RON MILLER I
CONTENTS CHAPTER I: MELODY Melody Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
-I ne Elcrncnrs o i s Meloby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
c
7 A . Sourze Materrals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ;z
6. Thernr ani- Dewiopmen: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C . Melodic Contour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D.Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E. Poinr of Ciimax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F.MelodicForm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G . Melodic Rnythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . K . Pzrformance D ~ e c i o n s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I .Tess~turdKey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stvle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meiaaic S y l Analus15 ~ ........................................... Nan-Romanric Melod! . samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . k . Idramatic Angular . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.Idioma~icReferenda1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C . IdiomaU: Proyammacic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~omanric~vlebodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Examples of ~kteUse of Romanxic Melody Wriring . . . . . . . . . . . . . . . . . . . . . f i e PratorypicaT Romanric/ldeal Meiody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Examples ofRarnan.cic:'Melodic Jarz Composic~ons . . . . . . . . . . . . . . . . . . . . Conclusion n i Cnap:er I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sugg~stedkxtrc~ses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Special Pro-ieci: Folk MUSIC Sunley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meioa~cAfialwis Refemnce Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recordings an2 Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
.i 6
76
18
.I? 10 1_a
27 -22 23 24 -2E
-16 26 ?-
.-f
-30
-34 -35 27
-38 40
-40 -42
CHAPTER It: REHARMONIZATION Harmoni~cion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
The preplannzd Meihod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
-4
............................................ ~ h t ~ r o c e d. .u. ~
-4.4
G e m n g S ~ a ~ e .d. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
.
. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Rehamonirar~on. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The JZ Composer's Preoicamenr 4E TheTechniaues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Substitux Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -51 A . Diatonic Substrru~ions. . . . . . . . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . 51 E Chmmzric Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -53 c.styie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 D . tfarrnonic Rhphm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -56 Reharmoniza~ianofCadenrial Areas . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . -3 - .1.Cadences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >C 2 . Cvcles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5F 2-Turnarounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 5uostrrutc 5ynmrtr1: P a ~ e r n s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-52 Cnanglng the Yarrnon~cRhytnm ef Nov-Cadanrial Areas . . . . . . . . . . . . . . . . -56 . .-a -Arrangrng Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reharmon~zarlonExamples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1' Fkworkin~ The Melocy . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7e Conclus~onorChaoie- ll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Suggesreti Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Recoraln~5an5 Reahngs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Harmonlz~ng Gwen Meludies
8
J
-
.
CHAFTER Ill: P=N7lTObtlCS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 SS K~ndsof Fpntacan~cCorn3osi:rons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 ~ c n a r o n i ct+4.-lodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Crear~ngPen~atonicSource Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . X9 Symrnemc Penxconic Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .?I FormandStylr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Harmonizarion and ilarmonic Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . - 9 6 . Cnord Selection!Harmonic Rhychm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -96 Carnpos~tronExarnnles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 01 Extan1 Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Folt Influenced Composiaons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Miscellaneous Pert:aronic Compos~tioss . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Concius~onof Cnaoter 11 I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Recordings and Readlngs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Concluston and Flral Cornmencs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -108 Pentatonic Composrrlons
De~crr?tionand Deiln~rion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
...................................................... 110 M o ~ f i r D w l o p m e n i. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710 hrticulations and E%cu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 53 Appendix11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Trirone Subsrrrurion and Acousrin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Stamng Chords - Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 7 . kdciitiona! Reharmonizarion - N e w Melodies . . . . . . . . . . . . . . . . . . . . . . . . -118 Appendix1
Appendix Ill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
722
............................... -122 Lis: o f AIL Usabic Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -126 Lan~uageLisr~ng. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -134 Mrsceltaneocs Marerials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -737 Palm X,piano 5core . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Lls: o f Af! Usable Pzntztonic Scales
Abou: ;he Author
..............................................
-141
zeal a: Volume 2
of Mohllt Camposztzon and 3arnall7- 1s ro conanue rhe disscmlnatlon of ~niormatlonthar npresens a paen of study for the xpirin: composer. Krnerc J'olurne 1 05 rhe book emphzslzed he preparation of a modal harmonic foun&tlar.. r h ~ s volume will inrroduce concepm of melody ulnang and a xtudrr of che s+s of i-
Thc
Those ~nccrestedIn securing a new venue ofmpress~onwill fsnd h e cha?tcr or, ?enzronlc runes of pamculz 1nreres.l M ~ h o u ~here h are m q - e x t a r pen-mtoGc runes mailable ro die jizz pdorncr &re +re nor man!.-~hata t e hamanrzeb with a modem mocial h ~ m o n i c ioun&uon =ce?uns a fm :hat have been connihu~edby R72!me Shortc-
.45 wish Voiumc 1 3 5 t h e book. an a~oendi,: .. wrirh addirional p e r ~ ~ h e i ainfomatlo3 l is included for rhe smdenr deslnnE rheorerical explanarinn and additional examp!es. Thls volurnt will differ From \;olurne 1 br che inclusion of srrggested recordins m d rea51n~sar the en6 of mil chapter uzrh specific conlposlrions Tor Ilstenin_r w~rhlnche tei. AS -ihere arr sus~esredassignmen= 2nd wcsnses ~ncludedat the end of each ~hapter.
Ho?cblly, hzwng corn~lecedthe smdy of h e marenals of both i~olumesof L!C book, rhe srudenr wiU reaiize that &e informarion is presented to form a holisnc smci?~, Ewln: mzsrered the mod& harmonic foundzrion of Volume 1 rhe srudenr should next stud!. melody n ~ h concepx ~ ~ g which c a n &en be apphed to the creaman of rneiodies in a vane? of styles.l r 1s adciiuonal!v Important char rhi.le jap and pop composer be abit ro wnrc a romanuc melody - rhc su'qjec; 1s covered at iengrh in Chapter I
F ~ r r d y .che meiod!. wnr1ungprocedures are a ~ p h e dto t h e composing of Fenram:onic m e s , which are aiso I:a-manrted ~vihthe karmnnlzarion techn~ques@vm In Chapter 11. To repeat from Voiume 1.:he auzhor's bale intcnuon is cc prowde i;lfomanon in rhe pnnted format &ar nil1 =pose and dcvelap rht smdent's iatenc ciearive abihum s we11 a: aliou~ him-;'herselfr~ u n h a s h e d y express a m e love of m c s ~ c 2nd of course to f~dfilthar t&ich he/she go; into mmic io; ro begn uith - have fun!
Chapter I
WORDS O R CONCEPTS TO K N O W
I Folk/Ar: Specrrum
Melodic Elernenrs ~rlronic:~e;rato??ic/penratoniC
Earmanic Reference Guide~oies!P~vo~ poini
Mocrfic Deveioamen; Me\odic Contour tompress~on/~smansion
Melod~cGalance Melodrc Rhyrhm Melod~cCadence ,ton Syncop-5i.zremen~lResponse F.ntecedcnt/Consequenr~ai ISI 0 rnaric A b s ~ r a ~ ldiorntt~cPrngrammar~t Rornan~lrrI d ~ a l
Fiornan:~~ Meiod~c binary blelody Co:m
C Y W7CR I. M E L ~ D Y
MELODY WRITING 7.
rrom a ? e d a p _ ~ i c a?ornt l or'vlew. meiady utrrtxng 1s thr mosr :orn;liec of fn? bz51: skilis of cmposet - there are man); rex5ow why this 15 SO
h4douy searlor. 1:. rhe mosr ?ersona] of composit~ona?acrivitics md shows t h e icasr degree o'.iuccess b11 rhe implemenm;anonof p e d z n t ~ cmeti~a&.Although there arc "rules" given in .,k1rional Pl tex: 3 o o h for uaa.zysof crca;ing melo6ies. the!, in thc ions run end to inhib~t person;! expressron rather h a g prornow free crtativq. However. h e r e are man!. merhocis for dcvelop~n,na meiod~c,cia [ha: when crafthdi~~rnplernenred,c n develop caps, the mosr uninspired F e r n ~ d into e 2 m u s d end product The rnosr: usable pechgopcal systems -ake in:^ ap?i+oachConstdenng h e tnomou5 varittq- of rndahc expression, ~t:s undersrandable rhtr mosr theorisr/awrhors OFslpificance tend LO for90 2 cornprehe3siw presentation or' mdody alrltin? procedures. As a point of r-ferencc. one of the sugzested wzs In \;olume 1 of rhls book is T13e Crafi of Mimca! Cote?onhor: by Pau! Hmdemirh. Of the 233 pzrcs of h e boak. 26 are 9 v e n io rhe discussion crfmelody rr.nong n x h Lie ~ernaining2c75 pzges dcvored rro concepts OF harmony and a c o ~ ~ tThii ~ u .one exampie is q ~ p r danti un6ersmdabie.
--
S r ~ c he e ernphzsls ol'rhis baolc is or;j n composltior., :he problem L\ n a ~ n ~ v i ends:1 SCO?? 2nd worl;able ~fiidrlincsfor melody a r i ~ n gcan be e s r ~ b ~ i s h e.knother d rons~derador! u - h c h 1s certainly open to crmclsrn s: the 5el1eFrhar of the crcanw acuvlties of tfif cornp i e r , mclc>dyw r i t l n ~IS ihe o n e mos: dependent upon Innart musical rdm:
THE ROOTS Of MELODY CREATION Music m general and rne1ody ct-raaon s~ecfilcaljrrcan be rraced zo a root q r e s s l o n oi&e human condlaon b o ~ has urntrance (speech/siilgin~]2nd bod!. movemen: (dancq'rhyt;~rn). PE c h ~ spnmerd music evolved, he pa& became more diverse wr
Popular (folk) music in the samt way incorporare5 the qualities char are zssoclatcd with he se?d development of arr rnwlc. LXT afI!ricrsm. romanriclsm and "sennusness.'
3AZZ AND POPULAR MUSIC is 2 ~ U I C h a t evolved From popula. r n ~ s i and c has lncr~nsrctles to foll; music, populzr rnuslr 'nern_~the conremporary form of folk muslc. -4norher wzy of describing h e d~fiere n t e s beween art m u 3 c and folk music is rhar falk mr?sicis crcarlon. rradit~onand crrolu~ion 15 carried our h r amateur or rn:nlmall!j m n e d musinans. T2e converse for art music IS :liar
I=
i~ crcarors are h ~ g h l yrrarned ant expenc much of their Ilfc's ener-9 on h e study and produztlon of rn~slc-iazz srnce the 1950s h u been wwlv~ngmm zn ar: music: fils is m evidence 31-im drop m popuiuin. from that time onward With rhe deveiorrnen; O'JZ z q an u r muslc came rhe reqmrcrnenr o
.4lr'nougE:ja72 has evolved to ZIY arr music lwei ~ r connecooi? s m folk music cannor be denled wlthour t h e milslc lcsinE I= ~ n h e r e n pzssion r or ~ r Iucenr s expressive and c a a m m i =rive quai~ues..4lf5ou$1 ,ZT hzrrnony has a dlrecr referenc? LC Europear. art music. 1ts r k r h m i r developmenr and y o r e ~mporranrij.h r this chapter. r n x y o f rtr melodic mzreri21s hme sa.or_sand inpor:mr rles 10 folk music T h e most crvcrt oi&esr fo!l< reRrcnccs a r e to cht- fall: musics of .4friGi E r a i l 2nd t;?r Brrrish Isles. As jazz e\rolves and the world's culcures Sesome more unified, rhere are a n d rvill be more o v e n references.
thr above 1n mind. t h e scrlous c o n c e m p o t y l a z composer >zeds LO miriare s cam~;c.t'e~x.sn~c of :he ~ ~ o r l ?iolE; ' s muslcs Dnc shaul3 pry pamcular z:_rrcnclon :o scalar snarie rnaceiid. moniic developma c. phr=inc. znZ most irr,po:-~~nri\~ thr or~antzaclonof z x c j ~ d5 j :.1:s staternei~: 2nd ses?onse forrnuiu. Thrrc are man\-addl~lona:eiemcnts oTa mflodr rhar zrc ro be cons~iered2nd r h ~ r 1nlI . br yvcn and discussed l a w In this chzprcr wl~h
MELODY WRmNG
JAZZ AND ART MUSIC As smted earlier, dthough jazz evolved from folk music. there are many exampIes wherethe rnelod~ccontent of a jazz composidon closely compares with thar of a n art muslc rnelod!r. At [he point in time where jazz compos~tionstarted its e ~ d u t l o ncoward becoming an art music, much of irs compositional structure u.as based on the popular music of rhe dme which we now call the ''~*md&rd''repcnolrc. These songform cornpositions were modeled
an rhe art music of perhaps a centurjrearlier: the Rornanuc era, and show a direct influence both harmonically and melodically of rhe music rhat is typical of Rachmaninoff and ~chaikovsk!,.ro state obvious examples. In fact. many of che themes of these great composers, being %borrowedm by popular music's brigand producers became populx music themes - examples include "Srran~ersIn Parad~se,"based on a theme from Borodin's "Polovers:an Qances." "This is My Beloved" and "Bangles, Baubles and Beads,' borh based on themes from the "Srring Quarter In D,'' ayain by Borodsn. "Full Moon and Empy Arms," is dmost a direct extracrion of a main theme from Rachmaninoff s Piano Concerto N o . 2. There are many more warnples rhat can be cited based o n the works of Tchaiko\psky, Chopin and orhers The point is that the expressions of rhe Romantic composers are ve?. much a part of the jazz composer's lexicon zs a result ofjazz music's ries to the popular music of rhe 1930s t h r o u ~ hthe 1950s.
THE SPECTRUM The essence of the above is that che rnelod~esof the world's culmres and for our interest. iazz melodies fall somervhere ~virhina speccnrrn described by the peripheral limits of Art Music w ~ t hrornmuc. Iyncal melodies ar one end painr and single-pitched dancc. oriented melodies at the opposite. In addirion. d~fferentphrases or secdons of a melody tan be described as being at opposite paints of the spectrum, providing a clear sense of conmast and develop-, m e n t This concept 4 1 be discussed and illustrated in more d e ~ a i later l In the chapter.
STYLE Referring particularly to jazz rnelod)?wnnng, rhe composer, when defining h ~ melodic s goals needs to clarifi.
CHAPTER I: HELODY
THE ELEMENTS OF A MELODY The elements of a melody are cornpr~scdof the following groups: source rna~erials.a m m s of crea~onand development. phrase oryanizat~on,rcssirura, contour and expressive devices. In adddon, a zoaI and point of climax should be dwlsed for cach section at phrase of a
melody.
A. SOURCE MATERIALS Melodies may be based on any of Ehe follouin,0 sources: 1. Single notes 2. Tritonic scale f r a p c n t s
3. Tetraronic scale fragments (terrachords - see Vol. I ) 4. Pentatonic scales (a) diatonic
(b) alrrred
(c) add note (sextaronlc) (d) blues scales 5- Diatonic and altered hatonic modes (septaronic) 6. Symmetric scales 7. H m o n i c references (a) qaeggiations/piderones (b) common tones/pivor pdnts , (c) leadng ronesfnei~hbor tones
8. Quotes 9. Non-western scales (ocratonic and more) A rneldic source is h e pird? orgmizadon of a motif, phrase, section. or any area ofa melody that shows musical u n i ~A. group of qmmemcally orpnizcd pitches numbering four or more in a scalar format can impIy a modality and its perceived emotional quality (see VoL 1,
Chaprer I!?). I f an example is nor scalar - having consecutive skips - in mast cases it will have notes in common W I ~ aI particular modatin. Jt is possible that if the phrase is long enough, more than one scalar source can be detected. In addition, the modal quality of rhe motif or phrase can be enhanced or obscured by its relarionship to the harmonic foundation of that particular area EXAMPLES OF MELODIC SOURCE MATERIALS
The following, like most of t h e samples found in rhe remainder af the book, are mcerprs, of a l e n g h suficient to i l l u s ~ a t crhe defined concept. To put t h e cample in concexq it is s u g g e s ~ dthe smden: refer to rhe recommended listenings and readings found at thc end of che chapcer as a source of scores and recordings for furrher study. 1. SINGLE N O I T T h e starcing poinc o f t h e categories of melodic sourcc materials, havlng no pitch cornparison it is a melodic device in which the rhythmic deveIopmenr of the motif or phrase creaces musical cohesion. VCF effective in jazz melodies, it 1s a demce that Horace Silver and Joe Henderson use cxtcnsivcIy. Example 1-la: "Caribbean Fire Dance"
(B section) byJoe Henderson
THE ELEMENTS OF A MELODY
Example 1 .I b: "Sweet S w e e y Dee" (A section) by Horace Silver
Fi /A 7
n
I
IW I*
4''
1
L
*
I
-
-
I
-
>
I
I
L
I
I
w L
>
I
U
I
-em
L I !
I.,
[
2 I I
i, ?-m---'c'
1 I
I
I/ I/.
I
-4 3-noce scale fragment, it is the basic strvcture of chc pentatonic scale. Prirnwal and pure, 1~ use is found rnosdy in primluixe and children's s o n g or in rhe more rhyrhmic sections of jazz compositions. Example 1 . 2 ~ "Caribbean fire Dance" (A section) by Joe Henderson
Example 1.2b: T h e Girl From Ipanema" [A section) by Antonio Carlos Jobim
3. TETRATONIC ORTETRACHORDIC A 4-note scale fragment long enough to imply a m o d d i y ifthe pitches are scalar (see VoL I,
Chapter U). b r n p l e 1.3a: "Rhapsodic Espagnole" by Maurice Ravel
Example '1.3b: "Firebird" by Igor Stravinsky
4.
PENTATONIC
A 5-note scde consrructed by the cornbinatron of nvo mconic s c d c Fragmenw. These scales ndl be covered in derail rn Chaprer LU. Example 1 . 4 ~ "Gibraltar" byJosef Zawinul
CHkPfER I: MELODY Example 1.43: Symphony No. 6 (main theme) by Peter I. Trhaikovsky
5. DlATONIC AND ALTERED DIATONIC MODES These are rhe most well known scalar somces and should need little explanation. Those not familiar with the altered diamnic modes should refer cu 1701. 3 of this book.
6. SYMMETRIC 5 C A B Formulas show a pattern of s y m r n e ~These . are used pri~nariIy for effect or colorariion due to their hasrnon~cand melodic obscuriry. Included 13 this group are the chromatic scale and materials derived by 12-cone techniques. Scales whose tone/semitone
Exampie 1.5a: 'Touchstone" by Ralph Tamer
Example 1.Sb: ' ' k t Illusion" by Ron Miller F A ? Z ~(F+~ Scale)
7. H A R M O N Y REFERENCED MELODIES Arpeggiatians This is an arm ofa melody char simply outlines parr if nor a11 ofa parricular chord wr chords of a section of a composition. Only the most gifted of composers can use this dcvlcc musically. Pianisrs and other chord oriented composers are ar nsk of averusing arpeggiarion as a means of melody creation. Example 1.6a: "Ask
Me Now" by Thelonious Monk
Guide tones
This m e l d c somcc, based on rhe voice-leading ofa particular harmonic rnwrrnenz is useful for o b l i ~ mmelodies bu: Iilce arpegpanon, should bf used nich discretion for main melodltu. Common tones
Cornmon-tone melodies collsist of a single pitch found In common over a numher of chord changes. C a d e n d in nature. the!. can be eirhcr sustained or haile rhyrhmic de\relopment (sec Val. I. p. 45).
THE ftEM€MTS OF A MEtODY Pivot Point
Pjvor poinr refers to a common pitch t b x the melod?- r e t u r n ro every fen, ilotes in a motif or phrase. A pivot polnt could be wi~ithinor without thc marific shape or phrase. Pivot poinr d s e afiects a melody's shape or conrour as a d be described later. Example 1.6b: "Prince o f Darkness" by Wayne Shorter N.C.
D7sus
P
P 0 I
C
h r g r pitch C a marked
P
w-0
I
"P.p
Leading Tones and Neighbor Tones These nave harmonic ~nfemncesdue to their resolution rcndencies. A Ieading cone is rhe pirch a semitone below the rargeted cadence pirch; a neighbor tone 1s usually a semitone above the cadence pitch but could also be a whole tone found either above or beloar. Their relevance will be given in later examples.
This rders to rhe use of extant material usually in the form of a motif or short phrase. Quotes show a § extraction from a documenred source and are usually personalized by che subsecluent cornposetquotes but are generally recognized as common melodic figures that are found in many melodies by many composers usually contained within a syle carepry. Due m their reference to a syIc period and ~ h c i roveruse, they are considered clichis. Examples would include melodic figures that are found in abundance by many different composers sf bebop melodies, fusion and pop melodies of a particular era, or of the melodic figures found in common to many hard bop runes.
CIichPs can be
It will be pointed out in examples found Iarer when quotes or clichks are found in the
melody. Example 1 . 7 Scherzo ~ No. 1 (ms. 16-1 7) by Frederic Chopin
Example 1.7b:
"JCon the Land" by Ron Miller
b r n p l e 7.7~: "JC in the Cit)?' by Ron Miller
9. NON-WESTERN MELODlC SOURCES
These are scales uzhose oc:ave divisions produce pitches rhar are nor Ln conformance wirh h e tempered tuning system. They are recommended as s o u r c ~marerids For further ~nvesrigation for rhe eclecclc srudent. As most ofrhese scalar sources are nor pl;l).able by f i e d pitch instruments, their w e can be limited but are imporcant nonerhekss. * 15 *
CHAPTER I: MELODY
B.THEME AND DNELOPMENT A rnotiFls ~ h seed c me1odtc ci canon that is subThe basic premise of a melody is the sequently given m u s i d credence by a?. ofthe follouGng means:
Repetition Sequence Inversion Retrograde
. Reno-gradeInversion Isorhythrn Isoarr~cralation Truncation/Extension D~splacement Mutat~on
The pra
IKshould bc pointed o m nowrhat for all melodic anal!zarions found in sh~sbook. rhe main point of inrercst is in what the composer did to create the beautiful and classlc melody rhar m i l l bc included in h e foUou.ing examples. Being overly demiled and scientific in an analysis is of less impormnce than gecEing to the core of rhe composer's creauve and developmental effom with sufficient understanding of EEle process to successfully affect our OR^ efforts.
C. MELODIC CONTOUR Contour refers ro the "shape" of a melody whether describing ~ t direcnon, s irs intervdic mend or I Unote values. Melodic contour is of particular importance KO chis chapter because of its clear definirion of the emononal contenr of a melody. As wilI be shown later, a melody's shape will show changes that were derived either by a s t a r k or dynamic means. The follou~ingare the dements of a melody thar refer to irs contour:
1. Direction 2. Incervd (a) diatonic Ib) chromacir (c)
sktps
3. Nore Value (a) augmenrauon (h) d~minution (c) c~rnpression
(d) expansion fc) articulations
4. Balance
"411of the above affect t h e emotional qwlq of a melody in tandem. Keep in mind that for the follou~lngdescnpdons. any melod!. has a number of the elements listed. As an example, the direction of a melody ha5 certain qualities char arc enhanced or sofrened depending on whether the melody is larzely skips or steps in addiuan to its modal source, ressitura, rhythm and other elements. 1. DIRECTIONAL CONTOUR
In general, a phrase or section of a melody thar has an upward movement wi1I show an ernphzsis of rhe emotional descriprions of lrs elements: increased modaI definition. increxed tension, and enthusiasm.
In general. a phrase or se&on of a melody h a t has a downward movemenc will tend toward relaxation and f i n a l i ~or rcsolurlon Altbourh the modal qualiv of thr melody is not affected significantly: rhe remaining ehments tend to be de-emphasized.
THE ELEMENTS O F A MELODY
- 2. lNTERVALlC CONTOUR
En general, a phrase Q r secnon of a melo* that is diatonic is the most defined by in modaliy and is relaovely neutral in affecting the other elements of a melody. The ather elernenrs also have a less dramatic effect on diaronic melobes. A phrase or sechion ofa melody that is chromatic has increased tension and is darker wirh
obscured modaliy. A phrase ar section of a meIody that has skips of a P4 or more u d I mongly emphasize the osher dements, will be very active, will induce tension and be veqr dramanc. 11s m o d a l i ~ will be somm?hat obscured depending on iu cadenti4 pitches.
3. NOEVALLJECONTOUR A change in note valurs of a secnon or phrase has subrle emotional effects as well as a being a means ofmelodic and motific dwelopmenr. The note value change can be by either a smric or a dynamic ratio. Of irnporcance is the change in rnelohc rhythm relauve to h e pulse af the harmen~crh,ythrn. A sraric rario is one in which all note values are c h a n ~ e dby the same amount; a dynamic ratio has changing note values by increasing or decreasing amounts. T h e fallouring, probably Familiar ro all is given purely as a farm of review and KO mainrain a continuity of presentacion.
A u g m m b o n and dimmutian are examples of changing nore values by a sratic rario. Alrhough h e y are rradirionall!, I~stedunder examples of motific developmenr. they are included here became of their abiliy to affect an mational change in the melody and as a point of comparison with compression and expansion. Augmenarion is the changing of the note values of a motif or phrase by increasing t h e amount uniformly. The emotional effect, alrhough subtle, is ofrelaxation.
opposite. with increase in tension
Dimination is rhe
h e
note values uniformly de-ed
causing a subtle
Example 1 .&: Scacic Ratios a. augmentmion
G
@
E alt
Phrygian
motif
incrcmen;
by 1/8
c Aeolian
BLI
motif
decrement by 118
1
Comjwmi'on and expansion arc Iikc the above but with the note value mxeased or decreased by a progressively changing amount. Both show a dear emotional effecr and can also be a Corm oimetific development.
Com,msion is the dynamic decrease of the note values of a phrase and shorvs an Increase of tension wlth an emphasis of t h e effefecrs of the other elements of a melody. Example 1.9: "Seventh Sign" by Ron Miller
n + t: Bears;
Y,.
a
m 3
-
A
'n
5
I L
8
2
.L
2
3
:/2
--G-,,'
I
L
" Y
0
'I
I
:
I
- +? r
Y '
I
u
*
r,
I
$ + '+ ,3
Expansion is rhe opposite of rhe above, it i s the increase of che note values of a phrase by a dvnamlc amount. LE cfftct LS t h x of relaxation and repose.
' 17
CHAPTEG I' MELODY
Example 1 .I 0:"Kepler's Dream" by Ron Miller
1;
-------------------
@ Copyright 1997 Ronjam MUSIC. BMI
Arriculacions have &cbe effecc of changing note values althou$ the nore's placement in the melodic rhychm dms nor change. For instance. rhc dceration of a p u p of legato marked nores to s r a c c w has an effect similar 10 diminution. LxampIes m d definitions of a r d d a t i o n s are indudedl in che appendix for further review-.
D. BALANCE Balance in a melody refers to rhe aesthenc sequlrement thac a c h a n y take place arhecher in hreccion, intenlalic quaLy, rneloclic r h y ~ h mor any of the elements of a melody char have becn implemented for a Iengh of nme. There are a number of rules given in madition4 text books for balancing a melody - an example is thac one should cl~angedrection d t e r three consemrive skips. The problem with rules is char h e y aren'~always applicable to a specific aestheric requiremcnr. I t 1s better to look ar melodies thaz stand the test of dme and see how the composer solved any musical problems that mayhave occurred in rhar parucuIar example
Essenudly, balance can be thought of as a means otworking with tension and release. As stated above. most of the melodic devices are emotion affeccine and there is a point where a melody as motif, phrase or section musr change irs direcrion, its rhythm, its modaliy or a n y of the remaining elements rhat have been m use for a time in order t~ allott. a cathartic response from the listener. Libran in concepr, b a l a n c ~exemplifies complimentary procedures - the 1-w and Fang of mdody writins.
The best way to creare a balanced melody is by relying upon ones inruirive skills when making she decisions that dererrninc the acsrhcric result Also, how 2 meIody is balanced, at t h e basic rnatific Iwel, to the overall form, is the most imponant concept t o consider and understand u~henanalpzing a given rndody. Sutement and rrspunse i s an example ofthe use of balance rvirh the response being the release
of the staremenr Tne same can be said of antecedent and consequenrial p h m i n ~The . con. cept of balance IS essential ro dl she aestherir aspccrs of composition: harmonic rhythm, modal contour:rh~-chmicderrelupment and of course. melodic materials. Thc levels of mclodic balance are from the smallest, the rnonf, to the tomi form. It is with mclodic rhyrhm thar well chought-out balance is mast critical As we will see in subsequent examples. if 2 motifbegins with fasr melodic rh!~hrn, ir should be balanced wich a concrasring slow response co its cadence polnt - phrases should be treated the same way.
