ œ œ œ œ œ œ œ #œ nœ œ œ ˙ Gm7

C7

F

10.103 Outline no. 2: CT-UNT-LNT-CT pattern

œ œ #œ œ œ bœ ˙ . œ œ b œ œ œ œ & œ #œ œ œ Gm7

C7

F

œ #œ

œ

Œ

Ó


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Chapter 10


10.104 Outline no. 2: UNT-LNT-CT pattern F œ œ œ bœ nœ œ œ œ #œ œ œ nœ Œ Ó & b Œ œ #œ œ œ œ œ œ œ #œ œ œ Gm7

C7

10.105 Outline no. 3: LNT-UNT-CT pattern Gm7

C7

F

& b œ œ œ œ #œ œ œ nœ œ #œ œ bœ œ œ œ œ #œ œ œ nœ œ

∑

10.106 Outline no. 3: LT & LNT-UNT-CT pattern Gm7

C7

F

& b #œ œ œ nœ œ #œ œ œ œ nœ œ #œ œ œ œ bœ nœ œ #œ bœ œ œ nœ œ

∑

After practicing specific embellishment techniques, apply them to standard progressions. Apply them over specific points in the piece. Entire “improvisations” can be written out and practiced as etudes. Practicing constructing an improvisation will help prepare for spontaneous construction on the band stand.


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OUTLINE ETUDE Here is a sample etude using outlines. Each outline is labeled. Since the form is AABA and has three occurrences of the A section, a different combination of the outlines was used each time. Gø7 is connected to C7 using outline no. 1 in the first A section, no. 2 in the second, and no. 3 in the last. The basic outlines are elaborated using several of the approaches previously discussed in this chapter. Examine each outline and try to identify the development devices that were used. The exact line connecting m.1 to m.2 occurs again transposed to the key of C minor in mm.13-14. Use this approach to create exercises that will develop improvisation and melodic development skills. 10.107 Outline Etude based on progression no. 19 Gø7

1

C7

G7

no. 1

‰ jœ œ nœ

∑

C

& ‰ n œj œ œ b œ œ œ œ b œ b œ œ œ œ œ # œ œ œ Œ Œ ‰ Jœ œ œ œ Ó œ no. 3 Gø7

9

Fm

bœ & ‰ b Jœ œ œ œ b œ œ œ œ œ b œ œ œ œ œ b ˙ no. 1 Dø7

5

no. 1

no. 1

C7

Fm

œ #œ œ œ bœ bœ œ b œ j bœ œ œ œ œ ‰ b œ & #œ œ œ œ œ œ bœ œ no. 2 Dø7

G7

C

no. 1

bœ œ œ œ #œ œ . & ‰ œj n œ œ œ b œ œ œ œ œ nœ no. 1

j œ Ó

∑ ∑

13

Bb

no. 1

bœ bœ nœ œ bœ œ #œ œ b œ bœ œ ˙ & œ œ œ œ bœ œ œ œ œ #œ œ œ Cm 7

17

F7

no. 2

A b7

& œ bœ bœ ˙

no. 1

œ bœ œ œ

˙

Œ œ #œ

G7

n˙ .

bœ œ

Œ

˙.

21

Gø7

no. 3

C7

Fm

j & Œ bœ œ bœ œ œ œ œ ‰ œ bœ bœ œ œ bœ œ œ œ nœ œ œ œ no. 1

∑

25

C b œ œ œ œ œ # œ œ œ nœ œ œ œ ˙ b œ œ œ œ œ œ & œ nœ œ bœ œ no. 1 Dø7

no. 1

G7

Ó

29


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EAR TRAINING The outlines are excellent tools for ear training. The outlines address all of the important guide tones, identify the harmonic motion, and resolve the dissonant to the consonant notes. All accidentals necessary for modulating from a key to its closely related keys are addressed by the outlines. Sing the outlines for ear training practice over all modulations to closely related keys. The following chart reviews the closely related keys to the key of C major, their secondary supertonic and dominant chords, and lists the necessary accidentals needed for modulation. NEW KEY AREA TO TONICIZE ii: D minor iii: E minor IV: F major V: G major vi: A minor

SECONDARY SUPERTONIC & DOMINANT Eø7 - A7 F#ø7 - B7 Gm7 - C7 Am7 - D7 Bø7 - E7

NECESSARY ACCIDENTALS Bb and C# F# and D# Bb F# G#

Practice singing these modulations from the tonic key of C to closely related keys and then returning to the key of C using outline no. 1. Learn to hear them without your instrument. Daily practice is required to master any skill like this. Utilize driving time or walking time as ear training time. A pitch pipe can confirm if the modulations have brought the lines back to the tonic key. Certain modulations will be easier than others. Practice the ones that are more difficult more often and they will not be as difficult. OUTLINE No. 1 Modulate from C major (I) to the key of D minor (ii) C

&c ˙

Eø7

A7

Dm

bœ œ œ œ œ ˙ œ œ œ œ œ œ œ #œ

Dm7

G7

C

œ œ œ nœ nœ œ œ œ œ œ ˙

Modulate from C major (I) to the key of E minor (iii) F #ø7

C

&c ˙

B7

Em

œ œ œ œ #œ œ œ œ œ #œ œ ˙ #œ œ

Dm7

G7

C

nœ œ nœ œ œ œ œ œ œ œ ˙

Modulate from C major (I) to the key of F major (IV) C

&c ˙

Gm7

C7

F

œ bœ œ œ œ œ œ œ œ œ œ ˙ œ œ

Dm7

G7

C

œ œ œ œ nœ œ œ œ œ œ ˙

Modulate from C major (I) to the key of G major (V) C

&c ˙

Am7

D7

G

œ œ œ œ œ œ #œ œ œ œ œ œ ˙ œ œ


Dm7

G7

C

nœ œ œ œ œ œ œ œ œ œ ˙

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261

Modulate from C major (I) to the key of A minor (vi) C

&c ˙

Bø7

œ

E7

Am

‰ œj œ œ œ # œ œ œ œ œ œ œ ˙

Dm7

G7

C

œ œ œ œ œ œ nœ œ œ œ ˙

Practice singing these modulations from the tonic key of C to closely related keys and then returning to the key of C using outline no. 2. OUTLINE No. 2 Modulate from C major (I) to the key of D minor (ii) C

&c ˙

Eø7

A7

Dm

Dm7

G7

C

œ #œ œ œ œ b œ œ nœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Modulate from C major (I) to the key of E minor (iii) C

&c ˙

F #ø7

B7

Em

œ œ #œ œ œ œ #œ œ œ œ œ #œ ˙ œ

Dm7

G7

C

œœœœœ œ n œ œ œ ˙ nœ


&c ˙

Gm7

C7

F

œ œ œbœ œ œ œ œ œ œ œ ˙ œ œ

Dm7

G7

C

œ nœ œ œ œ œ œ ˙ œ œ œ


&c ˙

Am7

D7

G

œ œ œ œ œ œ œ #œ œ œ œ œ œ ˙

Dm7

G7

C

œœ œœœ œ œ ˙ œ nœ œ


&c ˙

Bø7

E7

Am

œ ˙ œ œ œ œ œ œ #œ œ œ œ œ œ

Dm7

G7

C

œ œ œ nœ œ œ œ ˙ œœ œ


262

Chapter 10


Practice singing these modulations from the tonic key of C to closely related keys and then returning to the key of C using outline no. 3. OUTLINE No. 3 Modulate from C major (I) to the key of D minor (ii) C

&c ˙

Eø7

A7

Dm

Œ œ œ bœ œ œ œ œ #œ œ œ œ œ ˙

Dm7

G7

C

œœœ œ nœ nœ œ œ œ œ ˙

Modulate from C major (I) to the key of E minor (iii) C

&c ˙

F #ø7

B7

Em

‰ œj œ œ œ œ # œ œ œ œ œ œ œ ˙ #œ

Dm7

œ nœ nœ

G7

C

œ œœ œœ œ œ ˙


&c ˙

Gm7

C7

F

œ ‰ œJ œ b œ œ œ œ œ œ œ œ œ ˙

Dm7

G7

C

œ œ œ œ œ nœ œ œ œ œ ˙


&c ˙

Am7

D7

G

œ œ œ œ œ œ œ œ #œ œ œ œ œ ˙

Dm7

G7

C

œ nœ œ œ œ œ œ œ œ œ ˙


&c ˙

Bø7

E7

Am

œ œ œ œ œ œ œ #œ œ œ œ œ œ ˙


Dm7

G7

C

œœœ œ œœœœ œ œ ˙

Chapter 10


263

SUGGESTED ACTIVITIES • • • • • • • •

Practice singing and playing all three outlines over ii7 - V7 - I in all major keys Practice singing and playing all three outlines over iiø7 - V7 - i in all minor keys Write out the outlines for progression on which to improvise Locate and identify other outline examples in improvisations. Identify the techniques used to embellish the basic outlines. Create new lines over typical ii - V7 - I and iiø7 - V7 - i progressions using the outlines. Apply newly created lines over specific points in standard progressions. Write out solo etudes over standard progressions using outline embellishment ideas. Practice standard progressions using agendas suggesting the use of specific outlines for different phrases. Example for any 32 measure form. mm.1-4 mm.5-8 mm.9-12 mm.13-16 mm.17-20 mm.21-24 mm.25-28 mm.29-32

•

outline outline outline outline outline outline outline outline

no. no. no. no. no. no. no. no.

1 3 2 3 2 1 3 1

Add other musical approaches to agendas including blues material and other triadic generalization ideas, melodic paraphrasing, etc.


264

XI.

Chapter 11

Harmony: Overview of Voicings

HARMONY: OVERVIEW of VOICINGS Two or more melodic voices can suggest all of the harmonic framework over standard harmonic progressions by their juxtaposition and adherence to fundamental voice leading principles. When four or five melodic voices occur at once, harmony is created. It is useful to think of the harmonic voicings as vertical alignments of notes sounding simultaneously, but important to realize that each voice is a result of a linear melodic activity. All voice leading principles from Chapter 9 apply to the interaction between adjacent chords. The basics of four and five part harmony will be discussed and illustrated followed by a piano overview, and a brief look at arranging voicings for big band, vocal and string groups. Review the fundamental voice leading principles when chords have downward fifth root progressions. Thirds resolve to sevenths, sevenths resolve to thirds, fifths resolve to ninths and ninths resolve to fifths. The ninths and fifths may be modified on dominant chords. A n9, b9 or #9 (usually shown as the enharmonic equivalent b10) may be used. Any ninths would still resolve to the fifth of the subsequent chord. The b9 and #9 pitches are associated with minor keys though they are freely used in major keys to create more tension. The fifth of a dominant chord may be replaced by a n13 or a b13, the #11 or b5. Any of these pitches that substitute for a fifth behave as a fifth and resolve to the ninth of the subsequent chord. The n13 is associated with a V7 in major and the b13 is associated with a V7 in minor because the n13 or b13 of a dominant chord is the third of the tonic chord and therefore the pitch which identifies major or minor.

FOUR PART VOICE LEADING Three voices added to a root line creates four voice harmony. Voicings are shown below in ex. 11.1a-d for the most common progressions: ii7 - V7 - I in major and iiø7/vi - V7/vi - vi to the relative minor. The voicing in ex. 11.1a was created by placing the next available chord tones below the A. The voice below A, the fifth is the third, F. The E, the ninth, or the root could have been used, but the Dm7 would have been without the essential seventh, so the third pitch must be C. Following basic voice leading principles, the C moves down to the B while the A and F remain. The upper part of the D chord is constructed from the top: 5-3-7. This chord resolves to a G chord constructed from the top: 9-7-3. Both of these chord types has one of the two essential tones on the bottom, either the third or the seventh. The chord type with the seventh on the bottom will be labeled a type I chord, with a third on the bottom a type II chord. Type I chords resolve to type II chords. Since the G9 chord is a type II, it resolves to a Cmaj7 type I chord. The line suggested by the third voice of these two chord types is often called the “thumb-line,” as it would be the line played by the thumb when playing these chords on piano. Ex. 11.1b illustrates the progression to the relative minor. If a type II leads to a type I, then the same progressions can be inverted to begin with a type II resolving to a type I and back to a type II as illustrated in ex. 11.1c-d. The limitations of four voices necessitates omission of one voice. The essential tones that identify the chords are the third and seventh. Either a fifth or a ninth must be omitted. The fifth is often redundant as it is heard as a result of the physics of the overtone series. The ninth may add color, but must concede to the third and seventh when the fifth of the chord is called for by voice leading.


Chapter 11

11.1 a I - II - I Major Dm7

& c œœœ ?c œ

b. I - II - I Minor

Cm aj7

œœ œ

˙˙ ˙

œœ œœ ˙˙ œ #œ n˙

œ

˙

œ

I 5 3 7

– – – –

II 9 7 3

Bø7

b E7 9 Am7

G9

– – – –

œ

˙


c. II - I - I I Major Dm7

œ & c œœ ?c œ

265

d. II - I - I I Minor

Cmaj7

œœ œ

˙˙ ˙

œœ # œœ n ˙˙ œ œ ˙

œ

˙

œ

VOICE LEADING with FOUR VOICES I II – – 5 9 – 3 7 – 7 3

Bø7

b E7 9 Am 7

G9

I 5 3 7

˙

œ

– – – –

II 9 7 3

FIVE PART VOICE LEADING The chords from ex. 11.1 can be transformed to five voice harmony with the addition of the previously omitted tones. The ninth (E) can be added to the Dm7 chord from ex. 11.1a. The ninth (E) would resolve to the fifth of G9 (D) and finally to the ninth of Cmaj9 (D) as shown in ex. 11.2a. In ex. 11.2b, the ninth of Bø7 is not used. The ninth, in this case over the ø7, blurs the distinction of the chord quality. Instead of the ninth, the third or the root may be doubled. In ex. 11.2d, the ninth is used over the Bø7 chord. The ninth is still quite dissonant, but voicing it in a higher register lessens the negative effect. The addition of tones does not change the chord types since the new tones do not effect the lower voice. The additional tones are illustrated in the inverted progression in ex. 11.2c-d. 11.2 a I - II - I Major Dm7

&c

b. I - II - I Minor

G9 Cmaj7

Bø7

b E7 9 Am 7

œœœ œ

œœœ œ

˙˙˙ ˙

œœœ œ

œœœ ˙˙˙ #œ n˙

?c œ

œ

˙

œ

˙

œ

c. II - I - I I Major Dm7

œ & c œœœ ?c œ

G9

d. II - I - I I Minor

Cmaj7

Bø7

b E7 9 Am 7

œœœ œ

˙˙˙ ˙

œœœ # œœ œ œœ

n ˙˙˙˙

œ

˙

œ

˙

œ


266

Chapter 11

I 5 3 9 7


– – – – –

II 9 7 5 3

– – – – –

VOICE LEADING with FIVE VOICES I II – – 5 9 – 3 7 – 9 5 – 7 3

I 5 3 9 7

– – – – –

II 9 7 5 3

CLOSE VOICING The upper voices of the previous examples were examples of close voicing. Close voicings have all the upper voices within the range of an octave.

OPEN VOICINGS When the upper voices are not within the range of an octave they are called open voicings. The open voicings help the listener hear the individual inner voices. A common method to change a close voicing into an open voicing is to drop the second voice from the top down an octave. This open voicing is commonly called a “drop 2” voicing. The “2” only refers to the second voice from the top and not to a part of the chord. Ex. 11.3 illustrates the conversion of close voicings to open voicings by dropping the second voice from the top. The chord type changes when converting a close chord to an open chord. The second voice from the top becomes the lowest voice above the root in the bass. The Dm9 close type II (with the third as the lowest voice) chord in Ex. 11.3a becomes a type I (with the seventh as the lowest voice) open chord. 11.3

“Drop 2” Voicings

a.

b.

II

I

Dm 9

Dm9

˙ & c ˙˙˙ ?c ˙

˙˙ ˙ ˙ ˙

I Dm 9

II Dm9

˙˙˙ ˙

˙˙ ˙

˙

˙˙

Harmonic passages using open position voicings should continue in open positions in order for the voices to lead properly. The close position voicings of ex. 11.2 are shown in open “drop 2” position in ex. 11.4. Play through the examples and sing the individual lines to internalize the sound of each voice. The voices do not need to be static. The b13 (C) of the E7 resolves to the fifth (B) before resolving to the ninth of Am9 (B) in ex. 114d.


Chapter 11

11.4 a II - I - I I Major Dm9

b. II - I - I I Minor

G13 Cm aj9

& c œœœ

œœ œ

˙˙ ˙

? c œœ

œ œ

˙˙

œœ œ

Bø7

œœ

b9 E7 b 13


c. I - II - I Major

œ # œœ

Am 9

˙ n ˙˙

Dm9

œ œ

˙˙

œ œ

œœ œ

G13 Cmaj9

œœ œ

˙˙ ˙

œ œ

˙ ˙

267

d. I - II - I Minor

Bø7

œœ œ

b9 E7 b 13

Am9

œœ œ ˙ ˙˙ œ

œ #œ œ œ

n˙ ˙

ALTERATIONS & SUBSTITUTIONS for 5th & 9th Many colorful substitutions are available for dominant chords. The fifth is often omitted. The fifth may be heard even when absent due to the physics of the overtone series. Using the fifth may be redundant if it can already be heard. The fifth may be omitted to lighten the sound of a voicing. A perfect fifth can make a dominant chord seem heavy. This is a phenomenon is known to all rock musicians who call the two note chord made of the root and fifth chord the “powerchord.” The third and seventh, the tritone, must be present in order for the chord to sound like a dominant leaving the fifths and ninths available for alterations or substitutions. Other notes that may substitute for the fifth in a dominant chord include the b 5, or its enharmonic equivalent the #11, the b13 or its enharmonic equivalent the #5, and the n13. A ninth can occur as a n9 (major ninth above the root), a b9 (minor ninth above the root), and a #9. The #9 is often spelled enharmonically as a b3 or b10. A G7#9 will probably be spelled with a Bb rather than an A#. (It is rare, but a chord may be encountered that is labeled G7b10, meaning what would commonly be called a G7#9). Alterations may be encountered that are arbitrary or due to linear concerns. Substitutions or alterations to the ninth or fifth do not change basic voice leading tendencies. Any fifth, its substitute or alteration wants to resolve to any ninth, its substitute or alteration which in turn will resolve back to any fifth, its substitute or alteration. 9 (n9, b9, #9) 7 5 (b5/#11, n5, b13/#5, b13) 3

– – – –

5 3 9 7

The primary dominants are those derived from the major scale and the minor scale (harmonic). A G7 derived from C major yields a n5, n13, and a n9. Add three flats to yield the C minor key signature and the G7 would yield the n5, b13, b9 and #9. Knowing this helps determine the appropriate sound. A G9, or G13 suggests a resolution to C major; a G7b9 or G7b9/b13 suggests a resolution to C minor, but does not rule out a resolution to major. (See ex 6.1, p.111). Some of the other alterations may suggest scales discussed in chapter 14. There are four pitches that may stand in for the fifth and three different possible ninths, which yields twelve possible different dominants (4 × 3). Each of these dominants below is shown in “drop 2” open position; each has a combination of one of the four possible notes for the fifth and one of the three ninths.


268

Chapter 11


11.5

Twelve possible dominant chords

G9

ww ww

& c ww w ?c w w

G13 9

b ww w w w

w

& ww w

ww ww

?w w

w

b G9 13

b G7 9

b G13 9

b www w w

# G7 9

bw ww

b www w

w w

w

# G13 9

b ww w

b www w

n b www

b n www w

w w

w

w w

w

b9

G7 b 13

#9

G7 b 13

& b n ww w

n b www w

b b www

b b www w

b b www

b b www w

? w w

w

w w

w

w w

w

# G9 11

& # ww w ? w w


b9 G7 b 5

# www w

b b www

w

w w

#9 G7 b 5

b b www w

bw b ww

b b www w

w

w w

w

Chapter 11


269

Any of the above dominants will work between the Dm9 and the Cmaj7 and several will work between a Dø7 and a Cm9. Sing the individual lines to hear the resolutions of the colorful ninths and fifths. 11.6 Dm 9

Colorful Dominants added to Common Cadence

#9 G7 b 13

w & ww

b b www

? ww

ww

Cm aj7

#9 G7 b 13

Dø7

ww w

b b www

b b www

w w

w w

n ww

Cm 9

w b ww

#9 G7 b 13

Dm9

bw w

Cmaj7

ww w

b b www

n www

ww

w w

ww

Voice leading principles remain uniform when using secondary dominants and whether the voicings are in open or close positions. 11.7

Different secondary dominants replace ii7. Voice leading remains constant with these close position chords.

n5 — n9 — n5 n9 — n5 — n9 D9

G9

n13 — n9 — n5 n9 — n13 — n9

Cmaj9

D13

G13

n œœœœ

˙˙˙ ˙

# œœœœ

n œœœœ

˙˙˙ ˙

?c œ

œ

˙

œ

œ

˙

11.8

# b b œœœœ b n b œœœ nœ œ

œ

n ˙˙˙˙ ˙

Different secondary dominants replace ii7. Voice leading remains constant with these open position chords

n5 — n9 — n5 n9 — n5 — n9 D9

b9

D7b 13

Cmaj9

& c # œœœœ

b13 — b9 — n5 b9 — b13 — n9 b9 G7b 13 Cmaj9

n13 — n9 — n5 n9 — n13 — n9

D7b 13

b13 — b9 — n5 b9 — b13 — n9 b9 G7b 13 Cmaj9

˙˙ ˙

b b œœœ

b bn œœœ

˙˙ ˙

˙˙

# œœ

nœ œ

˙˙

G9

Cmaj9

D13

G13

Cmaj9

& c œœœ

œœ œ

˙˙ ˙

œœ œ

œœ œ

? c # œœ

nœ œ

˙˙

# œœ

nœ œ

b9


270

Chapter 11


EXERCISES Writing, singing and playing the following exercises will aid the understanding and retention of the voice leading principles. The first voicing is given. If the voice leading principles are obeyed, the chords will alternate from type I to type II and each voice should move smoothly by step to the next. In these exercises, choose appropriate ninths and fifths or fifth substitutes based on the key signatures and whether the dominants point to major or minor. Learn the basics first and later you may wish to season the dominants creatively. ii7 - V7 - I in Bb major

11.9

b & b c œœœœ

œœ œ

Cm9

? b cœ b

˙

œ

œ œ

œœœ œ œ

˙

œ

œœ œ œ

œœ

˙

œ

˙

œ

˙

Specific dominant colors are requested in this exercise. iiø7/vi - V7/vi - vi in Eb major or iiø7 - V7 - i in C minor.

11.10

œ b & b b c œœœ

œœ œ b9

Dø7 G7b 13 Cm9

? b cœ bb

œ

˙

œ œ

œœœ œ œ

˙

œ

œœ œ œ

˙

œœ

A b substitutes for D7 and moves parallel to the G7. Since they are parallel chords, thirds resolve to thirds, fifths and their substitutes to fifths, sevenths to sevenths, and ninths to ninths. The Ab7 chord has a n9 and used the n13 as a substitute for the fifth. Be careful with accidentals when the G7 chord resolves to a Cmaj7 and not Cm9.


Chapter 11


271

11.11

&c ?c

b b œœœœ A b13

b9 G7b 13 Cmaj9

bœ

œ

11.12

˙

b œœ œ

œ b b œœ

œ b b œœœ

bœ bœ

œ

˙

bœ

œ

b œœ

˙

œ

˙

Close position key center cycle in Eb major

b b c ˙˙˙˙ b & Fm 9

? b c˙ bb 11.13

B b13

˙

E bmaj9

˙

A bmaj9

˙

b9

Dø7

˙

G7b 13

˙

˙ ? b c ˙ bb 11.14

w

Open position key center cycle in Eb major

b b c ˙˙˙ b & Fm9

Cm 9

B b13

˙

E bmaj9

˙

A bmaj9

˙

b9

Dø7

˙

G7b 13

˙

Cm 9

w

Close position key center cycle in Eb major

b & b b c ˙˙˙˙ Fm 9

? b c˙ bb

B b13

˙

E bmaj9

˙

A bmaj9

˙

b9

Dø7

˙

G7b 13

˙

Cm 9

w


272

Chapter 11

11.15

Harmony: Overview of Voicings Open position key center cycle in Eb major

b & b b c ˙˙˙ ? b b c ˙˙ b

Fm 9

B b13

E bmaj9

˙

˙

b9

A bmaj9

G7b 13

Dø7

˙

˙

Cm 9

w

˙

The next three exercises use secondary keys. Follow the RNA and be careful with accidentals suggested by the key signature of the secondary keys. 11.16

Four voice exercise with secondary keys

& b c www

ww w

I

iiø7/vi V7/vi

?b c w 11.17

&c

˙

˙

vi7

˙

V7/v

ii7/IV V7/IV

˙

˙

IV

w

˙

Five voice exercise with secondary keys

www w I

?c w

11.18

iiø7/vi V7/vi

vi7

˙

˙

˙

V7/v

ii7/IV

˙

V7/IV

˙

˙

IV

w

Five voice exercise with secondary keys

# cw ww & I ?# c w


iiø7/vi V7/vi

˙

˙

vi7

˙

V7/v

˙

ii7/IV

˙

V7/IV

˙

IV

w

Chapter 11


273

EXERCISES 11.9-11.18 SOLVED 11.9

Solved

b & b c œœœœ

œœœ œ

Cm9

œœ œ

œœ œ

˙˙ ˙

œœœ œ

˙

œ œ

œœ

˙ ˙

œ

œœ œ

œœ œ

˙˙ ˙

œœœ œœœ ˙˙ œ n œ b ˙˙

B bmaj9

F9

? b cœ b

˙˙˙ ˙

œ

11.10

b9

Dø7 G7b 13 Cm9

œ

? b cœ bb

A b13

b9 G7b 13

˙

œ n œœ b ˙ œ ˙

œœ œ

œœ œ

˙˙ ˙

œ

˙

œœ

œ œ

˙˙

Cmaj9

b œœ b b œœ œ nœ

˙˙ ˙

?c

bœ bœ

˙˙

bœ

œ

11.12

b b c ˙˙˙˙ b & Fm 9

œ

œ

œœ œœ ˙ œ n œ b ˙˙ œœ

˙

œ œ

˙˙

Solved

& c b b œœœœ b b œœœ n n ˙˙˙ nœ ˙

? b c˙ bb

˙˙˙ ˙

Solved

œ œ b & b b c œœœ n œœœ b ˙˙˙˙

11.11

œœœ œ

˙

œ œ

œœ b œ ˙ b b œ b œœ n ˙˙

œœœ b œœ ˙˙ b b œ n b œœ n ˙˙ bœ

b œœ œœ ˙ ˙

˙

œ

Solved

˙˙˙˙

˙˙˙ ˙

B b13

E bmaj9

˙

˙

˙˙˙˙ A bmaj9

˙

˙˙˙ ˙

n ˙˙˙˙ b9

Dø7

˙

G7b 13

˙

www w Cm 9

w


274

Chapter 11

11.13 Fm9

b b c ˙˙ b ˙ & ˙ ? bb c ˙ b 11.14

Fm 9

b & b b c ˙˙˙˙ ? bb c ˙ b 11.15

b & b b c ˙˙˙ ? b b c ˙˙ b

Fm 9

11.16

& b c www I

?b c w



Solved B b13

˙˙ ˙

A bmaj9

˙˙ ˙

˙˙ ˙

˙ ˙

˙˙

˙˙ ˙

˙˙

b9

E bmaj9

Dø7

G7b 13

˙˙ ˙

ww w

˙ ˙

n ˙˙

bw w

G7b 13

Solved B b13

Cm 9

b9

E bmaj9

A bmaj9

Dø7

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙ n ˙˙˙

w b www

˙

˙

˙

˙

˙

w

˙˙ ˙

˙˙ ˙

˙˙ ˙

˙ n ˙˙

w b ww

E bmaj9

A bmaj9

Dø7

˙ # ˙˙

˙ n ˙˙

Cm 9

Solved

˙˙ ˙ B b13

˙ ˙

˙˙

˙ ˙

˙˙

b9

G7b 13

Cm 9

˙ ˙

ww

Solved

˙˙ ˙

iiø7/vi V7/vi

˙

˙

vi7

˙

b ˙˙ n˙ V7/v

˙

b b n ˙˙˙

˙˙ ˙

ii7/IVV7/IV

˙

˙

ww w IV

w

Chapter 11

11.17

&c

˙˙˙ ˙

I

iiø7/vi V7/vi

vi7

˙

˙

11.18

275

Solved

www w

?c w


# ˙˙˙˙ ˙

˙˙˙ ˙

# b b ˙˙˙˙ V7/v

˙ b n ˙˙˙

˙˙˙ ˙

www w

˙

ii7/IV V7/IV

˙

˙

IV

w

n #b ˙˙˙

˙ n ˙˙

˙˙ ˙

˙ ˙

n ˙˙

Solved

# cw ww &

˙˙ ˙

I ? # c ww

˙˙iiø7/vi V7/vi ˙ ˙

˙ # ˙˙

˙˙ ˙ ˙˙vi7

V7/v

ii7/IV V7/IV

˙ ˙

ww w IV

ww


276

Chapter 11


PIANO OVERVIEW There are several books on voicings for piano and arranging which take the time to go into great detail. This chapter would not be complete without an overview some of the basic principles for piano and arranging voicings. Use these examples as a point of departure and add to this base information gathered from other books and transcriptions. Playing key signature cycles in close positions helps visualization of the basic step motion of each line. Every ii7 - V7 - I and iiø7 - V7 - i cadence will be played if this exercise is played in all twelve keys. Guitarists cannot play these close position chords, but they work well on vibraphone and piano. 11.19

Key center cycle, close position voicings

Dm9

˙ & c .. ˙˙˙

G9

? c .. ˙

˙

Dm9

Cmaj9

˙˙˙ ˙

Fmaj9

˙˙˙ ˙

˙˙˙ ˙

G9

˙˙˙ ˙

˙

˙ Cmaj9

Fmaj9

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

? ˙

˙

˙

˙

˙

C9

˙ & b c .. n ˙˙˙

˙˙˙ ˙

? b c .. ˙ Gm 9

Fmaj9

˙˙˙ ˙

C9

˙˙˙ ˙

Fmaj9

œœœ œ

œœœ #œ

˙

˙ b9

Eø7

A7b 13

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

˙˙˙ ˙

# œœœœ

?b

˙

˙

˙

˙

˙


œœœœ

.. ..

˙ b9

A7b 13

˙˙˙ ˙

b A7 9

b # œœœœ

˙ n ˙˙˙

œœœ œ

˙ b9 A7b 13

˙

& b ˙˙˙ ˙ ˙

bœ # œœœ

b9

˙ B bmaj9

n ˙˙˙˙

Am 9

œ # œœœ

Eø7

b A7b 13 A7 9

˙

˙

B bmaj9

˙

˙

œœœ œ

b9 E7b 13

Key center cycle, close position voicings

Gm 9

Am9

˙

Bø7

˙˙˙ ˙

b9

b E7 9

# œœœœ

˙

& n ˙˙˙˙

11.20

b9

E7b 13

Bø7

Dm9

œœœ œ

b D7b 13 D7 9

˙˙˙ b # œœœ œœœ n˙ œ œ ˙

b A7 9

œœœ œ

˙ b9

Dm9

n ˙˙˙˙ ˙

b D7b 13 D7 9

bœ # œœœ ˙

œœœ œ

.. ..

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277

The top four voices of these open position voicings are excellent guitar and vibraphone voicings. 11.21

Key center cycle, open position voicings

Dm 9

G9

˙ & c .. ˙˙

˙˙ ˙

˙ .. ˙

?c

Cmaj9

Fmaj9

˙˙ ˙

˙˙

˙˙ ˙

˙ ˙

b9

Bø7

˙˙ ˙

˙˙

E7b 13

œœ œ

˙ ˙

b9

b E7 9

Am9

œœ œ

˙˙ ˙

b œœ #œ

n˙ ˙

˙ ˙

# ˙˙ b9

Dm9

Cmaj9

Fmaj9

Bø7

& n ˙˙˙

˙˙ ˙

˙˙ ˙

˙˙ ˙

˙˙ ˙

œœ #œ

? ˙˙

˙ ˙

˙˙

˙ ˙

˙˙

˙ ˙

œœ œ

b9

E7b 13

G9

b A7b 13 A7 9

œœ œ

b A7 9

A7b 13

Am9

b œœœ

˙ n ˙˙

œœ œ

# ˙˙

˙˙

.. ..

Spice up the cycle with some altered dominants. A C7 with a #9, b9 and b13 points to F minor, but is interesting when used to resolve to F major. 11.22

Key center cycle, open position voicings

#9

? b c .. ˙˙

? b n˙ ˙

˙˙ ˙

˙ ˙ #9

& b ˙˙ ˙

Fmaj9

b b œœœ b œœœ

& b c .. n ˙˙˙

Gm 9

b9

C7b 13 C7b 13

Gm 9

B bmaj9

˙˙ ˙

˙˙ b9

C7b 13 C7b 13

b b œœœ b œœœ ˙˙

b9

Eø7

˙ ˙

b9

A7b 13

˙˙ ˙

œ # œœ

˙˙

˙ ˙ b9

Dm9

œœ œ

˙ n ˙˙

b œœœ

˙˙

# ˙˙

B bmaj9

Eø7

A7b 13

b A7 9

Dm9

˙˙ ˙

˙˙ ˙

˙˙ ˙

œœ œ

œœ œ

˙˙ ˙

˙ ˙

# ˙˙

˙˙

œœ œ

b9

Fmaj9

˙ ˙

b D7b 13 D7 9

˙ ˙

b D7b 13 D7 9

bœ # œœ ˙ ˙

œœ œ

.. ..

LEFT HAND VOICINGS There are many different kinds of left hand voicings used by a pianist. If the pianist is playing unaccompanied, the left hand may play large and small chords that would often include the root. If playing in a trio setting with a bass player, the root is often omitted and only the inner voices may be played. Many useful left hand voicings can be derived from the voicings shown earlier in this chapter. The notes in the bass clef of example 11.4.a are effective left hand chords that include roots. The left hand plays the root and third which resolves to the root and seventh of the subsequent chord.


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11.23 Dm9

Left hand chords with roots G13

Cmaj9

Dm 9

G13

& c ˙˙˙

˙ ˙˙

˙˙ ˙

’ ’ ’ ’

’ ’ ’ ’

? c ˙˙

˙ ˙

˙˙

˙˙

ww

˙ ˙

Cmaj9

The notes in the bass clef of example 11.4.c are also useful left hand chords that include roots. These are the opposite of those in ex. 11.23. The left hand plays the root and seventh which resolves to the root and third of the subsequent chord. 11.24 Dm9

Left hand chords with roots

˙ & c ˙˙

G13

˙˙ ˙

Cmaj9

? c ˙˙

˙˙

˙ ˙

˙˙ ˙

Dm 9

G13

Cmaj9

’ ’ ’ ’

’ ’ ’ ’

˙ ˙

w w

˙˙

Pianist tend to leave off the root when playing with a bass player. These rootless voicings assume the listener hears or can imagine the roots of the chords. A basic left hand shell can be derived from ex. 11.4a. The dark notes in the first measure below are extracted for the left hand. The bass player is free to play a bass line and the right hand is available to solo or add more to the voicings. These voicings were introduced an octave up and in the right hand in ex. 11.1c. The chord pattern is type II - I - II. 11.25 Dm9

& c ˙œœ

Left hand chords without roots: II - I - II pattern G13

Cmaj9

˙ œœ

˙œ œ

? c œ˙

œ ˙

œ˙

Dm 9

G13

Cmaj9

’ ’ ’ ’

’ ’ ’ ’

˙˙ ˙

˙˙ ˙

˙˙ ˙

Transposing to other keys will not always mean using the same II - I - II pattern. If the II - I - II pattern were transposed up an octave for the key of F, the top notes might enter the right hand range. If it were transposed an octave lower, it would be muddy sounding and difficult to distinguish the chord roots. The solution is to keep the voicings centered between Eb in the bass clef and G above the staff. This is not a hard and fast rule, but a good rule of thumb for thumb-lines. Ex. 11.26 illustrates how changing the chord pattern to a I - II - I keeps the left hand in the ideal range. These three note chords make excellent voicings on the inner strings of the guitar.


Chapter 11 11.26 Gm9


279

Left hand chords without roots: I - II - I pattern C13

Fmaj9

& b c ˙œ œ

˙ œœ

˙ œœ

?b c œ ˙

œ˙

œ ˙

Gm 9

C13

Fmaj9

’ ’ ’ ’

’ ’ ’ ’

˙˙ ˙

ww w

˙˙ ˙

The right hand may play a single note over the top of the three note piano shells. The top line may be an independent line or may be a voice not played by the lower voices as shown below. There is very little motion from one chord to the next. The interesting motion may be in the improvised line above these chords. The voice leading is smooth even between the Cmaj7 and the Gm9 chords: the D is retained, the E moves a half step up to F, the Bn down a half step to Bb. Ex. 11.27 illustrates the voicings from ex. 11.25-26 in a typical swing setting. 11.27 Dm9

Right hand added to left hand rootless chords G13

&c œ

‰ œj œ b œ

œœ ?c œ

œœ ˙˙ ‰ Jœ ˙

Cm aj7

Gm9

C13

Fm aj7

œ.

j œ Ó

b ‰ œ.

œ bœ œ

w

œœ .. œ.

œœ œ J Ó

œœ ... b ‰ œ

œœ œ

ww w

œœ ‰ Jœ

The right hand may play octaves over the left hand shell. The piano can sound like a big band by emphatically playing these voicings. Extra notes may be added to the three note shell to make them four notes shells. 11.28

œ c & œ

Dm9

œœœ ?c œ

Four note left hand rootless chords

œ ‰ œ J œœ œ ‰ Jœ

G13

œ bœ œ bœ œœœœ

Œ

Cmaj7

œ. œ.

œœœ ... œ.

œ œ Ó J œœœœ Ó J

œ. b ‰ œ.

C13

œœ ... œ b ‰ œ.

œœœœ

Gm9

œ bœ œ œ bœ œ œœ œ ‰ Jœ

Fm aj7

w w

wwww


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Two or more notes can be added to the three note left hand shell creating a richer foundation. Notes may also be omitted to create a more stark or sparse accompaniment. 11.29

Thick clusters and sparse left hand rootless chords

Dm 9

&c œ œœœ œ ?c œ

G13

Cmaj7

bœ œ bœ J b b b b œœœœœ ˙˙˙˙˙ ‰ J ‰

œ.

j œ Ó

œœœœœ .... œœœœœ Ó . J

Gm9

b ‰ œ.

C13

Fm aj7

œ bœ œ

w

œœœ ... œœœ ‰ œœœ www J b ‰

Rich clusters of notes from may be added to both right hand and left hand chords as shown in ex. 11.30. At the heart of the chords below can be found the basic shapes and voice leading principles from earlier examples. In mm.3-4, triads are played by the right had over left hand shells. The triads are constructed of upper structures and color tones. The notes of the F triad are the 7, 9 and 11 of the Gm9. The notes of the A major triad are the 13, b9 and 3 of the C7 chord. The notes of the Ab major triad are the b13, root and #9 of the C7 chord. The notes of the C triad are the 5, 7 and 9 of the F major chord. The Bb triad supplies the b13, root and #9 over the D7 11.30

Clusters and triads in the right hand over left hand chords

#9

G7b 13

j œ b œ œ œ . œ & c . œœ Œ b b œœœ œœœ ‰ n n œœœœ Ó œ bœ œ œ ? c .. œœœ Œ # œœœ œœœ ‰ œœœ Ó J Dm9


Cm aj7

#9

A7b 13

. ‰ b œœœœ ... b œœœœ .... ‰

#9

b C13 9 C7b 13

#9

D7b 13

˙˙˙ ˙

œœ ... ‰ œœ . ..

œœ b œœ b œœ œœœ ˙˙˙ œ œ .. b .. Œ œ œ œ ˙

œœ ... œ ‰ # œ . ..

œ .. b .. œœœ Œ Gm9

œ bœ œ # œœœ n b b œœœ n œœœ

Fmaj7

Chapter 11


281

Ex. 11.31 illustrates a blues progression with right hand octaves over basic three note left hand voicings. 11.31

Blues chorus

œ. b c & œ.

œ Ó œ J œœ œ Jb Ó

œ. ? b c b œœ .. B b9

œ &b œ œ ? b b œœ

F7b 13 9

bœ . Œ bœ . b bn œœœ ... Œ

˙. ? b ˙˙ ..

œ. œ. b œœœ ... B b13

œ œ J œ b œœ J

F13

œ Ó œ J œœ œ Ó J

w w ww w

#œ #œ œ b œœ

œ œ œœ œ

Gm 9 C7b 13

F13

œ . bœ œ œ . bœ Œ ‰ œ Œ J J b œ œœ ... œ œ œ œ Œ ‰ b œœ Œ J J

b9

C7b 13

F7b 13

F13

œ ‰ bœ . œ bœ . J œœ b œœ .. œ œ. J ‰

b˙ œ. ‰ œœ Œ b ˙ œ. J b ˙˙ œœ œœ .. n ˙ b œ b œ. ‰ J Œ b9 F9 E b9 D7b 13 œ . bœ ˙ œ . ‰ Jœ Œ œ b Jœ ˙ b œœœ b œœœ .. œœ ˙˙ . bœ ˙ ‰ J Œ J #9

#9

Gm 9

˙. & b ˙.

#9

B b9

F13

D7b 5

bœ ‰ bœ Œ J œœ b ‰ Jœ Œ

#œ Œ #œ œœ Œ bœ

œ œ œœ œ

#9

G7b 13

C7sus

œ œ ‰ œ Œ ‰ Jœ J œœ n b œœœ ‰ J Œ ‰ Jœ

C7 F13

œ bœ œ œ bœ œ œœ b œœ œœ œ œ bœ

ACCOMPANIMENT CLASSIFICATIONS The right hand and the left hand were shown in the examples above to always be acting in concert as one unit. The two hands can behave separately like two sections in a band or orchestra, with the left hand accompanying the right hand. All accompaniment patterns can be classified into one of three categories: dialog, independent, and simultaneous. It might seem there should be more than three, but the melody and accompaniment can either be playing at different times, playing at the same time but independently, or playing at the same time. A bop line in ex. 11.32-34 shows examples of the three categories of accompaniment patterns. DIALOG A dialog is created between the primary and secondary material when the melody is played alone and the accompaniment answers filling in the spaces between the phrases. The answers can be in the form of lines or rhythmic jabs punctuating the previous phrase or anticipating the next. INDEPENDENT The melody and accompaniment may be independent from each other, both pursuing musical goals that may or may not always rhythmically and harmonically agree. Independent accompaniment pat-


282

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terns include the Alberti bass patterns, ostinato figures, and repeated rhythmic patterns that establish a groove including the “Charleston Rhythm,” clave beats or montunos. SIMULTANEOUS The melody and the accompaniment may act in concert, simultaneously playing exactly the same rhythms or accenting the significant points of the melody. This accompaniment category can be very emphatic and useful for climactic phrases and sections of a piece. 11.32 illustrates a type of dialog. The left hand plays primarily in rhythmic places where the melody rests. The chords jab and sharply punctuate the bop line propelling it forward. Any of these examples could easily be orchestrated for an ensemble as it is written for the piano. The top line could be played by one group of instruments (trumpet and alto saxophone) while the accompaniment could be played by another group (trombones). 11.32

Bop line with Dialog accompaniment pattern Gm 7

œœ œ ‰ Jœ

?b c

C7

j j œ j ‰œ ‰œ‰œ ‰ # œj œ œ œ œ n œ œ œ Œ ‰ œ ‰ œ œ œ œ œ œ œ œ J J œ bœ œ œœ œœ b œœ œ œ œ œ ∑ Œ ‰ JÓ ‰ JŒ Ó ‰ Jœ Œ Ó B b7

3

&b œ œ œœœ œ ?b Ó

Gm7

3

&b c

F

C7

‰ Jœ œ

œœ ‰ Jœ Œ

G #°7

3

Am7

‰ Jœ ‰ Jœ œ œ n œ œ

œœ # n œœœœ b ‰ œ‰ JÓ J

D7

j ‰ œ œ œ #œ œ œ œ œ œ Ó

œœœ œ ‰ JŒ

Ó

Ó

b œœœ œœœ ‰ #œ ‰ n œ J

J

There are times when the accompaniment is used to set up a groove or rhythmic bed for the primary material. An ostinato bass line, specific Latin grooves based on the clave beat, or a montuno are examples. In a jazz style, the rhythmic pattern may be the Charleston beat or a variation where the chords anticipate each downbeat. The European conception of where these chords occur would be on the downbeat of beats one and three. In Ex. 11.33, each chord is anticipated, arriving on the upbeats of beats four and two, coming right after the backbeats. Practice playing the left hand groove with the metronome on two and four. Imagine the metronome is a swinging hi-hat playing the backbeats. The chords should sound right after the backbeats. When this groove is established, try adding the melody and playing other independent lines while keeping the upbeat groove constant. There are great examples of this groove in passages by Wynton Kelly, Red Garland and others. A pianist who learns this pattern develops rhythmic independence.


Chapter 11 11.33

283

Bop line with Independent accompaniment pattern Gm 7

C7

Gm7

C7

j j œ j ‰œ ‰œ‰œ ‰ # œj œ œ œ œ n œ œ œ Œ ‰ œ ‰ œ œ œ œ œ œ œ œ J J œ bœ œ œœ œœ œœ œœ œœ b œœœ b œœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ Jœ 3

&b c œœ œ ‰ Jœ

?b c F

B b7

3

G #°7

3

Am 7

D7

j ‰ œ œ œ #œ œ œ œ œ œ Ó

‰ Jœ œ ‰ Jœ ‰ Jœ œ œ n œ œ b‰ œœœœ Œ ‰ # n œœœœ Œ ‰ n œœœœ Œ J J J

&b œ œ œœœ œ œ ‰ œJœœ Œ

?b Œ


œœœ œ ‰J Œ

œœœ œ ‰J Œ

b œœœ # ‰ Jœ Œ

œœœœ n ‰ J

The emphatic quality of the simultaneous accompaniment pattern lends itself to climactic phrases. It can be overbearing if used to often, and seeks the release of its unrelenting energy. Excellent examples of this accompaniment concept can be heard in improvisations by Bill Evans and others. 11.34

Bop line with Simultaneous accompaniment pattern

Gm 7

C7

& b c ‰ # œj œ œ œ œ œ ? b c ‰ œœœ ‰ œœœ J J F

œœœœ

3

3

˙˙˙˙

C7

3 œ j œ œ ‰ œj ‰ œœœ œ œ œ n œ œ œ Œ ‰ Jœ ‰ œ œ bœ œ œœœœ œœœœ œœœœ Œ ‰ œœœœ Œ ‰ œœœœ Œ œœœœ œœœœ œœ œœ ‰ b œœœ ‰ J J J

œ &b œ œ œœ œ œ ‰ J ? b œœœœ œœœœ ‰ œœœœ

Gm7

B b7

G #°7

3

œ ‰ Jœ ‰ œ œ œ n œ J œ œ œ b œœœ ‰ # n œœœ ‰ œœœ Œ J J

Am7

œ ‰ œj J œœ œœ œ œ J‰J

D7

œ ‰ œj œ œ # œ œ œ œ œ œ Ó

œ œœœ Œ

œœœ œ ‰ J Œ

œ œœœ

œ œœœ # ‰ JÓ

Using a variety of different accompaniment patterns can help generate the excitement and drama of an improvisation or arrangement. During his improvisation on Freddie Freeloader, Wynton Kelly employs each of the accompaniment pattern. (Kelly’s entire improvisation is shown in chapter 18). In the first chorus he employed the dialog approach, answering phrases with almost inaudible two or three note rootless shells. As the solo buily, he began playing his left hand chords independently on the upbeats of four and two. At the climatic point, he played the authoritative passage shown in Ex. 11.35. The left hand chords supported almost every note played by the right hand. The right hand line was strengthened by the octave doubling of several notes. He did not continue playing this style for long, changing back to the independent Charleston rhythm in the last measure. It is easy to imagine this powerful passage being played by a big band as orchestrated.


284

Chapter 11 11.35

? b c b b &b ‰ ? bb Œ

Climactic section of blues improvisation

œ nœ bœ bœ œ œ nœ bœ bœ œ >œ >œ >œ œ Œ ‰ œ J J J œœ œœ œœ œœ .. œœ œœ œœ œœ œœ œœ b œ œ œ œ . œ b œ œ œ œ œ ‰ J J ‰ J 3 3 n œ b œ b œ œ b œ3 œ œ b œ œ œ œ œ J œ b œ œ ‰ n œ b œ b Jœ œ n œ b œ œœ b œœ œœ œœ œœ œœ bœ nœ œ œ œ bœ ∑

# A b9 11

b &b c


3

œ œ œ bb œœ œ œ œ œ ‰ J œ b œœ œœ œœ œœ œœ œ bœ œ Œ nœ bœ

œ œ3 b œ œ œœ œ

B b7

3 œ n œ œ œ bœ œ nœ œ ¿ Œ œœ n¿ ¿ œ œ bœ ‰ œ Ó J

ARRANGING VOICINGS in BRIEF When students begin an arrangement for big band, their first concern is usually big voicings. Students will sit and search for the ultimate chord for each individual note of a piece. The flaw in this conception is that instead of thinking horizontally, they are thinking vertically. The music will eventually be heard horizontally. One student, after hearing his arrangement played, and asked why it seemed so heavy and sluggish. The sluggishness was not because of a tempo beyond the reach of the band. The sluggishness was a result of too much emphasis on voicing and not enough on linear development. Each melody note of the piece was thickly voiced from the top to the bottom. On the bottom of each voicing was a bass trombone, a baritone saxophone and the bass playing roots. It is no wonder that the piece felt sluggish carrying all that weight. This section will discuss big band voicings for the individual sections and combinations of sections, with a warning to remember that melodic lines propel the piece, not voicings. One of the best voicings for any section is unison. Listen to eighteen first violins playing a melody in unison, or five saxes, or two trumpets and two altos saxophones, or a guitar, alto saxophone and flute playing in three octaves and decide if voicings are needed at all.

SAX SOLI VOICINGS A common device for a saxophone section is to have them play a harmonized soli. Voice leading principles are not always relevant in this case. All the voices should move parallel in order to focus on the melodic contour. Identify the chord tones of the line first, then deal with the non-harmonic tones. Voicing is done from the top down from the melody note. FIVE PART BLOCK Five note block voicings are usually conceived within an octave finding chord tones from the top melodic note down. The top voice is usually doubled in the bottom voice an octave lower. These chords are agile and can move swiftly and lightly with saxophone sections. The five note block may be opened up using “drop 2” voicings where the second voice from the top is transposed down and octave. “Drop 2” voicings are usually chosen for range considerations when a line may get too high for the baritone saxophone to blend well. The melody note will still be doubled by the tenor 2 instead of the baritone.


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11.36 shows a Gm7 chord with a Bb melodic note. The chord tones for a Gm7 are G, Bb, D, and F. The ninth, A, would not be a good choice in this case as it may distract from the Bb melody note. Begin with the melody note and find the next chord tones below. In m.2, a close position chord is shown where the alto 1 will play the Bb, the alto 2 the G, tenor 1 the F, tenor 2 the D and the Bb melody note will be doubled an octave lower by the baritone. A “drop 2” voicing is shown where the tenor 2 has the melodic doubling at the octave. These block voicings are common in traditional arrangements. A voicing that incorporates extra color tones is shown in m.3 of Ex. 11.36. Instead of just the Gm7 chord tones, a Cn has been added for color. The chord is comprised of the G minor pentatonic scale. It is shown in close and open positions. This type of voicing may produce a more modern sound and was often used by Thad Jones and others. These colorful voicings work beautifully, but they can detract from the melody for two reasons: the extra note eliminates the melodic doubling at the octave and the extra color tones may struggle with the melody for attention. 11.36

Saxophone voicings Traditional

With extra color note

Close Gm7

&b c w

Gm7

Open Gm7

www ww

ww www

Close

Open

Gm7

Gm7

www ww

ww www

The Fmaj7 chord in ex. 11.37 is shown with C in the melody. The chord tones of a Fma7 are F, A, C, E and possibly G as the ninth. Close and open position voicings are shown in m.2 using just the 1-3-5-7 of the Fmaj7 chord. The root is usually covered by the bass, so it may be redundant in the saxophone section. Not having to use the root allows for a more colorful voicing to be used utilizing the upper 3-5-7-9 structure of the chord. The root can be replaced by the ninth (G). The ninth in no way conflicts with the melody note, and in fact may provide enhanced support at the interval of a fifth. Close and open position voicings without the root are shown in m.3. The melody is not doubled at the octave in m.4, instead opting for the extra color tone D. The voicing includes all the pitches of a C major pentatonic scale used as a voicing over the Fmaj7. This is a more colorful chord, but comes with the same warning as the one shown in ex. 11.36: it does not have the doubled melody and the color tones may compete with the melody for attention. 11.37

Saxophone voicings Traditional with root Close

Fm aj7

&b c w

Open

Fmaj7

˙˙˙ ˙˙

Traditional without root With extra color note Close

Open

Fm aj7

˙˙ ˙˙ ˙

˙˙˙ ˙˙

Close

Open

Fm aj7

˙˙ ˙˙ ˙

˙˙˙ ˙˙

˙˙ ˙˙˙

Here are a number of different voicings for the Gm7 and Fmaj7 chord tones. The chords marked with an ‘*’ have no root in the chord using only the upper structure. The ninth was not used in the voicing if the melody note was the root or the third as the ninth may detract from the melodic clarity.


286

Chapter 11 11.38

Harmony: Overview of Voicings Saxophone voicings for Gm7 chord tones

Gm 7

œ œ b œ œ & œ

Gm 7

?b 11.39

* * œ œ œ œ œ œ œœœ œœœ œœ œœ œ œ œœœ œ œ œœ œœ œœ œœ œ œ œœ *

Gm7

*

œœ œ œœ

œœ œœœ œœœ œœœ œ œ œ œœ œœ œ œ

Gm7

œœ* * œ œœ œ œœ œœ

œœœ œœ

œœœ œœ

œœ œ œœ

œœœ œ œœ œœ œœ

Saxophone voicings for Fmaj7 chord tones

Fm aj7

œ œ œ b & œ œ

Fmaj7

* œ œ œ œœœ œœœ œœœ œœ œ œœ œœ œ œ œ œœ œ

?b

*

*

Fm aj7

*

œœ œ œ œ œœ œœ œœ œ œ œœ œœ œœ œ *

œœ* œ œœ

Fm aj7

œœ œ œœ

*

œœœ œœ

œœ œ œœ

œœ* œ œœ

* œ œœ

œœ

There are more voicings available for a dominant chord due to the numerous combinations of alterations and substitutions for the ninths and fifths of a dominant chord. Ex. 11.40 is not exhaustive, but lists several possible voicings for C dominant seventh chords. The voicings are shown in close position. Dropping the second voice from the top would create open position voicings. 11.40 C9

& b œœ œœœ œ ? b œœ œœ

Saxophone section voicings for C7 chord tones

œœœ œœœ œœ œœ

œœ œ œœ

b C7 9

b œœœ œœ œ œ œ œ b œœœ b œœ œ œ œœ œœ b œœ b œ b œœ

b9

C7b 13

b œœœ œ b œ b b œ b œœœ b œœ œ b œœ b œœ b œœ b œœ

b œœœ b œœ

NON-HARMONIC TONES Identify the chord tones to begin harmonizing a melody. Determine the best voicing for the chord tones before attempting to harmonize the non-harmonic tones. Non-harmonic tones may be harmonized in three ways: diatonic parallel motion, chromatic parallel motion, or tonicization by inserting a dominant or leading tone chord or a string of dominant chords before the resolution to a chord tone. DIATONIC PARALLEL The C is not a chord member of the Gm7 but occurs between the two chord tones Bb and D. The first and third chords in ex. 11.41 are voiced as Gm7 or Gm9, the chord in between moves parallel using diatonic tones. The second chord is an Am7, but is heard on the weaker beat between two Gm7 chords and does nothing to confuse the harmonic passage. The chords are shown in close and open positions.


Chapter 11 11.41


287

Diatonic parallel passing chords

Gm 7 X Gm 7

&b cœ œ ˙ ?b c

∑

œœœ œœœ ˙˙˙ œœ œœ ˙˙

œœ œœœ ˙˙˙ œ œœ œœ ˙˙

The Bb is not a chord tone of Fmaj7 but occurs between the chord tones A and F. The chords in ex. 11.42 move parallel using diatonic tones. The passing chord is a Gm7 between two Fmaj7 voicings. The chords are shown in close and open positions. 11.42

Diatonic parallel passing chords

Fmaj7 X Fmaj7

&b cœ œ ˙ ?b c

∑

œœœ œœœ ˙˙˙ œœ œœ ˙˙

œœ œœ ˙˙˙ œ œ œœ œœ ˙˙

CHROMATIC PARALLEL The notes marked with an “¿ ” are not chord tones, but chromatically lead to chord tones of Gm7. Determine the type of voicing desired for the Gm7 chord tones and approach each voice of the chord from a half step below. Every Gm7 chord is preceded by an F#m7 chord. The chords are shown in traditional close position voicings and open position voicings with an added tone. 11.43

Parallel chromatic chords Gm7 Gm 7 Gm7 X X

j œ # œ # œ & b c ‰ J œ œ # œ œ ‰ # œœ # œœ ?b c ∑ ‰ J X

œœœ œ œ # œœ n n œœ œœ œ œœ œ

j œ # œ ‰ # œœ œœ œœ œœ # œ n œ # # œœœ n œœœ # œ œ n œœ n œœ œœ œœ œ œ œ b œ n œ œ #œ œ ‰ J #œ œ œ n œ

The line in ex. 11.44 is a sequence of ex. 11.43 for Fmaj7. Voicings should be first determined for the Fmaj9 chords and approached chromatically. Every Fmaj9 chord is preceded by an Emaj9 chord. The chords are shown in traditional close position voicings and open position voicings with an added tone.


