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MODAL JAZZ COMPOSlTlON G HARMONY
V O L U M E 1
BY R O N M I L L E R
WHEN THE MOPES O f MUSIC CHANGE. THE WALLS OF THE CITY CRUM%LE- (PLATO)
@ 1996 by ADVANCE MUSIC
All rights reserved.
No part of this publication may be reproduced,
stored in a remeval system, or transmitted, in any form or by any means,
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without prior written permission of Advance Music.
International copyright secured.
Cover D e s i p Traugoct Bratic
Text editor. Lizetre Reyes Cain
PubIished by Advance Music
D-72108 Rottenburg N, Germany
Production: Hans Gruber
Printed by TC Druck, Tiibingen
TABLE OF CONTf NTS
Incroducrian ..........,........-..............-...................................................*..........................................-............. 6
A Jazz Composer's Regimen ...................._...............................................................-.....................+....... 7
How To Use This Book ........................... - ............................................................................................... 8
... Categories of Jazz Cornposiuons ............................-..................+......*................................................... 9
CHAPTER I . Jazz Harmonic Systwns ......................... .. .................................................... 11
CHAFER II . Consrruction of the Undrered Diatonic Modes ............................................... 15
CHAPTER III . Construction of the Unaltered Diatonic Chords ............................................. 19
CHAPFER IV - Characteristics of the Undrered Diatonic Modes .............................................. 27
CHAKTER V - f i e Modes of the Altered Diatonic No . 1 (Melodic Minor) .......................... .. 31
C H A F E R VI - Non-Moddl Chords ................................ ..... ...................................................... 37
CHAPTER WI - Chord Connection/ComposicionaI Dewices ........................................................ 43
............. ......... . C M E R VIII - Upper Smcmres .......,........... ... .. ................................. 49
CHAPTZR M - Completing the Chord Conne&on Process .- .......................... .. ..................... 57 C m R X - Form ......,........................... .., .................................................................................. 63
CHAFER XI - Harmonic Cantour .............................................................................................. 65
CHAPTER XLI - The M d e s and Chords of the Altered Dia~onic No . 2
(Harmonic Minor) ......-....... ......1........................................... ............................. 89
.......................................................... CHAITER XU1 - Slash Chord Harmony ........................... .. 95
CHAPTER XIV - Three-Part Upper Srructure Chords ............................................................. 111
CHAKER XV - The Chords of the Altered Diatonic No . 3 (Harmonic Major)
and Plltered Diaronic N o . 4 (Melodic Minor #5) ........................... ......... ............. 115 Conclusion and Find Comments for Volume 1 .+ .................................................................... 124
APPENDIX
....................... 1 . Acoustics and ModaLiv ..................... .. ......................,............+-.................... 126
............................................................ 2 . Consmtion of the Tetrachords ............................. .. 130
3 . Additional Examples ............................................................................................................... 131
. . 4 . Ear Trailllng ................................................................................................ .. ............................. 136
5 . Tree of Influential Jazz Composers , ................................. .. ..................................... 138 ..... 6 . Discagraphy~ibliogmphy .. ........................................................................................... 139
........................ . 7 About the Author ............................................................................................... 142
INTRODUCTION
The subject of jazz cornposition has many meanings. TradicionalIy, a jazz cornpositi~n was an arrangement for big band that was composed by the arranger. Mast OF tke earlier jazz composirion textbooks (and there were few) took that approach. A jazz composition For
universal use was not a practiced consideration at that time: mast small group performance was based on playing standards or blues, or tunes with new meiodies derived from an improvised solo over the original or varied version of the original chords. Even the most
Forward-looking composers of the time were tied to the song form and tonal hamonic system. Although they produced classic, beautiful compositions, the closed quality of their hamonic vocabulary and symmetric form deprived them of diverse expression. It wasn'r until che early sixties, when a group of university educated composers hit the scene, rhar jazz compositions evolved into venues of individual expression for both the composer and the improvisor. These young composers, aware oFche harmonies oFBarcok, Stravinsky, h v e l and Rachmaninov, and the use of extended and free-form, inrroduced a new concept of jazz
composition to the jazz world. Representative of chis new breed were Wayne Shorter and Herbie Hancnck. Of course, there were interim composers who advanced rhe art of jazz
cornpasition and influenced subsequent camposers with compositions of great strength and beaury. Horace Silver, a perfecr example, influenced many jazz composers - this author incIuded. Although his harmonic vocabulary was based within the tonal system, his use of unusual form and perfect tonal cenrer relationships along with great rhythmic ideas and memorable melodies has earned him the respected position of one of "the masters" (see T r e e
~Flnfluential Composers" in appendix). It is the freeing of the composer from the scruccure (or scricmre) o f rhe tond syscem and scrict form, song form in particuIat, that has allowed so many composers of inen abilities to "bbssorn" ra artisa with individual expressive merit The god of Volume I of chis book is to show che student the means to develop latenc creative abilities by offering rhe unfettered environment af the chromatic-modd harmonic system
and Free-asymmetric form. In addition, the freedom of the approach will allow the composer to express himself in any style: Post-1950s jam, cIassica1, ECM, Fusion, pop, ecc, that is not tied 1-0 any harmonic particulars.
THE JAZZ COMPOSER'S REGIMEN
jazz is baricdly a performer's arc form- Not unlike the army where in spite of individual spr&zarion weqone is ba~icdly an inFan~mul, Everyone in is baicd+, player. p u r tala& are stronger in the writing area, be prepared to duesm or get into classical compmirion or film scoring Although the b z i c skills required For borh players ,i= are same, once those skills a x ac¶uir*, 'he Process of d ~ e l o p r n e ~ ~ .-hanger me ,pFreaCh arraining a level of arcistic mmpecence fo r the player Tequires &e environment of pracricc mom ~ i ~ h hours of ~ O L Q ~ skius, learning lidrs and
learning transcribed solos and dev%'ing and perfecting a conepr produc*on. The composer, in a disimil= fxhionp must e x ~ m d his Iearning cnGrifonment to
include .world and all it c a n reach- Once the has mastered the basic he has ta acquire 'somehing to say-" Qf this is true for the bur
required insrmrnenal skills seem haw precedence at this point. For che composer, whose effom are less ephemcraI, the foltawing regimen is s u ~ e s t e d .
2 , Know theory and nomenclature: Composes use writren means of communicarion. nis m~egory is obvious.
2, Evolution ofjazz styles: one should be able write in all jazz styles and knowledge dements of dl svles will improve one's personal style.
3. sru* and ,&nmv rhe works of rhe influential jazz composers: Chadie parker, Duke Elbngton, Charles Mingus, Horace Saver, and Wayne Shorter.
4. hnprovisation: if you can't play it, be able m write it.
5. aassid music. study and k t l o ~ the works of the romantic melody writers and modern harmonis= - ~chaikovsky, Rachmanhov, Chopin, f iok~fiev, Sminsky, Ravel, ~ ~ d ~ i ~ ~ ,
Copland; and the classid ~nfluenced ECM - Rdph Towner, Eberhard weber, Kemy Wheeler-
6. s ~ + the Humanities arc, literature, dr-, particu1arly the romricisE, and philo- sophy and religion.
7. Study and know world history and world music.
g. Travel and diversity: spend a pardon of your life away musk wi& world travel,
%ecing wirh hiking, cmoeing, rock c L d n s ger involved with different
occupanons.
3. Volunteer for community service.
10, ~f most of the above is hard co accomplish, least read, read and read.
HOW TO USE THIS B0O.K
This book is organized in a way that separates rht hbrrnacion pertinent to acquiring creative skills, and thac of a more esoteric nature: the hows, whys and theoretical Foundations, as
found in the appendix This means chat the student interested in quickly getting going with composirion doesn't need to €erret out the "good" stuff from a jungIe of data, while the smdent interested in the hows and whys can easily access that information. Ic rvill be pointed out within the tern of each chapter when additional idormation i s available in the appendix. In general, the procedure is to first develop the language of harmony as used in che book, work with exercises to assure mastery OF the concepr, andyze how che concept is used by accomplished composers and finally, apply the concepa to create a c~mposition Each chapter has a title page with a list of terms that are important to gaining a complete understanding of the concepts presented in that chapcer. The terms, some peculiar to this book, are found in itaIics and are defined within the text. In addition m understanding the tenns and conceprs, OF extreme importance is rhe *hearing" of the musical aspects of the concept, Any chord, mode, melody, exercise or exampre shouId be played on a keyboad regardless ofthe student's keyboard skills. Only rhen should the student, if not a keyboardist, use his instrument or voice. WhiIe playing the exampIes, the student should be lisrening intently to train his ears to the particulars of each example. Each day the studenr should try to find rime ro listen to a selection from the induded discography. The ultimare goal is to haw all the recordings listed there available for persona1 listening from memory done. An
important point ro remember i s that no one can successfully compose in the way this book advocates without first being able to "hear" the concepts presented. In a nutsheI1, the smdent should;
1. Learn the concepr inrelIecdly.
2. Learn to phy it on a keyboard.
3. Learn to hear ir.
4. Learn its application in a recorded example.
W~th each chapter, the subject wil1 be illusrrated with an m p k or examples. Srudy these, and play them. Next will be suggested exercises &at will assure that the concepts are mastered Bur more importantly, they are designed to develop creative skiIk, in facc, most exercises rY l i
be the seed idea for a finished composition. The point is to approach the exercises as a potential composition rather than an academic exercise and ta do as many as rime dows . When all the beginning concepts ate mastered, we will begin to analyze how rhe techniques are used by che master composers on recorded examples. One should have done much listening by this time. IdealIy, che book d be used in a cIass~oom situation with an accomplished teacher/composer who can offer informed objective feedback For any student
effort. Once the canceptc of d-te book are mastered, this last step is a must for artistic development. I n e n the informarion is assimilated and mastered (or before), it is hoped thac
the srudtnc will realize that the *freedom" advocated by the methods o f this book allows him to do what he got into music to do to begin with: Be crearive and have fun!
CATEGORlf S OF JAZZ CUMPOSIT ION
The foIIowing, Iike h e TreeoFComposers (found in theappendix, p. 1381, is included to assist in clarifying a direction of study: an artempt to clear some routes through a comprehensive subject and to tie together che cornposirionaI styles and influences of the major jazz composers.Jazz, being an arc form that allowed individual expression through improvisation, would narurally wolve ro allow individualiq to be expressed both as composirion and impmisacion. The caregories of jazz compositions that will be cwered in both volumes of this book will include the foIlowing categories, with volume 1 covering the most complex and comprehensive, as we11 as that which che rest is a subser free-form modal (modal complex).
TONAL
A. SONG FORM
Based on rhe symmetric 32-bar song form rypicaI of tunes from the sundard repertoire ofthe '30s and '40s, this is improvisation oriented cornposirion, many o f the tunes being melodies d e t i d from improvisations over standard and dance runes. Compositions not derived from existing tunes were nonetheless based on rheir formulae. Their harmonic material rawly strayed From cotalIy diatonic key reladonships. Representative composers are Bird (Charlie Parker), Duke Elhgron, Billy Strayhorn, Tadd Darneron, and Thelonious Monk.
8. FREE-FORM
No Ionger strict song form, rhese can be asymmetsic or through-composed. In addition, there is much use of nondiatoraic key centering. Representative composers are: Duke EUington, Chades Mingus, Billy Strayhorn, Benny Galson, and Horace Silver.
C. NEW REHARMONIZATIONS/NEW BOP
Many OF the younger cornposer/improvisors of the eighries, seeking to pay homage to the
masters of r h e past (bebop), remmtd to the harmonic materials and form of that era (tonal/ song farm). Bared on the bebop concept oF writing a new melody over a set of standard changes, this method is made contemporary by dtering che harmonic rhythm, by chromatic substitution and by attempts to "modalize" the tonal quality of the original changes. Most of these young "new hoppers" are providing this kind of composition: Wynton hfarsalis, Rifk Margitza, andJerry Bergonzi are representative.
MODAL
A. MODAL SIMPLE
These are the early rnadaI compositions, where the harmonic content is based on one mode (linear) or a few different modes at different key centers (plateau). Typical are "So What," "Impressions," and "Maiden Qoyagt" Although nor tonal, she form is still fairly symmetric, with mosc of rhe compositisns being AABA song form. Other &an Colcrane and his fbllowers, there doesn't seem to be a *school" of composers with this specialization.
B. MODAL COMPCEX (FREE-FORM) I Having Fasc asymmetric harmonic rhythm and free-form, &is is the mosc complex and comprehensive harmonic category. This kind of harmony o h the easiest rn-s for creative
expression but requires the most creative "effort" of the composer. Wayne Shorcer is the main source of inspiration for this category.
PENIITONTC TUNES I BLUES TUNES
This is a composition in which the melodic source material is the focus of its development. That melodic source material i s derived from either the unalwred, altered, or add note
pentatonic scales and alI their modes. The harmonic material can be of any category, but the form is usually derived from that which is Found in the worId's folk musics.
AVANT-GARDE
A. TONAL/BEBOP
Using tond melodies and song fbm as a point of departure, rhe father OF chis style is Omette
Coleman, who is a major influence on Carla BIey, Albert Ayler, and Pat Merheny.
B. MODAL
Pushing the simple-modal and petImt0ni.C category to the edge, John Calcrane and his followers at the time - Steve Grossman, David Ciebman, Archie Shepp -are the represenmrive
composers.
C. FUSION
Utilizing dance rhythms, adding electric instruments, but still maintaining free improvi- sations as in basis, chis category i s represented by Ornetre Coleman, James 'Blood' Ulmer, Bill h e l l , and ochers.
D. WORD/ETHNlC/PUOGRAMMATlC
The last category of avant-garde is very diverse in style and oEers venue for the composer who has che desire to make a social comment. There are toe many in this and the Fusion category to list rhe rmly representative. The most famous are Sun Ra and the Art Ensemble of Chicago.
A11 of the above wiCI be cowred in detail in the appropriate chapters of the appropriate volume, but For now it should sufice as a guide ro comprehension of the *big picture" and getring an idea of the rsverali goal OF both voIurncs of this text Bear in mind that the bctter jazz
composers create works in many of the listed categories.
' E R I
I . Sty
" 2. syrnrncrrlc vlv~slon
3. Asymmetric Division
7. Chmn
Vertical 8.
9. Plateau Modal
10- Linear Modal
iatic
Modal
- * , ,
c Rhythn
. .
C H A P T E R I - --
The harmonic materials emphasized in this book can be applied to any stylex] of composition, if the style is not defined by any harmonic particulars, i-e., pasr-1950s jazz, pop, ECM, Iare 19th/20rh cenrury classical, etc.
Typicd would be the works of Pat Merheny, Wayne Shorter, Ralph Tamer, Joe Henderson, and Kenny Wheeler, to name a few. Most ofrheir compositions are similar in their use of non-
diatonimlly related modal material, free-form (non-song form), asymmetric harmonic rhyhrn, and a diversicy of rhythmic style. In addition, many of heir compositions reflecr a tie
to the d t i o n of jazz with secdons of tonal harmony and swing feel. Most oftheir works are "playable."
I- The octave as a means ofstable lirnis
2- Asymmetric division of the ocmve into:
3. Sewn different picches
Norc that the octave divided syrnmetricalIy produces non-modal3) scales rhat have a parcicuiar
sonoric quality that can be 05compasiuonaI use.
HARMONIC GROUPS
T h e groups are defined by the presence or absence of preset rules oEssructure and organi- zation.
The harmonic content oFa composition can be in one group or combinations of the groups.
THERE ARE FOUR MAW GROUPS (three are modal, one i s nonmodd).