W E ELEMENTS OF A MELODY
E. POINT OF CLIMAX There is a point in t h e melodic contour where the ernotionaI intensity is w its peak, usually &our 4/5 through the composition. There are mathemadcal formulae to plot where h i s point shouId be but ir is recommended thar rhc composer derermlne rhe poinr of climax by relying on Iistcning experience and inruitive skills. The point of climax and its subsequent release could be cons~deredrhe grand statement and response of rhe composirion and r h e ultimate balancing of the compositional form. Point of climax will be dtscussed more in h e analysis of melodies to cornc later in rhe chapter.
f: MELODIC fO&M I. V A E M E N T AND RESPONSE
,410ng uirh h e phrase qudiq. of a j a u melody. r h e most imporranr aspect is its use of sratement and response. With wolutionq ties to African folk music, phrarin~a melody by a call and response formula, whether in a jazz cornposlnon o r an improvisation, indicates a clear sense of melodic development uhilc rnaintainlng a placernenr of che melody at a point ro\vards FoIk area of the folk/art spectrum. Additlond15 it prorides an efFecuve means of balancing a motif.
Of course, this technique is not important only for jazz compositions: its use will show clear development in any melody wherher pure foIk or pure art In its descriprion. Sraternenr and response will be further defined by ~ r exrensive s use in rhe many examples thar niIl follorr. in all chapters of the book. 2. PHRASE Q U A L m
T h e m a n inwrest in the phrase qualities of the melodies i n this book wdl include t h e descriptions of their sysnmetr).: whether the composition or a section of it shows a phrase organbation that is symmetric or asymmerriq and if there is phrase balance by rhe use of antecedenr/consequenrial organization. Usuall!~there is a carrelanon between a cornposi[Ion's harmonic style, its harmonic r h j ~ h mand i s melodic phrasing. Song form and p h d u modal compositions rend ra have symmetric phrasing. wirh ~ ~ m ' cmau& l!, lznedr modal and throughc~mposedforms having asymmetric phrasing (see VoL 1,Chapcer If. C e r ~ d one y may find exceptions t o chis, and the mixing and contrasuns of melodic and harmonic styles may be a method of a e a u n ~uniqueness in a composirion. Overall, a melody's phrase quality wiU be relative to its posinon in rhe folk/arc spectrum 14th the harmonic content having a q u a l i of ~ izs o m .
Most of the melodies chat uilI be a n a l y d in chis book will show a symmetry of phrasing because of the kinds of compositions and their harmonic macerials rhat are the emphasis of this volume. More will be said regarding symmetric phrasing at rhat time. Melodies with asymmetric p h r a s ~ nusually ~ do nor show a usc of antecedens/consequenriaI organizarion and in general are vocal, melismatic, and have a through composed qualiv all descrlpticlns of a linear melodic sty1e.
G. MELODIC RHTTHM 1. TEMPO
Melodic rempo refers to how fast or slow rhe p~tchcsof a melody change relative ro the harmonic rhythm. Melodic tempo is one ofthe syle defining elements ulhcrhcr historic or harmonic. As an examp]?, many bluegrass, countq and Irish folk melodies have extended 8th nore phrases over relatively slo~r-harmonic rhythm or a sinslc chord (hornpipe), dernonstraung thejr common des. As with prcklous descriptions, there can be a h v e r s l y of mclo&c rempi wirhin a composirion wrh perhaps a fast rnonng rnclod!. far the A secdons and contrasting slow melodic rhyrhm in chc B section I t all comes down to c l ~ rimportance of rhe concept of balance, varicy, and contour in all aspem of rhe compositional process. Due to I= musical imporcance. balance will be refwred to repearedl!? in this tcxr.
CHAPTER I: HELODY
2. CADENCE
Meloclic cadence is defined as the point where the mdodic movement comes to a srop: etther by sustaining the last note or b r ~simply ending the mouf or phrase and fillins che rest of h e secdon with a rest. Working in accordance with melodic and harmonic tension and release+melodic cadence is rhe puncmarion point of motific and phrase organization.
The chosen pirch For the cadence point can affect t h e overall syle of rhe phrase or s e m o n a?well as t h e modal definition and resolution qualit?.. The following order of cadence note cholces is from rhe most relaxed to mosr tense. Orders of modal dcfinrrion c a n bc found an various pasts of Volume 1. ORDER OF CADENTIAL NOTE CHOICES Relaxed Root
, 1
P5 (perfect fifrh) M3 (major third} b3 (minor rhird) M6 (majorsixth) M2 (malor second)
m2 (minor second)
M i (majot seventh) b7 (minor swmrh) P4 (perfecr fourth)
Tense
$4 (65)
As an example, if rhc r n o d a l i ~of rhe phrase were Ionian, the most relaxcd note choices wauId include the root, 5th and 3rd with rhe M7 or P4 having the most modd dehition. Were the p h m e in chc Phrygian mode: b2 would have the most modal definiuon with the met or the fifth being the most cadential. There is much to mns~derwbcn selecdng a cadence note pitch and the best _guide is probably to let thc melodicvoice-leading take preccdence in note selec&n.
3. CADENCE NOTE DURATION A cadence note's duration can be used in a way that compliments rhe m o d a l i ~of che harmonlc foundation of a secnon. For instance, the cornposiduns "Maiden Voyage" (Herblc Hanwck). "FwlIon.I'our Heart" Oohn h4cLaugblin) -d "JCo n the Land" (Ron Miller) are composirlons based largely on Mixolydian sus4 chords. Lisrenina, t o rhese will m e a l that their melodies are balanced with acrive, rerse melodic smrcrnencs folIou~dby sustained cadenria1 notes - melodic devices [hat compliment the quahties of the Mu;oIyd~anmode. In addir~onro usins long-held cadence notes to compliment a modality, they work well as common-tonepivot points chat connect a group of chords and focus the lisrener's atrention to the harmonic movement of the composinon. As a form of melodic and harmonic b&qce, long held cadence point pitches are paraicularlYaffective. Usually. rhere is active meIodic macerial which sets up a degree of tension which is effectively released by the held cadence picch. Wayne Shoner is a master of chis concept and uses ~tquite often m a variery of his cornposirions from r h e e v l i c s t to his most recent. One recording that has many clear examples is Speak N o Evil
THE ELEMEMS O F A MELODY
&le1 .I l a: "Speak N o Evil" (ms. 9-13) by Wayne Shorcer
Example1.I 1 b: "C on the Land" by Ron Miller
4. SYNCOPATION
Melodies that cadence often en weak (up) bears are aggressive and acdve. and if rhe m o d s are constructed so drat most of h e i r pitches fall on weak beats, the eEecr is enhanced. Syncopa~~on is rhe term to describe rhar qualiy. Melodies char cadence on or have monfic constructions that start on strong (doum) beau, conversely are relaxed and passive. With char in mind, chere i s more to consider when working on the emotional sods of a melody. In addinon, the use or nan-use of syncopation is anorher gle description.
5. RIFFS AND "LICKS" A riff is a s h o melodic ~ idea that has rhychrnic iden~ity.Usually based on a tritonir: or tetratonic source. ir is repeatcd a number of a m e s emphasizing its rhythmic q u d i ~Riffs . are a good example of an African folk influence in jazz melody writing.
Licks arc similar to riffs bur with more emphasis on the technique or performance requirements of thc melodic figure. Licks arc also sgle definitive m d often are quores, taken horn doclrmen ted or recorded impro~isations.
ff. PERF'ORMAblCf Dl-CTIONS One of the more overlooked melodic descripdons is h e inclusion of performance drreccions in the form of expression markings: arucdadons, dynamics, effects and breaching cues. Iris these ~nrerprerivedlrecuons that give a melody a dynamic quality.
Formnately, rhe languase ofjazz interpretation is learned largely aurally and in most cases a jazz melod!. will be perKorrned as intended by the composer wd-tour performance directions - provided rhat t h e performer "grew up" wirh h a t pardcular style. To assure that h e r e are no ~ntcrpretiveproblems. ir is suggested chat rhc composer include complete expressive d ~ r ~ c d owith n s all his mdodies. A listing of ex~ressivedirecrives includes:
+
Articularions Dynamics Effects Sound support phrasing Ternpa markings
Definitions a d examples of rhe above rerrns are included an page 113 in the appendh for review and clmficarion.
CHAPYEU t: MELODY --
I. TESS ITURNKEY Onc last subject ro be men~ionedbefore going on co style and melodic analysis is the quali n a melody has due to ics cessitura and its key cencer. Due to rhe laus of acousncs, rnelodres whose general range ffa low in chc grand staff tend ro sound "darker.' "heavier." and marc ambiguous than those found in a median or high area. The opposite, those melodies with tessimrae found high in grand stafF~cndto sound "brigh~"clear and &in. In addimeIo&es that are centered in the "sharp" keys sound tion. here are chose who believe brighter chan chose found in the "flar"ke).s. This is a good subiecc to drscuss over a fen beers as it is subjecrive and probably has no documenred proofof its reallty. One can possibi!) find some examples rhat may work on stringed instruments u.hosc s m n p are tuned to "sharp" pitches tE. A, D, G) as t h e opcn s t r i n g uritl respond to "sharp" keyed pitches by resonance (qmpatheric vibrarions). The sharp/fla~ke\.conrrovessy wiII be found again in Chapter D.
The styles of jazz melodies can be categorized inro trvo main groups:
ROMANTIC
Jazz ballads: bossa novas, boleros and some medium and Fast tempo songs have rndo&es thar are consmcred following the dcveloprnend procedures rhat have come from the melodic syle of Tchaiko~~sky and Rachmaninoff by way of the pop~iarmusic composers of r h e 20s to the 50s. Included are rhe efforn of expert film composers from thc earliest co conremporar). times. Kirh this in mind i t is v r v Imporcant that che jazz composer as well a s those apiring to compose- for the popular marker. CDs, radio, television and films, be able to compose a romantic melody.
These j~;!melohes are construmd to canform to particular qnali ties that are defined by an historic era: bebop, swing, Dixieland, hardbop: a Folk/ethnic reFerence: blues, Caribbean, pentatonic, pop; or by rhe performance peculiarities of an instrument or voice. Melodies can also be described by any noteworthy w e of rhe elements: angular. lyrical, progrmmatic, s)mmecric, temarhordlc, or any of zhe others. THE GENERAL MELODIC STYLE CATEGORIE
Romantic/ldeal: rhcse melodies/cornpasitions arc based on the Romantic period philesophicall:; rneIodicaIly and ro some-dcpee, harmonically. Romantic/Melodic: these melodies show consisrendes with romantic melody writing prucedures but differ in philosophy, harmonic macends and emotiond goals. Idiornatic/Referential: modeled on the melodic descriptions of a style era, folk reference or insrumen t/voice performance characterisucs.
Idiernatic/Abrrracz chese melodies are constructed ro have a qualiry described as jagged, smooth, consonanr chromatic and similar depictions. Idiomacic/Pmgrammatic: the construction of a melody to define an emotional: modaI or pro,mnrnatic goal: pastoral, energetic: dark, mysterious and so forrh.
Tn t h e rnain,?azz melodies are eichm romantic or non-romantic. The non-romancic melodies are so diverse - having so m a n y m ~ a b l e in s h e i r descriptions - thar a comprehensive representanon of how the elemencs of melody writing were ro be applied for each wouId be beyond rhe scope of this book. In addjrion, rhere are many melodies that have mixed influences: folk/modal, rifi/pencatonic, and m a n y more. Anocher point to conslder is that'rnstna compositions have differenr styles of melohes in different sections.Some examples are: SONG SECTION STYLE - Contrasted and Combined Melodic Styles Example I .I ?a:' T h e Girl from Ipanema" (excerpts from A and 5 secrions) by Antonio Carlos Jobim
CHAPTER 1: M L O D Y Example 1.12b: "Passion Dance" (excerprs from A and B sections) by McCoy Tyner
Example 1 .I 2c: "Hoe Down" (excerpts from A and B sections) by Oliver Nelson
LO t h a t the fact thac many jazz melodies have contrasung harmonic styles and form, ir should become dezr why the study of melody writing is as difficulr as it seems and requires many years of studv. lisrening and playing experience. Ir is A e diversity and overu~hclrningly comprehensive vaiiery of melodic combinarions that makes r h e r x k seem formidable.
Add
The approach to be d e n for the remainder of r h e chap~eris chat: of forming a mehod or a guide to follo~vthac wilt establish a rncms forresearch and analysis of existing melodies that can serve as models fnl- one's own meIo&c goals. along with the actual analysis of existing melodies. Additional m e I o d i c analysis will be found in each subsequent chapter of this book dons with harmonic and formd analysis. T h e covert premise for all of \?olume 7 of this book is in fact melody writing.
MELODIC STYLE ANALYSIS Havin~established a sylisric goal for a melody wridnz project, rhc composer may want to pather some insights into the means of organizing the elements of a melody ro define that syle. Using he analysis guide found on page 40 of this book, f l l o w these recommended procedm-cs: *
*
-
Transcribe or refer to documented examples represcndng thc s ~ i i s n goal. c Lisren ro or phy rhe example m a k i n ~note of the emonond quaiin- OF the meied!. by sections. Plot rvherc you think zhc melody of each section Eails on the foIk/m specmm. Using the analysis guide, analyze a: least t\r70examples. List any consistmc~esbcnveen rhc examples. Listen again and assirnilare t h e melodies and thelr syIisnc qualities.
.4lthough chc main point of interest in h i s chapter is r n ~ l o d ywriting. ro understand a style definition, all [he elcmena of a cornposiuon must be looked at simultaneously .4nalysis: hardbop style, including meIody, harmony, rh!lchrn and form.
STYLE
Typical Song: "On rhe Ginza" by W ' a p e Shorter and "Nineteen Ban'' by Horace Silver
Both cornposidons show use of the foIlowing: A. FOLK REFERENCES
1. A h c a n {a) szaternent
and response
(b)blues riffs and ppcnratonic scales (c) aggresslvcr f i a / L a u n rhyrhrnic concepts
(d) riff motifs and figures 2. II~fscerrtEuropean Reference (a) rnodaliry (mdodlc and harmonic)
@) diaronic harmony (c) d~versiqand concrasr of harmonic rhvthm (e) drama - exuemcs of ressirura and dynamics B. HISTORIC REFERENCE
1. Bebop roots (a)s w i n ~rhprhmic concepuon (b) "front line" horn sound (c) some melodic sqde reference 2. Big band (a) form and dwelopment @) predomnanr "brass" sound (c) arrangernenrs: backgrounds, "shouts," tuai sections
hrrrnsicalIy bebop in reference, hardbop differs by t h e conscious striving For high drama and excirement by extreme contrasts of dynamics, harmonic rhythm and rhyrhrnic styles within the composiuon: shifts from swing to Afro/Laun to shuMe and back. Additionally, There is cxtens~veuse of TIES, "kicks,"breaks, and rhythmic motifs and figures played mtri.
Hardbop shoivs evolutionary significance by rhe extensive use of rnodalrn and con.crasm of harmon~crhythm. (See "Repose,Transiriqn" in 1'01. 1and lasc question on p. 14.)
Like bebop, hardbop shows a deparmre from jazz performance as dance music o r as a music whose purpose IS to "serve" rhe cusrorncr. Hardbop is jazz wirh aspirations toward "an" It is sdll entemning, but under the composer/performer's scc of rules rather than the mstorn~r's. Of parricular interest i s hardbop's use of rh!.thrnic and rnclodic materids arid approaches associated w i t h t h e folk area of the art/folk spectrum while referring to European art music uirh i t s harmonic materials. For the remainder of rhe chapter. ive will look at a number of melodies in their entire^. $ r a n 4 off with three mamples of idiomadc {non-romantic)melodies of varying degrees of divcrslq; and because of their importance, che procedures for twitins romantic melodies rvill be emphasized for rhc later part of t h e chapter with more specific non-romantic q l c s covcred in Iarer chapters.
CHAPTER I: MELODY
NQN-RO'MANTFC MELODY EXAMPLES Of the fol2ou.ing examples, as with pre\l~ousexcerprs, only che most salient poinrs will be listed. It is suggested chat t h e student. using the analysis guide found on page 421 do a subsequent comprehensive analysis as ume al1ou.s.
A. IDIOMATIC ANGULAR Example 1-13a:"One Up and Down" (ms. 1-2) by Eric Dolphy, from Out to Lunch, Blue Note 841 63
This melody is clearly anyular and non-romantic. Ir s t a m off with a blues based motif defined by che downward s k ~ pfrom the b3 to the PS,balvlccd by an upnwd Ilrap ofz rri~one to the b2 of the key. The accent on the second beat (che backbeat) addsdondly is blues oriented. Example 1. .13x 'Qne Up and Down" (ms.
3-5)by bic Dolphy,
from Out to L~tnch,Blue Note 847 63
The next three measures. in~en-alicallyangular and rhythmically quirlcv, set h e general tanc of rhe melody. Very chromatic, tense incervdic skips and disjointed melodic rhyrhrn suggest thal: Ericu-as rnflucnced by a 22-cane technique shaped by a bIues scale when organizing rh~s melody.
The Iast measure, v e q ~rense by intenpalic skips and cadential note choices IS finally balanced out bj- the final caden tial resolution to t h e tonic; the k t chree pitches being an arpeggiauon of a G7P4 chord. %. IDIOMATIC REFEREldTlAC Example 1 .I 4a: "Caribbean Fire Dance" (ms. 7-41 by Joe Henderson
The first four measures provldc a Freat example of [he primirive qualirics 2 melody can have when based on a criron~csource. Having oniy thrcc picches. the melody must he developed rhyhmicaIIy - as this one does. There is clear sntement and response, wlrh much use ofsyncopanon. Relative to the roocs, the cadence pirches definc EL Lvdian rnodall~.
NOHdOMhNTlC MELODY €XAHPL€S
Nonce the effecr af merric compressi~nby the eighth note shifi re t h e left o f t h e response. Ofnote also 1s the inclusion of the C @non-harmonic cone (nonmodal ro Eb Lyd~m). Joe uses this rension inducing device often and rc is found in most of hu melodies. Example 1 .I 4br "Caribbean Fire Dance" (ms. 5-81 by Joe Henderson
The remainins four measures of rhe firs^ secdon balance our rhc first four as a consequentiaJ phrase. Or'note is rhe cornpress~onof the phrase by the shifting of chc cadence points in rhe form of herniala The occurrence of che lasr; cadence point on the fourth bcar: of che seventh measure followed by silencc (a break} induces a great deal of tension which is resolved by the pickup on beat four of the last measure of chis secrion. Compare rhis u i h che 7rh md 8th bars of "Speak No Evil" and many other melodies by Wame Shorter. Example 1 . 1 4 ~ "f : aribbcan Fire Dance" (ms.9-12) by Joe Henderson
Most significant in rhe-4-bar bridge IS the use of a single prtch as a mclaciic source developed rhythmically for the first threc measures. T h e balanc~ngof the section wmrh a compressed Phrygian terrachord in the last measure is pm~cularlyeKecrive.The scaternenr!rcsponse organiza~ionof chis section is slmilar to many blues tunes with a scaternent, a response, a repeat of the first statement and then a new second response. (S1, R1, Sl,R2) T h e combinanon of the simplicity of tritonic and single-now melodic source as well as rhc irnpIied pentzawnlc q u a l i ~of rrironrcs organized rhyrhmicdy produces a dance-like quality thar defines r h ~ melody s as idiomatic folk.
C. IDIOMATIC PROGRAMMATIC T h e p r o ~ a r n m a t i cintent of the next melody (Example 1 15) is so crcace a relaxed pascord setting. Influenced by Aussrian folk music, this Ionian linear modal cemposinon accornplishes its god by:
* The overall melody mccpting one pitch is based on E lonian. Most motifs and phrases s m and cadence o n pitches rhar eirher clearly define lonian or are cadentially complete due EO rheir consonance (see p. 20). * Relaxed melodic rhyrhrn and relaxed linear modal harmonic rh!.rhm. (see p 13, Val. 1) Use of statement and response along with ~ y r n m e c r i crnelismatic , phrasing. The melody l ~ a sa relwed median ressitura. Balanced conrrascs m h r e c r i o n
CHAPTER 1: MELODY
-
- fi
clear find cadence includes: dmmward d~reccion,expansion of intervals by slaps, starting on t h e E, a m 3 down to CtI, a M3 down to A, a P4 darrn co E. and finaIIy, a P5 down ro the cadence pitch of B. Notim thar: an A triad is oudlned for funher consonance.
Example 1 .I 5: "In a Silent Way" by Josef Zawinul
E tonian
rubalo
n
/
J I* - m k
-
R
L
'
S 8
b ,-
I
-
--.
.
b#
,-I
I
-
*
I
A
r
U
I
U
I
L
LIO
-
4
u
t.
I
-
-
--.
d* -
E lonian
E9sus
Example 1 . I & "American Hopen by Ron Miller Vamp
I
=
160
2dx ~b6'
F13sus
7slk
I
0
e
n
-
1
- 3
---
I I
I
I
I
l.a
I
I
I
w \
2-
1 k
I
-
I
I
I
1
I
I
:
i
Y -
!
h
1
I
f
, I
-'
I
m
o
,
* C *
=
.
U'
.
>
I A
'C
-
'
1
,
I #
.
I .
I-'
I,
- --I=-
'
-
&
I
sfzp -===
NOH-ROMANTIC MELODY EXAMPLES
1I
I
This compos~rion,like zhe previous one, is proprnrnatic and influenced h*rhe quaIides of folk musrc, In this case, the influence is American folk/pop as rhe follo~vingpoints will attempt to reveal. In addinon, the composiion is an another example of lonian h e a r modal. providing a poinr of comparison. Commenrs and salient poinrs indude:
-
A non-harmonic pickup (Ctl) ro bar 1 is found also rn bar 9.Compare it to rhe u s e of Nfl mnes by Joe Henderson (ex.1.14) and Tchaikovsky (Ex. 1.20). In addi~ion? rhe motif is a quote, raken from Gcrshuin's "Prejude No. I." A G minor chordal outlined opening smcemenr is balanced by a response which cadences on a consonam held pitch. Compare this wirh che cadence polnrs in che prelious example Yn d Silent Way." Found in bars 9-16 1s a m e m c shift to rhe right and a compression of the openins statement, with new material m its sesponsr (51-R1,SI-R2J. The rnorif in bar 13 is an cxtanr: folk!pop cliche . P m ZI of r h e melody (bars 16-19)Is based on a C minor pentatonic source, further
defining the composinon's folk qualities. Ears 17 and 18 include a hiconic sracernenr: which is responded by a mronic FoEk/pop cliche in a contrasting direcdon. There is increased rhyrhmic miviq-and ypical penwtnnic melody treatment in bars 2022. More Folk/pop extant material in bars 25-27. Emmples of held cadence pitchcs over Mixolyd~ansus4 chords are Found in bars 29-31, 3335, 37-39, and 43-15. The goaI of rhe heighrened rhythmic accnlir dong xvivrrk rhe chrornaricism of bars 41 and 42 is to significantly increase the rneiody's cension to empliasizc a clear and final cadence pirch. The use of a consonant (5ch of che home key) cadcnce pitch bars 47-50), further defines rhe cadence's finality and is definitive of Ionian Linear Modd melodies. Notice chat excepring for she aforemenrioned h ! tones and the shorc bit of chromatic marerial found in bars 41 and 43, the meJodrc source oFrhe melody is generall!, diatoxic to Eb Ionran. The melody performed rnonophon~calipshould define Eb Ionian and be r~laxcdand pcaceFu1. a q lonian is intended. Ocher points of imponance would include chc melody's cessirura, rnorifrc dwelopmenc, melodic form, general rnelochc rhythm. and specific melodic rhyhrn !usr prior ro cadence points. lnvesrigate these points,
C H W E R t: MELODY
ROMANTIC MELODIES One usuaIly associates ramantiasm in music with the general era known as rhe Romantic Pcriod (ca 1800-3900)and i t s associared composers. ~ I r h o u g hchar. era and i a composers epitomize our perceprioa of romannclsm in music, ir should be pointed out that romanuclsrn s described i n chis book refers to a s ~ l uf e melody writing rhac can be found in the works of Bach. Mozart, Ellington, Jarretr and Shorter as xvc11 zs Tchaikovsky and Rachmaninoff. for run at el!^, the quditles &at define a romantic melodic syle are easy to implem~ntinto a pedantic formula.
In order to better clarify the 2 4 s of a r-mandc melody wriung project. a brief description of romandcism is in order. Romanufism i s not merely a musical s y l e period bur I S an aesthetic "point ofvien;"a m e a u r e of the d e ~ ofe expressiveness found in any of che forms of human endeavor including rbe arrs as well as day-to-day uuscence. As an expression, Romanticism is easily rewgnized in the works of writers, visual artisrs, dramatists, philosophers and composers having thzr "point of view" or of being of rhc Romzndc period. To fully grasp the general definitions of romanticism, it i s susgesred chat the student, if n o t already having done so. srudy and experience h e worlrs of the Romanticists in all areas of endeavor. Listed n o t by time period but by similarides In incensiries of fxpression, a partial Eiscin~1ncludc.s the writers Poe, Twain, Hawthorne, Goethe. Shelley, Melville, Coleridge, and Byron and the painters Kokoschka, C.D. Friedrich, Derain, I7an Gozh, Eelacro~xand Marisse. Nor including drama and dance, it is still qmtc an undertaking - buc is a strongly recommended regimen of study for the aspiring composer. Descriptions of the works of the romanticists and romanticism in ecneral indude: A conrrived intent of drama {melodrama} A degree of preten~ousness E x a g p t e d a-pressiveness Seriousness * OverIy emotiand/sentimen:al/persond A striving, yearning qualimy Enraptured. heaunful, progammatic A quest for the ~ d e dt:h e infimte
Depending on rhe Iistemer's background and musical tastes, rhe rraits of romantic music could bc interpreted as beautiful, l?+cd,ideal and perfecr or contrarily could be thought of as simpIiscic. pedestsian. overdone, mre or "corny." Unfirmarel!-, due co rhe cancacurizaaon of the elements of rornandc music in film scores, man?*agree with rhe later descriptions. The author has had both points of vim and at rhe time of this rvriring is convinced char: romannc melodies a r e the most beaudfd and mosr sorely needed in today's music.
The folloaing is a listing ob~ainedby a careful cornpanson of a number of romantic melodies from all el-as as ro how rhe elements of a melody are worked ro creare a me!ody whose main gods are r:o drarnauze, to overly express and co create a sense of striving for the ideal. Found in tomantic rneIodies are the use OF:
I. Many upward skips (some downward) of a major or minor sixth. These skips arc v e y 2.
3. 4.
5.
-6.
I.
drarnauc and arc traditionally known as rhe "herotc leap" or the "romantic sixth." Keep in mrnd t h a t they are consomnt intervds and singable. Orher intervdic skips borh up or down for various degrees o f tension and dramatic efkctr Final cadence pitches usually are consonant, che general mtcn.ahc qual~tyis Iyricd. Use ofmelod~cchroma~idsmas a ccnsion inducing device, or as non-harmonrc tones to emphasize emonnnal expression or ro enhance cadcnud resolut~onjsec No. 7 ) . Balanced three part rnotlfs with smtemenrs h a v i n ~slounmelodic rhythm conrrasred by a response with f a t melodic rhyrhrn which chen becomes slou~again at the cadence. Also, them arc many examples of rruncaced versions of rhe above: fast smcemenrs fo!lowed by a slom~,or delaved cadence. In general, many rcpeared notes. In ~ a ~ c u l amany r , repeaced notes that become n o n - h m o n ~ tones c that are sustained and rhen resoIvcd at the appropriate emotional " m ~ ~ m c"nTheir t direcuon of resolur~on is dependent on the dil-ecrional concour of t h e melody prior to the non-harmonic tone
ROHANTIC MELODlES
or on chc radential qualiry of the rone. Usually, but nor always, n o n - h m o n i c tones found in cadential resolutions go downward and nan-harmonic tOnFS found in moufic statements go upward S. Simple binary form: Part 1 - an expos~tionsection showing predorninanr use of simple diatonic rnotific statement and development with themes clearly presented. Pan 2 - extensive use of repeated phrases or sequences usually deveioping upward to attain a sense of longing for rhe deal. T h is the mast drarnanc, ernoriondly fervent pomon ofrhe melody; a11 the expresswe effecrs are used co the maximum. Note char romanric melodies a d cornposirions can range frarn being l i ~ h arid r happy in tone to dark and rneiancholic. Other romantic definin~devices include the use of 3/4 m e w and the often found b6 pitch ar key cadential p o i n ~ ,
The following exarnpIes are short exccrprs of melodies from diverse sources and dispare eras which srill have many romantic melody writing conccprs in common. In addicicn, most of the examples have a number of f i e above listed descriptions of romanor melody wiring ~echniquesirnplemenrcd in randcrn.
EXAMPLES Of THE USE O f ROMANTIC MELODY WRITING Nate rhat in rhe following excerprs (excepting rhc jazz tunes) and all remaining examples in this chaprer, h e o n p a l harmonic matwid has been changed by urilizing the reharmonization techniques that will be given in Chapter 11. You may find chat b!? doins so,man!. of the works from the classical repertoire can be performed in a jazz/pop semng.