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Chapter 11


11.44

Parallel chromatic chords Fm aj7 Fmaj7 F X X X

j œ œ b c ‰ n œ ‰ n œ œ & J # œ œ œ # # œœ n œœ # # œœœ n # œœ œœ # œœ ?b c ∑ ‰ J

j ‰ n œ œ n œœ n # œœœ n n œœœ # # œœ œœ œ œœ #œ œ ‰ # Jœ

œœ # œ œ œ # œœ n œœ n œœœ n n œœœ œœ n œœ n œœ œ n œœ #œ

DOMINANT or LEADING TONE Non-harmonic tones often belong to the dominant of the primary chord. In ex. 11.45, all of the nonharmonic tones could belong to a D7b9 (V7 of Gm), or a F#°7 (vii°7 of Gm). Pitches marked with “↓” are chord tones of Gm7 and anticipate the downbeats of one and three. All other voicings use the 3-5-7-9 of the D7b9, or the 1-3-5-7 of the F#°7: F# - A - C - Eb. The Gm7 voicing on the upbeat of beat four includes the root. The ninth might have been a more colorful choice, but the alto 2 would repeat the A. Having the alto move to the G retains the contour of the line which is more important than individual chords. 11.45

Functional dominant & leading tone chords Gm 7

&b c Ó ?b c

j b œ ↓œ œ ‰ # œ œœ n œœ b œ œœ b œœ œœ ‰ J

↓

↓ ↓ ‰ Jœ b œ œ œ œ œ œ œ # œ œ œ Ó

∑

∑

Ó

Gm7

↓

↓

œœ œ œ œ œ œ œ œ b œœ # œœ n œœ œœ # œœ œœ œ œ œ œœ œ œœ œœ œœ œ œ #œ b œœ œ n œ

In ex. 11.46 all of the non-harmonic tones are chord tones of a C7b9 (V7 of F minor), or a E°7 (vii°7 of F minor). The F chord tones marked “↓” are preceded by E°7 chords. 11.46

Functional dominant & leading tone chords Fmaj7

&b c Ó ?b c

↓

↓ ↓ ‰ œ bœ œ œ œ œ œ œ œ œ œ Ó J

∑

∑

Ó

j ‰ œœ b œœœ bœ œœ b œœ ‰ J

↓ Fm aj7

↓

œœ œœ œ œ œ œ œ b œœ œœ œœ œœ œœ œ œœ œœ œ

↓

œœ œ œ œ œ œœ œœ œœ œœ œ œœ n œœ bœ

Functional diminished chords may have tones added that are usually a whole step above one of the chord tones These tones are derived from a symmetrical diminished and not the harmonic minor scale. Ex. 11.47 uses several diminished chords to voice non-harmonic tones. The passing tone between Bb and G is voiced as an F#°7 without added tones. The F is voiced as a B°7 with an added Db and moves chromatically down to a C7b9. All of the melody notes spell out the E°7 chord and are voiced with extra notes a whole step above one of the chord tones. The extra notes include a C, Eb, F#, and A.


Chapter 11 11.47 Gm 7

Diminished chords with added tones

b C7 9

Fmaj7

Ó

?b c

∑

∑

b C7 9

Gm7

& b c œ œ œ œ œ œ œ bœ ˙

œœ œ œœ


289

Fmaj7

b œœœ œ œ œ œ œ # œ b œœ œœ n b œœ b n œœœ b œœ n œ bœ œ # œœ n œœ b œœ b œœ œœ œ œ

˙˙ ˙ n ˙˙

Ó Ó

Not all lines need to or should be voiced. Some lines are stronger in unison or octaves. A line may move from unison or octaves to being voiced at the top or ends of phrases. 11.48

b &b c ? b c b

Unison lines ending with harmony B b7

‰ j œ œ œ b œ œ # n œœ œœ œœ #œ œ œ b œ œ n œœœ n œœœ œœœ j œ œ ‰ #œ œ

œ bœ œ œ #œ nœ # œn œ œ bœ œ œ nœ bœ # n œœ n b œœ

Some lines lend themselves for the treatment illustrated in ex. 11.49. The line begins in unison, splits in contrary motion. The top line rises while the lower line descends creating an expanding wedge which produces a sense of growth to the passage. The widest spread between the outer voices occurs at the climax of the line. 11.49

&c Ó ?c Ó

Unison lines spread in contrary motion to voicings at high point

œœ œ ‰ j œ œ œ œ œ œ œ œ # œ œ œ # œ n œ œ œœ œ #œ œ #œ nœ bœ œ œ bœ œ œ ‰ J bœ œ

ww w w w

Many non-harmonic tones lend themselves to several harmonization choices. The melody note at (a.) in ex. 11.50 could be voiced using a functional F#°7 or a parallel chromatic F#m7 chord. The F (b.) is a chord tone of Gm7 or the secondary dominant G7 and its tritone substitute Db. In the first setting, an F#°7 is used at (a.) and a Gm7 at (b.). The second setting uses the chromatic F#m7 at point (a.). At (b.) a D b7 chord is used which is both a chromatic parallel voicing and a functional tritone substitute dominant.


290

Chapter 11

Harmony: Overview of Voicings Functional F#°7

11.50

Gm7

& b œœ œ ? b œœ

a.

‰ œj œœ b œœ œ œ œ ‰ # Jœ œ

Parallel chromatic F#m7

b. C7

œœ œœœ œœ œ œ œœ œœ œœ

a.

Gm7

∑

œœ œ

∑

œœ

b. C7

‰ œj œœ œœœ œœœ œœ œ # œœ œ œœ œœ œœ b b œœ œœ # ‰ J

∑ ∑

MELODIC LINE SHOWN with OPTIONS Since there many harmonization possibilities, it would be useful to examine a number of options for a common line. 11.51a Basic line Gm 7

&b Ó

C7

F

b. ‰ # œj œ œ œ œ œ # œ œ œ b œ œ a.

3

c.

This melody could be harmonized with four voice blocked with the melody doubled at the octave or five voices with added color tones in the style of Thad Jones. The three non-harmonic tones (a., b., and c.) could be treated in the following methods: a. b. c.

(1) (2) (1) (2) (1) (2)

Parallel chromatic: F#m7 moving up to Gm7. Functional dominant or leading tone: Gm7 preceded by a D7b9 or F#°7. Parallel chromatic: B7 moving up to C7. Secondary dominant: G7 or tritone substitute dominant, Db7, resolving to C. Parallel chromatic: Gbmaj7 moving down to Fmaj7. Secondary dominant: C7 or tritone substitute dominant Gb7, resolving to Fmaj7.

11.51b illustrates all parallel motion using “drop 2” four part voicings with the melody doubled an octave lower by the tenor 2. Non-harmonic tone treatment: (a.) parallel chromatic motion: F#m7 up to Gm7; (b.) parallel chromatic motion: B7 up to C7; and (c.) parallel chromatic motion: Gbmaj7 down to Fmaj7. 11.51c illustrates all dominant functions using “drop 2” four part voicings with the melody doubled an octave lower by the tenor 2. Non-harmonic tone treatment: (a.) functional vii°7/ii: F#°7 to Gm7; (b.) secondary dominant: Db9 as a tritone substitute for G7 resolving to C13; and (c.) secondary dominant: Gb9 as a tritone substitute dominant for C7 resolving to Fmaj9.


Chapter 11 11.51b “Drop 2” four voice using parallel chromatic motion Gm7

3

& b c Ó ‰ # # œœj œœ n œœœ œœœ œ œ 3 œ a. ? b c Ó ‰ # œœ n œœ œœ œ J

œ œœ œœœ # ## œœœ œœ œœ #b.œ œ

œœ œ œœ


291

11.51c “Drop 2” four voice using °7 & dominant substitutes

C7

F

3

œœ b b œœ œ Ó ‰ j œ œ # œœ œœœ n œœ œœ œ œ n œœ œ c. 3 œ a. œœ b œœ n œœ œœ œ # œ n œ Ó ‰ b œJ œ

Gm7

C7

F

œ bœ nœ œ œœ œœœ b n œœ n œœ œœ b b œœœ œœœ œœ œœ b b œœb. œœ œœ bc.œœ n œ œ

There is a slight difference between ex. 11.51b and 11.51.d. Ex. 11.51b uses four distinct voices with the melody doubled at the octave; e. 11.51d uses five distinct voices. Non-harmonic tone treatment: (a.) parallel chromatic motion: F#m7 up to Gm7; (b.) parallel chromatic motion: B7 up to C7; and (c.) parallel chromatic motion: Gbmaj7 down to Fmaj7. 11.51e harmonizes the passage using the same principles as shown in ex. 11.51c but eliminates the melodic doubling in favor of a fifth voice. Non-harmonic tone treatment: (a.) functional vii°7/ii: F#°7 to Gm7, (b.) secondary dominant: Db9 as a tritone substitute for G7 resolving to C13; and (c.) secondary dominant: Gb9 as a tritone substitute dominant for C7 resolving to Fmaj9. 11.51d “Drop 2” four voice using parallel chromatic motion Gm7

3

&b Ó ?b Ó

‰ # œj œ n œœ œœœ # n œœ n œœ œ 3 œ a. œœ œ œ œ œ œ ‰ J

œœœ œœœ # # œœ œœœ #œ œœ œœ # b.œ œ œœ

11.51e “Drop 2” five voice using °7 & dominant substitutes

C7

F

œœ b b œœ œ Ó œ œ n œœ œœ bc.œœ œœ Ó

3

‰ # œj œ n œœ œœœ œœ œœ œ 3 œ a. œœ œ œ œ œ b œ ‰ J

Gm7

œœœ œœœ b b œœœ n n œœœ œœ œœ b bb.œœ œ œ

C7

œœ b b œœ œ œ œœ bc.œœ

F

œœ œ œœ

In the search for the best setting for a line, do not rule out simplicity for the sake of dense harmony. The setting in ex. 11.51f is quite useful. The melody is set as a single line over four voices providing a harmonic foundation. 11.51f

Single line with harmonic accompaniment G m7

&b Ó ?b

C7

F

b œœ ‰ œœ J

œœ œœ œœ ‰ œ œ J

3 ‰ # œj œ œ œ œ œ # œ œ œ b œ œ

∑

œœ œ œ

Is there much difference in the previous settings that the listener will be able to discern? Maybe not. The listener may only remember the top line rather than some dense, incredibly “hip” voicing on the upbeat of two screaming by at 288 on the metronome. If the listener only comprehends the top melody


292

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line, then they have perceived the most important part of the piece. That is the important thing to remember: place the melody in the best setting and only do things that enhance and nothing that detracts from the melody. To make a decision about the best setting for a line, the following things may be considered: • • • •

The forward flow and melodic integrity: Does the setting enhance the primary lines? Does it help or hinder the forward flow? Where does it occur in the arrangement: Nearer the beginning may need to be simpler and towards the end may want to gradually become more complex. Context: How will a particular setting blend or contrast with what came before and what comes next? Inner parts: Which settings lend themselves to the smoothest voice leading. Inner parts that are too awkward may detract from the melody and the forward flow.

Some harmonization concepts may be applied to several notes in the passage. The line from ex. 11.51 below is extended by a measure and uses extended chromatic parallel motion and dominant cycles. The Gm7 is chromatically preceded by the F#m7 chord. The C7 is twice preceded by a Db7 chord, which is both parallel chromatic motion and a functional dominant substitute. The C7 in m.3 is preceded chromatically by a Bb7 and a B7. The last six chords all point to the F7 through a series of dominants. Begin a harmonization like this from the destination chord and work backwards to the beginning point. The last chord is F so the preceding dominant must be C7. The dominant of C is G7, so it must be preceded by a D7. The dominant of D is A whose dominant is E7. All of the inner voices move smoothly, and while they may be a bit difficult to sing, the can be easily played by a saxophone section. The chromatic tones are shown below according to vertical chord spellings. If this passage was copied out for individual instruments, enharmonic spellings should adhere to linear considerations. In beat two of the second measure below, an Eb is in the melody resolving up to the En. The Eb was chosen to help visualize its relationship as the ninth of Db9. It should be written as a concert D# leading to En in the individual part. In order to avoid awkward repeated tones, some inner voices may cross as indicated by the lines in m.2. 11.51g Extended chromatic and dominant devices F #m 7

&b c Ó ?b c Ó

Gm 7 3

‰ # œj œ n œœ # œœ œœ œ 3 œ œ ‰ # œJœ n œ œ

D b7 C7

œœ œœœ œœ b b œœ n œœ œ œ œ œ œœ œœ œœ b b œœ œœ

D b7 C7 B b7

B 7 C7

œœ b œœ n œœ œœ # n œœ œ œ œ œ #œ œœ œœ œœ b n œœ # œœ

E7

A7

D7

G7

C7

F7

œœ œ œœ b œ b œ n œ œ œ n œœ # # œ n n œœ b n œœ b b œœ n œ œ œœ # n œœ n n œœ b œ b œ n œ n œ # œn œ œb œ

BRASS VOICINGS Brass voicings are constructed from the top melodic pitch down as were saxophone voicings. There are two basic styles for combining the trumpets and the trombones. A more traditional approach is for the trombones to play an octave lower exactly the same thing as the trumpets. A more contemporary sound may have them playing independent parts of the chord. Some of the simpler combinations are shown in Ex. 11.52. The chord at (a.) would sound bland for a jazz chart. It can be improved by opening the chord up and adding a thirteenth as at (b.). The chords c., d., and e. illustrate matching voicings played by both sections. The root may be used in the lowest trombone as at f., g., and h., but is best suited for the end of a phrase. Using roots voiced low can be powerful during emphatic jabs, but can make the line feel sluggish if used too often.


Chapter 11 11.52 a.

Brass voicings for C7 b.

c.

d.

e.

www w www w

wwww

www w

wwww

www w


f.

g.

h.

i.

j.

www w ww ww

wwww

ww ww

ww ww

ww ww

ww ww

ww ww

ww ww

ww ww

TRUMPETS:

& b wwww TROMBONES:

? b wwww

www w ww ww

293

One method for creating more interesting combinations and colorful chords is to voice the trumpets in various triads over the traditional chords in the trombones. Triads resonate well because of the physics laws of the overtone series, and this is true even when the superimposed triad does not agree with the underlying structure. An A major triad (a. and e.) over a C7 chord creates a C13b9. The Ab major triad (b. and f.) yields the #9 and b13 over a C7 chord. An F# major triad (c. and g.) creates a C7 with a b5 or #11 and a b9. A D major triad (d. and h.) creates a C9#11. Notice that the fifth is often not used in the trombones so as not to disagree with the #5, #11, 13 or b13. 11.53 a.

Brass voicings for C7 using triad superimposition b. c. d. e.

f.

g.

h.

TRUMPETS:

ww # b & ww

bw n b b www

#w # # # www

# www w

w # www

bw n b b www

#w # # # www

# www w

bw ? b www

b ww ww

b ww ww

n ww ww

b www w

b b wwww

b b wwww

wwww

TROMBONES:

Tighter, close position voicings are more agile. Voicings with large spreads do not move briskly, but are quite effective as punctuation during and at the end of phrases or sections. The first three voicings would be useful during more rapidly moving lines; the last two for the culmination of a phrase. The first three illustrate again the idea of the trombones mimicking the trumpets at the octave. The root is not included in the first three voicings, since it would appear in the bass part. These chords are Fmaj9 constructed of the 3-5-7-9 of the chord. 11.54

Brass voicings for Fmaj7

TRUMPETS:

& b wwww TROMBONES:

? b wwww

www w www w

www w www w

w www

www w

ww ww

ww ww


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Several voicings are shown below for Gm7. Chords a.-f. are suitable for moving lines and assertive statements. Chords g. and h. are better for the conclusion of lines or bold jabs, due to the wide range of the voicings and the root on the bottom. Chords b. and c. are almost the same, except c. has the ninth, a more colorful note, instead of doubling the root. Chords d., e., f., and h. illustrate the use of a triad voiced in the trumpets over the fundamental chord in the trombones. The F triad creates a Gm11 chord. 11.55 a.

Brass voicings for Gm7 b. c.

d.

e.

f.

ww ww

www w

www w

wwww

w www

w www

TRUMPETS:

w www

& b wwww TROMBONES:

? b wwww

w www

www w wwww

www w www w

g.

h.

www w ww ww

ww ww ww ww

11.54 shows the triadic superimposition formulas over a turnaround in the style of Thad Jones. The first Dm7 chord is voiced identically in the trumpets and trombones. The next four chords all feature parallel triads over the fundamental voicings in the trombones. The A over a G7 creates a G9#11. The Ab over the C becomes a C7 (b9/b13). The two chords are sequenced creating an F9#11 and a Bb7 (b9/b13). The bass and fifth trombone are playing the roots. The next two lowest notes on the four dominant chords were the third and seventh. Stacking triads and color tones over a dominant chord works best when the tritone is on the bottom helping identify the basic dominant chord quality. 11.56 TRUMPETS: Dm 7

b c œœœ b & œ TROMBONES: œ ? b c œœœ b œ BASS:

# G9 11

#9

C7b 13

# ˙˙ n Œ # ˙˙

˙ b b ˙˙˙

˙ n n ˙˙˙

b ˙˙ n ˙˙ ˙

Œ

˙

# F9 11

#9

B b7b 13

n œœ .. b b œœ n œœ .. b b œœ J j œœ ... # n œœ b œœ . b œœ œ. œ

The chords moved parallel up a half step to harmonize the upper neighbor tone in ex. 11.57 from Thad Jones. He managed to keep the trumpet triads moving in half-steps when the chord moved to the dominant. The basic progression was Dm7 - G7 - Cm7 - F7. The F triad over the Dm7 yielded the primary chord tones 3-5-7. When the F triad moved down a half-step to E over the G7 it created a colorful G13b9 chord. This was sequenced for Cm7 - F7 in the second measure. The widest spread voicings with the lowest notes were the ones at the end of the eighth note lines.


Chapter 11 11.57 Dm 7

œœ b b œœœ œœ œ bœ TROMBONES: œœ b b œœ œ ? b œ œ b TRUMPETS:

b &b

b G13 9

Cm 7

œœ n # œœ #œ nœ #œ nœ œœ n # œœ Œ ‰ n n # œœœ b b n œœœ n n # œœœ b b n œœœ J n œœœ n œ n œœ n n œœœ b b œœœ n n # œœœ b b n œœœ œ œ Œ ‰ œ œ #œ nœ J


295

b F13 9

# œœ Ó # œœ œœ œ Ó œ

Triads are used in this turnaround leading to F. An F triad is imposed over an A7 to create an A7b9/b13; Bb triad over the Ab7 creates an Ab9#11; Eb triad over the G7 creates a G7 b9/b13; Ab over the C7 creates a C7 b9/b13; and the G over the F7 creates an F9#11. 11.58

#9

A7b 13

# A b9 11

b ˙˙˙ ˙

˙ b ˙˙ b˙

˙˙ ˙˙

TRUMPETS:

&b

TROMBONES:

?b

˙˙ ˙˙

#9

G7b 13

b ˙˙˙ ˙

n b ˙˙˙ ˙

b9

C7b 13

# F9 11

b ˙˙˙

w b ww w

b ˙˙ b ˙˙

˙

w n www

The chord shown in ex. 11.59 is composed of two fully diminished seventh chords; one for the trumpets and one for the trombones. The result is a Bb7 with a b9, #9, b5, and a n13. This chord is sometimes called the “Duke” chord [and jokingly referred to as Bb “fully demolished.”] It is often used at the end of big sections or the end of the piece. 11.59

B b7

œœœ^ b n & b # œœ Œ Ó

TRUMPETS:

b œœ ? b b b œœ Œ Ó œ

TROMBONES:

The concept of using dominants and dominant cycles of can be illustrate beginning with this simple line. The original harmony might call for a basic ii7 - V7 progression leading to the Bb7.


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Chapter 11


11.60a Simple line over ii7 - V7 harmony Cm7

b œ. b &

œ.

œ #œ

F7

œ œ . nœ œ . J ‰ ‰ J

Cm 7

œ.

œ.

B b7

F7

œ œ ‰ nœ w J

Using the method of working back from the final chord, a series of functional chords may be added. 11.60b Enhanced with V7/iii - iii7 - V7/ii - ii7 - V7 Cm7

b œ. b &

œ.

œ #œ

F7

A7

œ œ . nœ œ . J J ‰ ‰

Dm7 G7 Cm7

œ.

œ.

F7

B b7

œ œ ‰ nœ w J

The A7 could be preceded by its dominant E7. The F7 and Cm7 can be preceded by their dominants or by the tritone substitution. The ii7 and iii7 chords could be changed to dominants, and any of the other dominant chords may be changed to a tritone substitution. The final example will be based on the chords shown in ex. 11.60c. It begins with the original ii7 chord Cm7 which is followed by its dominant which points back to Cm7. A secondary dominant (C7) is replaced by its tritone substitute (Gb9) which points to the original F7. An E7 points to A7 which is replaced by its tritone substitute (Eb9). Ab9 is substituted for the D7 which points to the G7. The dominant cycle continues through the C7 and F7 leading finally to the Bb7. Any number of bass lines are possible from the E7 in m.2 to the end. A cycle of fifths pattern would work: E7 - A7 - D7 - G7 - C7 - F7 - Bb7. Their tritone substitutes would also work: Bb7 - Eb7 - Ab7 - Db7 - Gb7 - Cb7 - Bb7. Many combinations of descending half-step or fifth motion would work: Bb7 - A7 - Ab7 - G7 - Gb7 - F7 - Bb7. 11.60c

Cm7 G7 Cm7 G b7

b œ. b &

œ.

œ #œ

F7

E7

A7

œ œ . nœ œ . J ‰ ‰ J

Dm7 G7 Cm7

œ.

œ.

F7

B b7

œ œ ‰ nœ w J

This passage works well voicing the trumpets with superimposed triads over the basic trombone chords. The triadic superimposition formulas used to create the complex chords in ex. 11.60d are: E b triad A b triad D triad C triad F triad B b triad E b triad A b triad D b triad C triad


over G7 over Gb7 over F7 over E7 over Eb7 over Ab7 over G7 over C7 over F7 over Bb7

creates creates creates creates creates creates creates creates creates creates

G7 #9 b13 Gb9#11 F13b9 E7 #9 b13 Eb9#11 Ab9#11 G7 #9 b13 C7 #9 b13 F7 #9 b13 Bb9#11

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11.60d Voiced for eight brass TRUMPETS:

#9

Cm7 G7b 13

# G b9 11

b F13 9

. . Cmœ 7 b œ # n œœ œ œœ œ b & b c œœœœ œœœ œ b œœ ‰ n Jœœ . œœ b œœ n œœ TROMBONES: . œ œ ? b c œœœ b n œœœ b œœ n œœ ‰ b n œœ b J

œœœ ... œ. œœ .. œœ ..

#9

E7b 13

#9

#9 #9 # E b9 11 A b9# 11 G7b 13 C7b 13 F7b 13

n œœœ ‰ n œœœ .... œ œ J œœ b œœ .. n # œœ ‰ n b œœ .. J

œœœ. œ œœ. bœ bœ

œœ. œœ . n œœœ œ

œ b œœœœ b œœœ œœ b œ b n œœ b œœ œ

#

j B b9 11 ‰ nn œœœœ wwww j œ ww œ b ‰ œ w œ w

BRASS & SAXOPHONE COMBINATION VOICINGS There are times when an arrangement calls for the saxophones and brass to play large voicings as a combined ensemble. Each section should be approached as demonstrated earlier. The saxophone and brass sections should sound complete independent of the other. The melody in the passage below is played by at least three instruments at any moment. The trumpet 1 melody is doubled down an octave by trumpet 4 and alto 1. Two parallel chromatic chords precede the F7 on the upbeat of two. A tritone substitute dominant resolves to the Bb7 on the upbeat of four. The triplet works better with the band in unison and octaves leading to the last three dominant chords, G7 - C7 - F7. 11.61

&b c Ó SAXOPHONES:

?b c Ó

TRUMPETS:

&b c Ó TROMBONES:

?b c Ó

Brass & saxophone combination

^ Œ œ ^ Œ œ ^ Œ œ ^ Œ œ

j >j œœ # # œœ n œœ b b œœœ ‰ # # œœ ‰ n n œœ #œ nœ œ # œ œ > b œ œœ n # œœ œœ ‰ n œœ ‰ bb œœ œ J J > j j # œ n œ œœœ b b œœœ n n n œœœ b œœœ ‰ # œœ ‰ n b œœ #œ nœ œœ b œœœ # n n œœœ b œœœœ # œœ b n >œœ b œ œ n œ ‰ n # œœ ‰ b n œœ œ J J

3 > œœ b œ œ œ œ # œ œ œ n œœ b b œœ œœœ > œ œ œ3 œ œ œ b œ œ #œ œ œ œ 3 œœœ # œ œ œ œœ n ## œœœœ n b bb œœœœ # n >œœœœ œ #œ œ œ œœ n œœœ b b œœœ n >œœ bœ œœ Œ œ œ œ

ww w w w www w ww w w

The trumpets are voiced with triads exclusively in the iiø7 - V7 sequence shown in ex. 11.62. The melody is played by trumpet 1 and doubled by trumpet 4 and alto 1. The brass and saxophone sections are independently harmonically clear.


298

Chapter 11 11.62

Harmony: Overview of Voicings Brass & saxophone combination

b ‰ j Œ ^œ b & # œœœ b n œœ

^ œœ œ

? b b ‰ n œœ Œ ^œ œ J TRUMPETS: ^œœ œ # œ n b ‰ œ Œ œœ b œ & J TROMBONES: œœœ # ^œœœ ? b ‰ nœ Œ b œ J

^œ œ ^œœ œœ ^œ œœ œ

Eø7

A7

SAXOPHONES:

Dø7

œœ .. n b œ. œœ .. n œœœ ... œ. b œœœœ ....

>j œœ b nœ >j œ œ > b œœœœ J > n œœœ œ J

G7

œœ œ œ œ œœœ œ œœ œ œ

> œœ œœ œœ b b œœ bœ œ œ > œœ œœ œ œ

^ b œœ œ ^ œ œ ^ b bb œœœœ ^œ œœ œ

Cø7

F7

œœ b œ œ œœ œ œ œ œ œœœ # # œœ œ n # œœ

œœœ œœ œœœ b b >œœœ œ œ œ bœ œ œœ b >œ œ b œœœ œœ œœ œœ œ œ

œœ œ œ

> n œœ œ > œœ

# B bm aj7 11

˙˙ .. ˙.

Œ

˙˙ ..

Œ

n >œœœ œ

˙˙˙ .. ˙ ..

Œ

> n œœœ œ

˙˙ .. ˙˙ ..

Œ

In ex. 11.63, the G7 is the V7/ii and points to the Cm9. The Gb9 is the tritone substitute for the V7/V (C7). Rather than approach the final chord with its dominant, the A13 chord moves parallel up to the Bb7. This example ends with the eight tone chord created by stacking a fully diminished chord over another. The last chord is a Bb7 with a b9, #9, b5, and a n13 created by voicing a C#°7 in the trumpets over a B°7 in the trombones (over the Bb in the rhythm section). 11.63

b &b Ó

Brass & saxophone combination

#9

G7b 13

‰ œœ .. nœ .

SAXOPHONES:

? bb Ó

‰ œœ ..

TRUMPETS:

œ. ‰ œœœ ... œ. n œœœ ... ‰

b &b Ó

TROMBONES:

? b Ó b


# Cm 9 G b9 11

œœœ b œœœ œœ œ bœ œœœ b œœœœ œ œœœ b œœœ œ nœ

#9

F7b 13

A13

b œœ œœ n œ œ œ # # œœ

B b13

œœ œ

œ œ b œœ b œœ

œ œ bœ œ œ œ œœ n œ œœ œœ # œœœ # n œœ

b œœœ bœ

œœ # n œœœ n n œœœ œœ œ b œ

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299

SPECIAL CASE & CLUSTERS VOICINGS Contemporary settings may lend themselves to dense voicings using non-traditional structures. There are more examples of non-traditional approaches to harmony in Chapter 19. The harmonic passage in ex. 11.64 is a traditional ii7 - V7 - I, but the voicings emphasize colorful clusters rather than tertian chords. 11.64

Voicings emphasizing clusters

b F13 9

TRUMPETS:

Cm9

b œ & b 34 œœœ TROMBONES: œœ œœ ? b b 34 ˙ .

œœœ œ œœœœ

œœœœ œœœ œ

# B bm aj7 11

b # n ˙˙˙˙ ....

˙˙˙˙ .. .. n ˙˙˙˙ ... . ˙.

˙˙˙ ... ˙. ˙.

BASS:

A modal piece might suggest parallel planing of voicings as in ex. 11.65. Each of these muted brass voicings has many levels of tension. Several of the chords are symmetrical built of alternating thirds and seconds. The chords played by each section are simple, but the combinations are complex. These voicings occurred over an ostinato bass line in A phrygian. 11.65

Bert Ligon: excerpt from Arches

TRUMPETS:

A Phrygian

œ & b c œœœœ œœœœ œœœœ œœœ TROMBONES: œœ œœœœ œœœœ œ œ œ ? b c œœ œ

www w wwww

Cluster voicings were used to harmonize this simple melodic line in ex. 11.66. The melody was conceived unrelated to a harmonic progression. The chosen voicings were more random so as not to suggest a traditional harmonic progression. The line includes a variety of structures including traditional tertian voicings, clusters, and quartal voicings. 11.66

Bert Ligon: Dancer

TRUMPETS:

& 34 œ œœœ b b œœœ b œœ TROMBONES: œ ? 34 œœ b œœœ b œœ œ

b œœœ n œœœ œ b œœ b œ #œ œœœ b œœ n œœ

œœœ b œœœ b b œœœ b œœœ n b œœœ # œ œ # œ

œœœ b b œœ œ b œ b œœ b b œœœ b b œœœ b œœœ

˙. b bn ˙˙˙ ... b˙ .


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Chapter 11


VOCAL VOICINGS Vocal harmony follows the voice leading principles that apply to any instrument. The inner parts should move very smoothly and logically. Many odd interval leaps in the inner voices can be difficult to hear and perform for a vocal group. Care must be taken to prepare dissonances with vocal groups more so than with other instrumental sections. The saxophone holds down a key, as does the pianist, but a singer has to produce the note from within. Any reference point or help given by the arranger is prudent. Copyrighted tunes are not available for examples in this book, but the example below works well in a vocal group. Any of the lines may move a bit more freely depending on the lyric. When the top line is at rest, the inner voices may advance the music as shown in mm.3-4. 11.67 vocal

b & b b c ˙˙ ˙˙

n ˙˙ b ˙˙

? b c ˙˙˙ b ˙˙ bb ˙

n ˙˙ n b ˙˙ ˙ ˙

Doo

ooo

˙˙˙

w b b ww

n ww w

˙˙ ˙ ˙˙ ˙

b ww

ww

˙œ œ œ œ b ˙˙ ˙œ œ n œ œ ˙˙ ˙ b n ˙˙ ˙

3

˙ b˙ n ˙˙ b ˙˙

3

STRING ENSEMBLE VOICINGS A string ensemble will sound good using any of the voicings shown above. More players on each individual part creates a richer sound. If enough players are on a part, then sections may be divided or play divisi. Consult with other sources and individual players before writing double and triple stops in a section. The close position passage in ex. 11.68 would work well for a quintet of strings, saxophones, vocals or a combination of horns (trumpet, alto saxophone, tenor saxophone, trombone, and baritone saxophone). If more than a quintet of strings are available, the upper part may be doubled up an octave by a first violin.

11.68

Close voicings for string section

#9

b9

A7b 13

Dm 9

˙˙˙ ˙

˙˙˙ #˙

˙ n ˙˙˙

?c ˙

˙

˙

Em7

&c

G7b 13

b b˙œ˙˙ b œ ˙

Cmaj7

www w w

Open voicings, using “drop 2” voicings, allow the listener to better distinguish the individual lines. The open position voicings in ex. 11.69 work well for strings over a bass or several combinations of instruments or voices.


Chapter 11 11.69 Em 7

& c ˙˙˙ ˙ ?c ˙


301

Open voicings for string section

#9

b9

A7b 13

Dm9

˙˙ # ˙˙

˙ n ˙˙˙

˙

˙

G7b 13

bb œ˙ b œ ˙˙ ˙

Cm aj7

ww ww w

A larger string group can effectively use voicings with a wider range than “drop 2.” In order to voice the passage evenly over two octaves in ex. 11.70, two voices were moved to lower registers. The second voice (G) was dropped two octaves and the third voice (E) was dropped one octave. This passage works better with several strings on a part. It may sound a bit empty and separated with only one player per line. If there are enough on a part, the first and second violins could play divisi doubling the melody down an octave lower. It is difficult for a group of horns to achieve a blend with a voicing this wide. The trumpet would be in a very high register and the trombone and others in medium registers making the blend difficult due to the contrast of sound character. 11.70 Em7

˙˙˙ ˙ &c ?c ˙

Wide open voicings for string section

#9

Em7

˙ ˙ ˙ ˙ ˙

Em7

˙ ˙ ˙ ˙ ˙

A7b 13

˙ #˙ ˙ ˙ ˙

b9

Dm9

˙ n˙ ˙ ˙ ˙

G7b 13

bœ bœ b ˙˙ ˙ ˙

Cmaj7

w w w w w

There are numerous scores available for closer and further study. Many school libraries have scores to classic big band charts, vocal jazz charts and small combo charts. Study the interesting arrangers. Listen for attractive places in a chart and formulate questions regarding the effect. What made it interesting? Was it a voicing, a line, a contrapuntal treatment? What was the voicing? Did the voicing use mixed sections or standard sections? Were there doubles (flutes, clarinets) or mutes in the brass? What was the musical effect and how was it achieved? Where in the piece did it occur and why? What were the extreme ranges and how did the instruments sound at those points? What other devices were employed to make one section stand out against another? File these away in your memory for use later when arranging. The best writers (of prose and of music) keep notebooks of ideas, excerpts, quotes, and sketches for new works.

LINES MOTIVATE MUSIC Voicings can enhance a piece but rarely are they the main focus. A drummer will speak of the beat; a bassist will remember some bass line; and the pianist will usually remember the chords of a piece. Listen to the listeners and how they describe or remember a piece. The listeners remember the melody and the lyrics. The are many great arrangements that rely on individual lines to propel the piece where the melody is in one or more voices over a bass and a counter line follows using an important guide tone or thumb line.


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Modal Jazz

MODES & MODAL FRAMEWORKS

Some of the music of the late 1950’s and early 1960’s became a new modern sound through the use of modal frameworks rather than the tin-pan alley harmonic frameworks favored by bebop. The origins of the new modal music is often traced to the Kind of Blue recordings of Miles Davis. It has been written that this modal approach was in response to the fast tempos and overloaded harmonic palette of bebop. While a bop tune may have one of two chords per measure, a modal piece may have one chord or mode that lasts eight to sixteen measures or more. Some tunes may be based entirely on one mode. As much as this new modal sound was looking to the future, it also looked to the distant past. While new to the jazz language in the middle of the twentieth century, modal music is quite old in the history of music. The major/minor harmonic system is a uniquely European concept that began to develop in the early Baroque period. One of the first theory books explaining the system was published in 1722 (JeanPhilippe Rameau, Treatise on Harmony). The beginning of the end for the major/minor system could be dated 1859 with Wagner’s highly chromatic and tonally ambiguous Prelude, from Tristan and Isolde. Wagner’s harmonic approaches were the antithesis of the major/minor system. The harmonic progressions in a major/minor system function to point to the tonic as the primary pitch. Wagner’s progressions obscured any sense that one pitch was the central pitch to which all others pointed. History since that time produced Debussy, Schoenberg, Stravinsky, and countless others who each contributed uniquely to the obliteration of the major/minor harmonic system. If the major/minor system was a European convention for the brief time between the early seventeenth and the twentieth century then what came before and what types of music were occurring in other parts of the world? Much of it was monophonic created using single scales or modes. The modes that correspond to the major scale (ionian) and the natural minor (aeolian) are, ironically, not even the most common modes. The move away from the strict tyrant of the major/minor system to the many facets of contemporary jazz is significant for two reasons: the move mirrors the European classical tradition of destroying the old systems to build many new ones; and many of the new systems are based on even older traditions using modes. Part of the attraction to an improviser in a modal setting is that there is much more time to develop lines without concern for a predetermined harmonic progression. If something can be done with a Dm7 chord that lasts two beats, what could be done over eight or sixteen measures? Relief from one set of responsibilities only creates a new ones. The modal improviser may not have to be concerned with harmonic progressions, guide tones and established voice leading principles, or the tones that modulate one key to the next, but the improviser must find other ways to conceive and construct sensible improvisations. In the liner notes from the Kind of Blue recording session, Bill Evans described the tune So What as “a simple figure based on 16 measures of one scale, 8 of another and 8 more of the first.” Were melodies replaced by “scale running?” Were chromatic tones eliminated in favor of strict heptatonic (seven tone) scales? A quick listen to the improvisations of Cannonball Adderley, John Coltrane, and Miles Davis confirms that no one was aimlessly running scales, and chromatic tones occurred that did not deter from the modal clarity. The bebop vocabulary was not avoided or abandoned and was often used in modal passages suggesting harmonic progressions where there were none. The form of these modal tunes often mirrored the thirty two measure forms of show tunes. A form used by Miles Davis, John Coltrane, J. J. Johnson and others is shown below. The form is AABA. The only change is the D dorian mode modulating up to Eb dorian for the B and back again for the last A section. Are the chords Dm7 and Ebm7? They could be. Since modal music is a departure from the traditional structures, tertian har-


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Modal Jazz

303

mony (chords built from stacking intervals of thirds) is often abandoned for chords built on combinations of other intervals like fourths and seconds. Listen to the accompaniment and solo of Bill Evans on So What for cluster chords and sounds not defined by major/minor chord systems. 12.1

Common AABA form for Modal Composition

D dorian

‘

‘

‘

‘

‘

‘

‘

D dorian

‘

‘

‘

‘

‘

‘

‘

E b dorian

‘

‘

‘

‘

‘

‘

‘

D dorian

‘

‘

‘

‘

‘

‘

‘

Students are often assigned modal tunes such as So What for their first improvisational vehicles, the logic being the less complicated modal frameworks would be easier for a beginning improvisers. These students do not always agree about the ease and often ask, “So What do I do now?” They often have more trouble inventing lines without the restrictions and guide posts that are available in a harmonic progression. Sixteen measures of D dorian (no sharps and no flats) to a beginner is often inhibiting, presenting too much freedom of choice when they are at the least inventive state in their development. A modal piece for a beginner must seem like being dropped in a Nebraska field in a blizzard and asked to find their way home. There are no visible boundaries, no fence posts, no celestial guides, nothing but a sea of white notes. A piece with a harmonic framework may be like dropping them somewhere in Manhattan. It can be also be frightening, but the streets go east-west, the avenues north-south, and uptown and downtown are meaningful directions. The modes primarily used by jazz improvisers are related to the ancient Greek and Church modes. These modes can and should be learned just as major and minor scales are learned. Each mode has characteristic identifying pitches, its own key signature and may be transposed, as major and minor scales, to other pitch centers. Methods for constructing forms for improvising and developing melodies we be discussed later in this chapter. The basic modes can be found using the familiar major scale as a starting point. A major scale has seven scale steps. The tonic of the major scale would be numbered “1.” A scale could be constructed on any of the other six scale steps which would yield six differently constructed scales or modes. It may be helpful to imagine a slide rule where one side has the musical alphabet and the other has the numbers 1-7. Lining up the 1 with any new letter indicates a new tonic. While all of these scales share the same key signature, they would have different intervals in relationship to their tonic pitch. The chart below shows the modes by name, by their relationship to a major scale, their construction by intervals related to the tonic, and their constructions by the intervals between adjacent pitches. MAJOR SCALE DEGREE 1 2 3 4 5 6 7

MODE NAME IONIAN 1 DORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN 2 LOCRIAN

INTERVALS RELATED to TONIC M2 – M3 – P4 – P5 – M6 – M7 M2 – m3 – P4 – P5 – M6 – m7 m2 – m3 – P4 – P5 – m6 – m7 M2 – M3 – A4 – P5 – M6 – M7 M2 – M3 – P4 – P5 – M6 – m7 M2 – m3 – P4 – P5 – m6 – m7 m2 – m3 – P4 – d5 – M6 – m7

INTERVALS BETWEEN ADJACENT PITCHES W-W-1/2-W-W-W-1/2 W-1/2-W-W-W-1/2-W 1/2-W-W-W-1/2-W-W W-W-W-1/2-W-W-1/2 W-W-1/2-W-W-1/2-W W-1/2-W-W-1/2-W-W 1/2-W-W-1/2-W-W-W

1 Scale is identical to the major scale. 2 Scale is identical to natural or pure minor.


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Modal Jazz

Ex. 12.2 illustrates the previous chart related to the key of C major. C major and A minor are relatives as they share the same key signature. The modes in ex. 12.2 all share the same key signature and are also relatives of C major. How well do you know your key signatures? Take some time to review the circle of fifths remembering that each key signature represents a major key and a minor key, and it also represents seven distinct related modes. The relative modes that share the key signature of no sharps and no flats are: C ionian, D dorian, E phrygian, F lydian, G mixolydian, A aeolian, and B locrian. 12.2

Modes relative to C major

&

w

w

w Ionian

Aeolian

Lydian

Dorian

w

Phrygian

w

w

w

w

w

w

w

w

w

Mixolydian

The chart and staff examples likes the ones above are often the only way modes are presented in theory books and classes. It may be helpful at first, but can be confusing, misleading, and neglects some of the most important characteristics about modes. Many confused students think that the modes are constructed only from the C major scale so dorian can only be D dorian. The modes can be transposed to any pitch degree as with any scale. Ex. 12.2 illustrated modes related to a C major scale. The following does the opposite, relating all the modes to one tonic. If C is the tonic for a dorian mode it must be related to the second degree of a Bb major scale, so the key signature for C dorian must also be two flats. The key signature for modes with C as tonic are clear from the illustration below: C phrygian, the third mode of the relative Ab major, is in four flats; C lydian, fourth mode of G major, one sharp; C mixolydian, fifth mode of F, one flat; aeolian, sixth mode of Eb, three flats; and locrian, the seventh of Db, five flats. 12.3

&

&

Modes shown with C as Tonic

C Dorian

C Phrygian

C Lydian

C Mixolydian

C Aeolian (“Pure” Minor)

C Locrian

bw w w w w b w w w w bw w w w w w w

bw w b w w w b w w bw bw bw w w w b w w w

w w w w # w w w w bw bw w b w w b w b w w

Understanding the relationships of modes to a major scale does not mean that the modes are in that major key. C dorian is not in the key of Bb major; C dorian is in the key of two flats. Bb is the tonic of Bb and C is the tonic of C. Remember the rules for establishing tonality: the tonic is the primary pitch and is pointed to by the dominant. To establish C as tonic, a perfect fifth is necessary, the other pitches may vary depending on the mode. Notice that the locrian mode has a diminished fifth. Locrian is rarely, if ever, used in tonal music because it lacks the requisite perfect fifth.


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Modal Jazz

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MODES: BRIGHT to DARK Modes can be identified by their relationship to a major scale (as in ex. 12.2) and by their relationship to a single tonic pitch (ex. 12.3), but should also be classified by their distinct sound if they are to be used musically. The modes can be classified in order of brightness and darkness. The third most important pitch in tonal music, the mediant, determines major or minor modality. The six modes with a perfect fifth can be grouped into three major modes and three minor modes. The major modes are shown as brighter than the minor modes. There is always one pitch that distinguishes one mode from an adjacent mode in the chart below. Intervals get brighter with size, so a major interval is brighter than a minor, an augmented brighter than a perfect, a perfect brighter than a diminished. The mediant, a major or minor third has divided the modes into two groups. The major modes and minor modes can be classified by using other intervals to determine the relative brightness and darkness. Lydian mode is the brightest of the major modes due to the augmented fourth interval. The augmented fourth is the significant identifying tone for the lydian mode. Ionian has a perfect fourth, its significant identifying tone, making it one shade darker than lydian mode. The minor seventh of mixolydian makes it the darkest of the major modes, and distinguishes it from ionian. The first significant identifying tone in the following chart identifies the pitch that distinguishes it from the mode above it, the second the pitch distinguishes it from the mode below it. The interval between the significant tones is always a tritone. The last column indicates the key signature for each mode with C as tonic. MODE NAME

MAJOR MODES

MINOR MODES [DIMINISHED]

Relation to Major Scale

Lydian Ionian (Major) Mixolydian Dorian Aeolian (Minor) Phrygian [Locrian]*

4th 1st 5th 2nd 6th 3rd 7th

Mode Mode Mode Mode Mode Mode Mode

Significant Identifying tones A4 P4, major 7 m7, M3 m3, M6 m6, M2 m2, P5 d5

Key signature for C 1# 0#, 0b 1b 2b 3b 4b 5b

*Locrian mode is named and classified, but is not used in tonal music as it is without a perfect fifth. Try playing a melody and tonicizing the tonic of a C locrian mode. The Gb, rather than pointing to C, seems to point down to F. That in conjunction with the C makes F sound like the tonic, and the mode sounds like F phrygian.

The lines below indicate the significant pitches that identify each mode and distinguish one mode from the next. 12.4 Lydian

& c # www

Ionian

n www

Mixolydian

b ww w

Dorian

b www

Aeolian

b ww w

Phrygian

b www

A chart that shows the modes relative brightness and darkness is more useful than one indicating the modes relationships to notes of a major scale. The chart lists the modes with reference to musical qualities. This chart will be helpful when creating modal music. If a darker mood is desired, one of the minor modes would be chosen. This chart helps aurally identify modes. One does not have to listen for seven distinct pitches to aurally identifying a mode. Modes can usually be identified by two or three pitches. Listen first for the major or minor quality. If the mode is identified as major, that narrows the choices to three modes. The next step is to identify the fourth or seventh degrees. If the recognizable augmented


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fourth is heard, it can only be lydian mode. If the minor seventh is recognized, it can only be mixolydian. If the mode is determined to be minor, then listen for seconds and sixths to further narrow the choice. A minor second can only mean phrygian. The brighter major sixth indicates dorian.

MAJOR, MINOR or MODAL? How is music in ionian mode different from music in a major key, or music in aeolian different from music in a minor key? Music in the major/minor system implies functional harmony based on the tertian triads, and so requires the leading tone added to the minor scale changing it to harmonic minor. While there may be chords in modal music, there is no codified system of chordal progression, no functional harmonic relationships, and no patterns of modulation. Modal music might never modulate, beginning and ending in the same mode. While there are popular melodies whose pitches all remain within major scale (Joy to the World, My Romance), they are set in the major/minor system framework. Modal melodies have been set in the major/minor system framework with varying degrees of success. The following four examples are all in the key of D, yet none of them are in the key of D major or D minor in the European harmonic system. The melodies are in the key of D dorian, D aeolian, D mixolydian and D lydian. The numbers indicate the important identifying pitches for each mode. How can we tell if ex. 12.5 is in D dorian and not C major? The tonic and dominant pitches (1 & 5) are rhythmically and structurally placed to establish D as the tonic; the minor third and major sixth identify the mode as dorian. 12.5

The Walls of Limerick, Irish Folk Song in D Dorian mode M6

1

6

5 1

m3

œ œ œj j œ œ œ œ œœœœœ œ œ &C œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ & J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 œ œ œ œ1 œ J & J

11


3

.. œ J

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The dominant and tonic are established early in ex. 12.6 and the minor third and minor sixth identify the mode as aeolian. 12.6

Errigal McCreigh, Irish Folk Song in D Aeolian mode 5

Slow

& b 34

1

œ

œ

œ

m3

œ œ œ œ

œ

œ

m6

5

œ œ œœœœ

œ

œ

œ

œ œ œ. œ œ œ œ œ œ œ

œ

&b ˙

œ

œ

œ

œ œ œ œ

œ

&b ˙

œ œ

1

&b ˙

œ

œœ

œ œ

œ

œ

5

œ

œ

œ œ œ œ. œ œ œ œ œ œ œ œ

9

œ œ œ

œ

œ

œœ

œ œ

˙

13

Ex. 12.7 has a major third and a minor seventh establishing the mixolydian mode. The tonic may be in question at the beginning, but the number of dominant and tonic pitches on downbeats increases as the piece progresses. The final cadence firmly establishes the D as tonic. 12.7

# C & 1

4

The Blackird, Irish Folk Song in D Mixolydian mode 1

m7

œ. œ œ

œ œ

œ. M3

œ.

5

œ œ.

œ œ.

œ œ.

œ œ.

M3 # œ. œ. œ œ. œ œ œ . œ œ . œ œ . œ œ œ . œ œj œ . œ œ . œ œ & 1 # œ. œ. œ œ. œ œ œ . . œ . & œ œ œ œœ œ. œ ˙.

œ œ. œ

M3

7

Pa Snei is a simple Norwegian folk song in lydian mode. The key signature is not for the key of A major or F# minor, but accurately reflects D lydian. Sing or play the melody and it is clear that D is the tonic pitch. The major quality is revealed by the second note (F#) and the G# reveals the lydian quality by the third note. The 1-5-1 at the end of m.2 confirms D is the tonic. It is interesting that this very bright melody is from a place called land the Land of the Midnight Sun.


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12.8

### c & &

###

Pa Snei, Norwegian Folk Song in D Lydian mode 5 M3 A4

1 5 j œ œ œ. œ œ œ œ œ œ œ œ œ œœœ œ œ œœœ œœœ œ Œ œ œ œ œ

j œ œ œ œ. œ œ œ œ œ œ œ œ

1

œ œ œ œ œ œ œ œ œ

M3

1

œ

˙

MODAL MELODIC EXAMPLES Copyright restrictions prevent the use of modal examples from contemporary Jazz composers. The following excerpts were composed for the book or drawn from existing original compositions and are shown here to illustrate melodies using different modes. In order to accurately communicate a mode, the tonic must be established, the mediant must identify the piece as major or minor, and the other identifying tones must be present to distinguish which minor or major mode is present. If ambiguity is your goal, and it may be, then the identifying tones must be avoided. The placement of the tritone interval in relation to the tonic is what identifies the mode. This does not mean that a melody should begin or even include the interval of a tritone, just that the placement of those tones in relation to the tonic is what distinguishes one mode from the others. G is immediately established as the tonic by the dominant to tonic movement. Lydian mode is confirmed by the C#, a tritone away from the tonic. Sometimes this C# can be a leading tone to D, not necessarily confirming a lydian mode. In this case, the C# moves down the scale, not functioning as a leading to D, but as the fourth scale degree of lydian mode. 12.9

# & # 34 œ

G Lydian melody: Jazz Waltz

. œ

‰ Jœ

? # # 34 ˙˙ .. ˙. ## ‰ . & œ ? # # ˙˙ .. ˙.

. œ

œ J

œ ˙˙ .. ˙.

3

˙

œ œ œ œ.

˙˙ .. ˙.

˙. ˙˙ .. œ.

‰ Jœ

j œ ‰ Jœ

œ.

œ.

˙˙ .. ˙.

˙.

˙

˙˙ .. ˙.

˙. ˙˙ ..

Œ

B b mixolydian must have a major third and minor seventh to distinguish it from ionian and dorian. In the melody shown in ex. 12.10, the Ab anticipates m.2 and the Dn occurs on the downbeat of m.3. Tonic is confirmed by the dominant to tonic motion at the beginning of the first and third phrases and the final two pitches. This melody is clearly in the key of Bb mixolydian and not the key of Eb major.


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Bb Mixolydian melody: Fast Swing

12.10

b &b b c œ œ Œ ? b c œ. bb œ

j Œ ‰ œ œ œ œ œ œ œ œ Ó œ œ œ œ

‰ œœ ˙˙ J

ww

∑

j ‰ œ Œ œ

Ó

˙˙

œœ ..

œ.

jÓ œ

j œœ œœ ..

œœ Ó J

b œ œ œ œ œ œ œ œ œ œ & b b Œ œ œ ‰ Jœ œ œ œ œ œ œ ? b bb

Modal Jazz

˙˙ ..

‰ œœ ˙˙ .. J

‰ œœ ˙˙ J

œœ ..

œœ J

Parts of this melody are voiced for four instruments, but the melody on the top reveals the dorian quality. The major sixth (Dn) and the minor third (Ab) rule out all other modes but dorian. 12.11

F Dorian melody: Medium Swing

b &b b c Ó

. Œ œ

? b c bb . b œ & b b œœœ . ? b œ bb œ

∑ œœœ œœœœ œœœœ œ ‰ œj ˙ œ ˙

. œœœ œœœœ œœœœ œœœœ œ . j œœ ‰ œœ ˙˙

. œœœ œ

. j . œœœ œœœ œ œ œ œ œ œ œ Œ œ œ œ œ ˙ . j Œ ww ˙˙ œœ ‰ œœ ˙˙ . . . j œœœ œœœ .... œœœ œœœ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ ˙. . j Œ ww ˙˙ œœ ‰ œœ ˙˙ .. œœœ ... œ.


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F # aeolian must, in addition to a minor third, have a minor sixth (Dn) to distinguish it from F# dorian, and a major second (G#) to distinguish it from F# phrygian. The minor quality is established in the first measure of ex. 12.12, and the two modal identification tones occur in m.2. 12.12

F# Aeolian melody: Jazz Waltz

### 3 & 4 œ.

j ‰ œj œ œ

œ. ? # # # 34 œ. œ. ### & œ. œ ? ###

˙ .. ˙ œ J

œ

œ

˙ ˙

œ œ

˙

j œ

œ.

œ.

j ‰ œj . œ œ

œ.

œ. œ.

j œ œ œ

˙ ˙

œ

œ

˙.

˙

Œ

œ

˙ ˙

˙ ˙˙

Œ

œ

This is the modal A section from a piece called Morocco. The B section ventures away from the C phrygian through remote harmonic passages and returns to the modal A section. The lowered second (Db) and the perfect fifth (G) are the two pitches that distinguish phrygian from the brighter aeolian and the darker locrian mode. 12.13

C Phrygian melody: Morocco, jazz samba

œ b & b b b Ó Œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ ‰ œj œœœœ ˙˙˙˙ ? bb b b

∑

œ.

j œ ˙

j œ ˙

œ. bbb Œ ‰ j . œ œ œ œ œ œ œœ ww b & œ œ œœ ww œ œ ? bb b b

œ.


j œ ˙

œ.

j œ ˙

œ.

‰ œj ˙˙ .. œœ ˙˙ .. j œ ˙

œ.

Œ j œ ˙

. œœœ œ . j j ‰ j ‰ œ œ œ œ œ œ. œ œ œ œ ˙˙˙ ... ˙.

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The modes were identifiable in the previous melodic examples. All necessary notes were included in the melodies. However, ambiguity may be desirable. Melodies do not have to have clearly defined modes; but modes in order to be clearly defined must have their identifying pitches. If a certain ambiguity is desired regarding the modes, then the identifying pitches must be avoided. This mode could be dorian or mixolydian, but the missing mediant makes positive identification impossible. The melody may still be interesting. Which third do you imagine? 12.14

C dorian or C mixolydian?

œ b œ Œ ‰ œj œ œ œ œ & c ‰ œ. œ œ œ œ œ œ bœ œ

∑

From which of the three minor modes is this melody constructed? Phrygian can be ruled out as there is a major second degree. Since there is no sixth, it could be dorian or aeolian. 12.15

C dorian or C aeolian?

j & bœ œ œ œ œ ‰ œ œ œ bœ Ó œ

‰ b œj œ œ œ œ œ œ

∑

There are many examples of melodies that do not contain all of the notes of a scale or mode. Pentatonic scales usually omit the tritone so the mode of a pentatonic melody cannot be absolutely identified. A major pentatonic scale consists of the scale steps 1-2-3-5-6. The fourth and seventh, the notes which distinguish lydian, ionian and mixolydian are missing. A minor pentatonic scale consists of the scale steps 1-b3-4-5-b7. The second and sixth, the notes which distinguish dorian, aeolian and phrygian are missing. 12.16

C major pentatonic # or n

&w

w

w

w

w

¿

C minor pentatonic n or b

n or b

w

¿

w

n or b

¿ bw

w

w

¿ bw

w

Melodies may be constructed with omitted thirds. Here are examples of modal melodies that do not contain a third from completely different cultures. The tonic of ex. 12.17 is D; the tonic of 12.18 is A. 12.17

Japanese National Anthem: Kimi Ga Yo

&c œ œ œ œ œ œ ˙

œ œ œ œ œ œ œ œœ œ œ ˙

œ œ ˙

1

&œ œ œ œ

œ.

j œ ˙

œ

œ

˙

œ œ œ œ

œ œ œ ˙

7


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12.18

Barrick Hill: Irish melody

j œ œ œ œ

# 6œ & 8 1

& 5

& 9

&

œ

# œ

j œ œ œ œ

œ

# œ

œ œ œ œ J

# œ

œ œ œ œ J

œ J œ J

j œ œ œ œ

œ

œ. œ.

œ

œ J

œ

œ œ œ œ J

œ

œ J

œ

œ œ œ œ J

œ

œ J

œ œ œ

j œ œ.

œ

œ J

œ.

œ J

œ

œ J

œ.

œ. œ.

œ J œ.

13

Chromatic embellishment is possible in modal music as with any tonal music. The tones that identify a particular mode must be clear and distinguishable from the chromatic embellishment. The first measure in ex. 12.19 identifies the passage as D dorian, with the minor third and the major sixth. The D# in the second measure will not be mistaken for an Eb, which would indicate a phrygian mode, but will be heard as a leading tone to the En. The Gb will not be heard as a major third (F#) indicating a major mode, but will be heard as a chromatic passing tone between the G and F. The G# will be heard as a passing tone between the G and A. 12.19

& c œ œ œ œ œ œ œ ˙.

‰

j #œ œ œ bœ œ nœ #œ œ ˙ .

Œ

WHEN is it MODAL & WHEN is it FUNCTIONAL HARMONY? A piece that begins with the progression Dm7 - G7 - C is in the key of no sharps and flats. It cannot be D dorian as C is the tonic indicated by the traditional harmonic progression. It is terribly misleading when the Dm7 is labeled as dorian. D dorian indicates D is the tonic and D would never sound like the tonic in this setting. The proof is in the hearing, but it might be helpful to think of the mathematics. Tonic is 1 and supertonic is 2; and 2 cannot be 1. The tonic is the primary pitch; there cannot be two primary pitches. Labeling the passage as D dorian, G mixolydian followed by C ionian produces more confusion. Does anyone hear this passage with three different tonics? C is the tonic, and clearly the passage reflects the major/minor system with the functional ii7 - V7 - I progression. Using the same logic, it would be misleading to suggest that a modal piece in D dorian is really in the key of C, with just the ii7 chord sounding. However, in contemporary compositions that have mixtures of modal and functional harmony, it is helpful to describe certain chords and sounds by their modal names so that an Fmaj7 (IV) may be described as a lydian sound to distinguish it from a major scale sound (I).


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MODAL TUNES in JAZZ PRACTICE Experiments with modal music in jazz composition often combine modal techniques with concepts from the major/minor system. Modal compositions may be constructed on a single mode similar to an old folk song. A modal composition may move from one mode to another mode sometimes planing (moving symmetrically to a different tonal plane) up or down by certain intervals, as the B section of So What planes up a half-step to Eb dorian. Modal passages may be linked to passages using functional harmonic progressions. The traditional Greek modes may be mixed with modes from other scales (melodic minor, major b6), other exotic modes, and mixed with passages of colorful, but non-functional harmony. Modal jazz forms often echo the forms of standard songs, like the AABA form for So What, Maiden Voyage and other classic jazz modal tunes. Look for a wide variety of modal influenced compositions from Herbie Hancock, Chick Corea, Joe Henderson, Wayne Shorter, Miles Davis, John Coltrane and others.

