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GO View Mobile Version | SignIn | NEWS ARTISTS LESSONS GEAR VIDEO STORE COMMUNITY SUBSCRIBE Tweet 6 Harmonic Motion for the Modern Jazz Pianist By George Colligan Wed, 23 Apr 2014 rss ShareThis French composer Claude Debussy was quoted as saying, “There is no theory. There is only sound.” In many ways, he was right. The rules of musical harmony are a wonderful thing indeed, but music is a place where it can be safe to break rules. Ibelieve that a combination of foundation and experimentation is the best approach when it comes to musical creativity. Jazz pianists often learn typical chord progressions that can be used to play standards, compose tunes, and learn howto improvise. But howdo we get beyond these typical progressions to create newsounds of our own? 1. Chord Scales Ex. 1 looks at chordscale relationships. Which came first, the chord or the scale? Well, early Greek and Medieval music was based on scales. (The Greeks called them modes). Harmony occurred only as a byproduct of contrapuntal melodies. It wasn’t until the 17th century that the idea of tonal harmony or “chords” began to develop. FromBach to Mozart to Beethoven to Debussy and then to jazz, we can look at harmony as a “vertical” structure. However, bebop (e.g., Charlie Parker) is often analyzed more “horizontally,” that is, in terms of its scalar melodies. So essentially, a chord is a scale . . . is a chord. You can use the same chord scale with different bass notes. For example, take the D Dorian mode (the minor scale with a natural sixth and flat seventh). If you put D in the bass, your chord is a Dmin7 (voiced with the flat third, sixth, and ninth). But when you put a G in the bass, you get a G7 (or the G Mixolydian mode). If you put an F in the bass, you get an Fmaj7#11 (or the F Lydian mode). With an A in the bass, you get an Amin7b6 (or the A Aeolian mode). And so on. So one scale can lead you in many different directions, depending on which bass note you choose. 2. Disguised Progressions Jazz education spends a lot of time dissecting progressions like the ubiquitous iiVI. But we can alter these standard chord movements in many ways by using disguised progressions, like those seen in Ex. 2. Try making the progression minor (Dmin7b5, G7b9, then Cmin maj7). Make it suspended (D7sus11, G7sus11, C7sus11). Combine the two (Dmin maj7, G7sus4b9, Cmaj7#5). Use tritone substitutions (Ab7, Db7, Cmaj7). Now mix and match all those! There are endless possibilities within even the “known” harmonic universe. Harmonic Motion for the Find us on Facebook Keyboard Magazine 34,148 Facebook social plugin Like Keyboard Magazine Learn harmonic motion for the modern jazz pianist! http://www.keyboardmag.co m/article/harmonicmotion forthemodernjazz pianist/154621 11 hours ago Keyboardmag: Harmonic Motion for the Modern Jazz Pianist w w w .keyboardmag.com Keyboardmag: 7 Like

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    HarmonicMotionfortheModernJazzPianistByGeorgeColligan

    Wed,23Apr2014

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    FrenchcomposerClaudeDebussywasquotedassaying,Thereisnotheory.Thereisonlysound.Inmanyways,hewasright.Therulesofmusicalharmonyareawonderfulthingindeed,butmusicisaplacewhereitcanbesafetobreakrules.Ibelievethatacombinationoffoundationandexperimentationisthebestapproachwhenitcomestomusicalcreativity.Jazzpianistsoftenlearntypicalchordprogressionsthatcanbeusedtoplaystandards,composetunes,andlearnhowtoimprovise.Buthowdowegetbeyondthesetypicalprogressionstocreatenewsoundsofourown?

    1.ChordScales

    Ex.1looksatchordscalerelationships.Whichcamefirst,thechordorthescale?Well,earlyGreekandMedievalmusicwasbasedonscales.(TheGreekscalledthemmodes).Harmonyoccurredonlyasabyproductofcontrapuntalmelodies.Itwasntuntilthe17thcenturythattheideaoftonalharmonyorchordsbegantodevelop.FromBachtoMozarttoBeethoventoDebussyandthentojazz,wecanlookatharmonyasaverticalstructure.However,bebop(e.g.,CharlieParker)isoftenanalyzedmorehorizontally,thatis,intermsofitsscalarmelodies.Soessentially,achordisascale...isachord.Youcanusethesamechordscalewithdifferentbassnotes.Forexample,taketheDDorianmode(theminorscalewithanaturalsixthandflatseventh).IfyouputDinthebass,yourchordisaDmin7(voicedwiththeflatthird,sixth,andninth).ButwhenyouputaGinthebass,yougetaG7(ortheGMixolydianmode).IfyouputanFinthebass,yougetanFmaj7#11(ortheFLydianmode).WithanAinthebass,yougetanAmin7b6(ortheAAeolianmode).Andsoon.Soonescalecanleadyouinmanydifferentdirections,dependingonwhichbassnoteyouchoose.

    2.DisguisedProgressions

    JazzeducationspendsalotoftimedissectingprogressionsliketheubiquitousiiVI.Butwecanalterthesestandardchordmovementsinmanywaysbyusingdisguisedprogressions,likethoseseeninEx.2.Trymakingtheprogressionminor(Dmin7b5,G7b9,thenCminmaj7).Makeitsuspended(D7sus11,G7sus11,C7sus11).Combinethetwo(Dminmaj7,G7sus4b9,Cmaj7#5).Usetritonesubstitutions(Ab7,Db7,Cmaj7).Nowmixandmatchallthose!Thereareendlesspossibilitieswithineventheknownharmonicuniverse.

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  • 3.NonFunctionalHarmony

    Wanttogoevenfartherintothegreatunknown?Thefirststepistogetawayfromstandardmotionlikethecycleoffourths,chromaticchordalmovements,iiVI,orcommonchordsubstitutions,andtryemployingnonfunctionalharmonylikethatillustratedinEx.3.Tryusingwholesteps,minorthirds,ormajorthirdsinyourprogressions.Here,harmonyismoreaboutcolorthanfunction.

    4.MorewithBassNotes

    OnmylatestalbumTheEndlessMysteries,thetuneentitledHerMajestybeginswiththechordsDb/F,Amaj7/E,B/D#,andGmaj7/D.Thebassmotionischromatic,butthechordsontoparenonfunctional,asseeninEx.4.Youcanalmostthinkofthesechordsasinversions.Notehowdifferenttheprogressionsoundswhenplayedinamoretraditionalmanner:Dbmaj7,Amaj7,Bmaj7,Gmaj7.

    5.DensityandPolytonality

    Beforethepianowasinvented,counterpointandthenharmonywasaproductofmultiplevoicesorinstrumentsplayingdifferentmelodiclines.Thesedays,wehaveincredibleaccesstosoundsthatourmusicalancestorscouldnthavedreamedof.Sowhynotexplorethem?Aslongasyoureconsistentinthe

    typesofsoundsyouuse,youcantgowrong.Many20thcenturyEuropeanclassicalcomposershavealsousedbitonalityorpolytonalityintheirwork,illustratedinEx.5.(Note:Injazz,polytonalityissometimesconfusedwithslashchords.However,theresabigdifferencebetweensimplyusingadifferentbassnoteandtrulyusingtwokeysatonce).

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    Asoughtaftersidemanontheinternationaljazzsceneforovertwodecades,GeorgeColligancurrentlyleadshisowngroupsandtourswithrenowneddrummerJackDeJohnette.HeisalsoJazzAreaCoordinatoratPortlandStateUniversityinOregon.ColliganslatestalbumTheEndlessMysteriesisoutnow.Findoutmoreatgeorgecolligan.com.

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