Example 1-1 7a: "Prayer" by Keirh Jarren (Intervalic Skips)
Measure 3 has a n upward ski^ of a m6, in addinon, there are three repeared notes. Note the balanced melodic rhythm.
Example 2 -17b: "Where Do I BeginJ' by C. Sigman Iw~nnntlc/dwl)
G-9
This excerpt has bo:h dounu~ardand upu~ardshps of a m6 in ~ncasures1 and 2, many repeated nares and an upward Ieap of a M6 (rornannc 6th) in measure 3.
h m p l e 1 . 7 7c: "American Dirge" by Ron Miller
See " k t Illvsion" and "Romeo &]ulier"
Measure 1 has a downward m6, measure 7 a n upward M6.
CHAPTER I: MELODY
Example 1.17d:A T h e m e from "Samson and Delilah" by Camille Saint Saems
stmu
fast
(Chord 7mbo8 are slsgedoar,
slow
fast
not,fotandin the o n p i n ! composma.)
This example has many mrnandc devices An upward skip of a rn7, in measure 1 and 3, rr is more tense than he skips in rhe previous ~ p l c s . Use of chrornaEicism in measure 1 and 2. Repeated nores chat become a non-harmonic:mne which resolves downward found 50th in rncasurcs 1 and 2. and 3 and 4. A slowing down of rhe melodic rhyhrn at cadence points. And lastl!*, although an incomplete example, it starrs KO shorn- the typicai development of part t w o of the melodic form in which mdriple repetisions of phrases or motifs in an upward trend created a sense of vearning for the infm~rcExample 1.18a: ATheme from "Samson and Delilah" by Camille Saint-Sens (Melodic Chromaticism)
(Chord gw.mhoIs rn sugesuonr, nor-form&
in the
original cowposition.)
As inrroduced in example 1.lSd of rhc previous examples. the use of chromaticism in measures 1-3 creates a n emotionalism desired in romantic melodies. Example 1 -18b: "Prelude to a Kiss" by Duke Ellingcon
From a contrasting source. again chrornatlcisrn for crnorional effect: Example 1.I 9a:"May Breezes" by Felix Mendelssohn-Bartholdy from "Songs Without Words" (balanced melodrc *dmn)
D 7!Ff:
n
2
t* k
-
I
-
m
I
C 1 I
-
r
G , I
I
-.
"
I I
I :
; m i - . #
A
I
As Iabeled in the excerpt. E r has a s j m r n r t n c balance o f concrasdng melodic rhythms. The fast rhyrhm prlor t o she cadence emphasizes the cadenrial effect There is in addition, an examplc of a repeated tone becoming a non-harmonic tone shar in this case resolves up KO rhe cadence pitch.
ROHANTliC HELODIES
h a m p i e '1.1 9b: "Ana Maria"
by Wayne Shorter
-
3
4
slav
-3-1
fast
(delayed cadence)
slow
From a conlrrasdng source, balanced melodic rh!r&rn with the cadence rcsolvin~downward Example f -19c: Adagio in 0 minor by Wolf'garrg Amadeus Mozart
-
'
k t
fast
51-
slow
(Cbord 9rnlioIs are Juggextron5. not f o l d in tbe onpnal somponuon.)
IlIustradng the diversiv of romantic melody sources and chat h e y are not tied to a specific time penod, &is excerpt is clearl!. romanuc as is the whole piece. Compare ir direcrly LO rhe Mendelssohn and Sainc SaEns melodies then C Q T L S U ~a~ music histo71 text for the work~ng rime periods of these composers. In addition m balanced and conrrascingmeIodic rhythm, there are repeared news chat become nen-harmonic rones nrhlch resolve downu,ard - overt romantic melody wrinng technrques. hample 1.I 9d: Theme from Symphony No. 6 by Peter 1. Tchaikovsky
- -fast
!&rd
slow
-
-
~ m h a arc b rugr&ns, nor+h??cndIn rile orrplrrplmI compsitaon.)
fast
-
5
1
0
W
-
The theme from Tchatkovsky's Symphony No. 6 YPathttlquc") is another m p l e which demonstrates the use of a number of the previous1y lis~edrornanuc melody concepts.
CHAPTER I: MELODY
THE PROTOTYPICAL ROMANTICII DEAL MELODY T h e fo11owing melod!. is a perfect =ample to be referred to for a complete understanding of t h e concepa of romantic melody writing. It has most of t h e prenio~slyp e n techniques used in the clearest ways; ir is a melody that h a become chc "classic" reference and musical accompaniment co any rornandc image whether prawn~edseriously or as a joke. In spite of its caricaturization o f all that is wrong with she concept of romanricism. nt is nonetheless one ofthe most beautiful rnclodies ever written. The melndj-. of course, is: Example 7 -20: The Main Theme from "Romeo and Juliet" by Peter I. Tchaikovsky (Chmd ~ h !are j nrggesnmrs, not &d ir! rhe oripnal compostion.)
See "Last Illusion"
The melodic form is modified Gina?. ( t w o part irith a repticion): an c~posiuon,rhc dramatic "!>earnin$ for rhe ~nfinite"second part and a repetldon of the first part. Sdienr points and romandc devkes include: I. The melody smrts ofT with a non-harmonic tone which rcsokes upward. Eonnd In ms. 71 is the converse. a non-harmen~crepeated tone which this rime resolves dou7nrvard. 2 . CIear statement (ms. 1) and response (ms.2) ~ i i the h openins statement hwmy slow mclodic rhythm and the responsr being faster, providing hnlmcc 3. The cadcntial note (F)of measure three is consonant and final as arc most of the significant cadence poinrs.
ROHANTIC MELODIES
4. ZntenraEic skips: (a) MG downward, ms. 1-2
(b) P4 In ms. 3. relaxed harmonic/mdodic resoiudon (c) M6 upward. the classic romancic leap in ms. 5 and ms.27 Id) 05 downward ms. 6-7, tense interval to set up cadence (c) P5 in ms.21-22 I z i s r dramacic skip of pan 11, rhr "yearning portion of t h e melody 5 . Chsornaricisrn For emotional tCnSlQtI is found in ms. 6 and 7 and ms. 9, 21,13,1; and 21.
6. Repeared nares a r e found in ms. 9,11.19,13and repeated notes thar become a non-harrnonic tom in ms.22-23 7 . Note the ~essimraof parr II. from a low G below middle C, the melody dramancally builds tension and drama w c h extensive rnorific reperinon by che use of sequence until r h e climax point of the s ~ c o n dD above middle C is reached This is a clear and classic example of how parc I1 of a rornannc rnelodj~should work
The remaining two compositions can be categorized as romanticjmelodic, or compositions c hat have romantic melodies bur differing harmanlc, and emotional qualides. h parricular, the Iast composition, by Keith Jarrett is a good model for a contemporary rornaTr1c composition. It has romantic elements in its melody which are balanced by h e inclusioa o f q m metric rnelo&c material, and a rather stark seundlng slash-chord modal harmonic scheme. EXAMPLES OF ROMAMTfC/MELODIC JAZZ COMPOSITIOt-fS Example 7.21 : "S.R. Ballad" by Ron Mirler
Final End
G ~ ~ S U S
A ~ + / G F9sus
n
f, ( d
I I
D T ? E ~C/D~ I
b e
I
Q
fine
Eopw~ghr1973 Ronjank MUSIC. BMI
CHAPTER t: MELODY
This melody f d s somewhere in benveen romantic!ideal and romantic/mclodic with a rypicall? rornancic melody, but a nor so differing harmonic foundac~onIrs harmony probabIy could be described as =-romantic with a few areas of smrk slash chord formulae (see pp96106 In Volume 1).
R ~ m a n t i cdevices as Iabeled by Ietrers on r h c score: (a) Repeated nores. (b) Repeated notes thaz become a hy [one, resolvin~upward. (c] A romantic leap of z M6. (d) A romantic cIichi. (e) The expansion and sequence of the previous dich t (9 h t e n d i c expansion in an u p ~ z dconrour to create tension and drama prior to a release. (g) The release of the previous tense expansion; it 1s also an extant rornmtic ciichi. (a quote) from the pop tune "If I loved You So" and many others. (h) Repeated nores becoming a NH tone which resoIves downward. (i) More leaps of a M6. (j) Four consecudve shps upward creating exmeme tension and drama for rhe find cadence. The final melod~cresolution is by lead~ngrone. OTHER SAUEhT POIhTS OF INTEREST
-= *
The opening sraternenr In bars I and 2 , of fairiy fasr melodic rhythm, is balanced by a sIow response in bars 3 and 4. There 1s a transposluon of the opening motif in bar 5. A compression of rhe phrase m bars 7 and S. A quasi srnving quality in bars 9 and 10. The monf ~n t h e beginning of bar 16 is jrnrerted in retrogade the end ofbar 16 ro 17. The motif in bas 10 1s sequenced and cnended in bar 17. Bar 19 is a sequence ofbar 12. Bar 23 shows a small compression of the macerial in bar21. Loakfnz ar the rnocif labeled (Id). one can idenn9 a sequence of it at the end ofbar 23 to bar 25. The f i p t c found In bars 6 and 7 relates to the materid in IS and 16.
.4nd so on... Quire a blr: could be poinred out. but the main idea is ro ident16 thc elements of romanticism and srrong rnelod~cconstrumion.
Example 1 . 2 2 "Solstice" ~ (ms.1-4) by Keichdarrett
Romantic and salient features include: Measure ! has three repeated notes w ~ t hthe last becoming part of the response in measure 2. Measure 2 has an upward shp of a m6 jvhich is pan of a rornannc clichfi; iir also has repcased notes (see Ex. ~.~TID). Measures 2 and 3 arc. connected b!. the top pivot poinc p i x h E. and there is an expmsion of rhe i m e n d s : 2 rn6 (G$ to E). a M6 (Gtl ro E)and a b7 (Fa to E) all conmibutins to rhc sense of development and defining rornandc~sm.
THE PROTONP1CAL ROM&NTICfIDEAL HELODY
Example 1.22b: "Solstice" {ms.5-81by Keith Jarrett
F/G
A/G
- -
-
-
E IC
D/E
A~/E
, Lo . ' I n
+Ayr=
S
E
!
7
I
I
I
h-
I
,-,
w
I I
I
!.
., + C
I
.
I
I
0
*-
Y
I
I
,
I
1
The previous finall!. resolves to thc Ct! in measure 4; a pickup at the end of the measure initiates a rruncated version of she material Found in measures 1 and 2 in measures 5-7. Measures S and 9 offer a relief from romanudsm by the peculiar qualin of the symmet,c patrrrn of an augmented scale. All winds down wirh a return TO romantic materid in bars 10 rhrough 12, with bar I1 conranmy a beautiful cllchi. and 12 a final sequence of it. Example 1 . 2 2 ~ "5olstice" : (ms.9-12) by Keith Jarrert
The ver? dark and smrk harmonic foundarion of chis cornposiuon is balanced by i t s beaunful romantic melody givinz this composi~ionan in-puacing quality wonh inves~igatin~. Note the harmon~canal!.sis OF chis cornpositron is mcluded on page 106 of Volume 1 for rhose rnterested m further refcrrnce.
CONCLUSION
.
As initially stated, melody u l r i r i n ~is a complex and comprehensive subiect No amount of
rearling or study can substituse for the years ofIistening to and/or playing ofgreat metodies that: is che most beneficial means of learning to c o n s m c t a p o d melody. I f :he smdcnt does nor have a repermire OF g e a r melodies of diverse ori$ns readil!, avaitable From rnemor). alone. now is rhe rime to start a serious Iisrening regiment
The suggested exercLscs and che recommended lisrcning list ar rhe end of the chapter i s a place to s t a r . In additlon to rekgating numerous mejohes to mernon, one should be able ro play or sing the important themes in any key; it uiU be of extreme henefi-c for both composiuon and irnprorisation. As suggested in Volume 1 of this book for harmonic materials, an? nmc music is prcsent, whether by car radio. home sound system, cinema televisicm or I i v ~performances, l i s ~ e nanalj.ticall!l. Generally; rry to describe a rnelodfs q u a 1 1as ~ folk or arc ~nflucnced,irs source (ui~onic.chromatic, modal); its style descriprion (romantic. idiomatic, programmatic);t~ m recoFizc ho~vche rnelnd!~is balanced boch at the rnorific and phrase lcvels Then determine if :nu like the melody or n o t and tvh!'. T h e nexr srep is ro sclecc a melody chac pasticdariy affects you, and anal!zc i t , determining whar 1t is that i t s anthor did to create a classic. In the ncxt chaprrer we wilI rerum ro rhe concepts ofharmony. Of importance are thc techniques +vcn to harmonize an exrant melody. \ ? e y much a part of the "new jazz" scene is the reworhng of materials from rhe "standard" repertoire. XQth that suhiecc. we wiH combine harmonization, rcharrnonizac~on,and melody writing into a unified a~hoIe.
CHAPTER
1: MELODY
SUGGESTED EXERCISES I. Listen to 6 metodies of diverse styles. f3>- section, comment on the f o f l o u q n ~ ( a ) Irs placement in the foIk!art specmum (b) Scdar source macerial(s) (c) The use of smrernent/response (d) Phrase qualiv (el Label the melodic s~le(romanticjided.idiomric or o t h t r ~ ) (f! Describe your emotional response. EXAMPLES:
"Badia"byJoe Zawinul, Weather Report, from Tail Spinwm' "One By One" by 7X;a:me Shorrer, T h e J a u Messengers, from upfir The Adagio from che Piano Cancerto in A by K".. Mozart 'cEllossom''by Kcirh jarrett, from BeIonpg "Hoe Dourn" by Oliver Nelson from Blue? and the Ahstrab Tmth "Look t o the Sl+' by Anmnio Carlos Jobim fi-om Wave "Rufus" by Archie Shepp from New Thng d Newpm "Work Song" by Nac Addcrley, from Cannonbdli In New I'm-lz
2. Compose four melodm Followrng r h e speclfic directions listed below; harmonization is optional but recornmcnded. (a) V i t h a tricon~csource. phrase a 11-bar melody with rhis staternenc,'rcsponsc forrnuIa: 1 I S1. Rl I Sl. K! 1 52, It3 1 1. (b) An S-bar Form with four bars of increased a c t i v i ~ro a held wdenie pitch for the remaining four bars (see Ex 1.11). (c) A 3-bar single pitch melody, developed rhythmically, balanced by contrasring material In chc fourth bar (see EA.1 . 1 4 ~F.~27). (d) Compose an &bar romantic melody which shows a srriving qualiry toward t h e infinite. Label rhe use of rnoufic dwclopment (see Ex 1-20. p. 34). 3. List ten mclodies from the "srandard,"jazz. Latin, or pop repertoire that can be Iabeled romantic.
"Some Enchanted Everung'' by Richard Rogers "Mayakamby Wayne Shorcer "IT71rboutSou" by lnmg Ecrlin "AU the Thing You Arc" by Jerome Kern "Something to Remember" by Leonard/Madoma "Beany and rhc Beast" by Mcnken 4. Compose a'rornantic melody. (a) Fofiowlng the farm of your choice (atleast ten bars).
(b) narrnonized ir; any syle. but indudc at l e a c nvo areas of slash chord techniclTae. (c) Includf all performance direcdves: ardculadons, dyamics, phrasinps, etc. (d) Following t h e andys~s_wide found on p a y 10,include a comprchcnslve anal?~sis; label sped51 romantic devices that you used.
5 . Refer to the "Adagio" by Tomaso Abinoni included here. Cornpletei!. analyze it using the analysis guide, include a labclin~of rhe romantic d w ~ c e ~vhlch s are u s e d
THE PROTOTYPICAL ROMAFmCIIDEJL H E W D Y
Adagio by Tomaso Albinoni slow and dirge-like
~b-
CHAPTER t: nELoDY
SPECIAL PROJECT
FOLK MUSIC SURVEY
This is a romprehensivc prqiea char is relamil [o the materials found in all chapters of this book - bur in p m i c u l x to the third: penca~oficComposirions. Tr neeis m be "in propss,'. wich most of the work being done no\fr.w~&revim and addldons raking place later in the study schedule.
Researching both texts and recordinp: selecrfrom h e world's folk musics. at- least ccn From different par^ ofthe globe, and and!=, pZ).ing particular artcnuon to the folImring:
---
Source scalar material Statement and Response organization (SIR) Melodic rh!&m relarive to harmonic rhythm Expressive dwlccs and pitch variations
SeIecr a number of the melodies thac you particularly liked, co be used later as a modd for your om7nmelodies. M a k e a note about the peculiarities that endeared you co any mdody.
Make note of any quaIiry chat is found in common with most melodies of all caeegories that may prove ro be a universal "mu&" of affec~ivemelody wrinng.
char rhe reader start uith the foIk sources closelj-related to jazz compositions ~ h a ncontinue o n to personal or nationalistic interests. S m with the Eolbwing folk musics: It is suggested
African Japanese
Brazilian
Indian - Britrsh/Insb American
Of che "nm*worIdsources, tv ro d e t e m ~ n the c percentage ofnarive EO Etlropcan influence: for instance- what is the real influence o r source of the (Cuban) Ctave?
MELODlC ANALYSIS REFERENCE GW ID€ T h e following is an outline of thc elements of a melody h a t were covered in the prewous p a p of rhis chapter and will be referred to in subsequent chapters. Ir should &a serve as an "instantnguide co be used u~henanalyz~ngrnciodies as a s s i y c d in rhis book. A. Source Materials
I. Single notes 2. Tritonic scale frapenrs 3. Tetratonic scale f-ents 4. Pencaronlc s d e s (a)diatonic (b) altered (c) add note {satar;onic)
(tetrachords - see I b l . 1)
(d) bkues scales 5 . Diatonic and altcred diatonic modes (septaronic) 6. Symmerric scales 7 . Harmonic references {a) arpeggiadons (b) guide wncs!common tones 8. Quotes 9. Kan-western scales (octaronic and more) B. MOTIRC DEVELOPMENT
I. Repcurion 2. Sequence 3. Inversion 4. Retrograde 5. Retrograde Inversion
6. Isorhythm 7. Isoarticillation
8. Truncauon/exrension 9. Displaccrncm 10. Muration C. CONTOUR 1. Direcrional 2. Intervalic (a) diatonic @) chromatic (c) skips
3. Note d u e
{a)augmenration (b) diminut~on (c) campression {d)decompression (e) art~culations 4. Point of dinlax
5. Balance 13. FORM 1. Statcmenr and response 2 Phrasing (a)antecedent/consequence
@) syrnm~ncd/asymmetrical (c) sectional (d) rhrough camposed E. MELO DtC RHYTHM 1. Melodic tempo 2. Cadence points 3. Spcoparion F. EXPRESSION
1. ArcicuEations 2 . Dynamics
'
3. Effecv 3 Sound supporn phrasing
5 . Tempo markin~s
CHAPTER I: MELODY
-
.-.
RECORDlNGS AND READFNGS As a listening source for melody \vriting conceprs, almosr ever)- available recording could be
a suitable rxamplc. Thc follo~vinglists the sources chat are referrcd to in the t a r plus a few more.
A. R E C O R D I N G S A t the tighrhouse
Joe Henderson
SiEver7sSerenade
Horace Silver Antonio Carlos Jobim Maunce Ravel Igor Stravinsky
wove
Rhopsady Gpagnole The firebird Bjack Market Zalvlnul Ballads The Mlcsic of Ron Miller The Sorcerer Samson and Delihh Brooklvn Biues The Real McCoy
Milestone 9028 Blue Note 841 31
A&M 3002 misc. recordings available m:sc. recordings available
Weather Report
Columbia 34099
JosefZawinul John Cofcrane Ron Miller MiEes Davis Carnil le Saint-Saens Danny Goalieb McCoy Tyner Wayne Shorter
Atlantic 1579
GRP156
CPP/Belwin Cojumbta 52974 mlsc. recordings available
Brg World 2005
StlverS Serenade
Elements Wayne Shorrer Wayne Shorter Horace Silver
Blue Note 356 Blue Note 3764A Blue Note 32096 Blue Note 841 63 Impulse 9301 Columbia 30954 MGM A 4 9 1 misc. record~ngsavailable rnisc. recordings available misc. recordings available ECM T 050 misc. recordings available Novus 3058-N Blue Note 541 73 Blue Note 32096 Blue Note 41 31
Adogio
Charhe Mariano
LIP 8924-2
JUJU Schizophrenia Out to Lunch Death and the Flower
Get H a p 0 Cinemo LeGrand 50np IWtthout Words
Symphonies No. 5 6 6 Romeo andjuhet B longing Conceflo M. 2 Liberal Am Native Dancer
Speok No Evi!
Wayne Shorter Eric Dolphy Keith Jarrerc
Tony BennettMichel Legrand FeEix Mendelssohn-Bartholdy Peter I. Tchaikovsky Peter I. Tchai kovsky Keith Jarrett Se%e~ Rachrnaninoff
B.READINGS Rumantrc MUSIC Leon Plantinga Contemoray Harmony: Romanticism Through the 72-Tone Row
W. W. Norton, 1985
Ludm~laUlehla Changes Over Time: The Evobtron o f j o z Arranging
Advance MUSIC,1994
Music Idioms
Fred Sturm G. Welron Marquis
Eric Dolphy
Simoko
A d ~ x n c eMusic, 1995 Prentice-Hall, 1964 Qa Capo Press, 1979
Sc Tepperman
Chapter 2 ;.
.I
---::I , .
/::.. -1.- ..
WORDS OR CONCEPTS TO KNOW
I
Standard Repettoire
2
Altered Modalit),
3
Substitution
4
D~atonic
5
Chromatic
6
Function
7
Harmonic R h ~ h r n
8
Cadence
9
Cycle
10
Turnaround
11
Approach Chord
72
Added Chord
13
Target Chord
14
Pedal Poinr:
15
Stock
16
Original
-
CHAPTER
2 REHARHONIZAYION
HARMONIZATION E v q so of%, a student mas inquire, 5 n the compesidonal process, is it berter to write the m d d y firs: or to corm up with a set of chords first? The answer of course, depends on the individual composer; mosc: like rile author. probably work with melody, harmony, and rhyrhm simulraneousl~,each influenung the outcome of the others. Often. a composition may develop out ofa seed idea in che form nf rhree or four chords in a vamp, or from z peculiar ba5s figure. Other times, a pardmlarIy satisfying morif or melodic frapent may mspire the complctron of 2 scction, or a complete composition. The poinr is that the Inicld inspiration. in whatever form ic ernanaces, is what really prcnlides chc basis of a composidon ofworth. For rhase ~ ~ h e melody se writing skilIs are more developed &an their harmonic abilincs usually ~tis the smdcnt ~ . h ohas had extensive craining m tradrtional theory/composition, bur is relanvely new re jazz composition and harmony - the FoIlowrng are some polnu to consider when attempting to create a harmonic progression co a 9;ir~enmelody. Alrfiouph the techniques are rneanr for use lvirh a rneIody o n ~ i n a to l the composer, t h y could be appiicd to an extant melody of any em
There are nvo u.a!r of accomplishing the goal: t h e preplanned and the inmidl~e.T h e inruitive merhod seems Iess efeccive in
THE PREPLAFINED METHOD To be sllccessful with this merhod. the student needs to be well accomplished with the materials found in 17oIume I of rhis text. In fact, the following could be thnuyhr of a synopsis of the imporrant features of Volume I. Of particular importance are the abilities 10 recagnize and work wich:
=
a
-
Tetrachords, modes,and symmernc scales and patterns. Modal chord consrmction rvirh the "grip" mcthod. The connecuon of chords by common tones and srruccurcs. The conccprs ofharmorric conrour. T h e concepts of momentum
THE PROCEDURES A. MELODrC ANALYSIS
Using the analysis p ~ d found e on p. 40 of rhis volume, nere any peculiarities rhar may predict a harmonic definition, paying pardcnlar attention to:
Imporcmr source materids - mchords, terrachords, overall consonant,slcrps. symrncrry and so forth. The emotional contour, cadence points. balancing rechniques, and rhe point of dimax. T h e general svle descrrption: Folk. hardbop, ECM.
B.BASS MELODY CREATION
-
T h e imporsancr of a strong, well developed bass melady cannot be overemphacized i r will hold together rhe h m o n i c foundation of an!. composidon, and wiIl contribute co rhe rnusicd development of other areas. Consider chc follolv~ngurhen composing a bass rnclociy I. Contour: (a)qlrnrnerric or asymmetric note dcrations. @) direction, use of counterpoint ca the given rnelod?.. (c) in tewdic mend. jd) use of melad!, wnnng procedures and develop men^.
HhRMONlfATION
3. ahychm: (a) slow/fast, sustained notes (b) repose and rransinon, cadence and pedd point (c) speed relative to the given melody (d) the use of vamps
I
C. CHORD SELECTION 1. Determrne rhe general harmonic sryIe god: ( a ) bebop, hardbop, E C U , pop!Larin. free form modal, (b) analyze a number of compositions in the selected style (see p. 24). 2. Rewew zhe descriptions of modal harmonic styles: (a)linear @) plateau (c) vertical
3. Review she concepts of modal contwur for modal chord selection. 4. Select chords that fuIfr11 a modal centaur goal, use of "grips"ads in the process. 5 . Create a chord-contour melody.
TO R13TE\KJ,THIS IS THE MELODY DERIVED FROM ALL TKE TOP PITCHES WHEN SPELLING 0LT THE CHORDS.
Use of common tones and structures. Use of counrerpoimt, intervaIic and directional contour.
This i s h e hard part - unless a lot of prepIannjng has been done and t h e goals are pretvl dear. There arc so many possibilides, thar unIess one has composed a lot and developed she dec~sionmaking pmcess to r h c point of being confident in the musical worth of one's initlal selections, the whoIc process can be ovenvhelrning ro r h e point of " g j v i n ~up.'' Scarr by composing a bass melody thac foUows the contour you fee1 besr suits the harmonic god. Tn a number of chords of varied modal qualiues for the first chord chat trill set the tenor for the development of the remaining chords. The neat step is ta add chords ar r h e cadential point., rhen filIin~in wi& the remaining chords between h o s e points according ro a preplanned harmonic contour. Unless you are evolvini to the intuitive approach by chis rime, much experimentahion nil1 probably be needed Trylng many different chords and harmon~cconcours will require pasience and perseverance Being accomplished with rhc " p p " method of chord conscruction will be of great assistance in h i s process. In a nutshell, rhis 3s r h e order of steps ro follow to help organize your rheugh~sfor the har-
monization process: Crearc a bass melody, following the prepIanned harmonic conrour and being a x w e of bass melodic cadence. Select a "first chord" per section. Experimenlvarious chords &ar saris@ both she preselecrcd modal contour and cadence resoludons. Re-voice h c chords to create a chord melody that conforms 1-0a preplanncd melodic contour and cadenuaI requiremenrs. Conunue experirnenring and nve&ing until both the aesthetic and style defining requirements are met.
The follow~ngexamples may offer some clariy and/or insighm intc rhe process. T h e cornrnents address the above steps in the order given, if applicable. The melodies of rhc examples were composed for illusrranve purposes aithotlt any concern for acsrhetics.
CHAPTER II: REHhRMONtZATION
HARMONIZlNG GWEN MELODIES MELODY l
Thc sourcc of chis melod!~can be rdentificd as being a diatonic G minor or Bb major scale. Its directronal conrour is genedl!? dorjmu.ard to rhc cadence pitch, wich the cadence pitch not being balanced by an addiriond pitch in concray direction. It has a final q u a l i ~ due to its melodic rhythm. Example 3.1: Harmonization of a Diatonic Melody (1) and a Chromatic Melody (11) I! - Chrornaric Melody
I - Diatonic Melody
Aeo
Mixo 11
att
I
COMMENTS:
HARMONtZATION (a) T h e Bass Melody - scans wirh the same pitch as bo& chc main and chord melody. m a r ing a clear "harmonic staremcnt.' It chen goes upward in a d~se&onconnary to the m a n and chord melodies: with inren~dsthat ~ epropessiveh~ t smaller, providing at increase af r ~ n s i o nh a t is resolved with the find cad~nccpitch a rrltonc away. Its general source. othcr than chc cadence ~ i r c hi.s d ~ a r o n ~ rocthe m a n melod~csource. rrhr main rnelod?. there is rhrn a P5 The Chord Melody - stzrdng on the same pitch
skip downward to a cadence pitch. chen another slcip to a repose-cadence. defined by t h e use of commnn tones.
HARMONIZATION -
-
The Chord Selection - rhe harmonic rhythm i s slow and symmetric, with the chord selec-
tion based on 3-no~egroupings (miconrcs)of the main melody. T h e firs1 tritonic - D, C, Bb - implies Bb major nr G minor and thc "first chord' choice of G minorJD is dizconically relarive to the melody.