CHORD SYMBOLS & MODES Chord symbols in modal piece often are carried over from traditional settings. Sometimes the chord symbol alone is ambiguous in the identification the mode. A Cm7 could be dorian, aeolian or phrygian. The melody may reveal the necessary pitches which identify the specific mode. A Cm9 symbol eliminates phrygian as a possibility but leaves it to the melody to supply an Ab or An indicating aeolian or dorian. Cm9b6 clearly verifies aeolian; and Cm6, indicating an An over the Cm, could only be dorian. Chord symbols that indicate C mixolydian include: Gm7/C, Bb/C, Bbmaj7, C7sus. Cmaj7 could be lydian or ionian, and Cmaj7#11 could only be lydian. C Phrygian is often indicated by Gø7/C, Bbm/C, Db/C, and C7susb9. In many situations, passages will be labeled by the tonic or root and the mode name as in “C dorian,” “C lydian,” or “C mixolydian.” Copyright laws restrict the use of copyrighted material for even brief examples, but chord progressions and standard forms cannot be copyrighted. The few forms and chord progressions that will be discussed are from very common jazz compositions. It will be easy to find written copies for further independent study.

TUNES with MODAL & FUNCTIONAL HARMONY COMBINATIONS The form below illustrates the blending of modal and functional harmony. It begins as a dorian piece with A as the tonic. The chord symbol does not reveal the requisite F# that identifies the mode as dorian. It can be found in the melody of the piece from which this form is borrowed. The dorian mode is planed up a minor third to C dorian. At the end of the phrase, the Cm7 becomes the ii7 chord in Bb major leading to the V7, F7. The second half of the piece sequences ii7 - V7 - I in descending steps ending with the cadence F - E7, a VI - V7 in the key of A minor. The key of A minor would indicate an Fn, but when the melody enters again at m.1, the F# brings it back to dorian mode. 12.20

Modal Passages & Functional Harmony

A dorian

‘ ‘

‘ ‘

‘ ‘

B bmaj7 I Bb

Bbm7- Eb7 ii7 - V7 Ab

A bmaj7 I Ab

Abm7- Db7 ii7 - V7 Gb

Am7

C dorian

‘ ‘

‘ ‘

G bmaj7 I Gb

Gm7- C7 ii7 - V7 F

Fmaj7 I F

Cm7

Cm7 - F7 ii7 - V7 Bb E7 V7 A minor


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TUNES with MODAL MIXTURE Jazz improvisers may use modes over a pedal tone in three different ways. A single mode can be used over the whole form; a structured predetermined series of modes can used; or an unstructured set of modes may be employed at the discretion of the improvisers. The form below illustrates the use of a structured set of modes over a form. The F remains the tonic but the color of the piece changes with the modes. Note the use of locrian in m.5. I have only encountered two instances of locrian working in a tonal setting and this one, from a piece called Moss, is one of them. In this instance, the locrian mode is surrounded by tonal modes (modes with perfect fifths), so the perception remains that F is tonic. 12.21 F Mixolydian 2b F Dorian

Modes over a Pedal F

‘ ‘

F Aeolian 4b F Phrygian

3b

‘ ‘

F Locrian 6b

‘

F Ionian 1b

‘

F Aeolian

E b Mixolydian

F Aeolian

Db

4b

4b

4b

Mixolydian 6b

5b

MODAL PLANING The following progression had its beginning as background music in a television commercial for a men’s cologne before becoming a jazz classic. The form is AABA. The A sections use a D mixolydian mode than planes up a minor third to an F mixolydian mode. The B section looks like it could be just like the A section transposed up a half-step. It begins that way with the Eb mixolydian, but instead of moving up to the F# mixolydian, it moves down to a C# dorian. The C# dorian and the F# mixolydian share the same key signature (5#), so the notes are the same, but the dorian sound is the result of the bass playing a C# rather than an F#. 12.22

Modal Planing

Am7/D

‘

‘

‘

Cm7/F

‘

‘

‘

Am7/D

‘

‘

‘

Cm7/F

‘

‘

‘

B bm7/E b

‘

‘

‘

C#m13

‘

‘

‘

Am7/D

‘

‘

‘

Cm7/F

‘

‘

‘

MODAL PROGRESSIONS Modal progression sounds like an oxymoron since the nature of most modal music is the absence of harmonic progression. Modal progression indicates a series of different modes. Interesting and expressive music can be created using the modes as a palette of colors to shape construct dramatic contours for a composition This is a departure from the ancient concept of modal melodies. The six ancient modes offer a range from very bright (lydian) to very dark (phrygian). Combining modes can tell a story. For an example, imagine a sixteen measure form, where each four measure phrase uses a different mode. Each different mode shades the story line. If the story begins with relative calm, then dorian or mixolydian would be appropriate choices for the first phrase. The kingdom is happy, crops and children are healthy and growing. If the second phrase shifts to a darker mode like aeolian, then something has changed the stability of the story. An invading army of giants has been spotted coming toward the kingdom. A switch to phrygian signals a very dramatic downturn. Yes, they have entered the


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kingdom and kidnapped the princess-to-be. A battle ensues between the knights and the giants. The final phrase shifts to lydian which indicates the maiden has been saved, marries the prince who saved her, and they live happily-ever-after in infinite bliss signified by the raised fourth degree of the lydian mode. Music does not ever have to follow a concrete or ridiculous story line, but it is useful here for demonstration. A composition form or improvisational framework can be created using the concepts of mixing modes into a type of modal progression. The progression below begins with G dorian mode (key of 1b). Dorian is a dark mode because of the minor third, but the brightest of the minor modes because of the major sixth. Adding one flat will change the G dorian to G aeolian, the minor sixth making the second phrase a darker setting. 12.23 G Dorian 1b

‘

‘

‘

G Aeolian 2b darker

‘

‘

‘

It reasons that if another flat is added it will be darker still. If G is kept as tonic, it will be darker, changing the mode to G phrygian. The momentum may be lost by staying with tonic G for too long. 12.24 G Aeolian 2b dark

‘

‘

‘

G Phrygian 3b darker

‘

‘

‘

Will the third flat make it darker if the tonic is changed from G to another pitch? If the mode changes to Bb mixolydian, the effect is brighter. Mixolydian is brighter than aeolian, and that takes precedence over the effect of the key signature. 12.25 G Aeolian

‘

‘

‘

Bb

‘

‘

‘

Mixolydian 3b brighter

2b dark

This progression could be extended to create the sixteen measure form below. The D phrygian is darker than the Bb mixolydian even though the third flat has been removed. It ends with the very bright lydian mode. The form uses five different modes, but only three different key signatures. G aeolian and D phrygian share the key signature of two flats and yet have a completely different character. The same is true for Bb mixolydian and Ab lydian which share the key signature of three flats. 12.26 G Dorian 1b medium dark/bright Bb Mixolydian 3b brighter

Modal Form: Progression of Modes

‘

‘

‘

‘

‘

‘

G Aeolian 2b darker

D Phrygian 2b Darker

‘

‘

‘

‘

Ab Lydian

‘

3b Very Bright


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This form could be used in any number of ways. The duration for each mode could be doubled to create a thirty-two measure form. The progression could be played with any kind of feel: swing, ballad, bossa, jazz waltz. This is a possible composition using a similar form. The melody clearly indicates the modes by using the identifying pitches. En and Bb clarify the dorian mode in the first phrase. The melodic motive is rhythmically displaced and transposed to reveal the Eb which signals the change to aeolian. 12.27

Medium Swing

G Dorian

. œ œœ ‰ œJ œœ œ œ œœ . œj Ó œ œœ œ .. œœ

œ œœ. œ œœ ww œ b c œ œ & œ œ w 1

G A eolian

b &b Ó

œ œ œ œ

j œœ œ œœœ ‰ œ ‰ œj w œ œœ ww

∑

5

The third phrase begins with the added flat, Ab, indicating the shift to Bb mixolydian. The An indicates the mode change to Eb Lydian. D phrygian is implied by the context as it follows Eb lydian. Since an En has not sounded, nothing contradicts the Eb and so it lingers in the ear. Phrygian is confirmed by the chord on the upbeat of two which contains the Eb. 12.28

B b Mixolydian

. . œ b œ œ œ œœœ œ j &b b Œ œ œ œ œ œ œ œœœ œ œœœ ‰ œ œœœ œ 9

E b Lydian

b & b n œœœ ...

D Phrygian

j œœœ ˙˙˙

. œœœ ‰ œj œ œ œ œ œ

j œœœ ˙˙˙ œ ˙

˙˙˙ ˙ ˙˙˙ .. ˙ ..

Œ œ œ

Œ

13

Endless modal forms are possible. Ex. 12.29 is another form that contrast dark with bright. The A aeolian is a moderately dark minor mode. Keeping the same key signature and changing the tonic to C changes the context to C lydian, a very bright mode. An extreme change occurs when the brightest mode changes to the darkest mode at the G phrygian. The form ends changing to another lydian mode. 12.29 E Aeolian 1# dark G Phrygian 3b very dark


‘

‘

‘

‘

‘

‘

C Lydian 1# very bright F Lydian 0# - 0b very bright

‘ ‘

‘

‘ ‘

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The form from ex. 12.29 could be treated with an even eighth note feel as shown below in ex. 12.30. The F# in m.1, the major second, identifies this passage as either aeolian or dorian and not phrygian. The Cn in m.2 verifies aeolian mode. The third phrase suggests motives from the first phrase. The F# now identifies the mode as C lydian. 12.30 E Aeolian

# . & .

˙

Even eighth notes

‰ œj œ œ

‰ j œ œ œ œ œ œ œ œ œ œ

˙

j ? # .. j œ œ. œ. œ œ. C Lydian # ‰ œj œ & Ó œ œ œ j ? # œ . Jœ œ . œ œ.

j œ œ

œ œ œ.

j œ œ.

‰ j œ ˙.

j œ œ.

j œ œ œ œ

‰ j œ œ œ œ œ ‰ j w œ œ œ œ œ œ œ œ œ œ . œj œ . œ œ œ . J J J œ œ œ

The Eb in the first measure below immediately rules out G dorian and the Ab verifies this passage is in G phrygian mode. The last phrase echoes motives from the first and the prominent placement of Bn establishes the mode as F lydian. 12.31 G Phrygian

b . &b b œ

Even eight note continued

œ œ œ J

œ œ œ ˙

œ ? b b b œ ‰ œj œ œ ˙.

‰ œj œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ

‰ œj œ

F Lydian

n &nn w

? n n n œ.

‰ j ˙. ‰ Jœ œ œ œ œ œ œ j œ œ.

œ œ. J

j œ œ œ œ œ .

œ œ œ ˙ U ˙.

œ œ (œ œ)

j j œ œ œ œ œ. œ œ œ

.. ..

Playing in modal settings influenced the way jazz artists composed new material and affected their approach on tunes with traditional harmonic structures. Separate chords in common progressions were sometimes viewed as having individual scales. This may in part led to the practice of imposing other


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modes and scales over the existing basic harmonies of traditional progressions. (These other scales will be discussed in chapter 14.) Other longer harmonic passages in traditional tunes were reduced and trimmed down to resemble modal sections.

MOTIVIC DEVELOPMENT In a traditional harmonic settings, improvisations were found to be based on the theme or paraphrasing the melody, based on the harmony, sometimes in a general way and other times many specific ways. What is the foundation for an improvisation in a modal setting? There are no guide tones to suggest motion from one functional chord to the next. There are tones which identify the specific modes. Can running up and down the appropriate scales be the improvisational basis? It often is the foundation for many beginning students. Another approach to compositional structure in improvisation is through the use of motivic development. A motive (or motif) is a short musical idea or theme for development and may be newly invented or derived from the written melodic material. A motive is not separated from a rhythmic context, and often the rhythmic context is as important or more important than the pitch structure of the theme or motive. Motivic development is certainly not limited to modal settings. Many significant musical works have been created using motivic development. The absence of harmonic structure as a mechanism for propelling music makes motivic development a particularly helpful tool for developing ideas in modal settings . There are several devices for developing a motive once it has been stated. The first and most important device is repetition: the motive must recur or it is not a motive. It is often repeated soon after its initial statement so as to familiarize the listener (and the improviser) with the material to be developed. Many of the devices which are listed below may be combined with other devices; they do not have to be independently applied to a musical idea. What follows is a list and an example of each device applied to a musical idea.

Compositional Devices for Motivic Development Repetition: The theme must recur for it to be a theme. Sequencing: Transposing to other pitch levels in a repeating series. Fragmentation: Using a smaller portion of the initial idea. Addition or interpolation: The opposite of fragmentation. Material is added to the motive. The new material can occur before, after, or in the middle of the original motive which is usually intact and recognizable. Embellish or ornament: This differs from the addition of notes before or after as it involves the elaboration of the original note using neighbor tones while still following the general contour of the original idea. Augmentation: To augment is to make something larger. Musically this can apply to the rhythmic units, the intervals and even the orchestration. Diminution: To diminish is to reduce something. This can apply to rhythmic units, the intervals and the orchestration. Inversion: The intervals of the original idea can be turned upside down. They can be inverted using exact intervals or generally, following the diatonic intervals. Retrograde: The motive is played with the pitches in reverse order. This is not perceived by the casual observer but is a useful develomental device. Retrograde inversion: the original can occur upside down and backwards. This is also not always recognizable to the casual observer. Displacement: May be applied to rhythms or pitches. Pitches may be displaced by moving them up or down an octave. A motive may be rhythmically displaced to a different part of the phrase earlier or later than might be expected


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Mode Change: The motive might be set in other modes. Iteration: Repetition. Making a simple rhythm more active by repeating melodic pitches. All devices may be combined. For example, the retrograde inversion can be sequenced in augmented form with octave and rhythmic displacement. Repetition: A motive (bracketed) is repeated with rhythmic displacement: 12.32

&c œ œ œ œ ˙

Ó

œ œ œ œ

Sequence: The motive is sequenced by transposing to other pitch levels using diatonic intervals. The original intervals of the motive are followed generally not specifically. The original motive moves up a major second—down a major third—down a minor third (↑ M2— ↓ M3— ↓ m3). The second occurrence of the motive is an exact transposition up major second; all intervals within the motive match exactly and are within the D dorian mode. The third occurrence moves the motive up and sacrifices the exact intervals for diatonic intervals, moving ↑m2— ↓m3— ↓M3. Diatonic Sequence 12.33

&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Chromatic Sequence: Here the motive is repeated in series exactly following the intervallic structure of the originals motive. Doing so introduces several notes outside of D dorian which may or may not be the desired result. 12.34

œ & c œ œ œ œ œ bœ œ bœ œ bœ œ œ œ bœ bœ œ œ œ œ Ó Fragmentation: The original motive is stated in m.1, then only the first two notes and then the first three. There is a brilliant example of reducing the theme in Beethoven’s firth symphony in the first movement. At one point he reduces the second theme to two notes and then to one note, and these single notes are heard as fragments of the original.


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12.35

&c œ œ œ œ ˙

Œ

‰ œj œ œ

œ œ Ó

Augmentation and Diminution of the intervals: Each interval of the original motive (↑ M2— ↓ M3— ↓m3) is augmented to become ↑m3— ↓P4— ↓P4 in the first measure and the intervals reduce to become ↑m2— ↓M2— ↓M2 in the second. 12.36

&c œ œ œ œ ˙

#œ œ nœ œ ˙

Augmentation and Diminution of the rhythmic values: The original values have been expanded freely in m.1 and diminished exactly in half in m.2. 12.37

&c ˙

. œ

œ œ

˙.

Œ

Ó

œœœœŒ

Addition: The original motive is still intact in the example below, but opening and closing notes have been added to make it a longer phrase. 12.38

&c Ó

‰ j œ œ œ œ œ œ œ œ œ œ œ

Addition or Interpolation: Two notes of the original motive occur followed by newly added material before the last two notes of the original occur. 12.39

& c œ œ Œ œ œ œ ˙.

œ œ

Elaborating or Embellishing: The original theme is stated with an augmented rhythm in the first bracket. The second statement is embellished by the leading tone (G#) to A, the lower and upper neighbors (E & G) to F, and the lower and upper neighbors (C# & E) to D. Three of original pitches (G, F & D) occur at exactly the same rhythmic spots and the A is displaced by an eighth note.


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12.40

&c Ó

Œ

œ

˙

Œ

j Ó œ

œ.

œ

#œ œ œ nœ œ #œ œ œ

Octave Displacement: The last two pitches of the original motive have been transposed up an octave. The character of a motive can be drastically changed by octave displacement as the overall contour changes. There is an excellent example of extreme octave displacement of a very familiar melody in Stravinsky’s Greeting Prelude. Listen to how octave displacement makes it difficult for many to recognize a tune that everyone knows. 12.41

œ œ Ó &c œ œ Rhythmic Displacement: This is a typical jazz syncopation where the motive occurs every three beats with a meter of four. 12.42

&c œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Some very mathematical and seemingly contrived devices can and do occur naturally in improvised music. A motive can recur in inversion with its intervals reversed or backwards, in retrograde with its intervals sounding in reverse or upside down, and in retrograde inversion with the intervals upside down and backwards. 12.43 Original

&w

w

Inversion

w

w

w

w

w

Retrograde

w

w

w

w

Retrograde Inversion

w

w

w

w

w

A palindrome is a word, sentence or numerical sequence that is the same forwards and backwards. The words civic, deified, radar, and rotator are palindromes. The phrases “Madam, I’m Adam,” and “Poor Dan is in a droop,” are palindromes. Even the general framework for Amazing Grace is a palindrome. Musical palindromes are possible when the original and the retrograde are placed next to each other. The motive moves forward and then retraces its steps back to the first note.


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12.44 Retrograde + Original

Original + Retrograde

&c œ œ œ œ œ œ œ œ ˙

Ó

œ œ œ œ œ œ œ œ ˙

Ó

Iteration: The rhythmic character of a line can be enhanced by repeated notes. The motive’s melodic value in the second measure is quarter notes, but the iteration of each note yields an eighth note subdivision. 12.45

&c Œ œ œ œ œ Œ

œ œ œ œ œ œ œ œ

MOTIVIC DEVELOPMENT in MODAL IMPROVISATION The two chorus improvisation by Miles Davis over the modal tune So What from the Kind of Blue recording offers an opportunity to examine the application of some compositional devices in the context of a modal piece. This solo is shown and analyzed in chapter 18.

SUGGESTED ACTIVITIES • • • • • •

•

With a partner, play melodic modal fragments and identify the correct mode. (1) listen for the major or minor quality. (2) determine if the mode is bright or dark. (3) listen for the important identifying pitches. Invent some unaccompanied, simple modal melodic phrases. Establish the tonic and incorporate the necessary identification tones within the melody. Try inventing a form for improvisation or composition with an emotional curve dictated by a progression of modes. Try shifting the tonal centers and varying the color of the modes from bright to dark. Try improvising and composing over the newly created forms using different rhythmic settings. How do the rhythmic settings change the melodic approaches? Try developing simple motives while improvising on the newly created forms rather than endless scale motion. Can you play a short motive, stop and listen and develop it using the devices listed in this chapter? Learn and improvise over common jazz modal pieces. Listen and study the forms or the pieces. Is it constructed of more than one mode? How where the modes put together? Does the melody clearly identify the mode or is it ambiguous? Are the modes labeled or implied by the key signature, chord symbol or melodic content? Listen to recordings and evaluate the melodic approaches used by the performers. What techniques of melodic development did they use? Transcribe improvisations over modal frameworks. What approaches did the artist use to develop the improvisation? Were the modes clearly defined? Was there chromatic embellishment or strict adherence to the diatonic modes? Were there echoes of bebop or other vocabulary in the improvisation? What kinds of ideas can you take from this improvisation to add to your playing?


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Quartal Harmony

323

QUARTAL HARMONY

Many music dictionaries define triads as three note chords constructed of consecutive intervals of thirds. This definition reveals a nineteenth century bias when most of the European art music was based on chords built in thirds. Triad really means a group of three. Applied to chords, a distinction must be made as to the intervals from which the triads are constructed. A triad built with thirds is a tertian triad; a triad built with fourths would be a quartal triad. Jazz and non-jazz composers in the twentieth century have experimented with chord structures based on intervals other than thirds. Many jazz musicians are drawn to the open ambiguous qualities of chords constructed in fourths. Quartal chords may be extended beyond the triad just as can tertian chords. The quartal triad or extended quartal structures are not labeled with any conventional shorthand chord notation. Quartal chords are primarily constructed of perfect fourths, but may include other intervals such as an augmented fourth and a major third as part of its extended structure. Ex. 13.1 shows several quartal chords available from the key of no sharps or flats based using only perfect fourth intervals. 13.1

Quartal structures using only perfect fourths

ww ww w

& c www w

ww ww

ww ww w

ww ww

ww ww

The most familiar quartal voicing in jazz literature is from So What, from the Kind of Blue recording. These voicings (ex. 13.2) are often referred to as the “So What” voicings. They are primarily constructed with perfect fourths with a major third on the top: (from bottom to top) P4 - P4 - P4 - M3. Each chord in ex. 13.2 is constructed using all the notes of a pentatonic scale. 13.2

“So what” chords

& www

ww w

? ww

ww

Diatonic triads in a major scale are constructed using every other tone from the scale (1-3-5, 2-4-6, 3-5-7, etc.) which creates all tertian triads. Diatonic triads of a pentatonic scale can be created by skipping a tone in that scale. All of these diatonic triads contain at least one interval of a perfect fourth. Diatonic chords from a D minor pentatonic are shown below in ex. 13.3. The first, third and fourth chords are constructed using just perfect fourths. The second diatonic chord is a first inversion D minor triad, and


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the fifth is the second inversion of an F major triad. The two inverted tertian triads show why this scale is called D minor or F major pentatonic. The quartal character of these diatonic chords illustrates the link between quartal sounds pentatonic scales. 13.3

Diatonic triads of D minor or F major pentatonic

P4 – P4

M3 – P4

P4 – P4

P4 – P4

P4 – M3

w ¿ w w ¿ w ¿ w w ¿ w w ¿ w ¿ w &w ¿ w ¿ w ¿ w ¿ w The quartal chords can be extended to include all five notes of the pentatonic scale. Four of the five chords below have at least one interval of a major third. Only the fourth chord, built on A, is constructed of all perfect fourth intervals. The first chord is the original “so what” chord, the others are inversions. 13.4

Extended quartal chords from D minor or F major pentatonic

P4-P4-P4-M3

M3-P4-P4-P4

P4-P4-M3-P4

P4-P4-P4-P4

P4-M3-P4-P4

& www

ww w

ww w

ww w

ww w

? ww

ww

ww

ww

ww

The “so what” chord can be used in other contexts. The chord below is shown with four different bass notes. The first chord over the A in the bass creates an Am7 or A minor pentatonic sound. The same notes over an F in the bass creates an Fmaj7 with a ninth and thirteenth. Over D, it creates an ambiguous suspended chord; it could either be a D suspended dominant or a D minor ninth chord with a missing third. A bright lydian sound is suggested with Bb in the bass. 13.5 Am7

Extended quartal chords from D minor or F major pentatonic Bbmaj7#11

Fmaj9

D7sus or Dm9

w & ww

ww w

ww w

ww w

w ?w w

ww w

ww w

ww bw

Quartal chords can be extracted from any mode or scale. All seven diatonic five note quartal chords are shown below in ex. 13.6 derived from the aeolian mode in A. Fn and Bn are the two tones that distinguish A aeolian from A dorian and A phrygian. The tritone, an augmented fourth, between those two pitches is the only interval of a fourth in this mode that is not the interval of a perfect fourth. Every chord below


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that contains Fn and Bn will include the augmented fourth mixed with intervals of a perfect fourth. The chords marked with an “↓” are constructed exclusively using intervals of a perfect fourth. 13.6

Five note quartal chords from A aeolian

↓

& www ww ?w w

↓

↓

ww ww w

ww ww w

ww ww w

ww ww w

ww ww w

ww ww w

ww

ww

ww

ww

ww

ww

Quartal chords move nicely in parallel motion. Passages similar to the one in ex. 13.7 are prevalent in jazz performances and compositions and are often used to establish the rhythmic setting. Only the notes of a C minor pentatonic are used in the first two measures. The quartal chord (1) verifies Cm7 with the Bb and Eb. Chord (2) would be ambiguous without the context of the chord (1). Chord (3) contains notes not found in C minor, but acts as an upper neighbor chord, slipping back down to chord (2) and then to (1) in the last measure. 13.7

Quartal triads in parallel motion (1)

. b b œœœ

&Ó ?

(2)

(3)

‰ œj w œœ ww

Ó

. b bb œœœ

ww

w w

ww

(2)

Œ

œœ .. œ.

(1)

j b œ b œœ ˙˙˙

w w

The individual pitches of a quartal triad, like a tertian triad, may be inverted. The three chords below contain the pitches D, G, and C. The first chord, with D on the bottom is a quartal triad using only perfect fourths. With G on the bottom, the original chord is inverted and the construction is P4 - M2. With C on the bottom the second inversion is constructed M2 - P4. 13.8

& www

Quartal triad and inversions

www

ww w

The inversions of quartal triads have a different characteristic sound since they include the interval of a second. The inversions may work in a setting by themselves or can be mixed with quartal chords in root position as in ex. 13.9.


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13.9

. & œœœ ..

Inversions of quartal triads used over pedal A

. œœ œ

œœœ œœœ J

. œœœ . œœ

˙˙ ˙

? w w

˙˙

j ‰ œœ ww œ w

˙˙˙

Ó

j ‰ œœ ww

˙˙

Ó

Quartal triads, their inversions and other tertian chords and their inversions may be mixed. The passage in ex. 13.10 over a G pedal, begins with a quartal triad in first inversion and chromatically moves to a tertian triad in second inversion. The chord at the end of the first line is a quartal chord in root position but the upper interval is an augmented fourth. The last four chords in the passage are quartal triads in root position constructed with perfect fourths. Common to all the voicings below is the interval of a perfect fourth as the lower interval. 13.10

Mixture of quartal & tertian triads with inversions over G pedal

j # œœ ˙˙ # œ ˙

. & œœœ ..

? ‰ œj Œ œ

j b œœœ ... # œœœ ˙˙˙

? ‰ œj Œ œ

j ‰ œœ Œ

ww

˙˙

& ˙˙ ˙

œœœ ...

˙˙ ˙

˙˙ ˙

˙˙

˙˙

j b œ b b œœ ˙˙˙

˙˙˙

˙˙

# œœ œ

‰ b œœj b œ

ww

. b œœ œ

j ‰ œœ ww œ w

ww w

. œœ

j ‰ œœ ww

ww

The diatonic chords of a pentatonic scale may be inverted. Two of the triads are tertian inversions to begin with, and one of their inversions will be a root position tertian chord. 13.11

Diatonic chords from A minor & C major pentatonic

m

& ww w

w ww


M

ww w

ww w

ww w

m

www www

M

www www www

m

w www ww

M

ww www w w w w

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These pentatonic quartal triads may be used over different bass notes as voicings creating a variety of chords. The C major or A minor pentatonic chords suggest Am7 over an A in the bass. The Am7 could be a ii7 in G, iii7 in F, vi7 in C, or A aeolian. Over the F bass, the chords become an Fma7 as I or IV. With D in the bass, they are useful for an ambiguous Dm7, with the absence of any third. A Bb in the bass suggests Bb lydian or Bbma7 as a IV chord. 13.11

Diatonic chords of A minor/C major pentatonic over other Bass Notes

w ww www www www ww w

w & ww www www www ww w Am 7

Fmaj7

?w w w w w w w w w w

ww w w w w w w w w

Dm7

w ww ww

w ww www www ww w

# B bmaj7 11

w ww ww www www ww w w

ww ww ww ww w w w w w bw bw bw bw bw

Individual pitches of the “so what” chord may be altered to create completely different sounds. The original “so what” voicings are shown for Gm7 in the first measure in ex. 13.12. In the remaining measures, the An has been lowered to Ab, creating an augmented fourth interval on the bottom of the chord. This altered “so what” chord pair works well for the E7 alt. and its tritone substitute Bb9#11, and for the Fmmaj7. 13.12

“So what” chords with alterations

& b www

ww w

b www

? ww w

ww

ww

Gm 7

# B b9 11

b www

ww w

ww

b ww

bw

#9

E7b 13

b www

ww w

ww w

b ww

ww w

Fm maj 7

b ww w

This ending to an original composition, Scandal in Bohemia, uses parallel diatonic quartal chords. 13.13

Bert Ligon: Ending to Scandal in Bohemia

j . . 3 œ Œ & 4 œœ œœ œœ .. œœ Œ œ œ œ. ? 34

˙˙ . .

˙˙

. Œ œ œœ

‰ œj ˙ . ˙.

. j œ œœ œœ .. œœ Œ œ œ. ˙˙

. Œ œ œœ

‰ œj ˙ . ˙.

. œœ œœ .. œœœ ... œ œ. ˙˙

œœ .. œœ .. œ. œ.

‰ œj ˙ . ˙.

. œœ œ

. œœ Œ œ

. . Œ b b œœ œœ

Guitarist Steve Mazokowski used combinations of quartal and tertian inversions in these two excerpts from his composition What It Was. The passage ended with a quartal chord built with perfect fourths the first time, and on a later repetition, the bottom two voices were lowered for a completely different quartal sound.


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Ex. 13.14

&c

Mixture of inverted quartal & tertian triads

œœ n œœœ œœœ œ œ j œ œœ œ

œœœ # # œœœ

?c

œœ n œœœ œœœ œ œ j œ œ œ œ

&

œœœ # # œœœ

?

œœ œ œ

œœ œ œ

j œ œœœ # œœ œœ œœœ ‰ œœ ˙˙˙ # œ œ œ œ œ œœœ œ œœœœ

j œ œœœ # œœ œœ œœœ ‰ b b œœ ˙˙˙ # œ œ œ œ œ œ œ œ œ œ œ œ œ

ww w œ

œœœœœœœ

ww w œ

œœœœœœœ

The first section of an original composition, Arches, occurs over an F pedal. Woodwinds softly play a descending floating pair of notes a perfect fourth apart over the F pedal while flugelhorn, guitar and flute play the melody. 13.15

Bert Ligon: Arches. Floating two note quartal chords & melody over F pedal

bœ . & ‰ Jœ œ ˙

˙

& b b œœ

œœ .. b œ œœ b b œœ .. b œ

œœ b b ˙˙

Œ ‰ œ bœ bœ bœ bœ œ œ œ œ œ œ

& œ bœ œ ≈ bœ bœ œ œ œ œ œ & . œœ . # œœ œœ

˙

& b b œœ

œœ .. b œ œœ b b œœ .. b œ


nœ .

œ ˙.

œœœ ˙˙˙ ... b œ . . bœ œ ˙.

œœ .. b b œœ œœ

bœ . & ‰ Jœ œ ˙ œœ b b ˙˙

j œœ n n œœ . b b œœ œœ .

œ

˙.


˙˙ ..

∑

Œ ∑

www w

www w

Œ ‰ œ bœ bœ bœ bœ œ œ œ œ œ œ j œœ n n œœ . b b œœ œœ .

Œ

œ

˙.


˙˙ ..

Œ Œ

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Arches, cont.

‰

& œ bœ œ ≈ bœ bœ œ œ œ œ . œ œ bœ œ ˙ & . œœ . œ œ #œ œ


‰ œj ≈ œj . ˙

bœ œ bœ œ œ ˙ .

œœ .. œ œ b b œœ .. œœ œœ #œ œ

# œœ

b b œœ .. œœ ˙˙

‰ j≈ j œœ œœ .. ˙˙

The reduction shown in ex. 13.16 from Arches. shows how the two-note floating quartal chords and the melody combine to make different quartal triads over the F pedal. 13.16

& b b www ?

w

Bert Ligon: Arches. Reduction: two-note chords + melody note = quartal triads

ww b b w

n bn www

b bn www

n #n www

w

w

w

w

b b www

ww w

w

w

Stevie Wonder has written some very jazz sounding pop songs and has occasionally used quartal chords to achieve a contemporary sound. These inverted quartal chords occur a Gb pedal in the introduction to a piece. 13.17

&

Quartal Triads over a Pedal

j j Œ # œœœ œœœ œœœ n b b œœœ œœœ b b ˙˙˙ .. .

? c bw

˙

j j Œ # œœœ œœœ œœœ n b b œœœ œœœ b b ˙˙˙ .. .

œ bœ bœ bœ w

˙

œ bœ bœ bœ

Quartal voicings have found their way into traditional harmonic settings. The dominant chords in ex. 13.18 are stacked quartal chords moving parallel. The augmented fourth interval which makes the chords dominant seventh chords, are on the bottom of each voicing. 13.18

b &b Ó ? b Ó b

Dominant chords with quartal voicings

. œœ. b œœœ œ . œœ. b œœœ œ

œœ. œ œœ. bœ

œœ. œ œœ. œ

b b œœœ œœœ œœ ‰ Jœ œ œ b œœ œœ œœœ ‰ J

ww w ww w


330

Chapter 13

Quartal Harmony

The inversion of a quartal chord shown in ex. 13.19 is attractive with the top melodic pitch doubled an octave lower. It can be used in a number of musical settings. It is shown below over an Ab lydian sound. Pat Metheny has used a similar idea at the end of tunes. 13.19

# A bm aj7 11

Quartal Chords over Lydian

& œœ œ œœ b b œœœ œœ b œœœ œœ b œ

œœœ b b b œœœ œ bœ

œœœ b œ œ b b œœœ

www w

The quartal chord with an augmented fourth on the bottom is useful for a dominant chord. The Ab - D G chord is useful for a Bb13 chord (7-3-13) or for the tritone substitute dominant E7 (3-7-#9). The chord may also be used for Fm, Dø7, and G7susb9 chords. The inversion of this chord is very dissonant with the minor second clash in the middle, however, that may be the very reason to use it. Guitarist John Scofield uses these chords and inversions in many contexts. 13.20

& ww bw

b www

b www

A listening list for other artists using quartal harmonies must include McCoy Tyner, especially with the John Coltrane Quartet and Blue Note recordings from the 1960’s, and Herbie Hancock with Miles Davis and Wayne Shorter.


Chapter 14

XIV.

Other Scales & Colors

331

OTHER SCALES & COLORS

The focus of this book has primarily been the relationship of jazz to the major/minor system. Melodic material has been shown as it relates to the major or harmonic minor scale with chromatic elaboration. Searching for other expressive colors, jazz musicians have found other scales for harmonic and melodic material. The major/minor system is not tossed aside, rather it is used as a platform or foundation on which other colors are placed. Experimentation with other scales and chords inspired jazz composers to create music whose harmonic and melodic vocabulary specifically calls for sounds not available from the major and harmonic minor scales. Five other scales and their modes will be introduced in this chapter: melodic minor, major b 6 (sometimes called harmonic major), symmetrical diminished (sometimes called octatonic), whole tone, and augmented. The relationship of each mode to a specific chord and harmonic and melodic applications will be discussed. These scales may be utilized in two different ways: to colorfully enhance traditional progressions; and to effectively negotiate the harmony of contemporary compositions that demand very specific harmonic sounds. One of the goals in writing this book was to discuss many aspects of jazz improvisation beyond the discussion of chord/scale relationships. The notion that jazz improvisation is a matter of plugging in the correct scale for each individual chord is a common misconception among young improvisers and even many educators. This leads to unnecessary confusion for some students and overlooks the historical significance of major/minor system and the many others techniques of developing musical ideas. However, it is important to understand the relationships of specific chords to specific scales and their applications to contemporary and traditional musical settings Anyone who understands traditional theory will recognize that the three chords below belong to the key of C major, and that they represent the functional chords: ii7 - V7 - I. In many chord/scale theory discussions, each of the chords is assigned a different scale: Dm7 is labeled D dorian; G7 as G mixolydian; and Cmaj7 as C ionian. Describing this passage as three different modes or scales is misleading and unnecessarily complicated. It is doubtful that anyone hears three different tonics in this passage as is suggested by the three modes. All of these chords were derived from the C major scale, and that one scale best describes the passage. 14.1 Dm 7

Three different modes or united in the key of C major? G7

Cmaj7

www w w w w c w w w w www & wwww w w w w w w A student illustrated the worst case scenario of chord/scale misunderstanding He had learned scales and their relationship to chords and played the passage below. He knew it did not sound like jazz but could not figure out why as he had applied a “correct” scale for each chord. As these new scales are introduced, remember that they represent distinct colors and not a method for improvisation. All previously discussed concepts of voice leading and melodic construction are still applicable even with the introduction of new scale colors.


332

Chapter 14 14.2

&c

Other Scales & Colors Not Jazz

#9

#9

A7 b 13

G7 b 13

bœ œ œ œ b œ œ œ b œ œ n œ b œ œ œ œ b œ œ œ œ nœ nœ œ œ œœ œœ œ œ bœ œ bœ bœ

Cmaj7

Dm7

There are several “exotic” scales that can be constructed and have been cataloged in other books, but the most commonly used scales for application in jazz improvisation and composition are modes of melodic minor, major b6, diminished, whole tone, and augmented scales. SCALES for JAZZ IMPROVISATION SCALES Major Harmonic Minor Melodic Minor Major with a b6 (Harmonic Major) Diminished Diminished Whole Tone Augmented

1 2 3 4 5 6 7 8

14.3 1.

FORMULA W - W - 1/2 - W - W - W - 1/2 W - 1/2 - W - W - 1/2 - A2 - 1/2 W - 1/2 - W - W - W - W - 1/2 W - W - 1/2 - W - 1/2 - A2 - 1/2 (1/2 - W) (W - 1/2) W-W-W-W-W-W m3 - 1/2 - m3 - 1/2 - m3

Scales shown with C as Root: 2.

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4.

& ˙ ˙ b˙ ˙ ˙ b˙ n˙ ˙ 5.

& ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ 7.

& ˙ b˙ b˙ n˙ #˙ n˙ ˙ b˙ ˙

3.

& ˙ ˙ b˙ ˙ ˙ n˙ n˙ ˙ 6.

& ˙ ˙ b˙ ˙ #˙ #˙ ˙ ˙ ˙

8.

& ˙ ˙ ˙ #˙ #˙ b˙ ˙

& ˙ #˙ ˙ ˙ b˙ n˙ ˙

CHORD/SCALE EQUIVALENCY There are two common ways of describing a group of seven notes: as a scale (1-2-3-4-5-6-7-1): and spelled in thirds as a triad with upper extensions (1-3-5-7-9-11-13). The scale and the chord represent the same pitches so that a chord = scale and a scale = chord. Scale positions will be referred to by the numbers 1-2-3-4-5-6-7 and chord tones by the numbers 1-3-5-7-9-11-13. Scales tones 2-4-6 are the same as chord tones 9-11-13.


Chapter 14


333

MODES of the MELODIC MINOR SCALE The chords derived from the melodic minor scale do not function the way that chords function in major and minor. The chords could be labeled with Roman numerals corresponding to scale degrees, but they would be meaningless in the traditional sense of identifying function, and therefore would confuse more than enlighten. Historically the melodic minor was often used for melodies, as is suggested by its name. It is constructed by raising the sixth and seventh degrees of a natural minor scale when ascending and lowering them when descending. These steps are easier to sing than the harmonic minor scale which includes the awkward augmented second. Altered notes tend to continue in the direction in which they have been altered. A minor sixth and minor seventh point down to the dominant. A major sixth and major seventh point more easily to the tonic. This is usually the scale a student will naturally sing when asked to sing a minor scale. The melodic minor that is used in jazz is only the ascending version as the descending scale is natural minor or aeolian mode. The melodic minor that ascends and descends with the raised sixth and seventh is sometimes called jazz minor. FIRST MODE of MELODIC MINOR Other Names: Melodic Minor, Jazz Minor Applications: Chord How to find relative Symbol Melodic Minor: Substitution tonic chord m maj7 First mode of melodic minor. in minor key m maj9 Melodic minor on root of chord. m 6/9maj7

Effect: Brighter than a natural minor or harmonic minor due to the raised sixth and seventh degrees.

The first mode of melodic minor is one note different from a major scale and one note different from harmonic minor. A major scale can be changed to melodic minor by changing the major third to a minor third. A natural minor scale is made into harmonic minor by raising the leading tone. Raising one more pitch, the sixth, creates melodic minor. The melodic minor scale is one note brighter than the harmonic minor scale and one note darker than a major scale. Three chords are shown below that can be derived from melodic minor. The chord symbols Cmmaj 7 or Cmmaj 9 could call for the first mode of harmonic minor or melodic minor. The last chord shown can only be derived from the melodic minor as it includes both the raised sixth and seventh. 14.4

Melodic Minor Cm maj 7

& w w b w w w n w n w w b n www ? w w bw w w nw nw w w

Cm maj 9

ww bw nw w

Cm 69maj 7

n ww w

b n www


334

Chapter 14


SEVENTH MODE of MELODIC MINOR Other Names: Superlocrian, Diminished-Whole Tone, Altered Scale Applications: Chord How to find relative Effect: Symbol Melodic Minor: V7 in minor and can 7 Alt. Seventh mode of melodic minor. Darker than dominants resolve to major. 7 with b13, Count the root of the V7 as 7 and available from fifth b9, #9, b5 go up to 1. modes of major or harmonic minor. The seventh mode of melodic minor is also called superlocrian, diminished whole tone, and the altered scale. It contains four possible alterations for a dominant chord: b9, #9, b5 (#11), and b13 (#5). This is a darker sound than the dominant chord scale from the fifth mode in major or harmonic minor. The dominant in major has a n13, n5 and a n9. A dominant chord derived from the fifth mode of harmonic minor has a b13, n5 and a b9. The altered notes in the superlocrian suggest a dominant that resolves to a minor key. The B7, shown below built on the seventh mode of C melodic minor, has a Gn (b13)and a Cn ( b13) suggesting a dominant of E minor. Superlocrian is not the only choice for resolution to minor. There are times when the b5 will sound dissonant, and the fifth mode of harmonic minor or third mode of major b6 would be better choices. Any dominant that points to a minor key may also resolve to major key. The inverse is rarely if ever true. 14.5

Superlocrian

w w w w b w w w &w ?

# 9b 9

B7b 13

ww w

w w a ww w w b w w w w w

#9b9

B7b 13b 5

ww ww

B7alt.

a www

This excerpt is from a recently written tune by Mike Stern using traditional harmonic progressions with contemporary concepts. The Cm7 in m.1 connected to the F7 with outline no. 2 (considering the arpeggio with the Bb resolving to the A over the measure line), or outline no. 1 (beginning on the Eb and descending to the A over the measure line). Superlocrian was used over the F7, and still managed to connect to the Bb chord using outline no. 1 (An down the scale to D). Superlocrian is the seventh mode of a harmonic minor scale. F is the seventh degree of Gb or F# melodic minor. To find the related melodic minor scale for a dominant chord, count the root as 7 and go up to 1. All of the notes of the F# melodic minor occurred in m.2, although some are enharmonically spelled. The dark superlocrian sound resolved to Bb major even thought the Db (C#), and the Gb suggested a resolution to Bb minor. 14.6 Cm 7

Superlocrian used over dominant chord F7

B bmaj7

bœ & c ‰ œj b œ œ b œ œ œ œ œ œ # œ œ œ b œ b œ œ b œ œj


3

3

Chapter 14


335

FOURTH MODE of MELODIC MINOR Other Names: Lydian Dominant, Lydian b7 Applications: Chord How to find relative Symbol Melodic Minor: # (1) As tritone substitute for a dominant 9 11 Seventh mode of melodic minor. pointing to minor key down a half-step. 13#11 Count the root as 4 and count back to 1. May resolve down a half-step to major. (2) As backdoor dominant pointing up to a major key a whole step above. A chord built on the fourth degree of a melodic minor scale is a dominant sound that does not function as dominant. If the B7 built on the seventh degree of C melodic minor pointed to E minor, then this F7 is the tritone substitute for the B7. They both share exactly the same notes as separate modes of a C melodic minor scale. Normally an F7 would point to Bb major or minor, but the Bn in the both the scale and the chord contradicts a resolution to Bb major. This F7 also occurs as a backdoor dominant to G major. The backdoor dominant usually follows the IV chord as it progresses back to the I chord as part of an extended plagal cadence. A plagal cadence is when IV resolves to I. A plagal cadence can also include the borrowed iv chord as in: IV - iv - I. The iv chord is often replaced by a backdoor dominant. In the key of G the plagal cadence is: C - G; an extended plagal cadence: C - Cm - G. Using seventh chords and a backdoor dominant the cadence would be: Cmaj7 - F9#11 - Gmaj7. A backdoor dominant may also be preceded by a ii7 chord as: Am7 - F9#11 Gmaj7. The F lydian dominant scale includes the notes of a G triad (G - B - D), which explains its pull towards G major and not Bb major or Bb minor. Examples of backdoor dominants where this scale is applicable can be found in Chapter 7 in progression no. 9 (mm.4, 15), no. 10 (mm.7-8), no. 13 (m.10). The #11 and n9 indicate a lydian dominant sound. Lydian dominant is built on the fourth degree of a melodic minor scale. To find the related melodic minor for a lydian dominant chord, count the root as 4 and count back to 1. 14.7

Lydian dominant

# F9 11

w b w w ww &w w w w w bw bw w w w w w w ?w w w

# F13 11

w b www

ww

Charlie Parker used lydian dominant on the B section of rhythm changes in ex. 14.8 below. The connection to A melodic minor is clear as he arpeggiated an A minor 1-3-5-7-9 over the D7. Wynton Kelly suggested the upper structures 7-9-#11-13 of the Ab7 and Eb7 chords in ex. 14.9 and 14.10 and Tete Montoliu chose to play the entire descending scale over the B7 in ex. 14.11. 14.8

D Lydian dominant outlines upper structure: 5-7-9-#11-13

3 # 3 & c ‰ j œ œ #œ œ œ œ œ œ #œ œ

D9 11


336

Chapter 14

Other Scales & Colors Lydian dominant upper structure 7-9-#11-13

14.9

b# ‰ œ nœ nœ œ bœ . J J A 9 11

b &b c

˙

14.10

Lydian dominant upper structure 7-9-#11-13

14.11

Lydian dominant scale passage

# E b9 11 b & b c ‰ b œj œ œ œ œ œ œ b œR

#œ #œ œ œ #œ B7 #œ #œ #œ #œ œ œ #œ#œ #œ #œ &c #œ œ The lydian dominant scale is sometimes called the overtone scale as the tones can be derived from the first twelve tones of the harmonic series (see page 52). In some parts of the world as different and geographically separate as Brazil and Hungary, the lydian dominant scale is used in folk music. Béla Bartók is a composer who used this sound (ex. 14.12) in the earlier part of the twentieth century. 14.12

A b Lydian Dominant

& 34 ‰ j œ b œ œ b œ b œ œ œ b œ œ œ bœ œ bœ œ œ bœ œ œ œ bœ b œ œ œ œ b œ b œ bœ bœ bœ bœ bœ RELATIONSHIP BETWEEN 7TH & 4TH MODES of MELODIC MINOR: All of the modes of a melodic minor scale are related by sharing the same pitches. The superlocrian and lydian dominant scales are linked by their sharing of the same tritone and are interchangeable as dominants pointing to minor. An altered dominant points to the minor key a perfect fifth below, and the tritone substitute dominant wants to resolve down a half-step to the same minor key. The third and seventh of B7 are the enharmonically spelled seventh and third of the F7. The B7 and the F7 point to the key of E minor. The Cn and Gn that indicate a resolution to E minor do not prohibit either of these dominant chords from resolving to E major. The notes of the C melodic minor scale are shown in relation to the B7 alt. chord and the F9#11 chord in the example below. 14.13

B superlocrian & F lydian dominant derived from C melodic minor

#

F9 11

B7 alt.

&

w R

w

w bw

b9

#9

? # ww w


3

w

w

#11/b5 b13/#5

w

w

7

R

w

#11

b ww w

w

w bw

w

w

w w

5

13

R

9

3

7

#11

Chapter 14


337

Melodic lines that work for one chord will also work with the other: 14.14

Melodic Minor lines resolving to E minor

# F13 11

Em bœ œ œ œ œ œ œ œ & w

? ww

Em bœ œ œ œ œ œ œ œ w

B7alt.

w w

ww

ww

SIXTH MODE of MELODIC MINOR Other Name: Locrian #2 Applications: Chord How to find relative Symbol Melodic Minor: Substitution for ii7 and ø7 #2 Built on 6th degree of melodic minor. iiø7. Count the root of the ø7#2 chord as 6 and count to 1.

Effect: Dark as substitute for ii7 Bright as substitute for iiø7.

Play and listen to the chords below. Are they bright or dark? By themselves they could be either: dark because of the diminished triad, and bright because of the major ninth interval. An aural test like this is inconclusive because these sounds do not occur in isolation; they occur in some musical context. The locrian #2 sound often substitutes for a ii7 or a iiø7 chord. If the Aø7#2 shown below is used in place of Am7, the ii7 chord in G major, it will sound dark because the expected En is lowered to an Eb. If the Aø7#2 is used in place of Aø7, the iiø7 chord in G minor, it will sound bright because the expected Bb is raised to a Bn. Locrian #2 is not necessarily a better choice for a iiø7 chord in minor as some jazz theorists suggest. It is a choice that brightens an expectation, but the traditional iiø7 sound in minor should not be neglected for the sake of sounding modern. To find the related melodic minor scale count the root of the iiø7#2 chord as 6 and count up to 1. The #2 is actually the ninth of the chord, yet it is labeled a 2. It could have been labeled a n9, indicating a major ninth above the root. This can be confusing, as the iiø7 chord in its natural setting has a minor ninth above the root. It could be labeled a #9, indicating raising the Bb to Bn. This is confusing as the #9 in the case of dominants is usually notated as its enharmonic (minor tenth) above the root. A minor tenth above the An would be a Cn, which would not add the desired pitch. The #2 is the most common compromise shorthand for this chord notation. 14.15

Locrian #2

#

Aø7 2 w w w b w w &w w w b www

?

w w w b w w w w w

ww

# Aø7 2

w b www

ww

The ø7#2 is often followed by an altered dominant, so that two different modes of melodic minor occur side by side.


338

Chapter 14


Bill Evans used an Fø7 (locrian #2, sixth mode of Ab melodic minor) followed by a Bb7 (superlocrian, seventh mode of B melodic minor). The line ascended an arpeggio over the Fø7 and descended over the Bb7. The last four notes of the Bb7 were the #9-b9-R-7 of the chord, and pointed to Eb minor. 14.16

Locrian #2 followed by Superlocrian

3 B b7# œ b œ N œ œ bœ ‰ J #œ œ #œ œ bœ bœ & c bœ œ bœ œ bœ

Fø7

This line, from the same Evans improvisation, is very similar to the line in ex. 14.16, but is in C minor. The exact notes Evan’s used for the Bb7 in the ex. 14.16 were transposed for the G7 chord in ex. 14.17. Evans used locrian #2 (sixth mode of F melodic minor) for the Dø7, and suggested the superlocrian (seventh mode of Ab melodic minor) for the G7. 14.17


G7 Cm 9 b œ b œ œ bœ œ bœ bœ œ œ œ œ œ œ & c bœ œ bœ œ œ Dø7

The raised second degree and altered ninths are not just modern jazz inventions. Clifford Brown used Gø7 (locrian #2, sixth mode of Bb melodic minor) and suggested C7 (superlocrian, seventh mode of C# melodic minor) in the ex. 14.18. 14.18


œ œ b œ œ œ C7 œ œ Fm j œ j œ b œ b œ b œ œ bœ bœ b œ & c ‰ œ bœ œ œ nœ œ œ 3 Gø7

3

3

FIFTH MODE of MELODIC MINOR Other Name: Mixolydian b6 Applications: Chord How to find relative Symbol Melodic Minor: V7 in major or minor 9 b13 Built on 5th degree of melodic minor. Count the root of the V7 chord as 5 and count to 1.

Effect: Ambiguous dominant. n9 is bright & b13 is dark

This dominant is ambiguous as to its destination. Does it point to major or minor? The b13 of G7 (Eb) makes a case for C minor, but the An argues for C major. It is not used as often as other melodic minor modes. To find the related melodic minor scale, count the root of the chord as 5 and count up to 1.


Chapter 14 14.19

Mixolydian b6


339

b 13

G9 w w b ww b w w &w w w w w

?

bw w w w w w w w

ww

THIRD MODE of MELODIC MINOR Other Name: Lydian Augmented Applications: Chord How to find relative Symbol Melodic Minor: Substitute for maj7 maj7#5 Built on 3rd degree of melodic minor. chords Count the root of the chord as 3 and count to 1

Effect: Ambiguous major 7 Bright #5

Augmented chords are ambiguous as they are missing a perfect fifth. Augmented chords built on the third of a harmonic minor scale often sound like an augmented dominant chord in some inversion. The addition of a major seventh to the chord intensifies the ambiguity because it creates a perfect fifth in the chord between the third and the seventh. This causes confusion because the ear wants to make the third sound like the root of the chord because of the perfect fifth above. This augmented major seventh chord is often used in contemporary compositions for an unsettling effect. Substituting for a Imaj7 or a IVmaj7 will eliminate the typical sense of resolution associated with major seventh chords. In those instances, the augmented fifth may be resolved up to the sixth degree or down to the n5 to gain a sense of stability. The augmented fifth may be heard as unresolved dissonances from a preceding dominant chord. For instance, a Bb7 b9 chord resolves to an Ebmaj7 chord. If the b9 of the Bb7 (Cb or enharmonic Bn) is suspended into the Eb chord, the Bn would sound like the augmented fifth of the Eb chord. 14.20

Lydian augmented

# E bmaj7 5

bw w ww & bw w w w w w w w bw ? bw w w w w w bw

G/E b

ww w

bw

Tom Harrell used the lydian augmented sound in these two examples which ultimately resolved to C major. The 3-5-7 tones of the Cmaj7#5 chord form an E major triad, and so the chord is often written shorthand as E/C, meaning an E major triad over a C bass note.

# Cm aj7 5 Cm aj7 œ & c œ #œ #œ œ œ œ œ nœ œ œ 14.21

#

Lydian augmented

Cm aj7 5

˙

‰ # œj œ œ œ

Cm aj7

3


340

Chapter 14


SECOND MODE of MELODIC MINOR Other Name: Dorian b2 Applications: Chord How to find relative Symbol Melodic Minor: b b Substitute for 7sus 9 D7sus 9 Built on 2nd degree of Substitute for phrygian E bmaj7 #5/D melodic minor. Count the root as 2 go back to 1 Aø7 #2/D

Effect:

n13 is brighter and b3 is darker than fifth mode of harmonic minor. Brighter than phrygian.

This mode is called dorian b2, but does not sound like and is rarely used to substitute for dorian mode. The b2 makes it a closer relative to phrygian. Although a minor seventh chord can be built from the root of this scale, it is rarely used as a substitute for a minor seventh chord. It can be used as a substitute for a 7susb9. The usual sound associated with a D7susb9 would be the fifth mode of G harmonic minor. The D dorian b2 sound below is a shade brighter than G harmonic minor because of the Bn, but a shade darker without the F#. When this mode is used to substitute for a D phrygian mode, it retains the significant b2, but is brighter because of the Bn. A chord symbol that is associated with this scale includes a maj7#5 in third inversion, where the seventh is in the bass as: Ebmaj7#5/D; and a ø7#2 a fifth above the bass note as: Aø7#2/D. 14.22

Dorian b2

b D7sus 9

w w & w bw w w w w w b ww w w ? w bw w w w w w w

b D7sus 9

b D7sus 9

ww w

ww w

b www

w b www

MODES of the MAJOR SCALE with b6 A major scale with a lowered sixth degree is sometimes called harmonic major as the upper four notes are identical to harmonic minor and include the augmented second associated with harmonic minor.

b

FIFTH MODE of MAJOR SCALE with 6 Other Name: Mixolydian b2 Applications: Chord How to find relative Symbol Major Scale with b6: b Substitute for V7 in 13 9 Built on 5th degree of major scale major with b6. Count the root as 5 go back to 1

Effect:

b9 is darker, n13 is bright

When a dominant chord in a major key indicates a b9 and a n13, then this scale is appropriate. There will be another scale discussed later that will satisfy this sound, but it includes other changes not indicated by the 13b9 chord symbol. The b9 of the dominant is the same pitch as the lowered sixth degree of the major scale: the b9 of G7 (Ab) is the lowered sixth of C major scale. This chord is darker than a traditional dominant because of the b9, but bright because of the n13. This dominant chord wants to resolve to major on the strength of the n13 which is the major third of the tonic chord.


Chapter 14 14.23


341

Fifth mode of major b6

b9

G13 w w w w b ww & w bw w w w

?

w w w w w w w bw

w w b

THIRD MODE of MAJOR SCALE with 6 Other Name: no common pseudonyms Applications: Chord How to find relative Effect: Symbol Major Scale with b6: Substitute for V7 V7 with Similar to V7 in minor Built on 3rd degree of major scale b9, #9, b13 Points to minor, may Darker than V7 in major with b6. resolve to major Count the root as 3 go back to 1 Brighter than Superlocrian with the n5 The third mode of major with a b6 yields an altered dominant scale. The fourth note is the enharmonic spelling of a major third. The E7 chord below is created using the Ab to sound like a G#. This sound is an excellent choice for altered dominants as it includes the b9, #9, and b13. Only one note differentiates this scale from superlocrian (7th mode of melodic minor). Superlocrian has a b5 and this scale has a n5. For most situations when a dominant chord has the b9, #9, and b13 alterations, the third mode of major scale with a b6 is a better choice than superlocrian based on the path of least resistance. When changing from one chord to the next, the listener tends to retain notes until changed by the next harmonic setting. All of the chords that typically surround the E7 usually have a Bn. An E7 is usually preceded by a Bm7 or a Bø7 chord and may be followed by an Am7 or an Amaj7. Using an E superlocrian with the Bb can be disruptive while the E third mode of C major b6 retains the Bn and still supplies the b9, #9, and b13. 14.24

Third mode of major b6

#9 E7 b 13

w w n www & c w w w bw w w w w # ww ? c w w w bw w w w


342

Chapter 14 14.25

Other Scales & Colors Comparison of Superlocrian and 3rd mode of C major b6 for E7

3rd mode of C major b6

&w R

w

w

bw

w

w

w

w

b9

#9

(3)

n5

b13

7

R

w

w

bw

bw

w

w

w

b9

#9

(3)

b5

b13

7

R

Superlocrian: 7th mode of F melodic minor

&w R

b

SECOND MODE of MAJOR SCALE with 6 Other Name: no common pseudonyms Applications: Chord How to find relative Symbol Major Scale with b6: Substitute for ii7 ø7 #2 Built on 2nd degree of major b6 b (Dm9 [ 5]) Count the root of the ø7#2 chord as 2, go back to 1.