1. TONAL (modal specific) A modd system which has specific means of org-tion (rules):
(a) mot mwernenrs of a fifth
@) specific modal contou8
(c) ditonic mot relationships
(d) symmetric harmonic rhythm
(e) well -defined 'home' key
2. MODAL (modal arbitrary, free-Form) There are no preset means of organization:
(a) root movement, harmonic rhythm, and modal contour determined by the whim of the composer
@) chromatic mot relationships
(c) usually there is no clear home key
1) Waym which h e campo=rappri- 3. CHROMATIC (pIateau tonal) Same qualities as tonal, excepr there is no dearly defined the Jcmesrs ofmusic humonrdy, melodically, crc, which means thx
heme key:
harmonic dmm- that f f i e scyte (a) there are many different k g cenrers (plateaus) must be used in mndern with &
form c ~ t i v i e y . (b) the key centers usualIy are nondiaronic 2) A quality of dre unequal division of
the octave in which each scale sap (c) rht harmonic rhythm is usually sF&tric has im own hmonic/melodic
&finition. 4. NON-MODAL (symmerric):
3) The quali~y of any scale in which (a) unclear resolution, each note has the same harmonic/melodic qualities rhe OCUVC, equally divided, giva each s d c s t e p or hagmait the (b) chords and melodies exisr: as a sonority, a *soundm same harmcmk/rneldic definidon.
4) The dynamic qualities of a group of (c) example: diminished, whole mne, 12-cone, angrnented chords wthin a s e c ~ o n or phr=
I A Z Z H A R M O N I C S Y S T E H S
THE SUBGROUPS OF MODAL ARBITRARY
These are the harmonic groups that wilI be emphasized in this volume and from this point on will getlerdIy be referred to as m&I harmony.
There are three subgroups of modal harmony. imti~al m&l, plrzfeaid modd4 and linear modal
THE GROUPS ARE DEFINED BY
{a) harmonic rhythm - chord duration, dependent on tempo
@) melodic quality of rhe bass line
{c) definirian of a home key
VERJICAL MODAL
(a) fast harmonic rhythm (one chord pet beat to one chord per bar)
@) wry active, rneIodic bass line
fc) no clearly defined home key
(d) harmonic melodies are usually chromatic (see p. 61)
(e) individual chords tend to be heard as a sonority rather rhan a modality
T h i s harmonic style, being v e y active, can be overbearing. It is usually used at cadenrid areas ofa composition, but can be found in complete use in some dower tempo tunes.
Examples: "Licde One" by Herbie Rancock, "Dance Cadaverous* by Wayne Shorter, "Yellow
Bell" by Ralph Towntr.
(a) harmonic rhythm s b w enough ro establish modality per chord
@) bass part less mive, less rneIa&c
(c) mesrIy non-diatonic root relationships
(d) no clearly defined home key
(e) harmonic rhychrn rends to be symmetric, w o to four bars per chord
Examples: "Gazelle" by Joe Henderson, "Afro-Centric" by Joe Henderson, "Loft Dance" by David Liebman, "Maiden Voyage" by Herbie Hancock
LINEAR MODAL (there are two kinds - depending on t h e harmonic rhythm):
1. Slow to no harmonic rhythm:
(a) no bass melody, more of a vamp
(b) typically only one mode (root) for entire composition
(c) an ovedI key and modaliry a n bc identified
(d) less symmetric form
2. Faster harmonic rhythm:
(a) mostly averdl diatonic roots, melody, and spelling
(b) more melodic bass part
(c) clearly defined home key
(d) more syrnmerric form
Examples: Slow - "In a Silent Way" by Joe Zawinul, "Masqualero" by Wayne Shorter, "Sea
Journey" by Chick Core! Fast - "American Hopen by Ron MiIler, most pop tunes, Metheny tunes, Brazilian, and new age tunes
SUGGESTED EXERCISES
Listen to the FoIEowing recordings and try ro identi@ the general harmonic group. If more
than one group is used in a single composirion, Iabel the group by sections. Try co name the modality of each section.
1. The S o r m - Miles Davis (Columbia CS 9532)
(a) "Pee Wee" - Tony mIliarns
(b) "Masqualero" - Wayne Shorter
2. In a Silent Way - Miles Davis (Columbia CS 9875)
(a) -In a Silent Waf' -Joe ZawinuI
3. Fawer to h e People - Joe Henderson (Milesrone M 9024'))
(a) "Black Narcissus" -Joe Henderson
(b) "Power ro the Peoplen -Joe Henderson
4. AmeTican Hope - Ron Miller (Novus 3058-2N)
Compare the rhythm section style of playing on the above recordings with that of any Charlie Parker recording and compare the harmonic rhythm of the above wich any pre-1960s jazz Messengers recordings. Is there a diEference in rhe harmonic rhythm of compositions found on Messengers recordings after Wayne Shorter joined the band?
I) Reissued on the 2-LP Mr "Foresight" (Miltswnes W 47058)
C H A P T E R I I
of the
Ur e . .' - 7.
. ..," a. : . . ,
Diatc. .., Moues . .
Method
2. Chromatic Method
3. Tetrachords*)
C Y A P T E R t l
METHODS
There are two methods
1. DIATONIC METHOD
The traditional method: that of establishing a key center and transposing the adjacent notes of r h e major scale. The modes are diatonically relared, with no clear color comparison.
2. CHROMATIC MEMOD
Fixed starting note method: this is a nondiatonic method where each mode has the same
starring nore. The modes are constructed by h e combination of tetrachords thar cIarifies the differences in modality, stabiIity and hatmonic/rnelodic qualides.
T h e main god of this section is ro establish a harmonic palette for the composer of modal composidom KO use in a manner similar to char OF the visual artisr. The "colors" are to be brighr or dark, tense or relaxed, and to have emotional effects as weI1. With this in mind the chrornaut rnethad is the best choice.
The siu scales from which the harmonic material in chis book will be derived are the following.
1. Ionian mode
2. T o i n b3 (melodic minor)
3. Ion& b6 (harmonic major)
4. Ionian b3, b6 (harmonic minor)
5. h ~ i a n b3, $5 (melodic minor 95)
6. Ionian 112
There are two groups d h m i c and cbromutic
1. DIATONIE Follows an alphabeucd sequence, with no enharmonic spellings.
2. CHROMATIC: Alphabetic sequence uich enharmonic s p e k g s .
Example 2-7:
Lydian Ionian Dorian Phmian
Hungarian major Hungarian minor Harmonic Spanish Phrygian
SEMTTONl3
3 1 2
2 1 3
131
1 2 1
DIATONIC
Lydian
Ionian
Dorian
Phrygian
1) A bnorc s d c f r a p c n t having its own modal quality.
SEMiTONES
222
221
2 12
1 2 2
CHROMATIC ---- Hungarian major
Hungarian minor
Harmonic pppp
Spanish Phrygian
C O N S T R U C T I O N O F THE U N A L T E R E D D I A T O N I C M O D E S
THE DIATONIC MODES (UNALTEf?€D IONIAN)
Using the chromaric or f w d starting note method, the modes are created by combining turo
terrachords, each with its own modality, into a resulting merged modality with its o m
qualiues of brightness/darkness, resolution tendencies, and harmormic/meIodic definition
These results shouId be mec
1. The sum of rhe semitones equals 12.
2. There are seven different scale sceps.
3. They are all contained within an octave.
THE FORMULAS
Note the shifring af the minor second interval From the right to the Ieft This is a visuaI representation of the order of bnghesr so darkest of the modes.
EKample 2-2: The Unaltered Diatonic Modes
A Lydian Ionian Mixolydian
A Dorian Aeolian Phrygian
+) Now that in order far &e semicoma ro
add up m 12.. a n o h i n d must be
added m thc formutq, cirhtr a strnlront
or a whote tone. This will be called rhc
rormecmr or mnnrmrm"g tone arpd is Found
k w e e n the upper and lower t e c r a c h d
C H A P T E R I 1
SUGGESTED EXERCISES
1. Construct the following modes using the terrachord method (do not use key signatures):
(a) D Tonian
(b) E Aeolian
(c) Eb Locrian
(d) G Phrygian
{e) Bb Lydian
(0 Db Mixolydian
(g) E Dorian
1 2. Try to consmct a tetrachard not Listed in the re*
1 3. Try unusual cornbinalimr of rhr given nmchorck.
4. Play the tetrachords, learn to idemify them by ear.
5. Do the above for the modes, make nore of their emotional qualicy,
C H A P T E R I I I
Cor - ~ctic
of the
Unaltered
Diaton~c cnaras
sive Met
l ling
t Scale
r Order
Spacing
7. Tea
8. Clu
9. Quartal
10. M
11. Balance
12. Support
13. Tes:
17- Overtone series
-.-.
ster
. Upper Structure
15. Grip
C H A P T E R I l l
METHODS
There are two mechods o f modal c h o d construction:
1. COMPREH ENSlVE MEFHOD
A11 aspects of modal quality and acoustic properties of nore groups must be known: spdIing, spacing, and balance.
2. SHORTHAND MITHOD
Upper structure method: an upper strucrure with a particuIar hand shape o r ~ p is placed over
a root. [Note: The shorthand grip method will be covered in Chapter Vm.1
THE COMPREtlf NSWE METHOD
SPf L'L I NGICOLOR TONES
To determine the tones (color tones, quality tones) that determine a scales modality, a direct comparison with its p a m t scaiel) must be made.
The notes with different alterations are the notes that give the mode its quality.
Them is an order of priority in the list of color rones that define any mode.
THE DIATONIC MODES PRIORITY n B L E
[Now The order has been adjusted so conform to "common pracdce"]
has priority order over spelling.
[Note: The primary means of chord construction used in this book is that of stacking of upper structures over mots. The spacing categories refer to the upper scrurture only.]
THE CATEGORIES O f CHORD SPACING
7. TERTlARY - The adjacent notes are OF a major third or minor third intend.
1) T h e Imtim made with the same mot 2. C L U m R - The adjacent notes are of a major second or minor second
as che c u m p a d mode (rat 3. QUAFTAL - T h e adjacenc notes are oFa perfect fourth or #4. appendix)-
2) T ~ C i n r a d i c nrio bcouccn rhe 4. MIXED - The adjacent notes are of a combination of seconds, thirds, and fourths. adjacent notes of thc upper a u u c m OF a chord, them are Four
arcgorics.
This describes how the vertical spacing affects the chord stability.
[Note: For chis kind of harmony, stable chord constnution is not aIways desired; often, an exotic imbalanced construction sounds very appropriate.]
Good balance usually is a result of chord consrruction, which Follows a model OF the overtone series in its vertical arrangement. In addition, the qualiry of the intervals adds to the ovetall
sound - thirds are consonant, seconds have bite, and fourths have tension.
1. TERTIARY - The most balanced, the one which mimics the ovemne series but the masc
bland and uninteresting.
2. CLUSTER - The one which is most unlike the omtone series, but has an interesdng "bite."
3. QUARTAP - An example of displaced overtones, i t has subtle added tension which gives
it a great sound
4. MIXED -The best choice, has a good combination of consonance, bite and tension.
SOME MNERAL "RULES'
A. ROOTS
= No less than an octave between the root and the upper smcmre if the root is lower chan G3 (second G below rniddIe C).
- No less than a 84 between the root and the upper scrucrure if the root is above G3.
No more than an octave between root and upper structure if the root is above C3 (17 below middle C).
€3. UPPER ~ U ~ R E S (MIXED)
No more than a fifth between the lowest nore of upper structure to its next upper note.
- No more than a fourth between any of the remaining upper structure notes.
Keep in mind that the upper srrucrure by itseIf is less sensitive to weak balance, and char unusual combinations are desired in mosr cases.
1) A resuIr ofrhe rmc m upperstrucnuc rano mthie a certain tessrtun
Support is cFFecrcd by rhe r&rura OF h e 1 0 0 ~ and its ability to acr as a
fcmdamend to the mermnc senes. (See
p. 127)
--
PROCEDURE FOR CHORD CONSTRUCTION
The priori~y order d I e i s not set up cornplecely by rhe &crates ~Facoustics. There are adjust-
ments made to the table thar are more reflective of"c~rnrnon pracrice." That is, taking prefer-
ence in the order of notes chat emphasize the modal quality of a primary mne or sel~cting notes that conform to documented use in recordings or printed music. I t will be explained in each example when an adjuscrnent is made.
Although a11 spacings will be represented in the examples, it is restated here that the most interesting are the mixed spacings. Still, ane should be familiar with the consrmction and use o f a11 spacings.
1. Select che general tessitura and soar of rhe chord.
2. Select the kind of spacing.
3. Place the primary color tone somewhere within the seIecced ressitura.
4. FiIl inJ up or dawn, the remaining coIar cones wirhin the specified incervaI of che selected spacing to t h e number of notes desired in the chord (four or five plus root is ypical).
5. Keep in mind the rules of supporr and balance if good support and balance are desired.
One should be abIe to create a balanced chord on assignment.
6. If constructing mixed spacings, try co create balanced chords first, then experiment with exotic (imbalanced) spacings. Some of them sound surprisingly good.
7. Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may need to shift the prioricy tabIe to fuIm the requlred spacing-
8. Doublings are acceptable and wen desired in some cases. commendations wilI be made within rhe comments of each example.
At this time it should be pointed out h a t there is a problem with r h e standardization ofmodal
chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples
are a compilation ofsuggestions that I have received from the many studerm I have had from
all parts of the world. These suggested symbols work, but are open ro criticism.
THE EXAMPLES: THE 'UNALTERED DIATONIC MODES
T - Tertiary Q = Quartal C = Cluster M = Mixed
The mixed examples are typical of h o s e found in common practice. Specific examples found in the Iisted discography will be labeled.
Check marks refer to the prefkwed examples because OF true modal ~ u n d or because of
"common practice" usage.
7 . LYDIAN - Sounds best with the third next to the #4, try to avoid using the fifth, ic makes the 114 sound like a #I 1 (see FO&j9#ll).
Example 3-1:
F Lydian ~ ~ 6 ~ 4 1 1
(I) found in "Gazelle" by Joe Henderson
C O N S T R U C T I O H O F THE U N A L T E R E D D I A T O N I C C H O R D S
2. IONIAN - There are two Farms of Ionim, the common one: A6/9 which is lacking complete Ianian modality, and the A I I which has the m e modal sound
Example 3-2:
(I) = true modality (2) = exotic (3) - tradirionaI (4) = contemporary
3, MIXOLYDIAN - Like Ionian, has rn versions, the one with true modality bar both the
third and the fourth.
Example 3-3:
(1) - t rue modality (2) "Monk's Dream"
4. DORIAN - Must have a natud sixth, note chat C-9 is not a modal chord.
Example 3-4:
0-13 D-6 9 D Dorian
(1) from uTouch" by Eberhard Weber (2) *AIice's Wonderland by Chades Mingus (3) "So WhaP by Miles Davis
5. AEOLIAN - Dark and beautiful, can sound like a firsc inversion miad.
Example 5-5:
A-9 b6 A Aeolian C-9/6 *-gb6
( I ) a Gil Evans voicing (2) "Sea Journey" by Chick Coma (3) "The Lieb" by Ron Miller
6. PHRYGIAN - Dark and exotic, good "colors" chord.
Example 3-6:
E Phrygian E sus b 2 D-9/E F-11/G
7. LOCRIAN - Use with caution! Can be roo dark and tense.
Example 3 - 2
(I) From "Haressa" by Steve Grossman
Usually here will be no need to double any of rhe notes. Ifthe occasion does come up, try to double the roar as first choice or choose a color tone that emphasizes the primary color rone as second choice. As an exampIe, doubling t h e root with Phrygian aIso emphasizes the b2 quality of Phtygian, doubling the root with Aeolian emphasizes the namral second.
Regarding 'common practice' adjusrment OF the color tone priority table, many of the recorded exampla are by piam players voicing5 so the exampIes are derlved from what canfarms to hand shape (see Chapter WlI on the grip method). Other adjusrments are made to enhance zhe modality of the chord An example is the incIusion of rhe perfect fifth to
Aeolian to emphasize t h e flat six quality while darieng that che chord is not an Aeolian flat
five (Lomian 42).