The second chord choice, hatonic ra rhe A-G-F mitonic, gives an effect oFbeing brighter after he first dark Aeolian chord, providin~a sense of harmonic cansour. T h e nexr chord, the tonic. prnvrdes a resolurion of h e drama creared by rhc previous one.
The last chord, connected to the previous by common cone, has a subtlc dominanr qualiy due co the melodic q d l q . of the bass picch. Norice the dternatrng modal qualin. of the selected chock: dark/bright/dark,/br~ght,this provides harmonic contaur as well as a variety oFmodal description. Other considerations made in the selection process were the v a r i e ~of "grips,"and voice-leasling. HARMONIZATION (b)
The Bass Melody - starts wirh the use oi pedal pornr on the main melodv pitch, showing a repose~transicionconmur. The ovcrall source is a chrornat~cfragrnenr which implies Phr?xjan uith the EL. Its direcrional conrour is up\mrd in c o n r r q norion ro che main and chord melodies. The Chord Melody - 1s the same as the main melody due to t h e use oFparallel "gnps"to harmonize che m el ody. T h e Chord Selection - s t a r r i n ~wirh a tonic Bh {Gm)/D. y i p selecdon was made to increase the modaIJspacing tension ro the E minor chord wh~ckresolves to the F13sus4 in the form of a parody cadence. HARMONIZATION (c)
- a simple chromatic scale, downward to the targer F, starts on a Rondia~onicAb. The Chord Melody - starting on a diatonic pitch, alchoush irs melodic shape shows obscured direction, ir does move in contrast to the bass melody by groups of IWO. Ending on a nondatonic pitch, the source of this mdody is Bb major. The Chord Selection - alsernat-ing non-dominant (major 7) chords and dominant (b7) chordq implies a modal cycle resolving to a dominanr of the tonic Bb. The &ass Melody
MELODY ll
This melody is purposely chromaric to introduce h e problems peculiar to that sourcc: that of selening chords whose rnodaliv allor17 nvo or more pirches that are chromaric. In a general dnwnward confour. the melody 1s resolved b?tbalancing irs direcrion with an upward skip ofa P4. A general m o d d i y of che melody cannot be derermined, but the cadence point implies f or Bb major and their relarive miner tonal centers. h general, notice rhc nondiatonic q u a i i ~ of the bass meladies rrp to the cadence poinrs. The chord selection and spelling, needing to include one the main melody pirches, is more &atonic, at Icasc m onr pitch at a rime. O ~ h ethan r example (c), most of rhe selected modalities are homogeneous. These traits am descriptive o f the means taken to harmonize a melody &at is harmonically obscured by having a chromauc source.
By n m ~ furrher ; cornrnenrs may become redundant. It is suggesred that
a more detailed anal!?sis and cornmenrs be completed by t h e reader. The subject of harmonization will be continued in Chapccr 111 on page 96 under the subject of "Harmonization and Harmonic fipchm."
Having created an initial set of chords far a given mcIod!?,one can funher develop the skeleharmonic material by rhe use of reharmonization techniques. Alrhough the reharmonizacion process can be used ro develop h e harmony of one's own cornpositsons, it is mosr often applied to the chords of the "standard" jazz reperzoir~
CHAPTER It: REHARMOt4lZAT1ON
REHARMONEZATION
THE JAZZ COMPOSER'S PREDICAMENT Essential to the reprrroire of che learning jazz performer are a number of compositions known as "standards."These are h e sonp, ballads and dance mnes OL th e 20s to the 50s thar a r e the b&ls of the rradrionalist, bebop oriented jazz performance. Mosc iazz improvisors acquire t h e ~ craft r bT7learning standards, blues tunes md a few simple modal compositions. Haring invested so much effort into t h e learning of the srandard repertoire wrh i t s ties co tonal harmony and the syrnrnealc AABA song form, it i s undetstandable rhat many resist the sdecdon of compositions with unconirenrlond harmonic materia! and unusual f o m for h e p r o ~ m m i n gof concern and recordings. Add LO this rhc fact rhat once the voice-leading of the diatonic n-V-J cadence and tonal harmegg is learned: Ir can be applied ro all tunes thar are b a e d on cha: ststern. Consider also. that most of the hippest "licks" and melodic f i p r e s having been k a n e d from t h e recording of one's heroof-rhe-day can be used as ont's own in any tune having rhe s a m e harmonic foundation. What it all means is thas newTmusic: with harmonic anci meIodic marerial unique t o its crearor requires chat the performer, if orher &an the composer, must learn the new composidon and its improwsationa1 materials with Fitdc reference to aIready worked-our materials. Many of the more consenwive performers resist this.
Anorher consideration is that of rhis ~rmting,h e r e is the perception rhatjau is in danger of bccomlng Iike classical music, char of a re-creative music; char: the thrus: of jazz recordings and performances IS rhat of re-creating the music of the pasr tonal song form composirions with ~ e tso bebop and hardbop.
,411 this presenrs a predicament for t h e serious jazz composer desiring an expression of originality and c r e a u v i ~How . does one get g e a r players KO play his runes ~irhoutcoercion, and how does one address the mend [award jazz as a rc-creative music?
One uvay is to havc recorded examples of his or her works distribured widely enough chat players hear them and learn to enjoy them to the poinr chat they r r m t to learn ro play &ern. Of course, one needs to be in an environment where if one's compositional~performance skills ate knorvn and apprecrated. and h e r e is the possibi1iy of armining financial backing for the production of a recording. A more flexible approach is work within the sandard repertoire and rework the given materials in a way that the resulting product reflecm rhe composer's personal aesthenc and creat ~ v eabiIiries while allowing the improviser an access to his iearned imprmdsational skills.
That is chc goal of this porcion of the chapcer,
t o look at some techniques thar allow t h e composer or mrnposer/improrriser to pcrsonalizf a composicion from thc standard rcpertorre; from a mere "freshening up" of t h e changes to t h e crearion of a r o d y new composition which is a pasdchc of che orignd. In addidon, thc techniques can be used along with t h e previously given techniques, to h m o n i z c a p e n melody for those composers u ~ h oprer"erto ~irricemelodies and then Iarcr add the harmony. .4nd Iucly, the techniques can be of use to che b ~ gband arranger who 1s desirous of creating an innovative version of an overworked standard.
The ~nformariongiven presupposes thar the student has a warkrn? knoulledge of ronal harmony and the diatonic system and is aware of cadences. cycles. turnarounds and tricone srrbsricunon. If not. consuit rhc books listed at the end of this chapcer.
In addi~ionto chc techniques oripnal rc~&fie author, many were derived from an analysis of the recordings of Gil Evans, the '.smndard'' harmonic approach of Herbie Hancoclc (particularly from the Miles Dal~isrecording Ah Fr~nnj~ Valcnhne), and from r h e merhods of t h e many unknown arrangers of "eas!. l i s t c n ~ n ~music. "
Airhaugh chc techniques can be applied ro established jam compositions, j: is recomrnendcd that studenrs limir rhc firsr attempts to "standard" 11-V-I songs as they arc chc cornposinons thar most h a w a need to be personalized
The ~echniquesgenerally fall i n ~ othe FoHowin~categotles: A reworking oE
the chords rhc harmonic sh?~hrn the key, tempo and rhythmic style the form the melody A. CHORDS
The chords $wen pamcular attention are chords that begin secrions, target chords. and the chords of cadences, ~ c l e and s rurnarclunds.
The chords can have:
chanyed modalin. (alteration) changcd chord root (substitunon) Kormally the rnodaliy of a chord is changed when the root is changed. ALTERED CHORDS .4 chord alteration is simply a change in rhe modalig of rhe original chord iiithout char.1~ing the origlnai rooc Usudly the new- modally maintains the Funcuondiq. OF che original, bur it is nor a smcr require men^. I f chere is a number of notes nirhin a phrase of rhe origi-
nal melody, ny ro detect a nerrachord or modal fragment to assist in determination of the new chord's modalit).. If there is one melody note for h e chord, using commonrone technique (see Chapter ZrII in 1:ol. 1) m i l l allow a wide vancy of possible alterations. CHORD FUNCTION
T h e finchon of a chord refas to itr property of being ar rest or desiring resoludon. Chards defined as non-dorninanshaw l i d e or no desire ro resolve, chords labeled dominant do have a desire m resohe or are in association tvith chords rhar need co resolve (sec "Mornencum" in \ b l . I). To maintain a funcuon similar to che original chord. select an alreration with a rcsulring rnodaliy wirhin one to maochords above or beiou, in rhe order of modal resolution. CHORD FUNCTION CATEGORIES: Nondorninant - chords having a natural 7 o r no 7:
Lydian $5 Lydian b7 Lvdian 12 Lvdian 45 Lydian b3 Ionian #5 Ionian b5 Ionian b6
Ionian b3 sus4 no 7 sus 2 no 3
maj 9 no 7 min 9 no 7 Subdominant - can function as either dominant or non-dominant
Dorian 47;:5 Dorian 4'7: f5 Dorian 47, b5 Dorian h7. h5 Aeolian h7, b5
Doaan b7: 94 Donan b7, k4 Aeolian b7,V Aeolian b7, b5 PhI+Ilh7, $5
CH;a,PTER II :R E H AR HONI ZATI0t4
Dominant - chork having a b7 or a
112:
Mixolydian $2. $4 M~xolyd~an $2, $4 Mixolydian b6 Mixolydian Q2 Mixolydian 42,4 Mixolydian b?: 4 Phrysian h6, 84 Phygian b6,4 Phrvgian 6 . 6 6 P h ~ g i a nb3, b6
Laman ty6 Lomian 66 Loman bb5 Locrian b 4 Locrian p4 Alrered h6 Altered bb7 Almed bb6, bb7 Mixolydian sus4 Mixolydran no 4
Keep ir! mind that it is not really necessan KO sdecr a modality that has the same function as the original, thar the overall style of :he reharmonization rrpill dicrare the mode choice. (see t h e pamon on "sq4c")
GENERAL PRACTICE ALTERATION EXAMPLES ALTERED DIMINISHED CHORDS
Diminished chords are nonrnodal chords h a t can have a both a dominant and sub-dominant function. Due co thelr nonrnodal character, their vercical construction rends ro create an inconsistency of s o n c ~ r ;~s i ~ well a spacing quaiiy whm used in context with modal chords.
Diminished chords usuall!. have a sub-dominant function to hI miner or sus4 chords or a dominant function m I chords and are found borh in cadencia1 and non-cadential areas.
The following example is a listing of suggmted alterations to rhe basic O 7 chord ro create a homogeneous modal sound.
Example 1.2: Altered Diminished Chords
COMMENTS:
1 Tradirional rcsolat~onand spel3ing of the O r chord. 2 Aktcration of the 07 ro a Dorian f5 chord (see 1'01. I , C h a p ~ e r15). 3 Downr-vard r e s o l ~ ~ t ~altcrarion on. to a Dor~an$7 (minor/majos 7). 4 Use of the Locrian k2, half-diminished chord ro a sus chord.
SUBSTITUTE CHORDS A subsncu~echord will shoxl, a change in r h e root of r h e orignal chord: the chord's mod&-
vf is usually altered as well. The substirure root can be: a diatonic substitunon rvlrh diatonic chord spellmngs
a diatonic subsntution with chromatic chord spellings a chromaric substitution a "special case" subsnmtion based on the arpegpadon of a diminished seventh chord from the original roor iirhich includes the chrclrnatically subsntuted minor third and the tsitonc as well as h e diatonic substinrdon OF the M6 (b57).
A. DIATONIC SUBSTITUTIONS These reharmonnanon techniques have been desi-wed to be applied to rhe diatonlc tonal svscem. since mush of t h e harmonic material of the orieinal version mill shou-clear lliaronic key centers. A diatonic subsritucion refers ro a change of root char will be diatonrcdly rdaced to the Jonran mode of the key center of a p a r u d a r secdon if n o t the endre composition. As an example. if t h e chord being substituted i s an Fmaj7,9 and rhe key signature shows che key of C, a possible substitute root could be selecred from any of the notes of che C Ionian mode. DIATONIC SUBSTITUTIONS.
DIATONIC SPELLINGS
When a diatonic subsritution is madr and rhe melody note is diaronic to rhe lrey of the secrion or tune as a hole, the spelling of the neir- chord conforms ro the diatonic&!? related rnoddiv of h e modes derived from the original lonian. T h e folorving mble. based on rhe key of C, gives a cross reference to all of the diatonicalljr seiated roots u4tl1 datonica1ly spelled chords.T h e table i s constructed by d i n g rhe seven basic miads constructed from the seven different sreps of the Jonlan made and placing them over each of the seven dlEcrcnt steps. As one can see, this produces a combinadon of 49 possible diatonically substitutable chords. TABLE O f DIATONIC SCIB~ITUTIONS: Room
Triads:
G A80 C
DEl=
PIreferred: -
+
C G!C C6 C&2!4 C Ch6!4/2
CA
11
Ill
fV
V
VI
VII
D
E
F
G
A
B
G/D D-9
E-7 E4/6
G/f FA
G
A95u54
G4/6/2
A-
GJB 3 Phr
D-6
EPhr
F6M FAno3
G7
AAeo
BO
D9sus4 E A e o
C/G
A-7
D-
F6
G9no3
AAeo
BPhr Bo
A9no3
E Phr
D2/4/6ED-7 E Phr
FOt4 F
G6
F/C GfC
D9sus4 E-7
C/F
G9sus4 A9sus4
G9sus4 AAeo
BAeo B Loc B Phr
DIATONIC SUBSTITUTIONS. CHROMATIC SPELLINGS
When the rnelod!, norc of the original chord is not diatonically related to t h e composition's key, the chord speihng of the new7chord also w i l l be nondiatonic 10 the cornpos~rion'skey. In this czse, the nerr chord will be selected from one of c l ~ egroup of aitered-diatonic modes uhich h x both the melody note and one of its pitches in common.
Referrins 70 volume 1. the chords found in hech volumes art from the following sources:
unaltered parenr altcrcd no 1 altered no. 2 altered no. 3 alrered no. 4
Ionian h3 $7 (Ionian) Ianian h3.46 {melodic minor) k7 Ionian b3, b6 (hamonlc minor) 47 Ionian 9,bG (harmonicmaim) $7 Ienian b3, :5,9 (melohc mrnor $ 5 ) LtT
CHAPTER 11: RE+IARHONIZP;TION
AS an cxarnple: lf the an+d melody nore i s .4b, and the arig~nalchord is D Locnan t 2 (halfdiminished).and the key o i t h e rune or secdon 1s in C major (Iontan), any ofthe altered &atonic source scales and their modes &ar have &c pitches of C Ion~anand Ah in common mill be workable s~b~ticurions.
There are quite a number of selections that will work C harmonic major C harmonic minor f melodic minor F harmonic minor Bb Ionian Eb Ioman A harmon~cminor
C C
C C C C C
D
E$ EL
D
Eb
I3
Db Eh Db EL D? Eb I3
E
F
G
(AE)
F F F
G
G
(Ab)B (AE)B
G
(Ab)B
F
G6 ( ~ b )Bb G (Ab) Bb (G#)A\ B
F F
B
And so on... As ~$11 be covered in more detail later, the harmonic s y l e and will help determine which source scale ro select
its bas
rndod~crequire men^
As an example, some d~atonicsubsritunons for D Locrran 42 include: FROM F MELODIC MINOR (REFER TO EX. 2.3 BELOW) C lonian: F melodic mmor:
C C
D
E
D
E
F F
G G
A B { ~ b (Bb) )
G Phrygian 46, F Dorian if. E altered and C Mixolydian b6, having toots in common u l t h C Ionian as well as an Ah in their chord spelIing, arc selectable substitutions for he original
D Locnan k2. FROM Eb IONlAN
C lonian: Eb lonian:
C C
D D
E F (Eb)F
G G
A
B
(Ab)(Bb)
C Aeolian, F Dorian, and G P h n ~ s a nb6, haring room in common arirh C Ionian.as well as the .4b melody now in their spclllngs. are workable subsdmrions.
FROM A MELODIC MINOR: C lonian: A melodic minor:
C C
D
E
F
R
B
D
E
(Flf) ( ~ g )A
G
B
C Lydian 85: D Mixolydim $4,E Mixol~dianb6, IS Phrygian h6, and of course A Dorian k7 are subsrimcable. Example 2.3: Spelled-Out Versions
COMMENTS:
1 The oriyinal cadence wirh a D Lonian !42. 2 A dlaronlc substitu~ionof a Ph+an tl6 for che D chord with the G chord being an alteranon. both are daconic ta F rnelodlc minor. 3 Use of pedal point and a diatonic subsuruuon. 4 Subs~irurionsthat are diat-on~cro A melociic mrnor.
CHAPTER 11: REHARMONIZATION
by s y l e and function requirements. Note thar the diminished 7th chord s~mrncmcallydivides rhe ocmvc.
.4s wivlrh previous examples, choice of modaliv wilI be determined
Example 2.5a:The Roots ofthe Diminished Seventh Chord from the 4th (Key of Bb)
C1 I
I
rncone
Example 2.5b: Substitution Examples
COHHENTS:
Bar 1 : The basic nr-I' cadence Bar 2: Subsrimted roor (C) a third down Bar 3: A new root a rritone down (A) Bar 4: Subsdtuted roor a M6 down (Gb)
Example 2 . 5 ~T:h e Roors oft h e Diminished Seventh Chord from the 5th Including Tri tone Substitution (see page 116 )
v
-
trirone
III
bl I
bv~l
Example 2.5d: Substitution Examples
COMMENTS:
Bar f : The bzsic \:-I cadence Bar 2 : A subssituted b\'IIsus chord For the 1'7 Bar 3: A subsritured HIA- for the 1 7 Bar 4: A trironr subsnmtion for the 1'7 Bar 5: An added II chord to the ~rit0nesubstitution 1: is suSSested the smdenr conrinue rhe above process from tht \'I riegree and from the rocr.
SUBSTITUTE CHORDS
C.STYLE The first cansideration when startins a reharmonization project is co establish a svlistic goal. The style of thc rehmanlzanon uill dectmine the choice of chord qualin and!or function of dceianons and subsututions, the amounr of change in chr harmonic rhythm, the serecnon ofkey, rhyrhmic concepc, fern and any other of t h e previously cited arsan9ng conccprs. S ~ l ise most clearly defined by ~vhacreharmonhtion processes xcused at cadenrial areas: cycles. cadences and mmarounds.
Generally speaking,these are five ba5ic styles: 1. Standard - as the composer intended, usually h m i n ~ : (a) traditimal dorninanctnon-dorn~nantresoiurions (b) symmetric harmonic rhythm (c) similar modality and key "qualiq' (d) limrted reharmonizadon - s~rnplem e d u n g (e) limited chan2e in form 2. Blues/Urbane
- similar to the sound of the Ellington and M i n p scfiook
or dominant 7ch chard substimcions fur all minor chords found in cadenrial areas (b) selec~onof darker sounding "flaf keys (a) mtens~veuse of altered
(c) iower tessimra (d) use OF blue notes in melodic vanacions (e) "dark" colortones found at melodic cadence poinrs
3. Newbop - based on the syle of Charlie Parker's rewriting of"standards"bur moderated ro conform to a more conternporql harmanic/rnelod~capproach. (a)exrensi1.e use of trirone subsdcution (b) extenszve use of parallel II-15s (c) s,mmerric harmonic rhythm (d) limited use ofrcwricren melodies in a moderated bebop s ~ l e 4. Pop/Diatonic: (a) mrensive use of haronic subsricucions
(b) use of dominant sus4 chords at all cadenrial arm (c)seiection ofbrighrer kcy censers (d) relwed symmetric harmonic rhyrhrn (e) use of diatonic sLash/chord consmction (see Table of Diatonic Substitutions, p.51)
{F) use ofrelaxed, 8th-note subdivided rhythms 5. Modal: (a) u s e of reposejnansitioll harmonic rhythm (b) extensive use of pedal point (c) extensive use of the exonc modal chords Id) use of nondiatonic slash chords These general descriprions will be further illuscrated and explained in subsequent examples.
CHAPTER If: REHARMONIZATION
D. HARMONIC RHYTHM This rer'ers to the speed of rhe occurrence of he original chord5 - where and hoir ofren chords occur relative to [he pulse of the composition The harmonic rhythm of composidons of the "standard" r~pcnoircbased on the song form usuaIly is doiv and qmmetrlc The pal of h e reworking of the harmonic rhychrn is ro give l c a more dynamic q u a l i ~hv offcriny 2 conrrasr of s10\1- and quick movement and by offering a contrasr of o~enncssand denary In addinon, t h e resolu~onqualiq. of tadenrial areas can be cnhanced by rhe judicious use of ~ncrcasedharmonic rhythm immediately prior to rheii- resolution. The speed of the i i m o n i c rhythm is increased by rhe addidon of chords and is decreased by che delecion of chords or by the use of pedal point Refer to chc concepts of Repsc and Tranrrbion given in Irolume I of this book. Mutarions of a compos~rion'sharmonic rhythm are found ar nvo area?: C A E N T I A L AREAS
Cadenrid areas are sections of a mnal harmonic scheme which show an active movement toward a resolution god. Cadenrial a r e s are comprised of cycles. turnarounds and cadences. In addirion to having roor rnotrrments thar are &a~:anEcall?~ related and move bj. four~hs or fifths, their defin~tionis determined by rhe funmion and/or modalin. of the individual chords. The harmonic marerial of cadential areas can be of additional use in rags and endinss - alulaysa problem area for both the composer and performer. 7 . Cadences: Chords follouring rhc function formula of dominant t a non-dommmt. Thc formula is that of the \'-I, R'-\r-l and the ubiqtumus 11-\7-I w i t h i t s implied rnodaliq of
Dor~an-MkolyCiian-Ionian. 2. Cycles: A group of chords havlng Ehe same function andjor modality. or shou5ng a synmetry of funcnon andjor modality 3. Turnarounds: A group OF chords of mixed function/modJig thar are organized ro resolve LO a raryet starring point: usually ro the start of a section lf nor the bcgnning of the composlnon. N O N CADENTIAL AREAS Those areas in a set of chords ~vhercthe harmonic rhythm is slo~vesr.usually by having only one chord for a measure or nvo, or where chew is found a fen. passing chords thar havlc a non-functional role.
REHARMONIZATION OF CADENTEAL A M A S Mosr of the harmonic content of a mnal based ccompsidon i s made up ofcadencid forrnulas. In addition, mosr of this matenal is directly interchangeable uvrh alI compositions based on that system. W;I& this in m i n d it is advantageous ro have a number ofvariations (reharrnonizations) of cadenrial materials at r h e disposal of the jaw composer~improvisor.The foUouing is a pardd hsuns of exampIes of cadential reharmonizarions with explanations of the process. In addicion to chansed harmonic rhythm, the cechnlques used will include alrerations. swbstirurions, and permutarions of the chree. By no{\. the smdent should be able to recognize thar trimne substlcurion and some of the special case "7 subsdcurions are chromatic and only rhose which zse not ofthose groups wlIl be pointed out in the commenrs.
Note that in many cases rhe melody note o r notes may need ro be change6 ro conform to a cadendal reharmonization. There is no harm in doing so and usually the end result is aesrherically liable. A "target chord" is usually rhe fissr chard of2 section or of a phrase. l r usually IS identified by ics being rhe release point of a rensronfrclease cadence or irs being the object of a - p u p of chords in a modal refision contour. 1. CADENCES
T h e most bxlc cadence is the V-1 or the more defined n7-!,'-I. Takinz the IV-1'-I as a skclctal starting point. the followins example i l l ~ l s r r a ~ some es of h e above :wen techniques.
SUBSTITUTE CHORDS
trample 2.6a: Cadentiat Reharmonizations
Bb
1
IV
/ 1
:
1 2 ,
/
;
/
1j
/
I
Eb
i 3
Ao
,
Dalt
l4
Gb7
I
Fi
I
C-
n
I
,
/
t!
BB
I
n
c-7
I
I
v
'I
sba
I
G-9
'
i
BbA9
I
Db-
Gh7
Ff-
87
1
BbA
7
C-
Gb7
Fi'
87
1
Bbd
8
c-
n 1
F#-
87
/
/
!
1
Gb7
1 6 )
I
Bbd9
~ b -
5 1
/
I
13613
-
I,
9
Eb-9
I O ~
co
I
1111
72 '
1131 14 '
5
1 I
I
~7b9 F7P9
i
Bbd
Gb13
1
v f r 9
I
BLA
F9sus4
1
D/F
,
BbA
EhjF
Gb+ / F
C-4
F95v54
F73sus4
1
-
I
I
Ahl3/Eb
'
I
Bbd / F
i
BbA9
I
D-9
1
G-9
COMMENTS: 1 The baGc skeletal cadence. 2 The diatonic substitution of the 11 for the IV. 3 Tritone substinnion of the \TI chord for the I\?, diatonic substiturion for the remaining two. dl &ree chords have altered modalin. - rhe result is a cadence to t h relative ~ minor
key. 4 Tritone substirution of the 11 chord wlth alccration. 5 lncseascd harmonic rhythm by the addicion of chords through the use of II-Vs. 6 Tnrone subsdtution of rhe C- FJ 0')chords. T Uppcr neighbor approach chord so the rarpet F f and BbA. 8 Trirone substituted 11-\' for t h e V chord. 9 Alteration of rhe IV chord LO mmor. 1 0 ,4lteration of the I I chord to Aeolian b5 (Half-diminished). 1 1 Upper neighbor approach chord ro the tarset 177 uirh slower harmon~crhythm. 12 Slawer harmonic rhyEhm by t h e use of pedal poim. 7.3 More use of pedal point. use of a J S 7 , W to an altered V to a I/\'. 14 Resoluuon by thr Inner voice-led J3k in the C minor chord to the Bb of cbe F9s~is4chord 1 5 Thc "Small Fmu" cadence (see pg. 81).
outline of [he roots of the firsr chord ofthe first fotlr caclcnces - t h ~ illusnates s the use of that previously glven concept
y u t e rhe aimmished 7th chord
The above Iiscing could be increased significantly as could the Following examples The SCUdenr, having understood rhe concept shouid continue the process-
CHAPTER 14: REHARMON1ZP;TION
Example 2.6b: Selected Spelled-Out Versions ofthe Cadences
2. CYCLES Cycles arc a form of rumaround; the skeleral form has roots motqng In a series of fifih with chomls o E d the same modality. Thc reharmomzation process is purposely simple to manrain a cycle's modal defmition.
Example 2.7: Reharmonization of Cycles
I
10
! A/B
11 12
D/E !
B/E
73 ' E 7
B/E
1 DbiEb I
I AID
E/'A
Eb,'Ah
1
GiA
I
1 c!"
Eb/E
Db/Eh d113 A 1 3
A!O
Eb7
D7
AfD
I
D/G
I
BjCC C!i3
1
I G/C
F/G
DL/D
j
BICt
1 GIC
G!C
B~JC
~ h 1 3IG13 DL7 C 7
'
C/F
'
A.'B
I
B/E
I B!C
I
A: I3 Gh13
F13
, I
07
S V B S ~ T U T ECHORD^ I
COMMEhTS: 1 A b s i c skeletal cycle of dornlnant chords. 2 Tricone substicution of rhc Isr, 3rd and 5th chords. 3 Altered modally of rhe basic chords. 4 Altemaring c hang oFfunction and m o d a l i ~ rLydian augmented to s u d chords by slash chord consctucdon. 5 A non-dominanc cycle of slash chords. 6 T h e converse of $4. 7 Altered dorninmc cycIc. 8 Increase of harmonic rhythm by the use of TI-17s. 9 As abovt n4ch rritone substitution. 10 AI~ernadngmvddityJfuncrion,slash chord construction; note the pattern of both the bass line and rhe upper strucrure trlad in dl rhe slash chord tzcarnules. 1 7 Parnal pedal poina slowrr harmonic rhythm. 12 As above with difierent modali~/frmction. 'F 3 Added crirone substimred approach chord. 94 Use of I1-Vs. shifced harmonic rhythm.
1
3. TURNAROUNDS
The selection of [he skeletal rurnaround depends on che carger stan5ng chord's roc^ placement relar~veto the kg. of the section of the composldon. Most composi~ionsof the "srandard" repertoire start on a 1chord, a 111 chord (diatonic substlrution o f t h e I), a \4 chord or a I1 chord. Of course. rhwe is the possibility oFIinding a tune wich a chord's root smnng on a nondiatonic now but upon closer investigation it udl likely br Found that it had been reharmonized at some point before documentation. See che appendix. for a partial listing of runes and heir starting chord roocs
Example 2.8~: Reharmonization oFTurnamunds (From a 1 Chord to a I Target Chord)
C / 2
r
I E-7
1 E71r9
'
4
1 Bb13
"1
'6 7
h
/
; J
'3
15
1 II
i YI
I
A-9
1
1 G13
1F9
8b13 ' Bb-
Eb7
)
E-9
A13
8
'
A-9
813
Bb-9 EL13
19
1
F-3
Bb7
A13
110 I B-9
El3
111 ? C A
F9
1
Cb
1
i
! Ab13
3
G7
CA9
CA9
G7b9
1 GI3 Ab13 I D - 9
\
GI9 GI3
!