Effect: Dark as substitute for ii7

This is another scale that may be used as a substitute for ii7 chords. When substituting for a ii7 chord, the sound is darker because the lowered fifth of the scale changes the minor chord to diminished. It retains the bright major ninth. The chord symbol sometimes appears as a m9[b5]. This is a misleading, but not uncommon shorthand. A minor chord must have a perfect fifth to be minor, the chord symbol m9[b5], suggests a minor chord with the contradictory lowered fifth. The second mode of major b6 is almost indistinguishable from locrian #2, the sixth mode of melodic minor. The only note that is different is the sixth degree. Dø7#2, as locrian #2 is based on the F melodic minor scale and has a Bb as the sixth degree. Dø7#2, as the second mode of major b6 has a Bn as the sixth degree. A Dø7 chord usually precedes a G7 chord and improvisers tend to avoid any kind of a B over the Dø7 chord, not because of a dissonance, but because the Bn is usually reserved for the upcoming chord as it identifies the G7 chord. For this reason, it may be difficult to determine whether the improviser or composer suggested one sound or the other as they may have avoided using the one pitch that determines the difference. 14.26

Second mode of C major b6

# Dø7 2

w b www & w w w w bw w w w w ? w w w w bw w w w

Cannonball Adderley used the Cø7#2 in the place of the Cm9 chord in the key of Bb major in ex. 14.27. The contrast between the darker Gb (from the parallel key of Bb minor) and the brighter Dn (suggesting B b major) was carried over to the F7 chord. Both the Cø7 and the F7 chords could have been derived from Bb major b6 as no other changes are suggested.


Chapter 14 14.27

#


343

Cø7#2 arpeggio

b œ œ b œ j b œj œ . & c bœ bœ bœ J œ Cø7 2

F13 9

b

FOURTH MODE of MAJOR SCALE with 6 Other Name: no common pseudonyms Applications: Chord How to find relative Symbol Major Scale with b6: Possible substitute for i m maj7 Built on 4th degree of major b6 maj or iv chords in minor m 9 Count the root of the chord as 4, go mmaj7#11 back to 1.

Effect: Bright as substitute for i or iv

A minor chord with a major seventh (mmaj7) can be derived from the fourth mode of major b6. This is the third scale available for a minor major seventh chord, the others being the first modes of harmonic and melodic minor. Harmonic minor is the darkest as it has a lowered sixth degree; melodic minor is a fraction brighter with its major sixth; fourth mode of major b6 is brighter still as it has a raised fourth degree which can be the #11 of the chord. The Fmmaj9 #11 is spelled like a polychord Em over an Fm. This is not a typical substitution for i or iv, but is a useful scale for melodic material when appropriate or called for by the composition. 14.28

Fourth mode of C major b6

w w w & w w bw w w ww w w bw w w w b w ?w w w

Fm maj 7

# Fm maj 7 11

Fm maj 9

www

N ww ww

b ww

b ww

The melodic material and the chord symbol suggest the fourth mode of major b6 as the correct sound for this passage. 14.29

&c Ó

Fourth mode of C major b6

# Fm maj 9 11

Œ œ œ n œ ‰ œj ‰ œj ‰ b œj œj œ.

. œ œ bœ

w

b

FIRST MODE of MAJOR SCALE with 6 Other Name: Harmonic Major Applications: Chord How to find relative Symbol Major Scale with b6: Possible substitute for I maj7b6 Begin the scale on the root of the in major and for maj7#5 chord major7 #5 chords E/C

Effect: Darker than major scale by b6


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A major seventh chord an be built on the first degree of the major b6 scale. The lowered sixth degree of a major b6 scale does not necessarily change the character of this chord. This scale can be superimposed over a I chord in major, and what changes is the passing tone between the fifth and seventh. This scale may be used for augmented major seventh chords with the enharmonic b 6 acting as the # 5. A Cmaj7b6 chord may sound like it has a suspension from dominant chord that proceeds it: The Ab from a G7b9 might suspend over the Cmaj7 before resolving. 14.30

C Major b6 (Harmonic major)

b Cmaj7 6

# Cmaj7 5

& w w w w w b w w w ww b ww ? w w w w w bw w w w

E/C

# www

# www

w

w

b

SIXTH MODE of MAJOR SCALE with 6 Other Name: no common pseudonyms Applications: Chord Symbol Augmented major seven or diminished maj7#5 major seven chords °maj7

How to find relative Major Scale with b6: Built on b6th degree of major b6 Count the root of the chord as 6, go up to 1.

Two chords can be generated from the sixth mode of major scale with a b6. Constructing with conventional thirds, it can create a scale for augmented major seventh chords (maj7# 5). A very dense augmented major seventh chord with a #9 can also be constructed. The first interval of the scale is an augmented second which sounds like a minor third. Using it as such, a diminished major seventh chord (°maj7) can be constructed. The diminished major seventh chord may appear as a triad over a bass note: G/Ab. 14.31

Sixth mode of C major b6

# A bm aj7 5

#9 # b A maj7 5

www

www w

ww w

ww w

wbw w w w w bw bw w

bw

bw

bw

w wbw w w w w & bw ?

G/A b

A b°maj7

b

SEVENTH MODE of MAJOR SCALE with 6 Other Name: no common pseudonyms Applications: Chord How to find relative Symbol Major Scale with b6: Substitute for vii°7 °7 Built on 6th degree of major b6 °7 with Count the root of the chord as 7, go added tones up to 1.


Effect: Brighter than the seventh mode of harmonic minor.

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A half diminished chord can be built on the seventh degree of a major scale. Lowering the sixth of the major scale allows for a fully diminished chord on the seventh degree. This B°7 diminished chord seems to point to major since the En is in the scale. This scale and chord sounds like an inversion of the G7b9 built on the fifth mode of major b6. 14.32

Seventh mode of major b6

b w w B°7 w w w w b ww &w w ?

bw w w w w w w w

ww

B°7 (add E)

B°7 (add G)

w w

n ww w b ww w

w # www

APPLICATIONS of MAJOR SCALE with a b6 in a COMPOSITION The composition View from the Bridge, utilizes all seven modes of a major b6 scale. (An extended arrangement of this composition can be found on the University of North Texas CD, LAB ’88). The chart below show the modes of major b6 and corresponding chord types. MAJOR with a b6 (Harmonic Major) 1st 1st 2nd 3rd 4th 5th 6th 6th 7th

CHORD TYPE Major 7 Major 7 b6 iiø7 Dominant 7 (#9, b9, b13, n5) Minor (major 7) Dominant 7 (b9, n13) Major 7 #5 °7, °maj7 °7

The sixth mode can be used for two types of chords and will both appear in the composition. The Eb major b6 is used for the first three measures with its second mode at (a.), fifth mode at (b.), and the first mode at (c.). The second and fifth modes of C major b6 appear at (d.) and (e.) before resolving to C major in m.7. The rhythm of this first phrase may be more interesting than the colorful scale choices. The first two measures are in 34. Hemiola is implied in mm.3-4, the rhythm implying a 32 over the 34. The implied meter change in mm.5-6 is 68 with the three eighth note groupings and dotted quarter notes. This rhythmic interplay continues throughout the composition. The sixth mode of G major b6 is implied for the Ebmaj7#5 at (f.) in m.9. The same G major b6 over a B7 would create a dominant that points to Em, so the Ebmaj7 #5 works like a functional dominant seventh chord in first inversion resolving to the Em.


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14.33a Bert Ligon: View from the Bridge

b b

b

B 13 9

Fø7

a. 3 &4 ˙

b.

bœ bœ

n˙

‰

b

e.

‰ œj œ œ

d.

&œ

bœ .

bœ .

E m aj7 5

b

j bœ œ

˙.

˙

Œ

Fm aj7

j œ œ œ œ œ œ œ

œ œ œ.

j œ

œ œ œ. Cm aj7/E

Em 9

f. ‰ & b œj œ œ œ

E m aj7

Cm aj7

œ.

#

b

c.

œ J

G13 9

Dø7

b

E m aj7 6

˙.

The third mode of G major b6 returns at (g.) over a B7 creating a dominant sound that points to E minor, but resolves to E major. The G# could be retained so that at (h.) an E major b6 scale is suggested. Two scales, E major and E major b6, alternate from mm.15-18, so that the only note that changes is the C # to Cn and back. The modes name is determined by the bass note so that (i.) is the first mode, (h.) is the fifth, and (j.) is the fourth mode. F# major b6 applies in mm.23-24 using the second mode at (k.) and the fifth at (l.). 14.33b Bert Ligon: View from the Bridge, cont.

b9

#

F ø7

B7

b 13

œ #œ œ œ œ œ

g.

& ‰ j œ #œ œ œ œ

#

Em aj7

F ø7/B

h.

˙.

˙

3

Em aj7

&Œ

j œ #œ

Am m aj 7/E

œ J

i.

#œ œ J

j œ #œ .

7

Am m aj 7

Em aj7

&Œ

‰ # œj œ œ

j.

#

Em aj7

œ

#œ œ œ œ œ œ

#

G ø7

F ø7/B

œ.

h.

˙. # b

C 13 9

l. œ œ # œ œ œ #˙ #œ œ

k.

Œ

‰

#œ œ

1

The G°7 chord in m.27 could be labeled an E°7 in first inversion functioning as the vii°7 of F minor. The sixth mode of Ab major b6 could be used at (n.). This is the second chord type in the piece that used the sixth mode. The Eb triad over the E in the bass at (o.) can also use the Ab major b6 scale. The Ab major b6 scale works well in the measures surrounding the F minor. F minor aeolian is the key of four flats, and the same four flats are in the Ab major b6 scale. A dominant sound associated with Ab major b6 is built on the third mode of the scale and that C7 points to F minor. In that sense, the G°7 and the Eb/E function like a C7 pointing to the Fm. The sixth mode of C major b6 could be applied to Abmaj7 #5 at (p.). The


Chapter 14


347

short return of the first phrase is set in different inversions of the same chords in mm.33-35. The Fø7/Bb at (q.) uses the fifth mode and the G/Ab at (r.) uses the fourth mode of Eb major b6. Earlier in the piece, at m.9, a maj7#5 chord was used to imitate a dominant chord in first inversion. The Gbmaj7#5 at (s.) uses the same scale, Bb major b6, as a D7 that points to G minor. 14.33c Bert Ligon: View from the Bridge, cont.

b

b

G m aj7

G m aj7/B

b

G°7

Fm 7

bœ bœ & b œj b œ b œ b œ b œ œj b œ œ N œj b œ n.

5

b

b b

E /E

‰ b œj

o.

&˙ 9

Fø7/B

q.

b

œ

‰

œ J

œ bœ

#

b

p.

˙.

œ œ

œ

b

n˙

‰

A m aj7 5

#

b

G m aj7 5

E m aj7/G

r.

bœ

j œ

‰

G/A

j œ bœ bœ

Dm 9

˙

b

bœ

&œ

D /E

œ

bœ bœ

˙

s.

‰ b œj b œ œ œ b œ

3

The last phrase of the piece moves between the Gm9 and its quasi-dominant chord, the Gbmaj7#5. The one note that changes between the sixth mode of Bb major b6 and G aeolian is the Gb to Gn in the bass; all other notes remain the same. The hemiola rhythm returns in mm.41-42. The ending restates the melodic material from m.36 and ends on a polychord: a G minor over an Ab minor, (t.). A label could be forced on this chord naming it an Abm maj9 #11, but the polychord may be the easier designation. The fourth mode of Eb major b6 applies for this sound. 14.33d Bert Ligon: View from the Bridge, cont.

#

b

Gm 9

Gm 9

˙.

˙.

s.

Gm 9

G m aj7 5

. &˙

s.

7

& œ.

#

b

G m aj7 5

Gm 9

bœ J

œ

#

b

G m aj7 5

s.

G m aj7 5

j bœ ˙ .

œ bœ œ .

‰

j bœ bœ bœ œ œ

b

#

˙

Œ

1

ENDING ONLY: F/F

&Œ

œ

#

#

F /E

bœ

b b

B /E

œ

b

D /B

œ

B/A

bœ

Gm

b

˙.

A m

t.

˙.

5


348

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SCALES of LIMITED TRANSPOSITION All of the scales and modes studied above can be transposed to any twelve pitch levels with a unique set of pitches. There are symmetrical scales that can be transposed a limited number times before repeating the same set of pitches. Three of these scales are frequently used in jazz improvisation: the diminished, whole tone and augmented scales. SYMMETRICAL DIMINISHED SCALE Other Name: Octatonic, Whole-Half, Half-Whole The diminished scale is symmetrically constructed of alternating whole-steps and half-steps. It is sometimes known as the octatonic scale as is contains eight pitches. The jazz community usually calls the scale half-whole or whole-half distinguishing the modes by their intervallic construction. Diminished scales can be transposed twice before reaching a scale with identical tones, so there are only three unique diminished scales. A whole-half scale is shown beginning on C in the first measure of ex. 14.34, and is transposed up to C# and D. Transposing to Eb yields a scale with the identical pitches as a scale starting on C. The whole-half diminished scale is associated with diminished chords and is often used as a substitute for functioning vii°7 chords and non-functioning diminished chords. The scale could be viewed as a fully diminished chord with leading tones to each of its chord members. Two fully diminished seventh chord as whole step apart can be derived from any diminished scale so that a chord may have added tones that are a whole step above members of the chord. An E-G-Bb-Db diminished seventh chord may have F#-A-C-E b as added tones. The diminished scale is brighter than the seventh mode of harmonic minor associated with functioning vii°7 chords. The whole-half scale satisfies the chord tones for any diminished chord, but should not arbitrarily replace the seventh mode of harmonic minor when playing functional vii°7 chords. The whole-half introduces conflicting information to the functional framework when applied over a functioning vii°7 chord. For instance, an E°7 is the vii°7 of F minor and would contain the notes: E - F G - Ab - Bb - C - Db. Substituting an E whole-half yields these notes: E - F# - G - An - Bb - C - Db - Eb. Several of the notes agree with the F minor sound, yet two notes, the F# and the An, contradict the Fn and Ab of F minor. This can be a very desirable result, but the scale should be used understanding the effect and arbitrary use should be avoided. Whole-half diminished scales are shown below. Each measure represents four possible roots due to the limits of transposition. The C diminished is the same as Eb, F#, and A diminished; the C# whole-half is the same scale as E, G, and Bb; D, F, Ab, and B diminished scales all share the same pitches. The eight tones in the scale necessitates enharmonic spellings. 14.34

Whole-half diminished scales

w & w w bw w #w #w w w w #w#w w #w w w bw w #w w w w w bw bw nw #w w bw w #w bw bw nw #w w w w w w ? w w bw w #w #w w w # w w w w #w#w The diminished scale lends itself to some very colorful chords that go beyond what is available from functional vii°7 chords. A few are shown in 14.35 over a D°7.


Chapter 14 14.35 D°7


349

Colorful chords derived from D whole-half diminished D°7(add C # )

D°7(add E )

& # ww w

# # www

w # ww

? w

w w

w w

D°m aj7(add E )

w # n # www w w

D°7(add G)

D°7(add B b)

n ww w

b ww w

# www

# www

The half-whole diminished scale is associated with dominant chords. Transposition works the same for half-whole as with whole-half. A C half-whole is the same scale as Eb, F#, and A half-whole diminished scales. 14.36

Half-Whole dominant scales

w & w b w b w n w # w w w b w w # w w w w w b w b w n w # w wb w w # w # w w w w w ? w b w b w n w # w w w b w w # w w w w w b w b w n w # w wb w w # w # w w w w Many scales available for dominant substitutions have clear functions, pointing to either major or minor, working as a tritone substitution or a backdoor dominant. The half-whole dominant scale is ambiguous and can found substituting for any kind of dominant. The alterations and upper extensions available are numerous and often contradictory. The C7 shown below has the following alterations and extensions: b9, #9, #11, and n13. The presence of the b9 and #9 (Db and Eb) suggests the C7 points to F minor. The n13 (An) indicates F major as the goal. The #11 (F#) suggests the C7 is either a tritone substitute for F#7 pointing to B minor or a backdoor dominant moving up to D major. The ambiguity is part of the attraction to the half-whole diminished scale as a dominant substitute. 14.37

b C7 9

&

w b b ww

? c ww

Colorful dominant chords available from half-whole diminished scale

# 11

# 11

C7b 9

C7# 9

b b # www

# b # www

ww

ww

b9

C13# 11

b b # wwww ww

# C7 9

b9 #9

C13# 11

b # ww

www # # w

ww

b b wwww w

Another attractive feature of diminished scales is that melodic shapes can be transposed and sequences to three other pitch levels within scale. Two three-note motives are sequenced at the interval of a minor third in ex. 14.38.


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14.38 C7

&c

F

œ# œœ œ œbœ # œ œ # œ œ #œ

WHOLE TONE SCALE Other Name:

C7

b œ œb œ œ ˙ .

Œ

F

≈ b œb œ œ œ b œ# œ œ œ œ #œ œ œ b œbœ œ ˙ .

Œ

no common pseudonym

The whole tone scale can only be transposed once. There are only two mutually exclusive six note scales constructed by whole-step intervals. The whole tone scale is associated with augmented triads and dominant chords with augmented fifths. It is not widely used, but can be an effective color. The dominant chord tends to want to resolve to major. The n9 indicates major and the #5, when it resolves up in the direction in which it has been altered, resolves to a major third. The #5 (G#) of the C9#5 chord below, resolves up to an An, the third of F major. There is a slight difference between a C9#5 and C9b13, even though the #5 and b13 are enharmonically identical. The difference is revealed by the resolutions: The #5 wants to resolve up to the third of the next chord; the b13 moves down to the ninth. When two or more dominants separated by a whole-step are present in a progression, the whole tone scale may be used to connect them. For instance, a repeating progression of C7 - Bb7 - Ab7 - Bb7 could use the same whole tone scale. 14.39

&w ?w

Whole Tone Scale

w

w #w #w

bw

w

w

w #w #w

bw

w

14.40

# C7 5

bw bw

w

w

w

w bw

bw bw

w

w

w

w bw

Chords available from the Whole Tone Scale

b C7 5

# C9 5

# ww

b ww

# www

# ww # ww

? c b ww

bw w

bw w

bw w

&

AUGMENTED Other Name:

## C9 5 11

no common pseudonym

The augmented scale is an unusual scale of limited transposition. It is constructed with the alternating intervals: m3-m2-m3-m2-m3-m2. The unusual construction limits its use in traditional settings. Improvisers and composers who use this scale and sonorities from this scale may superimpose it over traditional settings for effect or create new music suited for these sounds. The diminished scale could be con-


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351

structed by adding a leading tone to the four diminished chord tones. The augmented scale is similarly constructed by adding leading tones to an augmented chord. The colorful scale has been used by many composers of the twentieth century including Béla Bartók as shown in ex. 14.42. 14.41

Diminished Scale =

Augmented Scale =

°7 chord with leading tones

&

˙

œ

14.42

& 34

Augmented chord with leading tones

œ #˙ #œ

œ b˙

Augmented Scale 11

œ œ nœ œ bœ œ # œ b œ n œ œ œ

˙

œ

˙ œ

˙ #œ

œ

œ b˙

˙

˙

œ b œ n œ œ # œ 11œ œ n œ œ b œ œ œ

Because of its symmetry there are only two modes of the augmented scale. The scale can only be transposed to four unique pitch sets as shown below. 14.43

Augmented Scales:

C, E, & Ab

D, F#, & Bb

Db, F, & A

Eb, G, & B

˙ ˙ b˙ & ˙ #˙ ˙ ˙ #˙ ˙ ˙ b˙ ˙ ˙ #˙ ˙ ˙ b˙ ˙ ˙ #˙ ˙ b˙ #˙ b˙ b˙ n˙ b˙ n˙ b˙ b˙ #˙ ˙ b˙ b˙ n˙ b˙ n˙ ˙ b˙ ˙ ˙ # ˙ ? ˙ #˙ ˙ ˙ #˙ ˙ ˙ b˙ ˙ ˙ #˙ ˙ ˙ ˙ The most common chords derived from the augmented scale are a major 7 chord with a #5 and a minor chord with a major seventh. Some unusual chords may be created that may be difficult and misleading for traditional names. The last chord below might be better labeled a B augmented triad over a C augmented triad. 14.44 Em maj 7

Chords derived from the C, E, & Ab Augmented Scale Cm maj 7

A bm maj 7

# Em aj7 5

# Cmaj7 5

# A bmaj7 5

#9 # Cmaj7 5

& c # ww w

b www

b b www

b n b www

n # www

www

# n www

?c w

w

bw

nw

w

bw

# www

The augmented scale is sometimes used over conventional chords for effect even though there are conflicting tones. Three major triads derived from the augmented scale are used over the C7 in the line in


352

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ex. 14.45. The C triad obviously has no conflicts with C7. The Ab suggests the b13 (Ab) and the #9 (Eb). The E triad contains the Bn, which contradicts the dominant seventh of C7, and adds a spice to the line. 14.45

Augmented scale over a Dominant chord C7

&c Ó

F

bœ œ œ œ bœ œ œ bœ œ œ #œ œ nœ Œ ‰ J œ œ œ bœ œ . (C)

(A b)

(E)

j œ Ó

The inversion of the line can be used over a minor chord. The three major triads when inverted become Cm, Em and Abm. There are notes in ex. 14.46 that momentarily contradict the Cm, but as in the previous example, symmetry and linear motion are more important to the melodic success. 14.46

Augmented scale over a Minor chord

Cm

(A bm)

(Cm) œ b œ œ œ c ‰ œ œ œ & œ œ œ bœ j œ œ bœ œ nœ (Cm)

(Em)

Œ

Ó

The best use for an augmented scale may be to depart from the traditional sounds. In the ex. 14.47, all four of the augmented scales are used over a C pedal, each giving different color to the passage. All of the scales contain some tones that may related to C, but the line is held together more from motivic relationships that tones related to a tonic pitch. Four augmented scales occur in the following example. Eb augmented scale (a., d., h., k. and l.), C# augmented scale: (b., f. and j.), C augmented scale: (c. and g.), and D augmented scale: (e. and i.). 14.47

Augmented scales over a C pedal

C Pedal

&c

bœ .

œ ˙ J

& œ . # œj œ

‰ b Jœ œ œ œ œ b œ œ b œ . b œj ˙ . ‰ n œJ œ # œ n œ œ b œ œ

& ‰ j #œ œ œ #œ œ bœ œ bœ nœ ˙ œ bœ Ó & œ #œ nœ œ #œ œ œ bœ nœ bœ œ bœ


Œ ‰ b Jœ œ œ b œ œ

. ‰ j ‰ j œ œ bœ ˙ œ bœ b˙ j ‰ œj # œ œ œ ‰ b œ œ œ b œ ‰ œj # œ b œ Œ

#œ œ #œ bœ œ nœ bœ œ œ b œ œ œ œ #œ

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353

CHORD/SCALE RELATIONSHIPS REVIEW The following charts catalog all of the previously discussed chord/scale relationships sorted by scales, and then sorted by chord type. LIST of SCALES with POSSIBLE DERIVED CHORDS: MAJOR SCALE 1st 2nd 3rd 4th 5th 6th 7th

CHORD TYPE Major 7 Minor 7 Minor 7 Major 7 Dominant 7 Minor 7 ø7

HARMONIC MINOR 1st 2nd 3rd 4th 5th 6th 7th

CHORD TYPE Minor (major 7) ø7 Major 7 #5 Minor 7 Dominant 7 Major 7 °7

MELODIC MINOR 1st 2nd 3rd 4th

CHORD TYPE Minor (major 7) Minor 7 (b9) Major 7 #5 Dominant 9 #11 Lydian dominant Dominant 9 b13 ø7 #2 Dominant 7 (#9, b9, b13, b5,)

5th 6th 7th

MAJOR with a b6 (Harmonic Major) 1st 1st 2nd 3rd 4th 5th 6th 6th 7th

CHORD TYPE Major 7 Major 7 b6 iiø7 #2 Dominant 7 (#9, b9, b13, n5) Minor (major 7) #11 Dominant 7 (b9, n13) Major 7 #5 °7, °maj7 °7

1/2W DIMINISHED

CHORD TYPE Dominant 7 (b9, #9, n13, #11)

W1/2 DIMINISHED

CHORD TYPE °7, °7 with added notes

WHOLE TONE

CHORD TYPE Dominant 7 (9, #5)

AUGMENTED

CHORD TYPE Major 7 #5 Major 7 minor (major 7)

LIST of CHORDS with POSSIBLE SCALE SOURCES:

1. 2. 3. 4. 5.

CHORD TYPE Major 7 Major 7 Major 7 Major 7 Major 7

SCALE SOURCE Ionian; 1st mode Major Lydian; 4th mode Major 6th mode Harmonic Minor Major with a b6 Augmented

CHARACTERISTICS n4, 7 #11 #9, #11 b6 or b13 Maj/Min3, 5, #5 or b6

6. 7. 8. 9. 10.

CHORD TYPE Minor 7 Minor 7 Minor 7 Minor 7 Minor 7

SCALE SOURCE CHARACTERISTICS Dorian; 2nd mode Major Major 6, m3 b2, b6 Phrygian; 3rd mode Major b6, b3 Aeolian; 6th mode Major #4 4th mode Harmonic Minor Dorian b 2; 2nd mode Melodic b2 Minor


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11. 12. 13.

CHORD TYPE ø7 ø7 ø7

14.

ø7

15. 16. 17. 18.

CHORD TYPE Minor/Major 7 Minor/Major 7 Minor/Major 7 Minor/Major 7

SCALE SOURCE 1st mode Harmonic Minor 1st mode Melodic Minor 4th mode Major with a b6 Augmented

CHARACTERISTICS b6 n6 #11 Maj/Min3, 5, #5

SCALE SOURCE 3rd mode Harmonic Minor 3rd mode Melodic Minor Major with a b6

CHARACTERISTICS #5, n4 #5, #11 n5, b13

22. 23.

CHORD TYPE Major 7 #5 Major 7 #5 Major 7 #5 Major 7 b6 or b13 Major 7 #5 Major 7 #5

6th mode Major with a b6 Augmented

#5, #9, #11

24. 25.

CHORD TYPE Diminished 7 Diminished 7

SCALE SOURCE 7th mode Harmonic Minor Diminished W 1/2

26. 27.

Diminished 7 Diminished 7

7th mode Major with a b6 6th mode Major with a b6

CHARACTERISTICS Traditional sound Tones whole step above each chord member available

28. 29. 30.

CHORD TYPE Dominant 7 Dominant 7 Dominant 7

32.

Dominant 7

33.

Dominant 7

35. 36. 37. 39.

Dominant Dominant Dominant Dominant

19. 20. 21.

7 7 7 7

SCALE SOURCE CHARACTERISTICS b5, b2 Locrian; 7th mode Major b5, b2 2nd mode Harmonic Minor # Locrian 2; 6th mode of Melodic #2 Minor #2 2nd mode Major with a b6

SCALE SOURCE Mixolydian; 5th mode Major 5th mode Harmonic Minor Lydian b 7; 4th mode Melodic Minor Super locrian; 7th mode Melodic Minor Mixolydian b6; 5th mode Melodic Minor 5th mode Major with a b6 3rd mode Major with a b6 Diminished 1/2 W Whole Tone

Maj/Min3, 5, #5

CHARACTERISTICS n9, n5, 13 b9, b13 9, #11, 13

b9, #9, b13, b5 9, b13 13 b9 b9, #9, b13, n5 b9, #9, #11, n13 9, #5

There are nine individual scale sounds for a dominant chord. Each has specific alterations that imply several possible resolutions. These dominants may point to the major or minor key a perfect fifth below, function as a tritone substitute dominant resolving down a half-step to a major or minor key, or act as a backdoor dominant resolving up a whole-step to a major key. The destination of some dominants may be unclear because of certain ambiguous chord tones. The nine possible dominant sounds for C7 are shown below.


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A C7 built on the dominant of F major scale will obviously point to the key of F major. The chord may have a n5, n13 and n9. 14.48

5th mode of F Major Scale: points to F major C13

& w w w w w w b w w ww bw ? w w w w w w b w w ww

A C7 built on the dominant of F harmonic minor points to F minor. The chord may have a n5, b13 and b9. This sound may resolve to F major, but with an Ab and Db, points to F minor. 14.49

5th mode of F Harmonic Minor: points to F minor

b9

C7b 13

& w b w w w w b w b w w b b ww bw ? w b w w w w b w b w w ww

A C7 built on the fifth mode of F melodic minor may point to F major or F minor. The n9 (Dn) points to F major; the b13 (Ab) points to F minor. The context surrounding the C7 will help determine the expected resolution. 14.50

5th mode of F Melodic minor: points to F major or F minor

b C9 13

& w w w w w b w b w w b ww bw ? w w w w w b w b w w ww


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A C7 built on the third mode of Ab major b6 points to the key of F minor. The Db, Eb, Ab and Bb are all tones common to F minor and offer these alterations for the C7: b9, #9, and b13. Any dominant sound that points to minor may resolve to major. 14.51

3rd mode of Ab major b6: points to F minor

#9

C7b 13

& w b w b w b w w b w b w w b b ww bw ? w b w b w b w w b w b w w ww

A C7 chord built from the seventh mode of Db melodic minor contains the same tones that pointed to F minor as the Ab major b6, Db, Eb, Ab and Bb, and the additional altered tone Gb. This sound may resolve to F major even though it points to F minor. 14.52

7th mode of Melodic Minor: points to F minor C7alt.

b & w b w b w b w b w b w b w w b b www bw ? w b w b w b w b w b w b w w ww

A C7 constructed from the fifth mode of F major b 6 suggests a resolution to F major. The An is the strongest indicator as the n13 of C7 and the major third of F. The Db may suggest F minor, but the An exerts the strongest force indicating a resolution to F major. 14.53

5th mode of F major b6: points to F major

b C13 9

& w b w w w w w b w w b ww b w ? w b w w w w w b w w ww

A C7 constructed from a half-whole diminished scale is an ambiguous pointer. It points many places and definitively to no single place. A case can be made for several resolutions, its ambiguity being one of the attractive characteristics of this sound. The Db and Eb, the b,9 and #9 of C7, suggest a resolution to F minor. The An, n13 of C7, points to F major. The F# suggests the chord may be a tritone substitute for F#7 pointing to B minor (because of the Gn and A n) or to B major (the enharmonic Eb = D#, the major third of B) The F# also suggests the possibility of the C7 chord being a backdoor dominant to D major.


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357

Half-Whole Diminished: could point to F major or minor, B major or minor, D major

b9

# C13 9

C13# 11

& w b w b w n w # w w w b w w b # www b w ? w bw bw nw #w w w bw w ww

b ww w

bw # www

bw w

b b www w w

The C7 constructed from the whole tone scale points to F major. The Dn (n9) suggests the key of F major. The scale does not contain the major third of F, but contains a G#, a pitch that typically resolves up to an An. 14.55

Whole-Tone Scale: points to F major.

# C9 5

& w w w # w # w b w w # ww b w ? w w w # w # w b w w ww

Difference between a #5 & b13? A C9b13 and a C9#5 sound exactly the same when played out of any musical context. Is there a difference? The difference can be determined only in a musical context. Notes tend to continue in the direction in which they have been altered so a b13 wants to resolve down to the ninth of F, and the G# wants to resolve up to the third. 14.56

b C9 13

C9 with #5 or b13: context determines difference

# C9 5

& b www bw

#w b www

www bw

? w

w

w

b C9 13

b www bw w

# C9 5

ww ww

w b www

#w b www

w

w

w

ww ww w

The C7 built from the fourth mode of G harmonic minor does not point to F major or F minor. The F# suggests that this sound may be a tritone substitute dominant for F#7. The Dn and Gn suggest that the C7 as a tritone substitute chord for F#7 is pointing to B minor and not B major. It could be used to resolve to B major, as all dominants that point to minor may resolve to major. These same pitches over an F#7 would be called superlocrian, the seventh mode of G melodic minor, which explains whey this sound over C7 points to B minor. This chord/scale sound may occur in this progression: Gmaj7 - C9# 11 Dmaj7, where the C7 is acting as a backdoor dominant pointing to D major.


358

Chapter 14 14.57

Other Scales & Colors 4th mode of G Melodic Minor: points to B minor or D major

# C13 11

& w w w # w w w b w w # www b w ? w w w # w w w b w w ww HEXATONIC OPTIONS

Some of the scale choices are very similar with only one note difference between two scales. C7 with #9 and b13 could be derived from 3rd mode of Ab major b6 or 7th mode of Db melodic minor. The seventh mode of Db melodic minor contains Gb and the third mode of Ab major b6 contains Gn. Another option is to use a hexatonic scale (six tones) which omits G. 14.58 Superlocrian (7th Db melodic minor):

3rd mode of Ab major b6:

Hexatonic Scale without a G:

& w bw bw Nw w bw bw w w bw bw Nw bw bw bw w w bw bw Nw ? w bw bw Nw w bw bw w w bw bw Nw bw bw bw w w bw bw Nw

bw bw w bw bw w

A Cø7#2 could be derived from the sixth mode of Eb melodic minor or from the second mode of Bb major b6. The one note distinguished the two scales is the A or Ab. An option is to use a hexatonic scale eliminating any type of A. 14.59 Locrian #2 (6th of Eb melodic minor):

2nd of Bb major b6:

Hexatonic scale without A:

& w Nw bw w bw bw bw w w Nw bw w bw Nw bw w w Nw bw w bw ? w Nw bw w bw bw bw w w Nw bw w bw Nw bw w w Nw bw w bw


bw w bw w

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359

DETERMINING the APPROPRIATE SOUND Chords have been inventoried by scales and modes; and scales cataloged by chord types in the preceding sections. The most important aspect of chord/scale relationships is not their relationship to each other, but to actual musical environments. Chord/scales must be understood in a musical context. Choosing the correct form of a verb is determined by mood, number, person, tense, and voice. Choosing the appropriate chord/scale is the musical analog of verb conjugation, and the choices are determined by melodic implications, chord symbols and context. A responsible improviser or composer would not arbitrarily pick from the previous charts and plug in sounds at random any more than a writer would compose sentences by picking from lists of possible parts of speech. A responsible improviser does not pick a favorite sound for a ii7 chord or a favorite sound for a dominant chord and use it for all situations. A responsible improviser usually determines the expected sound before choosing to impose substitute or alternative sounds. By understanding the musical expectations, a musician can better choose alternative elements and sounds to play against or support those expectations. Most musical settings provide enough information to accurately determine the appropriate chord/scale sound. Information is provided by the chord symbol, the melodic implications, and the context in which the chord occurs.

CHORD SYMBOL & CONTEXT A chord symbol may suggest four, five and even seven notes of the scale. The other remaining scale tones can be decided from the context and melodic implications. Context refers to the preceding music; these are the sounds that the listeners (listeners includes the musicians) have just heard, and these tones remain with the listener until something in the music changes those expectations. The chord symbol “Fm7” reveals four notes of a seven note scale: F - Ab - C - Eb. Three notes are left to be determined: some kind of a G, B, and D. Fm7 could be from the keys of three, four and five flats, so the G could be Gn or Gb; the B would be Bb in any of those contexts, and the D could be Dn or Db. Melodic material in the context may include one or more of these pitches. Chords that preceded the Fm7 will likely reveal the identities of the remaining three notes. Look for chords that precede the Fm7 whose chord tones include a G or D as the root, third, fifth, seventh or ninth. Cm9 that might precede the Fm7 chord has Gn as the fifth and Dn as the ninth and therefore suggests the key of three flats for the Fm7 chord. Ebmaj7 or Gm7 suggest Gn and a Dn, and the key signature of three flats. Fm7 preceded by a Dbmaj7 and Gbmaj7 suggest Gb and Db, and the key signature of five flats. An Eb9 chord suggests the key signature of four flats with a Gn and Db. The symbol for a ninth chord supplies five tones, with only two scale tones left to be determined of the seven tone scale. The two remaining tones can be decided by the melodic material or the context. A Gmaj9 suggests five notes of a scale: G-B-D-F#-A. Two notes of the scale not given by the chord symbol (C or C# and E) can be determined by the melodic material or context. Look for some chords that precede the Gmaj7 that include either a C# (C#ø7, A7, F#m7 and Dmaj7) or Cn (Cmaj7, Am7, F#ø7 and D7). The chord symbol “C13#11” discloses seven pitches. The seven pitches can be described as a chord (CE-G-Bb-D-F#-A) or a scale (C-D-E-F#-G-A-Bb).

MELODIC IMPLICATIONS & CHORD SYMBOL Compositions reveal specific chord and scale sounds in a combination of chord symbols and melodic content. There are times when the chord symbols are quite specific and others when the chords do not clearly identify upper extensions or a complete scale. If a dominant seventh chord is the only symbol, and no extensions or even the ninth are identified, the performers must decide which of the many available sounds are the most appropriate. The choice should not be made arbitrarily. A seventh chord


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only suggests four notes of a seven note scale. The composer or arranger may assume the performer can determine the appropriate sound and scale choice from the context and melodic implications. A C7 with An and Dn in the melody does not suggest some exotic dominant scale with alterations, but C7 as the V7 of F major, using the F major scale. Another C7 with An, Dn and the additional tone F# suggests the very specific C lydian dominant scale. A C7 chord may be labeled with the alterations #9 and b13. Two scales are possible with those alterations: superlocrian (seventh mode of Db melodic minor with a Gb) or the third mode of Ab major b6 (with a G n). If there is a Gn in the melody, then the composer has made the choice for the performer. The context may be overruled by the melody. There will be instances that the composer has included notes in the melody to contradict expectations. A C7 in the progression Gø7 - C7 - Fm7, even without any indicated alterations, would be assumed to have a b13 and b9 in the context of F minor and the key of four flats. If the melody contains a Db combined with an F# and An, then the composer has suggested the half-whole diminished scale rather than the expected fifth mode of harmonic minor. A single note can make the difference between one sound and another. A single pitch determines major and minor triads or distinguishes mixolydian from dorian. One significant pitch in the melody can indicate enormous differences in musical expectations. A C9 would typically be the V7 of F major. If F# is significantly present in the melody, then the C9 chord is a C9#11, the tritone substitute dominant to B minor or the backdoor dominant to D major, two completely different expectations than F major. Major seventh chords typically function as I or IV and call for a major or lydian sound even in settings out of the major/minor traditions. The Abmaj7 and the Gm7 chord in ex. 14.60 could be derived from the key of three flats as IV and iii in the key of Eb. The Dn in the melody confirms that Abmaj7 is not a I chord. The Gm7 chord cannot be a iii7 chord in Eb because of the melody note An. The Gm7 chord must be from the key signature of one flat (dorian) or two flats (aeolian). The most appropriate choice is G aeolian as the change from three flats to two flats is the path of least resistance: the listener retains the Eb suggested in the previous measure and nothing has occurred in the Gm7 measure to change that expectation. Ab lydian is determined by melodic implications, the Gm7 aeolian by melodic implications and context. 14.60 A bm aj7

œ œ bœ œ œ bœ œ n˙ . &c

Gm7

Œ

The same two chords occur in ex. 14.61 with different results. The Abmaj7 - Gm7 cannot be IV - iii in the key of Eb. The Abmaj7 is confirmed to be a lydian sound with Dn in the melody. There is no A of any kind in the melody to contradict the Ab that precedes it, but the strong presence of the En in the melody indicates that this must a be G dorian sound, which is the key of one flat. Both appropriate sounds are determined by melodic implications. 14.61 A bmaj7

Gm7 œ n œ œ . œ ‰ J œ œ œ œ œ œ ‰ bœ & c bœ J J


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361

The Dn in the melody in ex. 14.62 again confirms the lydian sound (three flats) for the Abmaj7 chord. There are no notes in the melody over the Gm7 that contradict the key of three flats so the Gm7 and Ab chords could be bracketed in the key of three flats or as an Ab lydian sound followed by a G phrygian sound. 14.62 A bm aj7

bœ . & c œ œ bœ œ œ œ œ ˙

Gm7

Œ

These two chords cannot be bracketed by one sound since no key signature contains a Cm7 and an Am7 chord. The Dn over the Cm7 eliminates a phrygian sound and leaves a choice between C dorian (2b) or C aeolian (3b). There are no clues within the measure to rule out one sound in favor of the other. A Bn is indicated by the Am9 chord symbol and an Fn can be retained from C dorian or aeolian, so the appropriate sound for Am9 is aeolian (no #s and no bs). If the first scale is C dorian, which contains an An that anticipates the Am9, then only two pitches change from the first to the second measure: the Eb and Bb change to Bn and En. 14.63

. &c ˙

Cm 7

œ bœ

˙.

Am 9

Œ

A major seventh chord that begins a progression will probably sound like a I chord unless somehow contradicted. The contradiction could be a raised fourth degree in the melody or other harmonic pointers. The Ebmaj7 in ex. 14.64 would probably be interpreted as a major or ionian sound since there is no An to contradict that sound. An Aø7 chord follows, but the context that matters in making scale selections concerns sounds that precede the chord/scale in question. This could simply be a I chord followed by a iiø7 of G minor if judging by the chord symbols. The melody reveals a Bn over the Aø7 which indicates an A locrian #2 sound, the sixth mode of C melodic minor. 14.64 E bm aj7

Aø7

& c œ bœ œ œ œ bœ œ œ œ n˙ . The Am7 in ex. 14.65 must be an aeolian sound indicated by the context of the Fn in the preceding measure and the Bn in the melody. Is the E7 based on the harmonic minor scale? The E7 has a Gn (#9), Fn (b9) and Cn (n13). Two scales have a #9, b9 and n13: the superlocrian (seventh mode of F melodic minor), and the third mode of C major b6. There is no Bb to indicate a superlocrian sound, so the best choice for clarity is the third mode of C major b6. Looking for the path of least resistance confirms the choice. One note changes from third mode of C major b6 to A aeolian: the Ab to An. Two notes would have to change from E superlocrian to A aeolian: the Ab and Bb up to An and Bn.


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14.65 E7

& c œ œ ‰ Jœ œ

Am 7

œ œ œ.

œÓ J

The D7 in ex. 14.66 could be a lydian dominant sound (fourth mode of A melodic minor) with the n13 and #11 in the melody. The F7 has the same chord tones in the melody and could also be lydian dominant (fourth mode of C melodic mode.) Another alternative is to bracket the D7 and F7 with a halfwhole diminished scale which is suggested by the two chord symbols and the melodic material. The D7 (D - F# - A - C) plus the F7 (F - A - C - Eb) plus the melody notes (G#, B and F#) create the scale: D - Eb - F - F# - G# - A - B - C - D. The E7, with the b13 and b9 could be the fifth mode of harmonic minor or the third mode of C major b6. An E superlocrian might sound odd with a Bb since the two preceding measures and the final measure contain a Bn. The Am7 follows an E7 with a b 9 (Fn) and with Bn in the melody, so it must be aeolian. 14.66 D7

& c œ.

F7 j œ œ #œ œ ‰ J œ .

E7

œ œ œ ‰ œ ˙ J J

Am 7

œ œ ‰ Jœ œ .

j œÓ

The Bn in the melody indicates the Fmaj7 is a IV chord or a lydian sound (no sharps and no flats) and not a I chord in ex 14.67. The Dm7 must be dorian with the Bn in the previous measure and the En in the melody. Both chords can be bracketed with the key signature of no sharps and no flats. 14.67 Fmaj7

&c ˙

œ œ ‰ Jœ ˙ .

Dm 7

Œ

A D7 with a b9 in the melody might indicate the fifth mode of harmonic minor, but the Bn suggests some other sound may be more appropriate. Two scales have a b9 and n13: half-whole diminished and the fifth mode of G major b6. None of the more unusual alterations associated with half-whole are present, so G major b6 is the logical choice. The Gmaj7 should be G major scale: no listener would expect the Eb to carry over, and there is no Eb in that measure. 14.68 D7

Gm aj7

& c ‰ œjb œ œ œ œ ‰ Jœ ˙ .

Œ

The chord symbol and melody identify Db lydian augmented (third mode of Bb melodic minor) as the scale sound for Dbmaj7#5 in ex. 14.69. The chord symbol and melody indicate lydian dominant (fourth mode of Db melodic minor) for the Gb9#11. F aeolian can be inferred from the context and the melody: the Db in the previous measures rules out F dorian, and the Gn in the melody rules out phrygian.


Chapter 14 14.69

# D bm aj7 5

& 34 œ

bœ

œ

# G b9 11

bœ

œ

bœ


363

Fm 7

bœ

n˙

The first Dm7 in ex 14.70 could be aeolian or dorian as there is no Bn or Bb to make a determination. The Ebmaj7 must be lydian (2bs) in the context of chords and melodic line containing An. The second Dm7 with the 9 (E) in the chord symbol and the Bb in the previous measure suggests D aeolian (1b) and so that may be the best choice retrospectively for the first Dm7. The Dbmaj7 should be treated with as lydian (4b) as there have been Gns in the preceding measures. 14.70

b

E maj7 j 3 œ & 4 œ œ ‰ J ‰ œ b˙ Dm 7

Dm9

œ

˙

D bm aj7

œ

˙.

The Cn in the melody and the F# implied by the chord symbol indicates E aeolian in the first measure of ex. 14.71. The An, a scale tone of E dorian, is not canceled so Eb lydian (2b) is the logical choice for the second measure. 14.71 Em9

&c œ

E bmaj7

‰ œJ œ œ ‰ œJ ˙ .

The Eb chord in the first measure of ex. 14.72 must be lydian with the An melodic note. A Gm7/C chord symbol always indicates mixolydian (a ii7 chord over a dominant bass note). Since C mixolydian precedes the Fmaj7, they can logically be grouped into the same key signature of one flat. 14.72 E bm aj7

&c Œ

bœ œ œ œ œ

Gm 7/C

œ

˙

Fmaj7

œ œ ˙

Ó

When Ebmaj7 is followed by Abmaj7, as in ex. 14.73 they sound like the I and IV chords in the key of Eb. The D7 to Gm7 could be treated traditionally like a V7/vi to vi so that the D7 could be the fifth mode of harmonic minor. Other options for the D7 chord include the third mode of Bb major b6 which has the A n which anticipates the D7 measure, or D superlocrian (seventh mode of Eb melodic minor) which retains the Ab from the previous measure.


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14.73

Bert Ligon: Excerpt from Ouzel Falls

E bm aj7

A bmaj7

& 34 œ

œ

œ

bœ

j D7. ‰ nœ bœ

bœ

Gm7

œ

#œ .

˙

The following composition utilizes several sounds not available from the major or harmonic minor scales. The Ebmaj7#5 and Dbmaj7#5 chords are Lydian augmented (third mode of C and Bb melodic minor) with the augmented fourth and fifth degrees present in the melody. The Dø7#2 is locrian #2 (sixth mode of F melodic minor). The C7susb9 could be a phrygian mode or retaining the An from the previous two measures, continue the Bb melodic minor making that measure C dorian b2. The chord symbol, C7 with the b5 and b9, calls for C superlocrian (seventh mode of Db melodic minor) in m.8. The chord symbol, Fmmaj 7, and En in the melody indicate F melodic minor in m.9. F melodic minor continues through mm.11-12 over the Bb9#11 lydian dominant chord. The Am9 chord symbol and the previous Fn makes mm.12-14 A aeolian. In this context, the Bb chord over the A bass note must be A phrygian. This sixteen measure phrase used four different melodic minor scales: C, F, Bb, Db melodic minor. 14.74a Bert Ligon: First section of Silhouette

# E bmaj7 5

& 34 œ

œ

˙

œ

œ

œ

# D bm aj7 5

1

bœ

œ J

bœ

œ œ ‰ œj b˙ # B b9 11

Fm maj 7

&œ

bœ œ œ

˙

‰

‰

j œ

˙. . œ

b5

C7b 9

bœ .

œ

œ J œ

B bm aj7/A

Am9

œ œ œ

j œ œ

œ œ œ œ ‰ œj ‰ œj œ

9

. &œ

œ. b C7sus 9

&‰ œ 5

# Dø7 2

˙

‰

j œ

˙.

œ

Ó

13

The B section of Silhouette begins with an Fmaj7#5 chord indicating F lydian augmented (third mode of D melodic minor), which leads to F# m7 aeolian. The Fmaj7# 5 chord sounds convincing as a chord pointing to F#m. This is because C#7, the dominant of F# minor and its altered sound, superlocrian, is a relative of Fmaj7#5 sharing the same D melodic minor scale. The chord that follows the next Fmaj7#5 chord is Dmmaj7 so the D melodic minor carries through both measures. The D melodic minor will not work for the Fmaj7#5/Bb chord. The Bb has canceled the Bn, so this must be the sixth mode of D harmonic minor. The D harmonic minor continues through the Eø7/A chord.


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14.74b Bert Ligon: Second section of Silhouette

# Fm aj7 5

˙.

œ

# Fm aj7 5

Dm maj 7

& 17

& 21

œ

œ

#œ

œ #œ

œ

œ j œ

œ.

œ

# F9 11

4

œ

œ

œ

# A bm aj7 5

&œ

˙.

œ

# Fm aj7 5/B b

Eø7/A

˙.

˙

œ

#œ ‰

œ œ

# A b9 11

Cm maj 7

. &˙ 25

F #m 9

4

œ

œ

˙.

œ

C/G

œ.

œ

j œ

œ

bœ

Dø7/G

Œ

œ

œ

˙.

29

IMPOSITIONS over TRADITIONAL FRAMEWORKS Conscientious improvisers develop the skills to identify and accurately reproduce what the composer and musical situation calls for. With some experience, personal choices from the long list of possibilities may be imposed over traditional frameworks. The following is a typical progression in the key of Bb major. All the chords are derived from the major minor system. The G7 is a secondary dominant of C minor, calling for C harmonic minor, but all other chords are from the Bb major scale. This progression will be used as a simple framework over which other colorful sounds will be applied. 14.75

B bmaj7

b & b c www

Traditional progression: E bm aj7

ww w

? b cw w b

I - IV - iii7 - V7/ii - ii7 - V7 - I Dm7

b G7 9

ww w

b ww nw

ww

w w

ww

b & b ww w

F13

B bmaj7

ww w

ww w

www

? b ww b

w w

ww

ww

Cm7


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In ex. 14.76, the IV has been replaced by an Eb lydian dominant (fourth mode of Bb melodic minor) which changes it to a tritone substitute dominant pointing to the iii7 chord Dm7. The Dm7 has been replace by a Dø7 (iiø7/ii) which creates a stronger pull to the G7 chord. The G7 chord suggests the slightly more colorful third mode of Eb major b6 or superlocrian (seventh mode of Ab melodic minor) instead of the fifth mode of harmonic minor. The G7 still points to the ii7 chord Cm7. The F7 chord suggests third mode of Db major b6 or superlocrian (seventh mode of Gb melodic minor) which mirrors the G7. This altered F7 points to Bb minor, not Bb major, which makes the resolution back to the key of Bb major more powerful. 14.76 B bm aj7

b & b www ? b w b w

Dø7

G7b 13

ww

ww

w w

b www

#9

bb

Cm9

F7b 13

w b ww

b b ˙˙˙

? b b ww

w w

&

#9

# E b9 11

b ww w

b9

˙˙ n˙

F7b 13

B bmaj7

b ˙˙ ˙

www

ww w

ww

ww

b9

G7b 13

b ˙˙ ˙

Ex. 14.77 begins and ends in Bb major with many substitute colors in between. An A7 chord is in place of the IV chord Eb acting as the dominant pointing to iii7. The A7 chord with a 13 and #11 suggests halfwhole diminished or the fifth mode of D major b6. The iii7 chord, Dm7 has been replaced by a D7#9, a secondary dominant pointing to G. The D7 could be half-whole diminished or the third mode of Bb major b6. The top four voices of the A7 moved chromatically down the D7, and continued to do so through to the F7. The sequential treatment means that the G7 is either half-whole diminished or the fifth mode of C major b6; the C7 is either half-whole diminished or the fifth mode of Ab major b6; and the F7 is either half-whole diminished or the fifth mode of Bb major b6. The A triad over the Bb bass, with the C# and the En indicate the sixth mode of D harmonic minor. The C# and the En are non-harmonic tones that resolve up to the chord tones D and F, but D harmonic minor is the implied scale sound.


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14.77

b & b www

# A13 11

ww b #w

# D7 9

# G13 11

? b w b w

w w

# ww

nw w

B bm aj7

w n ww

n bn www

# C7 9

# F13 11

b www

b ww w

# n www

w ww

? b b n ww

w w

ww

ww

&

bb

A/B b

B bmaj7

The version in ex. 14.78 begins with Bb as a I chord. The IV chord has been changed to the tritone substitute dominant pointing to Dm. Eb9 #11 calls for lydian dominant (fourth mode of Bb melodic minor) as would the A7 alt. dominant for which it substitutes. The Dm7 has been changed to a secondary dominant that points to G minor. With the b13 and #9, Bb major b6 is indicated. A D superlocrian might be used, but there is no Ab indicated by the chord symbol or the previous context. The original G7 has been replaced by its tritone substitute dominant Db9#11, indicating Db lydian dominant (fourth mode of A b lydian dominant). Gb9 #11 is the tritone substitute dominant for C7, and either dominant calls for Db melodic minor. F7 has been replaced by its tritone substitute dominant, B9#11, and calls for F# melodic minor. The final resolution has been brightened with the addition of the En, indicating Bb lydian rather than the expected Bb major. 14.78 B bmaj7

b & b www w ? b b w

# G b9 11

b & b b www ? b b b ww bw

#9

# E b9 11

D7b 13

# D b9 11

ww

# ww

b ww

w b www

ww w

# B9 11

# B bmaj7 11

# # n www

n wwww

# nn www

ww w

www bw

ww ww ww w


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The progression in ex. 14.79 is a sequence: iiø7/iii - V/iii7 - iiø7/ii - V7/ii - iiø7/i - V7/i - I. Each of the iiø7 chords have the # 2 added indicating locrian # 2 (sixth mode of melodic minor). Each dominant, with the 13 and #11 are half-whole diminished. The final chord is the brighter Bb lydian. 14.79

# Eø7 2

b & b # www

&

b b www

# Dø7 2

# G13 11

n www

n # # www

# ww w

b www

n ww w

# Cø7 2

# F13 11

# B bmaj7 11

n www

n # www ww w

n www

www

ww w

ww w

? b n www b bb

# A13 11

? b b b www

A number of different possibilities are shown below that may be combined over a traditional pre-dominant - dominant - tonic progression. The chords in column one do not necessarily connect to all the chords in column two. For instance, the Bb9 #11 as backdoor dominant is typically preceded by a IV (Fmaj7) or a ii7 (Dm7), and rarely if at all preceded by the secondary V7 chord D7.

PRE-DOMINANT Dm7 (2nd of C major) Dø7#2 (2nd of C major b6) Dø7#2 (6th of F m.m.) D7 as Secondary dominant (5th of G major or G minor) D7 as Secondary dominant (3rd of Bb major b6) D7 as Secondary dominant (7th of Eb m.m.) b A 7 as tritone substitute dominant (7th of Eb m.m.)

DOMINANT G7 (5th of C major) G7 (5th of C h.m.) G7 (5th of C major b6) G7 (3rd of Eb major b6)

D7 or Ab7 (1/2W)

G7 or Db7 (1/2W) G9#5 (WT) b # B 9 11 as backdoor dominant (4th of F m.m.)

Fmaj7 (4th of C major) Fm7 (borrowed iv chord)


G7 (7th of Ab m.m.) Db7 (4th of Ab m.m.) G7 (5th C m.m.)

TONIC Cmaj7 (C major) Cmaj7 #11 (Lydian) Cmaj7 #11 #9 (6th of E h.m.)

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WARNINGS These modes and scales will provide a number of different colors available for chords in common progressions. They do not necessarily replace the traditional sounds, nor are they inherently better, “hipper” or more jazz-like. They only enlarge the tonal palette. As new sounds are learned, remember to consider a musical context when applying the sound. Avoid arbitrary, thoughtless application. Avoid the temptation to always use any one sound for a specific chord. With nine possible sounds for a dominant, it makes little sense to use superlocrian or half-whole exclusively. If the diminished scale is used in all possible places, then its chance of surprising a listener is reduced. Strive for a balance between a number of different approaches from traditional key center generalization and specificity and the use of special colorful scales. Any new scale will brighten or darken the musical context, so use the new sound according to the desired consequence. Avoid the temptation to use a new sound in every opportunity. Use colorful substitute sounds to surprise the listener; but remember that their effect can be diminished by overuse. Even though a different scale sound can be applied to each chord in a succession of chords, avoid compartmentalizing each separate chord. Find the connections. Emphasize tones in common. Find the one or two notes that change and aim for those connections between the chords. Voices derived from substitute scales will follow traditional voice-leading principles and have melodic implications. There are many more examples and pages of exercises for many of these scale and chord sounds in the book, Comprehensive Technique for Jazz Musicians.


370

Chapter 15

XV.

Extended Tertian Structures & Triadic Superimposition

EXTENDED TERTIAN STRUCTURES & TRIADIC SUPERIMPOSITION

The tertian triad has been the building block for harmony and melodic invention for most of the history of tonal music. A triad can be any three notes, but a tertian triad is built in consecutive thirds. Most formal theory classes deal principally with the tertian triad and discuss the seventh chord which adds one more extension of a third. Many texts acknowledge that chords could theoretically be built by extended thirds past the triad to include the chords like 1-3-5-7-9, 1-3-5-7-9-11, and 1-3-5-7-9-11-13. These chords are often dismissed as dubious and irrelevant. These extended tertian structures have been around for a long time in contemporary music and jazz and should be discussed as we enter the twenty first century. There are two ways of expressing the same seven notes: as a scale (1-2-3-4-5-6-7-1); and as a extended tertian chord (1-3-5-7-9-11-13). This means that a scale and a chord represent the same thing: chord = scale; scale = chord. When discussing the notes, scale positions will be referred to by the numbers 1-2-34-5-6-7; chord tones will be referred to by the numbers 1-3-5-7-9-11-13. Scale tones 2-4-6 correspond to chord tones 9-11-13. Extended tertian structures are sometimes referred to as triadic superimposition. In a way, all extended tertian structures are made up of triads added to triads. An CEG chord above an ACE chord becomes the seventh chord ACEG; a GBD above an ACE chord becomes an eleventh chord ACEGBD; and so on.

NOTATION SHORTHAND All chord symbols used in pop music and jazz are shorthand in place of the written notes on a staff. The addition of superimposed triads and extensions can lead to a string of alterations following the basic chord symbol. The result can be confusing and messy on the page. The shorthand version is no longer short. The resulting chords constructed by superimposing triads may be better understood as a polychord and will often be labeled as one chord over the other separated by a horizontal line. The horizontal line indicates that the lower note represents a triad or complete chord itself and not just a bass note. The normal slash indicates a chord over just the bass note. Care should be taken on handwritten music if this distinction is to be understood. The chart below indicates the difference in the slash and the horizontal line.