C O H S T R U C T l O M O F THE U N A L T E l E n D l A T O N tC C M O R D S
SUGGESTED EXERCISES
1. Construct 5-note chords (root + four) of rhe following modes:
(a) F Lydian, mixed
(b) A Phrygian, duster
(c) Eb Mixolydian, add t4, quartal
(d) Bb Aeolian, mixed (C on top)
(el Bb Dorian, mixed (C on top)
I (f) E Phrygian, cluster
(g) Eb Lydian, quartal I
(h) A Aeolian, cluster (E on top)
I
2, Construct the follorving chords as specified (include chord symbofs and use your best all igrlphy - be aware oFnear presenudon):
(a) G Phrygian, quartd !
@) E Dorian, cerdary
1 (c) Eb Ionian, no third, cluster
1 (dl Db Lydian, tertiary
Two mixed each for the foJ1owing:
(a) C MixoIyskan p4
(b) F Aeolian
(c) Bb Lydian
{d) Dk Ionian
3. (a) Play rhrolzgh all of the abwe chords, transpose ro aIL keys.
(b) Listen casefully as you play. Have a friend play them, cry to identi5 their modality.
C H A P T E R ! I 1
of the
Unaltered , .. . .
Diatonic Mod
Wrder o f Briahtn,,, LU u a r ~ r t e s s
4. Stab
. A
!solution
i lity
3. tmot~onal Generalizar
6. Palette
C H A P T E R I Y
The Following characteristics of the unalresed diatonic modes are the seed qualities for aH subsequent modes and their chords ro be introduced in the book. The later modes/chords have these basic qualities, with subtle enhancements according to cheir divergence from the
source diatonic mode.
The goal o f the following descriptions is to establish and list a mode's musicd/ernstionaI qualities, which can be referred m for compositional and aestheud use.
BRIGHTNESS TO DARKNESS
1. The shifting of the semitones from right co lefr increases the mount of darkness.
2. The increase of darkness is a redization of the e f f ~ r s of dteracion by "flatdng."
THE ORDER Of BRIGHT TO DARK
1. LYDIAN
2. TONlAN
3. MIXOLYDIAN
4. DORJAN
5. AEWUAN
6. PHRYGIAN
7. LOCRIAN
brightest
darkest
RESOLUTION TENDENCIES
1. MOMENTUM - The desire of the mot to resolve to the home key, the rooc of the Ionian mode with the same diatonic spelling.
Examples: C Ph'ygian wants; .to go to ~b lonian; C Lydian wancs ro go to G Ionian
The chords can cycle through chords wi& less momentum unul the home is reached.
Example: D Dorian m G Mixolydian ro C Ionian
As one can see, this is the Foundarion for dktonic cadence.
2. MODAL RESOLUTION - The desire of a modal chord co release its tension by becoming the Ionian mode with the same root.
Examples: C Aeolian to C Ionian, F Mixolydian to F lonian.
This method of chord comparison i s used to create r n d contour and wlII be covered in a later chapter.
3. nABILITY - The lack of any need OF the modal chord to resolve, &o could be thought of as Iack of tension. Ionian is rhe only mode without desire to resolvt or to relieve tension (see appendix).
The order of tension or Iack of stability is the same as the darkness order, except that Lydian i s less stabk than Jonian and wanrs to resolve to Ion&.
C H A R A C T E R I S T I C S O F THE U N A L T E R E D D I A T O M I C M O D E S
EMOTIONAL GrENERALIZATlONS
The modes can and should be used ta form an emotional response From the listener. The descriptions are the resulr of a listener poll upon hearing differenc modes with different voicings. Being a generalization, the results are accurace in mosr cases but cannot be t o d y relied upon. Such inaccuracies come from the diversicy of t h e listener's farniEiarizadon with different kinds of music, as well as their Iife experiences and ~ I t u r a l backgrounds.
THE RESULTS
1. Lydian - aggressive, urgenr, frantic, urbane, busy
2. Ionian - stable, peacehl, placid, content, hopeful
3, Mixolydian - transient, searching, suspended, floating
4. Dorian - brooding, uncertain, though tfuI, pensive
5. Aeolian - melancholy, sad, somber, darkly romantic
6. Phrygian - mysterious, exotic, haunting, spacy, psychedelic
7. Locrian - angry, tense, ugly, mean, enraged
Nore that the above qualities can be affected by other musical devices like tempo, xessitura, chord spacing, as w d as syncapation, hannonk rhythm, and melody. The order of brightesr to darkest should be considered as well.
We now have a simple palette o f primary mlors with which to create our harmonic scene. We
can m a r e a modal Iandscape by ccontrascing bright chords with dark ones. We can bring about an emotional response from rhe Iistener by our selection of modality and by carefu1 selection o f the general key or tessitura ofall the chords. In addition, we can enhance the eficr by the
selecrion OF the appropriate tempo and harmonic rhythm.
Al of the above wilI be covered in later chapters, but next we need ro constr~cc modes and their chords that will add secondary "colots" to our palette.
It is important to grasp the concept that the second group of modes is derived from the primary group of simple diatonic modes; that the secondary group is a form o f altered- diatonic, and that all the qualities of the original diatonic modes are maintained but enhanced by the quality oFthe alteration. As am example, one of the modes we will consmct is Phrygian. with its sixth naturalized. The sixth of she unaltered diatonic Phrygian is flamed so the new
Phrygian natural six has the same qualities of the original but a bit "brighter.*
C H A P T E R I Y
SUGGESTED EXERCISES
1. Play all the previously constmcced modal chords, try to identify their emotional quality. Try to determine if different routs or spacings affect rhe result.
2. Listen to the following recording, make a comment on your emotional response. Name the overall modaliry. Note how tempo and key affect the end emotional result.
(a) Power to the Peopk - Joe Henderson, "Power To The People" (MPS 9024)
(b) American Hope - Ron M~ller, "Elerneng" Libera1 Arts (NOYUS 3058-2N)
(c) S w i n g Giant - Herbie Hancock, "Crossings" (BS 2617)
Id) 7he Fohwing Morning - Ebwhard Weber, T h e Following Morning" (ECM 1384)
3. Learn the acoustic source of the diatonic modes, be prepared to answer irnrnediamly.
Examples:
C Phrygian: Ab
F Aeolian; -
Ab Lydian; -
B Mixolydian: -
The Mode:
Altered bnic No. 1
(Melodic Minor)
C H A P T E R V
THE MODES OF THE ALTERED DlATONlC NO. 1
Again, the method used For mode construction will be the fmed starting note method: chat 05 combining tetrachords. With chis group there is the incroducrion of the Spanish Phrygian tetrachord. This is rhe darkest one we use; any furher shifting of rhe right semirunes would produce a wholly chromatic combination.
THE TETRACHORD f0RMWLAS
Notice t h e asymmemc organization of the semicones due to the alrwations. AIthough the darkness order is unclear, we will simply follow the order of the vnalcered diatonic modes, with the ahration being considered a quality enhancement. Traditionally, we think of the source of this set of modes as being melodic minor (ascending), bur in order to refer to the parent scale for order of darkness, emotional characceriscic, etc., try to think of the source zs altered Ionian - Ionian b3.
Example 5-1: The Modes oFthe ABtered Diatonic No. 1 (Melodic Minor)
- Lydian-augmented Mixolydian #4 - Mixolydian b6
Dorian h7
- > < - 8 -, 4- , > ' r , , ,, - C/ - /-
Aeolian b5 (Locrian 42) Phrygian hd
Altered --'
THE M O D E S OF T H E R L T E A E D D I A T Q N ~ C N O I - M E L O D I C M I N O R
CONSTRUCTION OF THE CHORDS
Although we are still using t h e comprekenrive method, the chard evampIes will be of mixed
spacings clrJy. Therc will be exampIes of other spacings in subsequent chapters and in the appendix
Comparing the altered diatonic modes with che diatonic modes, we derive the foltowing table of color tones, again, adjusted for common usage and modal defmiuon.
TABLE
As wilI be seen, we must use at leasr: two of the tones to get suficienc modal definition.
CHORD EXAMPMS
1. LYDIAN-AUGMENTED - A brighter form of Lydian, it is quite often found wirhaur the #4-
2. MIXOLYDIAN #4 - Not really the 13811 chord Familiar to d, this chord k usually used in tandem with sus chords. It is a brighter form of M i u o I y h and is rraditiolnalIy caiIed Lydian-dominanr
Example 5-3:
') Use in t a m d w with the Mklydian sus 4 chord
C H A P T E R Y
3. M IXOLYDlAN b6 - A darker form of Mixolydian, it has an Aeolian sound and can be con-
fused with Aeolian if rhe third is not generated in the overtone series by rhe played instru- ment (see appendix). This chord is highly recommended for attaining a fresh sound.
Example 5-4:
4. DORIAN b7 - UsvalIy called minorjmajor seven, the natural sixth in this mode separates it from traditional use. Like Mklydran 14, it is often used in randem with sus 4 chords.
Example 5-5:
5. AEOLIAN b5 - Also known as hcrian \2, eirher name is okay. AIthough we cmdit iondy use this chord as a ii chord in minor ii-V cadences, the modal use is a "stand alone," non-
functional use.
Example 5-6:
6. PHRYGIAN 46 One of rhe earhest chords used in the new-modal type of composicians, it first appeared on Herbii Hmcock's album EAadm Vqag~, in the mne "Lircle One." This chord can sound Iike a 6/4 chord with a suspended b2 and was used hat way by Ravel (Daphne et Chloe).
Example 5-7:
T H E M O D E S OF T H E A L T E R E D D I A T O N I C NO. I - n E L o e l c n i N o n
7. SUPER-LOCRIAN - AIso known as altered, diminished-whole tone and as the Herb Pomeroy scale. It sounds very dominant and fmctional but we will use it as a "stand done" modal chord. If flat burs (i.e., fb) make you uncomfortable, use the often found incorrect spelling of a naturnl third.
b4
~7~~ Fraditional Spelling)
We now have nw, sers of modal chords in our pdetce. They can now be merged into an order of bright to dark. As mentioned previously, the altered modes are variations of the diatonic modes. If the alrerarion increases rhe number of left-sided sernitones, che mode is darker. IF rhc alteration moves the semicones ito the right, the mode is brighter. With this in mind, the following is the collated order OF the m d e s we have conscrucred so far,
THE COLLATED ORDER
EMOTIONAL. DESCRIPTION
1. ~~dian-augmented very frantic
2. Lydian
3. Ionian
4. Mixolydian #4 tensely yearning
5. Mixolydian b4
6. Mixolydian b6 ramantically hopeful
7. Dorian Q permrbed
8. Dorian b7
brightest
9. Aeolian \S
10. Aeolian b5 rornanticalIy confused
11. Phrygian b6 open, hopefid
12. Phrygian b6
13. Locrian h4
14. Locrian 64 bluesy, urbane da
Having our first p u p of secondary coIors added to the palette, we could, at this point, creare some interesting groups oFchords. There are quire a Few compositions within the new-modd type of composition chat keep within this limited palem, but we need more - there are three more sets ol' altered modal chords to investigare and they will be covered in subsequent chapters. Nexr, we wiil look at a group ofchords tha t are used primarily for their quality of soland or sonority. These are chords that have obscured modality but imply a modality with their acoustic properties.
SUGGESTED f X f RClSES
1. Construct the following chords, all mixed spacing. Include chord symbols.
(a) G Phrygian b6
(b) E b Lydian-augmented
(c) G Mixolydian b6
(d) Ab Mixolydian h4
(e) D altered
( f ) ~b Dorian h7
(g) F Lydian-augmented (slash chord)
(h) G Locrian hZ
2. Play them in aLl kep, doing ear rraining as usual.
1 3. Use your besc calligraphy; use a ruler if needed.
lords W n g 3dat dcfin~ng wing them WI
f ---I --1-,:.
one or more ?h.I*?**" -.
C H A P T E R V I
Non-Mc II Ch
A U ~ Note Lnoras
Ielete Note Chords
3. Suspensions
Implied Modality
of the
t=,
b
1) 0 mi .". ka hour ;Tear de.,..,, W Y Y ~ ~ .
(a) s rht modality i im st idly
@1 a the modaIig i campiefed In the rnelodr
, - ,
--
C H A P T E R V I
KINDS OF CHORDS
1. ADD NOTE CHORDS - Derived From unresolved cadences, the unresolved note becoming a suspension.
2. DELETE NOTE CHORDS - Chords in which a note is deleced to create a chord spacing which has a particular sonority.
ADD NOTE CHORDS
CHORDS DERIVED FROM CADENCES: These are chords chat have a sonority that can be described as having an unresolved quality. They are the result of not resolving the normal voice-Ieading in a cadence. Although they do not have a modal definirion, they have an implied modality, which wiI1 be poinred out when the chord is discussed
M E MlXOLYDlAN SUS 4 CHORD: Derived from the unresolved II-V cadence, the nosma€ resolurion of the seventh to the third is not completed, leaving the seventh to become the Fourth of &e target chord. Although this chord is treated like a Mixolydian chord, try to consider its quality a produrn of non-resoIudon.
Example 6-1:
normal unresolved
THE SUS 2 CHORD: Derived from the unresolved V-l cadence, chis chord is t y p i d y a
sonoricy but acoustically can be interpreted as Ionian.
Example 6-2
normai unresolved
Example 6-3:
T H E SUS 4, NO SEVENTH CHORD: This chord is derived from the IV-1 cadence, with the normaIly resoIved 1 to 3 suspended and becoming a 4 of rhe rargec chord. The chord can be considered Ionian.
normal unresolved
N O N - H O O L L C H O R D S
MISSING THE THIRD: This chod could be either a minor 11 or a Mixolydian 1 I- Because a
major third is usually generated acoustically, it tends to sound like Mixolydian.
(a) - Csus2 f b) Gus4
Example 6-5a: Sus 2 - D o not include a sixth with this chord, its quality should be smrk - mot, major second and perfeft fifth only.
Example 6-5kr Sus 4, no 7 - CIearIy not Miuolydian; include mar, perfecr fourth and perfea fifth only.
DELETE NOTE CflORDS
These are chords that have notes purposely deleted to create a particular sonority. Because rhe missing nore is usually a primary color cone, ies modality, in most cases, is unclear.
The quality tones that are deleted usually are the primary qualiry tones.
THE MISSING NOTES
MINOR:
Sixths - not dearly Dorian, not dearIy Aeolian
Sevenths - not clearly Mixolydian or Dorian bT (min/rnaj7)
MAJOR:
Sevenths - not clearIy Ionian or Lydian
F o n d s - not clearly Ionian, Lydian or sus 4
THETWO MAIN GROUPS OFTHESE KINDS OF CHORDS ARE
1. Chords with a b7, which imply Mixolydian or minor seventh and
2. fiords with a major third, major seventh, or no third or seventh, which imply Ionian
THE TABLE OF CHORD TOMES FOR BOTH GROUPS
The following examples of boEh groups are typical of chose found in common practice.
Example 6-6:
Missing the sixth, the minor 11 is nor dominant nor is i t Aeolian. It does tend to sound Dorian because of rht strength of the sixth (13th) in the overmne series. The examples (a), (b), and (c) are included here to show the similarities of sound and construction. Keep in mind that (a) Mixolydian 11, and (b) Ionian 11 are defined enough to be considered modal chords and are included here purely for comparison. These chords are also to be compared with the previous Miolydian sus 4 chords. Notice that rhese four chords have a 4 or 11 in common, with the differences being rhe inclusion of a major or minor third and the seventh being natural or flatted
A t this point it should be restated thata chord with a truly definitive modality tvould have alI seven notes of [he scale included. It couM be argued that d chords with less than seven noses are nonmoda!. For rnusid reasons we must compromise, as we are doing now - so we will consider the chord examples givm in previous (and Iater) chapters as campIere modalities and tht chords consmcced in this chapter as nmmo&P
*) D e f i d l c modal chords d u d e d for
campariron.
M D N - M O D A L C H O R D S
Example 6-7:
(a1 C9no7 (b)C-9no7 (c) Fb9no3 Id) F9no3 ( e ) F-9no5 (9 F9no5 (g) F 1 3 n ~ S (h) F13no3,S
Example 6-7a: Compare t h i s with the sus 2; this has a major third and is sweeter, less stark
sounding. There is confusion over a snitable chord symbol for this chord. Use root, major second, major third, and perfecr fifth only.