CA9
Eb-9 ~ ' ~ 7~3h - 9 Db13 I I A-9 0 7 3 Ab-9 Dblf
CA9
/
Dbl3
C19
3
Dbi
GI9
b - Db7
CA9
Db7
CA?
I
1 Ah-9
EL-9
A13
EL7
3
3
, Bh-
Eb7
) A-9
D7
1~
'E-7
A7
/A-9
D7
/Ah-
; Eb9rus4
1 Ahd9
I
I
j D7P9
A7h9
IEb-9
j
i
I
A13
El3
/
i D-
Bb13 ; E - 9
8-9
J
D-9
I
I farpet)
A-
IF-9
!
1 ;I2
I/
Iv
( i31b69
I
Cb9
cb69
COMMENTS:
1 The b s ~ skeletal c I-\'I-TI-\? turnaround. 2 Diaronic suhsnrurion of a In for the 1 chord - dl roo^ in 5&s3 Altered modality of No. 7 above in a blues/urbane svle. 4 Tri tone subsrimcion OF the 1II and Tl chords.
i
CHAPTER 11: REHARMONI~TION
5 Encrease of the harmonic rhy~11mofthe above IT the use of JI-Vs - this and rhc nmr ( 6 ) are in a bebop s ~ l e . 6 Tricanc s u b s t i t u t m ~of rhc U-17s of measures 2 and 4 above. 7 Use of 11-Vs and mitone substicudon. 8 A variation o f t h e previotrs example. 9 T h e F chord ha5 dominant fun&on to the Bb7 nitone substimr~onapproach chord to rhc A13: h e rema~ningbars continue the process. 10 Another variation of 85 wich the use of 11-lls and nitone substirution. 11 One more varianon. 12 Slower harmonic rh?rhm in a modal syle: chromatic substtturions. Example 2.8b: Application of Methods ro "I Can't Get Started" (ms.6-8)
COMMENTS: 1 Stock turnaround, cargrc 111 chord approached by a n upper n e ~ ~ h b otriton? r
subsrrmcion. 2 Arerarions in a bIuesiurbane style. 3 Increased harmonic rhyshrn by rhe addition of 11-17s. 4 Parallel II-\'s - Sehoppish in style.
SUETITUTE CHORDS -
Example 2.8~:From a I Chord t o aTarget 11 Chord
Example 2.8d: Application o f Methods to "Body and Soul" (ms. 6-8)
COMMENTS n % L € 2 . 8 ~ ) :
The bait turnaround 2 Added d0minan.t upper approach chord to the w e t III chord, also the rrirane subsrirution of the dominant \q1 chord. 3 Tntone substicution and alteranon of the 1 chord: also t h e IL chord of a 11-X7 to the w p e t III chord - bebop style. 1
bl
CHAPTER It: REHhRHONIfATlON
4 Alrered modalin'.
5 Tritonr subsutut~onand dcerauon of the nI and 17 chords. 6 More substitutions and alterauons - ~ i n ~ s l b ~ u e s / p o p 7 Another mriatton of %. S Incrca5cd harmonic shyrhm by he use of H-\k, ~ h Gb7 c is an upper neighbor approach chord to the target F minor. 9 .4 11-\1and altered version of 53. 10 U s e of peda1 point 10 slow t h e harmonic rhyrhm. COMMENTS (EXAMPLE 2 8 d , "BODY AND
SOUL"):
1 The stock r.arianon a~iitha cnrone sub approach chord to the I11 chord in ms. 8. 2 Added harmonic rhvthm, bIues/bop in style. 3 Simple chromatic bass line, blues s y l e alterations.
Example 2.6e: From a Minor I Chord to aTarget Minor I Chord
/ VI
I
F-
I/
/
/
I
II
/
1 D0
F-9
1
I
/
/
GI3
I Calt
2
E
F-9
Ab13
Galt
1 ~alr
3
:f-9
! ,4673
Dbb
Gb13
I
I
14
5
I
F-9
b
Datt
!~
9
b
6
F-9
1
7
F-9
1 AblBi
8
i~
-
7
Eb-
I Calt
~042 ~ Ah7
C-9 ~ ~
9
1~
h
I Ab-
I
~
9 C7V9
Db7
Db-
I Bb13
I
CSS5
I
4
Gb7
A9rur Bb13sud
COMMENTS: 1 The basic rumaround. 2 Tncane substirrution ofrhe 11 chord, alterations. 3 Alterations Ad tnrone subsamtion for the 11-1' cadence. 4 AIceranons ln the Mings,blues syle. 5 A pop%lues style, i.e.. "Hit The Road Jack." 6 Increased harmonic thyrhrn, closer to a bebop style. 7 Obscure modal variation. 8 A modal/pedal poinr variauon.
Turnarounds and cycles are of Eylrerne irnpomance for both che composer and che improvisor: a thorough undersmding of their construction, voice-leading and funcoon is a top priorit?. in the learning process. It has been sraced (by Kennp Werner) thar knowledge of.and thc a5iliq. to improvise over turnarounds wil! assure rhc aspiring jazr arcisr " 3 ~ galarc." s
SUBSTITUTE SYMMETRIC PATTERNS This is a method of rehamoninns a cadentid or turnaround area by subsnmring all of the roocs of the original with rhosf that are derived from a created symmetnc panern. T h e gods that are usudy met are that the subsnmred gmup resolve m the q e t chord in the same d e n t i d rnanncr as the orignal and thar the starrin~chard's root be thc same. There is quite an increase in harmonic rhyrhm with this rechnique so experimentation must be done until the resulting number of chords works with rhe specified tempo. Of course. this technique wiU require that rhe melody be Altered, recomposed or even deleted for thar sccdon. Subsntute syrnmerric patEerns can he of rnnslcal use at final endings or codas where there is always thr problem of redundanq at rhc least. and indecision ar rhe mosr. And in some cases, where che pattern is long enough. one could substitute an encire section. usually the bndge, rvi th y n m e t n c marerid.
This method is most represented by the reharmonizanon &om of John Colrrane, Joe Henderson and ! e m Bergonzi and because of the intrinsic qualities of syrnmeFr. the method should be used only occasionally and wizh caurion
There are two methods of creating symmetric pamerns for use as substituce roots in cadences and tslrnarounds. A simple, yer effective method is co merely scr up Larger pitdl tonalirips h a t symmetr~cailydivide the octave. then add cadenual macerial rhat defines the target tondiues. The m70considerations t o be made are the resulting harmonic rhythm and cwerd l direm-on of the mrget tonaliy pitches. For inst-ance, you can di171de t h e octave in an upward or downward direxion the foLIoiiing ways: Symmetric Division
Tonal Centers
84.mitone M3, augmented
2
Measures 2-4
3 4
2-4 48
6
4-12 6-24
m3, diminished M2. wholetone m2, chrornztic
12
The fewer tonal cenrers ~nvolvcd,h e less dense rhe harmonic rhythm and number of mcasures. and the more similar the new maceria1 udI be in funcdon to che origina1. Selecdon of the octave division will depend on che number of measures so be reharmvnized and rhc number of chord5 to be included In the skeled harmonic r h ~ h r nHaving . es~ablishedthc skeleral material, the next step is to add material to change h e h a m o n ~ crhythm, change modalirjes, or to reharmonize as in previous examples to meer 2 sryle goal.
For a more comprehensive approach to creatrng symrnersic patterns, refer ro Chapter XXB, p. 9s of Volume 1 of t6is book.
Example 2.9a: Substitute Symmetric Patterns
Tbe e y a ! d~tptscon(mtorre) of thr n c ~ ~ v :Precfion , doc1 not afect the m
1 T h e skeletal turnaround with its two t o n a l genter5 and basic dominanc chords. 2 An increae of ha~monicrhythm by addrng the PT chords of the \?7s.
CHAPTER li. REtlARMONIZhTION
Example 2.9b: Augmented Upward
The three-par: division of the octave (augmented), The use of chis divis~onof r h e octave is found in man), reharmonizations due ro its ex-tensiive use by, and subsequent influence of John Coltrarre COMMf NTS: 1 Key centers established by rhe skeletal partem. 2 Added 11-17 cadences. Example 2 . 9 ~Augmented : Downward
COMMENTS:
1 li? centers esrablished by the skeIetal panern. 2 Added Il-V cadences. Example 2.9d: Diminished Downward
SUBSTITUTE SYMMETRIC PAlTERMS
COMMENTS:
I Kq- centers esrablished by the skeletal pattern. 2 ~ d d c IT-\' d cad,-nces. Exarnpke 2.9e: Diminished Upward
COMMENTS:
1 Key centers es~ablishedby the skcled patern. 2 Added 11-V cadences.
Thc four-part division (diminished) can get quite rhyrhm.
active
wish che increase OF harmonic
-4s mentioned before, o m should be careful when working with spmmetr).. as i t can sound
conrrivial arrh over-use.
The above examples being skeletal could be f u d e r reharmonized by changed modally, crirone subsrimtion, or b~ increasing rhe harmonic rhythm with the addition of more II-\k or by slowing it dortm ixi-rrth the use of pedal poinr. or use of any OF rhe cechniqucs that were ciemonsmced in previous examples.
CHANGING THE HARMONIC RHYTHM CADENTIAC AREAS
OF NON-
As stared earlier, ths i s the chanSing o'rhe harmonic rhythm by t h e addicion or ciclction of chords i n he areas of a cnnd-based composition that are not defined as cadenrial. These WEaS can be one or two measures of same chord or areas where there is p a r d e l chord movement toward a target chord or secclon. Depending on she tempo of the camposition, the technique for increasing rhe harmonic rh~.thrncan include the simple addition of a chord irnrnediaceIy pnor to a target chord to rhc adding of as many as eight chords TO a measure (in 4!4 time). &o of use is the addition of cycles and cadences. T h e slow~ngof the harmonic rhythm is accornpIished by either deledng chords 01-by rhe use of pedal-point.
Arran~er/cornposerGil E n i - ~ sused &cse techniques txtensively, as a bit of listening LO (11s works wilI reveal. The rh\.thm section team of Herb~eWancock and Ron Carter w h ~ l ewith Miles Davis also used this rechnique eften when performing "smndards" alrhough to a lesser degree than Gil.
THE TECf-lNlOUfS: Tne sirnpIest change in harmonic rh,ythm is to add a chord immed~atelyprim to a target chord. These target-seekins chords are called approach chords.
Approach chords mn number more than one and are often used in groups of w o or three depenhng on rhc temps of the compwition. Thc me of mow than chrce chords found pnor to the target chord produces r h c perceived eff'ecr of being parallel "added chords." In addirion, approach and added h e r d s usually are of rhe duration of a half note or less dependunr upon tempo. The roar selecrion of rhe added chord(s) is detrrrnined by thc melodic qudity of t h e bass lrne; the desire to adhere to the moddiry (&/diatonicism)of the phrase or section or rhe desire ro use free-form chremadcism. If one chooses to Insen 2 #cIe or cadence, rhc root rnovemenr. is predetermined a s skips of a fifth or fourth. harnple 2.1 Oa: Added Harmonic Rhythm ("I'm Getting Sentimental Over You," ms. 7 -5)
E ~ A Dalt
I
~b
C-9
~b-9
~ h ? 3~ 7 ~ ~ ' /.13
Walt
Am
C-9
ski3
A-9
Galr
Dalr
Galr
~b13
C13sus
Calt
Gb13
F13sus
FI 3 : 4
CHRNGIMG THE HARMONIC .RHYTHM OF N O H - C A M m A L
WJith the above in mind, one could approach the taqer chord by eithcl- a half or whole step above che t a F e t (upper neighbor). or a half or whole step below rhe carget {lowerneighbor). The seiectlon of rhe approach chord's rnodaIiv depends on rhe need ro define chord h n c tion, mainmin a homogeneous modal contour or just to saris@ one's personal preference. In mosr cases an approach chord's rnodaliv will be the same as h a t of h e r q e t chord. For subsequent examples t h e term original will be used to refer to che chords that are presumed m be the composer's; rhe term stock will be used to mean the chords that are found in "fake books" and common practice performances.
COMMENTS (EXAMPLE 2.10a):
1 The original D6 and C7 made into a 11-V.tritone subscimcion of the DbG with a modd
alteran'un. 2 Two added approach chords of the s a m e modaliy just prior to t h e first urger chord A-11: an added upper neighbor (tri~onesubsritudon)chord prior to rhe G half-diminished target chord 3 One more added chord. D Ahered, completing the y o u p of approach chords ro measure 2; the use of t h e D. G Altered, the add& upper neighbor DL13 and Gk13 put this version in a '%lucsJurbane"styIe. 4 Starung ~ ~ the r diat-onic h subsntunon of a C minor for the previous A o chord the approach chords now have a new targer. The A67 acrs as an upper neizhbor t o the G7 in addirion to beins a tritone of the .4h chord of the previous version the 67 to Db13 is an added cycle to the targct C-9; the Bb7 is an upper neighbor to rhe A-9 wirh rhe remaining chords a d o m ~ n a ncycle t cn the primav target F chord in a bop,'bIues syle. 5 The f i n d version is In a quasi-modal style with the alteration of the C-9 to a C9sus4 and che addition of t h e B-11. Measures 3 and 4 show the use of parallel KT-Vs in a bebop sr;vle. Note the otleralI diatonic relationship of the bass melodies of each version ro Eb Ionian,the songs key. Also, the b a s melody moving in generally contrary motion &amaritally increases the wnsion until resolved by the targer c h o r d
Example 2.1 Ob: Spelled-Out Examples of Versions No. 4 and No. 5 of Exampbe 2.f 0.a
See
pg. 118 "Semi-Mental."
Those who have played "Yeswrda!s" know of rhe problem area of measures 5-8 where h e harmonic rhyshm 1s very slorrr as com~aredto che melodic rhythm. Thr following s h o ~ l nvo s wraysto resoivr chat problem
CHAPTER II: REHAAHONFZATIOP
Example 2.1 0c: "Yesterdays" (ms. 5-8,spelled out) byJerome Kern
Original: D-
G
Fa~th o nfc r&hmjur a v m b n with A
6e
I
E7
lou up rmpa.
COMMENTS:
'I & 2: Paralle! chords of rhe samc modally as rhe firsc in the bsrs rnelnd?' in c o n n a y motion co the main melody. The B dr acts as a dominant chord to rhe target Bb-9. 3 & 4:The P4sus4 is a trirone subsrirudon of the Bo,-4th a change in m 0 d 2 h ~ .it also is an upper nci~hbordominant chord ta rhe E9sns4 tatgec. Example 2.1 ad: "Yesterdays" (ms.5-9,spelled out) by Jerome Kern
COMMENTS:
5 & 6: Harmonized by two-note melody groupings ivkh parallel Lydim a u ~ m c n t c d chords, t h e style is c ~ n c e m p ~ r a r y - m ~ The d d . second half of rhe phrase is the same as the previous example.
In Ex-a,inplt 2 1la (nexc page), notice chat the selected subscicurions for t h e original BA are from t h e previously mentioned "special case" O 7 chord: 3-D-F-~b. The seIected subsnmces are then put over rhc dominant Bb pedal poinr producing an increasin~tension that udl ultimately be resolved when the Bh becomes an Eb. Part n is o f slower harmonic rhythm although rherr is no melodic movement in the bass part, the upper stru~auresdo aifec: the overaU harmon~ctension,j'rhythm. In Example 2.11E (I) the selected pedal poin: is thc ronic and has a lesser need for a bass rntlo&c resolurion and rcnds to be sIishrly more relaxed than pan 11. Nodce that the oripinal m d the substituted chords In the last measure are d~aronicallyin common with ~b melodic minor (.Ab Dorian 7 ) .The chord in measure 2 of 11 is derived from harmonic myor (Ionian h6j for those nor having stuclied Vol. 1 of rh'15 text. Recore yoins an ro rhe final p u p of reharrnonizac~ontcchnzques, we ufiU look ac an example which includes rVanomversions of 2 complete composluon thar utilizes a11 of the methods d~scussedprciqnmly.
CHANGING THE HARMONIC RHYTHM OF NONC&D€NTIAL
barnple 2.17: Slowed Harmonic Rhythm, Excerpt from "Night and Day" by Cole Porter
(b)
0b Phtygian
Slowed h o n i r rbthm 6;1. the MP ofpedalpoinr (sce pg. 120 and pg. SO).
Example 2.1 2: Excerpt from "Dancing In The Dark" by Dien and Schwam
-
-
I
I
I
I
I
I
i t
CI A
I
!
, I
urn
-
I
I
m m -
r.
I
-
t
I
e
1 ,
-
I 1
CHbPTER H: REHARHONIZATION
''Autumn Leaves" is an apprnpnate first u;ampfe in rhat its harmomc consrrucrion includes arensive use of cycles and turnarounds. Adhcionally, it i s a very popular harmon~cformula among improvisors, composers and the Itstening pubric. There are many recorded vetsions of rhe tune; the most sophkticare$ 1s b!~M i l a Dattis. The harmonic materia1 seems to have ties to folk music: probably of South Wesrern European source. Refer ro rhe "Theme From M.A.S.H." and "Europam (Gar0 Babieri) for orher songs based on rhe chords of ".4ummn Leaves." hample 2.73a: "Autumn Leaves," by Kosrna/Pr6vert (Reharmonizaion Table)
~b Svle stock
A sections
/
C-
C- CbiB
F7
87
BLb
n
1
Bop
Db- Gh7
C-
Fi
B-
E7
/ Bb-
I
W9wr
EL737
2 Modal
D Phrygian
1
1
4
1 aa
Bluer
Ebi
1
Eb7
DLDIU~
I
7
I C9rus
G Dvrli
Dalr
h t r 4bl3
Gilt
l
D7
G-
DAalian
~
I
I 1
%
Rh Z 5
1
%
G-9
G-
!A.
EL7
117
G-9
Galr
j A0
Eb13 Dsus Ah;3
G-Il
Galr
Gus
Dbsvs
l
!
/
Dsur
I=-
/
(F9sur
[ Ealc
Dbair
1
C-
Gsus
1
%
/ I
1 ~k.4 E9scs
~5'1~5
%
1
813
,
I ELA I
A9svs
%
E95115
Ebsus CL13 F7"
%
Dko!~an
I ~7
GI-13111
D~rvs
D7'
1
D Phtygian
IG-
D91vr
1~sus
D7
*O
I
I A ~ I~ ~
Erm
1137
/AD
3 Modal
LUS
Pwr
1 D!F
7 , Pop
1
Ebd BI-
I
Modal, F95w
i stock
1
EbA
BbA
/ Bop ;pop
/ / / / I / / I /
I////
!////
I
Dsur
1~
Bib E7
I
a l ? ~
fid
1 C sections
1
Srock pop
110
!
, EI~YI
I ~ o d a lEb9-
1 Pop Bop I
I BOP
1 /
Bb7
%
C~SWS.
1
D Phrygian COrur BIA Bhrur ASW
1 Bb-
1 1 /
D~III
1
-
C7
D7
EL~YI.
Dalr
Eb9ws
j Wsvs
(31"s
iibl3"'
I
G-9
8-9
E-9
i
Rsvr
1
8-
5'
Bk-
F
&ah
Ehus
A-
Di
G-
Ealr
I\-
Di
j G-
CaL
i
G-
D7
Ebd
ELAUS ELI
/
I
AB
Oalr
1-
x Gait
'Cpws ~
j
Di
C-
/Ah-
7
G-9
Dsvr ~
A-
G-
7
C7
DL7
/Gait
I - i e comments for the above a d subsequenr examples will include only h e mosr saIienr as by now rhe reader will have become quirt familiar ~ i c hthe techniques.
COMMENTS:
1. The me af the G altered in h e curnxound of vzrsion 2 provides a stron: dominant funcdan LO rhe II rnlnor s m i n g chord. 2. Vcrs~onchree u i ~ hits pardlei 11-\'s is a popular one among the bcboupers a n d is heard often at cnnccm and "jams." 3. T h e use of sus4. Pliry~ianand Aeolian chords in slow h a ~ m o n j crhythm, as we11 as the use o f pedal point, easily defines version 5 as a modd reharmnmzarion.
CHANGING THE HARMONIC R t f U H H Of HON-CaDEHTFAL A m 5
Bridge sedtons:
1. Version three provides an affective balance to 2 "busy" bop V M S ~ Dsuch ~ as version 3 above, ~ i r hrhe LL~Cof pedal point and modal chords. 2. Version 4 is of interest due to the use of chords from the unusual source, melodic minor $5 (Dorian #5 k altered bG).
k m p l e 2.1 3b: "Aurumn Leaves" (Illustrating a Combination of Many af the Above Given Reharmonization techniques)
d
-
e-64
D ~ S U S
En13sus
Ealr
Dalt
~b-11
D alcH
D9sus
Walt
6 C o p ~ l p h 1947 r by f no& & CIC., Par15 OCopgh~ 195P by Edwon Marbar GmbH, H a m b v fL.r ~ Deucschland
~b13:"
DOsus
G alt
Dalr
G-9
~b9sus
~ 7 f "
~b13sus
F-13
F i 3sus
,
~b13
Ir 1s suggested to the pla).crs rex&g chis book thac for chis and other mulci-versioned reharmonizations rhat a pcrfo-ancc lndude a different version i n z each choms. As an example, rhe author uses rhe f o l l o u ~ nFormat ~ when performing rhe mnc:
[PI11 vcrs~an2. I.U]version 3, [El version 3 andlo; version 4, [C] version 2 and/or version 3 Of course, alternating during
'%lo\ving" choruses is also suggested.
COM HENTS:
combination of h e reharmonizaSons No. 1 and 3 f o n d in Example 2.13a above. The inclusion of the Lydian augmenred chords gives it a contemporary modal sound as well. Bars 5-8: Like 1-4, a combinanon ofversions 1 and 3 above. Bars 9-12: A bit more bop-Iike with rbe included H-17s. Bars 1 3 -16:Similar to reharmon~zationof version 2, from a b m ~ Bars 1-4: A
T H E BRIDGE
Bars 17-20:SpeIled-our a m p l e ofversion 3 & w e Bars 21-24: Continuation of verslon 3 above.
C SECnON Bars 25-28: Like version 5 from Exarnple 2.13a Bars 29-32: Continuadon of version 5.
ARRANGING TECHNIQUES In addidon 10 changng chc chords, harmonic rhythm and melody of a preexisnng cornpos~rionre meet our creative goals: a number of mechock can be applied chat faIl a i t h i n the c a r c p n afatrang~ngrechniques.
An often overIooked but effective modification of a "standard" is to simply put it in a key thac is rarely used for shar parricular song. In rnnst saws, whar is referred co a rhc original key of a song differs f m m the orignal slncc ir is rare ca have access to original documentation of the source "scandard" whether in written or recorded form. A good example is the composition " S d a By Statlight." "StelIana beautifu! $though ovw-played jazz smndad is the main m u s ~ c drheme of the movie The Uninvited. The ori$nal versron. quite different from che familiar jazz version, is a rhapsodic, romannc theme in the key of B major. Most
jazz performers play "Stella" in the kq+of Bb major. f i e change of kc!' \%>asmost likely due to rhe desire to put i c in a key that works well for numpec and renor saxophone. both Bb keyed instruments. Since conccm Bb is rhe wlccen key o f C for trumpet and tenor sax. rhe new key cholce is probably related to a desire LO ecasc the improvisation difficulties of nhat can be a dificult tune in any key.
Rather chan change the key t o accommodate any perceived ~nstrumental problems, amining a freshness of sound or a sense ofan improvement of rhe original should be the primary purpose for a key change. iT'hcn select in^ a nm7bey, consider the follomin~
Alllchough open to ciiscussion. man!* respond to rhe the sharp keys a s bclng bright-sounding with rhe flat keys soundins dark. There may be some va1id1ty to this perception with strinsed instruments but ir best EO make your own judgment by experimentation.
"Tessimra" denotes che genera1 placcm~ntof &e ranye of the song wirhln t h e grand sraff, thrs has a clearer cffecc on the brighr to dark quality of a mne due to the laws of acoustics. If rhe selected new key places rhc overall range of the mnc much lower or higher than it was, i c affeccs how rhc fundamental of each chord is perceived which subsequently affects the sonariq of each chord. (see VoI. 1appendix)
STYLE Select a key chat enhances the stylistic qualiues of the reharmonization: a lighter, higher, brighrer key for 2 pop style; a lower, darker key far thc Minps,/urbane s q l c . You will find rhat the kej- choices thar work well for rhe Minguslurbanc are Bb, Db, Eb and Gb with C. D, E, F, G and A for a lighter style.
If you are reharmonivng for a specific instrument, conslder chz sound charactenstics of chat instrument by register and select t h e key char best satisfies char goal. Thar rhe I~eysof Bb and Db tend to sound dark and warm on tcnor s a x may be a garrial explananon for the use of chose kevs with the urlmne sryle. -41OF the above being subjective, t h e best approach is again - cxpcrirnentarion. Play rhc already reharmonized chords in various keys keeptng the styiistlc god in mind. If there is n o s t r a n ~ s y d i s d goal, c start b!' sclecnng 2 key thar 1s opposite in quallry from rhc reference key. If rhe reference kes is dark a n d low as rn Bb minor, cry E or E$ minor. If the original key 1s Eb or F major, r y A or I3 major. .& an example. thc aurhor. tired of playing "The Girl From Impmema'' in F malor at as rhe usual medium paced bossa nova pur i t in B major ro be performed very fkic in 2 swing scylc, the rcsdt was a renewed and excising sound. The new chord voicin~stook on a refreshins brizh~nessdue to the change oftessimrz. pamcularl~.the A6!9 and sus4 chords. The bndge. now in C major also took on a nvholc new qualq.
CHAPTER II: REHARHONIZRTION
MODULATION
This Lerm denotes che &angins of the key of a section or aU of a cornposioon wichin its arrangemenr. hdodulation can provide a dramatic effecr if the new k q ( s j are br~ghterand/or h r ~ h e than r the startlng key. It- is common to find a modulation up a whole KOnC oi a shird for the last cnorus of an arrangement. s o t as common, bur recommended is the changing of the key by section: r h firsr ~ key AAB. wit11 a hisher key last A. Or put the bridse (E)m a dlfferenr key: first key AA, new key B,firsr key 4.There are so many possible variations of t h e use of modulation you must again - experiment.
h o t h e r non-harmonic/non-melodic variation thar can be made rs to change he rhythmic 5i+e of chc onsnal verslon. This can be a change in the rernpo, the rnerer and/or h e intcnded performance style (swing, bossa n o v h Afm,'Ladn). A change of cempo n the sirnpIest ta accomplish: playing what is normally an up-rernpo as a dou~ballad. Or both a change in tempo and style: a slow bolero played a a v e 7 fast swing rune. Lasdy. changing the meter can be an affective means of creating a "fresh" version of a "tired' overdone standard Ty changing a 4/4 sswlng tune co 3/4,6/8 or rhc more wonc lo$, 7 / 4 or II/S. Of course you must cons~derthe change in harmonic and melohc rhythm a s a result of the changed meter. Evcn more exoric is the changing of the mecer by senions: AA 4/4, B 7/4. A 4J4. The possibilities are extensive - so imapne and experiment!
Thcse two are the Iasr irems to investigate ro complete t h e prqiect to a finished end-product. Whacmer the form of the original source material (most ~ 3 bc1 sons form AABA), the add~ngof cxtra sections uiIl allow the composer to exyrcss his/her mosr personal creac~ve abilities as the neu-material will be most onginal to the composer. Consider adding w tbe basic form an introduction: a coda, interim linking secaons within the arrangement and rocally new unrelated secnons if desired The new sections can he based on r h e original source material or completely new. Timbre refers to instmmmc selection for he ultimate performance. Scoring, orchesrrauon or instrumentauon should be ctmsidrreci in tandem wit11 style,tempo and key selections: all combined rogrher coward an end-produc~.Orchestranon 1s beyond the scope of this hook and ir 1s assumed thar t h e general reader has some background study in instrumenration. If not consulr the recommended readings at the end of che chapter.
Ar this point, much informanon has been prescnred which can be applied LO the task of a reharmonization projecr. Realize thar not all the techniques Nil1 be used at one nme but all cenainly should be considered.