Slash chords Polychords using horizontal lines


CHORD SHORTHAND F/G Dm7/G F# G Em Fm

MEANING F major triad over a G bass note Dm7 chord over a G bass note # F major triad over a G major triad E minor triad over a F minor triad

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To find the upper tertian extensions of any chord, continue adding thirds within the key signature. Not all upper extensions are musically useful in every situation. Experimentation and listening will help determine the best usage. Extended tertian melodies are more colorful. Improvisers will often maintain the density introduced by these upper extensions by linking the upper structure of one chord to the upper structures of the next. The examples below will illustrate several possible extended tertian structures, their sources, possible formulas and applications. Tertian extensions must be added to the aural and theoretical vocabulary of a jazz student. The connections of upper tertian extensions should be examined through harmonic progressions. The upper tertian extensions often follow voice leading principles discussed in earlier chapters. After outlining the individual possibilities, several examples from improvisations will illustrate the linear connections of these extended structures. With C as a tonic chord, the following extended tertian chords are possible. A tonic I chord is seldom extended past the ninth. The eleventh is a dissonant note, and while it may sound musical in some settings, it prevents the chord from sounding like a tonic chord. The ninth chord sound may be created by adding a major triad off the fifth degree (in this case G) to the triad built on the root (C) of the scale. 15.1

Extended tonic I chords

C

Cmaj9

& ww w

w

w

w 1

www ww

3

w

5

1

w 3

w 5

C

w

w 7

+

www

= Cm aj9

G

www

www ww

9

A ii7 chord may be extended entirely without any real conflicting dissonance. The thirteenth, though possible, is often not used over a ii7 chord. Over a Dm7 (ii7) chord, the thirteenth (B) can make the chord sound like a G7 (V7) chord since B is the note that identifies the G7. The B, at the very least, may diminish the impact of resolving to G7. The common triadic superimposition formula is to add a major triad on the seventh degree (C) to the basic minor triad (Dm). 15.2

Extended supertonic ii7 chord

www www w

Dm

Dm13

& www

w w w 1

3

5

w w w w w w w 1

3

5

7

9

11

Dm +

www

www

C

www www

= Dm9

13

A iii7 chord often is replacing or substituting for a tonic I6 chord in a progression. The dissonant ninth of a iii7 chord is often avoided as it blurs the distinction of the sound Since the iii7 substitutes for the I chord, the I chord may be superimposed over the iii7. This chord is actually a C major seventh in first inversion. The half-step dissonance in a ii7 chord is between the minor third and the ninth. In a iii7 chord, with the tonic triad superimposed, the half-step dissonance is between the fifth and the minor sixth degrees. 15.3

Limited extension for a iii7 chord

Em

& www

www www

Cmaj7/E

w w w 1

3

5


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The subdominant chord, like the supertonic, can be extended to the thirteenth without encountering any dissonance which prohibits chord identification. The upper structures are very bright and colorful. Two triads may be imposed on the basic subdominant triad: one built on the fifth degree, and one built on the second degree of the scale. 15.4

Extended subdominant IV chord

#

Fmaj13 11

F

& www w w w 1

3

F

www w w w www w w w w w

5

1

3

5

7

9

11

+

www

C

www

= Fmaj9

www ww

Fmaj9+ G

www w

# 11

= Fmaj13

www

www www w

13

The V7 chord may be extended to outer extreme. The only caveat concerns the fourth degree of the scale or the natural eleventh of the chord. This note is dissonant against the major third, but creates a suspension which may be desirable. A minor triad built on the fifth degree yields a ninth chord. To create a suspended dominant (as in a 4-3 suspension), an F major, Dm7 or Fmaj7 chord may be imposed over the G bass note as shown. There are those who say the major third should not be used if the suspended fourth degree is present. When the two notes are adjacent or when the third is placed below the fourth, it can create a vague and dissonant sonority. If the third is place well above the fourth, it can brighten the suspended sound. This can be achieved by superimposing two triads over the root of the chord. A G triad placed over an F major triad with the G in the bass creates the last chord in the example below. 15.5

Dominant extensions for V7 in major

G

& w ww

G13

w1 w3 w5

wwœ www w

w œ w w w1 w3 w5 7 9 11 13

G + Dm = G9

G9sus

www

www w

www

www ww

www ww

www w w

ww ww ww w

A dominant chord in a minor key will necessarily have different upper extensions than a dominant chord in a major key. A diminished triad from the fifth degree added to the root triad creates a dominant chord with a b9. Imposing an Fm, a Dø7, or an Ab major triad over the G suggests a suspended dominant with a b9. 15.6

Dominant extensions for V7 in minor

b 13

G7b 9

G

& w ww

w1 w3 w5

b b wwwwœ ww

œ bw b w w w1 w3 w5 7 b 9 11 b 13

b G + D° = G7 9 G7susb 9

www b www b wwwww

b www b wwww b b www w w w

The Ab triad over a G7 may seem a dissonant choice, but can used for very expressive melodic lines. 15.7

b G7 9

G triad

bœ œ œ & c œ bœ œ œ œ A b triad


Cm

b˙

Ó

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Ex. 15.8 illustrates another use of Ab and G triads over a G7 chord. Chopin used a similar technique with the Db and C triads over the C7 shown in ex. 15.9. The notes of the Db triad are actually just diatonic upper neighbors to the C triad. 15.8

Bert Ligon: View from the Bridge

b G7 9

j œ nœ bœ 3 ‰ b œ &4 œ

A b triad

bœ œ bœ œ œ bœ

˙.

Cmaj7

G triad Chopin: Nocturne in Eb major, Op. 9, No. 2

15.9

b b 12 œ n œ œ b œ œ œ n œ b & 8 n œ œœœ ? b 128 œ œ œ bb

œ œbœ œ œ œ . œ œ

œœ œ œ

œ b œ œœœ œ

œ

œœ œœœ

The altered dominant (G7) and the tritone substitute dominant (Db7) are derived from Ab melodic minor. Two major triads (Db and Eb) and one minor triad (Ab minor) can be found in the Ab melodic minor scale. Imposing the Db triad over the G7 generates a G with a b5 and b9; an Eb generates a G7 with a #9 and b13; and an Ab minor generates a G7 with a b9 and a b13. 15.10

Extended tertian structures for G7 superlocrian (altered) & Db7 lydian dominant: Db G7

b ˙˙˙ œ b œ b bb ˙˙˙˙ b b œ b ˙ b œ b ˙˙ & b b ˙˙˙ b œ œ b œ (R) 3

5

7

9

#11

13

b5 b œ bœ bw b œ b œ b ww bœ œ bœ ww b5 7 b9 (3) b13 (R) #9 G7 9

Eb G7

# bw 9 b b www ww

G7 13

A bm G7

bb 9 b b b wwww ww

G7 13

Four different major triads can be extracted from the half-whole symmetrical diminished scale. The four triads can be imposed over a dominant seventh chord. The G triad over a G7 adds no new color. A Bb chord includes the fifth and the seventh and adds the Bb, the #9 over G7. An E triad includes the third but adds a b9 and a n13 over a G7. The Db triad provides the b5 and the b9 over a G7. These chords may occur in one of two forms of musical shorthand: shown as polychords, or notated as customary with the alterations listed. Knowing triadic superimposition formulas will assist the soloist or accompanist in producing accurate alterations.

Knowing triadic superimposition formulas will assist the soloist or accompanist in producing accurate alterations.


374

Chapter 15 15.11

Extended Tertian Structures & Triadic Superimposition Major triads from the symmetrical diminished scale superimposed over G7: G G7

w w w w # w b w n w b w &w

ww ww ww

G7

Bb G7

E G7

Db G7

# G7 9

b G13 9

G7b 9

b5

# ww ww ww

b wwww n ww

b b www ww

The upper extensions of a iiø7 chord resemble a bVImaj7 chord in minor. The Abmaj7 and Dø7 both point to the V7 (G7) of C minor and are often interchangeable in traditional progressions. The Dø7#2 is shown as a combination of C major triad over a D° triad. The C major triad emphasizes the bright raised second degree and the eleventh. 15.12

Extensions of iiø7 chords Dø7 A bmaj7

www w b b w w & b www w w b w

www b w b www b w

Dø7

# Dø7 2

www w n n w w b www w w b w

# D° + C = Dø7 2

www b www

www b www

Two examples from improvisations by Tom Harrell illustrate the interchangeable iiø7 and bVI in minor. The chord symbol indicates a Gø7 (iiø7 of F) but Harrell seems to have outlined a Dbmaj7 chord. The D b-F-Ab-C could be considered the upper extensions of the Gø7 chord or an example of a substitution. In the second example, the chord symbol indicates an Fmaj7, but the melodic line suggests outline no. 1 or no. 3 over a Bø7. 15.13

Gø7 (iiø7) or Dbmaj7 (bVI)?

b C7 9 Fm œ b œ b œ œ œ œ œ #œ œ bœ œ j bœ bœ œ bœ bœ

Gø7

‰ œJ

&c 15.14

Fmaj7 (bVI) or Bø7(iiø7)?

b œ œ & c #œ œ nœ œ œ #œ Fm aj7


E7 9

Am

œ œ ˙ œ œ œ œ œ

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Two excerpts from improvisations by Bill Evans illustrate the upper extensions of a iiø7 chord. The bracket indicates the Eb major triad superimposed over the Fø7, creating a Fø7#2 in the first example. The C triad over the Dø7 creates a Dø7# 2, shown by the brackets in the second example. Another bracket shows the Ab minor imposed over the G7 that supplies the b13 and b9. 15.15

Eb + F° = Fø7#2

œ bœ b œ b œ c b œ œ & œ bœ Fø7

C + D° = Dø7#2

Ab minor over G7

#9 Dø7 G7b 13 Cm b œ bœ bœ œ œ œ œ b œ b œ b œ œ œ œj c b œ œ & œ bœ 15.16

The whole-half symmetrical diminished scale yields four major triads that may be superimposed over diminished chords. The root of each of these major triads adds a color tone that is a whole step above one of the fundamental diminished chord tones. Take care when applying these triad superimposition (and all other impositions) as some of the extra color tones may clash with the surrounding harmonic environment. The B triad over the F#°7 may sound wildly inappropriate in the context of G minor, unless surprise is the goal, then it may be the perfect choice. 15.17

Major triads from the symmetrical diminished scale and superimposed over F#°7:

& w w bw w #w #w w w w ? w w bw w #w #w w w w

D F#°7

F#°7

F

Ab F#°7

B F#°7

# www

www

w b b ww

w # # ww

b www #w

b www #w

b www #w

b www #w

Some interesting extended chords can be generated from the fourth mode of a major scale with a b6. The fourth mode of G major b6 is shown below with possible upper triadic extensions. The G major triad over the C minor creates a Cmmaj 7 that could also have been derived from the melodic or harmonic minor scale. The B minor triad over the C minor is a haunting sound unique to this scale yielding a major seventh, ninth and a #11. The B triad yields the major seventh and #11, and enharmonically duplicates the minor third. A D triad adds the n13. The full tertian extension from this scale creates an enigmatic Cmmaj 13 #11. Many of these specialty chords may not be on the fingertips of all players so for successful performances and rehearsals it may be useful to write the desired voicings on the staff and/or provide some polychordal shorthand notation as a formula.


376

Chapter 15 15.18

Extended Tertian Structures & Triadic Superimposition Extended chords derived from the fourth mode of G major b6:

Fourth mode of G major b6:

Cm maj7

& w w b w # w w w w w www ? w w b w # w w w w w b www

Bm Cm

B Cm

D Cm

Bm7 Cm

# www

# # www

# www

# www

b www

b www

b www

b wwww

A major seventh chord can be built on the sixth degree of harmonic minor. If the upper extensions from harmonic minor are used a major triad is available from the major seventh of that VI chord. The sixth mode of E harmonic minor is shown below. The B major triad over the C major creates a C major seventh chord with the unusual #9 and #11, notes more common over chords with a dominant seventh. 15.19

Extended chord derived from the sixth mode of harmonic minor: Cmaj7 #9 #11 or

E harmonic minor

B C

& w # w w # w w w w w # # ww w www ? w #w w #w w w w w This major seven chord with a # 9 and # 11 can be heard at the end of the common introduction to ’Round Midnight as a D triad over an Eb. Another version of this chord dates to 1913 from the infamous Stravinsky ballet, Rite of Spring. It is interesting that one of the more modern chords of the twentieth century used all the notes from an old-fashioned Ab harmonic minor scale. 15.20

Stravinsky, Rite of Spring

Eb7 over Fb chord:

b & b b 24 b œœ œœ ? b b 24 b b œœ b b œœ


œœœ œ œœ œœ

Built using all the tones of the Ab harmonic minor scale

œœœœ œœ œœ

œœœ œ œœ œœ

b œœœœ œœœœ b bb œœœœ œœœœ

œœœœ œœ œœ

œœœ œ œœ œœ

n˙ b˙ b ˙ b ˙ b ˙ b ˙ b˙ b˙

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The six tone augmented scale is actually an augmented triad plus the leading tones to each chord tone, so the augmented scale contains two adjacent augmented triads. When one is placed above the other it creates a chord best labeled as a polychord. The B augmented chord is spelled enharmonically to avoid the F double sharp. The chord could be labeled a Cmaj7 (#5 #9 n5), but it is doubtful that a performer would easily arrive at this desired chord. If a chord like this is desired, it may be best to label it as a polychord as shown or write the notes on the staff. 15.21

Polychord created from augmented scale B aug. C aug.

& w #w w w bw w w ? w #w w w bw w w

b www # www

“Melody is what the piece is about.” Aaron Copland “Melody is the very essence of music.” Mozart In real musical settings, the chords are rarely isolated as shown in the previous section. It is one thing to know formulas for arriving at certain sounds, but is more important to develop the skills to apply them in context of creating melodic lines. Jazz improvisers create lines that link one chord to the next maintaining the colorful density of the upper tertian extensions. In most of these examples, the lines follow voice leading principles outlined in chapter 11, and most often follow close position voicings. This section will present excerpts from the improvisations of well-known artists illustrating some ways of using and connecting the upper extensions of basic chords. More examples and exercises for developing the understanding and use of these extensions can be found in Comprehensive Technique for Jazz Musicians in chapter 8 (Triadic superimposition), chapter 10 (Extensions and Connections) and chapter 14 (Developing Jazz Exercises). Sonny Rollins is known for his use of motivic development in his improvisations, but displays understanding of voice leading and upper extensions in ex. 15.22. The chord symbol indicated simply a G7 for the first measure, but Rollins implied much more. The F-A-C-E in m.1 implied either the 3-5-7-9 of Dm9 or the 7-9-11-13 of the G7, as Dm9 over a G creates a suspended dominant. Rollins moved the three top voices down chromatically: the E to Eb, the C to B, the A to Ab. This chromatic motion followed voice leading principles assuming the first half of the measure is Dm9. The E is the ninth of Dm9 and resolved to the b13 of G, a substitute for the fifth (9-5); the C is the seventh of Dm7 and resolved to the third of G (7-3); and the A as the fifth of Dm resolved to the Ab, the b9 of G (5-9). The F would be expected to remain and ultimately resolve down to the E over the C chord, but Rollins moved the F up to F#. By using the F#, the resolution to G was stressed by the chromatic approach from above (A-Ab-G) and below (F-F#-G). The harmony implied by this line is shown to the right of the example.


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15.22 G7

C

œ bœ œ bœ &c œ œ œ #œ œ œ

˙˙˙ ˙

b b ˙˙˙˙

www w

The upper structures were arpeggiated in this excerpt from Hank Mobley. Mobley played the triad pitches for the Dm7. The A, fifth of Dm, resolved to the b9 of G, and then Mobley arpeggiated an Ab minor triad over the G7 which yielded the b9, third and b13. It is interesting that the Dm triad is followed by an Ab minor triad, two chords separated by a tritone and yet the connection is smooth. The upper three voices resolved down chromatically predictably: Eb to D (b13 for 5-9), Cb or B to Bb (3-7), and Ab to G (95). The resolution of D to Db implied a similar structure for the F7 as was used for the G7. The connection between a dominant and the tritone substitute dominant is clear from this example. The Ab minor triad over the G7 (b9-3-b13) would be the chord tones 5-7-9 of the Db7, the tritone substitute for G7. The chords to the right show voicings implied by these passages. 15.23 Dm 7

G7

Cm7

F7

bœ & c œ œ œ œ bœ bœ œ œbœ œbœ b˙

˙˙˙ b b ˙˙˙ ˙ ˙

˙˙˙ b b ˙˙˙ b b˙ ˙

www w

Kenny Dorham clearly arpeggiated each chord in the following excerpts. The F-Ab-Cb-Eb over the G7 are the 7-b9-3-b13. These pitches may be easier as the 3-5-7-9 of Db7, the tritone substitute for G7. Dorham alternated ascending and descending arpeggios through the passage. Because the arpeggios moved down chromatically, the implied harmony is Bb - Db9 - C9 - B9 - Bb, with the Db9 and the B9 as tritone substitutes for G7 and F7. The chords to the right show voicings implied by this passage. 15.24

b G7 C7 F7 Bb œ bœ & c bœ œ œ bœbœ œ œbœ œ œ œbœbœ œ bœ œ

n b b ˙˙˙˙

B

˙˙˙ b b ˙˙˙ ww b b ˙ ˙ ww

These two fragments are mirror images. The first is from Kenny Dorham; the second is the inversion from Joe Pass. All the voices resolve logically. Is it easier to hear and think of the second chord as F7 or B7? 15.25

b & c œ bœ œ œ bœ bœ œ bœ œ C7

F7

B

F7

B

15.26 C7

b

& c œ œ bœ œ bœ œ bœ bœ œ


b ˙˙˙˙

b bb ˙˙˙˙

www w

b ˙˙˙˙

b bb ˙˙˙˙

www w

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379

The Bbm7, in ex. 15.27 from one of the better known bebop melodies, was arpeggiated 1-3-5-7-9-11, then the Bbm7 chord tones occurred again over the Eb7 (3-5-7-9 of Bbm7). A descending line was implied at the top of the line shown by the circled notes. Other voices resolved internally: the Ab to the G (7-3), the F to Eb to Db which finally resolved to C, the third of Ab. The line then arpeggiated the 3-5-7-9 of the Ab chord. This excerpt implied the voicings shown to the right. 15.27

b

b A bm aj7 œ œ œ œ œ œ nœ œ bœ œ œ œ œ œ œ œ œ œ œ

B m7

b & b bb

E 7

www w

w n #n www

b b wwww

Kenny Barron used the descending arpeggios of these chords and symmetrical rhythms which made the voice leading easy to see and hear in this excerpt. The chords to the right show voicings implied by this passage. Listen to the chromatic resolution of the top three voices. 15.28

3 3 3 A b7 D bmaj7 œ œ b n œ œ œ œ œœœ œ nœ #œ œœœœ œ œ & b bbb c œ

˙˙˙ ˙

n #n ˙˙˙˙

b bn wwww

The chord symbol in m.1 is F#ø7. Bill Evans arpeggiated what appears to be a Cmaj9 chord. Whether Evans was thinking Cmaj7 as a substitute for F#ø7 or utilizing the upper tertian structure of the F#ø7 chord is irrelevant as either can point to the B7 chord. Only one note changed in m.2: the E (seventh of F#ø7) resolved to Eb, the enharmonic spelling of the third of B7. The G and C supplied the b13 and b9 of the B7 chord. The four voices moved down a step for the arpeggio in m.3 utilizing the 5-7-9-11 upper structure of the Em9. If the B7 is considered an F7, as a tritone substitution, then the line incorporated the 57-9-11 of each chord in the passage as shown below on the right. This passage works melodically with any combination of these chords: F#ø7 or Cmaj7 — B7 or F9#11 — Em9.

# œ œ B7œ œ b œ 3 œ œ Em7œ # œ 3 œ œ œ œ œ ‰ J œœ & 34 œ œ 15.29

F ø7

˙˙˙ ... ˙¿ ..

b ˙˙˙˙¿ .....

# ˙˙˙˙ .... ¿.

There are several common harmonic cycles that lead back to the tonic as shown in ex. 15.30-31 with extended tertian structures. Knowing these upper structures and being able to hear the chromatic and step motion between each voice will assist the creation of interesting lines through these progressions. All of the inner voices move smoothly either remaining on the same pitch, or moving by step down to the next pitch. Play the passage several times on the piano singing each voice to hear its individual pathway. Lines can easily be created using large arpeggios, arpeggio fragments and implying individual voices from these passages. The upper structures mimic the voice leading from the Evans example in ex. 15.29. This progression is based on iiø7/iii - V7/iii - iii7 - V7/ii - ii - V7 - I. Extensive colorization has been added. The F#ø7 chord will not sound like a iiø7 of Em with addition of the #2 (G#). The addition of the bright F# means the Em in m.3 cannot be a iii7 chord in the key of C. The altered G7 implies a V7 of C minor with the b13 (Eb) and b9 (Ab). Extending the Cmaj7 chord to the #11 brightens the sound beyond a normal resolution to major, especially following the dark altered G7 chord. In the mm. 2, 4, and 6, the


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dominant bass note is changed to the tritone substitute note on the third beat. Is there a profound difference? The extensions of the tritone substitute dominant chords are more easily labeled: 3-5-7-9-#11. 15.30

# F #ø7 2

# wwww & w ? #w

#9 B7 b 13

b n wwwww

˙ n˙

Em 9

# wwww w

#9 A7 b 13

Dm9

b b n wwwww

w

www ww

˙ b˙

#9 G7 b 13

# Cm aj 7 11

b b b wwwww

w

# www ww

˙ b˙

w

This passage is similar to the one above with some additional colorizations. The second chord is not the V7 of iii7 but a borrowed iv7 chord and Eø7#2 and Dø7#2 are used instead of Em9 and Dm9. 15.31

# F #ø7 2

Fm 9

# Eø7 2

# wwww & w

b n bb wwwww

www # b ww

? #w

nw

w

#9 A7 b 13

b b n wwwww

# Dø7 2

w b wwww

˙ b˙

w

#9 G7 b 13

b b b wwwww

˙ b˙

# Cmaj 7 11

# www ww w

Melodic lines like the previous Evans example and the line below can be sequenced through the two previous harmonic cycles. 15.32

# F #ø7 2

#9 B7 b 13

#2

Eø7 œ œ œ œ #œ œ # œ n œ œ œ b œ œ œ œ bœ œ œ Œ & c Œ œ #œ œ

The following melodic excerpts are based on the following harmonic framework. The second chord may be considered C7 with a b13 and a b9, or its tritone substitution Gb9 (3-5-7-9-#11). 15.33 Gm7

& c wwww bw


C7

w b n bb wwww

Fmaj7

ww www

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381

In ex. 15.34 and 15.35 from a blues improvisation, pianist Tete Montoliu played the ascending 3-5-7-9-11 Gm arpeggio into the C7 measure. The A resolved to Ab suggesting a C7b13. The Ab resolved to the G over the F. The use of extended arpeggios lifts the melodic line into higher registers. 15.34 Gm 7

C7

F

œ œ bœ œ œ bœ œ &c œ œ œ bœ œ œ œ œ œ œ 15.35

C7 œ œ b œ œ œ # œ œ Fœ œ œ j œ œ œ œ œœ œ & c ‰ œ œ œ œ œ bœ œ œ Gm 7

3

3

3

3

3

3

In ex. 15.36, Montoliu played a descending Gm9 arpeggio and then an extended arpeggio over C7. The notes in the final measure are the b7, b9, 3, b13 root and #9 of C7 but may be easier to hear and understand labeled as the 3-5-7-9-#11-13 of a Gb9#11, the tritone substitute dominant for C7. 15.36

œ bœ œ œ C7 œ œœ b œ bœ œ œ œ œ bœ bœ nœ &c Gm 7

3

3

Do not assume that these wide ranging extended arpeggiated lines from the previous examples are only suitable for pianists. Tom Harrell used a wide range of the trumpet over Gm7 in these two fragments. Harrell played 1-3-5-7-9-11 arpeggio in the first and again in the second in two different octaves. 15.37 Gm7

&c Ó

œ œ œ œ œ #œ œ bœ 3

œ œ œ œ œ Œ œ œ œ bœ œ &c œ œ bœ œ Gm7

3

Practicing a passage like this using extended arpeggios helps prepare a musician to play, hear and understand these structures. Inventiveness may lead to the creation of lines like the ex. 15.39 from Bill Evans. Evans matched the voice leading of ex. 15.38, but in a more melodic and less predictable fashion. The resolution to the E7 (or Bb7) did not occur until beat three of the second measure. 15.38 Bm 9

Practicing arpeggios like this can lead to lines like 15.39

#9

E7 b 13

or

# B b9 11

Am 9

œ œ œ œ œ œ œ & œ #œ œ #œ œ œ œ œ nœ bœ nœ œ œ œ œ œ œ œ w


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Chapter 15 15.39

Extended Tertian Structures & Triadic Superimposition Practicing arpeggios like 15.38 can lead to lines this

Bm 7

E7

Am

œ & c ‰ œj # œ œ # œ œ œ œ œ œ # œ œ # œ n œ n œ b œ œ œ œ œ œœœ 3 3

w # # wwww

b wwwww

www ww

TRIADIC SUPERIMPOSITIONS: FORMULAS & EXAMPLES Music worldwide is based on triadic shapes, which may be related to the presence of the major triad in the overtones series. Since listeners have been inundated with triadic melodies from childhood, folk songs, patriotic and religious holiday music, they are often more receptive to melodies using these familiar sounds. The central concept from chapter four was using the tonic triad to generalize the harmony for larger sections of the piece. Major triad shapes can be superimposed as extensions and upper structures to chords supplying essential color tones and alterations. Just as importantly, these musical shapes provide a bridge to something familiar not only for the listener, but the performer. Inexperienced improvisers often have trouble hearing an altered dominant sound when it is introduced as a scale. They can usually hear a major triad. The familiarity with triads can be used to acquaint students with more complex sounds. Playing an Eb major triad without accompaniment will attune the ears to the familiar sound. The same triad can be played in the context shown below over a G7 to Cm progression. The melodic shape is familiar and not difficult to play or hear. The passage can be filled in with passing tones between the Eb major chord tones without technical or conceptual difficulty. This familiar material based on a major triad yields the colorful b13, b9 and #9 over the G7 and resolves to the third of Cm. 15.40

#9 G7 b 13

Eb triad shapes over a G7 Cm

& bœ œ bœ œ œ ˙ b13

#9

Ó

#9 G7 b 13

Cm

bœ œ œ bœ bœ œ œ œ b˙ b13

b9

Ó

#9

The chart on the following page reviews some of the possible major triads that may be superimposed over common chords. Column one indicates the fundamental chord types shown with C as the root; column two the interval above the root on which the superimposed major triad is built; column three indicates the superimposed triad; and column four shows the color tones provided by the superimposed major triad.


Chapter 15

BASIC CHORD C major C major C major C major C minor C minor C minor C minor C minor C half diminished C diminished C diminished C diminished C diminished C dominant C dominant C dominant C dominant C dominant C dominant C dominant

INTERVAL ABOVE ROOT for SUPERIMPOSED TRIAD P5 M2 M3 M7 m3 P4 P5 m7 M7 m7 M2 P4 m6 M7 m2 M2 m3 d5 m6 M6 m7


MAJOR TRIAD

YIELDS

G D E B Eb F G Bb B Bb D F Ab B Db D Eb Gb Ab A Bb

5 – M7 – 9 9 – #11 – 13 3 – #5 – M7 M7 – #9 – #11 m3 – 5 – m7 11 – 13 – R 5 – M7 – 9 m7 – 9 – 11 M7 – (3) – #11 m7 – #2 (or 9) – 11 9 – #11 – 13 11 – 13 – R b13 – R – b3 M7 – m3 – #11 b9 – sus4 – b13 9 – #11 – 13 #9 – 5 – m7 b5 (or #11) – m7 – b9 b13 (or #5) – R – #9 13 – b9 – M3 m7 – 9 – sus4

383

This chart is for reference only. Individual sounds should be extracted from the chart and learned in the context of typical progressions. The most common progression is the ii7 - V7 - I. In the key of C major, the ii7 chord could have a C triad superimposed yielding the 7-9-11 of Dm7. Using the C triad over Dm7 could sound like triadic generalization, which illustrates how musical concepts sometimes overlap and converge. Six different major triads may be superimposed over the G7 chord. The example below uses an E triad that over a G7 chord yields a n13, which points to C major, and a b9, suggesting C minor. As a deceptive resolution, A B major triad is superimposed over the C major. The B chord sounds like the V7 of Em, the iii7 chord of C, and the dissonant tones D# and F# resolve to the E minor chord tones E and G, which are also chord tones of C major. The line ends using an F triad over the A7 chord, supplying the # 9 and b13, tones which point back to the D minor chord. 15.41 Triads: Dm 7

C

Progression:

ii7 - V7 - I - V7/ii E

b G13 9

œ œ œ œ &c œ œ œ œ #œ œ ˙

B

(Em)

F

#9

Cmaj7

A7 b 13

‰ j #œ œ œ œ œ œ œ nœ œ Œ œ #œ

The progression from ex. 15.41 is transposed to the key of F major below and uses a different set of triads for superimposition. The four superimposed triads chromatically ascend. A mounting tension is


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caused by the alterations supplied by the superimposed triads and by the ascension of the voicings rather than the more typical descending voice leading. The F over Gm7 furnishes the 7-9-11, or like the previous example may be considered triadic generalization. The Gb over C supplies the colorful b5 and b9 chord tones. The G over the F creates a bright lydian sound with the #11 instead of the tonic major sound. The Ab over D7 echoes the Gb over C7 with the b5 and b9 chord tones. 15.42 Triads:

Progression:

ii7 - V7 - I - V7/ii Gb

F

Gn

Ab

b5

Gm 7

C7

D7b 9

Fm aj7

Gm7

j & c œ . œj œ œ b œ œ b œ b œ b œ b œ œ n œ œ . œ œ œ œ œ ˙ b œ b œ œ œ Œ Ó œ A Bb triad marks the 3-5-7 of the Gm7 chord below. The Bb triad can move down a half-step to an A over the C7 providing the colorful n13 and b9. The E over the F triad is a similar deceptive resolution to the B over C shown before in ex. 1541, and resolves to tones of A minor over the F. 15.43 Triads:

Progression:

Bb

ii7 - V7 - I A

E

(Am)

œ œ & c b œ œ œ œ œ œ # œ œ œ # œ œ ‰ œj œ œ œ œ # œ n œ œ ˙ Gm7

C7

Fmaj7

Three different triads in ex. 15.44 are used over a iiø7 - V7 - i progression in C minor. A C major triad over the Dø7 brightens the iiø7 chord in this context. The En disputes the key of C minor as an Eb would be expected. The same material can be sequenced up a minor third superimposing an Eb major triad over the G7 emphasizing the b13 and # 9. A G triad over the C minor stresses the major seventh and ninth. There is a certain symmetry that the three triads used over this progression in C minor are C, Eb and G. 15.44 Triads:

C

# Dø7 2

Progression:

iiø7 - V7 - i Eb

#9 G7 b 13

G 3

Cm maj 7

j & c ‰ œ nœ œ œ œ œ bœ œ œ bœ œ œ œ nœ œ œ œ œ œ œ œ œ ˙ . œ


Œ

Chapter 15


385

Three triads could be used over this ii7 - V7 - I progression in Bb. The Bb triad over the Cm7 stresses both the 7-9-11 of Cm and the tonic Bb triad. The D triad over the F presents conflicting alterations: the D, n13, suggests Bb major; the F#, enharmonically a Gb and the b13, suggests Bb minor. The A over the Bb delays the resolution suggesting a V7/iii - iii or A7 - Dm resolution superimposed over the Bb. 15.45 Triads:

Progression:

Bb

ii7 - V7 - I D

A

b F13 9

(Dm)

B bmaj7 n œ œ œ œ œ ˙. b œ œ œ œ œ œ œ œ nœ œ œ œ œ # œ b ‰ œ & #œ J Cm 9

A/B b

Œ

Several different triads work over a dominant chord. Often, more than one triad at a time will be superimposed over a dominant. Two triads a tritone apart accentuate the tritone substitute relationship. The fundamental chord tones provided by the basic triad contrast with the alterations (b5 and b9) offered by the tritone substitute triad. A sequence is created below by using the D and Ab triads over the D7 and the C and Gb triads over the C7. 15.46 Triads:

Progression:

V7/ii7 - ii - V7 - I

D & Ab

C & Gb

b D7 9

Gm7

bœ . & c ‰ œj # œ œ b œ œ œ ˙

Œ

b C7 9

Fm aj7

‰ j œ œ bœ bœ bœ œ ˙ . œ

Œ

Triads a tritone apart is not a new idea. Stravinsky used the tritone pair of C and Gb in the ballet Petrouchka. 15.47

Stravinsky: Petrouchka. Clarinets: C triad over Gb. Triads a tritone apart. 3

& 24 Œ ‰ ‰ œ œ œ ˙ 3 & 24 Œ ‰ ‰

3

bœ bœ bœ

b˙

œ œ œ œ œ œbœbœ œ œ

3

The triads built on the b5 and b13 of the dominant chord suggest a superlocrian scale. The triad pair of A b and Gb furnishes all the alterations (Gb = b5, 7, and b9; Ab = b13, root, and # 9) over the C7 altered chord. The number of alterations, particularly the b13 and altered ninths, suggest a resolution to F minor. This sound can just as easily resolve to major. Below, the resolution with a G major over the F suggests an even brighter resolution to an F lydian sound. If the tritone substitution was used instead of the dominant C7, the chord would be a Gb9#11.


386

Chapter 15 15.48

Triads:

Extended Tertian Structures & Triadic Superimposition Progression:

V7 - I

A b & Gb

G

C7 alt.

Fmaj7

bœ & c bœ bœ bœ bœ bœ œ œ bœ bœ bœ bœ bœ œ nœ œ nœ nœ ˙ œ

The four triads derived from the half-whole diminished can all be superimposed over a dominant. The G, Bb, Db, and E triads imply the #9, b5, b9, and n13 over the G7. The altered ninths suggest a resolution to C minor, and the n13 implies a resolution to C major. 15.49 Triads:

Progression:

V7 - I

G — Bb — Db — E

b G7 9

Cm aj7

& c ‰ j œ œ œ bœ œ bœ œ #œ œ nœ œ œ ˙ œ œ bœ

Ó

Many contemporary compositions call for specific alterations. The progression below specifies a ø7#2, an altered dominant and a augmented major seventh chord. Superimposed triads will supply the required additions to these chords. An F# triad over the G#ø7 supplies the 7th, #2 and the 11th; An A major triad over the C#7 supplies both the #9 and the b13; and the Bb triad over the Gb supplies all the important chord tones, the major third, the augmented fifth and the major seventh. This excerpt from an improvisation by Tom Harrell illustrates how the triadic superimpositions can satisfy the demands of the very specific chord symbols. 15.50 Triads:

Progression:

ii7 - V7 - I

F#

# G #ø7 2

3

& c #œ œ #œ œ #˙ F # triad

Bb

A

#9

C #7 b 13

A triad

# G bmaj7 5

‰ œ œ #œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ B b triad

More examples and exercises for developing the understanding and use of these extensions can be found in Comprehensive Technique for Jazz Musicians in chapter 8 (Triadic superimposition), chapter 10 (Extensions and Connections) and chapter 14 (Developing Jazz Exercises).


Chapter 15


387

SUGGESTED ACTIVITIES •

Invent simple triadic lines using the charts and example above, and exercises found in Comprehensive Technique for Jazz Musicians over standard progressions.

•

Listen for recorded examples of contemporary players who might use triadic superimpositions. What triads did they use? How did they contrast the triadic superimposition with more traditional approaches?

•

Look for contemporary compositions with very specific chord symbols and determine what triads may supply the required alterations.

•

Compose new music using triadic superimposition as a springboard for melodic and harmonic material.


388

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XVI.

Pentatonic Applications

PENTATONIC APPLICATIONS

PENTATONIC APPLICATIONS The major scale is considered the building block for music in the European western art music tradition. All other scales are described in their relationship to the major scale. Intervals in the major scale are considered the normal, and any others are considered alterations. A study of world music might prove that the most widely used scale is not the major, but the pentatonic scale. The pentatonic scale is sometimes called the gapped scale as it is missing two notes of the major scale. (Another instance of major scale bias). Use of the pentatonic scale did not begin in the twentieth century with Debussy and others. Many forms of pentatonic scales have been used in other cultures for melodic material for centuries. Modern jazz improvisers and composers used pentatonic scales as a basis for melodies superimposed over traditional harmonies and over modal and pedal structures. Closely associated with the use of pentatonic scales in jazz performance is the use of motivic devices to develop melodies from simple pentatonic scale patterns. There are many kinds of pentatonic scales. Any five tones could be called a pentatonic scale. The most common pentatonic scale is the one shown below in the form of C major and A minor. The two forms share the same pitches as do a major and natural minor scale. These scales can be formed by taking the major and natural minor scales and removing the tritone (B & F). The major pentatonic includes the 12-3-5-6 of a major scale; the minor pentatonic includes the 1-b3-4-5- b7 of the natural minor scale. The triad is an important part of these scales. Many tunes based on pentatonic scales come to rest on the triadic tones (1, 3 & 5) and use the remaining tones (2 & 6) as auxiliary tones that move to the primary pitches. Sing through a pentatonic melody such as Amazing Grace and notice how all points of rest on strong beats are the primary triadic tones.

16.1

&

C major pentatonic shown with its relative A minor

w

w

16.2

&

w

w

w

w

w

w

w

w

w

w

w

w

w

bw

w

C major pentatonic shown with its parallel C minor

w


w

w

w

w

w

bw

Chapter 16


389

PENTATONIC SUPERIMPOSITION FORMULAS Patterns and melodic material derived from pentatonic scales can be superimposed over traditional harmonic progressions. Colorful chord tones can be emphasized by isolating simple melodic shapes and patterns from pentatonic scales. Three different major pentatonic scales may be used over a major seventh chord. A C major pentatonic over a Cmaj7 as a I or IV supplies fundamental tones of the chord, R - 9 - 3 - 5 - 6 or 13. A G major pentatonic superimposed over a Cmaj7 furnishes more colorful tones, 5 - 6 or 13 - Maj7 - 9 - 3, and will work with I or IV chords. A D major pentatonic works over a Cmaj7 as a IV or a lydian sound providing the most colorful tones, 9 - 3 - #11 - 13 - Maj7. 16.3

Major pentatonic scales over Major 7 chords

C major 7 as I or IV

I or IV

Cm aj7

& w w w w w w 1

2

3

5

6(13)

1

IV

w w w w w w

Cmaj7

5

6(13)

M7

9

3

5

Cm aj7

w w w # w w w 9

3

#11

13

M7

9

Three different minor pentatonic scales may be superimposed over a minor seventh chord. The D minor pentatonic scale supplies the fundamental chord tones and the fourth or eleventh over a Dm7 chord functioning as a ii7, iii7, vi7, or a iv7. A slightly more colorful sound is achieved by superimposing an A minor pentatonic scale over a Dm7. It supplies the chord tones 5 - 7 - R - 9 - 11, and will work with a Dm7 functioning as a ii7, vi7 or iv7. The A minor pentatonic scale over a Dm7 is ambiguous because it does not contain and F, the minor third of Dm. Dm7 is the iii7 chord in the key of Bb, so an A minor pentatonic with the En, will not work in that context. An even more vague and colorful sound is created superimposing an E minor pentatonic scale over a Dm7, yielding the chord tones: 9 11 - 5 - n13 - R. The En and the Bn work with a Dm7 as a ii7 or iv7, but not as a iii7 or vi7. 16.4

Minor pentatonic scales over Minor 7 chords

D minor 7 as ii, iii, vi or iv Dm7

w &w w w w w 1

b3

4(11)

5

b7

1

ii, vi or iv

w w w w w w

Dm7

5

b7

R

9

11

5

ii or iv Dm7

w w w w w w 9

11

5

n13

R

9

Two major pentatonic chords may be superimposed over a dominant chord. A major pentatonic built on the root supplies chord tones associated with dominants pointing to major keys: R - 9 - 3 - 5 - 13. Placing a major pentatonic on the diminished fifth of a dominant chord supplies all of the alterations associated with a dominant scale, but does not include the third or the root of the chord. Using this can create some tension that begs for release. The altered sounds typically want to resolve to minor, but may resolve to major and very effectively to lydian.


390

Chapter 16


16.5

Major pentatonic scales over Dominant 7 chords

G dominant 7

G dominant 7 fully altered

G7

&w R

w

w

9

3

w

w

5

13

w

G7 alt.

R

bw

bw

w

b5

b13

7

bw

bw

bw

b9

#9

b5

There are other pentatonic scales used throughout the world to create melodies. Five are shown below. Not all of these scales have common names. These scales may be used to create unaccompanied melodies or superimposed over existing harmonic structures. 16.6 Kumoi

&

Major b6

Hirajoshi

Pelog

All tones flatted (Ab sounds like tonic)

w w w w w w b w b w b w b w w w w w b w b w b w w b w b w ww ww ww w bw w bw

The following chart illustrates how these five pentatonic scales may be used over traditional chords. PENTATONIC SCALE C Kumoi C Hirajoshi C major b6 C pelog All tones flatted

RELATED SCALE C melodic minor, C dorian C aeolian F melodic minor C phrygian A b mixolydian

USED for TRADITIONAL CHORDS Cm6/9, Aø7, F9, B7(#9, b9, b13), and Ebmaj7#11 Cm and Abmaj7#11 Fm6/9, Dø7#2, Bb9, E7(#9, b9, b13), & Abmaj7#5 Fm7, Abmaj7 and Dbmaj7 A b7

The Kumoi scale, since it is related to the melodic minor scale, can be applied to many colorful chords associated with modes of that scale. A ø7#2 chord (locrian #2) can use the sound of a melodic minor scale built on the third, so it can also use a Kumoi pentatonic scale built on the same pitch. An F Kumoi may be used over a Dø7 and will supply all of the fundamental chord tones plus the eleventh. A melodic minor scale built on the b9 of a dominant chord creates an altered scale. A Kumoi pentatonic scale starting on the b9 of a dominant will supply the colorful alterations: b9 - #9 - M3 - b13 - 7. 16.7

Kumoi pentatonic scales over Dø7 & G7 altered dominant chords Ab Kumoi over G7 G7 as V7 in minor

F Kumoi over Dø7 Dø7 as iiø7 in minor Dø7

&w 3

w 11


bw b5

w

w

w 7

R

G7

bw 3

b9

bw #9

bw (M3)

bw b13

w 7

bw b9

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The Kumoi pentatonic is shown below superimposed over various types of chords built on C. 16.8

Kumoi pentatonic scale superimpositions shown for C chords:

C Kumoi over C:

Eb Kumoi over C:

G Kumoi over C:

Db Kumoi over C:

#9 C7 b 13

A Kumoi over C:

#

Cm aj7 11 w w # w b w w w w b w w w w bw w w & wbw w w w wbw bw wbwbw b wb w b wb w w Cm 69

Cø7

C9

Several different combinations of pentatonic scales can be used over a ii7 - V7 - I progression. Interesting sequences can be created by playing a melodic shape and repeating it for each of the superimposed modes or pentatonic scales. In the example below, a C major/A minor pentatonic mode used over the Dm7, a Db major over the G7, and a D major over the C. The pentatonic scales move up in half-steps: C - Db - D, over the roots of the chords moving in descending fifths. The Dm7, with the C major pentatonic material, is somewhat bright, emphasizing the ninth and eleventh and with the absence of the third. The Db pentatonic over the G7 is very dark and includes all of the altered tones (b9, #9, b13, and b5). The resolution to the C major is made brighter by the use of the D major pentatonic which supplies the #11, creating a lydian sound. 16.9

Three pentatonic scales superimposed over traditional harmonic progression:

C Pentatonic/Dm7 Dm 7

D b pentatonic/G7 G7 alt.

D pentatonic/Cmaj7

# Cmaj7 11

œ œ œ œ œ œ # œ œ œ b œ œ b œ œ œ œ bœ bœ œ œ œ œ ˙. œ œ œ &c

Œ

Different Kumoi pentatonic scales may be used over a iiø7 - V7 - i progression. An F Kumoi is used over the Dø7, an Ab Kumoi over the G7 and a C Kumoi over the Cm. 16.10

Three pentatonic scales superimposed over traditional harmonic progression:

F Kumoi/Dø7 Dø7

Ab Kumoi/G7

#9 G7 b 13

C Kumoi/Cm Cm

bœ bœ œ œ ˙ & c bœ œ œ œ œ œ œ œ bœ bœ bœ œ

‰ b Jœ œ œ œ œ n œ œ ˙


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An Eb major/C minor pentatonic scale is used for the melody in this section of an original composition, One Day Old. The melody is distant and seems to float above the underlying Bb dorian. This may be because the Eb major/C minor pentatonic scale does not include the third or seventh of the Bbm7. 16.11

Bert Ligon: One Day Old B bm7

b & b bb c œ . &

bbbb

B bm7

œ.

Cm7/F

j œ ˙ Cm 7/F

j œ ˙

B bm 7

B bm7

Cm7/F

‰ œj œ œ œ œ œ œ œ.

B bm 7

b

Cm7/F

j œ ˙

B m7 Cm7/F œ œ œ œœ ˙ ‰ œj œ œ œ œ œ Cm7/F

B bm7

˙. B bm 7

˙.

Œ Œ

3

A Kumoi pentatonic scale can also be used to create a phrygian sound A G Kumoi over an A bass creates A phrygian, and F Kumoi over G creates G phrygian. The melody below is the first theme from an original composition, Heads Up. 16.12

Bert Ligon: Heads Up

œ œ œ œ ˙. œ œ & c œ bœ A phrygian

œ œ œ œ ˙. œ œ &Œ

A phrygian


œ œ œ œ œ œ bœ œ œ .

G phrygian

‰ Jœ Œ

j œ Ó

œ œ œ œ ‰ j œ œ œ ˙ ‰ Jœ bœ bœ

G phrygian

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PENTATONIC SUPERIMPOSITIONS FORMULAS These charts illustrate various formulas available for superimposing pentatonic scales over traditional chords. PENTATONIC SUPERIMPOSITIONS FORMULAS for MAJOR SEVENTH CHORDS Major Pentatonic scale SOUND FUNCTION CHORD TONES built on Scale Degree: Root Simple major I or IV R-9-3-5-6 Fifth degree Brighter major ninth I or IV 5 - 13 - Maj7 - 9 - 3 Second degree Lydian IV or Lydian 9 - 3 - #11 - 13 - Maj7

PENTATONIC SUPERIMPOSITIONS FORMULAS for MINOR SEVENTH CHORDS Minor Pentatonic scale SOUND FUNCTION CHORD TONES built on Scale Degree: Root Simple minor ii7, iii7, vi7, or a iv7 1 - b3 - 4 - 5 - b7 Fifth degree Brighter, no third ii7, vi7, or a iv7 5 - 7 - R - 9 - 11 Second degree Brightest, no third ii7 or a iv7 9 - 11 - 5 - n13 - R

PENTATONIC SUPERIMPOSITIONS FORMULAS Major Pentatonic scale SOUND built on Scale Degree: Root Simple major Diminished Fifth degree Dark, all alterations

for DOMINANT SEVENTH CHORDS FUNCTION CHORD TONES V7 to major V7 to minor

R - 9 - 3 - 5 - n13 b5 - b13 - 7 - b9 - #9

KUMOI PENTATONIC SUPERIMPOSITIONS FORMULAS Chord Symbol Built on Scale Degree Chord Tones m6/9 R 1 - 2 - b3 - 5 - 6 ø7 3rd 3 - 11 - b5 - 7 - R Dom. 9 5th 5 - 13 - b7 - 9 - 3 b9th b9 - #9 - 3 - b13 - 7 Dom. 7 (#9, b9, b13) maj7#11 6th 13 - M7 - R - 3 - #11 For exercises to develop the use of the many melodic fragments and their applications, see chapter 6 of Comprehensive Technique for Jazz Musicians.


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Coloring “Outside” the Lines & Beyond

XVII. COLORING “OUTSIDE” the LINES & BEYOND APPROACHES to COLORING OUTSIDE the LINES Most stories are constructed with a variation of the same form: in the beginning there is relative calm — something comes along which disrupts the calm — in the end something happens to restore the order. Melodies throughout history often follow the same form: the initial order is established by the dominant to tonic relationship — pitches other than the tonic triad (diatonic and/or chromatic) create some degree of dissonance — order is restored by the return to tonic at the end. Functional harmonic systems offered other ways of following this form: a tonic triad established form by its relationship to the dominant chord — chords progress away from the tonic chords to other chords of relative dissonance (to other diatonic chords or modulations to close or remote keys) — and the return to re-establish tonic at the end. The grand architectonic framework of the classical composition, the Sonata Form, was a variation on this same story form: the exposition establishes order with the main theme group, the first in the tonic key, the second in either the dominant or relative major — the exposition features variations of the main theme in different keys — and the recapitulation restores order restating the original themes in the tonic key. Music history could be traced by the relative degrees of dissonance that was fashionable. Centuries ago a seventh was considered the extremes of dissonance. Now, the primitive sounds in Stravinsky’s Rite of Spring no longer shock. Early jazz improvisation was based on elaborated melody, then grew to include some triadic generalization. As jazz developed, the levels of dissonance were expanded. Chords with more extensions, progressions that obliterated the sense of tonic, and compositions with out any chord systems became part of the jazz language. Musicians looked for other ways of creating the dissonances necessary for good story telling. One development in this search is the concept of playing against the established tonal center, or coloring outside the lines. If the tonal spectrum is established with a mode or a key which asserts that seven tones are the boundaries (as the seven notes of a major scale or a typical mode) then five notes remain that are outside of that realm. A number of jazz artists are attracted to these “other” notes as a way of creating the tension necessary in the structure of their improvisations. I would never recommend teaching beginning students to play “outside” of the key — most are equipped with the ability to play those notes when they enter the beginning improvisation classes. After exploring and mastering to a high level the ability to play within the established frameworks, many students may be interested in pursuing improvisations that go against the grain. Playing outside usually follows the established pattern discussed above: IN (order established by playing within the key area) — OUT (order disrupted by playing outside of the key area) — IN (a return to the key area). The IN establishes order like a tonic chord; the OUT behaves like a dominant, so a line that moves IN - OUT - IN is much like a progression that moves I - V7 - I.


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Anytime improvisers move away from playing inside the established tonal center or chord progression they are playing “outside.” This includes infinite possibilities. There are several approaches that can be categorized which may help direct attempts at outside playing. These basic approaches include: • • • • • • •

Tonicization Superimposition of Functional Harmony Superimposition of Random Non-Functional Harmony Side-Slipping Planing & Chromatic Motivic Development Pentatonic & Quartal Approaches Superimposition of exotic or unusual scales

Tonicization A dominant chord may be inserted into any progression to tonicize any chord. This idea dates back centuries. This device is still quite useful especially with the variety of dominant sounds available to the contemporary improviser. In this G dorian setting a D7 half-whole is implied in the second measure and returns to the Gm7. 17.1 Gm 7

(D7 half-whole)

œ œ bœ œ œ nœ nœ #œ #œ & c œ œ bœ œ œ ‰ J

Gm7

nœ œ bœ œ œ œ nœ œ ˙ .

Œ

Superimposition of Functional Harmony Other harmonic progressions beyond just the dominant may be superimposed over phrases. A Bb9 and A7 are implied in two measures breaking up a four measure phrase of Dm7. 17.2

( B b9# 11

#9 A7 b 13

Dm7 ) œ œ bœ œ œ œ ˙ . &c œ œ œ œ œ œ œ œ œ œ b œ œ bœ œ bœ œ Dm 7

Œ

Superimposition of Random Non-Functional Harmony Any number of assorted chords may be inserted randomly into a progression. The chords could be symmetrical divisions of the octave as in: D dorian (Fm7 - Abm7 - Bm7) D dorian; or D dorian (F#m7 B bm7) D dorian. The inserted chords could be any chord type and for any mixture of intervals as in: D dorian (Abmaj7#5 - Bbmaj7#5 - Ebm7) D dorian.

Side-Slipping When a motive or a line plays a whole-step or half-step away from the tonal center, it appears to have slipped to one side or the other. This is related to the fact that all tones have upper and lower neighbors. Each note of a motive has a leading tone. In common practice each leading tone is resolved before moving to a another non-harmonic tone. With side-slipping, it may appear as if all the leading tones are played before the chord tones. Four notes from D dorian are shown in ex. 17.3 with their


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chromatic leading tones. A line is shown where all the chromatic tones (a.) sound before resolving up to the D dorian pitches (b.). It is as if the motive as a whole has a leading tone motive. 17.3 a.

&c

w #œ w œ w #œ w #œ

‰ j œ #œ #œ œ œ #œ œ

b.

œ œ œ œ ˙

Side-slipping may appear in two forms: a line could begin in the tonal area, move up or down and then return; or could begin in a remote key and lead back to the tonal area.

Planing & Chromatic Motivic Development Lines that side-slip move as if shifting to other geometric or musical planes just above or below the tonal center. Lines may shift to other levels further than a step above or below, and may move to all available planes. This shifting of a motive is related to analytical cubism. Picasso and cubist painters defied the conventional approach to space and representational art. Three dimensional objects were flattened onto a two dimensional canvas where many geometric planes were visible at once. Picasso explained that he did not paint what he saw, but what he knew. A contemporary improviser knows that melodic fragments or motives exist in eleven geometric planes (keys) other than the tonal center. Shifting motives to these other planes or keys is consequently called “planing.” John Coltrane illustrated this concept when he played the four note motive from A Love Supreme in all twelve keys. Musical ideas may be planed freely or systematically. Much of traditional music is based on moving musical ideas the interval of a perfect fourth or fifth as dominant theme moving up a perfect fourth to the tonic. Many improvisers avoid this by planing motives with a mixture of intervals, following arpeggios and by scale steps. Some improvisers choose to plane their musical motives following one of the symmetrical divisions of the octave: two tritone intervals; three major third intervals; four minor third intervals; six whole steps; or twelve half-steps. The two examples below illustrate how this may work. A four-note motive is played over D dorian and sequenced down major thirds through Bb and F# before returning to D dorian. One more repetition of the motive occurs up a perfect fourth. 17.4

Planing by transposing motive down by major thirds

& c ‰ œJ œ œ œ ‰ Jœ œ œ œ b œ b œ œ b œ # œ n œ #œ nœ œ nœ œ œ œ œ œ œ œ ˙ The four-note motive in ex. 17.5 is transposed up by minor thirds beginning in D minor and moving through F minor, G# minor and B minor before returning to D minor. 17.5

Planing by transposing motive up by minor thirds

&Œ œ œ œ œ œ


#œ nœ œ œ œ ˙ œ # œ n œ œ # œ b œ œ œ #œ œ œ œ œ bœ œ

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A tone common to two different scales may be used as a pivot. The Cn is common to both the D minor and F minor pentatonic scales shown in ex. 17.6 and the Fn is common to both the D minor and Bb minor pentatonic scales shown in ex. 17.7. 17.6

& wwwww

Using common tones as pivots

b b b wwwww 17.7

ww w & ww

Dm7

Dm7

B bm 7

Dm7

œ œ œ œ œ ‰ j œ bœ bœ œ œ œ œ œ œ œ ˙ bœ œ œ

Using common tones as pivots

b b b b wwwww

Fm7

Dm7

œ œ œ œ ‰ œ bœ œ bœ œ bœ œ œ œ ˙ œ J bœ nœ œ nœ

A motive can be transposed following any set of pitches. A six-note motive is sequenced in ex. 17.8 with its original intervals intact and the top note following the D dorian mode from A down to A. As the motives get transposed, the top note remains within the tonal center while many of the other pitches create dissonance. This is like playing outside with one foot still in the door. Eleven notes of the chromatic scale occur in the line. 17.8

&c Œ &

Planing transposing motive following scale tones

œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ bœ œ bœ bœ nœ œ œ œ nœ œ Œ Ó

œ œ bœ œ œ œ œ œ bœ œ bœ œ nœ œ œ œ œ œ œ œ œ œ œ œ ˙

Ó

Pentatonic & Quartal Approaches Traditional tonal music is based on tertian triads. Melodies worldwide are based on tones of a major triad, presumably due to its presence in the overtone series. If one wants to depart from the tertian traditions, then quartal triads and structures are logical choices. Pentatonic scales are used often used to derive motivic material because of the many simple melodic shapes, and quartal triads that can be derived from them. The previous examples were designed to illustrate specific concepts. Many of the concepts may overlap in real musical examples. The following excerpts may be analyzed with variety of approaches and not strictly one distinct approach. It would be convenient for theorists if all melodic ideas used only singular music principles, but this is not the nature of anything as complex as art. This has its parallel in any science: when observing something, the answer depends on the question (is light a wave? is light a particle?) This should be instructive as to the nature of music and the perils of attempting to explain music theory principles.


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Wayne Shorter’s use of quartal material in his compositions often inspired the use of quartal sounds by those improvising over Shorter’s music. Herbie Hancock, in ex. 17.9 excerpted from his improvisation on Shorter’s Speak No Evil, used the quartal chord D-G-C in its first inversion (see page 325). The motive was sequenced at three other diatonic levels all containing tones from a C dorian scale. Hancock then sequenced the pattern transposing it up by minor thirds. If the first occurrence of the motive represents C dorian, the next could represent Eb, F#, A and then C again. It is impossible and unimportant to know whether Hancock conceived of the line by thinking of a superimposed harmonic progression or by intervallic transposition. The entire phrase is balanced and the chromatic passage was rhythmically and melodically prepared. Hancock presented the first motives simply, leaving space before each motive. The motive was first repeated after five beats, then five beats again, then after only three beats. There is no space between the motives during the chromatic planing sequence. 17.9

Planing quartal motives by minor thirds 3

&c œ œ ˙ œ

Œ

Œ

3

œ

3

Ó

œ œ ˙ 3 3 3 œ nœ œ nœ œ œ & Œ œ œ œ bœ bœ œ #œ #œ #œ 3

œ œ œ œ

3

Œ bœ bœ œ ˙

3

Quartal chords and their inversions have fascinated more than just jazz musicians as the next few examples illustrate. In fact many jazz composers and improvisers have looked to Bartók (17.10-11), Holst (17.12), Hindemith (17.13), Stravinsky, Copland and others for inspiration. 17.10

Quartal melodic fragments in Twentieth Century music

œ b œ b œ b œ b œ œj ‰ & 34 ‰ b œ b œ b œ b œ ˙ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ ? 34 œ 17.11

?3 4

bœ œ œ œ œ œ œ œ œ œ #œ ˙ . œ

17.12

& 24 œ œ œ

œ œ œ

j œ. œ œ œœ œ

œ œœ œ œ œœ œœœ œ œ œ œ œ œ

17.13

#œ œ œ nœ bœ n˙ ?c œ œ # œ b œ œ # œ œ # œ bœ œ œ


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Tom Harrell used quartal patterns in these excerpts to slip in and out of “Rhythm Changes” in the key of F major. In this first example a motive was sequenced moving down by whole steps. The first motive began on F and was displaced beginning on Eb, Db, B and partially again on A. The perfect fourth interval at the end of each motive was emphasized. 17.14

Planing quartal motives by whole steps

œ œ bœ b œ ‰ Jœ ‰ Jœ b œ b œ ‰ Jœ ‰ Jœ œ # œ œ b œ œ œ œ b œ œj & ‰ Jœ Harrell began this excerpt with a motive that could have been derived from a pentatonic scale emphasizing an ascending perfect fourth answered by a descending minor third. It was immediately sequenced down by a whole step. In the second measure the descending minor third was replaced by a perfect fourth interval as the line continued. The perfect fourth intervals emphasized in this passage move down in whole steps: C-F, Bb-Eb, Ab-Db, F#-B, E-A. 17.15

Planing quartal motives by whole steps

œ bœ œ bœ œ bœ œ bœ nœ j œ b œ n œ & #œ œ œ Harrell sequenced a four-note motive (Bb-Ab-F-Eb) down a major third (at F#) and then down a second (at En). From that point, the line continued with alternating ascending and descending perfect fourth intervals sequenced down by whole steps. 17.16

Planing quartal motives by various intervals

bœ bœ œ bœ #œ nœ œ œ b œ #œ œ œ œ œ œ œ bœ œ bœ #œ &c Ó bœ #œ nœ nœ œ œ œ nœ 4 note motives: P4 intervals sequenced by WS

Quartal intervals are not the only intervals used to blur the key center. Kenny Dorham used a whole step pattern chromatically sequenced over this traditional harmonic progression. To return to the key, Dorham used a conventional outline no. 1 clearly defining the Cm7 - F7, landing on the third of the Bb. 17.17

Whole-step sequential pattern followed by outline no. 1

Dm7 G7 Cm7 F7 Bb bBœbœ œ œ # œG7œ n œ b œ # œ Cmœ 7œ # œ nF7œ œ bœ nœ œ bœ #œ œ nœ œ œ bœ b œ œ œ œj &c b œ œ œ œ bœ œ 3

This next passage occurred in an improvisation by Joey Calderazzo over a D pedal. A very simple whole-step 1-2-3 pattern is chromatically sequenced over the pedal. The rhythmic setting allows the listener to hear the individual motives. This 1-2-3 pattern can be derived from a pentatonic scale.