&le 6-7b: The minor version OF Example 6-7% missing Ehe seventh; ic is unclear but sounds mare like minor 7 chan min/rnaj 7.
barnple 6-7c: Thc contemporary voicing o f Ionian, a great sound, used much in slash chord harmony (covered later), u d y seen as CJF.
&le 6-Jd: The Mixolydian version of Example 6-7c, could be C-/I?. This inversion was
used ofsen by Ravel.
Example 6-7e: The minor second and the perfect fifth give this sonoricy a great "bite" This is the prototype "new age" chord.
Example 6-7E The Mixolydian version oFExampIe 6-7e.
Example 6-9g & 6-7h: Implied Mixolydian chords with a good ubiceP
There are many more examples in use; to create some oFyour own, just delete one or two notes from a fully constructed chord, paying a m t i a n ca the resuIting spacing: the combination of seconds, thirds, fourrhs, and fifths, and then the resulting sound and implied modality.
Before creating your own delete note chords, review rhe principIes of chord spaEing in Chapcer IJI. Striving for a parricular sonotity, use of major or minor thirds will give you a consonant sound, use of fourths will create starkness, and use of major or minor seconds will add bite.
Mixing the intervds will soften the effect of the indvidual.
M e w I in the appendix, some of the primaples of acoustics and you will set why some of the missing note chords imply arnodality. To experiment: on a grand piano, pound our an A4, no
3 chord with the 6 8 on rop (E/A), hoId the chord and Iisren intently for the major third to srart sounding a few seconds later. Another demonstration would be to play an EbPsus4 and while the chord is sounding, with a Free finger, play a Gb, then my a E narural. Then just play the chard without a third and listen to hear if a third is generated by rhe overcone series. Try the chord on orher roots. Try arher chords.
We now have enough chords in our palette ta rake a break fmrn creating chords and to move
on to creating some music. The first scep is to organize rhese chords into a musical whole ... so
chord connecdon is the next scep, as found on the FoPIowing pages.
C H A P T E R V I - -
SUGGESTED EXERCISES
Constntcc the Following chords, d1 mixed spacings; some are €am previous chapters for review:
F-E 1
G hiixolydian k6
Dsm2 (no 3)
~ b l l
F9 (no 3 )
Bb Mixolydian #4
P4 (1103)
D b44
G Locrian L12
Ab Lydian-augmented
C-9 (n07)
C Phrygian 116
E9 (1107)
Eb13sus4
G Phrygim b6
E Ionian b4
C H A P T E R V I I
Chord Connec '- I
I . Pedal I Point
arkness Contour
4. Cadence
armonic Melody
6 . Common Upper Struc~u re
Mosc contemporary modd jazz composirions have areas where there is a large number of non- diatonically related chords. Depending on the harmonic rhythm, the areas could be caI1ed vertical modal ar plateau modaL Linear areas have roo few chords to require chord connection, and U-V or tonal areas have predetermined chord connection.
T h e approach ro harmonic organization is divided generally into two carepries;
1. Harmonic/mdodic means and
2. HmonicJrhychmic means
HARMONICIMELODIC CONNECTION
There are three categories of connection:
1. A common focal poinr
2. Conmived contour
3. MeIodic manipulation
A. COMMON FOCAL POINT
Offers a point o f unification for a group of non-diatoniclIy rehced chords. A common aural focal point.
There are four kinds of common focal points:
1. Single note upper
2. Single nore bass (pedaI point)
3. Common inner smcmres
4. Common upper structures
8. CONTRIVED CONTOUR
An amempt m give an ordered COnEOUr of tension and release ro a set of modal chords,
1. MODAL CONTRAST: Bright to dark, etc.
2. MOMENTUM: Desire to resolve to Ionian
3. CADENCE: Parody o f II-V-I
4. MELODIC RESOLUTlON of upper/lower neighbor
5. CHORD SPACING
C. ME LODlC MANIPULATION
AppIied to top and/or bass melodies:
1. RecognizabIe pactem (symmetric or asymmetric)
2. Organization ofconrour through the application of mdody-writing concepts
Keep in mind that these nondiatonic areas are usually found at cadences, m p s or any area
where activiry or tension is desired; there are few compositions rhar have many areas of vertical modal harmonic rhyrhrn.
C M O R D C O H N E C T ! O N
COMMON fOCAL POINT
A. SINGLE PITCH. TOP NOTE
1. Select a pitch within the desired tessimra.
2. Create a b a s melody (see section on melodic manipulation).
(a) symmetric partem
(b) diatonic motive and deveIopment
3. Experiment by playing various chords, voiced with the seIected pitch (common tone) on cop.
4. Tweak: ny different chords or bass melodies until your musical taste is satisfied.
Example 7- 1 :
Finding common cones - m a t one needs to know to make this process fascer or Iess painful is the mastic 5wrce of any given mode. To r e v i m the acowtic suslrce of any mode is the Ionian or drered Ionian with the same flats or sharps used as the given mode (the same key signature).
This couId be a large number since a single pitch i s not tied to one source.
EXAMPLE: G above middle C has the folIowing acoustic sources:
It is the fifth of C Ionian
the third of Eb Ionian
the second of F Ionian
the seventh o f Ab Ionian
the seventh OF Ab Ionian b3
the sixth of J3b Ionian 63
and so on...
In addition, your choice of chord can incIude any from the seven different modes of each of the acoustic sources.
COMMON TONE MODE ACOUSTIC SOURCE
G is the t4th of Db Lydian Ak Ionian
G is the 13th 05 Bb Mixolydian Eb lanian
G is the root of G Phrygian 46 F Ionian b3 (melodic minor)
G is che 9th of F Mixolydian Bb Ionian
and so on...
As is shown in the above example, che relationship of the acoustic sources has an effect on the overall sound of the p u p OF chords. In this example we find rhar a11 the source m o ~ s are diatonicalIy relared to EL Ionian or m Ab Ionian. En addidon, many of the chord spelIings have
C H A P T E R V l t
diatonicism In common. This would imply rhar the above example should sound "good," with an overall consonance and an effect of "beIonging" together. Keep in mind that this is not always the god when connecring a group of chords, char modal contrast and contour have priority when selecting your chords.
With so many options, the student, at this point, should be quite accomplished wich chord spelling: knowing the order oFquality tones, as well as knowing che acoustic source OF any mode. In addition, the studenc should have acquired a working familiarization with the
sound OF the chords through daily ear training. T h e ability ro play the chords in many voicings on a keyboard is a must.
B. SINGLE NOTE BASS PART (PEDAL POINTI
This form ~Econnection is a bit easier ro use. It is a traditiond technique and familiar to the student. It also is the technique which offers rhe clearesr modal conrrasr
1. SeIect a bass nore within che desired tessirura.
2. Create a melody for the rop notes of the chords to follow.
3. Experiment with various chords that satisfy your musical tastes. You may want to look at
the contour part OF this chapter to assist in chord selection.
4. Tweak, usual.
Example 7-2:
A Phrygian h6 A Aeolian E/A A Mixolydian
MELODIC MANIPULATION (symrnerric rop melody)
Before we go on, i t should be obvious that all of the connecting rechniques are to be used in
tandem: you need to know melodic manipulation to create the top and/or bass melodies and you need to know modal caarour to assist in mode selection. Once you have worked with dl the rechiques, go back and redo the earlier ones.
Next we will look at chord connecnon with upper srruccuresl).
T h e use of upper srrucnrres is a very imporrant patc of this text and will be covered Iarer in a chapter of its oivn. Since they are used in common conntxtion, we have co rake an inuoductory Iook at them now. Innershw&res have the same definition as uppers, excepr that they aren't used for chord construmon. They do provide an exotic method OF chord connection and will be of interest to composers ofclassical and/or fiIrn score music.
1) A p u p of norm, nvo to six,
perceived as a singIe mnady or
s o d I r is h i s sound thac holds a
group of chords rogedrec as a whole
f i e y are dso a key part OF rhe $rip
method of chord consmcrion m be c o d in Ctupret Vlll
C H O R D C V H N E C T I O N
C. COMMON INNER STRUCTURES
Because these stmaures are found within a chord, a simple inrerid of a third, sixth, fourth or fifth is a good choice. Any more than a three-note structure may turn out to be too dense within a group of chords, but cry a variety anyway.
1. Sdect a scmcmre; begin with a simple rhird interval.
2, Create a repeating simple melody oFtwo to five notes within a desired sessitura, keeping in mind that this will be the middle portion of a chord
3. T h e top note of the structure is to follew chis melody.
4. Next, create a bass melody.
5. Play thraagh the example as it i s se far, ta get an indication of the moddigv creared
6. Add a top melody; use common tone on top iFdesired.
7. FilI in the rest of the chords.
8. Tweak.
Example 7-3: (you name the modes)
C H A P T E R Y11
SUGGESTED EXERCISES
I. Connect with common tone (0 on top: F abwe mid C, Dalt, EbA6/9, Ab13sus4, A-9b6, Eb13sus4, Db Lydian.
2. Compose a 6-chord sec with CT on top.
3. Compose a 6-chord set, CT in bass part.
4. Compose an 8-chord harmonic set with both CT bass and top.
I Use your best calligraphy, use a ruler if needed, use no key signature.
C H A P T E R V l l l
Upper Structures
. Jpper Structure
2. The Grip
3. Shape
4. 5/6, 6JS
5. Sonority
C H A P T E R V a l 1
CHORD CONSTRUCTION
Chord const-ruction Nich upper structures is known as thegrip or shorthand method oFchord construction. The grip i s the actual finger positions of the right hand when playing a chord. There are seven basic grips used to create all the chords Found in this cexr. With this method, one does nor need to know the theoretical foundation of chord construction to form chords, Hence, this is a quick, "shorrhand" method. This method i s derived From keyboard perfor- mance and the chords are typicd of chose you hear on conrernporary jazz recordings, partiru- lady by the younger players: Joey Calderazzo, K e n y Kirkland, and Jim Trompeter, to name a few. This kind of chord voicing also is the predominant sound found on fusion, ECM, and
new age recordings.
The upper strucmres are a basic three-note group, but a fourth note can be added For further definition ifdesired. Keep in mind chat the structure is a "shape" and a sonoriy. The follww- ing is an example oFthe srrucrures and their derivation. [Note; The abreviation US will be used to mean upper strucmre.]
Example 8-1 : Upper Structures
5 ~ 5 2 minor triad major rnad q u a d 615 5 / 6 augrnenced - -
I A * I * - 4 - z LI -
V I P.
6/5 added note 516 added nore 5/6 altered major 7+ minor 7+ minor/major 7
I 11
T h e most used of these strumres are the sus 2, quartal (inversion of rhe sus 2), the major triad, and what1 have termed the 5/6 and the 6/5, named from their intervalic formulae. Also, there is a group of Phrygian upper structures which are derived from inversions of the 6/5.
7 . W E SUS 2 UPPER STRUCTURE
This structure is the one found in earliesr recorded use. There are many chords brmtd using this structure, as already found in this text. This was avery popular choice of chord construction in fusion music of the '60s and '70s. Made up of a second and a fourth within a fifth, it has a great combination of bire and starkness.
O f the following examples, the chords with the checks are the preferred and most wed.
Example 8-2: Modal Chords Created With thasus 2 US
6/9 Locrian 14) Lydran minor 11 6/9 Phrygian sus.2' Locrian h7 Midydian A6 Aeolian
') Derivzrion o f the srructure name.
50
U P P E R S T R U C T U R E S
[Nore: Triadic US will be covered in Chapter XIII "SIash Chords"]
The 615 and 5/6 upper structures are che ones found most often on contemporary recordings, parricuIarly on ECM, fusion, and pop-jazz recordings. These US require the knowledge of
their root acoustic source lonian mode. This Is found by locating the critone in the US - rhe upper note being the leading tone (7th degree) of the mor Ionian. Yon can also m a c e some
interesting chords by experimenting wirh rhe chromatic scale as roots. The 6/5 US is the basic structure Found in the chords ofharmonic major and will be reintroduced in that chapter.
A combination of five semitones (prrfecc fourth] and six semitones (mtone)
lonian Dorian Phrygian Lydian Mixolydian Aeolian Pocnan lonran -
Ab tonian
3. THE 6/5 US
A combined mmne and perfect fourrh (six and five semicones)
n lonian Dorian Phrygian Lydian Mixolydian Aeolian k r i a n lonian
- -
Eb lonian
Nore char in the above two examples, the US was not a good choice for the construcrion of Lydian. Because Lydian implies another acoustic source, one primary color cone is missing.
4. THE PHRYGIAN US
This is acmaIIy an inversion of the 6/5; i t is so used in its Phrygian inversion that it must be considered as a separate US.
Example 8-5:
*I The named s tmcnw
C H A P T E R V I I I
5. THE MELODIC MINOR GRIP
Example 8-6:
Used often in constructing chords from the altered Ionian b3, melodic minor mode. The grip by itself is a Lydian-augmented chord. It is a ~ert iary upper strucrure which conrains
rhe very definitive augmented triad. The grip is placed on the minor third of the acoustic source. I.e., Eb for C melodic minor.
Dorian h7 Phrygian Lydian $5 Mixolydian #4 Mixolydian b6 Aeolian bS alwwd
Hopefully, rhe smdenr has recognized many af these constructions as being found in
examples of mixed spacings in previous chapters. Using chis method of chord construction creates the easiest, as well as che best sounding chord, as is evidenced by how ofieen rhey are Found on the latesr recordings.
This subjecr will be covered more in the chapter on three-part upper structures (XIV) and the chapter on harmtsnlc major and melodic minor b5 (m.
CHORD CONNECTION
Chord connection with upper structures follows some of the same principles as given in the section on diaconic chord connecnen,
1. Common focal poinc
2. Modal contour
The principle difference is that where we worked with a single note or a melodic Iine ofsingle notes, rht aural focal point in this case is rhe stnrcrure itself. The sound of che vertical
arrangement will be the point of focus.
Because of this, the s n d e n t should remember chat whatever US is seIected for use shorrld remain in the selected inversion chroughauc rhe phrase oE w e . Changing the inversion xvouId change the sound OF the US and negate the common connection.
No~rnaliy~ only three upper structures are used for chord connection: the sus 2, triads, and Phrygian. The sus 2 US is easily the most used in j m and fusion compositions. Triad US use is predominant in pop music and has some use in pop/jrtzz and new age types of cornposirions. AU forms of US use are found in aIl the musics, to some degree.
Mi3HODS OF COMMON UPPER STRUCTURE CONNECTION
1. Common upper structure, bass melody
2. Common roots, upper structure follorving a given melody
3. Upper strumre fouowing a given melody, with roots following a given melody
4. All of the above with modal contour
5. d l of the above with final cadence ,
U P P E R S T R U C T U R E S
Example 8-7: Common US With Bass Melody
, (2) Lydian 619 (2)
Example 8-8: Common Tone B a s , Top Melady
Larnple 8-9: Top and Bass Follow Given Melody
Mixolydian 6!9 Aeolian Aeolian
Example 8-70: Common US, Bass Melody, Added Harmonic Rhythm, Cadence
Phrygian Lydian Mixolydian altered Locrian Aeolian Mixolydian f l
POINTS TO REMEMBER:
1. The verdcal -gement of the US should not change (invert); rhis would change the sonority, losing the common qualiy which binds the group together.
2. The common Iink OF the US is not lost by arpeggiation - tsy it.
3. As with common tone connection, knowing the acoustic source of the implied modality will assist in reaching the harmonic goal.
C H A P T E R Y l l l
Example 8-1 7: Common Tone on Top, Bass Symmetric Melody
lonian Lydian 15 Mixolydian sus Phryg~an b6 I
I r
I
Example 8-1 2: Common Bass, Pedal Point
A WS loman Phrygian 6
I - - h
b*
Example 8-13: Common inner Voice Srructure, Common Top
You name the mode
Example 8-1 4: Common Tone Top
Lydian Mixolydian sus Mixolydian sus minor 9 h
Mixolydian 11
U P P E R S T R U C T U R E S
Example 8-1 5: Pedal Point With Contour Cadence
You name the modes
Example 8-16: Common Tone Top, Symmetric Melody Bass
You name h e m o d e
Example 8-1 7: Melodic Pamrns, Top: lonian Mode; Bass: Chromatic Scale, t o n m r y Motion
C H A P T E R V l l T
SUGGf STED EXERCISES
Constmcr the following chords by the grip method onIy, label h e grip under the chord (516, sus 2 etc.); include chord symbols over the chord.