T h e last subject of ths chapcer is t h e reworking of the melody of the ori_@nalsource song. Melodic dseration could include the simple tweaking of a few nnres to match a change in a chord ro the composing of a whole nen- melody as in bebop compositions. Bur firsr wc tvJ1 Imk at a number of rehatmonization examples which uill include comments resarding their most salient features.
I
ARRANGING TfetlNlQu~s
REHARMONt ZATION EXAMPLES Example 2.14a: "Body and Soul'9y johnny Greene
(original key: C, new key: DL)
l/
~b '7.
Cvnrk
/
I EL-9
~ b 7 ' ~ 'I EL-9
LUrbane I i~~~~
1. stock
I
8bThS
EL-9
I/ 1
/ ! I / /
/
A335us
Bb/h
/
/I/
/
/
/
/
/
Ab7
D~A
F/Ab
~ 7 ' ~ : " R-ll
CP
F-A
Eb-9
I
Eb-9
1
/
/
EO
bl:
Bbalt
F g
Bbsus
1
I
/I/
BL-9
Ah7
1
Db
Db
6-6
IDA
/
/
F9
Rrus
/I/
1 /
/I/
/
,
/ - / F 7
3b7
Urbane
Modal
I
1. Stock
-
E-9
IDb
1
2. Urbane at,a/c -
3. IModal 4.
1
TB~C'S
l l .Stock
12-Urbane
8
3. 1Modal
(' see .%I
9
IDA
~ DbiA
E-7
A7
E-7
ligsur
~ ~ h t - y gm t A
A Phr.Gsus f? A e d .
CUE. DSUSA
E- 7
G-9
I
DbA
E-9
A13
DbI
E-9
A73
IDA D39
R-9
A7
1
lirvr
A ~ B&us
~ U S
DA
V
BbA Db7
r
IDA
4
I
I
A7
I
DAj.4
/ DA
&US
F/G
Asus Ahus Gws
E/G;CAtG
BtG
EIG ICb
Bb-7 Ef.7 A ~ oBsus EA G7 C13 873 &95us
F/G
E!G
~ l 3 ~ 1 3 ~ 1 3 s v s ~ b ~
1.14b)
COMMENTS:
VERSION f ?: ( T O C K )
T h e reference set of chords and key for h i s tune u the generic "fake book" changes. T h e original key is C but performers preFer DL which 1s great for tenor saxophone a well as for the dark qualiry rhat rhe key implies. VERSION f2: (URBANE) see pg. 83
The overall svle. showing the influence of Monk and M i n p s , is the urban? sryle. This 1s a reharmonlzation by rhe author and is rhe harmonic basis of the composirion "Sou1 Bod" Found later in the chapter among the cxamplcs ~Creharmonizations~ 1 1 tah nerv melody. The amount ofnandiaconic subscic~tionrequires thar a new melody be included. Note rlic degree ~Fchroma~icisrn m thr bass melody. Thc use of a tritonc substitution for the Bk7?5 in bars 7 and 2 wouid have made the bass melody zlmosr cornplerely chromatic. The pedal poinr bridge ofirs a clear contrast co rhe bass melody of rhc A section boch rnclociicaljy and w ~ r hits harmonic rhythm. The extmnve use of altered, 7#5 and 7t.9 chorcis is t y i c a l of the blucs/urbane srylc.
CHAPTER 11: EHi%UHONIZATION
VERSION +3: (MODAL)
T h e prominent use of sm4 chords as ell as che inclusion of Phrygian and Aeolian chords s u g g c s ~a modal style The rnodaliT is modera& by the use of altered, half-diminished and minor/rnajor seventh chords: chords found in use with the urbane syle. The Colrranc symmetric subsurunon is found at the l x r half of die bridge.
Of note is t h e following: The G-9 KO G7C9 1s a n-17 the diaconicd>7 subsrimred F-A for the DbA in bar 3 . The Eb/Ab acts as an upper neighbor dominant chord r~ the G-9. The use of the blTIo lower nci~h!gorto the \?9sus4 (Go to A b 9 ~ ~in4 bar ) 7 and 19 (Ab" ro .49sus4).
An added chord D9sus4 in bar 18.
In cur dme, John Colrrane's version has extended use of a pedal pornr vamp in the A secdms: rhe use of whole tone harmony at the turnarounds. (noce the augmented triadic upper structures movmg in whole tones) and of course the use of the s y r n e r r i c subscirution pattern in the bridge area O n she recording, there is an opening vamp figure and an out-of-rcmpo reading of rhc find turnaround before going inro an in-rempo coda (shown belo~vj. Example 2.1 4b: Absus Vamp
Coda:
DbA
1 FA
M
1
Eb-3.4b7
I DbA GhA 1 F-9 Eb-9
Note h e oiltline of the ausrnented triad for the first three roocs. b m p l e 2.1 4c: Version No. 3 (Spelled Out]
[
Db4
ARRANGING TECHNIQUES
"Stella by Starlighr." a v e T popular standard in the jazz ~ o m m ~ nhas i ~2 ,beaucifd melody and great blowi in^" chan~es.As mentioned previously i t is anothw sons chat came from the pen of of a movie composer. Ic became popular after Frank Sinam recorded ir and Miles Davis under Sinatra's influence subsequenrIy took l r as "his own."
I
1. Original
12. Generic 3.
[ ~boh
1
i ""--
~m
1 ,65
Eo
1
-
Herbie
-
i
C-9
Aalt
/ ~ 9 s u r 513ru5
(Db-9)
t
; F9sur
1
B13sus
Bi13u5 Bbf35u5
I
(stam or measure 91 I
1
f G E ~ E ~6;
Miles
i =-A
I
1B L ~ ' ~
?
F9
F13
~
I
1 d,b9 3
1 BA ~
~
Eb-6
l Z ( A ) l F 0b/F
&lfrur
! BIBbA-9G-9 I
%
Eb&
15bA
Ab9:11
A13sus
F9
1
Em
~7~'
ED
FVbS
I
1 13bh
I
I
Eo
i Em
Aalr
I
; Dalr
I. ~ngi.,!
I~
1 2. Generic
Gait
!3.MiCes ,
Galr
j4. Herbie
7
"
i ~ 1 3 s u s Galr
~
~
i
1
x x
cA
%
C-9
%
C-9
!
C-916
I
I
1 G-9 F'IIG
j
&9
1 Ee
x
~h-*13
%
~ b a Gb9sus
1
CHAPTER Ii: REH~RMONIZATION --
x
I. Original
2. Generic -
j D7" %
4. Merbie
Gbb
1. Original
1
z
iE-71
/
4-13~~s
SIJ'~/F
I E-11
E A13svs
Bb61F
I
G-9
1
lEdl
Gk-4
1
E-A 6
f 9
I
E-13
I
I
A Phwian
Ab6
,G i
Cv
0b
~bllsur -
/
1 nL9
Gh13sus
/ vP9
BLA
A-9
G-11 F11
Bh13
EL73
BLll
I
1.Generic
[Db-6i1415
i Q - 7 ~ ~
EbA6
3. Miles
-
-.
3. Miles
1
4.Herbie
/~hl3rus
~ l h u s
akus ALalr G P h Gal:
Cat
Fatt
1
F-11
1 ,
I Galt
COMMf NTS:
VERSION +I
The original chords as heard on the movie sound track. transposed to Bb for referentid purposes. The original key is D major. VERSION ?2:
A slight enhancement of rhe smck "fake book'- source changes, put more Into an open modal style - important points are:
1. Use of rhe ll min;maj7 to V9sus4 in bar 3 to 4 1.Use oFuppcr n e i g h b ~approach t chords In bars 4 and 7, and increased harmon~cs h ~ h m by added chords in bars 11.20,24,31 and 32 3. An example of a rrirone subsriruted sus4 chord far a half-diminished in bar 29.
A generalized compilation of u+iac occurs on the Milcs Davis recording "My Funny \?alentinc." There are so many variations by each chorus that he whole performance would have to be represented ro be compiete. For instance, when the band goes into double h e
the harmonic material shifts into more of a bebop style 1~1ththe use of side-slipping 11-IJs and less use of modal chords.
1. The use of approach sm4 chords and/or added chords - bars 4.7, 11.12 and 14 7. The use of bluesy altered chord cycles - bars 13, 16-7.29-32. 3. Use of modal chords (sus-4, Aeolian, Phrygian.) rn bars 4,s and 56-25. 4. In essence, t h e r~harrnonizauonshonrs the
influence of Herhe Hancock,
VERSION #4:
This is Herbie Wancock's solo and c1earEy reveals the deprh of his harmonic sophissicanon due ro hts musical education as it has oven ties to classical rnu~icas well as jau. 1. Extensiv~use of modal chords - the use of a an diminished chord alrered m s o m d modal in bar 13 and 23; Aeolian chords in bars 14. 15, 19 and 20;P h ~ g i a nin bars 19. 20 and 26, sus4s in 17. 18,21, a Lydian augmented in bar ?? and a Lydian C2 in bar 31. 2.Suli some reference to thc bIues In bars I1 and 12: and 30. 3. Use of pedal point in bars 17 to 21.
The remainder of the solo,going into doublc time, changes harmonic sryIe with qwallties of both bluesJurbane m d bebop. It is suggesred the interested student study rhe transcrip~ion as found in the book Herbfa Hancock CIassic Compontinn~fr Piano Solo: by BiIl Dobbins. Advance Music.
REWORKING THE MELODY Having: complered rhe reworking of the harmonic material and any changes and additions regardtins key: form, rempo and meter, it is time to consider the mearment of ~ h melodic e marerial. Of course, it is assumed thac some melodic s o d u7asestablished when the project was first initiated. Depending on the projecr goal, the chanses sa the original melody could include basic tweaking chores, parrial neu7melodic material or a complete new melody havlng a variable degree of reference ro the orisnal.
Basic meaking includes: 1. A reali~nmentof rhe melody to conform to any shifu in che harmonic rhyrhm. 2. T h e changing ofa feu1 pitches to match any chord substitutions or alresarions. 3. Changing the melody to conform ro a s y l e change. For example, changing what was originally an 8th note subd~rrldedbossa nova into a swing mne ~ o u l rtrqrnte d the use of spcopanon and trlpler: subdidsion. 4. Partial deletion of the melody. Deledon of some sections of h e melody is a common pracuce particularly where chere is ex-rensiveuse of substituted syrnrnerric patterns. The bridge to Coltrane's "Body and S o d " is a q.pical example. 5. Parcia1 new melodic marerid. Mosr commonly found is the addition of nmv meIadic material in a Fmr. phrases or sections. This partial melodic restructuring maintains a close alliance with the orignal version while demonstranng the melody a~rinngskills of the reharmomzing composer. This melodic treatment 1s typical of the hardbop style 6. Complete new melody. FlnalIy, there are reharmonizations that have completely new melodies w i t h their only ries ro rrhe orisnil being the skelcral harmonic reference. There is variarian in the degree of departure from t h e original as well. with r h c mosc extreme havlng no ~dendfiablereference to h e original except 111th the harmonic structure of the "blowing" changes. Any further deparmre would put the final product beyond t h e defini~ivelimits of a reharmonlzarion project TWEAKING T H E MELODY Example 2.16a: "Body and Soul" (ms. 5-8]]ohn Coltrane's Version
Example 2.1 6b: "Without a Song" (ms.I -7) Joe Henderson's Version
2.7 6c: "Nighr and Day" (rns. 7 -8) Jerry Bergonzi's Version
CHAPTER I I: E1-1 ARHObllZATION
Before w e look at somc reharmonization +xampfesu-ith altered or new melodies ir should be pointed out rhat rewr~cingthe melody over a set of srandard changes is intrins~cre the bebop s ~ l eI t is s u ~ e s t e dchat in order to crcare a more contempotaqr end-product, one should srrive co Iimic any rrferrd a bebop melodic snvlc when relvriting the melody.
NEW TITLES
Regarding the projeds udc, most composer/rehmoniz~rstend ro indudc somc verbd reference t o rhc original t i d e m the new nrle. How cryptic and dever rhe new tide uriII be can be one of t h e more "fun" chores of the refiarmonizanon project. If the degree of departure from thc original is subtle, the o n p a l ude is usually k e p ~ .
Example 2.17:"Dark Dance" by Ron Miller
Dalt
D Copyght 1992 by Ronjam Musrc
REwORt(IHG THE MELODY
MELODIC FEATURES
Eased on the show tune "Dancing In The Dark," rhe melody is partidly renrntten with alternating sections of nm. meIody and very slighrly altered original melody In addrnon, the new rnel~d!-falls in the rnwhere the rehamoniza~iionshouvs the most d e p a m r e from the original. The sections of new melody are typical of the melodies of t h e hardbop style of reharmonization melodies: dramaric skips. rhythmic rnorifs, tension inducing c ~ d e n c e sand covert bebop ornamentation. Note rhe usr of chrornaricism where ornamentanon is used Harmonic fearures include: (see Ex.2.11, p 69)
*
Use of pedal poinr {sion. harmonic r h ~ h mms. ) 143, 17-24 lnrhrch enhances the conaasc of the fast harmonic rhythm of the swing sections - ms. 9-16, 75-33.This is typ~cdof the hardbop style. More of a bebop syle ofreharmonization at the swing sectionsSubsritution of the final target I chord wirh a b11 - E Lydian.
kample 2.1 8: "Small Feats" by Ron Miller
Galt
C alt
D 9sus
C-A -7-
CHAPTER II: EHARMONIZ&TIQN
MELODIC FEATURES
This example has a complcrely new melody in a diatonic. relax-ed and I + d sylr. Based on rhe Jazz smdard "Giant Sreps" by John Colcrane: rhe cornpes~GonIS che result of rhe author's need t o provide an cxamp]e of the use efmtcnsive draronic subsriruDons for t h e jazz composition class at the Universi~of Mi-i The resuIring reharmonization sounded SO good: the process was completed by ~ h inclusion c of a nmpmelody. The lenphened harmonic rhythm allowed the creation o f a more &xed and lyrical melody as compared t~ the o r i ~ n a which l is essentially a chordal-outline qmmetric pacrem as found in Slonirnsky's Thesmtnts ofSca1es and Melodic Prsmmr. The most salient feature of dlis melody which is a rcsulc of h e diatonic q u a l i ~of chc reharmonization is the extensive u s e oFtriadic motifs.
Tnad: Cb Measure:2
Bh 5
Eb
G
ID
G
Cb D
6
7
9
10
14
21
GP- FP 2 3 24
G 22
B25
C27
Rb 79
Eb
30
Mosr of the remaining melodic materid is based on tri~onicsource macerid maintaining a consistent simple qualie. (see Chapter I, p. 13) REHARMONIZATION FEATURES
The prominenr technique used is diatonic substitution There is a shorn area of pedaI point, but rnosdy rhe reharmonization follows rhe s\mrnecrical harmonic rhythm of the ori$nal. T h e bigpest direrence is in che doubling of the harmonic rhythm u h c h allows 50th a more Iyrical mcIody and an easier timwf-it during improvisation.Of note is a series ofreharrnonized 11-V-1s based on diaronic subsricurions where [he II is repIaced bp a V9sus4. the 1' by a I\? minor/major 7 , and the 1 by a n3 minor or a XLI atrered (ms. 45,8-9, 10-1l and 14-15). Both the nn$nal and the new version's cadential areas move toward target roots based on an augmented triad The irnporranr point is not co depart too much from the original's srrong target cadential a r m ; it is t h e means ofkceping the harmonic intenr of rhe ori$nal. Fxample 2.19 Ron Miller's Reharmonization of "Gianr Steps"
Original:
BA
New:
EV- 9
D7
~b13
GA
BA
F- 9
n u, Y
by John Cotwane A-7
E ~ A
cf-ir
sb7
D7
~:i
.Y,
13
C W -
L J
I
c 73 A I 3sus
~b7sus
I
5
1~
~b33sus
A~-*
36
G-9
C-9
D;-
s
~1.13
REWORKlNG Tft-E MELODY
Example 2-20:"Soul Bod" by Ron Miller
Gsus
n
ELI1
BLI~
Falt
E/
G7
Cd/G
B/G
DL-t
1
F/G
~ b 7
C0
G7
'/~7
=,b5
87b5
Bb7b5 /I
V.ll
0. C.
C/
c
Now: ritardando & fine at 2nd ending
C o m h r 1985 by RoonJamMusic
MELODY
- IMPORTANT POINTS:
The melodic cadences resohe
to "darker" modal character tones: M1-ttS, M2-b9 kL3, Mj-bZ, M4-b6 and M6-b5 and 13. A Gb (F#)acts as a pivot point for most of the melody. A low ressitura enhancm the melodie's dark quality. Upward skips in Ms. 1,4, and 8 are dramatically resolved in rhe 2nd ending. The uptvard shps at the 2nd ending set up a climacuc release to the brighrer key of D major. Use of the delemd-melody method for the bridge. REHARMONIZATION - IMP0R"TANT POINTS:
The A sections arc reharmonized in a darker, bIues/urbane style showing an influence of Monk and Mingus. Contrasting brighr pedal pointJmodal s y l e of reharmonizauon in the B @ridge) secdon. Refer co Example 2 . 3 4 version ~ +2 for more details.
T h e last composition included a s an example illurnrates t l e use of a melody char has no overt ties to the originak &c 0 n l ~ clear refercncc ro h e onsnal is ~ h "blowing" c changes rvhich are only slightly reharmonlzed.
CHAPTER II: RMhRMONIZAllON
bample 2.2 1 : "Meeting At Terminus Corner"
Q bv MRC-MUSIC INC. Fur Deutschland, GUS und osteumpa~scheLander CHAPELF &
by Roland Kirk
CO CMBH. Hamburg
ME MELODY This melody, like "Soul Bod's.' has a qualinn h a t dcfines it as an obligarn melod!. or perhaps a bass Iine. T h e melody o f "Soul B o d was in fzcc writrcn to be a rener saxo?hone councermelody in a nvo horn arrangement. One can speculare that the melody to "Termini's Corner" possibly has irs geneas in a slmi'lar manner. Whatever t h e composer's motifs, the melody has licrlc resemblance to the original which is "On Green Dolphin S t r e c ~ "Norice that the last tlvo bars outline a turnaround t o rhe key of Bb.
RWDRKtNG THE MELODY
T H E REHARMONIZATION (BLOWING CHANGES)
As pointed out above. this composition is based on "On Green Dolphin S r r e e ~a, ~ jamsession tune, recorded exrensivelv by Miles Davis. The e r i s n d kc! is probably C major. Mose jazz versions are in EC major or C major. Roland &Clb's as you can see IS in Bb major. ofinrerest i s the use af a bm 13 (Dbl3) subsatuuon for whac 1s usually a E-9 (Bb-9) in bas 3.~ a r 5s rhmugh 8 show che use of a chromatic turnaround to the target C-9 chord ofbar 8. The rest of the harmonic material is dose 70 both the oriena1 and other jazz versions.
PIAN 0 ARRANGEMENTS A recommended reharmonization project to underrake is that of an arrangemen? for solo piano. Ir has che added merit of being a condensed score ro be used for possible expansion by orchestration.
CONCLUSION OF CHAPTER II Much information has been presented on the previous pages, hopefully nos so much as to be overbearing or roo lirtlc ro be unclear. Bear in mind thar not all the techniques xiiU be uscd in any one project and that h e r e should be same perceived reference to original song by the astute hsrener. The following suggestions wlll help to accomplish h c desired result. Have a sylistic goal in mind beforc starting the project. Somerimes you may change sryles within rhe projecr by section. Having esrablished a srylisric goal, select a key and tessitusa thar is appropria~efor &c syle selection. Reharmonize the mmarounds and cadences. Add only a few chords prior to targer chords at firsr. Extenstve playing of r h e project at h i s point will help determine how many more chords can!should be added. Try to keep the original cadence points and chord funcrion at thaw points. Keep the reharrnonizadon simple at these areas. Don't overlook r h e srrengths of modulation and added sections. * If keeping rhe original melody, don't be airaid to make slighr djusrments KO match any change in chords. Don't let rhe project become roo absrracr - get too removed from h e oripnd. The zrcsrheric problems chat have been revealed in a number of studenc teharmonizat~on efforts have been zraced to the use of too many techniques and nor: follow~ngrhe cadenrid and modal contour of the original. So e a r t h e project and keep ir simple.
Man). of rhe songs that have become parc of d ~ jazz e repertoire were inn-oduced .to the lisrening public by vocalists. I t h a been writcen that much of the Miles Daiis repermire came from rhe Frank Sinarra song book. It is recommended that those seeking ''goodsonzs ro add ta their Eist listen to che recordings of Frank Sinarra and Tony Bennecr, an added benefit is that the arrangements are of the highest qualiq. including h e reharmon~za~ons.
CHAPTER II: REHARMONIZATtON ...-.
SUGGESTED fXERCISES
..
/
I. List at least rwenqr tunes by heir starring chords: I major, I minor, II minor, 11 dominant, IrI minor and so forth. 2. Referring t o the tables of reharmonized cadences, c~clesand turnarounds, conrlnue by adding ar least 10 marc exampies to the table of rurnamunds, a J co a 1 and a I to a 11. REHARMONIZATION PROJECTS
I. Select a standard tune of a medium tempo and reharmonize according ro a preselected god, alter the melody m some extenc. 2. Select a standard with a slorr. tempo and reharmonize follon~inga vertical modal model: use both pedal point and many areas of added chords. 3. Indnde comments about goals, procedures and anything else that w a considered ~ when ini~iaLiIIgwish the project EXTRA
Listen to the J e r y Bergonzi version of "just Fnendsn from t h e CD Standard GORZ- what Coltrane rune provided rhe model for rhis reharmonization? Lisc she sirnilariuer
RECORDINGS AND READINGS From h e mid 80s to the early 90s;almost every major and may7minor jazz performers had KO present a CI3 of " s m d d s . ' 'There 1s no problem findng lisrening marenal for rhis subject. The follo\hg 11stis a goad place ro stars - each is of t h e highest quality and h~ghly recommended. A. RECORDINGS Alone Together Setting The Standard
9709003
Clare fischer
Advance
D+ve Liebman Jerry Sergonzi Mries Davis
RED 235 COL CK 53225
Ctnema LeCrand
Miles Davis/Gil Evans MileslGi! Evans john Coltrane Frank Sinacra Tony Bennea john Coltrane Keith Jarrett Fred Hersch Roland K~rk MicheI Legrand
Something The Kicker
Tony Bennett Joe Henderson
Standard Conz
My Funny Valentine Quiet Nights Miles Ahead Coltrane's Sound
Portwits From The Pasr
Jan
Balhds Standards L~ve Danang In The Ddrk Domino
BN 935
CK 48821
A n 1419 BRM 101
CBS 40424 GRP 156 ECM 731 7 ChesjD90 MG 20748 MGM 4491
COU0260 OJC 465
8. READINGS
Clare fisfher. Alone TogetherJJustMe Bill Dobbins Herbre Hancock: CIuzsirjan Compositions e? Piano Solos Bill Dobbins Jazz H d m o y AndyJafie Chard Scale Theoy 0Jazz Harmony Nertles/Graf
he an^' The Changes CokerJKnapp~ Vncen I t Changes Over Srme- Evalutton ofjazz A~rangtng Fred Sturrn Miles Davis Ian Carr Giants of B kck MUSIC R~velli& Levin Inside, Outside Reese/Markew~ch World'sGreates;Fakebaok Chuck5her Melo$v Wrrting Kasha & Hirshom Jazz Keyboard f c r y Coker
Advance Music Advance Music
Advance MUSIC Advance Music Advance Music Advance Music
Quill DaCapo Press New York Sher Music So n_price i-s SPP/B~EWI~
CHAPTER 111 : PENTATONICS
PENTATONIC COMPOSITIONS
DESCRIWION AND DEflNlflON For the cornposer who is loohng for an under-represented mode of expression - a means of aminins a "fresh" sound, pcnratonic compositfons are a recommended source ro pursue. Cerrainly. &ere are many recorded or documented jazz campesinons based on a penraronic s d e , but only a few that either are based on dtered peamtonic sources,or are harmonized with adi~ancedrnodd techniques. Also, with pentatonic compositions, rhe ernphaqis is on melody writing - conanuing t h e covert premise of this volume. Thas is rhe goal of this chapter - h e crearion of a composidon based on a simpIe, lucid pentatonic source wh~chis balanced by a contrasing complex harmonization. The simpbcity and puny of t h e folk-based pentatonic melody, particularE?. when o r g m j e d foIlouing folk melodic procedures, seems instanrlp to endear the listener, i t i s hard not ro compose a good melody based on a folk-music modeI.
KINDS O f PEt4TATONIC COMPOSITIONS There are hree general categories of penmconic compvsitions: 1. Harmonmuons of documented extant pencaronic folk merodies. 2- A newly composed rnelod!. based On the modfic and phrasing Formulae of exrant fok melodies. 3. A completely new melody with LitcEe reference to an existing melodic shape or organizarion, but stilt being based on a pentatonic source scale.
To assist in reader comprehension, a few representative composrtions from each group
include: Reharmonizations of an extant composition:
"Oriend Folk Song." by W a p c Shorter, ,Vzght Dreamer "Yaqui FoIk Melody," by Keith Jarretr; Trrasure Island "Gula Gulqn by Jan Garbarek, J Took Up The Rtmcs
New melodies based on follc organization:
"Badia," by Josef Zaa.inul,8:30 "Ponce de Areiq" by Milcon Nasciemento, Nahve Dancer "Tokyo Blues," by Horace Silver, Tokyo 3he.t
N e w melodies, pentatonic source scales:
This catego7 is quite extensive and includes all rhe composidons thar a r e norrndly &ought of when referring co a pentatonic composition. They ~ n c l u d cman). runes that arc found on the Blue Note label of the 60s era, many pop runes, and many mnes that are associated with john Colmane and McCoy Tyner. T h e main distinction berween these compositions and the prwiously lisred i s rhat the hasmon~zacionis usually quite simple or "common pramice," and the pentatonic source scales are usually chat of the unaltered diatonic p u p : the simple minor penmronic or sornerimcs the major pentaromc. Rcpresentacivc comp~sitionsinclude:
"Scarch For che New Land," by Lee Morgan. Search For The A-CUJ Ldnd "Pursuance," by john Coltrane. A h u e Srtpremc " S m l m ' s Place.'' by McCoy Tyner: Exp~msions To meet the goals of &is chapter. hat of creaung a work char h a a balanced conmast benveen chc p u r i y and sirnpliciq of a folk-modeled rnelod!. wirh the arc qualiry descnprron of advanced modal harmony, the two composers nrhosc recorded works deserve ~ n v e s r i p tion are Josef Laivinul and W'a!*ne Shorter - pardcularly with their contributions ro the
Chapter I l l
8
Palindrome
9
S/R Formula
10
Linear Pentatonic
PENTITONIC COMPOStTlONS ~ O U ~7.r:eacher F Repon: Joe,
in parncular and at present time shows an a f i n i for ~ folk-based
and "world music,"and should be a first choice For scud!.. this point in the chapcer, h e reader should revim~rhe concepts of the placement of music in general, and melodies in partjcdw, within the folk/arr specrmrn. (see p. 1 I). h addition. the reader should have completed the special assignment found on page 40.
PENTATONIC MELODIES SCALE SOURCE, DEFINITION AND CONSTRUCTIOM
Definition:
As the name implies, a pentatonic scale is a youping of five different pitches within an c a m e : a 5-note scale fraDmenr.Because there are missing pi~ches,modaliy is obscure or implied or more than one parent rnodaliq is represented.
There are some melodies char drhough based on a pcnratonic source, wiZl he seen to have added pirches at key cadenrial polnrs. They wil1 be referred to as adaed-note penraconics in subsequent examples.
Pentatonic source scales and subsequentI!; a cornpasicion's description, f a t into
trw groups
- those based on an unaltered source pentatonic and rhese based on an under-used altered pencaconic. I t is recommended that an emphasis be placed on a considerarion ofusing one of rhe altered pentatonics for arraining a deslred "fresh" sound Most we11 known pentatonic cornposinons are based on the common-practice minor pentatonic, as the examples given Iater mill reveal. An unaltered pentaronic source ulill be referred to as a common-pracnce source scale.
CREATING PENTATONIC SOURCE SCALES There are rhree upaysof creating pentatonic source scdes: 1. The delete note method 2. The combined michord method 3. The shape creation method
THE DELETE NOTE METHOD
Wth this tradirional method, one simply deletes any two pitches of any one of the 210 usable modes, (see page 12s in the appendix) reducrng what u m a seven pitch S C ~ ro E a five pitch scale - the resulring modal defininon is dependcnr upon which pitches are deleted. T h e resulting "shape"ofthe trunmed scale also should be considered with chis method. 7rTre uill look at that concept in more detail when covering shape crearion later in the chaprer. The usual naces deIenon procedure is to exrracr the picches that make up che interval of a mitone - some altered modes have two or mom sets oftrirones. Looking at the major scale (Ionian mode), rhc mmne is found on the fourth and seventh degrees. Erasing those pitches creates the major pentatonic. The melodic quality of this penmtonic - I K harmonic definition and pitch resolution quahties - will show a siznificant change; refer ro pentatonic scdes in the appendur.