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Coloring “Outside” the Lines & Beyond Whole-Step 1-2-3 sequential pattern

œ œ #œ

&Ó

œ œ œ œ #œ #œ

& nœ nœ nœ œbœ bœ nœ nœ #œ Ó

œ œ #œ œ œ œ

nœ bœ bœ bœ œ œ

bœ bœ nœ nœ nœ #œ nœ bœ bœ nœ nœ #œ bœ nœ

A quick view of the Bb blues chorus below and it is clear that the improviser was not thinking about a traditional harmonic framework. Rather than outlining chord tones, McCoy Tyner chose four-note motives and developed them sequentially transposing them to other planes or pitch levels. This four-note pattern is the first four tones of a minor pentatonic scale. All of the pitches could be labeled as part of a vertical structure of the underlying traditional blues progression, but the labels would often prove meaningless and misleading. A better understanding may be achieved by tracing the individual motives independent of any explicit or implicit harmonic progression. 17.19

Bb Blues excerpt

œ . œ bœ b œ œ œ b œ b. # œ bœ bœ b œ œ œ ‰ b œ . b œJ ‰ J ‰ JŒ ‰ J &Ó ‰ J e. # œ œ œf. œ c. d. œ # œ œ œ # œ # œ b œ œ œ œ b œ # œ œ œ Œ ‰ J ‰ J & ‰ b Jœ a.

œ œ œ # œ # œ h.œ # œ n œ i.n œ b œ n œ œ # œ œ œ bœ bœ œ œ œ œ œ &

‰ œJ œ œ œ Œ œ œ œ g.œ œ œ

œ Œ ‰ œj b œ b œ

The four-note group began the phrase at (a.) and recurred eight more times at seven other pitch levels. The four-note group (a.) can be derived from an F minor pentatonic scale. These tones are also upper chords tones (5-7-root-9) of Bb7. In m.4, the four-note motive was transposed a tritone away. These tones can also be analyzed as chords tones of an altered Bb7 (b13-#11-3-b9) or as tones from the tritone substitute dominant E7 (5-7-R-9). The motive from m.4 was transposed down a half step for m.5 at (c.). This motive, missing one tone, contains chord tones (5-7-R-[9]) of the Eb 7 chord. Tyner’s motives to this point in the blues chorus were consistently with the upper structures (5-7-root-9) of the Bb7, E7 and Eb7 chords. 17.20 a.

w bw bw w

B b7

&

Motives related to the underlying harmonic structure b.

5

7

R

9

B b7

#w nw nw nw b13

#11

3

b9

c.

#w nw nw nw E7

9

R

7

5

E b7

bw bw bw nw 5

7

R

9

In mm.6-9 it appears no effort was made to coordinate the four-note motives with the underlying harmony. The motives seem to follow a progression independent of the blues. The Bb minor motive of m.5


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moves up to C# minor (d.), to F# minor (e.), E minor (f.), D minor (g.), and to C# minor (h.) again. After the leap (m3) from Bb up to C# and the bigger leap (P4) up to F#, the four-note groupings follow a descending step line back to C#. The rhythmic character of the four-note group was altered by addition and subtraction of pitches and by shifting at the point of transposition. 17.21 d.

Motives freely transposed over second phrase e. f.

w #w #w # w &

#w #w w w

w w w w

g.

h.

w w w w

#w #w w #w

In m.10 of the blues, where one would expect an F7, the original four-notes recurred in retrograde matching the same chord tones that were used earlier in mm. 1-5. The four-note group at (i.) are the upper chord tones (5-7-R-9) of the F7 chord 17.22

&

Motive related to the underlying harmonic structure

F7

nw

nw

bw

9

R

7

nw 5

The excerpt below was improvised over F minor. Michael Brecker moved away from the key center using symmetrical six-note pentatonic patterns sequenced in descending half-steps before returning to F minor. Brecker used these pentatonic scales: (a.) B minor pentatonic, (b). Bb minor pentatonic, (c.) A minor pentatonic, (d.) G# minor pentatonic, (e.) F minor pentatonic. 17.23

&c Œ

Chromatically sequenced pentatonic scale patterns

‰ œ œ œ œ bœ œ œ nœ œ bœ œ #œ œ œ œ œ #œ œ bœ bœ bœ bœ nœ œ nœ œ

& œ œ œ œ #œ œ #œ #œ #œ œ nœ bœ nœ d.

e.

a.

b.

c.

The symmetry of ex. 17.23 is not present in ex. 17.24. Brecker may have superimposed another progression over the given chords as shown below. All of the superimposed chords can be derived from the key of three sharps. The notes over the Bb7 chord can be analyzed as chord tones of the Bb7 or its tritone substitute E7 and seem to clearly point to Eb minor. 17.24

Superimposed progression implied Fm7 Fm 7

&c Ó

F#m7

E

Bm7 B b7

E7

Ebm7

E bm 7

Œ bœ œ bœ œ #œ nœ #œ nœ œ œ #œ œ œ #œ œ œ œ bœ ˙

Ó


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This improviser planed a four-note motive over a modal blues in C minor shown in ex. 17.25. The motive itself is quartal (D-G-C-F), a departure from tertian structures and can be derived from a pentatonic scale. The motive occurred earlier in the improvisation, and is shown here in an excerpt from the seventeenth and eighteenth choruses. At (a.) the pitches related to the key center of C minor; (b.) the motive side-slipped down a half-step; (c.) the motive moved back to the original key; (d.) the motive sideslipped up a half-step and at (e.) up another half-step; and finally at (f.) up a fourth from the original, but the notes again related to the original key center. 17.25

Motivic planing or side-slipping a.

&c Ó

œ œ œ œ ˙

œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b. c. e. œ œ bœ œ & bœ bœ bœ œ bœ œ œ œ nœ nœ nœ œ œ œ œ œ œ œ œ bœ œ œ œ œ f. d.

This excerpt illustrates sequencing a motive at the tritone. Tete Montoliu played this motive over the first few measures of a blues progression in F beginning on the F and shifted to the Bn a tritone away, back to the F, and then to the Bn again. The three note motive can be derived from a pentatonic scale. Is the motive on Bn suggesting a tritone substitution? 17.26

œ bœ œ œ œ œ nœ œ B b7 œ #œ nœ œ œ nœ œ bœ œ œ œ œ nœ œ œ #œ nœ œ œ nœ ˙ &b c F7

Ó

Many different three and four note patterns can be extracted from pentatonic scales. These melodic fragments can be strung together and freely planed to create long lines that move in, out and around a key center. The melodic line shown in ex. 17.27 was created using the four note patterns shown below the line. 17.27

&c

Planing in & around F minor using patterns extracted from pentatonic scales

‰ œj # œ œ b œ œ b œ œ

& c # # wwww


b n b wwww

nœ nœ #œ œ bœ nœ nœ œ n # wwww

b n b b wwww

#œ œ bœ nœ bœ œ œ œ n # wwww

n b b wwww

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& BEYOND Jazz improvisation is rarely totally free. Jazz musicians usually follow some set of instructions when im provising as a group. A twelve-bar blues with common chord changes in the key of F at a medium tempo is an example of set of instructions that a group will agree upon as a point of departure. Parameters may changes within that set of instructions: the tempo may be double-timed, alternate sets of chord changes may be imposed, the piece may modulate on some cue. With all the freedom that offered by this mini mal set of instructions, some jazz musicians have looked for other ways to motivate and direct improvi sations. Some borrowed twentieth century aleatoric concepts, where a composer might not specify par ticular pitches or rhythms. Some musicians throw away all instructions and choose to play “free” jazz. The composition forms and may be decided moments before the performance, and may in part be dic tated by chance. Many of these performances may sound “free” as they are far removed from tradi tional sounds, but they may be following very strict sets of instructions. There is little theory to discuss with “free” jazz, but here are some of the other ways musicians choose to direct their improvisations.

Tone Rows If the traditional set of instructions is to give the improvisers a set of chords to which they will improvise melody lines and bass lines, then the opposite would be to give them lines and let the chords be the result of those lines. Tone rows, literally rows of tones, may be given to the performers to execute with specific or non-specific rhythmic values. The rows may be twelve-tone rows or any assortment of pitches. The tone rows may be split into sections and performed as a canon. For sections of a original piece called In Remembrance, tone rows, were given to the bass and to the saxophone. The tone row was not a twelve-tone row, merely a row of tones without given rhythm indications. The vertical alignment, or chords, would change with every performance as each performer would choose to perform them with different rhythmic values.

Isorhythms An isorhythm was a technique common to the composition of medieval motets where one rhythmic pattern was repeated over and over while other musical elements were free to vary. In a contemporary improvisational setting, the rhythm may be given without any pitches. The improvisers must provide the pitches while following a predetermined rhythm. The isorhythm may be divided into sections where three improvisers perform it as a canon. The tone rows may be applied to the isorhythms at some point in the structure of the performance.

Creative Groupings Specific groupings of musicians may be determined ahead of time. The orchestration of the piece is given in the instructions and the notes and rhythms may be determined in other ways. One player may be designated to lead a section while another follows. The one who follows tries to mimic or imitate the ideas of the leader in something that resembles fugal or traditional imitative entrances. The designated leaders may change throughout the group by cues. This can be an exercise is rethinking the organization of a quartet. In so many jazz settings, the four members of a quartet all play at the same time for most of a piece, the exception being the obligatory “trading fours” with the drummer. In a quartet, there can be four soloists (soloist meaning without any accompaniment), and ten other groupings of duos and trios. With the instrumentation of piano, bass, drums and saxophone, the group can be split into six duos: piano/bass, piano/drums, piano/saxophone, bass/drums, bass/saxophone, and drums/saxophone; four trios: piano/bass/drums, piano/bass/saxophone, piano/drums/saxophone, and bass/drums/saxophone. If a soloists is to follow another, the second soloist may be instructed to begin with the actual pitches or single pitch on which the first ended.


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Descriptions of Playing Techniques or Effects A section may have a set of instructions that has nothing to do with rhythms or pitches but may describe playing techniques or desired effects. The performers may be instructed to play anything from the following list and more: glissandos or smears, high or the highest notes possible, low or the lowest notes possible, fast or fast as possible, agitated, short staccato notes, slow or calm, muted, half valve tones, breathy sounds, strings bowing near and even behind the bridge, and endless other ideas. Almost any of these instructions may be combined with others as: play a smear up to the loudest and highest notes possible on the instrument and decrescendo playing staccato notes down to the lowest tones and fade to breath sounds. One set of instructions may involve using the instrument in unorthodox ways which might include using pitched instruments as percussion instruments.

Modes Some sections may instruct the performers to play within a certain mode. This can be refreshing after contrapuntal chromatic parts. Often performers using these improvisational methods want the modal sections to be strictly within the designated mode allowing for no outside chromatic embellishment, side-slipping or planing. The modal sections are meant to be a very specific color and a contrast to more dissonant and dodecaphonic sections.

Form The form is often decided just before a performance by making a list of possible approaches, determining cues and rough timings. One composition for a quartet may be:

I.

(Leader cues transitions between sections) Twelve tone row without rhythmic designation played freely by the group.

II.

Isorhythm pattern divided into three sections A, B & C, with the fourth section improvised freely. (player plays A, B & C, improvises D then repeats) Notes determined by the musicians

III.

Four part round or canon following these instructions: • • • •

long smears legato twelve tone row from I. improvise freely percussive sounds on the instrument

IV.

G dorian (bass instrument may play a bass line)

V.

Original twelve tone row from I. applied to the isorhythm from II. Each musician takes a turn at improvising counterpoint. Repeat and ritard to end of row.

Musical ideas from this point are only limited by imagination. Are there other ways to organize improvisational music for a group of musicians? Are there ways to combine these structural concepts with traditional structural, melodic and rhythmic materials?


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XVIII. ANALYSIS: The BIG Picture TRANSCRIPTION It is often said that transcribing jazz improvisations is one of the best tools for learning to improvise jazz. Transcription is a great tool, but many questions arise: why? what to transcribe? how much? how to? what is done after transcribing? Analysis is defined as the separation whole into separate components for individual study. The previous chapters have dealt with many of these separate components, approaches and tools for developing jazz music. The material was gathered and sorted from hundreds of transcriptions of great jazz performances. How do these pieces fit into the whole of a jazz improvisation? This chapter will attempt to answer the why, what, how much, and what then questions of jazz transcription and analysis. Five well-known improvisations will be analyzed. The analyses should be studied in conjunction with repeated listening to the recordings.

WHY TRANSCRIBE? Like so many other arts, learning jazz improvisation owes much to imitating the Masters. Every great jazz artist can list those they imitated while learning to play. These artists developed their own unique voice while emulating someone else; much the same way a child becomes a unique individual even though beginning by imitating parent’s words and actions. Historically, imitation was the only way jazz was passed on from one musician to another and from one generation to another. Books about jazz came later. Ear development is one of the primary benefits of transcribing. Training the ears to take musical dictation from an outside source helps the ears hear the music from the inside source. Imitation should go beyond just playing the notes and rhythms: an artists’ inflections and articulations should also be mimicked. There is a common musical vocabulary that all jazz musicians must know. This vocabulary is part of the socialization of jazz musicians. We often listen for that common language from an artist before accepting the unique artistic expressions. We are often more comfortable with the individual expression of an artist once we sense they have done their homework and speak our common language. Transcription expedites the development of melodic vocabulary.

WHAT & HOW MUCH to TRANSCRIBE? Transcribe what interests you as an artist. Begin transcribing improvisations with a low degree of difficulty in order to develop skills and to prevent discouragement. The first attempts should be short phrases, maybe only two to four measures of a particular improvisation. One or two potent phrases can provide hours of practice room material. With practice, entire improvisations will be easier to transcribe. In the beginning an entire improvisation might be too difficult, too time consuming, and too much to digest to make it worth the investment of time.


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HOW TO? There are many methods and tools to aid transcription. There are many digital devices that can slow down the playback of a recording and even stop the recording on a single note. These may help the process, but can in some ways be damaging to the learning process. Stopping a melodic line on every pitch and plucking randomly on an instrument to find the pitch will be time consuming and counterproductive. Learn to depend on your ear. Resist the temptation to check every single pitch with an instrument. Write out the phrase and then check it for accuracy with an outside source. Try to hear phrases, not just individual pitches. Let your intellect assist your ears. For example, if a piece is in Bb, then the Bb, D and F will sound consonant and the other pitches will sound dissonant to varying degrees. Groups of chromatic and diatonic dissonances will usually point to a consonant note. Learn to hear those groups of notes as you would perceive a noun clause or a verb clause in a sentence: not as separate words or letters but as a unit. In difficult passages it may be helpful to notate rhythms first, identify the primary pitches on downbeats and significant rhythmic places, and then fill in the secondary pitches that complete the line.

WHAT THEN? After completing a transcription fragment or complete improvisation, analyze the material. Determine what is being done literally and conceptually. Practice playing the entire transcription along with the recording matching rhythms, pitches, phrasing and articulations. Take choice fragments and practice them literally in all keys. Examine the same fragments conceptually: what musical principles are at work? How could the same principles apply in a different way to the same or other musical settings? What could be added or subtracted to the fragment and how else might it be applied? One fragment could occupy hours of inventive work in the practice room.

ANALYSIS Why analyze a solo? There is a practical motive for most jazz theorists: we want to play quality jazz solos. By examining outstanding improvisations by great jazz artists we can find specific things to practice, find ways of organizing our thinking about structure, train our ears and brains to listen more intently and intelligently to the music we love. Analysis is defined as the separation whole into separate components for individual study. Data must be gathered, sorted into categories and classified, and then connections and conclusions can be formulated. Analysis begins with asking the right questions. Better questions yield more useful information. Have a list of questions on hand when you begin your analysis. No improvisation will include all the elements on any list. There is no set formula or paradigm for a jazz improvisation. Several improvisations will share similar characteristics. One improvisation may focus on thematic and motivic transformation, another on improvising over the harmony using common melodic outlines, another may rely on paraphrasing the original theme. Treat each improvisation as an individual avoiding forcing square pegs into round holes or dismissing one as irrelevant because it does utilize the same principles as another. Do not try to make the improvisation fit your idea of what should be there; analyze what is actually in the music. Some questions may lead to dead ends. A specific approach may be searched for and not found. Determine that by asking the questions, and then move on to another area. Traces of one approach may be found, and later determine to be insignificant for the analysis. Leave it behind, the job is not to justify every note, or to justify any note. The absence of a specific approach may be significant to the analysis.


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Some of your search should be microscopic, and some macroscopic. You may have to examine small pieces of the solo, down to individual notes in some cases. You should also step back and look at the overall larger picture of the solo: how does it build? what are the devices that give the entire solo form and structure? Is there a shape and how is it achieved? Examine the trees and the forest.

SPECIFIC QUESTIONS to ASK ABOUT an IMPROVISATION: The outline below is a source for questions about the specific devices used to create an improvisation. An improvisation can be based on the melodic material or the harmonic structure. A study of theme and variations by Bach, Mozart, Beethoven and others will reveal the same: that variations are based on melodic or harmonic material. Within these two large categories are many separate divisions. If the improvisation is based on melodic paraphrasing, what devices were used? If the improvisation is based on the harmonic progression, was it specific or general? I.

Paraphrasing the Melody A. What figurations were added to the melody? (NTs, PT, arpeggio tones, etc.) B. How was the rhythmic content altered? C. How was the general contour ornamenting or embellished? II. Improvising on the Harmony A. Harmonic Generalization 1. Triadic generalization 2. Blues scales 3. Common clichés B. Harmonically Specific 1. Specific arpeggios (1-3-5-7 & 3-5-7-9) 2. Scales (related first to the key center, or specific chord symbol) 3. Guide tones (3rds & 7ths) 4. Outlines nos. 1, 2 & 3 5. Step progression: simple ascending or descending step motion in the middle of more angular lines. (Outline no. 1 is a typical example.) C. Harmonic superimposition 1. Tritone substitutions 2. Additions to the basic progression 3. Specific scale colorizations 4. Mode changes 5. Side slipping or planing An improvisation may include many overlapping concepts. A single phrase may begin using harmonic generalization, move to harmonic specificity and end by paraphrasing the original theme or melody. Within an improvisation, compositional and motivic devices may be applied to any of the developmental processes listed above. The list below reviews some of these devices that are illustrated in chapter 12 beginning on page 318. III.

Compositional Devices for Motivic Development A. Repetition: The theme must recur for it to be a theme. What elements recur in the improvisation and how are they similar or different? B. Sequencing: Transposing to other pitch levels in a repeating series. C. Fragmentation: Using a smaller portion of the initial idea. D. Addition or interpolation: The opposite of fragmentation. Material is added to the motive. The new material can occur before, after, or in the middle of the original motive which is usually intact and recognizable.


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E. Embellish or ornament: This differs from the addition of notes before or after as it involves the elaboration of the original note using neighbor tones while still following the general contour of the original idea. F. Augmentation: To augment is to make something larger. Musically this can apply to the rhythmic units, the intervals and even the orchestration. G. Diminution: To diminish is to reduce something. This can apply to rhythmic units, the intervals and the orchestration. H. Inversion: The intervals of the original idea can be turned upside down. They can be inverted using exact intervals or generally following the diatonic intervals. I. Retrograde: The motive is played with the pitches in reverse order. This is not perceived by the casual observer, but can be a useful device. J. Retrograde inversion: the original can occur upside down and backwards. This is also not always recognizable to the casual observer. K. Displacement: May be applied to rhythms or pitches. Pitches may be displaced by moving them up or down an octave. A motive may be rhythmically displaced to a different part of the phrase earlier or later than might be expected L. Mode Change: The motive might be set in other modes. M. Iteration: Repetition. Making a simple rhythm more active by repeating melodic pitches. O. Quotes from other sources After closely examining individual notes in relationship to the original melody or harmonic structure, it is helpful to view the improvisation from a larger perspective. How are the phrases formed without considering harmonic implications? Is there a relationship between phrases? Are there connections? Do several phrases work together to imply larger architectonic forms? A phrase can begin only three different ways: before the downbeat, on the downbeat, and after the downbeat. A phrase can be long or short. Do the length and placement of phrases contribute to the musical result of the improvisation? IV.

Phrasing A. Length (short or long, relationship) B. Placement (before, on, after) C. Connections (last notes or note of one phrase begins the next phrase)

What types of rhythmic character are present in the improvisation? Were there instances of polyrhythmic superimposition? Was there a contrast between simple and complex subdivisions? How does the rhythmic character contribute to the structure of phrases, phrase groups and the overall form? VI.

Rhythmic Development (polyrhythm, contrasts)

How was contrast used as a developmental tool? VII.

Contrasts to look for: A. Harmonic specificity and harmonic generalization B. High and low ranges C. Loud and soft D. Simplicity and complexity E. Short and long phrases F. Thick textures and space G. Agitated and calm


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The improvisation can be examined in an even larger context. What is the overall shape and character? What musical mechanisms help determine the contour? VIII. A. B. C. D. E. F.

Overall Character Agitated, calm, relentless, conversational, etc. What musical elements contribute to the overall mood? When is the high point of the solo? How is that achieved? Resolves conflict or not? What is attractive about the solo? sound? rhythm? melodic ideas? technical interest? formal? feeling? Harmonic vocabulary It is recommended that the following improvisation analyses be studied in conjunction with frequent listening to the recordings.

SO WHAT:

MILES DAVIS

In the liner notes from the Kind of Blue recording session, Bill Evans described the tune So What as “a simple figure based on 16 measures of one scale, 8 of another and 8 more of the first.” Miles Davis did not base his So What improvisation on “scale running.” Without the harmonic framework of traditional harmony, Davis chose to develop his ideas using motivic devices including: repetition, fragmentation, sequencing, and diminution. Davis improvised two thirty-two measures choruses employing two major themes, one for each chorus with some overlap, and referred to both themes in his closing statement. Davis introduced theme 1 in m.2 after a initial “sigh” motive. Theme no. 1 can be divided into three parts as indicated by the lower case letters a., b., and c. The theme is a palindrome1 with an additional note at the end. The rising fragment of a. was balanced by the falling fragment of c. Davis sequenced the theme in mm.4-7. The fragment c. was saved for the end of the phrase as Davis worked primarily with fragments a. and b. Fragment b. was transposed up a diatonic third in m.6. Fragment c. was rhythmically displaced to end on the upbeat of beat four in m.7. The D was repeated up an octave to bridge the first A section with the second and recalls the initial “sigh” motive. 18.1 I

&c Ó

œ œ. œ ˙. 1

Seq. cont.: b.

& œ œ. œ œ œ a.

Œ

Theme 1:

Œ

a. b. X

œ.

b.

j Œ Ó . œ œ œ œ. œ- œ. c.

Sequence:

b. >œ œ œ œ œ œ œ œ œ Ó J œ œ > . c. a.

b.

‰ jœ œ œ œ œ a.

œ œ œ. œ

Fragment b. occurred inverted in m.10 and was answered by fragment c. The pitches of c. were changed, but the general shape (descending, ending with repeated note) remains unchanged. This occurrence alone may be difficult to hear, but in conjunction with numerous appearances of fragment c. at the ends 1 A word, phrase, verse, or sentence that reads the same backward or forward. Examples: radar, refer, civic, deified, rotator, Poor Dan is in a droop.


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of phrases the relationship becomes clear. The inversion of b. returned in m.14 transposed up a step from m.10 and again was answered by fragment c. Fragment c. was preceded by triadic material in m.13: the E a leading tone to F, a passing tone (G), A and the leading tone C#. These two phrases in the second A section are symmetrical. b. inverted

&œ

Œ

Ó

Œ

>œ .

^œ

œ J

(1/2 V)

œ.

3

œ

∑

œ ˙

c. b. inverted

. . œ œ. œ œ # œ j Œ ‰ & œ œ œ œ

œ J œ œ œ. œ œ Œ . c.

3

∑

Section B began with a. transposed a tritone away from its first occurrence in m.3. A scale passage that may suggest fragment a. followed. The line ended with fragment c. again, up a half-step from its last appearance in m.15. Another scale passage followed that included the unusual leap of a tritone (D-Ab) in m.23. This phrase, as all preceding phrases, ended with fragment c., this time transposed up a perfect fifth higher than in m.15. The pitches (D and A) are the same as those in m.3 and m.7, but inverted and the rhythmic value of the repeated notes is augmented c.

b œ œ >œ ˙ b œ œ Œ b œ b œ & bœ œ b>œ b œ. b ¿ . a.

Œ bœ œ bœ ¿ > >

bœ b¿ bœ > >

7

c.

& b œj œ . >

>œ c. b ^ . œ œ b œ œ # œ œ # œ bœ bœ œ nœ ‰ j b œ b>œ b œ œ b œ b œ > b>œ b œ >

Ó

1

& œ.

c.

Œ

˙ >

œ >œ œ >œ

Ó

(1/2 V)

œ

œ.

Ó

Ó

‰ œ

œ J

5

The inversion of fragment b. returned in m.30 answered by fragment c. Fragment c. occurred with the same pitches in m.25 and m.31. This short idea signaled the end to the first chorus. b. inverted

&˙ 9


Ó

>œ

>˙

Theme 2:

c.

œ œ

œ.

œ

Ó

Ó

˙

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The second chorus is an ideal structural point to introduce a second theme. Davis chose a secondary theme that contrasted in many ways to the theme no. 1. Theme no. 1 was introduced between the pitches of D and A; theme no. 2 is between C and G in an upper register. Theme no. 1 was rhythmically active with eighth note subdivisions; theme no. 2 floated above the rhythm section using notes of longer values. Theme no. 2 anticipated the second chorus and is answered in mm.34-35. Theme no. 2 was stated again in the lower register in mm.36-37 and was answered in mm.38-39 similarly to mm.34-35. An inverted fragment b. appeared to be a part of the answer to theme no. 2. II

&

w

Theme 2:

-œ

b. inverted

. œ œ J

œ.

œ.

œ œ. J ‰

Theme 2 down octave:

˙

˙

Theme 2 answer

3

T2 answer in upper octave:

T2 down octave

Ó

&˙

^œ

Œ

7

œ.

(1/2 V)

œ J

. œ œ œ œ œ

(1/2 V)

œ3 Œ

œ #œ ˙

b. inverted

The second A section of the second chorus began with a bluesy response to theme no. 2. The first two short phrases end with fragment c. of theme no. 1. It is as if Davis wanted to remind the listener of the first theme before further development of the second theme. The phrase in mm.45-47 which is nearly identical to the sequence that occurred in mm.4-7 was an additional reminder of the material of theme no. 1. Bluesy response

œ. & bœ œ

(1/2 V)

1

>œ >œ

œ

Œ

œ

‰ jœ œ œ

Sequence of T1. Echoes mm.4-7: b.

5

a.

œ.

j œ œ.

∑

c.

c.

& ‰ ¿j œ œ œ. œ.

(1/2 V)

b.

j œ. œ œ œ ¿ œ > > a.

T2 up half-step:

>œ œ œ œ œj œ .

b.

Ó

Œ

bœ

c.

Having reacquainted the listener with theme no. 1, Davis continued the development of theme no. 2. At section B of the second chorus Davis played theme no. 2 up a half-step. The answer in the lower octave, in mm.50-51 was filled in with passing tones. A short passage (mm.53-54) that recalled fragment a. of theme no. 1 ended with theme no. 2 transposed to another pitch level in m.55.

œ. &

T2 up half-step:

œ J b˙

œ . bœ bœ bœ J . .

T2 with PTs down octave:

œ ¿ bœ œ œ bœ

Ó

Œ

‰ œj >

9


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T2 transposed:

a.

> > bœ œ b œ b & b œ b>œ œ b>œ œ . J b œ œ œ ‰ b Jœ ‰ J œ b œ. 3

Ó

œ œ œ œ

Ó

a.

a.

Davis anticipated the last section of the chorus with a return of theme no. 2 in the original key. The answer in m.59 was rhythmically more active than previously heard. A response grew out of the theme no. 2 answer that included the inverted fragment b. and fragment c. T2

&

˙

˙

˙

j œ œ œ. œ ˙ œ

T2 answer

œ.

b. inverted

œ

>œ œ œ œ œ.

7

c.

A concluding paragraph of a well written essay sums up the major points discussed in the exposition and body. Davis seemed to follow this model and refers to both themes in his concluding line. The line begins with fragment a. as if to restate the sequences found in mm.4-7 or mm.45-47. Theme no. 2 recurred in m.63, and then Davis played the remainder of theme no. 1 ending with a rhythmic augmented fragment c. T2

&œ Œ Ó > 1

> ‰ j œ œ œ bœ #œ œ ˙ >œ > >

œ . œj œ œ # œ œœ œ. >

œ-

Œ Ó

c.

a.

EXCERPTS from SO WHAT Separating individual motives and themes, the component parts of the whole improvisation, makes them easier to trace, examine and compare their characteristics. Theme no. 1 is shown with its three fragments in ex. 18.2. 18.2 Theme no. 1

Fragment a.

j & Œ œ œ œ. œ œ œ Œ Ó - . .

œ œ œ.

Fragment b.

j j œ œ. œ

Fragment c.

j œ

œ œ

2

The “M” shaped palindrome structure of theme no. 1 is clear as illustrated in ex. 18.3. 18.3

&w

Theme no. 1 as a Palindrome

w


w

w

w

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Davis began developing theme no. 1 by repeating the first two fragments, transposing fragment b. and returning to the complete theme in this phrase from mm.4-7. 18.4

Repetition of theme no. 1 fragments from mm.4-7. b.

& ‰ œj œ œ œ

b.

œ

œ

a.

4

œ. œ œ

œ

b. X

œ.

b.

> œ œ J

œ œ œ œ œ œœ œ œ. > a.

a.

c.

Forty-one measures after mm.4-7, Davis recalled and played almost the exact phrase in mm.45-47. 18.5

Repetition of theme no. 1 fragments from mm.45-47 b.

& ‰ ¿j œ œ œ. œ. 45

b.

b.

>œ œ œ œ œj œ .

jœ œ œ œ ¿ œ > >.

a.

a.

c.

Twelve phrases in the improvisation ended with fragment c. This recurrence of material unified the improvisation more than any other element. The first two occurrences were almost identical, both ended on an upbeat and both used the dominant falling to the tonic. The third occurrence in m.12 was a bit disguised with smaller intervals and augmented rhythmic values. In m.15, the rhythmic values of fragment c. were closer to the original although the interval was slightly diminished. MM.21-22 recalled the fragment heard in m.15, but up a half-step. The original pitches, though inverted, returned in the two occurrences at mm.24-25 and mm.30-31. Davis created a rising step progression with the endings of the three phrases in mm.41-47. Each phrase ended with fragment c. and each fragment was a step higher than the previous (mm.41, 43 and 47.) The fragment from mm.60-61 used the same pitches as that of m.47. Davis ended the improvisation in mm.64-65 with the original pitches, the dominant and tonic, but the rhythmic values were doubled. 18.6

&

Twelve occurrences of fragment c. as phrase endings

j œ œœŒ

&

3

j & b œ ¿ b œj œ .

43

&

&

œ J œ ˙

& 47

œ œj œ . J

&

œ œ œ

12

&

25

œ œj œ .

œ œ ˙

8

21

&

3

j œ œ œ

œ J œ œ 31

&

œ Jœ œ 61

16

&

œ œ œ

41

&œ œ

œ 65


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At the midpoint of the two chorus improvisation after developing one theme and its fragments for the first half, Davis introduced a contrasting second theme. Theme no. 2 floated while the first was more rhythmically active. Theme no. 1 was primarily constructed with the notes of a D minor chord and the second was based on the upper extensions, the 7-9-11, or a superimposed C major triad over the D dorian. Davis repeated theme no. 2 with the first two pitches transposed down an octave. Theme no. 2 returned anticipating the B section in m.48. The triadic shape of the answer was disguised with passing tones. A short reference to the triadic theme no. 2 occurred in mm.54-55. Davis anticipated the last A section with another return of theme no. 2 in m.56. Theme no. 2 recurred one last time in m.63 as a part of the last phrase, a summary including material from both themes. 18.7

Occurrences of Theme no. 2 b. inverted

˙

& Ó

w

-œ

. œœ J

œ.

œ.

œ œ. J ‰

33

&

˙

Ó

˙

Œ

^œ

œ.

(1/2 V)

. œ œ œ œ œ

œ J

œ3

37

& Ó

Œ

œ.

bœ

œ J b˙

œ . bœ bœ bœ J . .

œ ¿ bœ œ œ bœ

49

bœ J

&

œ bœ .

Ó

55

œ œ œ œ ˙

& Ó

˙

˙

œ.

j œ œ œ. œ ˙ œ

57

18.8

Last phrase of improvisation as summary of all thematic materials Theme no. 2

> ˙ & ‰ œj œ >œ œ b>œ # œ œ > 62

a.


œ.

c.

j œ œ œ œ # œ œ- œ > .

œ-

Œ

Ó

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415

OVERVIEW of THEMATIC MATERIAL The charts below provide a overview of the thematic material in the Davis improvisation. FIRST CHORUS A (mm.1-8) Theme no. 1, fragments a., b., & c.

A (mm.9-16) Fragment a., inversion of b.

B (mm.17-24) Fragments a., c., & inversion of b.

A (mm.25-32) Fragment a., inversion of b

B (mm.49-56) Theme no. 2, fragment a.

A (mm.57-64) Theme no. 2, inversion of b. Summary of all ideas in the last phrase: (mm.62-65)

SECOND CHORUS A (mm.33-40) Theme no. 2, inversion of b., fragment of Theme 2

A (mm.41-48) Theme no. 1, fragments a., b., & c.

Without a harmonic progression, this modal improvisation included no guide-tones or outlines. There were no instances of exotic scales or harmonic substitutions. Davis developed two main themes and their fragments using motivic devices including: repetition, fragmentation, sequencing, and diminution. This improvisation is an exceptional lesson in motivic development and economical construction. Miles was frugal with notes, which made it easier to see and hear the simple structures. Miles constructed a logical improvisation manipulating fragments of his themes like Picasso in an analytical cubist painting.

ALL BLUES:

CANNONBALL ADDERLEY

Cannonball Adderley used several recurring musical elements in this improvisation. These elements and their transformations helped create a coherent organization. The form is a modal blues. The material used to construct the entire improvisation was introduced by Adderley in the first four measures. He began with extended arpeggios in thirds using a rhythmic motive that recurred with variations. A bluesy motive and a bop figure resembling outline no. 3 followed. Cannonball showed his wonderful sense of balance in this solo. Flurried passages were answered with simple swinging eighth note passages, such as the iteration device in mm.28-30 and mm.37-38. Modal passages were contrasted and balanced with bluesy or be-bop figures. Extended arpeggios, leaping almost two octaves contrasted with measured trill figures that restrained the melodic motion. Recurring rhythmic motives lent a continuity to the material even when the pitch content changed. Outline no. 3 lent continuity in form and structure to lines with much rhythmic variety. The rhythmic vocabulary ranged from relaxed, simple eighth notes lines to flurries of sixteenth notes and sixteenth note triplets. Certain areas of the form were treated the same, as if Adderley conceived the passages as a certain mood or character beyond just the harmonic implications. Many phrases ended with the bop outlines. Almost every chorus ended with an ethereal phrase avoiding harmonic and rhythmic clarity. A rhythmic motive (R1) was introduced in the first phrase. Two eighth notes on the downbeats emphasized the strong beats of one and four, creating the duple meter ( 46 ). The pitches suggested an extended tertian (1-3-5-7-9-11) G chord. A bluesy 4-3-1-7 idea answered followed by a bop sounding figure that eventually Adderley developed into outline no. 3. The 4-3-1-7 shape was the first item to be developed as Adderley sequenced it over the C7 in mm.5-6.


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18.9 I G7

Rhythmic motive 1 (R1)

4-3-1-7 Motive

Œ & 64 Ó . Ó œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ #œ 7 9 11 9 7 5 3 1 1

Bop figure:

C7

3

& œ œ œ œ œ œ œ œ œ bœ œ

˙

4-3-1-7 motive developed

œ . bœ œ œ . ˙

‰ Jœ œ b œ œ œj œ œ œ œ 3

The upper extensions returned over the G7 as Adderley emphasized the 7-9-11 of G7. The rhythm (R2) was related to R1 but stressed beats one, three and five. The accents of R2 suggested a triple ( 23 ) instead of the duple meter ( 64 ). The bop figure returned to end the phrase. Adderley treated the last four measures of the first chorus with a harmonic and rhythmic vagueness that created an ethereal mood. R2 returned in the last two measures of the form. G7

R2

D7

Ethereal section:

3 œ œ œbœ . œ j œ œ Œ Œ Œ Œ Œ ≈ #œ . œ œ œ œ œ œ & œ #œ œ œ œ Nœ œ #œ nœ œ œ œ

E b7

Bop figure

D7

3

G7

3

R2

j ‰ b œ n œr œ œ œ b œ # œ b œ Œ œ b œ Œ œ œ œ b œ Œ Œ Œ #œ œ œ ‰ & œ J #œ nœ œ œ œ 0

Another variation of R1 occurred in mm.13-14 at the beginning of the second chorus using only the two eighth notes on the down beats. The melody emphasized the upper extensions (9 & 13) and recalled the bluesy motive. A flurry of notes, G mixolydian scale with two chromatic passing tones, led to the recurring bop figure. This time the figure was recognizable as outline no. 3. A chromatic line was suggested within the outline: (D-C#-Cn-Bn). Adderley answered with a static measured trill as a contrast to the vigorous outline figure. II

& 3

G7

4-3-1-7 motive

œœŒ Œ Œ œ œ R3

5

Bop figure: outline no. 3

œœŒ Œ ‰ j œœœ œ œ #œ œ œ œ #œ œ œ œ œ œ œ nœ œ #œ œ œ . œ #œ

Measured trill:

C7

Measured trill:

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ ˙ Œ Œ œ œ œ œ œ œ œbœ œ œ œ œ œ 3 3 3 3 œœ

6


Chapter 18


417

The static measured trills were abandoned for the chromatic and rhythmically exciting line in mm.1920. Outline no. 2 was followed by outline no. 3 and a arpeggio of the upper extensions (7-9-11-13-R) of the G7 chord. The sixteenth notes provided a rhythmic contrast, and the wide range of the line (almost two octaves) contrasted with the static nature of the previous measured trills. 3

Upper ext.

œ˙ œ œ œ b œ j ‰ œ œ œ œ & œ œ œ œ œ œ œ #œ œ œ bœ œ nœ œ œ #œ nœ œ 3 œœ œ œ œœ œ G7 3

3

G7

Outline no. 2

&

7

Outline no. 3

9 11 13 R

www www w w

w w

9

An ethereal feeling was again created on the last four measures of the form. Adderley recalled R3 and the bluesy 4-3-1-7 motive in the closing measures of the second chorus. D7

œ œ &‰ J

E b7

Ethereal section:

œ œ ‰ œj b œ

bœ bœ bœ œ bœ œ œ bœ œ

1

&œ œ Œ 3

3

4-3-1-7 Motive

G7

Œ

œ

Œ

D7

œ œ

œ œ œ œj œ .

‰ n œj #œ œ œ œ3 # œ œ œ

Œ

R3

The measured trill returned at the top of chorus three. It was answered by a lengthy flurry of sixteenth notes that included outline no. 3, with the internal chromatic implications (D-C#-Cn-Bn), and ended with the extended tertian arpeggio. G7

III

&˙

Measured trill:

Œ

‰ Jœ œ œ œ œ œ œ œ œ ˙ 3

5

3

& œ œ bœ œ œ &

Œ

œ œ#œ œ nœ œ œ #œ œ 3

3

œ. bœ œ œ œ œ œ Œ Œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ #œ œ œ œ 3 Iteration:

Outline no. 3

Upper Extensions

5

www

7

9 11 13 R

nw w

7


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As a contrast to the sixteenth notes, Adderley played a repeated eighth note line. These repeated notes are called iteration. Rhythmic variation no. 4, occurred in m.31 featured a slightly diminished version of the pair of notes found in the other rhythmic variations. Rather than the two eighth notes of R1-3, the pair were the first two notes of an eighth note triplet. The ethereal section returned with ambiguous floating rhythms and distant notes such as the C#, the #11 of G7 in m.35. The last two measures contained a return to R3 and the measured trill. The melodic material that began the fourth chorus again suggested the upper extensions (5-7-9-11) of the G7 chord. C7

G7

Iteration sequence:

& œ œ œ œ œ œbœ œ 9

œ œ œ œ

bœ

r œ

Œ Œ œ œ

3

3

‰ œ œ œ œ œœœœ œ œœ œ œ œ E b7

R4

œ bœ œ bœ Œ ‰ œ œ Œ Œ Œ b ˙ b œ œ &œ œ bœ œ œ J œ bœ bœ œ œ . œ œ bœ œ D7 Ethereal section:

D7

3

2

G7

& #œ œ Œ 5

Œ

Œ

measured trill

3

œ œ œ œ

œ œ Œ

‰ # œj œ œ œ œ œ

Œ

R3

Adderley played another iteration sequence at the beginning of chorus four. Outline no. 3 returned paired with an arpeggio that emphasized the upper extensions (5-7-9-11-13) of G7. The internal chromatic implications (D-C#-Cn-Bn) were again implied in outline no. 3. IV

G7

Outline no. 3 3

Extensions

œ œ & œ œb œ œ œ j‰ œ œ b œ œ œ œ œ œ # œ n œ œ œ œ œ œ œ #œ œ œ œ œb œ œ œ œ œ œ œ 5 7 9 11 13 Iteration sequence:

w ww

&

nw

3

w

7

The line in m.40 suggested the tertian extensions (7-9-11-13) and at the same times has a blues feeling due to the Db-C and the Bn-G. R1 returned in mm.61-62 with an inserted measured trill. C7

3

3

œ & ‰ œ œ œ bœ œ œ œ bœ œ Œ œ œ œ Œ œ bœ œ œ œ œ œ œ œ œ œ Œ œ r œ #œ œ Measured trill

0

R1

R1 continued through m.62 and led to another occurrence of outline no. 3 which Adderley again paired with the upper extension arpeggio. The rhythmically diminished pair of notes from R4 were used again


Chapter 18


419

in m.65. The note pairs were played with progressively larger rhythmic values in mm.65-66. In m.65, the pair of notes were the first two notes of an eighth note triplet; on the downbeat of m.66 they return to a pair of eighth notes; and at the end of m.66 they have become two quarter notes. The improvisation ended with one last reference to outline no. 3 with the suggestion of the internal chromatic line, with a missing the Dn. G7

R1

& œ œ Œ œ #œ œ

‰ œj œ œ

3

Outline no. 3

&

D7

Upper extension

3 3 3 œ œ œ œ œ œ œ œ‰œ œ œœ œ Œ œ œ œ œ œ JJ œ œ œœœ œ 3

7 9 11 13

Fragment of R4

w ww w w

3

E b7

bœ bœ œ œ œ Œ ‰ Jœ & D7

G7

# œ œ Œ ‰ œj ‰ œj œ . #œ œ œ œ #œ œ œ œ ˙ G7

w

&

w

¿

w

w

6

EXCERPTS from ALL BLUES

RHYTHMIC MOTIVES 18.10a R1 I G7

Œ & 64 Ó . Ó œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œœ œœœ œ œ œ 1

18.10b R1 at m.41

18.10c R1 at m.43

C7

& bœ œ Œ 1

G7

œ

œ œ Œ

œ

&œ œ Œ 3

j 3 œ #œ œ ‰ œ œ œ œ


420

Chapter 18


18.11a R2 Implies triple meter ( 1

3 2

) instead of duple meter (

2

64 œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

3˙ 2œ

œ

œ

œ

˙œ

œ

œ

œ

˙œ

œ

œ

œ

1

2

6 4

)

3

18.11b R2 in mm.7-8 G7

œ œ Œ

&œ œ Œ

œ #œ nœ œ

œ

œ

8

18.11c R2 in mm.11-12 G7

#œ bœ Œ œ bœ Œ œ œ œ œ œ œ & 12

18.12a R3 in mm.13-14 II

&

18.12b

G7

3

G7

œ œ Œ Œ Œ œ œ

œ œ Œ

3

& œ œ Œ Œ Œ œ œ œ œ œ œ œj œ . 3

18.12c R3 in mm.32-33

18.12d D7

&œ œŒ Œ Œ œ œ. œ bœ bœ œ

G7

œ

2

G7

œ

3

3

œ

œ

1


œ

œ

œ œ ‰ œ

œ œ

R3 in mm.35-36

& #œ œ Œ Œ Œ œ œ œ œ œ œ Œ 5

18.13a R4 in m.31

&

R3 in mm.23-24

Chapter 18


421

18.13b R4 fragment in m.45 E b7

D7

œ œ3 ‰ œ 3 œ œ 3 œ œ Œ œ œ b œ b œ œ œ œ #œ œ œ Œ ‰ & J J J D7

G7

OUTLINE EXAMPLES 18.14a Outline no. 3 in m.4

18.14b G7

3

&

œ œ œ œ œ nœ œ œ

œ #œ

Outline no. 3 in mm.7-8

&

4

#œ

œ

nœ œ

œ

œ

8

18.14c Outline no. 3 in mm.15-16

&œ œ œ œ œ œ œ # œ œ n œ œ œ nœ œ œ 16

18.14d Outline no. 3 from another improvisation B bm 7

&

3

3

E b7

Œ œ œ b œ œ b œ œ bœ œ œ œ œ œ bœ #œ œ 18.14e Outline no. 3 at the end of the improvisation

&

j œ ‰ œj œ . #œ œ nœ œ #œ œ œ œ ˙ œ œ ¿ nœ œ 44

&


422

Chapter 18


OUTLINE EXAMPLES FOLLOWED by EXTENDED TERTIAN ARPEGGIOS 18.15a Outline no. 2 & no. 3 in mm.19-20 3

&Œ

3

œ œbœ œ œ œœ œ œ # œ œ n œ œ œ œœœœœ œ œ nœ œœ œ œœœ œ œ œ œ

˙

20

&

18.15b Outline no. 3 in m.27

œ. œ œ Œ œœœ œœœ œ œ œ œ #œ œ œ œ œ œ œ œ # œ n œ œ œ œœ œ œœœ œœœ nœ œ 3

&

28

&

18.15c Outline no. 3 in mm.38-39

& &

3 j 3 œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ œ œ œ œ œ œ œ nœ œ 39

18.15d Outline no. 3 in mm.43-44

& &

3 j œ œ œ œ œ œ œ


œ œ œ œ œ œ œ œ œ œ œ 44

œ

œ

Chapter 18


423

EXTENDED TERTIAN ARPEGGIOS 18.16a G mixolydian: scale

&w

w

w

w

2

3

4

18.16b

w

w

w

w w

R

5

6

7

Extended tertian arpeggio

R

R

w 3

w

w

w 5

7

9

w

w

w 11

13

R

18.16c Extended tertian arpeggio at the beginning of the improvisation G7

&

œ œ Œ œ œ œ Œ œ

œ œ

œ œ

1

&

w 7

w

w w

9

11

Œ œ Œ œ œ œ œ œ œ œ œ ˙

w w

9

7

ww

5

3

R

18.16d Other extended tertian arpeggios throughout the improvisation 3

&œœ

˙ œœœ 21

7 9 11 13 R

œ œ. Œ œ œ & œœ

&

j œ œ œ œ #œ œ œ œ œ

28

39

5

7

9 11 13 R

3

7

9

11 13

œ œ œ &œ œ œ œ 44

7

9

11 13

4-3-1-7 BLUES FIGURE 18.17

4-3-1-7 Blues figure throughout the improvisation C7

& œ œ œ œ œ 4

&

˙

œ . bœ œ œ . ˙

3

‰ Jœ œ b œ œ œj œ œ

5

3

&œ

œ

œ œ Œ 14

&œ

œ œ œ œj œ .

œ œ 44


424

Chapter 18


MEASURED TRILL FIGURE 18.18

4-3-1-7 Measured trill figure throughout the improvisation C7 3

3

& œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ ˙

Œ

3

3

Œ œ œ œ œ œ œ œ bœ œ œ œ œ œ

17

3

3

œ œ œ œ œ3 œ œ œ3 œ ˙ & J

& bœ œ œ œ œ œ œ œ œ œ

26

42

ITERATION 18.19

&

Iteration throughout the improvisation

bœ œ œ œ œ œ œ œ œ œ bœ œ 29

œ œ œ œ

r œ

bœ

Œ Œ œ œ

œœ œ œ œ œ

G7

& œ œ bœ œ œ œ œ bœ œ œ

œ œ b œ œ œj

29

ETHEREAL FLOATING VAGUENESS 18.20 D7

Ethereal section at the end of first chorus E b7

D7

G7

œ œ œb œ . œ ≈ j ‰ b œ j ‰ n œr œ œ œ b œ # œ b œ Œ œ b œ Œ œ œ œ œ œ œ œ œ Œ & Nœ œ # œ . œ J# œ n œb œ 3

9

18.20b Ethereal section at the end of second chorus D7

œ œ &‰ J œ œ ‰ œj b œ 21


E b7

D7

G7

bœ bœ bœ œ ‰ n œj # œ œ œ œ bœ œ œ bœ œ

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425

18.20c Ethereal section at the end of third chorus D7

œ œ j ‰ J & œ œ ‰ œ bœ 32

E b7

D7

G7

j bœ bœ bœ œ ‰ nœ #œ œ œ œ bœ œ œ bœ œ

PHRASE CONTENT FIRST CHORUS Extended tertian arpeggios using Rhythmic Motive no. 1 (R1)

‘

1

‘ ‘

4-3-1-7 Motive 5

Ethereal Section

4-3-1-7 Motive

Bop Figure related to outline no. 3

R2 derived from R1

Bop Figure

Rhythmic Motive no. 2 (G harmonic minor)

R3

Scale with chromatic passing tones

Bop Figure Outline no. 3

Outline no. 1 connects to next measure

Outline no. 3 /extended tertian arpeggio

R3

4-3-1-7 Motive

9

SECOND CHORUS R1 4-3-1-7 Motive 13

‘ ‘

Measured trill 17

‘

Ethereal Section 21

THIRD CHORUS Measured trill figures Extended bop figure

‘

Upper extension arpeggio

25

Relaxed motive using iteration

R4

29

‘

Ethereal Section

R3 (G harmonic minor)

33

FOURTH CHORUS Iteration idea returns Outline no. 3

Extended arpeggio

Bluesy ending

37

R2

Trill figure added to rhythmic Motive no. 2

Outline no. 3 ends with extended arpeggio

41

R4–Rhythmic activity winds down

R3

Outline No. 3

45

It should be apparent from these transcriptions that constructing improvisations is more that playing the correct chords and scale tones. Cannonball Adderley introduced at the beginning of the improvisation a few musical elements that recurred transformed and varied to create a coherent organization. A rhythmic motive recurred in several forms. Adderley implied several bop outlines and extended tertian arpeggios over this modal framework and often linked the two elements. The improvisation was balanced by contrasting rhythms, textures, moods, subdivisions and implied metric divisions.


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Chapter 18


BLUE in GREEN:

JOHN COLTRANE

John Coltrane contributed so much to jazz from the complex harmonic passages in Giant Steps and Countdown to the modal improvisations and beyond. This improvisation was chosen for its simplicity. The short ten measure melodic line was constructed primarily from a single step progression elaborated with octave displaced notes and rapid scale passages. The melody is shown on the top line and the implied step progression on the bottom. The step progression often adheres to voice leading principles. Coltrane leapt a perfect fifth to the An which began the descending step progression. The line returned to An on beat three after moving to surrounding tones below and above to further embellished the An. There was a 4-3 suspension on the D minor chord. Another octave leap suggested a G7 preceding the Cm7 so that the Fn sounds like the seventh resolving to the third (Eb) of Cm. The octave displacement continued and the seventh of F (Eb) resolved to the third of Bb (Dn) completing a descending scale that began on A. The step line was octave displaced again as the Dn leaps up to the Cn, the #9 of the A7. 18.21

b9 bb 9 Dm9 Cm7 F7 3 B bmaj7 A7b 13 r r œ œ œ œ. œ œ œ œ œ œ œ œ œ ≈ œr œ . . œ bœ œ œ œ . œ œ œ œ

&b c

Gm 9

A7 13

˙

˙

&b c

œ œ

b˙

˙

˙˙

1

A secondary step line was introduced in m.3 which continued briefly through m.5 (F to E). Coltrane played an F triad over the A7 in m.3 and the Dm7 in m.4. The F triad works as a triadic superimposition for many of these chords and Coltrane seemed to be using these common tones to provide melodic continuity. The F triad creates a Gm11 over the Gm7; it is the 5-7-9 of the Bbmaj7; it supplies the b13 and #9 over the A7; and is the 3-5-7 of the Dm7 chord. The descending step line continued from the Cn down to Bn, the ninth of Am7, to the fifth of Dm (An), and came to rest again on the An as the ninth of Gm7 in m.6. A broken arpeggio octave displaced the An to the lower register for the A7. Coltrane used the ascending D melodic minor scale to bring the line back up the octave to the An again. Note that he used a Bn when ascending and at the top a Bb. The Bn helped the line ascend and the Bb brought it back down to the An.

Dm 7

b

E7 9

Am9

Dm9

3

Gm9

b

3

A7 9

6

& b œ œ œ œ œ œ œ œ ≈ nœ œ œ œ œ bœ œ œ œ œ œ œ œœœ œ œ œ # œ œ œ . nœ j w œ . b n œ ˙ ˙ œ & ˙. œ ˙ œ The Bb, the b9 of A7 resolved as expected to the An, the fifth of Dm. The An was reinforced by the D minor arpeggio and then moved down a step to Gn, the fifth of Cm7. The first step progression ended here with a leap of a perfect fifth to a Dn. The improvisation began with perfect fifth leap. A new step progres-


Chapter 18


427

sion began on the D. The D was surrounded by diatonic neighbor tones (D-Eb-C-D) over the F7, yet the placement in different octaves disguises the close intervallic relationship. The Eb, as the seventh of F7 resolved to the third of Bb. As with many improvisations in a bop style, which this piece is not, Coltrane played a 3-5-7-9 arpeggio over the Bbmaj7 chord. This arpeggio recalled the melodic shape from m.3. The arpeggio octave displaced the step line again and the C and Bb, the #9 and b9 of A7 resolved to An, the fifth of Dm7. Coltrane played scale passages over the A7, this time strictly playing D harmonic minor. D ascending melodic minor returned in m.9 over the Dm7. The step line continued through the G and F, the #9 and b9 of E7 resolved to En, the fifth of Am7. This voice leading referred to the similar passage leading to the Dm7 in mm.8-9.

Dm 9

Cm 9

b

F7

3 j & b œ ‰ ≈ œ œ œ œ . œ bœ œ bœ œ ≈ œœ b œ &b ˙

B maj7

œ

œ œ

œ œ œ. œ œ œ.

≈

bb 9 œœœ œœ A7 13

#œ œ

œ J˙

bb 9 5 r œ œ œ . . œ œ œ œ œ œ œ œ œœ œ nœ #œ œ Dm9

˙

E7 13

œ . œj

One skip interrupted the descending step line as Coltrane concluded this improvisation, fading away to almost nothing. Bill Evans then metrically modulated the piece to double time for the next soloist.

Am9

&b œ œ œ œ 0

Dm9

Gm9

#œ œ nœ œ . bœ œ . œ œ

&b ˙ 0

œ. œ œ. œ œ

Œ Ó Œ Ó

Coltrane’s melodic line over Blue in Green is profoundly expressive though only ten measures in duration. The simple underlying structure contributes to expressiveness as it gave him a logical framework to which he applied creative octave displacements, scale and arpeggio passages.

FREDDIE FREELOADER:

WYNTON KELLY

Wynton Kelly played a short, simple, well constructed improvisation on Freddie Freeloader. One central element that makes this solo a classic was the groove; the soulful swinging feel from the beginning to the end. The most difficult element to describe or adequately discuss is that elusive quality called “feel.” It cannot be quantified, codified, indexed and cataloged. It can be experienced from listening to the recording. We are lucky to be living in the an age where recordings of jazz classics are plentiful and can be accessed from anywhere on the planet. Kelly constructed the improvisation using short, simple statements, built up to an emphatic two-handed blues testimony and finally restored a calm that prepared the entrance of Miles Davis.


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Chapter 18


CONTRASTS Contrasts contributed to the success of this improvisation. An improvisation constructed out of a single device, no matter how interesting, becomes predictable and uninteresting. Here are some elements Kelly manipulated for contrast: • • • •

contrasted phrase lengths—short phrases & long phrases contrast between blues generalization & harmonic specificity contrast between simple triadic melodies & extended tertian melodies contrasting accompanying approaches—simple inconspicuous independent left hand, left hand answering the melody, & emphatic left hand, accenting with the melody

SOLO CONTOUR Kelly played four blues choruses. The improvisation began simply with short statements and ended with a simple descending scale. Each chorus gathered a little more steam until the climax in mm.36-40. There are highs and lows within each chorus, but each one propelled the improvisation to the climax. In the first and second chorus, almost identical material recurred (mm.7-12 and mm.19-24). The recurrence of almost identical phrases preserved continuity within the improvisation. Rather that repeat exactly what he played before, Kelly added rhythmic complexity (mm.19-20) and chromatic elaboration. The rhythm section reached cruising altitude in the third chorus and settled in to a comfortable groove (listen to the sidestick snare on beat two and Kelly’s later emphasis on beat four). Kelly testified with stylistic gospel blues lines and double stops. This was the last stage building to the climax in mm.36-40. The climax was effective in part because of the arrangement and timing of previous material. Had Kelly begun with emphatic statements then mm.36-40 would not have been perceived as climactic.