I. Eb Ionian h4 .............................. 6'5 2. F# minor 1 1 .............................. sus 2
3. F Aeolian . 5/6
4. Bb Dorian .............................. 4 6
5 . D b Aeolian b5 .......................... melodic minor grip
6. E alrered .................. ................, Phrygian grip
7. E Aeolian .................................. Phrygian grip
8. F Ionian .................................... 6/5
9. C Aeolian ................................... sus 2
20. G Mixolydian b6 ..................... melodic minor
C H A P T E R I X
Compteting +k-
3 Connection Proces
ave
mP
Ion-ttived Canrour
. . Parody Cadence
C R A P T E A I X
Although playing the prwious examples are harmonicalry satisfying and the chords sound good, they are not exampIes of music.
In order to make the examples musicd we need to apply aEI of rhe elemenrs of music to the skeleml harmonic scheme: harmonic rhythm^, tempo, harmonic conrour, wirh its implicati- ons ofdevelopmenr, and some form af melodic statement and developrnenr.
These will all be covered eventually, bur the first step is to give the examples harmonic rhythm.
As mentioned earlier rhe given examples of common connection are used primariry at cadential areas, which would be found ar the ends of sections OF a composition or at other areas that require an increase in tension or activity. They are also found in introductory areas
where a statement of the premise o f the composition is desired.
These areas are usually repeated until the effect is clear. The name for this went is a ursmpz).
The first step in our creative effort is to compose a number of these vamps ro be used as
starting points in t h e creation of a whole composition.
Recall that the primary emphasis of this book is on jazz composition rechnigues.
PROCEDURE
I. Selecc your favorite set of common connected chords.
2. Compose or select from the public domain, a rwo bar rh~hrnic pattern - the Bossa Nova
is a good first selection:
Example 9-1 : Bassa Clave
5. Determine where you wane the chords to change on the cIave pattern; it muid be a change wirh every cIaw change or a change evety m o , or with variations of che clave pattern. In
other words, the first chord for che first two clave tics, the second chord for the next dave tic, e tc.
4. Compose a bass rhythm based on the clave pattern.
5. Play and tweak as usual.
1) Thc sysrematlc rcla~ionship of the
durar~on of each in a group of
chords which shows contour and develupmmt
21 &pea& harmanicJrhyrbmic Fiwre, usually 2 ro 4 b m in length which fo2lows a preset rhythmic parrern
called a &we. There is a metodic
motiCin the bass part and a
rccurring set oFhamton~cally r e l a d chords. Vamps am found ar
d e n d areas, turnaround arc= and the incroducrory and ctasing
areas oFa composirian, or anyhem that rhythrn~c emphasis is desired.
C O H P L E T I W G T H E C H O R D C O N H E C T I O N P R O C E S S
Bample 9-2: Common Tone, Top Note
Lydian MExDIydian Phrygian 46 Mix01 ydian
titample 9-3: Common Tone Bass (Vamp)
b m p l e 94 : Common US on Top
Example 9-5: f ommon US on Top, Arpeggiated
Example 9-6: Common Bass, Phrygian US
C H A P T E R I X
CONTRIVED CONTOUR
MODAL CONTRAST
This is where we use the order of darknessbrightness of the modes. It i s an attempt to give a sense of contour to the chord-to-chord relarionship.
If you recall thc modd cantour of the traditional didtonic cddenre, ic is Dorian-Mixolydian- Ionian. That is an order of dark, brighrer to brightest It is also an order of less stable ro most stable. And being in the diatonic system, it is a satisfaction of momentum: the desire of the chord roots ro cycle to the tonic root.
Although the harmonic vocabulary of this book is mostly contained in a chromatic environ- ment, we can use the diatonic cadence as a model for obtaining harmonic contour.
The options include root mowmenr: of a fifih but wirh a modal relationship other than chat found in the diatonic formula; the diatonic modal formuIa with chromatic root relationships and both chromatic root relationships; and nondia~anic modal selection but with the $arbness/brightness foIIowing that of rhe diatonic use.
The most used process is to simply conmast che brightness/darkness oFthe modes to obtain a sense of contour and deveIoprnenr, without any reference co the diatonic system.
Example 9-7: Modal Contour
I btighc -dark -== release --======-=====-I
(a) Typical use: increase of tension to a release. Conmary directions of the top and bass melodies enhance the effect A skip oFa third, fifth or tritone co the release chords is recommended. Lastly, notice the change of chord spacing.
@) Use of pedd poinc o v e d rneIodic dkecrion downward. Use of rritone skip to final release chord.
Example 9-8: Parody o f Diatonic Cadence (Il-V-I)
(a) Mixolydian b6 Fhtygian Lydian 15 c-= AL P
(b) Dorian Mixolydian Ionian *
(a) Root movement like diatonic cadence, be-form modaliry.
@) Diatonic cadential modal Formula, freeform bass melody.
C O M P L E T I N G T H E C H O R D C O H N E C T I O H P R O C E S S
MELODIC MANIPULATION
1. TOP MELODY
Not the actual melody ofa composition, but the melodic shape or contour chat a11 rhe top notes o fa group of chords, if spelled out, would create. Of course, we are going to work in rhe opposire way spell out our chords to follow a preset melody.
2. BASS MELODY
The actual melodic qudity of b m p a x if played by itself. Because the nondiatonic
modal sysrern we are working in is not tied to root movements of a fifth, we need to work with our bass rneiody just a if it the xmal melody of a cornpasition.
3. RECOGNIZABLE PATERNS
Creating a set of chords that foUaws a melody which is easily recognized by the listener
is a quick and easy way rw gain musical accessibility. Symmetry just pIain "sounds good,"
But you must use ir conserva&ely, as it can quickly become contriuidity.
Another approach is to use an asymmetric source which is farniIiar to the listener: a mode or terrachord or any hown melody or melodic fragment.
4. MELODIC EFFECTS
Lastly, following rhe conceprs of melody writing (as found in Volume Z), you can create
a contour by manipulation drhe intervdic relacionships and by working with the overall direcrion of the melody by phrases (the top and bass melodies).
C H A P T E R I X
SUGGESTED EXERCISES
1. Compose four 2-bar claves.
2. Compose a +chord vamp, using sus 2 US with a composed bass melody.
3. Compose a 4 to 6-chord vamp using compound meter, with your choice of US; have the US FolIew a given melody and rhe bass be pedd point.
4. Compose an &bar harmonic scheme, srarting with a 2-bar vamp, with the remaining six
bas showing use of mrnrnon tone, pedal point, and modal contour. Use at least six chords.
T r y to be musical; approach this exercise z an artistic assignment rather than an academic
one. Create a result you Iike so much you wanr: to play it for someone.
C h ~ r l E R X
Form
are also fi . -
the song kind of a
exam
previl
T h e main
form. Par om posido
-2- CAI-
C7
re the nea
G FORM ..
posed fro1 *I! 3
ples have DUS sectio
1 paint is enr.
IMPOSED
n beginni r -
ns.
nor to be lout ha^
I - - - - .
. . .I . - - -
1. Song Form . . , . . . - . - - - - . . i , I
b. I n~rough Composed . , .<: :L : <<. . *.I
..> >.
. .= . :. , - . .> , - - - ,:. . . ..*-: -
3 . Sectional , -.=., -.-,? .-.. , .cr
, ,; -. -- :-a=- ,
.*$ zL s:.:,* : - - - ,
med earlier in the tm, most of the compositions in che free chromatic rnodd g ree in their form. This freedom also means chat you are free to use rradiciond f
&you so desire. Although most OF h e compositions are free-form, some are still omanized,hy -
ti&ly if the composition has ties m traditional style, lil In.
auiur UL ult. lurnm we will see are.
11y symmestic, with 8 bars per section, following the traditional MBh, d l aculuu. -
peac, a new s d o n then a repeat of the first A section, giving a rota
dons are u s d y in the use of varying the bar numbers of the sectio
2. M R (
Corn] ~d without a concern for devetopmenc by repetinr --:>ns, r ne aeveiopmenr 1s ~y mocM/ernotional contour.
Nat song-torm, but does have dear seccians, some of which can be rmeated. S has drhough not direct repetitions, are obviou
: as concerned about form as you shoul
,
!
Listen ro eight of the compositions lisced in the discography, plot their farm as AABC, ABCCDA, or whatever the form is.
List the name, source and the form.
Example: "Pee Wee" by Tony Williams f r ~ m B e Smerer, Miles Davis - through composed, 21
bars
C H A P T E R X
SUGGESTED EXERCISES
!
I "Masqudero" by Wayne Shorter from Thc Sorcerer, Miles Davis - ABC, A = 8, B = 6, C = 4
rota1 = I&
1) The a
moda w M e
mnw
verdt organir 1 chords ~ s m
, showing d m
ur.
=-on d a nt
a unified mu
welopment an
C H A P T E R X I
Harmo~ Con
4. Climax
5. I
i a m o n i c Khythn
2. Rep ose
3. Transition
solution
CHPrPTER X I
METHODS OF ORGANIZATION
1. Common tone connection
2. Common upper structure
3. Harmonic rhyrhm of the chords
4. Melodic rhythm of bass line
5. Darkness and momentum cadences (see p. 60)
6. Overall harmonic rhythm - vertical, pIateau, etc.
7. Point of cIimax
8. Relationship of first to last chord
CONTOUR BY HARMONIC RHYTHM
I. Repose/Transition - Gives shape by contrasting fast and slow harmonic rhythm.
2. Repose - An area within the chord scheme in which there are two or more chords with the same root (pedal point) or only one h o r d for a bar or more. Like linear modal, chese are
areas uf inacrivicy and rest.
3. Transition - Areas with nvo or mare chords wirh different roots, or chords of short duratian, usually changing one bar or Iess depending on tempo. These are the areas of activig and are usually vertical mo$aL Tonal harmony is also found in chese areas.
4. IF repose areas are long, a bass part vamp may be needed to add rhyrhmic interest.
5. Transition areas shoutd be devised to increase tension just prior t o a repose area+
CADENTIAL AREAS
1. Should be placed jnsc prior to repose areas or at the ends of phrases or sections.
2. Use darkness/brighcness for longer areas.
3. Use momenmm, 11-V, TI-v-1 parody cadences where smong "finality" is desired
4. Use melodic rnanipuIation to enhance rhe above or where subde contour is desired
'POINT O F CLIMAX
It should be mentioned, now, that a main goal of the harmonic coneour is ro provide h e
improvisor with a "map" EO assist in creative development of the improvisation The harmonic and rhyrhmic contour should be designed with that in mind
A point of cIEmax, a place where the emotional intensity is ar its peak, should be plomd Refer co the following examples for an indication of general area of place men^ I d d y , the decision will be made by rnamre musical judpenc UsuallyI rhe climax is found ar the end of the most intense transidon area T USE prior ro lche most relaxed repose area.
CYCLIC FORM
Again, with the improvisor in mind (who most likely will b e y ? ) , in order t o make it e a s y to
punctuate a chorus of improvisation and allow the setting up of a new chorus, it is recom- mended chat the first chord and the last chord ofrepeated sections relare in a way that assures an easy access to melodic voice-leading. The clearest means is For the last chord oFa section have a dominant function to the target chord (firsr chord OF the repeated section). The last chord should be buiIc on a loot that is a firth away, a tritone, away or of an upper or a lower neighboring tone with a modaliry that is darker or has less stabiliry than the target chord. For exarnpIe, if the First chord of a section is F Lydian-augmented, rhe lasr chord could be C
H A R M O N I C C O H T O U R
Mixolydian sus 4, C Phrygian, E altered, or G b-1 1, to name a few possibilities. There are many techniques for doing this and more will be given in later chapters and in following examples.
Creating a harmonic conrour is the process oforganizing the chords, connected wich devices from the preceding chapter into a complete musical whole. Not dl rhe techniques will or should be used. The god is to create a set of chords that are beth musical and "playable." Armining beaug with simplicity is an amibute that is acquired with rnaturky.
Before you are to create your own complete set of chords for a composition, we Will analyze a number of compositions to see how the composer accomplished the above procedures.
ANALYSIS OF EXISTING COMPOS3TlOEES
Analysis ofthe harmonic ho~vs and whys of a composition requires a comprehensive mastery
o F d the concepts that have been covered so far. In addition, speed of recognition will keep the process from becoming overbearing. OccasionaEly, the student can become disrressed, overcome by an apparent ambiguity created by the availabiIity oFso many ways of explaining how the harmonic contour is derived. Try 'to remember chat there is no absolute explanarion for any composieisnal method.
THE PROCf DURE
Start by spelling out all the chords. Try to dewrrnine if US technique for chord consrrucdon
was used. A listening to the recording, i f avaiIable, would be helpful but not necessary.
Look for a general melodic concour of che top notes of the chords. You may need to invert some chords or change t-fie canstrucrion method ro give smoother voice-leading.
When satisfied, wrire down only the cop and bass melodies and any pertinent harmonic dam: common US, important color cones, etc.
Analyze the bass, then rhe mp melodies.
Make note of melodic devices that may be of importance:
1. Morific development: sequence, repetition, etc.
2. Symmetric patterns
4. General directional contour
5. Active and tcnse or relaxed
Arrange the chords in a way that the harmonic rhythm can be vlsua1ized: long values as whole
nor-, short as a quarter. The chords do not need re be spelled with the original note values,
but iFthere is an important vamp figure, do write our the nore values. If &ere is a long area
wirh one chard only, label the duration by measures. And Iasdy, number each chord for reference. Once the melodic anaIysis is compIere, refer to all the methods presenred in rhe
previous few chapters and Iabel: common tone, repose/transition, common upper structure,
etc.
Hopehlly, studying the folIowing txarnples wiIl clear up any conFsion.
The first four examples are compositions similar in harmonic syle a d emotional content. Their harmonic rhythm comes close co the prototypical verrical modal in areas, iF not rhe whole rune. They can generally bc described as having a generally darkly romantic mood, varying according to tempo and key. They are all free-farm, chromatic, wirh no clear key center, although one couId pick a pivotal key area from cheir beginning and ending chords. They a11 contain a good variety of modes.
The second group of cornpositions has a more *open" harmonic rhythm, with the first wo of
C H A P T E R X I
&ern clearly plateau modal and the third almost within the linear modal category. In addition, rhe Ersr chree of this p u p are more "traighr aheadn player's tunes, each with subtle ties ro qualiries that are cypical of bebop tunes.
The last mne of this group is representative of the European-influenced ECM svle olcornpo- sition, with a few subtle references to Arnetican fotk harmony. Each composition ro be ana-
lyzed will have an exampte of the chords spelled out with harmonic rhythm but nor all the rhythmic f ipres . The example should be sufficient for reference. Also, the chard spellings are not direct transmip~ions bur quire close in mwsr cases.
In the actual analysis with comments, using the harmonic synopsis as rehrence marerid, one could get very deraiIed wich compositional analysis, with references t o all the esoreric theory merhods at one's disposal. Shenker anaIysis, the "Lydian Chromatic Concepr," etc. The thrust of the following is to "ger to the poinif and keep it simple.
In addirion, keep in mind that the goal OF harmonic contour analysis is ro discover how the composes of these great tunes used the merhods thac have been given in previous chapters of this textbaok.
7 , RUTH" - RON MILLER, 1969
This composition shows an influence of the Herbie Hancock tune "Little One," found on the recording Madm Voyage- Irs pcedominant theme is that of gentle romanticism, Er is a through- composed waItz, 36 b a s with no repeated sections. Its harmonic rhythm, fairly symmetric and fasf, can be described as vemcat modal
Example 11 -1 :
13 14 7 5 16 17 18 19 20 21 22
R (8 bars)
COMMENTS
A. BASS MELODY:
CHORDS:
1-3 repose (pedal point), skip of a fourrh to... 46 ... rransition area, downward chromatic melody, relaxes to.. .