Example 3.1a: T h e Unaltered Major Scale Source Mode
Rentamnic Result
-
CHAPTER Ill: PENTATONIC5
I
Example 3.1 b: Altered Diatonic No. 1
Example 3.1 c: Attered Diatonic No. 2
Example 3 . l d : Random Deletion o f P i ~ h e s
Example 3.1 e: Random Deletion of Pitches
Tradit~onalIy,once a source pentamtonic is created by the deIetion mechad the remaining diatonically related pentaronics are created by pitch transposiuon. THE TRITONIC COMBINATION METHOD
This merhod is the corollary OF the tetrachord method found in VoIume 1 of this rmr. Like the creaEion o f the modes, creating pentatonic s a l e s by chis mechod also gives an order to the created list. A order of brightest LO darkest is apparent as well as an implied order of rnodaliry. Where in Volume 1 rerrachords were combined to cream modes, we uiIl norr7combine trichords to creare pentatonic scales. Like the creanon of modes by chis method, the procedure requires that the sum of the Tones, semitones and the "connectar" pitch should equal ~ r c l v eThe . difference in this case is that the number of different pitches will be five. Trichord (tritonic, seep. 73): pure, primeval, natural and singable, 2 trichord is a three-note scale fragment and i s che simplest o f melodic shapes; it is the basic melodic structure o i c h e pentatonic scale.
If rhe reader wew ro construcr a simple two srringed lute-like instrument our of a box and spare ~vood,i hen by plucking an open string and chen smpping rhe srring ~ i t one h finger then plucking the suing again followed by plucking t h e next open suing, che result would bc a rrlchord This event, were lr to have happened in early hisror;v, sugggests r h e process for the advenr and woluuon of scales. Noricc &at many michords are the h e a r represenrarian of srrucmrcs. the sus2, sus4,Phygian. and more. We u
The EoIlorving is a lisnng of dl the trichords thar when combined will produce a usable pentatonic scales.
set
of
The table below is organized by interra! formula. it could be reorsanized by order of increasbrighmess LO darkness ~FdeslrcdT h e checked ($1 items are ajchords rhar are sbrrtchre_r.
-
PENTATONIC COMPOSITIONS
Example 3.2:TheTable ofTrichords 1 ) 3 semicones ( r r 1 3 ~ )
3 ) 5 semirones (P4) A
4)6 semitones (%, bS)
5) 7 semitones (P5)
I
The creation of penmtonics b!* rhe combination merhod requires hat there be five different p~cches,and including the connector pitch, the sum of the l n t ~ r ~ d equal s twelve. The process is ra place a rrichord going upward on the conic picch and a michord going downward from the p~rchrhat is Found an octave above the tonic pitch. T h e connenor interval is found bemreen the two. Care must be taken thar the sum of the two selected trichords does not exceed eleven; there needs ro be room for at Jeasta single semitone "connector" pitch.
tirarnple 3.3: Creating Pentatonics ByThe Combination Method
Kote. A complete lisnng orall usable mod- and pcnraconic =ales ts found m rhe appendix on p a p 112 These Itsrings werc c r e k by 2 compure: propam - rhe C progrmrnxng lang~ta~c l r s u n ~8s lncIuded on page 134 as rvell for tihe inrerested computer-literatema&.
SYMMETR1C PENTATONIC SCALES These arc scales char either are denvcd from symmesnc scales or are themselves sjlrnrnetric in their inten-alic formula
To create a pencaronic scale which implies he sonoric of chc source s!mmetcic scale, the procedure is to Write out the sourcc scale and then delete the number of pirches that will produce a 5-now scale. T h e prim? consideration is the I-esulnngshape and meiodic qudiof the creared scale and h o w well i t defines the sonoiic defininon of t h e original-
-
CHAPTER Ill: PENraTONlCS
h o t h e r method is to combin? tGchords ina uTaythat the resulting cone ro scm~toneformula S ~ O I V Sa Tmrnemc pattern. ,4n inkresting groupins among E ~ C - C is t h palindrome ~ a number of these =.il be l induded in ~httrefollou.ing examples.
DELETED NOTE Example 3.4a: Source Symrnevic Scale - Dominant Dimin~shed
Created penraronic scales: used by M a u r i c e Raw!
n Deleted:
2,5,&
3,7,8
Example 3.4b: Source Symmetric S d e
- Augmenwd
Created Pentatonic Scales:
C Phrygian 46
Deleted:
C Aeolian 47, b6
2
3
!=Aeolian 47 (Harmonic Minor)
6
SYMMETRIC .BY 1NTfRYAL
It may be rhar &ere is only one usable penratonic whlch Is found in this carego?.: perhaps the asturc reader may find more. The one Iissed is also a palindrome. Of course, if we were allmved to break the bounds of the octave, the Iisc would ~ncreasesignificantly.
PALINDROMES
Thesr are symmetric patcerns in which the paaern i s a mlrror imase from the center pitch to both the left and righr outer Iirnia. Or it 1s a pattern thar -111 read the same from left ro right, ar from right ro left
-
PEN'GAToNICCOMWSTTIONS
Table o f Intervals for Pentatonic Palindromes
Trichord ( c ) Trichord
Note that like the previous examples of construcdon by che cornbina~onmerhad, h e tones
and semicones add up ro 13. Example 3.5: Palindromes (listed in the same order as in the above cable)
C Phrygian b6,k7
G Aeolian
C Phrygian b7,43
C Altered b6
F Mixolydian 1 7
C Mixolydian sus
C MFxo b6
Bb Lydian Dominant
C Phrygian b7
By having coven: symmetry, palindromes offer an organizational model rhar can create an interesting and musical result - they should be considered when organizing any or dl rhe elements of muslc: harmonic rhythm or made selection, counrcrpoint, and form. as well as scale creation. CREATION OF PENllTONICS BY SHAPE CREATION
This process actually duplicates the previous two but differs by its goal and procedure. One of h e amibutes of a pentatonic melody is irs clarity of contour.The idea hcre is to visually draw-out a contour, or shape and manipulate the pitches to conform ro i t This is another example of working \vt.j& rhe concept of balancG it is also a technique that is inm~tiveand requires chat the composer be confident in decision-makingabifines. h o k i n g at the sf~upeoFa pentatonic scale created by one of the previously given techniques is a recommended ediring act-ivq.The cornour of a created penra~onicscale should not be so aqyrnrnctric or jagged thar ir loses irs folk-like simplic~y.More w i11 be said about this larer Another form of shape-baqcd scale cons~uctianprocess i s to take the unaltered major pentatonic, and add a number ~f sharps andjar flats co create a dts~redshape. each merhod creares pentzNote rhat the three means of creating pentaromcs overlap tonlcs ~ h w c a n be created by thc osher. Mrer creating a number of pentatonlcs with the merhods g l ~ mon these pages, turn to the lfsnng in the append= 10 vverifi chat the creared scales are indeed listed there - all usable penraconlc scales should be included.
CHAPTER Ilt: PENTATON'ltS
Clarificanon and Listing of the Common-Practice Pentatonics Major Pentatonic: C D
EG A C
SlmpIy. che major scale \vivhout the tritone ~ n t e ~ a(lFs and B). Minor Pentatonic: C Eb F G B b C A transposition of a major -pentatonic - not TO he confused with t h e following minor pentatonic. Dorian Pentatonic: C D EL G A C T h ~ sis deiived b r n the Dorian b7 (melodic minor) mode. Note that a rntone ( ~ and b A) is still presenr - the deleted trlronc 1s F and B. The Eb and A are defining pitches of a Dorian rnoddiry!.;the A being the 46. T h ~ sis often called the minor pentatonic but for compositional purposes, wc will refer to this one as che Donan penraronic, and h e previocs one as the minor penratonic. Blues Pentatonic: C Eb F Gb Bb C This pentatonic is derived from the Eb melodic minor scale. the b5 gives it a biucs-like sound, it also has many p~tchesrhar belong to a Ca (Locrian h2) chord, he 6th mode oSEb melod~cminor. More common-pracuce penraronics will be found in subsequent examples.
Having pirch materials with which to work, &rr nmr step is to organize them into a musical producr. MELODIC ORGANIZATION
Kwp in mind rhar the main goal of penratonic melodies is ro mainrain the puriry and simpliclq that is the endearing charactenstic offolk m u s i c The best way to meec thar goal 1s to organize your melody based o n pai-ticulariy effective mtant folk melodies. This is onc of the rfzions behind the suggesred assignment found in Chaprer I on page 40. The m m t irnportan~means of organizarion is morific and phrase buhnce. Having compIered a srudy o f folk musical examples it uill be found in mosr cases that rhe balancing of phrases and motifs is clear and symmcnlc. Ar rhe rnocific level, of rmporrance to us is the bdancing of an opening rtistcmrnfwith a complimcnmry response- We will refer to rhis as an SIR f o r m d a Within and wirhour this rext, this melodic device d l also be referred to as &I and response and statement and answer. Thc imporcant concepr is h a t many of the more accessible folk melodies have the same or similar combinations o f S/R relacionships. One of the mosr used is: S/R!R - a statement, a response, and a repeat o f the same response. Phrase organizanon is the same bur on a larger scale: longer ir! lengh by measures rather &an by pitches. Mosr phrase organization follows a simple anrccedent ro consequence formula, which is a larger version o f a statement and response. The poinc i s to strive for clarity and acccssibiliq' ro assure thar the aesrheric go& of penraronic melody creation are to be mee.
Another poinc EO consider is how the directional conrour (shape) o f rnotific material affects the desrrcd percrpuon of simpliciv. I r is suggmted thar for either the statemenr or the answer pornon of the motif, char he basic tritonic structure be clearly presented. In ocher wo& - do nor change direction within a morific shape until the tichord is defined.
There are a few meEodies in which that is not che a<@ - they are grear rndodies, but are less simple and folk-like. A short Iisting of tunes in which t h e tricon~crs nor dearly ptts~nted include; (1) "Ponre Areia," and (2) " B o o ~ i eWaogie \XTaltz."These compositions will be induded in the analyses Found later in rhc chapter. Another means of phrase or motific organizat~on- dthough a bit esoteric - is to follexv the spoken rhythms a
The tlolloaing examples u~illdemonscrace rhe o r p o i z a n o n of WQ altered source scales w r h rhc nlell-used Sl/R1/R1 forma=.In addicion. mainrainins a clear exposit-ion of the rntonlc and a balance of dircccional contour and melodic rhythm ~ l l be l shown.
Example 3 . 6 ~ Altered Na. 1, No. 93
F Melodic Minor
Example 3.65: Altered No. 2, No. 200
Bb Melodic Mmor
I
1
-
61
4
2
2
3
Additional examples of rhe use of rhe previousl~given wchniques 11411 be poinred our later when a number of penratonic compositions will be analyzed
FORM AND STYLE The only defining factor chat musr be me: w ~ t ha pcnraconrc composidon is chat the melody be, and clearly show the atuiburcs of a pentatonic source scale. Other than that. any harmonlc, rhyhrnic and formal presentation is possible. Considering the precepts of bulunce, conrrasrs of harmonic, rhythmic and orhcr musical elements are recommended There are penmtonic cornposiu*onsthat are based on only one source scale and one chord to compositions chat have w o or more source scales wirh as Fen WO melody pitches per chord. h adhdon, the composidon can be of any svle category ECM,hardbop. srving, A h Latin, rockjpop - you name it?
T h e following is a brief description of some of the groups: Homogeneous: Tfic EntlX composinon IS in one sfle - harmonic, rhythmic, or any of the descrip~onsof pop, hardbop and the others. Mixed: The most inreresting, one finds combinations of h d n scctions and snrng. Contrasung hannon~zarions,or any Contrast one can imagine. Often, a general style goal rvilI diccate the combination. As an a m p l e , many hardbop pencatonlr runes N ~ I I s m with an Afro-Latin syle and contrast that with a suing, U-1' type brid~e.
I-IARMONIZATION AND HARMONIC RHYTHM
T h e harmonic accompaniment of a pentatonic melody can vary from a single chord for the entire pentatonic melody to as many chords rhar rhere would be if every two notes ofmeledy were harmomzed. In addition,there could be chords ~ 9 1 t non-diatonic h root relationships and areas of tonal harmony. T h e goal of course is to balance the quality ofthe m e l d y with contrasting harmonic materials.
IT'irh thc harmonization process of penmconic compositions, we need to differentiate the descnpciens of melodic sources, harmonic rhythm and chord selection. The caregones are: linear penraronic and p l a ~ e apenraconic ~ - these relare to source scdc selection with linear modal, plateau moddl and verrical modal referring to chord select-ion. MELODIC DESCRIPTIONS
1. Linear penmronlc refers to there being one source scaIe for the encire section or the entire cornpos~tion 2. Plateau pentatonic refers t o there being different source scales found in s)mmcmc organizarion regarding measures - usually one scale per nvo or four measure division. In rnosr: cases, the change in key center rather than a change in source scale.
There is no description for melodrc verrical pentatonic since c h a n g i n ~the melodic source at too fast a pace would negate the premise and goals of the projecc.
CHORD SEL€CTIOM/HARMONIC RHTTHM LINEAR MODAL
When rhere is one source scale for h e ensire composi~unor snctian, she key center of a seIened chord could be etrhcr diatonic to the pentatonic parent source or non-d~atonic,and due to thetr missing pitches, pentaronic scales can have more rhan one parent source. Usinp the ubiqui~ousand simple F minor pentaronic as an example, the following is a parrial lisnng of parental source modes or chords. Diatonic Roo& S t a r t b!. sclectin~room that have the same pisches as the source pen~atonic.Comparing all pitches of the scale with each root pirch. che accumulated intervals define 2 set of color tones. O+ he most definitive are listed.
T h e Pentatonic: F Ab Bb C Eb F
Roots
Color Tones
Modes/Chords
F
b3, 4. b7 6 , 9,3
min I 1, Dorian, Aeolian, Phry$an A6:9, mix SUS, AF4, A85
Ab
FORM AND STYLE
Bb
5. bf,2 4 , b6, b7, b3 2,4,5. h5
C Eb
Mixo sus: Dorian, Aeolian Aeollan. Phrygian Dorian, melodic minor. MEO sus
SECOND LEVEL DIATON1CSINON-DIATONIC
There are a number of roo= &at although noe diaronic to the source penmtonic, are diatonic by chord implication o r b being a member of a set of modes rhat are uansposidons of
one of the diatonically relared modes!cho&. As an example, if the root is Ab (see above). one of h e modes is Ab Mixolydian, which is the fifth mode of Db loniam - so: any of rhe modes (ranspositions) of Db IonIan will be diatonically related to the source F minor pentatonic and be avaiIable to harmonize any of t h e five s o m e penmtonic. Usable examples include: DbA6/'9, Gbb6:/9,and Ab 9sus4. Selecting Other Non-Diatonic Roots
There are some othm roars that have oblique 15- to rhe source pentazonic. Again, look at the modes derived from an Eb rooq one is melodic rninor.Traking Eb melodic minor as a parent source, w o modes/chords that work well are GbAtl4 and D altered. Ochers i ~ c l u d e : GbIg5 and Bb Mao1,diatl b6.
Bear in mind that a11 of above is in reference to the simple F minor pentatonic. and one can see that the chord selection process can gec qulre comprehensirre and complex.
As has been seen in pretlous chapters, the acanon of a smnng roar melody helps to narrow
down the selection process a bit. The common pracricc rootjchord selccnon for F miner penracatonic weuId indude: F-11, DbAGj9. Ebb619 and Bb Mixo sus, with D drered and Ab Mixolydian sus having a s e c o n d a ~usage.
Example 3.7: F- Pentatonic with Seimed Source Modes a n d Chords
F Minor Pcnraronic
~ b h
Source: Db lonian
D alr
Eb Met. Minor
Ev9 sus
F-1 1
Ab lonian
Eb lonian
G
~
Eb lonian
A
~
~b9sus
Db lonian
8b 9
~b
lonian
To redlze the musical value of this example, have someone sing or play the scale while you pIay the given chords - you may "hear" a tune in r h e works
PLATEAU MODAL
In penmronic composinons. chls refcrs generdy ro a symmetric organization of the barmonir r h ~ h mor , to there being either a new penmronic source o r a new r o n d cencer for rhe original!! selecced penm~onicsource. ar. ~mrnerricallyassigned rnezsure incewals. Usually h e r e is a change at a two, four or eight bar interval. Chord selection is by rhe same method as ~ i v e nabovc.
CHAPTER lli: PEMITONICS
Tfiis refers tn the harmonrzatinn proceks in which there is a new chord for every nvo or three melody notes - depending on thc tempo of the performance Because there arc feiver melody pitches ro harrnon~ze,there can be many chords that are non-diatonic m rhe source penraronic. Because of t h e i m p o m c e of the rnconic shape in penmconic melod~es,mosc chard changes cakc piacc ar 2 threc pitch grouping. And as long as the trimnic 1s present In the melody, m T O pitch chord changes are quire affective, and actually tend to create a dearer cadential q u a l i ~The . harmonization process is the same as previously @en, but with more importance assigned to the rneIodic q u a l i ~of rhc root-melady. And because h e r e are fewer pitches to find chat are in common with the melodic f r a p e n t , there ulill be many more chord spellings thar arc accessible for selection. To lisc all possible chords thatwiIl "tvork for a three pirch fragment, iris s ~ ~ g z e x eshar d you segmenr r h e pentaronic source into three-pirch scrumres. These are the strucrures chat were inrroduced in VoI. I and wcre referred co as ~ppermschrw( s e ~Vo!. I).Having rhe s r m ~ t u r e s listed. comparing each with all roors of t h e chromatic scale will reveal all possible modes/chords available for selection. The process is the same for two-pirch melody fragrnenrs, with rhe resul~ngIisc being much larger, making the musical choicm thar much more d~fficult.To restare, the rnelod~cq u a l i of ~ rhe root selections will focus the resulrs.
THE PENTATONlC STRUCTURES
Example 3.8: Chord Selecrion for Three-Pitch F r a g m e n ~
F Minor Pentatonic
t.'
I
C.
b.
I
e.
For selected srruaurrss:
1 root F E
color cones b3, a, b7 43, P4, k7
Eb
44,5,1
D Db C B 6b A
b5, $6, b2 b4.46. $2 b6, b7, b3 h6, $7.b3 b7; I , b 4 k7, b2, b5
~b
G
1,\2#b4 b l , b3, h6
Gb
q2.$2, 46
made/chovd
I mot
color tones
rnade/chord
rn~nll Lydran sus4, no7
F
1, C3, h4
mln 11
E
Altered
Locrian
D
6/9 Aeolian
Db
b2, b3, i4 k2, \4, k5 $3, $ 4 , 1.6 f3. M, 66
C
b4,
Ionian
B
W, h6, t17
M1x0 5.~54
%b
y,h7, T
bocrian h7 add 2
A Ab
Phryg~an
G
b6, 47, b2 h6, 1, $2 b7, h2, b3
6/9
Gb
ti,&?,k3
Eh
66. C7
addd Altemd
A6 Aeolian Lyd~an PIixo 51154 Locnan 47
tit9 Phryg~an lon~an
I
FORM hND S n K -.
suggested thac rhe reader continue rhe process for all found smcmres - i t is a tedious acriviry but ma),be w o ~ the h effort to understand the harmon~cfoundation of the source s d e and .co have a listing of all "workable" chords. Consult che appendix for addirional information and examples ofscale to chord detivadonsIt is
Example 3.9: Selected Chords - Three-Pitch Structures
Dalr
~b13sus
Galt
Example 3.1 0:Selected Chords - Two-Pitch Structures
I
Galt
~bgsus
C alt
Occasionally, one may want to have a new chord for every different pirch ofh e melody usually to klcsease tension Just pnot to a cadence - this chord selecrion process is most dependent on 2 stfeng reat rnelod!-. Note the use of c o n r r q morion and rounnerpoinr ~0 h e melody in the following bass melodies.
CHaPTER Ill: FENTATONICS
Example 3.1 1 : Selected Chords - Single Pitch
The foIlo\rxing guide is meanr to assist in organizing the harmonization procedure, also refer to the harmonization process inrrodnced on page 44. There are additional examples of single pirch hamonizarion in rhc appen dk. HARMONlZAf!ON PROCEDURE
I. Identif?.: (a) The parent source modalir). and chords of rhe penratonic meIod!r. (b) T h e implied and seconday diatonic chords and modes. (c) The
tricherds, structures and "glps" found in the melody.
2. Select Harmonic Rhythm: (a) Linear 1 - one diatonic mode or chord For entire melody. (b) Linear 2 - many chords and roots are diatonic to the melody. {c) Linear 3 - one non-diamnlc mode/chord for rhe enrire melody (d) Plateau - many chords per melody, organized i n ~ osymmetric groups: usually 2 , 4 or 8 bars each. (e)verticd - fasr, qmmerric, nondiaconic roots, from one rnelod?,pitch per chord, two melo$!- pitches per chord: or one chord per trichord. use of repose and rransidon. 3. Create a Roos/Bass Melodlr (a) Orgmize by melody-writing procedures given In chaprer one.
(b) Try to use thirds inten-als followed by fourths and f frhs, rhen connect with chromatic filler pitches if needed. (c) Plot cadenrial poincs, set directional contour
4. SeIecr the Chords: (a) Select a "firsr chord" that sets the emotional goal of the composirion. (b) SeIect chords for rkc rarget cadential areas. (c) Select t h e rcrnaining chords 10 fulFrI1 a modal contour.
5 . Tweak: Flay through the project, noting an!. chord selecdon. bass melody or harmonic rhythm again. hat orends your musical mires. adjust and Note: There is a hanmonizauon example Found in the appenk: as we11 as In chc follorving composi cional analyses.
COMPOSITION EXAMPLES T h e following examples represent a varier? of styles that are available on recordings. Unfomnately, there are Feu- recordrngs wirh exampies rhat include compositions with an alrered pentatonic source. In a way, this couId be formitous as it presents a vacuum that could be filled by the Fon~ard-loolungcomposer.T h e mosr representative recorded examples are from he Wayne Shorter CD E m e r a - she source scales on a number of the composinons are quire exotic - but nor rmly pentatonic.
T h c cornmen- for che following wiU refer to the melodic source, monfic and phrase oryanization, and harmonization. Only salienr and pe~iinentpoints will be made, aliouring the inceresced reader to delve deeper if desired.
EXTANT HELODIES h m p t e 3.72a: "Oriental Folk Sang" (TradirionaI, Reharmonized by Wayne Shorter)
source scale
COMMENTS
Melody
Based on a Chinese folk meIody, rhe source scale is a common-pracdce G minor pentaconic. Mosr significant i s rhe SJR organizadon - S(s-r)/R/R, the often-found and accessible S/K formula. * T h e motif is well balanced uith the opening statement (s) In an ~ p ~ l l rdirecdon, d released by che reversal of drrecsion with &e response (r). The larser SIR is balanced by a contrast of fast melo&c rhyrhm OFthe sratemenr (S),and slow melodic rhythm of the nvo responses {R).Of ~rnporcanceis the clear audine ofthe trironic (sus2)shapes found In ms. 1 , 3 , 5 , and 7. Harmony
Without referring to a rnode/chord hsting. it is clear rhac mast of thc chords are &atonically related to the G minor sourcc scde - or I= csransposition - a l3b major pentaronic The harmonic rhythm is mostly s!mmerric, with a harmonization by nvo melody pitches. except where an increase of tension is desired far cadenrial definition. T h e Ab13 is a mtone subsrimred domlnanr chord t o the G minor tonic, w7lch the .47 being an upper netghbor dominant ro the ~b chord.
CHAPTER Ilt: PENlXToNtCS
Orher points As alilrvays. ITTaynechooses t o reharmonize by sccrian, adding a Few new chords to the scmnd part. thereby e n I q i n g the form beyond a mere repetition. The orchesaarion of this and all tunes found on the recording is veql asristlc and thoughtful - make now OF how the two horns relate regarding unison, inrcnlal and ocmvc assignments.
-
Example 3.1 2b: "Yaqui Indian folk Melody" (Tradicianal)
source-scale
This beautiful melody i s from an American lndian source:the Pascua Yaqui rribe ofArizona - descendants ofthe ancienc Toltecs OEMPXICO. This melody is found as a main theme in &c "India Symphony" by Carlos Ch5vez. The example is kom the Keith Jarrett CD Tr-emare IsIcznd. COMMEWS
Melody .The source scdc: major pentaronic with a passing add-pitch (dq. * T h e SJR is symmetrically organized =Clearrrichord shapes arc found in ms.2 and 4. Harmonization
*Simple diatonic harmony is most affectively u s e d Other points =The consequence phrase (ms 5-81, shows a nice balmce by an increase of melodic
rh~hm. Example 3.1 2c: "Gula Gula" by Mari Boine Persen source scale h
0
a3
C1
8
I' I
COMPOSITION EXAMPLES
I -
Although not menrioned on h e CD, rhls melody has a qualiq. that suggests an Tn&an inffuence - possibly S m i in orign. COMMENTS
Melody Like "Caribbean Fire Dance" introduced in Chapter I, rhis is a primitive but peaceful melody based on a mronic tcssitura There is a sus2 srructure outlined in t h e response portion (ms. 7-10]. And mosc impormndy, there is use of &c S/&IR formula Hamonizarion The main theme is very simple in ~ t harmonic s marerid, merely a ronic open fifrh interval which goes to a GC open fifth as indicated on t h e mns~caIexample. There :s ad&cional harmonization in larer melodic statements - a spopsis i s also provided on the
example.
fOLK INFLUENCEQ COMPOSITIONS Example 3.73a: "Badian by JosefZawinul
source scale
source scale
Ah :vl ixo ~
I
U S
A section: A v e y simple statmenr and response - clear and foIk-lllce. 0 section: An exoric balance, almost Iike an Eastern-European melody.
Example 3.13b: "Palm X" by Ron Miller
source K a l e
simple minor pentatonic - h e p r o g m m a n c intention of rhe tune, if one has been there, is nf t h e c r q experience of dr~vingthe palmerto expressway in Miami. Covertly Hispanic, hor and iervenh is the message! Of nore is the recommended S/WR or,&zation, like iexampJe 3.13~
* A
MISCELLANEOUS PENlXTONIC COMPOSITIONS Example 3 . 1 4 ~"Ponte de Ariea"
by Milton Nasciemento source scale
This beautiful melody is pencaronic, but because of irs organization and shape, IS not sea&ly identifiable as such. Compare this melody to orhers of a Brazilian source. Are there sirnilarjues?
-COMPOSlTlON EXAMPLE5
Example 3.1 4b: "Boogie Woogie Wain" by JosefZawinul
Source scale
lncro
ELII
Main theme r?-
Joe was with Milcs ar the rime of An recording and Miles' influence shows: there is much use of space - a lot of transparenq: but our intwesr is in the pemaromc quality. The first marerial is ofa simple diamnic source, in a clear exposiuon - the mitonic is evident, rhe direction is clear.
T h e main theme can almost be described as angular, but its rhyrhmic organization is almost hypnotic. The author includes this rune in his repertoire and can amest that one can play thrs theme over and over again wirhour its losing its hypnotic effecc - uy it, you'll likc it! It should be pointed out, there are conrrasting secnons to balance the penraronic melodies, but the! are rnosrly in the form of harmonic, rh!~hmic and texmral rnweriats.
-
CHAPTER Ill: PENTATONICS
CONCLUSION O f CHAPTER 111 T h e use ofa pentatonic source or the organizarion o f a melody based on a folk model is nor n m t o the composirional process - most classical composers of note show the use of the aforemen~onedinfluences in addition LO aaccullp using =.rant marerid An additional perk is char i c is a means of establishing a nanonalisdc qrraliy ro composition. T o name a feu. examples: Peter I. Tchaikomky - the penraronic theme in the 1st movement of t h e S-mphony No. 6 (see p. 33).
Example 3 . 1 5 ~A Prominent Theme from ' T h e Firebird" by lgos Stravinsly
R
f
t
Txample 3.1%: The "Shaker Hymn" from "Appalachian Spring" by Aaron Coptand
I
S
1
l
l5ample 3.15~:"Scheno No. f in B Minor" by Frederic Copin
lise @an
mmt Polish Cb;rtmac carol m the s
m d movrrmenr.
T h e me of folk elements is \-vhaxmakes Bartbk sound Hungar~an.Grreg sound Noweglan, Gcrshmin soand American, and Srrav~nskysound Russian. T h e polnc is rhar the classical repesroire is a g o d source of smdy for t h e use of folk elements as well as the use of harrnon~cand rnelohc materials as suggesred previously in Volume 1, and earlier chapters of
this book.