PHRASE CONNECTIONS Kelly helped the listener follow his improvisation with carefully connected phrases. Guide tones (GT) occurred regularly at significant rhythmic spots. Phrases often began on a note or notes that ended the previous phrases. Rhythmic and melodic motives recurred transformed, though still recognizable, moving the improvisation to a logical conclusion. Kelly began with four very short statements based on the dominant rising and falling to the tonic, elaborated with various neighbor tones. The chromatic tones (En, Gn, & Gb) are not heard as alterations of the dominants, rather as neighbor tones pointing to F. In m.5, after playing around the root and fifth of E b7, Kelly played the seventh and third identifying the Eb7. The Db resolved back to Dn in mm.7-8. The D n in m.7 was surrounded by its upper and lower neighbors, and the Bb triadic material led back to the lower Dn. An unembellished Bb arpeggio led to the guide tone An, the third of F7, in m.9, which Kelly approached with a chromatic leading tone, G#. The leading tone/guide tone idea was sequenced for the Eb7, and the emphasis on beat four of m.9 created syncopation. Kelly was careful to play Db in m.10 to comply with the Eb7. The descending Bb arpeggio in m.11 yielded the upper tertian extensions (9-#11-13) of the Ab lydian dominant sound. An arpeggio that again emphasized upper extensions (7-9-#11-13) of the Ab lydian dominant sound led to the top of the second chorus. Kelly’s left hand accompaniment was spare during this first chorus. Kelly played simple voicings using just the tritone, the third and seventh, of the dominant chords. The chords were played very softly and usually short; the only held chord occurred in the last measure of the first chorus. The chords were used to launch some lines and punctuate others, and primarily occurred in the spaces between the right hand lines.


Chapter 18


429

18.21 B b7

I

b j & b c ‰ œ œ bœ œ nœ œ . œ Œ 5

Œ œ œ œ œ

1

5

Œ

r #œ

œ bœ nœ œ

1

5

Œ nœ œ œ œ Œ

Œ

1

5

1

E b7

B b7 œ œ . # œr œ >œ 3 œ b œ œ œ œ . j b œ œ œ œ b œ œ # œ œ bœ œ Œ ‰ œ œ œ. œ œ ‰ ‰ œ œ œ œ & b ‰ Jœ J œ 7

3

3

3

# A b9 11

E b7

(7-9- #11-13)

œ # œr œ . œ œ ‰ œj b œ œ œ œ .

>œ œ >œ œ # œ œ œ œ œ œ #>œ n œ b œ œ # b œœ œ œ œŒ & b #œ bœ F7

3

3

7

3

(9- #11-13)

7

3

Kelly played with the Bb triad in the first phrase of the second chorus. The Dn was emphasized in m.13 preceded by its leading tone, C#. The triadic arpeggio in mm.14-15 led to the guide tone Ab which began to point towards the Eb7 chord in m.17. Kelly interrupted the resolution of the dissonant Ab to the consonant G with the chromatic passage (all chromatic passing tones between F and Bb, the original notes from m.1). Kelly clarified the Eb7 sound by landing on the guide tone third preceded by its leading tone F#, and leaping to the seventh, Db. As a contrast to the preceding triadic shapes, Kelly played the upper extensions of the Eb7 suggesting a lydian dominant chord with the 7-9-#11-13 arpeggio that recalled material from m.12. The guide tone Db from mm.17-19 was resolved back to the major third of Bb (Dn) in mm.19-20. The material heard in mm.19-24 was a transformation and development of the material heard in mm.712. The Bb triadic shape in m.29 was elaborated with sixteenth note subdivision compared to the triplet and dotted eighth notes of m.7. M.20 and m.8 are almost identical. Kelly reused the chromatic leading tone the third of the F7 and the Eb7 chords in mm.21-22 as he had done in mm.9-10. The descending arpeggio over the Ab7 chord in mm.22-23 recalled the similar arpeggio in m.11. An ascending arpeggio bridged the end of the second chorus to the top of the third as Kelly did in mm.12-13. Both of the first choruses ended on the major third of Bb. The accompaniment style for the second chorus was the same as the first: sparsely punctuated left hand tritones, the only long note occurred in the last measure of the chorus. 3 œ œ œ œ3 3 3 œ œ œ œ œ # œ œ œ œ œ # œ rœ b . œ j œ œ œ œ # œ œ # œ Œ œœ œ œ œ œ bœ Œ ‰ œ ‰œ &b œ J

B b7

II

3

& 7

3

bb

3

3

7

GT: Dn >œ œ œ3 œ B b7 b œ œ b œ n œ œ œ œ b œ n3œ œ œ œ b>œ œ Œ œ # œ œ œ œ œ Œ œbœ œ œ

E b7 GT: D b r #œ

3

7

(7-9- #11-13)

7

3

3 œ j œ ‰ Œ ‰ œ œ œ œ #œ œ œ 3


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Chapter 18


# A b9 11

E b7

#œ œ . ¿ œ # œœ œœ b œœ ‰ œ n œ n œ œ b b ‰ ¿ & J bœ . J J F7

1

3

↓

œ. œ œ 3 œ j œ ‰ œ bœ œ r #œ

˙

(7-9- #11-13)

3

The swinging groove intensified during the third chorus. Kelly emphasized beat four in mm.24-27 and the side-stick snare responded emphasizing beat two. A Bb triad was the source for melodic material that emphasized the major third (D) and dominant seventh (Ab) in mm.25-28. A short repeated note rhythmic idea recurred several times in the chorus in m.26, m.28, m.29, m.31-32, and expanded in m.35. Kelly turned to the Bb minor blues scale in mm.28-30; the Db in this phrase acted as the guide tone seventh of E b7 and the minor third of Bb minor blues scale. Kelly resolved the Db back to Dn in mm.30-31. The double stops, 4-3 “amen” suspensions and bluesy elements give this chorus a gospel blues feeling. The third of F7 was again emphasized in m.33. A lydian dominant sound was suggested by the 7-9-#11-13 arpeggio over the Eb7 in m.34. An emphatic extension of the repeated note rhythmic idea occurred in m.35 using the Bb triad over the Ab7, which set up the beginning of the climax. The minor blues line in octaves began the climax to the improvisation in m.36. The left hand accompaniment pattern shifted from dialog with the right hand to a more independent approach. Kelly used variations of the “Charleston” rhythm placing the chords on beat one and the upbeat of two, sometimes stressing upbeats of four and two. In m.35, Kelly shifted to the emphatic accompaniment style of playing both hands simultaneously. Emphasis on beat four ↓ œ Bœb7 ↓ ↓ œ >œ œ . . b œ >œ œ r œ . b œ œ j j j #œ œ # œ œ œ b œ œ œ Œ ‰ ‰ œ ‰ & œ bœ œ bœ œ ¿ œ III

5

3

E b7

Short Rhy. idea

7

3

3

GT: D b

B b7 Rhy. Rhy. œ 3 3 >œ œ3 œ j œ n œ . œ b œ . œ b b œ b œ ¿ œ ¿ œ bœ œ œ r œ ‰ ‰ œ œ Œ ‰ Jœœœ &b b¿ œ #œ nœ œ œ œ nœ bœ œ œ œ œ 9

Rhy.

7

3

# A b9 11

GT: Dn

3

œ nœ bœ bœ œ 3 3 œ > > > œ œ œ œ œ œ Œ ‰ œ œ nœ bœ bœ œ œbœ œ n œ b œ œ œ bœ œ œ # œ b & J œ œ œ œ œ nœ œ œ œ bœ œ œ J J F7 3

3

3

E b7

3

7

3

(7-9- #11-13)

3

(9- #11-13)

Kelly continued the assertive and energetic accompaniment approach from mm.35-38. This passage sounds like the climax of a big band shout chorus with the octave reinforced melody in the right hand over the left hand playing almost identical rhythms. (The climax is shown below in ex. 18.22). The left hand returned to the independent “Charleston” rhythm in m.40. The Bb minor blues scale material with the lowered third and seventh contributed to the powerful climax. Kelly recalled two other rhythmic devices that occurred earlier in the improvisation: the short, two note idea from mm.26, 28, 31-32, and 35 returned in m.37; and the stress on beat four occurred again in mm.37 and 39. The climax ended with the displaced quarter note triplet and eighth note triple in m.39. The rapid passage in m.40 seemed to release the last bit of energy from the preceding climactic section.


Chapter 18


œ œ œ b œ œ œ œ œ b œ œ œ œ œ n œ b œ b œ œ b œ3 n œ b œ n œ œ3 œ b bœ œ ‰ J œ œbœ œœ œnœ œ ¿ Œ b œ œ ‰ n œ b œ b Jœ œ &b œœ‰J n¿ 3

B b7

IV

431

Emphasis on beat four

7

Rhy.

¿

To contrast with the preceding phrase, Kelly used the sparse left hand accompaniment again in the remaining measures of the improvisation. The insistent quality of the preceding minor blues ideas are contrasted with the return of the extended tertian arpeggio (7-9-# 11-13) creating a lydian dominant sound for the Eb7. The guide tone Db emphasized over the Eb7 in mm.41-42 was resolved back to Dn in mm.42-44. The two Dn guide tones in mm.42-44 accent beat four as Kelly had done several times. In the first two choruses, Kelly led to the An, the guide tone of F7, using an ascending Bb arpeggio, and he did so again in this last chorus in m.44. Kelly emphasized guide tones on the downbeats of the final four measures: the third of F7 (An), the seventh of Eb7 (Db), the seventh of Ab7 (Gb), and finally the third of Bb (D n). The descending step line in mm.45-48 and diminishing rhythmic activity helped quiet the emotional intensity and prepare for the entrance of the next soloist, Miles Davis. E b7

B b7

GT: D b

œ #>œ œ # œ œ b b œ œ œ œ œ œ bœ œ œ r œ œ . œnœ . œ Œ œ œ œ #œ œ #œ & b ‰ b œj œ œ œ œ œ œ . œ œ # œ œ > # 7 3 3

1

3

GT: Dn

3

(7-9- 11-13)

#

E b7 A b9 11 B b7 3 > œ 3 > œ b œ > œ œ œ bœ œ œ b œ œ œ œ bœ œ œ œ &b œ œ œ œœœ œ œ œ ˙ F7

5

3

7

Ó

3

7

Ex. 18.22 illustrates how Kelly’s left hand accompaniment contributed to the high point of the improvisation. Every important note in the right hand was doubled at the octave and supported with a three note left hand voicing. The three note voicings included a seventh, third and thirteenth. 18.22

# A b9 11

&

bb

? b b 5

Emphatic left hand accompaniment at climax of improvisation

3 > >> c Jœ œ œ œ œ J œœ œœ œœ œœ .. c ‰ b œ œ Jœ œ .

Œ œœ œ J

œ œœ n œ b œ b œ ‰ œ nœ bœ bœ J œœ œœ œœ œœ œœ ‰ b Jœ œ œ œ œ

œ œ3 b œ Bœb7 œ œ b œ œ œ œ ‰ J bœ œœ œœ œœ œœ b œœ œ œ bœ œ Œ nœ

œ bœ œœ œ œ ‰ J œ œœ œœ b œœ bœ Œ bœ nœ

œ œ œ œœ bœ œœ œœ œœ œœ œ œ œ bœ

3

A fundamental theme and variation technique is for subsequent versions of a melody to be more embellished while retaining the same underlying structure. This can be found in the Chopin and Beethoven examples on the following page.


432

Chapter 18 18.23

ANALYSIS: The BIG Picture Chopin, Nocturne in Eb, Op. 9, no. 2

First time:

b & b b 128

time: b bSecond 12 b & 8

œ œ. œ œ œ œ. œ œ œ œ.œœ œ. œ œ œ. œ J J œ œ J œ. J J J œ . œ œmœ n œ œ œ œ b œ œ œmœ œ œ œ œ œ b œ œ œ n œ œ œ b œ œ œ œ . œ œ Ÿœ . n œ œ œ œ œ b œ . œ . J œ nœ J J

18.24 Beethoven, variation from Movement III, Symphony no. 9 Original theme:

b &b c ˙

˙

˙

œ.

j œ œ

œ

œ.

œ œ J

œ œ œ Œ

Variation:

b . œ œ œœ & b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ n œ œ œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œœ œ # œ œ œ œ n œ Œ #œ Some would be surprised to find this technique in a blues improvisation. The very similar passages from mm.7-12 and mm.19-24 are juxtaposed in ex. 18.23. The bottom line illustrates the basic framework from which both phrases were constructed. 18.25

B b7

Similar passages from mm.7-12 and mm.19-24 and their framework

F7 > # œ œ œ œ œ #>œ n œ œ œ b c ‰ œ #œ œ œ œ . œ jœ œ œ b ‰ ‰ & œ. œ œ œ œ œ œ #œ J 3 œ #œ œ . ¿ œ ‰ œ b j œ œ œ # œ œ œ bœ œ œ ‰ Œ ‰ œ œ œ ¿ &b c Œ œ J œ #œ œ œ w w b w w w &b c w ww w ww 3

7

19

B b7

F7 > œ # œ œ œ œ œ œ #>œ n œ œ b œ . œ j œ œ # œ œ œ . œ œ ‰ ‰ œ œ œ œ #œ & b c ‰ Jœ œ 3 œ. œ # œ œ œ b œ œ j œ ¿ œ œ bœ œ œ ‰ Œ ‰ œ œ œ ‰ ¿ & b c Œ œ #œ J œ #œ œ œ w w b w w w &b c w w ww ww 7

19


3

Chapter 18


433

MELODIC VOCABULARY Kelly used a variety of materials for melodic sources. He kept a balance between triadic generalization, major and minor blues lines, and specific colorizations of lydian dominant chords. The following chart traces the melodic vocabulary measure by measure in the improvisation. A chart like this may be useful for practicing blending different melodic approaches within an improvisation. FIRST CHORUS Tonic & Dominant

‘

‘

1

Triadic

Blues Scale

5

‘

Triadic

‘ ‘

Triadic Extended Tertian (Ab9#11)

‘

9

SECOND CHORUS Triadic 13

‘ ‘

Extended Tertian (Eb9#11) 17

‘

Triadic

‘

‘ ‘

Triadic

Extended Tertian (Ab9#11)

‘

21

THIRD CHORUS Major Blues 25

Minor Blues

‘

‘

‘

‘

‘

‘

29

Triadic

Extended Tertian (Eb9#11)

Extended Tertian (Ab9#11)

Minor Blues

33

FOURTH CHORUS Minor Blues 37

Extended Tertian (Eb9#11)

‘ ‘

‘ Triadic

‘ ‘

41

Guide Tones: An = 3rd of F7

Guide Tones: Db = 3rd of Eb7

Guide Tones: Gb = 7th of Ab7

Guide Tones: Dn = 3rd of Bb7

45


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Chapter 18


PHRASE CHART Individual musical phrases can be short or long, and may begin before, on, or after the downbeat. The following chart traces the phrase lengths and beginnings measure by measure through Kelly’s improvisation. A chart like this may be useful for practicing contrasting phrase material. FIRST CHORUS Short/After Short/After

Short/After

Short/After *

Short/After

Long/Before *

1

Short/After 5

(Long/Before)

Short/Before *

9

SECOND CHORUS Short/After Short/After

Short/Before ‡

13

Short/After

Short/After *

Short/Before *

Short/Before

Short/Before ‡

Short/After

Long/After

Short/After

Long/Before

17

(Short/Before)

Short/Before ‡

21

THIRD CHORUS Short/After Short/After 25

(Long/After) 29

(Long/Before)

Short/Before *

33

FOURTH CHORUS Short/After Short/After

Short/After

Short/After ‡

37

Long/After

Long/Before

41

(Long/Before, cont.) 45

Kelly phrases were carefully connected. Lines often began on the same pitch or within a step of the pitch that ended the preceding phrase. Other phrases were connected by using and developing similar motives. In the chart above, “*” represents phrases that began on the same pitch as the ending pitch of preceding phrases; “‡” represents phrases that began within a step of the previous ending pitch. Wynton Kelly’s short, simple improvisation on Freddie Freeloader is a model of ingenious construction. Never loosing focus on the groove and feeling, Kelly contrasted accompaniment approaches, melodic approaches, phrasing elements. Rhythmic and melodic motives recurred transformed, though still recognizable, moving the improvisation to a logical conclusion. These elements were used to construct a solo with a discernible emotional curve from the simple beginning to the emphatic climax, to the restored calm of the last phrase.


Chapter 18

BILLIE’S BOUNCE:


435

CHARLIE PARKER

Charlie Parker’s four chorus improvisation on Billie’s Bounce was constructed using a balance of triadic generalization and very specific outlines. The phrases were balanced, contrasting varied rhythmic subdivisions, phrase lengths, and the important use of space. 18.26

Melody

Bb

F

B°7

F7

& b c Ó Œ ‰ œj .. œ œ # œ œ œ b œ œœ œœ œœ ‰ œœ .. œœ ‰ œœj œœ œœ # œ œ œ œ b œœ n œœ œœ œœ nœ 1

B b7

F7

Am 7

D7

j j b œ œ œ œ ‰ Jœ œ Œ ‰ n œ œ bœ J & b Œ ‰ œ œ œ ‰ bœ ‰ œ . œ œ #œ œ #œ Alto 8vb

œ #œ œ œ J b ‰ œ # œ N œ ‰ Jœ œ œ œ œ œ ‰ œj œ œ & œ œ œ Gm 7

C7

F7

D7

Gm7

C7

‰ œ . œ ‰ j .. œ. œ œ

The improvisation began with an elaboration of the F major triad using chromatic passing tones. The underlying triadic structure resembles the Shaker tune Simple Gifts (see ex. 18.28). Parker’s second phrase began on the last pitch of the first phrase transposed up an octave. The absence of a Dn, and the emphasis on F and C suggested Parker was still employing the F triad for the melodic structure. The Ab, the guide tone and seventh of Bb, was the only obvious concession to the Bb7 chord, and it returned to An in m.19. Outline no. 2 was suggested in m.21, then Parker descended to C through a chromatic passing tone. The implications of C7 in m.22 were ignored in favor of a return to the same F triad elaboration found in m.14. This melodic shape occurred later in a rhythmically diminished form in m.34. 18.27

Improvisation

I F

F7 3

3

GT

& b œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ Œ Triadic:

&b œ

œ

œ œ

œ œ

Ó

Œ ‰ Jœ

œ

œ

3

B b7

F7

GT œ œ œ GT b bœ œ œ œ bœ œ & œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ n b

∑

7


436

Chapter 18


Gm 7

C7

F7

D7

œ œ œ b œ œ œ œ3 œ œ b Œ ‰ œ œ œ œ œ & œ œ œ œ Œ œ œ œ 3

Outline no. 2

œ œ œœœ

&b

∑

Triadic

œ œ

œ œ

œ

œ

œ

1

Chorus two began with a oddly placed rhythmic statement of F minor blues material. The notation is an approximation (as is all music notation) and the recording should be consulted (as with all transcriptions). A triadic line returned in mm.27-28 ending on the guide tone Eb. The melody in m.28 was sequenced over the Bb7 in m.29 stressed all of the Bb chords tones, including the identifying third (Dn) and seventh (Ab). The F triadic material returned in mm.30-31 with a relaxed eighth note feel. II

F7

F Minor Blues

& b ‰ œ ‰ bœ œ œbœ œ œ œ œ ¿ œ ≈bœ œ œ Ó 3

3

F7

3 Œ ‰ œj # œ œ œ n œ œ œ œ œ œ b œ œ ‰ œj

Triadic

&b

œ

Outline no. 3

œ œœ œ bœ

œ

5

B b7 3

GTs:

Œ &b œœœœ œ œ bœ &b

F7

Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ

Triadic

œ

œ

∑

œ œ

9

After a measure of rest (m.32) Parker played the most energetic phrase of the solo. Outline no. 3 began the phrase in m.33. The G, E and D were preceded by their leading tones. Parker implied outline no. 1 and included a b9 over the C7 in m.34. The F triadic shape heard in m.14 and 22 returned in m.34 in rhythmic diminution. The phrase ended quietly returning to eighth note subdivisions. The ascending F arpeggio that connected the second chorus to the third is reminiscent of the “Mannheim Rocket,” the ascending arpeggio motive that begin works such as the Finale of the Mozart Symphony in G minor, K.550 and the Beethoven Piano Sonata in F minor, Op. 2, No. 1.


Chapter 18

Gm 7

& b Œ#œœ

œ œ œœ#œ œœ#œnœnœ

Outline no. 2

&b

œ

œœœ

C7

œœ œœ œœœbœœœ œœœœœ 3


F7

D7

Gm7

C7

œ Œ ‰ jœ œ œ ‰ b œj œ œœ œ œœ œ

Outline no.1

œ

437

œœ œœ œœœbœœœ œ œœ œ œ

œ

œ

œœœ

œ

Triadic

3

A descending step progression began in m.37 and returned to the Cn that began the phrase in m.36. The steps did lead to the third of Bb which might suggest outline no. 3 with passing tones or outline no. 1. A universal jazz improvisation device is to play the 3-5-7-9 arpeggio after arriving on the third of the target chord, and this is exactly what Parker did on the Bb chord in m.38. The step line seemed to break into two pieces as the Dn resolved to Db and the Bb resolved to An. The Db ultimately resolved to the Cn in m.39. The upper line continued from the A to the G and on down to the C through the same chromatic notes heard in m.37-39 (Eb-Dn-Db-Cn). That chromatic line (Dn-Db-Cn) was played in m.4 of the melody. Bb

III F

F7 3

œ bœ œ œ œ Œ œ œbœ œ bœ œ œ œ œ œ bœ œ œ œ œ œ Nœ œ bœ œ œ bœ œ œ œ bœ &b œ œ œ œ bœ œ œ œ b œœ &

3

Step progression

œbœ œ

bœ

3

œ œ

œœ

œ bœ

œ bœ œ

7

With no preparation, Parker played an Ab in m.41, an octave and a sixth above where the previous phrase ended. The material was based on the F triad, the Ab the only concession to the Bb7 chord. The A n is avoided in m.42, but Parker played it on the downbeat of m.43 as expected with the F chord. Outline no. 1 began on the Cn in m. 43 and continued to the Gm7 in m.45. Two notes were necessary for the D7, a secondary dominant (V7/ii). D7, as the V7 in Gm, must have an Eb from the key signature and an F# as the leading tone. Both of these notes occurred significantly over the D7 in m. 44 as they did in m.8 of the melody. Outline no. 1 was sequenced in m.46-47. The altered ninths (Db & Eb) were borrowed tones from F minor, created a downward pull to the line and recalled the b9 of D7 in m.44. Parker connected the third chorus to the fourth with a long tone suggesting a moment of repose. B b7

&b Ó

F7 D7 3 ( Aø7 ) bœ œ œ œ œ bœ œ œ œ œ . œ Œ ‰ œ œ œ œ œ #œ œ œ bœ œ œ Œ ‰ J J J n

b

3

&b 1

œ

œ

œ

œ œ

œ #œ

bœ

Outline no. 1


438

Chapter 18


Gm 7

C7

F7

D7

3 œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ Ó &b œ œ Œ ‰ œ

Outline no. 1

Sequence of Outline no. 1

&b œ œ

œ œ œ œ œ

bœ

Gm7

C7

‰ œ.

˙

œ œ œ œ

5

The long line that began in m.48 was constructed of short ideas landing on oddly placed rhythmic spots. The G in m.48 was on the upbeat of one, the Ab in m.49 accented beat four, an Eb stopped the line in m.50, the G anticipated beat one of m.51 and the C ended the line on the upbeat of three. IV F

j œ œ œ œ œ bœ 3

& b œ.

B b7

F7

∑

œ œ œ œ œbœ œ œ œ bœ œ œ œ œ

GT

9

Parker repeated a bluesy idea heard earlier in m.17. The line was based on the F minor triad, while the A b and Dn clearly suggested the Bb 7. The line accented beat three in m.53 and beat two of m.54. A polyrhythm was suggested as the accents occurred three beats apart. The line in m.55 answered the blues line and Parker resolved the Ab to An. Outline no. 1 returned in m.56 including the guide tone F#. B b7

F7

Am 7

D7

3 œ œœ œ œœ œ œ œ œ œ j œ œ œ œ œ œ #œ œ b Œ ‰ Œ ‰ bœ œ œ bœ œ œ & œœ J œ b n

F minor idea from m.17 developed

3

Outline no. 1

œ œ œ œ #œ

&b 3

Outline no. 3 occurred in mm.61-62. Parker added the common chromatic elaboration (G-F#-Fn-E). This same chromatic elaboration was heard in mm.9-10 of the melody. The improvisation was brought to a close as Parker returned to triadic generalization in the final measures, ignoring implications of the D7, Gm7 and C7 chords. Gm 7

3

& b œ œ œ œ œ œ #œ œ &b

œœ œ

C7

F7


Gm7

C7

j n œ # œ œ œ Œ ‰ Jœ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œœ Triadic

Outline no. 3

7

D7

œ

œ

œ œœ 7

3

œœ

œ

œ

œ

œ œ

F

œ

Œ Ó

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The triadic shape that Parker used (a.) at the beginning of the improvisation can be found at the heart of other melodic fragments. Lou Donaldson played almost the identical line (b.), and the Shaker song, Simple Gifts, follows the shape without chromatic embellishment. 18.28 a.

b.

c.

& b c œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ 3

&b c ˙

˙

˙ œ

3

˙

˙

˙

˙ œ

˙

˙

˙ œ ˙

˙

PHRASE CHART The following chart traces the melodic approaches used by Parker in his improvisation on Billie’s Bounce. A chart like this may be useful for practicing contrasting phrase material. FIRST CHORUS Triadic

‘

Triadic & GT (Ab)

‘

Outline no. 2

Bb7 arpeggio/GT (Ab)

Triadic

Busy: Outline no. 2

Outline no. 1/triadic

THIRD CHORUS Descending Step proStep progression, cont. gression (3-5-7-9 arpeggio)

Outline no. 1, cont.

GT (Ab)/Blues triadic generalization

∑ ∑

Triadic

Blues. Entrance staggered by dotted half GT (Ab)

‘

∑

Simple

Triadic/Arpeggio

Step progression, cont.

Step progression, cont.

GT (An) Outline no. 1

Modulation GTs (F # & Eb) Held note = repose

GT (Eb) Blues line answered. GT (A n)

GT: 7th-3rd (Bb-An)

∑ Outline no. 3

Sequence Outline no. 1

FOURTH CHORUS GT (Ab)

Outline no. 3

∑

Triadic & GT (An)

Triadic

SECOND CHORUS F minor blues

∑

‘

∑ GT (F#)

Triadic


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ANALYSIS SUMMARY In any search for meaning, the answers can only be as good as the questions asked. More questions yield more information and the more information helps bring the picture of the whole into better focus. There is no indisputable paradigm for the form or approach to a jazz improvisation. Improvisations are as unique as the artists who create them. There are many elements of music about which many questions can be formed. Be prepared to accept the music as it is, ask the questions, accept the answers. If one tool for analysis works, then implement it; when it becomes ineffective, replace it with another tool. Many musical materials overlap. A common melodic outline implies the use of guide tones and may create a step progression. An outline may be sequenced. Some lines can be at once harmonically general and specific. Guide tones may be observed within a line based on triadic generalization. Learn to examine more than just notes in relationship to chords. Learn to consider melodies lines as horizontal, linear entities and avoid strict, vertical thinking. How are the phrases related? What is the rhythmic character? The significant notes may be on the downbeats of the measure but they can be anticipated and delayed. Measure lines exist only in music notation. What elements contribute to the character of the whole or parts of the improvisation? Good music theory reveals something about the way the music sounds and suggests practical applications for implementing those concepts. Developing Practice Materials The book, Comprehensive Technique for Jazz Musicians, was written from materials gathered from transcriptions. There are numerous examples of extracted practical musical concepts and applications for implementing them in improvisations and compositions. These would include: •

Extract specific examples from solos. Learn in all keys. Transpose to minor. Add to, take away and personally adapt these ideas.

•

Use large scale charts of improvisational approaches in creating improvisation agendas for practice.

•

Extract rhythmic ideas to add to your vocabulary. Include contrasts between simple and complex subdivisions, polyrhythmic ideas, displacement, etc.


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XIX. EXPANDING HARMONIC VOCABULARY INTRODUCTION One challenge of life is avoiding falling into predictable patterns. This is especially true for artists. After finding a workable vocabulary, painting techniques, concepts of form and color, and harmonic progressions, too many artists continue to use and reuse the same material. Driven composers, writers and artists continue to challenge the assumptions of their own vocabulary. This can be seen in the development of many diverse composers: Beethoven, Stravinsky, The Beatles, Sting, and Miles Davis. The driving force of music is rhythm and melody is the lifeline. Harmony may be secondary to melody and rhythm, but can do much to color and propel a musical story. New harmonic possibilities often spurs creation of new melodies. Reharmonizing a good melody may make it better or can create a contrasting mood. This chapter should provide a challenge to discover new harmonic sounds and introduce some methods for challenging harmonic boundaries. Chords happen by themselves only in a music theory class—in music they occur in a logical progression we call harmony. Harmony is like a sentence: a sentence has form—different types of words working together to create meaning beyond any single word in the sentence. A string of polysyllabic words strung together does not insure meaning. Often, simple sentences work best. The same is true for a musical progression. Harmony has its own logic and grammar, and like writing, takes years of experience to develop the skills and ears to create meaningful, balanced musical creations. A simple melody (C–D–E or DO–RE–MI) will be used to illustrate some harmonic possibilities. There are an infinite number of possible solutions for harmonizing these pitches; only a few will be examined. The first example (ex. 19.1) uses common chords in a typical progression: I–V–I. Functional harmony (harmony functioning to point to a tonic) is centuries old, still quite familiar and useful, and may often be the best choice in a given musical setting. Some contemporary harmony relies on extensions of the diatonic chords to further color the harmony. An extended C major becomes C major 7, C major 9, or C major 13 #11 (ex. 19.2a). D minor becomes Dm11 (ex. 19.2b).


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19.1

19.2a

& c œœœ

œœœ œ

˙˙ ˙˙

& ˙˙˙

?c œ

œ

˙

?w

19.2b

˙˙˙ ˙

˙˙˙ # ˙˙˙˙˙ ˙˙ ˙˙

˙˙˙

˙˙˙ ˙

˙˙˙ ˙˙

˙˙˙ ˙˙˙

w

A simple ii–V–I progression in F (Gm7– C7– F) can be expanded using more extended and colorful tertian chords as in ex. 19.3. 19.3 Gm9

&c

œœœ œ

? c b œœ

C9

Fm aj7

œœ b œ œœ

˙˙ ˙˙

œ œ

˙ ˙

A variety of ninths (9, b9, #9) and fifths (b5, 5, #5) or substitutes for the fifth (13, b13) can be added to a dominant seventh chord. Ex. 19.4 shows a simple voicing for a G9 chord. The notes that have to remain for the chord to be a G dominant chord are the root (G) and the third and seventh (B and F). The fifth and ninth can be altered and the chord still be a G dominant. There are twelve combinations with the five voices shown. There are more if you consider all the enharmonic spellings, but a #5 and b13 are the same pitch (the difference in a musical setting is that the #5 wants to resolve up and the b13 wants to resolve down). The altered notes are sometimes written with enharmonic spellings (#9 = Bb instead of A#). These extended tertian (chords built in thirds) chords provide expanded sounds used in traditional progressions. 19.4

Possible dominants with alterations

b G9 5

b G13 9

G7b 13

www w

b ˙˙˙˙ # ˙˙˙˙

b wwww

b www w

b b wwww

w

w

w

w

w

G913

& c www w ?c w


b9

b # G9 13 G9 5

G9

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b9

b G7 9

G7b 5

& b www w

b b wwww

? w

w

#9


443

#9

# G13 9

G7b 13

# G7 9

G7b 5

b www w

w b b www

b ww ww

bw b www

w

w

w

w

Pointing in one direction and arriving at another is a device used by magicians, comedians, great story tellers, and composers of music to create a surprise and maintain the interest of the audience. After sounding chords that clearly point to one place, composers often use a deceptive resolution to this end. The F and E7 in ex. 19.5 seem to point to A minor, but instead the progression arrives at A major. In this context, the resolution is brighter in contrast to the previous chords in the progression. Ex. 19.6 transposes the same root progression as ex. 19.5 to the key of D. The progression almost sounds like functional harmony even though the A chord is not a dominant. Like ex. 19.5, the resolution to major is unexpected and bright. 19.5 Fm aj7

#9 E7b 5

19.6

œœœ œ

b œœœ œ

˙˙ n # # ˙˙

? c œœ

# œœ

˙ ˙

&c

# B b9 11

Amaj7

œœ œœ ? c b œœ bœ &c

Am9

œœœ œ œœ œ

Dmaj7

# ˙˙˙ ˙ # ˙˙˙

Dominants that progress downward in fifths or down chromatically always sound good. Colorful alterations and upper extensions of these dominants generate motion. Using bass notes a tritone away changes little of the sound of the passage in ex. 19.7. A7 #9 b13 would become Eb9 #11, Ab9 #11 would become D7 #9 b13, G7 13 b9 #11 would become C#7 #9. (see discussion on tritone substitution, chapter 6, p.127). Ex. 19.8 shows dominants with other colorful alterations. In ex. 19.8, the roots move traditionally in downward fifths. The root movement could be chromatic using tritone substitutions. Try this passage with all eight combinations of tritone substitutions. 19.7

#9 A7b 13

œœœ bœ ? c œœ œ &c

# A b9 11

b9 G13# 11

b œœœ n # # ˙˙˙˙ ˙ nœ ˙˙ b œœ bœ ˙

19.8

# # G b9 11 F9 11

œ b b œœœ ? c b b œœ bœ &c

# B b9 11

œœœ œ

˙˙ n ˙˙

b œœ œ

b ˙˙ b˙

Using parallel chords of the same quality can disguise the tonal center. The progression in ex. 19. 9 is interesting because each new chord cancels out the expectations of the previous one. The Cm7 removes


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the En from the Dm9; the Bb, C and Eb of the Cm9 are canceled by the Bm9. D is the only common tone with all three chords. While ex. 19.9 was interesting from the movement of like chords, mixtures of different chord types are more common. Ex. 19.10 shows a mixture of major and minor ninth chords. The key center is disguised by the mixture of accidentals. The voices in the right hand are moving parallel and in contrary motion to those in the left hand. 19.9

19.10

Dm9

Cm 9

& c œœœœ

b œœœœ

œ ? c œœ

bœ œœ

Bm 9

Fmaj7

# ˙˙˙ ˙ # # ˙˙˙

Em9

Dmaj7

& c œœœœ

œ # œœœ

# ˙˙˙˙

? c œœ

œœ

˙˙

Augmented major seventh chords can be built on the third degree of melodic minor and harmonic minor scales. They also can be constructed from augmented scales and major scales with a flatted sixth. The bass line in ex. 19.11 retains some of the feeling of traditional harmony, but the chords have moved beyond being functional. Augmented major seventh chords diffuse any sense of tonality and pitch center since the chord tones can point so many different places. 19.11

# D bmaj7 11

# G bmaj7 5

# Fmaj7 5

& c œœœœ

b œœœ œ

# ˙˙˙ ˙

? c b b œœ

b b œœ

n ˙˙

Moving chords in a parallel fashion is sometimes called planing. This device was used by Debussy, Duke Ellington, and many others. This parallel harmony, forbidden in “classical” harmony, can be very expressive. The lydian chords in ex. 19.12 move in a parallel plane and get brighter as they progress. The D b suggests 4 flats, the Eb suggests 2 flats, and the F no sharps/no flats. As each chord sounds, flatted notes are raised creating a brighter and brighter effect. 19.12

# D bmaj7 11

# E bmaj7 11

# Fmaj7 11

& c œœœœ

œœœ œ

˙˙˙ ˙

? c b b œœ

b b œœ

˙˙


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Ex. 19.13 begins with the same chord as ex. 19.12, but moves in contrary motion. The harmony is more dissonant and varied than previous examples. The progression goes from bright to dark: the Db lydian sounding chord is followed by a C minor/major 9, and then the A/Bb. 19.13

# D bmaj7 11 Cm maj 7

œœœ œ bœ œœ

& c œœœœ bœ ? c b b œœ

A/B b

# ˙˙˙ ˙ b˙ b ˙˙

Some chords are created by placing one chord on top of another bass note or on top of another chord. The resulting sound is usually called a polychord, though a true polychord is the stacking of two chords one on top of the other. The resulting chords can be named in a traditional way but are often notated with slashes indicating the two chords or the chord and the different bass note. A common practice is to notate true polychords with a horizontal slash (—) with the top chord on top, the bottom chord on the bottom, and to notate chords with different bass notes with a (/) where the first part is the chord, the second part indicates the bass note. For example: D C= D triad over a C triad C/D = C triad over a D bass note A common slash chord is created by placing the IV chord over the dominant bass note: F triad over G in the bass (F/G). Essentially the same sound is created placing the ii7 chord over the dominant bass: Dm7 over G in the bass (Dm7/G). The sound is a dominant ninth chord with a suspended fourth. These chords are often notated as G7sus, G7sus4, and G9sus4, as well as the slash chord notation. The following example shows three possible harmonizations of the melody using suspended dominant sounds. The first (ex. 19.14.a) uses simple triads over the dominant bass notes. Ex. 19.14.b shows the minor seventh chord over the bass note. (The chords in ex. 19.14.b are five note chords using just the notes of a pentatonic scale). Ex. 19.14.c uses harmonic color similar to that of ex. 19.9, but changes the bass notes. Ex. 19.14c is brighter than ex. 19.9 as the suggested mixolydian sounds are brighter than dorian. 19.14.a F/G

19.14.b G/A

A/B

19.14.c

Fm7/B b Gm7/C

Am7/D

œœœ œ

œœœ œ

# ˙˙˙ ˙

œ b b œœœ

b œœœœ

n ˙˙˙˙

? c œœ œ

œœ œ

# ˙˙˙

b œœ bœ

œœ œ

˙˙ ˙

&c

Dm9/G

œœœ œ œœœ

Cm9/F

Bm9/E

b œœœœ # # ˙˙˙˙ b œœ ˙˙ œ ˙

Ex. 19.15 is a series of simple triads over the “wrong” bass note. These chords could be labeled differently, but often the slash chord notation gets the better and quicker results from performers. Ab/A could be called A minor major 7 #11; G/Ab = Ab minor major 7 #11, E/F = F minor major 7 #11. Notice the contrary motion in the outer voices. Ex. 19.16 is another series of simple triads over different bass notes. C/Db could be called C# minor/major 7 #11, but slash chord notation would probably get better results.


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19.15 A b/A

& c b b œœœ œ ? c œœ œ

19.16 G/A b

A b/G

E F

G/A b

C/D b

œœœ œ

˙˙ # n ˙˙

& c b b œœœ œ

œœœ œ

˙˙ n ˙˙

b bb œœœ

n˙ ˙˙

? c œœ œ

b bb œœœ

b b ˙˙

Ex. 19.17 contrasts two chord types: the minor/major 7 and the augmented major 7, two chord types from the melodic minor scale. There is contrary motion in the outer voices. The upper voices in ex. 19.18 are augmented triads which move in contrary motion to the bass notes. The augmented triads over the bass notes create minor/major 7 chords. 19.17

19.18

Fm maj 7

# E bmaj7 5

b œœœ œ

œœœ œ

n # ˙˙˙˙

? c b œœ

b n œœ

n ˙˙

&c

Dm maj 7

Fm maj 7

E bm maj 7

C #m maj 7

b œœœ œ

b b œœœœ

˙ # ˙˙˙

?c œ œ

bœ bœ

#˙ #˙

&c

Some instances call for a mixture of voice leading as in ex. 19.19. Each separate chord could be labeled, but for best results, write out exactly what is wanted to eliminate the confusion caused by an oddly named or misinterpreted chord symbol. 19.19

˙ & c œœœ b œ b b œœœ n œœ œœ bœ œ œ ? c œ œ bœ bœ


# œœ œ œ

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Where a musical passage is located in relationship to the rest of the piece determines aspects of harmonic choices. This phrase from a big band jazz piece, Brainstorm, occurs in two different places in the piece. The first time it leads to more development material; the second leads back to a solo on the form. The first time (ex. 19.20) feels completely unresolved, helping it to move the piece along. The second time (ex. 19.21) it is stated a major third higher and feels more resolved in this context, by landing on Bb minor/major 9. 19.20

19.21

G/A b F #/G G/F # A/F

& c œœœ # # ## œœœœ œ ? c b b œœ bœ

œœœ n # œœœ œ œ

œœ # # œœ n œ œ #œ nœ

B b/B

b wwww

nw nw

B/C

B b/B

B/B b D b/A

# œœ b n œœœ n # # œœœ # # œœ n œ # œ œœ œ b œ œ # œœ n b œœ

b n bb œœœœ œ œ

B bm maj 7

ww ww

bw b ww

VOICE LEADING

Good voice leading is crucial to the success of a musical passage. Voices sound more musical when there is smooth motion avoiding awkward leaps. If each individual voice leads smoothly to the next point, the result sounds less like a succession of chords and more like the result of moving lines. Voices lead smoothly in all of the examples shown in this chapter. The examples would work if played by many combinations of instruments. The outer voices, the highest and lowest, are often in contrary motion. The inner voices, even in the most dissonant and complex chords, often move in steps with occasional leaps of a third. Good voice leading makes the music seamless and propels it in a linear fashion.

HARMONIC RHYTHM

Harmonic rhythm is the rhythm in which the chords change in the musical work. In a 44 piece where the chords change every beat, the harmonic rhythm is quarter notes; every two beats = half note harmonic rhythm; every measure = whole note harmonic rhythm. Most well crafted pieces vary the harmonic rhythms. When chords change in rhythms that are too predictable the music may become monotonous. These examples are shown out of any musical context. Any assortment of harmonic rhythms could be used elongating the duration of the chords to any length. In ex. 19.22, the chords were taken from ex. 19.9 and expanded into an eight measure phrase. The melody still follows the C–D–E contour over six measures, though extra notes have been added. A composer should examine hundreds of musical works from a variety of composers and styles to develop a sense of harmonic rhythm and harmonic pacing.


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19.22

q»¡•º

Dm 9

&c

œ. ˙˙˙

? c ˙˙˙ Bm 9

& œœ # œ‰ ? # # œœ ‰ œ

j œ œ œ œ œœœœ ˙˙˙˙ J œœ ˙˙ .. Œ ‰ œ ˙. J # œœœ œ J œœ œ J

˙˙˙ ˙ ˙˙ ˙

‰ j œ œ bœ œ bœ ˙œ˙

Cm 9

œ œ œ œœ œœ ... œj ˙ b œ œ b œœ ˙˙ J J bœ œ . bœ ˙ ‰ œœ œœ .. œœ ˙˙ J J A bm 9

j œœœ ‰ œ # œœ œ œ b b œœ Œ b b œœ œ œ ˙˙ # œœ # ‰ bb œœ Œ ˙ œ J

˙˙ ˙

Ó

b9

D b13# 11

j ‰ n b œœ ˙˙ n n œœ ˙˙

˙˙ .. ˙˙ ..

Œ

‰ b œœ ˙˙ J

˙˙ ..

Œ

MIXTURE of HARMONIC COLORS The major/minor harmonic systems depends on employing different chord types to propel the music. In the typical progression, ii7-V7-I (Dm7-G7-C), three chord types may be employed: minor seventh, dominant seventh, and major. Music can be interesting utilizing only one type of chord, but most of the music we hear is composed of some variety of chord types, even if only two: major and minor. Many best-selling pop and rock tunes only use major triads (IV-V-I = F-G-C, or sometimes Bb-F-C); many blues tunes utilize only dominant sevenths; and there are several compositions which use only minor sevenths or other single chord types exclusively. Claude Debussy and Duke Ellington used parallel chords of the same quality effectively, but never for the entire piece. Mixing the chord types to create a progression that is meaningful, that can tell a story, create drama and tension, is the life mission of many composers. Aspiring composers should examine hundreds of compositions from many style periods and composers to gain a sense of timing and purpose. Ask questions of the music. When did the chords change, how often, and at what pace? What were the different densities and their relation to the overall shape of the piece. Densities will be different from composition to composition. What may be a dissonance and intense harmonic moment in a Baroque piece should be compared to its own context and not to chords found in Stravinsky, Messiaen or Schwantner compositions. Some composers have used formula, even serialist techniques to arrive at a varied harmonic progression. Alternating chord types is one such device used by many composers. Some of the examples in this article alternate from one chord type to another and back to the first. In the introduction to Passenger (University of North Texas One O’Clock Lab Band, Lab ’88) several devices were used to attempt to make the music interesting, varied and moving. The first two phrases in the introduction employ alternating major ninth and minor ninth chords. The third and fourth phrases use more complex sonorities which drives the music forward, creating more tension by the densities of the chords. The first phrase, ex. 19.23, begins with a major ninth chord and then alternates (M-m-M-mM-m). The second phrase, ex. 19.24, begins with a minor ninth and then alternates (m-M-m-M-m-M). The melody for the second phrase is the same as the first, but transposed down a major third. The first


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two phrases are orchestrated for the brass section in a slow chorale style, shown here in a piano reduction. 19.23

Bert Ligon: Passenger B bm aj7

F #m9

&c

œœ œœ

. # ## œœœœ ...

?c

œ b œœ

œ. # # œœ ..

19.24

Gm9

www w bw ww

Bert Ligon: Passenger F #m9 Bmaj7

Cm9 Fmaj7 Am9 Dm aj7

œœœ n œœ b b œ n œœ œ ? c œœ œœ œ &c

Bmaj7 j œœœ b œœœ œ œ b œ # # # œœœ j œ œœ # œ # œœ n n œœ œ Fmaj7 Cm9

œœ # # œœœ œœ # # œ œœ # œ œ œœ

œ # . # œœœ # # ˙˙˙˙ ... # ## œœœ # # ˙˙˙ ...

The melody for the third phrase, ex. 19.25, is the melodic inversion of the first phrase: what intervals ascended before now descend and vice-versa. The chords are much more dense and have more variety: polychords, augmented major sevenths, lydian major sevenths. The phrase ends with a minor chord with major seventh and an augmented eleventh, or viewed another way: Ab major over A minor. 19.25

&c ?c

Bert Ligon: Passenger F #/G

#œ # # # œœœ œ œ

G/F #

œœ œœ #œ #œ

# E bmaj7 5

# # Dmaj7 5 Fmaj7 11

œœ # # œœ œœ # # œœ bœ bœ

œ œ

# Emaj7 11

A b/A

œœœ œ

# # ## ˙˙˙˙

b bb ˙˙˙˙

œ n œœ

#˙ ˙˙

˙ ˙˙

The piano plays the next section which begins to set up the time feel for the piece (fast swing). Ex. 19.26 shows the harmonic framework for the fourth phrase. Augmented triads descend over ascending bass lines creating a planing effect of minor/major sevenths chords. The last sounds are parallel diatonic chords from D harmonic minor with bass notes a fifth below: F maj7#5/Bb — Eø7/A.


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Chapter 19 19.26 E bm maj 7

Expanding Harmonic Vocabulary Bert Ligon: Passenger F #m maj 7

A bm maj 7

Bm maj 7

C #m maj 7

Em maj 7

# Fm aj7 5/B b

Eø7/A

& c b b œœœ

# œœœ

n b n œœœ

# # œœœ

# œœœ

# n œœœ

b wwww

? c bœ bœ

#œ #œ

bœ bœ

œ œ

# ˙˙˙˙

#œ

œ

b ˙˙

ww

Some interesting chords can still be derived from ancient scales. Even Stravinsky’s shocking chord from Rite of Spring is constructed with notes from Ab harmonic minor (Ex. 19.27). 19.27

Stravinsky: Rite of Spring

Eb7 over Fb chord:

b & b b 24 b œœ œœ ? b b 24 b b œœ b b œœ

Built using all the tones of the Ab harmonic minor scale

œœœ œ œœ œœ

œœœœ œœ œœ

œœœ œ œœ œœ

b œœœœ œœœœ b bb œœœœ œœœœ

œœœœ œœ œœ

œœœ œ œœ œœ

n˙ b˙ b ˙ b ˙ b ˙ b ˙ b˙ b˙

Review the previously shown examples for harmonic variety. The following examples used alternating chord types: Ex. 19.1, 5, 10, 17, 23, and 24. The following examples used similar or same chord type: Ex. 19.7, 8, 9, 12, 14, 15, 18, and 26.

TYPES of MOTION There are four possible types of motion between a pair of voices: •

• • •

Parallel: parts move in the same direction with the same constant interval types. Can be effective in short passages, tedious over longer periods. Makes the distinction between the two lines difficult to discern. Similar: parts move in the same direction with different interval types. Similar to parallel, but less dependent. Oblique: one part moves and the other remains stationary. Can be pleasing for short passages, but eventually the voices will both want to move, and move independently. Contrary: one part moves up and the other down. Typically the most interesting, because it clearly defines the independence of the two voices.

It is best to begin with just the outer voices when creating harmonic passages. Good relationships between the outer voices may be enough to make the passage interesting. If the outer voice are interesting, then try different qualities of chords to create the inner voices. Review the previously shown examples for types of motion. The following examples had contrary motion: Ex. 19.1, 19.3, 19.5, 19.13, 19.14.c, 19.15, 19.17, 19.18, 19.19, 19.20, 19.21, and 19.26. The following examples had combinations of contrary and similar motion: Ex. 19.6, 19.8, 19.11, 19.23, 19.24, and 19.25. The following examples had parallel or similar motion: Ex. 19.12, 19.14.a, 19.14.b, and 19.16.


Chapter 19


451

CREATING with NEW VOCABULARY Here are a few suggestions on applying these and other sounds. Remember, part of creativity is taking chances and being playful. • Don’t dismiss chords that sound ugly to you at first. Some chords dismissed now as useless may become very good friends later. • Trust your ears to hear where the chords want to move. • Follow a simple step-line that can be elaborated later. • Always consider voice-leading. These sonorities should sound like voices in motion, not unrelated chords in some sequence. • Keep densities and colors consistent. Chords should be in company of related sonorities. If the vocabulary is basic I-IV-V functional harmony, a wild mystery chord might sound inappropriate. In a context of dissonant polychords, resolving to a major triad might sound foolish. Jackson Pollock and Norman Rockwell paintings probably would not hang together on the same wall. On one end of a scale you have simple, basic functional chords and complex polychords on the other. Music based on simpler chords will probably not venture too far to the side of the complex chords and vise-versa. Harmonic passages using chords falling on the scale between the simple functional chords and the more complex contemporary chords may venture into the ancient and to the contemporary ends of the scale. It takes some practice and a critical ear to compose music with harmony that sounds like it goes together. Surprise resolutions should have a sense of inevitability. • Remember that any pitch can be a the root, 3rd, 5th, 7th. 9th, 11th, or 13th with any number of alterations. The note “C” can be any of the following: Melody Note C

•

Root of

3rd of

5th of

7th of

9th of

11th of

13th of

C chords

A or Ab chords

F or F# chords

D, D#, or D b chords

B or Bb chords

G or Gb chords

E or Eb chords

Work with short phrases at first. Don't try to conceive 32 measures of constantly moving harmony. If a short passage works, try sequencing it at another pitch level, or trying similar harmony.

EAR TRAINING It is easier to write what you can hear, so step one must be to train your ears to recognize more sonorities. There were not that many different chord types used in this chapter to learn. • • •

• • •

Learn the basic chords—major triads: can you hear them? imagine the sonority? can you recognize them in different contexts? Move on to minor, diminished, augmented chords. Learn the most common chords derived from major and minor (harmonic) scales: major, major 7, minor, minor 7, dominant 7, half-diminished 7 (ø7), diminished 7 (°7). Enhance those basic sounds by learning chords with added notes and extensions: (major 9, major 6/9, major 7 #11, minor 9, minor 6/9, dominant 9/13, dominant 7 with altered 9ths (b9, #9) altered fifths (b5, #11, 13, b13, #5). Learn chords derived from other scales such as melodic minor, major with a b6, diminished, augmented: (minor major 7, ø7 #2, major 7 #5). Learn “mystery” chords and polychords (chords superimposed on one another). Take new chords one at a time, play them in different keys, or on different pitches until you are familiar with their sound.


452

Chapter 19


POSSIBLE HARMONIZATIONS of the PITCH “C”

19.28

Harmonization with major seventh chords

A bm aj7

D bm aj7

Fmaj7

& c b www w

www ww

w b b wwww

? c b b ww bw

w ww

b b ww

19.29

B bmaj7

www ww

G bm aj7

E bm aj7

w b b wwww

www w

bw b b ww

b ww

b b www

Harmonization with minor ninth chords

Am9

ww ww ? c ww w &c

19.30

Fm9

Dm9

B bm9

Gm9

w b b wwww

www w

w b b b wwww

www ww

bw ww

ww w

ww bw

Harmonization with dominant seventh chords

#9 C7b 13

C13

A b13

F13

bw ww

#9 D7b 13

D9

b5 D7b 9

& www

w b b ww

ww w

ww w

b www

ww b ww w bw

? b www

ww w

bw bw

b ww w

# www

ww w


ww w

Chapter 19

19.30

Harmonization with dominant seventh chords

b B b13 B b9 13 B b9

#9

b B13 9

B7 alt.

ww w

w b b ww

ww w

? bw bw bw bw bw bw

# www

# www

& www b www

19.31

# C9 11

&c

# wwww

? c b www

19.32

# A bmaj7 5


b9

#9

A7b 13

b E b13 9

E b13# 11

E7b 13

n www #w ww w

www

w n # www b ww bw

ww w

b ww bw

453

n # ww

Harmonization with lydian dominant seventh chords

# B b9 11

ww ww b ww bw

# G b9 11

# E b9 11

w b b www

www

b b ww bw

b ww bw

Harmonization with augmented major seventh chords

# Em aj7 5

# D bm aj7 5

&c

ww ww

w b b www

www w

?c

bw

w

bw


454

Chapter 19

19.33

# Dø7 2


Harmonization with half diminished chords

# B bø7 2

# Gø7 2

& c www

b b b wwww

w b www

b wwww

bw bw

b ww

?c

19.34

Harmonization with dominant suspended chords. (Sometimes notated as C/D Am7/C, Am9/D) F7sus

D7sus

B b7sus

G7sus

& c www

w b ww

ww w

w b b www

www w

www b bw

? c b www

b www

ww w

b ww bw

ww w

b b ww

C7sus

19.35 C/D b

&c

ww ww

? c b b ww

19.36

Harmonization using Poly or Slash chords C/B

ww ww w w

Ab A

ww ww

w b b www

? c b b www

#w n n ww


A b/G

F/G b

F/E

w b b www

w b b www

www w

www w

n nn www

ww w

b bb www

w w

Harmonization with True Polychords and Extended Tertian chords

C Db

&c

A b/A

E b7sus

F Gb

www w bw b b ww

E aug. F aug

# www # www

Fm F #m

D bmaj7 #5 Dmaj7 #5

b www

www bw

# # www

# # www

Chapter 20

XX.

Summary

455

CODA

The development of jazz improvisation vocabulary is many ways mirrors the development of Western art music. A great deal of jazz is based on the major/minor key systems common to music of the Baroque through late Romantic periods. As the jazz art form grew, some jazz artists, as many composers in the late nineteenth and early twentieth centuries, felt the major/minor systems had been exhausted. It became increasingly more difficult to compose music that expressed their originality. Jazz composers and improvisers began to use different harmonic materials imposed over the major/minor systems, and later to create new music with harmonic progressions that did not function in traditional ways. Many jazz artists throughout the history of jazz were influenced by non-jazz music of the twentieth century trying to find ways to in corporate the sounds borrowed from Stravinsky, Bartók, Ravel, Debussy, and the unusual methods for constructing music borrowed from Schoenberg, Cage, Boulez, and others. Tonal music is not dead, and the evolution of jazz is yet completed. Jazz, as this book is written, still reflects a wide spectrum of musical expressions. Jazz has always been a melting pot of styles: African rhythms and performance practices fused with European harmonic vocabulary, forms and instruments. Jazz influenced popular music and in turn has borrowed from popular and folk music, world and ethnic music, and even American country and western. Students are often surprised at how much jazz theory is practical “real time” applications of traditional theory. To grow as an artist, keep your ears, eyes and mind open. Learn from what ever sources are at tractive. Bach, Beethoven and Mozart are invaluable sources of melodic invention, as is the music of all cultures. Art Tatum was one of the greatest pianists in the world. There is a story about him visiting some bar where a mediocre pianist was playing. One of Tatum’s entourage suggested they leave because pianist was uninteresting. Tatum wanted to stay because he heard the one thing the pianist really did well. This may have been why Tatum was such an exceptional musician: he consistently found the one thing that someone did well and learned from it. Find those attractive things in music and learn from them. If music is a vehicle for expression, then music theory should provide tools and resources to expedite the search for what ever is needed to bring those expressions to life.