H A R M O N I C C O N T O U R
... repose, slightly higher center, preparation Far acciviry very active transition area, dominant cycle sequence or 10-12, increase of rension inversion of 9-10 very relaxed repose area with Iow tessimra melodic figure, occurs always, acts as signpost or "hook," also short transition ro ... long repose area, root has desire to resolve ca ... ... the first chord of the m e
B. TOP MELODY
CHOrnS:
1-6 common tone connection 7-9 upward mebdy, increased tension
10-12 continued upward trend, increased tension, 11-12 common cones 13-15 sequence of 10-12 14-15 common rone connection 16-18 downward flow, relaxing, 16-21 Ab Ionian 19-20 recurring melodic idea, signpost or "hook" 21 doubling of bass emphasizes sense OF finaliy
CHORDS:
3-6 common inner structure 1-4 common diatonic source - Bb Ionian, Ab Tonian 5-6 chords voiceled 7-9 darkest area, diatonic source: Eb Ionian 10-15 quasi-dominanr: cycle, wry active, serting up the.. 15 ...p oint ofclimax 16-18 upper strumre trirone pattern - Db/Eb, G/Eb, Db/E6; diatonic source: Ab Ionian 19-20 no chord - '?lookn melody, poinc OF reference
2 L fmal chord, exotic yet dpminant sound, desire to resoIve to first chord
D. GENERAL QUALITIES, EMOTIONAL CONTOUR
1. Syrnrnenic repose/transition areas
2. Diverse rnodaliry, clear emotional contour or "map"
3. Three main diatonic areas - Bb, Eb and ~ b , impIied cyck
CHOrnS:
1-6 gende, romantic 7 8 dark and mysterious 10-15 increase acdvity and tension, almost swinglike 16-18 quire romantic 39-20 point of rehence 2 1 exotic, "colors" area
I) k n y Golson cornposi~ion
The above e m o t i o d contour provides a dear "map" for the improvisor as we11 as the listener. Keep this in mind when creating your own ser of chords. By mapping out the diatonic acoustic sources orall the char&, one mn both gain an insight into the harmonic contour
and determine a source of substitute chords. As an example, the first chord, F13sus4 implies F Mixolydian with the source of Bb Ionian, so che first chord could be Eb Lydian, D Phrygian or any of Bb Ionian's modes. The second chord, F Aeolian's source is Ab lonian, so che substitution of an Eb Mixolydian 13 for that chord does work well, in fan it is used ocsasionalIy to get a "Killer ~oe'") sound,
C H A P T E R X I
Example 11 -2: "Ruth" by Ron Miller
F Aeolian F9sus I3b Dorian
G Phrygian
D Jsus E7sus Gl3sus
Eb Lydian 8.5 ~bgsus
(hold for 7 more)
H A R P I O N I C C D N T O U R
2. MIKELLS') - 30EY CALDERAZZO. ca. 1989
Having symmetric harmonic rhythm and overall positive emotional stance, this is a nice tune," the harmonic rhythm is fasr enough to imply vercid modal.
Example 1 1-3:
Phrygian 16 bb Lydian Phrygian L;6 Lochan V Mixolydian 14 minor 11 lonian Mixolydian sus
1 2 3 4 5 6 7 8 9 10 11
lonian Lydian b3 lonian Lydian b3 lonian
COMMENTS:
A. BASS MELODY
CHORDS:
1 - 5 repose, with pedal point, the ~b is diatonically related to the C pedals, both are related to Bb melodic minor
6 - 7 a short transition area, d o w n u d flaw, heading For ... 8 - 11 ... an ending to the first emotional area 12- 15 four note motif, new area, new mood 16- 19 repeat OF 12-15 20 exrension of 19 for cadenrial purposes
CHORDS:
1 - 9 diatonic melody derived From primary color tones 10- 11 common tones
12- 15 upward contour, positive building of intensity, Spanish tetrachord 16- 19 repeat of 12-15
19- 20 common tone by repetidon
C. HARMONIC MATERIAL
1) h r n in 77n DOGT CCDP 95738
CHORDS:
1 - 5 modes are dl diaroIlicd1y related to Bb melodic minor 6 - 7 voice-led with some common inner connection
7 - 8 Bb Mixolydian #4 acts as tritone substicute resolution to A minor 8 - 9 paralIel movement
10 resolution to the relative major
C H A P T E R X I
11 the dominant V chord or the next section
12- 13 parallel chords, implied plateau modal 14 parent source is harmonic major (see Chapter X V )
16- 19 repeat of 12-15 19 closest there i s to a point of c l i w rather subtle 20 cadence through repose, as last chord, resolves to first chord as upper neighbor and
diatonic relation
0. GENERAL Q U A m E S
I. There are similarities between this tune, "Ruth," "Pee Wee," and "Helto Goodbye": root relationships, emotionaI effect, and similar key cenrers. Looking them over, try KI determine the common source of inspiration.
2. The emotional, mapping is simple with two areas: she first, chords 1-11 a little dark and subdued because of its genera1 modality and because of irs slorv harmonic rhythm wirh repose by pedd point and because of its having lirrle b a s melodic contour. Chords 12-28
ate mare active both modally and by bass melodic contour with faster harmonic rhythm
3. Another through-composed rune, the form is symmetric with two semons: A- 14 bars and B- 10 bars,
Example 11 -4: "Mikellks by Joey Calderano
Phlysirn J6 Phtygian b6 Phrygian \6 Lydian Phrygian b6 Locrian b2 Mixolydian k
minor 11 minor 11 lonian (Lydian)
Mixolydian sus lonian Lydian b3 Ionian
a-
Ionian lonian Lydian b3 lonian
n A a n o N l c C O N T O U R
3. PEE WEE'" TONY WILLIAMS
This gentle waltz has symmetric harmonic rhythm and has a few areas o f quasi-Functional chord movement, which is typical of a composition that is rransitional From tonal to modal chromatic.
Example 1 1-5:
1 2 3 4 5 6 7 a 9 1 I
Pedal
h Lydian lonian Mixorydian Mixolydian b9 lonian Aeolian Lydian 12 Mixolydian Lydian #5
I 1 u U
1) 7 7 ~ ~ S m m r Miles Davis CoIurnbia CS 9532
Repose
A. BASS MELODY
CHORDS:
1-3 repose area (pedal point) 4-7 chromatic, Fairly slow transition area, increase oF tension 8-10 repose area 11-12 transirion with cycle of M h s 13-14 repose area 15-17 transition with signpost "boor occurs at all times, including improvisarion (see
"Ru~h" and "Teru") 18-19 last repose area
19 resolves to first chord by modal shift wirh pedal point
3. TOP MELODY
CHORDS:
1-2 common tone connection
3-4 common tone 5-7 chromatic melody upward
8-10 inversion of 5-7
11-13 sequence of 8-10 13-14 common tone 15-17 strong leap downward, cantrary motion to bass melody, a "hook" motif, a~ found in
many compositions 17- 19 form of inversion of 15-17, a remm co starting place
C H A P T E R X 1
C. HARMONIC MATERIAL
CHORDS:
1-3 increase in tension
3-4 common US, brighr to darker 5-7 common US 8-10 common US, cryptic cadence, (see Chapter XPII) quasi 11-V (D-7 to 67b9 KO C-T) 11-12 cycle of Lydian chords 13-14 repeat of 8-9 15-16 common inner smucture, point of climax
17-19 tritone related common US ( F / G ~ to B/Db)
D. GENERAL qUAUTIES
1. In spite of its symmetric harmonic rhyrhm arid itr ties to funcciona1 harmony, this is a
&ff~cult t u n e to play.
2. The 3-bar phrase a t the end is unusual, giving the tune a 21-bar through-composed form.
3. The emotional contour is_ nor e x m e , but the inserted cycles do give the harmonic rhythm a bocsr.
4. Ir seems to have been composed purely by intuici~n, without much pre-planning.
Example 11 -6: "Pee Wee" by Tony Williams
Db Lydian
05 Lydian 115
H a R H O N I C C O N T O U R -
4. TERU" - WAYNE SHORTER
This is a very slow balIad, based on the n-adiuonal song form; i t has an AABR form bur the bridge has only seven bars.
Example 11-7:
Aeolian Mixolydian Phrjgian Mixolydian lonian minor altered Mixolydian ...........- lonian
M~xorydian ...... Lyrlian $5 0 rnm.11 ...... Phiygian ....... Lydian #5
COMMENTS
A. BASS MELODY
CHORDS:
I a f 3 1 bar of Gb Lydian at the slow tempo shows repose 2-3 an imporcant "hook" or signpost of the composition 4-9 an acEive ttansition area with an active bass mebdy 10-ll downward, rehation toward the cadenrid repose area 12-13 pedal point bass repose area, cycles to Erst chord by lower neighbor tone (leading-tone
effect) 14 -16 pedal point repose area 17-19 increase of m i o n wirh upward and acdve transition area, f i e staccato on chord 19
effectively sets up the release o f the tension at bar 20; the downward minor third skip ro chord 20 enhances the result
20-2 1 the final repose cadence, rhe last chord cycles co the first by upper neighbor tone
6. TOP MELODY
CHORDS:
1 primary color tone 2-3 contrary motion to bass is effective in increasing tension 4 9 definidon cones 10-1 1 common tone connection
12-13 common tone connection 14- 16 downwrd resolution of melody clarifies modal cadence 17- 9 color tones
1) Adam'rAppk Wayne Shorter 20-22 sequence of 14-16
Blue Note BLP 4232
C H A P T E R X 1
CHORDS:
I bright but tense
2-3 a form of 11-V cadence, derived from a voice-leading method 4 9 a good example of modal conrour and IT-V cadential parody, the Phrygian to
Mixolydian (45) is a diatonically related cadence, with the acousric source being C Ionian. The Phrygian could be choughr OF as D Dorian over E, so it 1s a typical U-V with substituted root for the II chord The Mixolydian to Ionian (5-6) EoIlows the normal modal conmur of a diaton~c cadence bur with free-form coots
10-12 parallel Mixolydian chords moving a minor third is typical 11-12 a dominant cycle of Mixolydian chords 12-13 another parody cadence 14- 16 modd contour, parwdy d e n c e V-1 17-19 parallel chords, cEosesr rve have to a climax at bar 19, effecrive for setring up the
FoIlowing dark area 20-22 like 14-16 bur more extreme in modal resolncion 20-21 the darkest part of composicion
D. GENERAL QUALITIES
1. Good variety and contrast of the modes.
2. With a quite chroma~ic bass melody and short or no clear areas of emauond definition, this is vertical modal.
3, Good use of "honk," signpost areas.
Example 1 1 -8: "Teru" by Wayne Shorrer
Gb Lydian CI
F Aeolian El 3no3rd Phrygian lonian -3-
minor 7 1
MixaIydian sus C13sus Ll3sus lonian
Lydian $5 Locrian h2 minor 11
I
I 4 A R M O H I C C O N T O U R
5. THE 'LIEB" - RON MILLER. 1984
This cornposision, wrinen for saxophonisr/composer David Liebman, is representative OF the plateau modal category with a vertical modal bridge. The emphasized modalicy is Aeolian, with a medium tempo; the overall mood is dark rornanricisrn. This tune could be described as American ECM.
Example 11 -9: Aeolian Lydian E2 Mivolydian Lomian C2 sus Lacrian bZ Mixolydian Aeolian
1 2 3 4 5 6 7 8 9 70 71 1 2 13
(8 bars each) (8 bars)
COMMENTS
This being a plateau modd composition, the only significant harmonic movement is in the bridge, which is vertical modal.
A. BASS MELODY
CHORD:
1-2 two plateaus oFAeolian, a whole tone apart, the downward change creares more dark- ness, a tritone skip down to next chord creates tension
4-5 drone skip, inversion of 2-3 3-8 a general upward mend, preparing to ser up a point ofd imax 7-8 sequence of 5-6 9-12 a definite stansition area, the movement is faster, upward, foIlowing a Dorian tetra-
chord 12-13 the normal resolurion here is for the melody t0 resolve up a semitone, rhe skip is un-
e x p e d
3. TOP MELODY
CHORD:
1-2 primary color tones 3-4 same
4-6 common cone
7-8 common tone 9-12 upward movement, Ionian tecachord, serting up climax 13 highesr: poinr in the harmonic melody, dramatic
C. HARMONIC MATERIAL
CHORD:
1-2 plateau Aeolian, dark, soft
3-4 strong contrast, bright, tense, hard 4-6 D b/D to G b/Ab, cryptical cadence Db to Gb V-I US, chords 5 and 6, common US except
Far one note of voice-leading Gb to P 7-8 sequence of 5-6, up a miner third, overall posiuve resolution 9-12 fasr moving chords, all sus, positive, sets up climax 12 point of climax
C H A P T E R X 1
12-13 a kind of cryptic cadence (see chapter on slash chords), with a lower neighbor reso-
lucion with the upper strucmre and a minor third up in the bass, a kind of sequence of 5-6
D. GENERAL QPJALmES
1. Dark, ECMish feel, New York Qn a drizzle fded autumn day
2. As is all plateau modal tunes, rather simple, bur nice to "blow" over
3. Fairly symmetric in Form, 8, 8, 16, 8, sectional through-composed
4. Emotional "map"
CHORD:
1-2 darkIy "hipn to darker 3-5 slightly "wrinkled," gercing hopehl 5-12 doubthI love becoming full of hope 13 dramatic
5. The rnaduhcion, change of key from the opening A A e o h ta the ending Bb Aeolian, contributes to the overall dramatic effecc of this rune and was a strong Factor in the plan of arrack when composing it.
kample 11-10: T h e tieb" by Ron Miller
G Aeolian
ODb Lydian 42 D Lydian #2 Afi Mixolydian sus G Locrian h2
B Mixotydi an sus Bb Locrian b2 Esus R u s Gsus,
H A R M O N I C C O N T O U R
6. IC O N THE LAND - RON MILLER
This is a plateau modal cornposirion written for s~ophonisc /a~thor / j~~~z educaror Jetry Coker. Its overall modal qudicy being MixoIydian, it is one of the many placeau modal compositions that can be compared to Herbie Hancock'sMMaiden Voyage." This is only in the overad emotional quality associated with the Mixolydian mode as the following will show.
Example 11-11:
Mixolydian h4....... ......... Mixo!ydian W Mixolydian qQ
........... ............ Mixolydian h6 min.1 1 Mixolydian Mixolydian b6 Mixolydian rnin.7 1 Mixolydian
A. BASS MELODY
CHORDS:
3-4 outline of a diminished triad, or a skip down a micone, cycling back to the starting note by minor thirds
4 6 common tone bass 7-9 passing tones to the czdential B root, notice that the entire bass melody of the A
section could be derived from the diminished s d e
10-12 relaxed, downward contour, set* up an active area 12-14 a 11-V cycIe,12-13 to a substitute I chord (parody cadence)
15-16 is a signpost '%hookn 21 referring ro 13-14, the resolution ro the C is dramatic and sets up the turnaround ro
resolve co Ab 22-24 derived from 15-17, this is set up to resolve to the firsc chord of the tune
8. TOP MELODY
CHORDS:
1-6 derived from color cones or voice-kading 7-9 contrary motion to bass melody, enhances cadentia1 quality 10-12 chromatic down, 10-31 a form of voice-leading 12- 14 voice-leading a 11-V to parody V-I 15-17 contrary metion 17-20 same as 10-13
22-24 secting up firsc chord of the composition
C H A P T E R X I
C . HARMONIC MATEREAL
CHORDS:
1-4 pardlel Mixolydian chords, 4 bars each, this is pIaceau modal 4 6 the common use OF Mixolydian \4 ro lMixolydian 84 to Mixolydian b4, ir creates a
positive emotional effecl: due to the brighrening of the fourth 7-9 a minor third up is a very positive and typicd resolution of Mixolydian sus chords
{remember "Maiden Voyage"?) 10-11 raking the G Mixolydian b6 co be a C-A over G, this is a cvptic 11-V cadence, the
cadence being C- ro Fsus 12-13 a diatonic II-V, this parr is in fact a swing styIe section showing a rie zo a traditional
hard bop aesthetic
14 a substitute urger chord for the E-V
15-16 a turnaround ro ... 17-20 ... a repeat of 10-13 2 1 a higher t a d center of chord 14, creates drama 22-24 a turn down to top of tune, the note durations are set up to create cension which
resolves wizh the first chord of che tune
a. GENERAL QUALITIES
1. Having symmetric plateaus oFessentiaIly rhe same mode, this is an example of plateau
modal, same mode. In addition, because each plareau has the same mode, the tune is similar to linear modal in that there is one overall emotional, effect. So this tune, like so many inspired by "Maiden Voyage," has the same emotional qualities as "Maiden Voyage" wich subtle differences. Refer to "Why Wait" by StanIey Clarke, '"Twelve More Bars" by Wayne Shorter, and "Follorv Your Hear? by John McLaughlin.