~
RECORDINGS AND READINGS A l r h o u ~ hrhem are nor many jazz recordings wirh rhe kind ef pentaromc compositions referred ro in rhe text, there is an cxeensive number ofb r h record in^ and books thar refer to the urorld's folk musics - only a feu. are lisred - b u t it is easy t o find more.
Native Dancer !Took Up The Runes Night Dreamer Etcetera
Jy-u To@ Blues Blackjack Search For T h e New Land Tail Splnnin '
Wayne Shotter Jan Garbarek
Wayne Shorter
Wayne Shorter Wayne Shorcer Herace Silver
Donald Byrd Lee Morgan Weather Repom
8130
M'earher Report
A Love Supreme +n~ions
John Coltrane McCoy Tyner
Columbia 461 59 E C M 27 41 9 BST 94173 EST 214 B S T 376A4 BNS 41 34
BNS 84259 BST 841 69 Col PC33417 Cot PC36060 Impulse 133 B n 84338 Impulse/MCA 39106
Trerrsure tsldnd Appalachian Spring China in Song and Dance AuthenticMusic of i h Amencan ~ Indun Whooo B y !
Justin Wtson
Legacy 3 12 SM-1'1815
In& Symphony
Carlos Chiivez
m ~ s c .recordings available
Folk Music of Chino Konkoma h p p L3ist;a The Afr~cunRoots ofJaa
Antonio ~ d o l p h o Jerry Bergonri Stephan Jones Robert Pehrson Kaufman & Guckl n
Advance Music Advance Music OxFord University Press
Merengue
Paul Austerlin
Keith Jarrert
Aaron Copland misc. record~ngsavailable National Folk Ensemble Bruno 50062
various
B. READINGS BraziIion Music Workshop Pentatonics
Norsk Alfred Publishing Temple Press
.-
CONCLUS!DN A N D FINAL COMMf NTS Taken togerher. t h e materials presented in Volumes 1 m d 2 should prove m be sufficient in esrablishlng a serious regimen of study for the aspiring composer of my level of expertise. Once again, the lrnportancc of much listening, to all klnds of music, with deliberate sttention, cannor bc over stressed. In Eacr if one's "ears" are good enough, and one has the nme and desire, and pursues a srringent listening casecr, one really doesn'r need these r a t books - but ~rwould rake years ofvery hard work ro do ic thar way! There may be much information in both volumes of the book - but rhere is mare to cover yet. Further smdy would cover: more melody-writing procedures uith the extension of pentaconic tunes to the smdy of blues runes and avanr-prdc compositions; More m-deprh
study of ronal (H-1') harmony and form with she works of Horace Silver. Thclonious Monk, Charles Mlngus and early 5TTa>meShorter. .4nd more speci Srcs regarding "rno\~ernen~" and sqde by looking at rhe compositions of "goup" effora like Weather Report, Return co Forer~er,Oregon and the ECM style. and orher sipificanr documented conn-ibucions - all possible subjects for a connnuation of rhe hook series to a Volume 3.
Ron Miller 1997
APPENDIX I
MOTIFlC DfdfLOPHENT
-
The following IS included mcrcly to provide an accessible source For re~leu-- it is assumed chat rhe reader has been exposed co the rechniques of morif;c development in previous readlngs or naming. Essentially, a change in the o r i ~ ~ motif nd be described by a difference in i n m d i c direction (up or dmvn), ratio (semi-tone fornula), or melodic rhychm (nose duration).
- this seemngly simple device of repeating a rnorif starcjcg from another pitch has proved cffectirre for cenmries. Usually, rhe inrend strucmre of the sequenced motif is altered to fit scale and harmony.
(a) Sequence
M onf
Sequence (tonal upward, key of Eb or Ab)
(b) Inversion - the original semitone formula stays the same, but the directions are reversed: what went up now goes down,and u~harwenr down now goes up. Original
Inversion
lntewat: Direction:
(E) Retrograde - both the direction and h e inrcrvalic formula are reversad
Original
Interval: Direction:
Retrogade
-
m2
MZ
P4
:
1
i
-
(d) Retrograde Inversion this is like a palindrome, rhe c h a n ~ ereflects a "mirror-imase" ~f the onglnal: not merely a change in ciirecdon. Original
Interval :
Direcuon:
Retrograde inversion
ADDltlONAL MATERIALS
- an impomnr techmque in jau orienced mdody writing, the &veloped motif shows a de to rhe original by hatling t h e same nore values (mcladic rhythm), but with dlffererenr pitches or direction.
(e) lsorhythm
Same rhythm
Motif
(f3
I s ~ a ~ i c u l a t i o-n like rhe above, but
the cie to the original in rhis case i s by common
articulations. Phrase
Same articulation
(g) Truncation - as the name implies, this shows a delec~onof some aE the pitches of the original monf, usually ar the end of the motif. bur not necessarily. .4lrhoogh other qudides of the original also can be changed, it is best to keep h e original shape to cIari@ rht musical development-. Example: 'Ida Lupinan by Carla Bley
Cur s h o q inverted
C/G I
I
-
I
I
I
M2
m3
.
: ,
I
m2
M2(rn3)
rn2
1:
i !
i
(missing)
(h) Extension - the opposire of above, the developed motif is lengrhened by additional melodic material. As Ions as a clear nc ro the original IS evident, other development tcchniques can be used as well. Example: "Lost Illusions" by Ron Miller Motif
Elongated & displaced
apPENDIX 1
(i) Displacement - this refers to a shiftins of the melodic rhyrhm re!ative to t h e harmonic r h ~ ~ h ranshift ; of uphere r h e new motif occurs in t h e measure compared to the ongind. Example: UMen in White" by Ron Miller from the CD Gliding
(j) Mutation - chis term is used m describe any anomalous change shown in t h e nmrmotif which still can be identified as being relatrvc ro the original.
There are many more desmipuons of techniques for developing an miginal moriF. but in the inrerest of clarity and simpliciy, h e abovc is sufficient Keep in mind that when analyzing melodies, our interest is in identiwng whac he composer did t o dmreiop t h e melody musically, nor in petting overly scientific or pedandc
&DDITIONhL MATERIALS --
ARTlCULATlOHS AND EFFECT5
This subject is beyond the scope of h i s Eook - one really should rcfer to an orchestramon or arranging ra-r for this. but to proride a quick access and a review, the followiny descripuons of arnculan'ons are included.
Ir has been smred that for a jazz performance, only nvo amcdations are needed: staccato and tenuco - there is no need to be so spanan.
Swccato and t m t o refer to note
length - how long the pitch is held - with no change in vol-
ume or emphasis. staccato
vocalization
interpretation
written
bit
vocalization
interpretation
writcen
I
I
I
I
I
1
I
bah
Tmuto/rtlccat~is a combincd articulation found often in big band and hardbop tunes. it creates a aery dramatic effem
renucoj smzcaro
n
-
-
e
*
m:
vocalization
interpretation
wntten
-
-
w I
F
I
I
I
II 1
--
-
-
-
.-
-.-
- - -
-
- F
--* C I
/
*
-
41
i
--
A
I ' I
direct rhe performer ro emphasize or increase the voiurne of the selecred pitch or pitches with a slighc variation of pitch durat~on.
Accents
horizontal accent
wrimn
interpretation
vocalitadon
bah?
vertical accent writre n
interpretxion
vocalization
bop!
113
EEects arc idiomatic expressive devices peculiar to individual instrumenml groups. Many are general to a11 ins~urnenrsand voices. Again. beyond the scope of this book. keep their use in mind when composing a melody. Consult an orchesmion book for an in-depth review. Know hour ro include them in your scores: some you should use indude:
triIls tremolos scoops bends
glissandos slurs slaps falls
There arc many more. rhe impomnr point is to keep rhem in mind mrhile nlriting out your melody. Ir is recommcndcd rhal-you consult fellow performers to demonscrate dl the effects thac are possib'lc on his or her instrument or voice - it may give you ideas for your melody ifnot for a whole composition.
SOUNb SUPPORT PHRASIHG
The last performance direcrive to cover is quite important, and one that is ofien ov~rlooked - that of sonnd support phrasing - the direction as when to starr and mhm to stop producing a sound melarive to picch chanp.
Wherher the sound is produced by blowing. plucking, scrapping or himng, there is a point when rhe performer need5 to take a breath, raise t h e arm, or move the bow to a srardng position; all aFfecr rhe phrase quality of a melody. There are two considerations the composer mnsr make: ( I ) how long the sound production can last depending on the cempo of the performance and the abilities of the performer, and (2) how uiIl the pause to take a breath or raise a bow affect the phrasing o f t h e melody. Careful preplann~ngi s requ~rcdro assure a successhl interpretation of your melody.
ADDITIONAL MATERiALS
There are rwo rtBa>a to direct the performer of your melody regarding sound production: 1. Breath marks - a simple single quore (') specifies thar the player is to take a breakh, or resmrc the sound production at thar p o i n t It has rhe effect of ending a phrase and should be considcred for use as a phrasing directive.
i3ample: Breath Mark Phrasing
COMMENT:
The placement of the breath mark has rhe effect of a slighr pause bemeen the consentnve quarccr notes, creating a second phrase. 2. Sound support phrasing - these are phrase rnarkin~st h a ~are in addition to melodic phrasin~s- they are meant ta direcr sound bur because of h e pause that occurs when che perfomcr &es a breach or in any way restarts a sound, rhe effect is that
of melodic phrasing and!os
punctuation, and has a similar cffecr as breath marks.
Ewmple: Sound Suppon Phrasing
COMHENT
The player, whether or nor taking a brcarh, 11ql1 restart the sound production, creating a newT
phrase. Be aware of dl rhe aForemendoned directive and melody interpresive devices in your I~srcningsessions and take note of rhosc that are particularly m u s ~ d effect~ve. y
APPENDIX II
TRITON€ SUBSTITUTlON AND ACOUSTICS Triconc subsumtion is a phenomenon rhar i s a result ofrempered tuning. Alrhough it works for non-fixed tuned insrruments, it is probabl)rdue to performance adjustrnencs from years of playing with fixed pitch instruments. h o k i n g at the overtone series, one can see chat enharmonically spelled intervals should resolve difirendy. Bur wirh tempered tuning, the differen; spellings nonetheless sound the same.
Example:
1. Thc overtone series based on C rvih the palrids numbered, 2. The 7th and 5th parcials creating a rricone inrerval - subtracting the 5 from 7 gives the difference rone, rhe ronic of h e critone. 3 . k 4. The same procedure for the series b a ~ e don F#,a critonc from C. 5. The upper srmcture trironc intenals sound the same and as a sound, can resoke the in rhe same way - producing the effect that the roots are s u b s t i r u ~ l c .
Tunes &at scart on: A. I Major or I II Minor Here's That Rainy Day T h e Gid From lrnpanema This Nearly Was Mine My Foolish Hearc A Foggy Day You Stepped Out of a Dream
C. VI Minor
R. I1 Minor What a Difference a Dzy Made Satin Doll
Body and Soul Autumn in New York Its You or No One Prisoner o f L o w
D. 1V Major or Dominant
My Funny Valentine
After You've Gone
All TheThings You Are Alone Together If I Should Lose You Lover Man
Just Friends
Love For Sale How Insensitive
E. Non-Diatonic or Miscellaneous
Night and Day Lover 1 Cover the ~ar;?rFranc Prelude 10 a Kiss
bVl 7 dominant II dominant V1 dominant
The reader is urged to fill the empty Cines.
APPENDIX II
ADDITIONAL
REHARMONIZATION - NEW PIELODIES
Included for additional smdy or as a source of c o n t e r n p o r ~rcsyled standards to play over or to add to your reperroire.
A. A reharrnonizarion of "Pm Getting Scntimenral Over You" ~ ' i c ha partial new rnelociy, chew is a return to the original melody at the second bar of the B seccron and the last three measures of Ehe third ending - ,oi\mg impetus so a partial nerv r~tle.
Example: "Getting Semi-Mental" by Ron Miller
C-Copyn$r 1BEE Ronjarn Music, Biull
5. Only slightly reharmonized version of "Su~eccGeorgia Brolm.'' bur with a q u l r b and angular new melody. The rune is meanc to bc a "burner" - it hFurfills irs premise.
ADDIT ION& MAXfRt&LS
Example: "Sweet GB" by Ron Miller new bop
F7
~b73 2-
A
G13 >
~b73
4
~ 1 3
sir7
~ b 7
~ 63 1
~b73
w
V
I 2'
Q C o p ~ n 1983 r Roolam Musac, BMI
solos: "Sweet Georgia Brown"
APPENDIX l l
C. Another reharrnonizar~onand new melody of ".Nisht and Dajr - chis rime by David Licbrnan. Compare i t to versions found in Chapter 11. Example: "Day and Nite" by David tiebman
ADDITIONAL MhT€RIAlrS
Q . A new-bop modal reharmonization of?and new melody for "What
L This Thing
Called Love." Example: "Love Thing" by Ron Miller vamp
C Aeolian
C Phrygian
C Aeolian
A / B (head only)
Gsus
ESUS
D Copyn~ht1983 Ronjam MUSIC, BMI
Esus
Ft;sus
F-11 J C
~bsus
sbsus
D~SUS
E ~ U S
APRENDIX III
APPENDIX 111 The foliowing materials are induded for further smdy, reference, and chrificrttion.
LIST Of ALL USABLE PENTATONIC SCALES This lisring was originally created by a computer program (lncIuded later) and spelled out in a more mus~call a n p g e here; the limits of the list are chat there bc no inrerval greater than a trirone. This is to attempt ro Iirnlt the number of created scdes that may have roo many adiacent s m t o n e s - an?; rnodall~wlthln rhe scale w o d d be roo obscure, and che shape of the generated pentatonic wouId not be musical.
This lisung is to be referred to as a source of altmed pentaronics and penratonics created by the combined method.
to cross-check any
ALL PENTATONlt SCALES WTH NO INTERVAL LARGER THAN A TRITON€
w
I
C . 8 .
I,
e
- "
or,
I) Y-'
I1 I
#
-- c )
-A
a>
---
C>
I1 I1 11
e
A
~1
hr -
OEI
XI
t'
t I
A
8
c1
109.
ria.
111.
112.
APPENDIX Ill 761.
162.
163.
164.
AODITFONAL MATERIALS
APPENDIX 111
&DDITION.IALMATERIALS
n
I
.
I I
I
,
.
I
.
.
I
. .
I >
P
I
.
-
I
I
'
I
'
I
P.
I&
I
,
c r * -
rn
-
* ,'
I
4
I
8
I
I
.
I
'
I
* p = b r I
C
,
; ;
I
-
1 II
m
- 8 1
I
,
I,
I'
11 I,
I .
I. I
,pew,
u
4-
"
I
I
I I
p
is
,
I
1
. )
nr
-
I,, I
I ,
I 1
- m r b I
m
'
A P P W D I X 111
LANGUAGE LISTING T h e actual C language Iisting of rhe program that created the lisr of usable modes. this is included for any programmers char may want m modify it to crcace orhcr sraIc lisunp. The program is purposely ineleganr to provide more pombilig to other platforms - this 11% onpnally uritren For the A h 1040 ST (Motorola 68K) and compiled u ~ r hche laser C development package - the version presented here is fully .WSI compliant and should compile on just about any system. A more dwcIopcd prosram would include graphic represenration of the scale dam by notes on a sraff, savin~the scales data or MIDI data to h s c . b c ~ n pable ro demonstrate any selected scales either by MIDI ourpur or by monitor speaker, being able to pnnr the grxphic notes/smffscreen and allowing user input ofdara ro create all possible scales with no particular limincions - dl wirh mouse, windows and menu interfacc of course. This does exlsr:- contact h e aurhor for more infurrnauon.
J C * * * ~ i C * 4 * * * * C + ~ * * * * * i * * * ~ 3 * f + * ~ * t * f * + * + * ~ + * * ~ ~ * * * ~ ~ * + + * * ~ * * * * + * ~ ~ t * * + +
"'* A!' ALGORTTHM TO CREATE ALL MODES W~~ NO XTERVAL G E 4 T E R THAN *+*
*** k N A U G M E N I Z D SECOND BY THE TETRACHORD METHOD - R Miller 1995'** *+*~*+X+**I*XW*+,+,+C*~********X**~****f~7*+***~*~~******+****u++**~t*+~/
f include
+include Finclude
600 3
222
int m d :
/* ternchord
data */ inr may[L][Kl=
i {32,1,3-12, 3,1.I, 0,0,0, 0.0,0,O.Q,O, 0.0.0}, {2,3.1, 22.7, 22.1, 2,1,3,2.1,2,1,1.1, CiJ.O}, { 13.2, lJ.1, 12.3, 1-22>1.2*lV 1,1,3,1.1.2 }
1;
char *noteslS] = ~c","D","E","P."G";A~,"B~;c~ inr vdue[8] = { 0 , 2 , 4 , 5 ,7 , 9 , 11, 12 j;
1;
void write-ta-disk{void);
void m;iin(vaid)
I int x, y. 2: w, p, q, done, a, A,B,C,13,E,F:G,HI T=L"X7;
char ke;
prinrfI"\nsclect screen info:\n hlc 'd' ro show data - \ hit 'space' to cornpure only'n\n\nm); while(!(key = geuhar())): if(kcy == W 0 ) prinrfv \,n\nL cornpuring data - \n\n"); whil e(l done){ for(!-& y
fnt(x=O; x;n7;x--3H for(w=& w
~~==YI.I I.l)I p=arrayLv][x] + array>] [x+ 13
array[!.] [x+2]:
ADamONAt MATERIALS
q-arra!jz]lw]
-
array[z]zl[w+I] array!z][w+Z];
1 else p=q=Q;
if sum of ~etrachords
J*
A=mode[totd][O]=0; B=modejro.otd][ 1 j = a m y ~ ] [ x ~ :
C-rnodeltowI][2]=array~][x-l];
D=mod~~t~d~~]=array~y]~x+~; F-mode[rod]~3]=army[zJ[w]; G=modelrotaI][6]=arrayIz][w-11:
H=mode[tod](7]=array[z](w-2]; E-modc[tom1][4]=12-(.4+K*DcF-G+H);
j' smcn display */ if(key == 'd')! prinrfr [ W d ]",rod-1): printf("s63d ".B); prind("%2d".C): prinrf("Wd ".D): printF("[%Zd] ",H); prinzf("l2d ".El: printf("X2d ",F); printfr962d \nn,G); } /* key-- 13 */
if(a3T && (B--3 Mi C--2 && D m - I ) ) done = rrue;!* test for 1 s t retrachord
"/
} /* end p+q<12.. */ ++a;!' lncsemcnr main counter ',I
ifIkey -= 0x20 ti& a % 120 == 0) printf("\ncyclcs completed: R3d",a); ~f(a SIZE) - done = 1: %
) /* cnd for(u,.*i } /* end For[x"/ 1 P end for(z */ ] /* end for y.*J
pr~ncf("\n\n\n- All Done ! - To& Scales Created: Z3d\in\n",rod): pr~ntfI"\n-hlr 's' to save oucpur to &k and q u l ~ 'd't o do again. \ '9' to gulr -\nu);
switch(key){ case 'sf,
prinMm'\n\n- saving data as 'scdes.~ir'In the defaulr d~recrmr)'\n\, exiss~ngFiles will be ovemmctcn!\n\n")1 u~nr~-ro-dlsk(); eXit(1):
brcak: case Id'. goco cop,
break
me 'q':
APPENDlX Ill
cxit(1); break;
defaulc: break;
I }
J* end ofmain * i
void write-m-disk(void) i inr x,y,z. A.B30.C.D,E; char ~rbuf1341; FlLE *&eEle;
thefile = fopen("scalcs.d. "rP): if(thefile != NULL){ fort.-0;ycrotal;!.+-){ if(y ? rota]) b&
/+ifcyclcwer orabortdcsired*/
D-0. if(rnodeb] [2] &&
!7
SEE){
fprinfltbefile:' %d :C ",(J*I)); for(x-l; xGX: xL+){ J" convert numeric data to alpha +J E~~due!x];
C-modeb] [XI; D +- C. if(D :, 12) B=12: fprintF(thefile."%s",notes[x]); if(EcDK /* check for enharrnon~cs* / iC((B-E)==2)fprinrf(thefile."%sn~"~ "); el= fprintf(thefile,"%sm/r' "1:
1 iflE>D){ if((E-D)m=2) Fprin~(thcKle,"%sE,%b "1; else fprinrfjthefde,%sm."):
1 if(E==D) fprintf(th&le,"k"," ) J" end of for(x.....'/
"):
1 /* end of if(rnod~..*;
} *!, end of forktotal ...*i fclose(thefi1e); puts("fd c successfuDy wrimen\n"): ) /* end of iqfopen ...IY/
else! prinrf("\ncodd nor open fde - press key..."); gcrchar();
1
ADDITIONAL HATERIALS
MISCELLANEOUS MATERIALS 1. Computer generared hamonizarions of alrered pentatonic scales, one chord per each
scale pitch.
Ex. 1
Ex. 4
Ex. 3
Ex. 8
Ex. 7 n
I
EK. 9
Ex. 11
-
Ex. 10
Ex. '12
APPENDIX 11:
2. Another example of harmonizin~a penta~onicmelody.
GC Lydian
C-ll
I
C Phrygian
)
Bb Phrygran
F Phrygian
I
EL-ll
F Phrygian
Eb Dorian
'
Galr
Qsus
~bsus
.Examples ofpentatonics created by the alccration method. a) $56: b4, Cj - Altered (Modes of: Db Me1 Minor)
b) *713: M, b7 - hRixoC4, Doriana (Modes of: G Me!M~nor,G Harm Minor)
c) +37: b6, CT- Mixoh6 Pht-)yan43 (Modes of: F Mel M~norlHarmMinor)
d) e79: Major Blues
f ) $155: lonian 66
g) $224: Phrygian 0
h) lonian t 5
i) lonian t2, b6
k)
Altered
APPENDIX Ill
4. h a n o score of "Palm X" for exrra
PALM
smdy and pcrfomancc use.
X comp./arr. Ron Miller
\
ED- 1 l
ADDITIONAL M&TERIAtS
ABOUT THE AUTHOR Ron Miller. Professor (Snzdio Music andlazz). received a B.F.A, degree from Ronda Adancic Universiy and a M.M. degree from the Universiql oF Miami. His compositions have been performed arorldwide, including rhe Jamcy Acbersold Camps. and have been recorded and/or performed by notables he likes of Red Rodney, Hal Galper,Joe b v a n o , Billy Hart, Kennp Werner, Ira Sullivan, Stan Getz, Mark Egan and Danny Goctlieb of E~ernenrs.
Ron's composition srudents have included, among others, Pat Meheny, Bobby \Trar;son, "T" Lavitz, Bruce Hornsby. Mark ED-, Jon Secada and Gil Goldstein. He has given iazz piano performances with Ira Sullivan. Allen Eager, Rick Margiu6 Mark Egan, and Pat Metheny, and has backed up many show busmess personalities as u.cll.
M q of his students, under his direction, have been granted the prestigious Down Bear award either as individuals or in a group effort The Best S d l Ensemble award wenc to t h c Fusion Ensemble in 1979, Prioiiqp in 1988, and the MonEcjMing~Ensemble in 1997. Indnldual awards of Besr Soloist went to Reed Arvin in 1979, and Rick Margitza in 1984. Of the Down Bear Ouucanding Performance awards, d i e Avant-Gardc ~nscmblewon in 1980, 1981 and 1982, the Fusion Ensemble won in 1951 and 1982. and the MankjMingus Ensemble received the awatd in 1984.
Ron's composlnons can be found on t h e following recordings: Broo&n Bhes, Danny Gordicb; Freadasn Tawe~;Mike O w D~dogs,Hd Galper; S m t b Sign, the U M Concert Jazz Band: fiberdl Arts, Elements; B b ~ s j 5 rthe OId New Age, Gary K d l q Loneb In a Crowd, Barry Ries; and G l d n g Sran Samole wirh EIemenrs. In addirion to r e d i n g jazz comgosisjon, advanced improvisation, and jazz piano, Miller direccs the Monk/Mingus ensemble, t h e Avant-Garde ensemble, and t h e Horace Silver ensemble.
Ron can be reached ar [email protected]
; Air.
:
a r r a n g i n g / composing /
harmony / theory
The jazz Theory Workbook O R D E RN O .
li201
( I ~ ~ - P R G 8011~1 E
This book is a primer in jau fheory, infended to prepare the student for t h e serious 5~udyof jaa impwsation. arrangement and composition. Included are many musical examples and written assignments for practice in the theoreticat skills. Appropriate exercises are prov~dedt o reinforce theoretical concepts by immedrate application to the instrilment.
S E R R V COKER 1 BOB KWAPP ; LARRY VINCENT
Hearin' the Changes * O R D E RNO. 1 4 2 7 0
( 1 0 2 - ~ 1 * 6B €O D E J
BILL D O B B I N S
JazzArranging and Composing.: a Linear Approach Jazz Arrangement und Komposition: ein BESTELL-MR.11306
lineares Konzept
[RIJCHJCD)
Arrangement et composition de la rnusique de jazz: une approche Linaire C O M M A H D E 11307
[LIYRC~CC)
Arregios de Jazzy cemposici6n: un miitado lineal O R D E RNO. t 1 3 D p
[EOOI:ICO)
-Many different mssibilities for hamonizlng the same mefody are illustrated and analysed, using techniques bv such influentla1 arrangers and composer5 as Duke Ellington, Billy Strayhorn, Ollver Nelson, Gil Evans and Ctare fisther. -Techniques of melodv harmonisation, [inear writing and counterpoint tor 2, 3. 4 and 5 horns. -A chapter on wr~tingFor the rhythm sectron clearly illustrates the techniques commonly used by jazz anangers and
composers. -SIX complete scores rn concert keu are ideal for analysrs, for playing the horn parts on the niano or for following the
performances on the CD. -4n extensive chapter on form and devetonment deals with extended composit~onalform5 and the use of cornposit~onal techn~ouesIn writin5 for the small jazz ensemble, -A cseful discogranhlf is induded at the end of each chapter.
"jazz Amging and Composing rs h e Jirst book to p m v i d ~a dear and logtca! bridge Jrom the mmo bodc techniques of a m g i n g and meloay homonisotion to the more advanced Iineor methods employed by some of the most interesting and tnfluential jaz arrangers ond composers. I have long known Bill's unique nabities m o _oiffedpianist and rorn~bset. und I hrghly recommend this book to jazz writers or all levels of experience." (Clare Fiwhed
G ~ G L OLOSTE~N
jazz Composefs Companion ORDER N O . 1 1 3 0 4
( Z T ~ - P A L ! BOOK!
The book is divided into three main sections: Melody, Rhythm, and Harmony. Dozens of musical examples 2s well as cumpositi~nsby Bill Euans {pianist), taco Pzstor~ous.Iim Hall Ralph Towner. Steve Swallon~,Pitt Methenp: Michael Gibbs, a.0. are inctuded in order t o illustrate specific c~rnpositiona t techniaves. An extensive chapter on the cornwsitional process features intew~ewswith jazz composers Bill Evans, Carla Bley. George Russell. Horace Silver, Pat Metheny, Chlck Coma. Lvte Mays, Anthony Davts, Herbie Hancock, Rlcn~eBeirach, Ralph Towner. a.0.
'GiE does o servirf I~ereon rr high /eve/. The concrpts he offers impwse no sfvle ond thus, con be t.sed and extended tu enrich any musicions vocobrrlay The rest is up to you. " (Bill Evans) AHDY
IAFFE
jazz Harmony 2nd edition, completely rwised and enlarged. tq chapters rncludinp ex~rcisesand assignments: Intenak, Chords. Invers~ons.Modes: D~atonicAnd Modal Chord Propssions: Tne Blues: Song Forms and Melodic Variations; Secondav Dominanl Chords: Substituie Dorn~nant7th Chords and Tritone SUDS: Minor Kev Harmony; Modal Interchange and Mlno: Blues; Common Chord Progressions and Vo~ce-Leading;Modulat~on;Pentatonic5 and Other Svmmetrlc Scales: Blues Varietions: Rhythm Chanvs: Coltrane's 3-Tonic System: Slash Chords and Hybrid Chord Voicinss.
"]ozz Harmony is c brilliant addthan to the Feld o r j o u theory It is wtl-writren and beautiJulty organized. and rhe informotion d contoins is tnoroughlv reswrched and authenticollv presented. I recommend rt hichly" (Dovid 8 ~ k e d "Whether wu ow o teacher: o student, a pioyer or lrstener who wan5 to know w h f to fisten [or in o i ~ r performance. z Andrlafle's Jczz Hamronv will help you to do whit? you do bener: Cherk it our!" (Bilfy Taylor)
"Everyone in lozz Studies should own jazz Horrnon~by AndylaFe. * lBill Rrn-1