456

Appendix I

Reference for Chord/Scale Relationships

Appendix I. Reference for Chord/Scale Relationships The chords in the following chart are sorted by single identifying pitches Triads may have perfect, diminished or augmented fifths; triads with perfect fifths can have a major or a minor third; a triad with major third may have a minor or major seventh, and so on. Fifth

P5

d5

A5

Third

M3

m3

m3

M3

Triads

Major

Minor

Diminished

Augmented

7th chords

M7 Maj7

m7 Dom7

M7 m maj7

m7 m7

7sus

9th chords & beyond

Maj9

9 (n5)

m maj9

Maj76/9 9 (13) mmaj7 6/9 Maj7(#11) 7 b 9 (n5) Maj7 7 b 9 (b13) # # ( 11/ 9) 7 #9 (n5) 7 #9 (b 13) 9 (#11) 7 (b 9 b 5) 7 (b 5 #9) 13 (b 9) 13 (#9) 9 (b 13) 13 (#11b 9) 9sus 7susb 9

m9

m7 ø7

ø7#2

d7 °7

M7 maj #5

7#5

rare

9#5

°maj7 °7 with added tones*

m11 m 6/9

*(usually a whole step above one of the chord tones, ex. E°7 with F#, A, C, or D# added)


m7

Appendix I


457

There are many shorthand symbols for chords. There is no single agreed upon standard so one should be familiar with and expect to find a number of possibilities. Here is a partial list of symbols you may encounter: C major 7 = Cmaj7, Cma7, CM7, C∆7 (C∆ can also mean just a major triad). In some parts of the world the triangle is unknown. “M” can cause problems depending on the accuracy of penmanship. Rehearsals have stopped to measure the size of the “M’s” to determine major or minor. The “maj” abbreviation is clear. C6 may be encountered in older music, and means C major with an added sixth. C6 does not mean C13, as C13 implies a dominant seventh chord. A C2 chord indicates the root, second and fifth but may often be in first inversion as C2/E. C minor 7 = Cm7, Cmi7, Cmin7, C–7. The “–” sign can be ambiguous, the “mi” and “min” unnecessary. Using “maj” for major and “m” for minor and staying consistent should insure your symbols are clearly understood. A Cm6 means a minor chord with an added major sixth. If a minor sixth is wanted above the minor chord it may occur as: Cmb6, Cm#5 (even though by definition a minor chord has a perfect fifth), or Ab /C. Cm6/9 indicates a major sixth and major ninth added to the chord. C half-diminished = Cø7, Cm7b5, Cmin7 b5, C–7b5. This chord is found naturally in both the major and harmonic minor scales. Showing it with an alteration is unnecessary when there is a symbol (ø) which means half-diminished. The 7 is redundant, since this chord cannot half-diminished without the seventh, but is common practice to include it in the symbol. C minor major 7 = Cmmaj7, Cm∆7, C–∆7. I would try to avoid the triangle and the “-” and use the “m” for the minor third, and the “maj” to refer to the seventh. Try to separate the two to avoid “mmaj7.” A Cmmaj 76/9 indicates a major sixth and major ninth added to the minor major seventh chord. Slash Chords: Some chords are created by placing one chord on top of another bass note or on top of another chord. The resulting sound is usually called a polychord, though a true polychord would only be the stacking of two chords, one on top of the other. These chords can be named in a traditional way but are often notated with slashes indicating the two chords or the chord and the different bass note. A common practice is to notate true polychords with a horizontal slash (—) with the top chord on top, the bottom chord on the bottom, and to notate chords with different bass notes with a (/) where the first part is the chord, the second part indicates the bass note. For example: D C= D triad over a C triad C/D = C triad over a D bass note Raised notes (#) should be shown with the universally understood musical sign “#.” Raised notes may occur as “+” so that C7 with a raised ninth may appear as: C7#9, C7+9, and even the C7 9+. The plus sign is often misread as “add,” so that C7+9 could be interpreted as C7 add a ninth (D#) when someone meant a D#. The “+” sign could also refer to the fifth so that someone may interpret the C7+9 or C7 9+ as a C9 chord with a raised fifth. Lowered notes (b) should be shown with the universally understood musical sign “b” Lowered notes may occur as “–” so that C7 with a lowered ninth may appear as: C7 b9, or C7 –9, and even the C7 9–. In music notation # means raise and b means lower so these symbols are preferable to the (+) and (–). Extensions: When discussing scales use numbers 1-7 or 1-8. When discussing tertian chords use the odd numbers: 1-3-5-7-9-11-13. The sixth degree of the scale in a chord is the thirteenth, so C 13, not C6; C9 #11, not C9 #4.


458

Appendix I


CHORD/SCALE RELATIONSHIPS SCALES SCALES Major Harmonic Minor Melodic Minor Major with a b6 (Harmonic Major) Diminished Diminished Whole Tone Augmented

1 2 3 4 5 6 7 8 1.

FORMULA W W 1/2 W W W 1/2 W 1/2 W W 1/2 A2 1/2 W 1/2 W W W W 1/2 W W 1/2 W 1/2 A2 1/2 (1/2 Whole) (Whole 1/2) WWWWWW minor 3rd 1/2 m3 1/2 m3

2.

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4.

3.

& ˙ ˙ b˙ ˙ ˙ b˙ n˙ ˙

& ˙ ˙ b˙ ˙ ˙ n˙ n˙ ˙

5.

& ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ 7.

6.

& ˙ b˙ b˙ n˙ #˙ n˙ ˙ b˙ ˙

& ˙ ˙ b˙ ˙ #˙ #˙ ˙ ˙ ˙

8.

& ˙ ˙ ˙ #˙ #˙ b˙ ˙

& ˙ #˙ ˙ ˙ b˙ n˙ ˙

Diminished scale is like a diminished 7 chord with leading tones to each chord tone and an augmented scale is like an augmented triad with leading tones to each chord tone. Diminished Scale

& œ b˙ #œ ˙ #œ n˙ œ b˙


Augmented Scale

&

#œ

˙

œ

b˙

nœ

˙

Appendix I


459

CHORDS with SCALE SOURCES: CHORD TYPE Major 7 Major 7 Major 7 Major 7 Major 7

1 2 3 4 5

1.

SCALE SOURCE Ionian; 1st mode Major Lydian; 4th mode Major 6th mode Harmonic Minor Major with a b6 Augmented

2.

CHARACTERISTICS n4, 7 #11 #9, #11 b6 or b13 Maj/Min3, 5, #5 or b6

3.

4.

5.

& ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ #œ ˙ œ ˙ œ ˙ #œ ˙ #œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ bœ ˙ œ ˙ #œ ˙ ˙ bœ ˙ œ

6 7 8 9 10

CHORD TYPE Minor 7 Minor 7 Minor 7 Minor 7 Minor 7

6.

SCALE SOURCE CHARACTERISTICS Dorian; 2nd mode Major Major 6, m3 b6, b3 Aeolian; 6th mode Major b2, b6 Phrygian; 3rd mode Major #4 4th mode Harmonic Minor b Dorian 2; 2nd mode Melodic b2 Minor

7.

8.

9.

10.

& ˙ œ b˙ œ ˙ œ b˙ œ ˙ œ b˙ œ ˙ bœ b˙ œ ˙ bœ b˙ œ ˙ bœ b˙ œ ˙ œ b˙ #œ ˙ œ b˙ œ ˙ bœ b˙ œ ˙ œ b˙ œ

11 12 13

CHORD TYPE ø7 ø7 ø7

14

ø7

SCALE SOURCE CHARACTERISTICS b5, b2 Locrian; 7th mode Major b5, b2 2nd mode Harmonic Minor # Locrian 2; 6th mode of Melodic #2 Minor #2 2nd mode Major with a b6

11.

& ˙ bœ b˙ œ b˙ bœ b˙

12.

œ

˙

b˙ nœ bœ b˙ œ

13.

b˙

œ

˙

b˙ bœ œ b˙ œ

14.

b˙

œ

˙

b˙ nœ œ b˙ œ

b˙

œ


460

Appendix I

15 16 17 18


CHORD TYPE Minor/Major 7 Minor/Major 7 Minor/Major 7 Minor/Major 7

SCALE SOURCE 1st mode Harmonic Minor 1st mode Melodic Minor 4th mode Major with a b6 Augmented

15.

16

& ˙ œ b˙

19 20 21 22 23

CHARACTERISTICS b6 n6 #11 Maj/Min3, 5, #5

œ

˙ bœ ˙

œ

CHORD TYPE Major 7 #5 Major 7 #5 Major 7 #5. Major 7 b6 or b13 Major 7 #5 Major 7 #5

19.

˙

œ b˙ œ

17.

˙ nœ n˙

œ

˙

18.

œ b˙ #œ

˙

œ

˙

œ

˙ b˙

SCALE SOURCE 3rd mode Harmonic Minor 3rd mode Melodic Minor Major with a b6

CHARACTERISTICS #5, n4 #5, #11 n5, b13

6th mode Major with a b6 Augmented

#5, #9, #11

20.

nœ

˙ bœ ˙

œ

Maj/Min3, 5, #5

21.

22.

23.

& ˙ œ ˙ œ #˙ œ ˙ œ ˙ œ ˙ #œ #˙ œ ˙ œ ˙ œ ˙ œ ˙ bœ n˙ œ ˙ #œ ˙ #œ #˙ œ ˙ œ ˙ #œ ˙ ˙ bœ ˙ œ

24 25

CHORD TYPE Diminished 7 Diminished 7

SCALE SOURCE 7th mode Harmonic Minor Diminished W 1/2

26 27

Diminished 7 Diminished 7

7th mode Major with a b6 6th mode Major with a b6

24.

25.

CHARACTERISTICS Traditional sound Tones whole step above each chord member available

26.

27.

& #˙ œ ˙ œ ˙ œ b˙ #œ #˙ #œ ˙ #œ ˙ œ b˙ nœ #œ #˙ œ ˙ #œ ˙ nœ b˙ #œ b˙ ˙


œ

˙ œb˙

œ bœ

Appendix I

28 29 30 31 32

CHORD TYPE Dominant 7 Dominant 7 Dominant 7 Dominant 7 Dominant 7

33

Dominant 7

34

Dominant 7

35 36

Dominant 7 Dominant 7

28.


SCALE SOURCE Mixolydian; 5th mode Major 5th mode Harmonic Minor 5th mode Major with a b6 3rd mode Major with a b6 Lydian b 7; 4th mode Melodic Minor Super locrian; 7th mode Melodic Minor Mixolydian b6; 5th mode Melodic Minor Diminished 1/2 W Whole Tone

29.

30.

461

CHARACTERISTICS n9, n5,13 b9, b13 13, b9 b9, #9, b13, n5 9, #11, 13

b9, #9, b13, b5 b13 13, b9, #11 9, #5

31.

32.

& ˙ œ ˙ œ ˙ œ b˙ œ ˙ bœ ˙ œ ˙ bœ b˙ œ ˙ bœ ˙ œ ˙ œ b˙ œ ˙ bœ bœ b˙ ˙ bœb˙ œ ˙ œ ˙ #œ ˙ œ b˙ œ 33.

& ˙ bœ bœ b˙ bœ bœ b˙

34

œ

˙

œ

35.

˙

œ

˙ bœ b˙

œ

˙

bœ bœ

36.

n˙ #œ ˙ œ b˙

œ

˙

œ

˙ #œ #œ b˙

œ


462

Appendix I


SCALES with DERIVED CHORDS: MAJOR SCALE 1st 2nd 3rd 4th 5th 6th 7th

C

& www ?w

F

Cm aj7 Cmaj9 C 69maj7

w ww

ww w

ww w

w

w w

ww w

C6

C2

www w w

C2/E

Dm

ww w

www

www

w ww

ww w

www

www

ww w

w

w

w

w

w w

www

w

w

G13

G7sus4 G9sus4 G13sus4

# Fmaj9 Fmaj7 11

Fmaj7

CHORD TYPES Major 7 Minor 7 Minor 7 Major 7 Dominant 7 Minor 7 ø7

Dm7

G

G7

G9

Dm9 Dm11

& www

ww w

ww w

www w

w www

www

ww w

ww w

ww w

?w

w

ww

ww

ww

w

w

ww

ww

Am

w & ww ?w


Am7

ww w w

Am 9

ww w

ww

Am11

www w ww

B°

Bø7

ww w

ww w

w

w

Em

Em7

ww w

www w

www w

ww

w

ww

Bø711

ww w

w w

Appendix I

HARMONIC MINOR 1st 2nd 3rd 4th 5th 6th 7th

Cm

Cm maj 7 Cm maj 9

D°

Dø7

b www

b n www

w b n www

b www

b ww w

?

w

w

w

w

w

w b ww

n www

G7

n www

b G7 9

b ww

w

w

?

w

w

& ?

bw

b ww

G

w b b ww

b b www

www

Fm9

b www

Ab

Dø711

Fm 7

&

A bmaj7

b ww w

bw

# 11 # 9 b b A maj7 A maj7# 9

463

CHORD TYPES Minor (major 7) ø7 Major 7 #5 Minor 7 Dominant 7 Major 7 °7

&

Fm


G Ab

b n wwww

www n bw

n www

bw

b ww

b b www

E baug

# E bmaj7 5

bw

bw

b www

ww w

b9

b www

G7b 13

b b www

G7sus4

b G7sus 9

n ww

n ww

w

w

ww w

b wwww

B°

B°7

B°7(add G)

w ww

w b ww

ww bw

w

w

ww


464

Appendix I


MAJOR with a b6 (Harmonic Major) 1st 1st 2nd 3rd 4th 5th 6th 6th 7th

ww b ww

b ww w

www

w

ww

b www

Fm maj 7

?

w

# A bm aj7 5

& ?


#9

# Dø7 2

?

b www

Major 7 Major 7 b6 iiø7 Dominant 7 (#9, b9, b13, n5) Minor (major 7) Dominant 7 (b9, n13) Major 7 #5 °7, °maj7 °7

b Cm aj7 6

&

&

CHORD TYPE

# Fm maj 9 Fm maj 7 11 F°maj9

w ww

b n www

b ww

b www

G/A b

www

ww w

bw

bw

ww w b ww

E7b 13

E7alt.

# www

# www

www w

ww w

b G13 9

Em Fm

www

b ww w

b www

w w

A b°maj7

B°7

B°7(add E )

B°7(add G)

ww w

w b ww

b ww

w b ww

bw

w

www

ww

Appendix I

MELODIC MINOR 1st 2nd 3rd 4th 5th 6th 7th

Cm maj 7 Cm maj 9

Cm

&

b n www

b www

?

w

w

# F9 11

Aø7/D


CHORD TYPE Minor (major 7) Minor 7 (b9) or 7susb9 Major 7 #5 Dominant 9 #11 Lydian dominant Dominant 9 b13 ø7 #2 Dominant 7 (#9, b9, b13, b5,)

# Aø7 2/D

w b www

b www

ww w

w

ww

ww w

bw

bw

G9 b 13

b ww w

?

ww

ww

1/2W DIMINISHED

# 11 C7b 9

# E bmaj7 5

b www

www bw

b C7 9

E baug

w b n www

&

# 11 C7# 9

465

# Aø7 2

B7alt.

www bw

www bw

ww

w w

CHORD TYPE Dominant 7 (b9, #9, n13, #11)

b9 # C13 11

# C7 9

& b ww bw

b b # www

# b # www

b b # wwww

b # ww

? ww

ww

ww

ww

ww

b9 #9 # C13 11

w # # www b b wwww w


466

Appendix I


W1/2 DIMINISHED

C°7

CHORD TYPE °7, °7 with added notes

C°7(add A b)

C°7(add B )

C°7(add D)

C°m aj7(add D)

& b # ww w

b # www

w b # ww

w b # www

n ww w

b b www

? w

w w

w w

w w

b # www

# www

WHOLE TONE

# C7 5

C°7(add F )

CHORD TYPE Dominant 7 (9, #5)

b C7 5

# C9 5

& # ww

b ww

# www

# ww # ww

? b ww

bw w

bw w

bw w

AUGMENTED

# Cmaj7 5

CHORD TYPE Major 7 #5 Major 7 minor (major 7)

#5

Cm maj 7

Cm aj7# 9

& # ww w

b www

# # www

? w

w

w w


## C9 5 11

B aug. C aug.

# www # www

Appendix II

Elaborations of Static Harmony

467

Appendix II. Elaborations of Static Harmony Diatonic and chromatic elaborations may be introduced in the accompaniment or in the melodic improvisation that introduces more motion than implied by the static harmonic implications. Several common elaborations are cataloged in this appendix.

ELABORATIONS of ii7-V7 PROGRESSIONS This is the most common shown over ii7-V7-I in C major. A chromatic line is inserted beginning on the root of the ii7 chord which moves down to the third of the V7 chord. II.1

Traditional

Dm7

‰ œœj ‰ j ‰ œœj ‰ j œœ .. œœ #œ nœ œ œ j .. .. .. œ œ œ ˙ œ œ œ.

G7

& c ˙˙˙

˙ # ˙˙

˙ n ˙˙

˙ n ˙˙

˙

˙

?c w II.2

.. .. œ

Traditional

Dm7

G7

& c ˙˙˙

˙ # ˙˙

?c w II.3

b

˙˙ n˙

.. .. œ œ œ œ #œ œ œ nœ

˙

˙

.. ..

Ex. 10.56a from Chapter 10

B m7

b & b bb c

˙ n ˙˙

3

3

œ.

j œ œ

œ

œ œœ .. œ œ œ œ .. œ œ ˙

b

E 7

œ œ œ œ œ nœ œ œ œ œ œ #œ œ œ ˙


468

Appendix II II.4

Elaborations of Static Harmony Ex. 10.55 from Chapter 10

Gm 7

C7

F

bœ & b c œ œ œ ¿ #œ ¿ nœ œ œ œ œ œ bœ œ œ œ œ Œ Ó II.5

3

Ex. 10.59 from Chapter 10

Em7

A7

D

# & # c œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ Œ Ó Several examples of this type of elaboration occurred in the improvisations of Cannonball Adderley and Charlie Parker shown in chapter 18.

ELABORATIONS of a C MAJOR CHORD USUALLY as TONIC (I) II.6

5-#5-6-b6 over two measures

C

& c ˙˙˙ # ˙˙˙ ?c w II.7

˙˙ ˙

b ˙˙ ˙

..

.. œ ≈ œ œ œ # œ ≈ œj .. œ œ œ ≈ œ œ œ b œ ≈ œj .. œ œ .. œœ œœ œœ œœ œœ œœ . œœ œœ œœ œœ œœ œœ œœ œœ . œœ œœ

.. ..

w

œ

œ. œ œ

œ

œ C7

II.8 F

œ œ

# www

ww w

b ww w

w

w

w

F

ww w w

5- # 5-6- b 7 implied in melodic line over the first four measures of blues from Tete Montoliu F7

j j j bœ ˙ . & b c ‰ œJ ‰ œ œ œ ‰ b Jœ Œ ‰ œ œ œ ‰ n Jœ Œ ‰ œ œ œ ‰ J


..

œ

5-#5-6-b7 over four measures as the first four measures of blues

C

& c www ?c w

œ.

Œ

Appendix II II.9

& c ˙˙˙ ?c w

&c

˙˙ ˙

˙˙ ˙

..

˙˙ ˙

..

w

R-7-6-7-R-7-b7 diatonic elaboration over first four measures of blues leading to IV.

II.10

& c ˙˙˙ ?c w

˙˙ ˙

˙˙ ˙

˙˙ ˙

C

.. ˙ ˙˙

˙˙ ˙

˙˙ ˙

.. w

w

˙˙ ˙

Two chromatic lines implied: 1-2-#2-3 & 3-4-#4-5

˙˙ ˙˙

œœœ # œœœ œ # œ

?c w

C

˙ ˙˙

C7

F

b ww w

˙˙ ˙

˙˙ ˙

w

w

www w w

Several chromatic elaborations 3-4-#4-5 Combined 3rds:

& c ˙ œ #œ w ?c w w II.13

C

w

w

II.11

II.12 1-2-#2-3

469

5-6-7-6 diatonic elaboration

C

C


6ths:

˙˙ œœ # # œœ ww

˙ œ # œ ww ˙ œ# œ

C7 ˙ œ # œ b ww ˙bœn œ

w

w

w

C

C

˙ œ #œ w w

w

6ths: C

w

w

w

3-4-#4-5 implied by melody

C

& ˙ œ œ œ ˙ œ œ œ #˙ œ bœ ˙ Ó :


470

Appendix II


II.14

Bluesy chromatic elaboration over C7

II.15

3-4-#4-5 implied by melody from Sonny Stitt

. œ œ b œ œ # œ œ œ œ œ œ b œ œ # œ œ & œœ œ # œ œ œ # œ œ b œ œ œ b œ œ œ b œ œ

b &b c

B

b

. œœ # œœ n b œœ œœ œ b œ œ w œ # œ n œ œ œœ b n œœ b œœ ww

œ œ œ œ œ œ œ œ nœ œ œ œ œ bœ œ #œ œ 3-4-#4-5 implied by melody from Tete Montoliu

II.16

3 B b7 œœ œ œ œ œ œ ‰ œ b œj n œ œ ‰ œ &b c J

F7

3-4-#4-5 & 5-#5-6-b7 implied by melody from Tete Montoliu

II.17 F

& b c ‰ œJ œ # œ œ

F7

œ3

3 3 3 œ œ b œ œ œ bœ nœ œ œ œ œ œ œ n œ œJ œ # œ œ œ bœ œ œ œ œ J 3

Descending 5-b5-4-3 3-4-#4-5 & b7-6-b6-5 for end of blues phrase

II.18 3

3

3

3

& c Œ œ œ œ bœ œ œ œ œ œ Œ ? c wbœ œ bœ

II.19

œ œ b œœ œœ ˙˙ œœ b œ œ ˙ bœ œ ˙

?c w


3

Œ œ œ œ bœ œ œ œ œ œ Œ bœ œ bœ w

3

3

3

œ œ œ œ b œ # œ œ œn œ œ œ œœ # œœ # n œœœ n œœ œ œ

w w b ww w

9-R-7-R elaboration in pop style

C

& c ˙˙˙

3

˙˙˙

˙˙ ˙ w

˙˙˙

..

3

.. œ œ j œ œœ œœ œœ œ 3 jœ .. .. œ œ œ

3

œœœ j œœ œ œ 3 œ œj œ

3

œœ j œœœ œ œ 3 jœ œ œ

3

œœœ j .. œ 3 œ œj ..

Appendix II

II.20

G7

&c

œ

#œ

œ œ

œ

œ œ

œ

œ

#œ

œ

œ

œ

&œ

nœ

œ #œ

œ œ

œ F7

?œ

œ œ œ œ

#œ œ œ œ œ œ

œ œ

#œ

œ

œ

œ œ œ œ

C7

œ

471

Cycle of Dominants on B Section of “Rhythm Changes”

D7

?c


œ œ

œ

œ

œ œ

œ

œ œ #œ œ œ œ œ œ œ œ œ œ

œ œ

#œ œ

Bb

œ œ nœ œ œ œ bœ œ

œ bœ

œ œ

œ œ bœ

#œ œ

ELABORATIONS of a D MINOR CHORD as i, vi, or i II.21 5-b6 [#5]-n6-b6 “Secret Agent” elaboration over Dm. (Chords may appear as: Dm - Dm#5 - Dm6, or Dm - Dmb13 - Dm6 or Dm - Bb/D - Dm6) Dm

& c ˙˙˙

b ˙˙ ˙

n ˙˙ ˙

?c w II.22

w

b ˙˙ ˙

..

.. œœ œœ b œœ œ ‰ n œj ‰ œj ‰ œj b œ œœ œœ œœ œ œ œ œœ œœ

.. ..

œ ˙ J

œ.

˙

œ.

œœ œ

.. j .. œ

7-6-b6-6 elaboration over Dm

Dm

& c ˙˙˙ ˙˙ n˙ ?c w

˙ ˙ b ˙˙ n ˙˙ w

.. 34 .. ‰ œœj Œ œ .. 34 .. ˙

œœ œ

‰ œœj Œ œœ œ œ

˙ œ œ

‰ œœj Œ œœ bœ œ

œœ ˙

‰ œœj Œ œœ .. nœ œ ˙ œ œ .. œ œ


472

Appendix II

II.23


Blues Etude In F with elaborations & compound melody examples

bœ j & b c œ œ # œ œ œ ‰ œ œ œ œ n œ œ œ Œ ‰ Jœ œ b œ œ

œ œ nœ bœ œ œ bœ œ

j & b Œ ‰ œ œ œ œ # œ œ œ œ b œ Œ ‰ b Jœ œ œ ‰ Jœ n œ # œ b œ n œ œ # œ Œ Œ œ œ & b œ œ Œ Œ ‰ # œj œ œ b œ œ œ b œ & b œ œ œ œ œ œ #œ

w

& b ‰ Jœ ‰ b œj œ n œ # œ œ Ó

œ

œ

œ #œ nœ nœ bœ œ .

j œ Ó

j ‰ œ # œ œ œ œ œ œ œ œ b œ ‰ Jœ œ œ œ b œ œ Œ

‰ j œ œ œ œ œ œ œ nœ #œ

œ œ œ # œ b œ ‰ Jœ

& b œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ bœ œ œ œ œ ‰ œ œ œ nœ œ œ œ œ œ œ œ œ œ


Appendix III

Endings

473

Appendix III. Endings Musicians should go to jobs with a few standard endings in their toolbag in order to avoid potential train wrecks. Appendix III catalogs several common endings and their variations.

ENDINGS to BLUES III.1

Blues turnaround and ending using common chromatic elaborations

b 3 G b9 3 3 b & b c Œ œ œ œ n œ œ œ b œ œ œ œ b œœ œœ œ œ œ bœ ? b c bœ œœ b œ œ œ œ œ œ b bœ œ B

III.2

˙˙ ˙

b Œ œœœ œ n œ œ b œ œ œ œ # # # œœœ n n œœœ ˙˙˙

˙ ˙

bœ œ œ

F13

3

œ œ

bœ œ

œœ n # œœœ n bb œœœ ˙˙˙

3

3

bœ œ & b c Œ œ œ œ n œœ œ œœ b b œœ œ œœ œœ b œœœ # n œœœ n b b œœœ

˙˙ ˙

?b c w

œ

3

œ œ

III.3

œ

œ


œ œ n œ œ3 œ b œ œ3 œ œ b Œ œ & bœ ?b œ œ

B9 B 13

3


F

F

3

3

œ œ

bœ œ

#

#

b

D7 9 G13 9 C7 9

F13

œœ # œœ b n œœ œ n œ bœ

ww w

œœ # œ n œ œ œ

œœ

bw w


474

Appendix III III.4

Endings Blues ending. Top line improvised.

U Œ b œœ bœ œ nœ œ œœ U Œ œ bœ œ œ

œ bœ œ nœ bœ bœ œ &b c‰ J ?b c j œ œ. III.5

œ

Blues ending. Last two measures improvised. Inner descending voice is in contrary motion to bass line.

œ . b œœœ œœœ b c ‰ & œ. œ œ ?b c

nœ

œ œ œ œ

T T U œœœ œ ‰ œ b œ œ n œ b œ J b œ œ b œ n œ œ Œ b œœœ œ œ œ œ U ∑ Ó Œ œ œ nœ œ œ œ œœœ œ

œœœ œ

n œœœœ

III.6 Blues ending. Last two measures improvised. Contrary motion: Bass line from III.5 is now melody and the inner voice is in the bass.

& b c ‰ œœ .. œ.

œœ œœ œ œ

œœ œ

? b c œ œ bœ œ

œ

T T U œ b œ œ œ œœ b n œœœ œœœ n œœ ‰ J n œ b œ b œ œ b œ n œ œ Œ b œœ œ bœ œ œ œœ œ U Ó œ bœ œ œ ∑ Œ œ

ENDINGS to STANDARD TUNES

III.7 Gm7

& b c ˙˙˙

? b c ww


Ending to a pretend song in standard style. Standards typically end on tonic at “*” from which point several options are available

œ˙ œ ˙

C7

˙˙˙ ww w

˙˙˙

*

F

www

www

ww

ww

Appendix III

III.8

Ending in swing style. Sometimes called “Ellington” ending

> . & b c ‰ œœœ ..

. œœ œ

. œœ œ

> ? b c ‰ œœ ..

œœ.

œœ.

Gm7

III.9

. b œœ .

˙˙ ˙

œœ .. œ.

C7

j ‰ œ nœ œ. j b œœ ‰ > œ. œ

475

U Œ œœ œ œ œ œ œœ Fmaj7 U œ œ œ œ Œ œ

“Ellington” ending may repeat the last chord with this rhythmic extension. The last chord is often absurdly dissonant, final one may be held or played with a fall-off.

> j b c & œ . œ ?b c œ > J œ. III.10

˙˙

. . œ nœ . . œ nœ

>

Endings

. . œ nœ . . œ nœ

Œ œ œ œ œ b œœœœ ˙˙˙˙ F13

œ œ œ œ Œ œ

# n œœœœœ

œ œœœœ Œ

b b œœœœ

˙

œœœ œ Œ œ œ

# n œœœœœ

œœœ œœœ œ œ ‰ œJ Œ œ œœœ œœœ b b œœœœ œ ‰ Œ œ œ œ œ J

“Basie” ending: solo piano answers ensemble who rejoins on final chord

> . & b c ‰ œœœ ..

. œœ œ

. œœ œ

> ? b c ‰ œœ ..

œœ.

œœ.

Gm7

˙˙

. b œœ .

˙˙ ˙

œœ .. œ.

C7

Piano solo:

j Ó œ nœ j œ bœ Ó œ

œœ œœ

Œ

n œœ

Œ

# œœ

tutti: U œ ‰ œJ Œ œœ œœ Fmaj7 œœ U ‰ J Œ œ


476

Appendix III

Endings

TAG EXTENSIONS The last phrase may be repeated in various fashions. These extensions are called the “tag.” III.11

Tag Extension add the iii7 - V7/ii, repeat the ii7 - V7, then “Basie” ending

> . & b c ‰ œœœ ..

. œœ œ

. œœ œ

> ? b c ‰ œœ ..

œœ.

œœ.

Gm7

> . & b ‰ œœœ ..

. œœ œ

. œœ œ

> ? b ‰ œœ ..

œœ.

œœ.

Gm7

œœ .. C7

œœ .. œ.

j œ b œ ˙˙

> ‰ œœœ ...

œœ ˙˙ œ ˙ J

Am7

˙˙

. b œœ .

C7

œœ .. œ.

˙˙ ˙

‰

>œœ ..

œœ

j Ó œ nœ j œ bœ Ó œ

œœ

. . œœ œ . œ œ b œœœ .. b9 .œ bEœ.b9 D7 œ b œœ # œœœ ... Œ

n œœ

Œ

# œœ

j œœ œ œœ œ J

˙˙ ˙ ˙˙ ˙

U œ ‰ œJ Œ œ œœœ Fmaj7 œœ U ‰ J Œ œ

Tag Extension add the ii7 - V7/bIII, iii7 - V7/ii - ii7 - V7, then “Ellington”

III.12

> . & b c ‰ œœœ ..

. œœ œ

. œœ œ

> ? b c ‰ œœ ..

œœ.

œœ.

Gm7

> . . œ & b ‰ œœ .. b œœœ Am7 > Eœb. 7 ? b ‰ œ . bœ œ.


œœ .. C7

œœ .. œ.

. œœ œ

˙˙

D7

Gm7

# œœ.

˙˙ ˙

j œ b œ ˙˙ œœ ˙˙ œ ˙ J b œœ .. b C7 9 œœ .. œ.

>œ . b œ. b œ. ‰ b œœ .. œœ œœ B bm7 b >œœ .. œœ. œœ. ‰

j ‰ > n œœ œ. F j b œœ ‰ >œ . œ

. . œ nœ . . œ nœ

œœ .. E b7 b b b œœœ ...

j œœ ˙˙ œœ ˙˙ œ ˙ J

U Œ œœ œ œ œ œ œœ Fmaj7 U œ œ œ œ Œ œ

Appendix III

III.13

Endings

477

Blues, “Ellington” and “Basie” occupy the same rhythmic space. Even if the ending call is missed, the band should be able to end together.

T T œ b œ & b c ‰ J œ nœ bœ bœ œ bœ œ nœ œœ n œœ œœ Œ # œœ ‰ &b cÓ ?b c ‰ > œ.

III.14

. œ

. nœ

U œ Œ b œœœ j œ œœ U œœ Œ n œœœœ J U œ œ œ Œ œ œ

Endings beginning an extended progression starting on the iiø7/iii. Often called the “flat five” ending. Better name might be “sharp four”

Bø7 Gø7/B b F/A G #°7 > . . C7 j œ. ‰ œj œ œ ‰ œj ‰ œ . œ œ & b c ‰ œœ .. œœœ œœœ œœ .. b œœ ˙˙ œ œœ b œœ œœ œœ œœ .. n œœ œœ n œœ > . . œ ‰ œ œ œ ‰ œ ‰ œ. œ œ ? b c ‰ œœ .. œœ œœ œœœ ... œœœ ˙˙˙ nœ œ bœ œ œ œ . #œ œ J J J # # Gm9 G b9 11 Fmaj7 11 j Œ ‰ n œj ˙ j ww b ‰ ‰ b œ œ & œœ œœ œœ ˙˙ œ b œ œ n œ ww œ œ œœ œœ œ œ n œœ œ ˙ j ? b œ ‰ œ b œ œ ‰ œj Œ ‰ œj ˙ w nœ œ bœ œ œ œ ˙ w Gm7


478

Appendix III

III.15

Endings

> . . . & b c ‰ œœœ .. œœœ œœœ > . . ? b c ‰ œœ .. œœ œœ Gm7

b

G9

G maj7

& b œœ ‰ œœj b œœœ œœœ n œœ œœ b œ œ j ?b œ ‰ œ œ œ nœ œ bœ œ III.16

> . & b c ‰ œœœ .. > ? b c ‰ œœ ..

. . œœ œ œ œœ œœ. œœ. # b9

C7 13

& b b œ ‰ œj b œ œ œœ œœ b œœ œœ j ? b œ ‰ œ œœ œœ œ œ


C7

œœ . .

j œ b œ ˙˙

œœ .. œ.

Bø7

n œœœ œ nœ

œœ ˙˙ œ ˙ J # Fmaj7 11 j ‰ n œœj Œ ‰ n œœ ˙˙ œœ ˙˙ n œœ j j ‰ œ Œ ‰ œ ˙ œ œ ˙

b

B 9

A7 13

C7

œœ .. œœ .. œ.

j œ b œ ˙˙

Bø7

n œœœ œ nœ

œœ ˙˙ œ ˙ J # Fmaj7 11 ‰ n œj Œ ‰ œœj ˙˙ n n œœ n œœ ˙˙ j j ‰ œ Œ ‰ œ ˙ œ œ ˙

œœœ œ œ

ww ww w w # b9

Another version of “flat five” or “sharp four” ending

Gm7

Gø7

# # b9 A b9 11 ‰ œj œ œ ‰ œj ‰ œ . œ œœ œœ œœ b œœ b œœ .. n œœ ‰ œœ bb œœ œœ ‰ œœ ‰ œœ .. bb œœ J J

Another version of “flat five” or “sharp four” ending

E7 13

Aø7

# b9

D7 13

‰ œj œ œ ‰ j ‰ . ˙ b œœœ .. ˙˙ œœ œœ œœ b œœœ ‰ œœ # œœ œœ ‰ n œœ ‰ œœ .. # ˙˙ J J ww ww w w

Appendix III

Endings

479

BALLAD ENDINGS III.17

Ballad style ending on a major seventh chord a half-step above tonic

Gm7

& b c œœœ

œœ œœ œ œ œ œ œ bœ

? b c ˙˙

œœ œ

III.18

#

b

#

G maj7 11

C7

Fmaj7 11

www

œœ œ

w bw

n www

w ww

w w

w w

Ballad style ending with two major seventh chords preceding tonic

Gm7

b

C7

D maj7

#

b

#

G maj7 11

Fmaj7 11

& b c œœœ


˙ b ˙˙

˙˙˙

n www

ww w

? b c ˙˙

œœ œ

b ˙˙

˙ b˙

w w

w w

III.19 Gm7

œœ œ

Ballad style ending with four major seventh chords preceding tonic

b

C7

E maj7

b

b

A maj7

#

b

G maj7 11

D maj7

#

Fmaj7 11

œ & b c œœ


œœœ

œœœ

œ b œœ

œœœ

n www

ww w

? b c ˙˙

œœ œ

b œœ

œ bœ

b œœ

œ bœ

w w

w w

III.20 Gm7

Ballad style ending with cycle of 5ths major 7ths chords preceding tonic C7

& b c œœœ œœœ œœœ œœ b œœ ? b c ˙˙

œœ œ

œœ œœ œ œ

b

b

b

Fmaj7 B maj7 E maj7 A maj7

b

#

b

#

D maj7 G maj7 11 Fmaj7 11

œœœ

œœœ

œœœ

œœœ

œ b œœ

œœœ

n ˙˙˙

ww w

œœ

œ œ

b œœ

œ bœ

b œœ

œ bœ

˙ ˙

w w


480

Appendix III III.21

Endings Ballad style ending with cycle of 5ths 9# 11 chords preceding tonic

b# & b c œœœ œœœ œœœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b ˙˙ œœ œœ ˙˙ b˙ ? b c ˙˙ b˙ œ œ ˙ # Fmaj7 11 wwww & b n wwwww w Gm7

C7

b#

B 9 11

Fmaj7

E 9 11

b#

# b# G b9 11 œœ œ b œ œ œœ b œœ b œœ œœ b œœ b œœ œœ œœ œ œ œœ œ b ˙˙ b ˙˙ b ˙˙ b ˙ b˙ b˙ A 9 11

D 9 11

ww w

? b ww w III.22 Gm7

Ballad style ending with cycle of 5ths unrelated major 7th chords preceding tonic

& b c œœœ œœœ œœœ ? b c ˙˙

III.23 Gm7

œœ b œœ œ œ

C7

b

œœ œœ œ œ

œœœ œ

b œœ

b œœ

b

b

b

Dmaj7

Gmaj7 B maj7 E maj7 G maj7

# #n œœœœ

œœœ # n œ

œœ

œœ

n # œœ

œœœ n œœ b œœ œ b œœ b œœœ œœ b œ b b œœ

Ballad style ending with any “flat five” or “sharp four” ending C7

Bø7

& b c œœœ œœœ œœœ œœ b œœ ˙˙ n˙ œœ œœ ˙ ? b c ˙˙ œ œ n˙


b Bmaj7 b b œœœœ # # ## œœœœ

E maj7 G maj7

Gø7/B

b

b œœœ b œœœ ˙ b˙

b ˙˙ œœœ b œœœ b œœœ œœœ b œœœœ ˙ ˙ b˙ ˙ b ˙˙ ˙ b˙ b˙

F/A

b

A 13

b

D maj7

Fmaj7

n wwwww n ww

#

Fmaj7 11

G maj7

œœ œœ

n ww ww

ww ww

w w

w w

Appendix IV

Composing Tips

481

Appendix IV. Composing Tips COMPOSING TIPS Teaching composition is one of the most difficult jobs. How can a teacher instruct a student how to write music that the student hears? It can not be done. What can be done is helping the student to recognize and develop strong elements in their writing. For the process to begin, the student must have written something. At that point the teacher’s job is to help them find and make choices The ultimate choices will be made by the students. If the student has only a first draft, there is nothing to choose from. The teacher can assist in the rewriting process, instruct the student on questions to ask, and help with procedures and organizational ideas from a long history of great composers arrangers and writers.

MUSIC THEORY RULES Two great rules of all music theory: No. 1 Does it sound good? No. 2 Does it sound good? All else is a discussion of music theory principles, not music theory rules. When a composer creates a musical idea, at some point he must refer to rule no. 1. If the answer is “yes,” he might want to ask “why.” At that point he may discover a principle working that will be helpful in developing this piece or other compositions. If the answer is “no, it doesn’t sound good,” the composer will again have to ask “why,” and may discover other helpful principles. The composer should always refer to the two rules and try to determine the principles behind the answers. If something sounds good, you would want the tools and understand the principles in order to create music later that sounds good. It follows that the composer would also want to understand the things that made the music not sound good.

REWRITING Hemingway once said that writers were not paid to write, writers were paid to rewrite. This is good advice to all composers and arrangers. In the process of writing and rewriting, the composer must constantly refer to rule no. 2 (or rule no. 1). A first draft gives the composer no choices. Examination of all the elements of a piece and a deliberate reworking of these elements gives the composer choices. If the composer has written several versions of one section of a composition, the choice can be made for the most effective and musical. Sometimes after writing and rewriting a section of music, I have had five versions to choose from. Sometimes it is the sixth version, a combination of the best elements of the first five that I end up with. Other times, it is the first draft that best conveyed the musical idea. Having done the other five versions was helpful in determining which idea was the best. How else could you know without the other choices?

GETTING STARTED Let inspiration carry you as far as it will. Try not to be critical of what comes naturally. It is hard enough to get the flow going, so do not constantly criticize your output at the beginning stages. Let the juices flow. After the inspired moment has past, then the work can begin. The composition process may begin with any number of musical elements. It may only be a rhythmic idea, a melodic germ, or possibly a harmonic progression. It may start from a formal idea (ABACABA), Jazz Theory Resources

482

Appendix IV

Composing Tips

or from an orchestration concept, a combination of sounds, then trying to imagine music that would make that sound work. There is no set way to begin. Move with what moves you at the moment.

REWRITING by ASKING QUESTIONS MELODIC MATERIAL Range: too much? Not enough? Too extreme?

PHRASING Phrase content: Is the phrase form = abcdefghaij or more clear: abac, abba, abcc, etc. Contour (emotional curve, climax timing, story Phrase beginnings: (before the downbeat/on the telling) downbeat/after the downbeat: B/O/A) Busy/not busy enough Phrase lengths: short and long phrasing as contrasts Vague? Are the rhythms natural? FOCUS: Which area or musical element should get the most attention at any point? HARMONY Harmony Too busy/ not busy enough Melody Does it support or conflict with the melody Counterpoint (does the secondary material support or conflict with the primary material?) Are there possible substitutions, deceptive resolu- Orchestration tions, reharmonizations, which could help propel the piece. Material may recur in the piece in different har- Do the secondary elements distract from or supmonic settings or different modes. port the primary element ACCOMPANIMENT CHOICES: FORM The larger structure of the piece: No accompaniment? Introduction/ exposition of main themes/ Development of main themes/ transitions/ restatement of themes (maybe different setting than in the beginning)/ ending Independent? What is the relationships of the themes, transitions, introduction and ending? Dialog? Contour (emotional curve of the entire piece, does it tell a story, how to control the curve.) melodic material Emphatic matching of the accompaniment and melody. 1 to 1 relationship?

CONTRASTS An A section is usually followed by a B section at some point. For a B section to sound like a B section it has to be different from the A section. That sounds like an obvious statement. Many beginning composers get locked into their first ideas, and write what they consider B sections when they are actually more of a development of the A ideas. Make sure the B section contrasts in one or more ways to the character of the A section. Some possible contrasts areas include: • • • • • •

Harmonic character Bright/dark character, Modulations Type of harmonic vocabulary: Traditional & substitutions, Mystery chords, Pedals Simplification of original Complication of original Harmonic rhythm (if A is active then B could be less harmonically active)


Appendix IV

• • • •

• •

Composing Tips

483

Melodic range (if A remains low, then B could go a little higher, A returns low, B1 return a little higher than B.) Orchestration (change of colors and accompaniment) Texture (small and thin/big and thickly textured) Rhythmic activity (applies to the melody and accompaniment) smooth/jagged, Active/passive, what is the basic unit? 8ths? then quarters, dotted quarters, dotted eighths, and sixteenths provide contrast. Phrases beginnings (before the downbeat/on the downbeat/after the downbeat: B/O/A) Phrase lengths: short and long phrasing as contrasts

CONSISTENCIES Contrasts are very important, but consistency is a factor. This is often very difficult for some beginning composers. Harmonic vocabulary: might not mix dodecaphonic writing with I-IV-V within phrases. Extended tertian chords and polychords may not have bebop sounding ii7-V7-I passages in between.

COMPOSITIONAL DEVICES for MOTIVIC DEVELOPMENT Review from Chapter 12, pp.336-340. Repetition: The theme must recur for it to be a theme. Sequencing: Transposing to other pitch levels in a repeating series. Fragmentation: Using a smaller portion of the initial idea. Addition or interpolation: The opposite of fragmentation. Material is added to the motive. The new material can occur before, after, or in the middle of the original motive which is usually intact and recognizable. Embellish or ornament: This differs from the addition of notes before or after as it involves the elaboration of the original note using neighbor tones while still following the general contour of the original idea. Augmentation: To augment is to make something larger. Musically this can apply to the rhythmic units, the intervals and even the orchestration. Diminution: To diminish is to reduce something. This can apply to rhythmic units, the intervals and the orchestration. Inversion: The intervals of the original idea can be turned upside down. They can be inverted using exact intervals or generally following the diatonic intervals. Retrograde: The motive is played with the pitches in reverse order. This is not perceived by the casual observer, but can be a useful device. Retrograde inversion: the original can occur upside down and backwards. This is also not always recognizable to the casual observer. Displacement: May be applied to rhythms or pitches. Pitches may be displaced by moving them up or down an octave. A motive may be rhythmically displaced to a different part of the phrase earlier or later than might be expected Mode Change: The motive might be set in other modes. Iteration: Repetition. Making a simple rhythm more active by repeating melodic pitches.

LISTENING Someone once said, “stealing a little is plagiarism, stealing a great deal is prolific writing.” Stravinsky once said, that he stole a great deal from Mozart, but was sure Mozart would be pleased with what he did with it. Listen to many styles, not just your area of expertise. Ask yourself about the rules of music. If it sounded good, why? Remember what made it sound good and use the principles. If it sounded bad, certainly try to remember why and avoid whatever was the cause. Jazz Theory Resources

484

Appendix V

Theory Applications

Appendix V: THEORY APPLICATIONS This appendix illustrates the application of theoretical concepts to a standard jazz tune based on a traditional harmonic progression.

GENERAL CONCEPTS I.

Improvise by Paraphrasing the melody A. Learn Melody B. Play around with the melody C. Use melody framework to create more elaborate lines II. Improvise on the Harmony A. Harmonic Generalization 1. Determine Key Areas 2. Determine Triads for Generalization: Review triads with neighbor tones B. Harmonic Specificity 1. Arpeggiate each chord a. 1-3-5-7 b. 3-5-7-9 2. Guide Tones a. Locate all 3rds b. Precede all 3rds with their UNT. This will often be the 7th of the preceding chord. c. Precede all 3rds with their UNT & LNT. 3. Outlines a. Play simple outlines to connect each adjacent chord a fifth apart b. apply some basic elaborations of the outlines 4. Specific Scale Color Superimpositions Decide if any colorful substitutions would be musically effective a. ø7#2 for m7 (ii7) or ø7 (iiø7) b. Other dominant colors (1) Mixolydian, 5th mode major (2) 5th mode Harmonic minor (3) Superlocrian, 7th mode of melodic minor (4) Mixolydian b6, 5th mode melodic minor (5) Lydian b7, 4th mode melodic minor (6) 5th mode Major b6 (7) 3rd mode Major b6 (8) 1/2W Diminished (9) Whole Tone c. Lydian for Major I

APPLIED to a STANDARD PROGRESSION Progression No. 1 (first eight measures shown) Am7 vi7


Dm7 ii7

G7 V7

Cmaj7 I

Fmaj7 IV

Bø7 iiø7/vi

E7 V7/vi

Am7 vi7

Appendix V

Theory Applications

485

II. Improvise on the Harmony A. Harmonic Generalization 1. Determine Key Areas 2. Determine Triads for Generalization: Review triads with neighbor tones Analysis shows the progression to be in the key of C or A minor. Two basic triads for generalization: C major and A minor. Review basic triads, neighbor tones, and triadic generalization concepts from Chapter 4. The C major blues scale and A minor blues scale both generalize these two triads and would work as melodic material for the entire progression. Apply triadic exercises from Chapter 3 of Comprehensive Technique for Jazz Musicians. C Major triad with neighbor tone patterns

œ œ œ & œ ˙ œ #œ ˙ œ #œ ˙ œ ˙ ˙ œ ˙ ˙ œ #œ ˙ ˙ œ#œ ˙ ˙ œ ˙ ˙ œ ˙ ˙ œ ˙ #œ ˙ œ ˙ #œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ œ ˙œ˙ ˙ ˙œ ˙ ˙ œ ˙ ˙ œ # œ ? œœ ˙ œ # œ ˙ œ # œ ˙ œ ˙ œ œ ˙ ˙ œ # œ ˙ ˙ œ # œ ˙ œ œ ˙ œ ˙ ˙ #œ ˙ A Minor triad with neighbor tone patterns

œ #œ ˙ œ ˙ #œ ˙ ˙ ˙ œ #œ ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ œ # œ œ # œ œ # œ œ ˙ #œ ˙ ˙ œ ˙ ˙ œ #œ ˙ ˙ œ ˙ & œ #œ ˙ œ ˙ ?‰

œ œ #œ ˙ œ #œ ˙ ˙ œ #œ ˙ ˙ œ ˙ #œ ˙ œ ˙ #œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ œ œ #œ ˙ œ œ ˙ #œ ˙ œ ˙ #œ ˙ ˙ #œ ˙ Blues Scale ideas applied to progression Am 7

&c ?c Fmaj7

Dm7

G7

œ j j œ œ œ œ œ . œ Œ œ œ œ # œ œ œ Œ ‰ Jœ œ œ b œ œ #œ œ œ bœ œ œ œ œ . œ # œ œ œ œ œ œŒ œŒ ‰J #œ œ œ œ J J Bø7

œ œ. &œ œ œ œ œ œ ‰ J œ œ œ œ œ œ. œ œ ? ‰ J

E7

œ nœ œ nœ

Cm aj7

œ ˙.

Œ

œ ˙.

Œ

Am 7 3

œ œ œ œ J Œ ‰ œj œœ œ ‰ œ œ œ3 œ J Œ ‰ œ œœ œ ‰ J

j œ ˙.

Œ

j œ ˙.

Œ


486

Appendix V

Theory Applications

B. Harmonic Specificity 1. Arpeggiate each chord a. 1-3-5-7 G7 Cm aj7 U Dm7 U U œ U œ œ œ œ œ œ œ œ œ c œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ Uœ U œ œ œ œ U œ œ œ œ œ œ Uœ œ œ œ œ œ ?c œ œ œ œ œ œ œ Am7

Bø7 E7 Am 7 œ U U U œ œ œU œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ &œ œ œ œ U U œ ? œ œ œ œ œ Uœ œ œ œ œ œ œ œ œ # œ œ œ œ Uœ œ œ œ œ œ œ Fmaj7

b. 3-5-7-9

œ œ œU U U œ œ œ œ Uœ œ œ œ œ œ œ œ œ œ c œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ Uœ œ U œ œ œ œU œ œ œ œ œ U œ œ œ ?c œ œ œ œ œ œ œ œ œ œ Am7

Dm 7

G7

Cm aj7

Bø7 E7 Am 7 œ U U œ œ œ œ œ œ œ œ œ Uœ œ œ Uœ n œ œ œ œ œ œ œ œ œ œ œ &œ #œ œ œ œ œU œ U œ n œ œ œ Uœ œ œ œ œ U œ œ œ œ # œ œ œ ? œ œ œ œ œ œ œ œ Fmaj7


Appendix V

2.

Theory Applications

487

Guide Tones a. Locate all 3rds

Am7

Dm7

G7

Cmaj7

Fmaj7

Bø7

E7

Am 7

&cw

w

w

w

w

w

#w

w

?c w

w

w

w

w

w

#w

w

b. Precede all 3rds with their UNT. This will often be the 7th of the preceding chord. Am7

Dm 7

G7

Cmaj7

Fmaj7

Bø7

E7

Am7

&c

œ ˙. œ œ ˙. œ . #˙ . œ w ˙. œ ˙ œ ˙. œ ˙.

?c

œ ˙. œ ˙ . œ ˙ . œ ˙ . œ #˙ . œ w œ ˙. œ ˙.

c.

Precede all 3rds with their UNT & LNT. Am7

Dm 7

G7

Cmaj7

Fmaj7

œ œ œ ˙. œ œ ˙ . œ #œ ˙ . œ #œ ˙ . œ #œ ˙ . #œ œ #œ ˙ . œ œ . œ . ˙ œ œ œ ˙. #œ ˙ . #œ ˙ œ #œ

&c ?c 3.

Bø7

E7

Am7

˙ . œ œ #˙ . œ œ w ˙ . œ œ #˙ . œ œ w

Outlines a. Play simple outlines to connect each adjacent chord a fifth apart

Outline No. 1 Am 7

Dm 7

G7

Cm aj7

Fmaj7

Bø7

E7

Am 7

œ & c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ w œ ?c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ w


488

Appendix V

Theory Applications

b. apply some basic elaborations of the outlines Outline No. 1: UNT & LNT encircling of each third Am 7

Dm7

G7

Cmaj7

&c

œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ

?c

œ œ œ

Fm aj7

œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ #œ Bø7

&œ

œ

œ

œ #œ œ

?

œ

œ

œ #œ œ

œ

E7

œ

œ

œ œ #œ

œ

œ

œ œ #œ

Am7

œ

œ

œ œ

w

œ

œ

œ œ

w

b. apply some basic elaborations of the outlines Outline No. 1: 3-5-7-9 arpeggios merge with outline no. 1 Am7

Dm7

G7

Cmaj7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ &cœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fmaj7

Bø7

E7

Am 7

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ w œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ w œ œ


Appendix V

a.

Theory Applications

489

Play simple outlines to connect each adjacent chord a fifth apart

Outline No. 2 from odd to even measures Am7

& c œ. ? c œ. Fmaj7

Dm7

G7

œ œ œ ‰ œJ w J œ w œ œ œ J ‰ J

œ. œ.

Bø7

E7

j œ œ œ ‰ œJ w œ œ œ ‰ œJ w J

& œ. ? œ.

Cmaj7

œ œ œ ‰ œJ w J œ w œ œ œ ‰ J J

Am 7

jœ œ ‰ œ w # œ . œ J œ œ w œ . # Jœ œ ‰ J

b. apply some basic elaborations of the outlines Outline No. 2 from odd to even measures/ 3rds have chromatic approaches Am 7

Dm7

G7

Œ

&c œ œ bœ œ ˙ . œ œ œ œ œ bœ œ ˙ . ?c œ œ œ œ œ Fmaj7

Œ

Bø7

œ bœ œ ˙ . &œ œ œ œ œ œ bœ œ ˙ . ?œ œ œ œ œ

œ œ œ œ œ œ #œ œ ˙ . œ œ œ œ œ œ #œ œ ˙ . E7

Œ Œ

Cm aj7

Œ Œ

Am 7

œ bœ œ ˙ . #œ œ œ œ œ #œ œ œ œ œ œ bœ œ ˙ .

Œ Œ


490

Appendix V

Theory Applications

a.


Outline No. 2 from even to odd measures Am 7

&c w ?c w

Dm 7

Fmaj7

G7

œ.

j œ œ

œ œ w

œ.

œ œ J

œ œ w

Bø7

&w ?w

Cm aj7

E7

œ.

j œ œ

œ œ

œ.

œ œ J

œ œ

Am 7

œ.

j œ œ

œ #œ œ

‰ œj œ

œ œ

w

œ.

œ œ J

œ #œ œ

‰ Jœ œ

œ œ

w

b. apply some basic elaborations of the outlines Outline No. 2 from even to odd measures/ 3rds chromatically approached Am 7

Dm7

&c ˙

‰ œ.

?c ˙

‰ œ.

Fmaj7

œ œ œ œ œ œ #œ œ ˙ œ œ œ œ œ œ #œ œ ˙ Bø7

&˙

‰

?˙

‰ œ.


œ.

G7

E7

œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ

Cmaj7

‰

œ.

‰ œ.

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ Am7

‰ œj œ ‰ j œ œ w j ‰ œJ œ œ ‰ œ w

Appendix V

a.

Theory Applications

491


Outline No. 3 from odd to even measures Am 7

Dm7

G7

Bø7

E7

Cm aj7

jœ œ œ œ œ ‰ c ‰ œJ œ œ œ œ œ œ . œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ ‰ œJ œ ?c œ œ œ. ‰ J Fm aj7

&œ

œ

œ

œ œ œ.

?œ

œ

œ

œ œ œ.

j œ œ œ ‰ œJ œ # œ œ œ œ ‰ œJ œ # œ J

j œ œ œ ‰ œJ œ œ œ ‰ œJ J

Am 7

œ

œ œ w

œ

œ œ w

b. apply some basic elaborations of the outlines Outline No. 3 from odd to even measures/ 3-5-7-9 arpeggios even to odd/encircled 3rds with UNT & LNT Am 7

Dm7

G7

Cmaj7

œ œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ ?c œ œ œ œ œ œ œ &c

Fm aj7

Bø7

& œ œ #œ œ œ œ œ œ œ œ œ ? œ œ #œ œ œ œ œ œ œ œ œ

E7

Am 7

œ œ œ œ œ #œ œ œ w œ œ œ œ œ #œ œ œ w


492

Appendix V

a.

Theory Applications


Outline No. 3 from even to odd measures/ 3-5-7-9 arpeggios odd to even/ Am 7

Dm7

G7

Cmaj7

‰ j œ œ ‰ œj œ ‰ œj œ œ ‰ œj œ œ ‰ j ‰ j œ œ œ œ œ œ œ œ œ œ ? c œ ‰ œ œ œ ‰ Jœ œ œ œ œ ‰ j ‰ œ œ œ ‰ Jœ œ œ œ œ ‰ œj œ œ J J &c

Fm aj7

Bø7

E7

Am 7

‰ j œ ‰ j ‰ j œ œ ‰ œj œ ‰ j œ w œ œ œ œ #œ œ œ œ œ jœ œ ‰ œ œ œ jœ œ ‰ œ w ? j ‰ ‰ ‰ œ œ œ J œ œ #œ œ J &

b. apply some basic elaborations of the outlines Outline No. 3 from even to odd measures/ 3-5-7-9 arpeggios odd to even/encircled 3rds w/ UNT & LNT Am 7

&c ?c

G7

Cmaj7

œ œ bœ œ œ œ œ œ œ œ #œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ #œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ œ œ œœœ #œ œ œ œœœ

Fm aj7

&

Dm7

œ œ œ œ œ ? œ œ œ œ œ

Bø7

E7

Am7

bœ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ w bœ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ w

Continue with harmonic specific exercises from Chapters 2 and 15 of Comprehensive Technique for Jazz Musicians.


Appendix V

4.

Am7

Theory Applications

493

Specific Scale Color Superimpositions Decide if any colorful substitutions would be musically effective a. ø7#2 for m7 (ii7) or ø7 (iiø7) b. Other dominant colors (3) Superlocrian, 7th mode of melodic minor (8) 1/2W Diminished c. Lydian for Major I Dm 7

G7

Cm aj7

œ œ œ œ #œ œ œ œ œ œ c œ œ œ bœ bœ œ œ œ #œ œ œ œ œ #œ œ œ œ œ & œ Diminished) (Lydian) œ œ (1/2W œ œ œ œ œ œ œ # œ œœ œ œ œ œ bœ bœ œ œ œ #œ œ œ œ œ #œ ?c œ œ Fm aj7

# Bø7 (Locrian 2, 6th Mode of D melodic minor)

E7 (Superlocrian, 7th Mode of Am7 F melodic minor)

œ œ œ œ œ œ œ œ œ œ œ #œ œ Œ ‰ ‰ J bœ œ œ w & J œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ bœ œ œ w ? œ œ œ ‰ J Œ ‰ J 4.

Specific Scale Color Superimpositions Decide if any colorful substitutions would be musically effective a. ø7#2 for m7 (ii7) or ø7 (iiø7) b. Other dominant colors (3) Superlocrian, 7th mode of melodic minor (7) 3rd mode Major b6

#9

Am7

Dm 7

G7b 13

#9

Cm aj7

C7b 13

‰ # œj œ œ œ œ œ œ œ œ Œ ‰ b œj œ b œ b œ b œ b œ œ œ b œ œ œ b œ œ œ b œ # œ œ œ secondary dominant 3rd mode E b major b6 œ b œ œ œ œ b œ œ œ œ bœ œ œ bœ œ œ bœ #œ b œ b œ œ ? c ‰ # œJ œ œ œ œ œ Œ ‰ b Jœ &

Fmaj7

# Bø7 2

œ œ & œ œ œ Œ ‰ Jœ # œ œ œ œ Œ Locrian #2 œ œ œ #œ œ œ œ œ J ?œ œ Œ ‰ Œ

b5

E7b 9

Am7

‰ œj œ b œ œ œ œ œ n œ œ œ œ œ Œ Altered œ œ œ œ nœ œ œ b œ œ œ Œ ‰ Jœ œ


Jazz Theory Resources - Volume 1 & 2

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