2. The tempo, rhythm section style OF playing, and the U-V sections make this a "blowing tune, in the hard bop tradition.
H A R P l O N l C C O N T O U R
Example 1 1-1 2: "JC On The Land' by Ron Miller
Ab Mixolydian wr A
D Mixolydian sus
F Mixolydian sus Ab Mixolydian b4 Ab Mixolydian U4 Ab Mixolydian $4 Ab Mixolydian 14
B Mixolydian 5us Mixolydian b6 F Mixolydian sus
A13 Bb sus Csus m M i x o l y d i a n b 6 A h
F Mixolydian Bb sus Asus
E-1 I A13 Csus A h
C H A P T E R X I
7, PUMPKIN" - ANDREW HILL
This very hip and dark composition almost fails in the linear modal caregoy. It is basically song form, but the A section has 10 bars. Addinonally, ir has a functional harmony (11-V-I)
bridge and is a great example oFa modal tune with ties ro the traditional bebop aesthetic.
Example 17-13:
T . 1 2 3 4 5 6 7 8 9
(6 bars)
COMMENTS
A. BASS MELODY
CHORD:
1-3 simply a root with a 11-V turnaround
4-6 a trirone figure, che signpost "hook" OF this tune 7-9 a repear of 4 6 10-16 being m n d harmony, the melody is diatonicalIy related, defining the cycIe of keys: Eb
to Ab to Db with the resolution ta Db made with tritene substitution
6. TOP M ELOOY
CHORD:
1-3 correct voice-leading of functional harmony 4-9 active motive of the uhook" 10-15 again, wice-led functional harmony
C. HARMONIC MATERIAL
CHORD:
1 6 bars of D AeoIian, clearIy perceived, this is linear modal, the emotional quality of Aeolian: dark and melancholy, is additionally tense due m the very €at t e m p ofthis tune
2-3 a turnaround cycle 4 3 common upper srrucrures
H A R M O H I C C O N T O U R
10-1 1 cycle of Ionian chords 12-13 rritone substiturd 11-V to Db (sub for Eb- to Ab13) 14 completed cycIe of the key centers: EL ro Ab to Db 15-16 a "stand alone" W , resolved melodically, nor: funcuondy
D. GENERAL QUALITIES
1. Because of general modaliv, ~rempo, and rhythm seccion style of accompaniment, chis is avety sophisticated compositian wMe sdlI being fairly simple in cansmction. This rune could be described by purists as the "real thing." Referring to the "Tree O f Composers" in
the appendix, you can see rhat Andrew H a is influenced by M o k This tune is evidence of that.
2. Because oFits ties ro madirional bebop, this is a good "player's m e , " but it i s verydifficuIt M play.
3. Thc emotional map is simple with three parrs, the dark Aeolian section, the quirky *honk" vamp and the energetic exvbemce of the 11-V section.
Earnple 11-14: "Pumpkin' by Andrew Hill
D Aeolian
Phrygian Locrian Mixolydian
C H A P T E R X I
8. TOUCHSTONE" - RALPH TOWNER
T h i s is anorher shorc, compact, gem o f a composition by one of the contemporary "master"
composers. It starts out as pIazeau modal and compresses rhe harmonic rhyrhm to become vertical.
(2) Mixolydian (Z) Lydian 15 lonian B6 Lydian 15 Lydian 85 Phwian ( 2 )
COMMENTS
A. BASS MELODY
CHORDS:
1-2 a short 2-note motif, downward 3-4 a sequence of 1-2 4 5 a relaxed resolution down a major third 6-7 outline of a C major triad, increase of tension with the skips 8-9 pedal point, clgar modal contrast and resolution
8. TOP MELODY
CHORDS:
1-3 common tone connection
4 - 6 general upward trend to increase cension
6-8 common cones 8-9 a step downward For cadence
C. HARMONIC MATERlAL
CHORDS:
I - 3 common inner structures
3-4 abrupt increase in tension (index =? 1 to R 8)
5 use of exotic chord, Ionian b6, harmonic major (see Chapter XV)
6-8 good example of tension index contour, the increase in tension setting up the final cadence
8-9 crypFic cadence, upper smcture resolving dotm, index 1: 9 to R 1
D. GENERALCOMMENTS
1. The overall tension cantour is derived from an inmasing compression of che harmonic rhychm.
2. Good combination of tense, stark modes and clear open nonmodd chords. Ic sounds like i c was composed on the guitar.
C - I A R H O N I C C O H T O U R
Example 1 7-7 6: 'Touchstone" by Ralph Tmner
HARMONIC CONTOUR - CONCLUSION
One 05 the besc methods for learning mrnpwsitjon is to transcribe compositions wirh har- monic m a t e d "above" one's I d OF abilities. 1.c is dificult because it requires going that "extra mile," but the gains are well worrh the pzin. A very beneficial project would be co
transcribe a section of a ~travinsky piece or a section of a Gil Evans arrangement. Of lesser difficul~y, but of gear benefit, is to analyze a number of better compositions, chose compo- sitions r h a ~ have Ehac special quality that attracts a listener and becomes a classic, which is what has been dane in the last few previous pages. When creadng your own compositions, c y
to organize the harmonic materials with the following:
1. Through-composed, with symmetric sections, but not necessariIy even numbered bars.
2. Modal chord movement that is easily voice-led.
3. A chordal or melodic figure chat offers a signpost, or "hook" for the listener and
improvisor.
4 A clear point of climax, note any similarirks of climax location in the previous examples.
5. A rounded harmonic farm - last chord resoIves m the fist chord
6. Keep the harmonic material simple enough For others ro play or your tunes will nor be played without coercion.
7. Have a clear emotional or programmatic "god" in mind when creacing your composition.
Review the previous composirions wirh rhe above in mind, ask if, in fact, rhe compositions satisfied the proposed guidelines.
C H A P T E R X I
SUGGESTED EXERCISES
1. Using the included set oFchords for the composition "HcIlo Goodbye," analyze as in the previous examples. ''Hello Goodbye" is composed by bassist Ron McClure and Found on the recording The Sun and Moon Have Come Together, (Harvest SKAO-423) by a group
caUed The Fourth Way, wirh Mike Nock, piano; Ron McCluse, bass; Michael Whlte, violin; and Eddie Marshall, d m .
2. Look at rhe included harmonic synapsis of the composition "Litde One" by Herbie Hmcock. Compare this with "Rurh," 'Mikell's," and " H e o Goodbye." Make as many cornmenm about similarities and differences as you can. T h e tune is found on Herbie
Hancock"~ Muidea Voydge recarding if you wanc to hear ir for reftrence.
3. Analyze any composition of your choice, one that you find redly inspirational.
At this point ic is time to create rhe first composition based on the concepts a€ the previous chapters. In addition, you should analyze the finished C O ~ ~ ~ O S ~ R O ~ , as this is of great benefit in pointing out both strengths and weaknesses as we11 as helping to clarify a developing styIe.
H A R M O N I C C O N T O U R
Example 1 1-1 7: "Hello Goodbye" by Ron McClure
Locrian h2
altered h6 altered b6 Phrygian h6
Id *eolian Mixofydian A
altered h6 altered b6 Lydian Lydian 112
minor 1 I
C H A P T E R X I
Example 11-1 8: #titt le One" by Herbie Hancock
US
Solos
F(4) F Aeolian F(4) FAmlian Phrygian d-11 Phryg~an h6 Phrygian b6 ~ 5 9 ~ s F-1 7 G-1IfF
I
R (Vamp) T (min.3rd) R
C PhrygianlF Aeolian bS n
II -v; U
C H A P T E R XI1
The Modes and Chords
of Altered Diatonic No. 2
c Minor)
C H A P T E R X I 1
Using Ehe tetrachord method of consrruction, the remaining three tetrachords are used in the construction process: harmonic, Hungarian major, and Hungarian minor.
THE TETRACHORD FORMULAS
Because of the amount of alteration, the order oFdarkness is nor obvious by looking at the retrachord formulas. The best process is to compare each mode to its immediate predecessor and determine its quality by rhe aIreration. As an example, Aeolian b7, having the seventh sharped, would be brighter rhan Aeolian. In addition, the number and placement of tritones in the mode will affecr its stabiliry. Norice rhat Aeolian b7 has two critones: D ro Ab and E to B. This would make it more active than unalrered Aeolian.
To restate: Learn to hear these modes and their chords as a form of alcered Ionisn (Ionian $5 or Ionian b3, b6).
Gcarnple 12-1: The Modes aF&e Altered Diatonic No. 2 - Harmortic Miner (lonian 63, b6)
Aeolian 47 Locrian h6 lonian B1S
altered bb7
T H E M O D E S A N D C H O R D S OF H h A H W N l C M l H O R
CONSTRUCTION O f THE CHORDS OF HARMONIC MINOR
(Altered Diatonic No. 2, Ionian #5, Ionian b3, b6, Harmonic Minor)
These are mixed spacings which include use of the grip methad of chord construcricn.The following tabIe of coIor tones is derived again, by camparison with the parent Ionian mode.
i THE TABLE
At least rhe fmt thm of the cones are needed to define the mode. The order of the last three
i s noc strict.
CHORD EXAMPLES
1. AEOLIAN h7 - A brighter form of Aeolian, but less stable. One of the most used of this
Example 12-2:
Example 12-3:
C-A $6 , A Aeolian hi'
2. LOCRIAN Q6 - Brighter than Locrim b6, not seen too much, it could be used as a
substitute for auxiliary diminished.
C Locrian h6
Example 12-4:
3. IONFAN #5 - Tends co sound like Lydian-augmented b4, so it is a sof te rsa~ndin~ Lydian- augmented or a less stable Ienian 44. It can be used as a substitute €or a Lydian- augmented chord in mart romantic <ornpositions.
4. DORIAN 114 - A brighter form of Dorian, it had use in pw-modal compositions. The first chord is found in the Horace Silver tune "Sweet Stveery Dee" from Silver's S m a d e .
B Dorian 94
5 . PHRYGIAN b3 - A brighrer Phrygian, it can be used with rhe auxiliary diminished scale.
Z)ccasianalIy used on club dates.
G Phrygian 43 E7addb2
Example 12-7:
- 92 -
6. LYDIAN 12 - Mosc often used as a slash chard (VII/I). Note the optional substiturion for
a &mished scale aver a Mixolydian 99 chord (chord 2). This chord is aIso known as
diminished major 7.
D Lydian $2 DOA
C H A P T E R X I 1
SUGGESTED EXERCISES
1 1. Construct a number OF chords with all spacings; include a number of grip method
I consrmctions.
2. Play all the chords with an ear training goal in mind and try to identify their use on
I recordings,
T H E M O D E S A N D C H O R D S O f M A A H Q H I C H I W O R
7. ALTERED bb? - Its best use is as a slash chord (vr/I). It dso is closely related to she
Mixolydian b9 chord and can be used rhac way.
Example 12-8:
C altered bb7
This group of chords is rhe first of the groups of esoteric modes and chords. Harmonic major and melodic minor 85 are the last two. The theorist experimentalist among you might warn to work with the rnodes/chords of Ionian #2 as weU. Although rhe modes of harmonic minor have been used in improvisation the chords are not found that o h n in compositional use. The chords of harmonic rnajor and melodic minor 115 (Ionian b3,#3) are used by only rhe most
adventuresome of today's composers. David Liebman, Richie Beirach, Ralph Towner, Kei& Jarretr, and Joey Calderazzo occasionally use these chords. Check out their recordings.
The emotional description of these modes can be determined in the same way as with aU the alcered modes: thac of raking the descriptions of the parent unaltered modes and considering the alceration as an enhancement. As an example, Phrygian b3 is brighrer than Phrygian 46, both brighter than Phrygian b6. The brighter the alterarion, the higher the degree of rension. Phrygian 66 is considered dark and mysterious, Phrygian \3 is not as mysterious due to its
more "open: bright qualityI bur i s stdl exotic. Since there are multiple alterations in the last three sets of chords, clear categorization is not so easy. It is best to group the chords by ear.
Before we construct the modes and chords of the remaining two p u p s we will look ar one more harmonic connecdon/composition technique: slash chord harmony.
C H A P T E R X l l l
Slash Chord Harmony
Slash C
!. Polych
3- <
4. Sy
5. Tension C
C H A P T E A X l l l
Slash chord harmony reEen to the harmonic style in which the chordal relationships and overall development can be applied separately rw the upper structure and bass parrs o f a group of chords. A slash chord is a m p a r t chord made up of an upper srructure over a bass nare. The "slash" in the name refers to che standard chord symbol For this kind of construction: a lercer representing rhe upper chord's tonality and a lercer representing a single bass pitch, separated by the slash character.
EXAMPLE: E/C, A7/P, Db/C, eEc.
Slash chords differ from polychords in that poIychords are nvo- or three-part chords in which each part can be a whole chord. The notation for a polychord is a lerrer separated by a hori- zontal line.
EXAMPLE: D D-9 G- - - - C7 Cb Ak
-
F-
Iris the slash chord thar is used most oFten in modal harmony and, in addition, it i s the major triad chat is irs upper structure. The emphasis of rhis chapter is on slash chord usage with triadic US.
CHORD CONSTRUCTION
The construction of slash chords follows the same process as Found in the chapter on the grip
merhod. If you refer ro that chapter you will find rhac t h e basic rnajor triad in first inversion is one of the listed grips, A n entry level grip, the triad as upper structure has predominant use
in the harmony of pop and pop-jazz compositions. The sonority of a consonant triad over a root is stark and sametimes creates missing note, non-modal chords, but has a desired beaury because of irs transparency.
To comrmct slash chords, it i s suggested char the student learns the ratio of upper structure
to root and its implied modality. As an example, a Lydian-augmented is a m/I, or major niad a major third above the rooc E/C.
The following is a constdon of major Eliads over dl OF the nores of the chromatic scale, offering all possibilities of consmction.
In addition, the chords are placed in an order ofincreased rension as determined by subjective
class poll. Because all ofthe upper strucmres have the same sonorig, their order is dfecred by both modal contour and sonuric tension/relaxanon. And because the rnodali~, in most cases,
is obscure, the tension order has priority. L e a n the ratios and the tension index number.
Example 13-1: Slash Chords
I Tonian Mixolyd~an Lydian Aeol~an Lydian 95 Phrygian altered Cb7 tocrian Lydian !2
S L A S H C H O R D H A R M O N Y
CHORD CONNECTION
Since the means o f chord connecdon for upper structure chords have been covered in a previous chapter, only rhe new methods, pecuIiar to slash chords, wiIl be shown in this chapter. Review the methods in the chapwr on upper smcture chord cannection if needed. The additiod methods used in this chapter are rhe resulr ofrheway that ghaups OF chords with transparent sonoriry need ro show a sense of development
HETHQDS O f CONNECTION
1. Common upper structure
2. Pedal poinr
3. Modd conrour
4. Tension courour
6. Symmetric patterns
The first three are covered in previous chapters.
TENSION CONTOUR
R~ferring to the tension index number rather than the modal contour, this is the organization of a group of chords, usually three to six, that follow a preset conrour of tense to relaxed, relaxed m cense, or a mix BE the mo. Note that this technique is used most in areas of transition just prior to a repose ama, bur could be pIaced anywhere. You must bear in mind the effects of other musical elements: tessituta, harmonic melody, harmonic rhythm, and tempo when composing these.
Example 13-2:
TENSE MO!X TENSE RE W(ED
CRYPTlC CADENCES
This is the slash chord version of cadence parody as found in Chapter W. Rather than mimic modal comparisons, the point OF emphasis in this method is on the melodic aspem of the
roots of the diaronic cadence and the resoIution qualities of voice-leading. The upper srmcntre, being a basic triad, always has its tonic as pan of the chord so can be created as a separate tonality.
You can organize the upper structures as a V-1, the toots as a V-I, and both the US a d roots as Ieading tones resolving upward or upper neighbor tones resolving downward. It is the dif- ferent ratios OF the US to the bass chat give a variety of results.
C H L P T E R X I 1 1
Example 13-3:
Pmkofiev: Romeo &Juliet
SYMMETRIC PAmERNS
Symmetry in itself defines a sense of organization. In addition, the transparency of the triadic dash chord in no way obscures the symmetric melodic contour, so i t is a workable combi- nation to be explored here.
There are many sources of examples of melddic symmemy available for reference. The most comprehensive is probabIy Tbe %atam of Scales and Symmehic Puf tm~~s by the theorist Nicholas SIonimsky..
Of course, you have access to the symmetric scales of everyday use: the diminished, aug mented, whoIetone and chromatic scales. You may find ic musicaIly advantageous co be able w compose your o m The process is mathematical, and quire applrcable to computer
programming (see appendix).
SymmecricaI patterns are basicaIIy mo66 t h a ~ are sequenced repeatedly at an increasing symmetric ratio.
You need to select:
1. A basic 2 to 6-note motif
(a) select number ofsemirones for interva[s
(b) select direcdons (up or down)
(c) seIecc note d u e s
2. An interval o f sequence
3. R direction of sequence
The combination of t h e motif and the sequence interval gives the rota1 leng~h of the morif.
EXAMPLE:
1. 2-note motif plus one for sequence.
2. F i s t note down four semitones (major third).
3. Second note up three semitones (minor third).
S L A S H C H O R D H A R M O N Y
4. Sequence interval up three semitones (minor chid).
start: 0 d4 u3 (u3) d4 u3 (u3) d4 u3
result: E C Eb Ffl D F Ab E Getc .
mociE ul u4 d3
sequence: u2
result: 0 ul u4 d3 (u2) ul u4 d3 (u2) u l ~4 d3
C DL F D E F A F# GB A CR A# erc.
To create symmetric scales, keep the mvuf length under three and keep them all in rhe same
direction. A I-note motif is best.
EXAMPLE 1:
mo tiE 1
sequence: 2
result 0 1 2 1 2 1 2 1 2
C Db Eb E Ffl G A Bb C (aw. diminished scale)
EXAMPLE 2:
rnotiE 1 3
sequence 2
resuIe 0 1 3 2 1 3 2
C Db E F4 G Bb C(~vorkswithCalt)
HARMONIZ1NG THE SYMIMETR!C PATTERNS
PROCEDURE
Once you have created or selemd the symmerric patrems you will me, the process is co place the US triad with the top note following the symrnecdc melody. There are thirty-six possible modal tesuIrs of the combination of a triad over its root. There is the choice o f one of twelve semitones of the chromatic scale, where the top melody's starring note is placed, multipIied by t h e choice of one of r h e three inversions of the upper criad. Each one of those choices Ereaces a chord with modality that diffets from the resuIcs of another choice. The easiest way to begin is to determine a median range tessitura for the cop and bass melodies within their u s d y found ranges. As an example, i f the top melody has six notes which span over an ocmve going downward, you wilt need to start the melody above the second C above rniddIe C. This wouId resuIt in the overall melody being in a median tessitum FoIlo~v the same procedure fur the bass melody. Once the tessintras are set, select a modalicy for the first chord. Refer ro Example 13-4 (bar I), the first root is a C; by selecting a Gft for the srarting note oFthe top melody, with the selected inversion of che triad, the resulting rnoddity i s Lydian augmented. Had the top melody started an a G natural instead, the first chord would have been a C-7. You will need to experiment with various starting notes to create a group of chords wich aesrhetically satis- fying modal contour. The harmonic results of chis technique are used in active areas of che harmonic scheme: rumarounds, the transirion areas that approach a repose area and, if the harmonic rhythm is slow enough, a set of these chords could be the entire content of a section.
C H A P T E R X l l l
&le 13-4: Harmonized Symmetric Patcerns
TOP: chromatic scale, down
Bass: cycle of ficths
Start: Lydian-augmented
Top: chromatic down
Bass: cycle
Start: Locrian bb7
Top: chrornaric down
Bass: sequenced thirds
Start: Mixolydian sus 4
Top: sequenced pattern
Bass: sequenced partem
Starc Mixolydian sus 4
Top: auxiliary diminished scale
Bass: sequenced Dorian tetrachord
Starc Ionian, no 3
As you can see from the examples, the symmetric motif starts to repeac after a number of chords. The modal contour repeats as welt When creating these examples, you need to include enough chords to show the pattern oFrepetitian.
S L ~ S H C W O R D H A R M O N Y
ANALYSIS OF SLASH CHORD HARMONIC CONTOURS
The analysis of slash chord harmonic contours is pretty much the same procedure as with non-slash chord contours. In addition ro that which was covered with non-slash chord harmonic schemes, we will poinr our US to bass ratios, qmrnerric parrerns, and cryptic cadences. Where we had concern for brightness to darkness comparisons and momenmm contours, now we need to point out tension CQntOUiS. We will look at four compositions, au have harmonic contours chat can be organized as slash chords and all have typically romantic meIodles (covered in Volume 2).
1. LOST ILLUSIONS" - RON MILLER, 1978
This is a very srark sounding composition, its harmonic construction being primarily derived From slash chords. Its tempo is very fast. T h e emorional intent is anger. There are two sers of
changes, one h r the "head" and one for "blowing," chis is to make the irnprovisacion more accessible and gives t h e composition a smnger sense of development.
Example 13-5:
Blowing:
A/F C#/A F/G E/C E ~ / F D / B ~ DL/& C/D B/G B ~ / C r!!
C H A P T E R X l l l
COMMf NTS (the "head" portion)
A. BASS MELODY
CHOWS:
1-2 increased rension with the upward skip 3 passing note to set up tessitura of the bridge section 4-9 cycles sequenced down chromaticalIy 10-11 another cycIe, up a major second from last 12 upper neighbor to nexr section 13-15 common tone (pedal point) connection 16-17 rhe much used minor third upward movement
B. TOP MELODY
CHORDS:
1-2 color tones
3-4 conrrary morion 5-6 common mne 7-8 common tone 5-18 general overall downward chromatic melody, rhe chords of the bridge were derived
from symmetric parterns: rap-chromatic down, bass-cycle of frfrhs 11-17 comman tone connection 18-20 upward movement to increase tension for resolution tu the top of the tune
C. HARMONIC MATERIAL
CHORDS:
1-2 paralIel Lydian-augmented chords, plateau modal, approaching linear 3-20 the Lydian-augmented, Mixolydian sus combinarion thar is a result of the symmetric
partern merhod of C O ~ S E ~ U C ~ ~ O ~ ~
3-4 cryptic cadence-V-I in upper, upper neighbor down in bass
5-6 common US
7-8 common US 9-10 pattern, contrary motion minor third up for rop, minor third down in bass 11-12 common US 13-15 modal shift 16-17 common US and rhe much used diatonirdiy related Phrygian to Mixolydian 18-19 pardel Mixolydian sus chords 19-20 cryptic cadence
a. GENERAL QUAUTlES
1. Although more plateau rhan linear, the emotional quality of Lydian-augmented-active, rense and bright comes through.
2. The bridge is still very active dde to the Faster harmonic rhythm - it is verticd modal - and due ro the implied cycie, root movemenrs of a f i f i are the most active of any.
COMMENTS ON THE BLOWING CHANGES
Actually very close to rhe "head" changes, rhe differences are:
1. More syrnmerric harmonic rhyzhrn.
2. Clear cycle of fifths in the bridge with ...
3. ... a shift of the symmetric patrern ar chord 8 re &w.,.
4. ... a dominant sus 4 chord as the last chord which \viU resolve to the f i s r chord, giving a
"rounded" form.
A11 of the above show a concern for making lthe tune more *playable."
S L A S H C H O R D H A R H O M Y
Example '1 3-6: "Lost Ilfusions" by Ron Miller
Lydian #5 Lydian 15 sus Lydian $5 minor 17
Lydian #5 sus Lydian l S sus Lydian AS Mixolydian Lydian 85 Lydian 15
(4) Mixolydian ........... A
Lydian 15
L
Blowing changes: Lydian C5
Mixolydian Lydian 15 Mixolydian Lydian 15 Mixolydian Mixolydian Lydian 15 Mixolydian
I:. j: I
I , ' ! I I !
C H A P T E R X l l l
2. YELLOW f IELDS" - EBERHARD WEBER
This i s a compact and dearly vertical modaI composition with good examples oFsIash chord formulas. The melody, not being romantic in style, adds ;to the starkness of the harmonic
Example 3 3-7: C C/A c L / A ~ B/G C/k ~ l l / E b B/D A/F min.11 sus B ~ / B ~(9)
COMMf NTS
A. BASS MELODY
CHORDS:
f -4 duwnward srepwise, nondiatonic 5-6 the tritone skip down is very active, an impbed cycle 7-8 upward minor third, contrary morion to top melody, a slash chord parrern 9-13 stamng high in the ressirura, the downward contour assists in serring up the climax 13-14 the root movement of a v-f
B. TOP MELODY
CHORDS:
1-2 common tones
3-4 common tones 5-6 implied voice-leading 06 a cycle 6-7 common cone 7-8 contmry motion ro bass rneIody, part of a patrern 9-13 pardie1 motion to bass melody 13-14 contrary motion to bass, another partern like 7-8
C. HARMONIC MATEREAL
CHORDS:
1-2 common upper structure, cense to less tense (9 to 6)
3-4 common US, less reme to tense (6 to 8) 5-6 a hidden C triad CUS, use of a chord from melodic minor fl5 (see Chapter XV) 7-8 a pattern of top triad down a major second, bass up a minor third, also a release of
tension 9-13 paralIel modal chords setdng up the climax on a very tense Lydian 82 chord 13 the point of climax 13-14 a V-I release of all che prwiolls tension, rhe sus 2 ( 9 no 7) nonmodal chord being very
bright, relaxed and find; ;his is a great example of cryptic cadence
D. GENERAL QUALITIES
1. This is a vetywell written and compact compositian; Eberhard is one ofthe contemporary "masters." All his compositions show a great d d of inrelligence and musicality.
2. Being vertical modal, the emotiond COnEOUr is derived from other zpecrs rhan modaIity,
S L A S H C H O R D H A R M O N Y
Example 13-81 "Yellow Fields" by Eberhard Weber
Phrygian minor 9 minor 9
Lydian $5 minor11 minor11 sus sus Lydian12 E9no7
3. SOLSTICE^) - KEITH JARRETT ca. 1973
This very shorc, through-composed piece, ar first g h c e seems quire simple. But, as the analysis reveals, there is hidden darkness here. The composition is one large rension ronrour with a gradual increase to a find release.
Example 13-9:
COMMENTS
A. TOP MELODY
CHORDS:
1-8 lengthy chromatic melody, downward, getting dark= 8-1 1 a short upward return, preparation for t h e fallowing ... 11-12 ... upper neighbor resolution downward
8. BASS MELODY
CHORDS:
1-4 common tone, repose area 5 - 7 transition area by cyde
8-10 repose 1) Bdongh& ECM 1U50 11-12 shorc transition, leading tone up
C A a P T E R X l l l
C. HARMONIC MATERIAL
CHORDS:
1-5 rension contour wirh gradual decrease, index +k 12, 11,7, 4
4-5 cryptic cadence with typical rnlnor third movement in US D-F, modal cadence with f i s r inversion D to a G Mixolydran chord
67 modal cadence as dominant cycle Mixolydian #4 to Lydian-au,menred
8-10 tension contour with increase by index R 4, 8, 9 resolving to...
10-1 1 ... index i? 4, resolution of previous tension 11-12 pattern of chromatic contrary motion
D. GENERAL QUALlTIES
1. The overall rense and dark harmonic quality is sofrened by the composition's romantic melody.
2. The long tension contour creates an emotional qudiq of being "rhapsodic." In addition, chis is the emotional quality of the subsequent improvisation.
Exarnple 13-1 0: "Solstice" by Keith f'arrett
Lydian #2(N) Mixoyian #4 Lomian Aeolian Mixolydian 5us Mixolydian 14
loniar h5
Lydian tS(44) Mixolydian sus Lydian 85 Phm-an Mixolydian sm Awlian
S L A S H C H O R D H a R M O N Y
SUGGESTED f XERCISES
PART I
1. Create four symmetric parrems, motif length two to four.
2. Harmonize six examples of symmemc parterns in both the upper and bass parts.
3. Create four symmetric scales; present like in the previous pages.
4. Create four cryptic cadences; label method used (see examples in cext ) .
5. Create four tension contours; label tension index, and include cresendo and decresendo markings to show inmded contour.
AnaIyze rhe included synopsis of the composition "Ana Maria" by Wayne Shorter by the methods shown For previous examples. T t is found on the CD Native Danc~r (CBS VCK 46159) if you need a listening.
I. Create a set ofchords for a composition in which all or a large section of the chords is derived from symmetric patrerns, tension contour, or cryptic cadences.
1 2. Analyze che finished composition, using the examples OF this chapter as a guide.
C H A P T E R X l t l
S L ~ I M C H O R D H A A H O H Y
"ANA MARIA" BY WAYNE SHORTER - HARMONIC SYNOPSIS
11 Phrygian Aeolian II lonian Aeolian sus Aeolian Aeolian Lydian minor 1 1 Lydian minor 9 sus
Aeolian
lonian Mixolydian b2 minor 9 minor 11 Lydian minor 9 Mbclydian lonian minor 9 minor 9 sus sus minor 9 5 ~ 5
(1 lonian Mixolydian bZ minor 9 minor 9 4/2 minor 9 Mimlydian lonian minor 11 I I Phrygian Aeolian I I
C H A P T E R X 1 I I
Latin Phrygian
'ANA MARIA'" BY WAYNE SHORTER
Aeolian Aeolian SUS Aeolian
Mixolydian Miwlydian Locrian 42 Mimlydian lonian Mixolydian b2 minor 9
Upper Structure
rds
C H A P T E R X I V
Three-pm upper structure chords are chords which can be separated inro three parts, each parz conrributing to the chord's modal definition.
The three parts are:
1- THE ROOT
2. AN lNNER !XRLICWRE which contains a rrirone, as found in rhe acoustic source scaIe.
If there is more than one rritone presenr, the one conraining the third of rhe acouscic source scale is preferred. These, of course, are the grips found in Chapter VI.
3. THE UPPER !3TUCrCIRE TRIAD is one of rhe mads found on either the fourth or fifrh degrees o f the parent scak, which is usudy a major triad unless it has alterations.
As you can see, this is a form of the grip rnerhod of chord construction wish the addition of the upper structure triad Also known as "roorless" voicings, for keyboard playing, the grip is played by the left hand with the rrfads played by rhe right. The root is completed by a bass player or by prior playing by the pianist's left hand in the rnechod of "scride" pianists.
Example 14-1 : The acoustic source s d e s wit31 triads on their fourth and fifth degrees and suggested inner simctures
diatonic
melodic minor IV V I;
V
r5m I I.-
d - U V
harmonic mi nor IV G
_ *melodic minor #5 IV V G
IV V G
*harmonic major 0 fl
I w I
h i 4: I I - - V rMm
I m = a 1 ., a 61
ad - 0
*) See Chapter XV
Wish the inner smcrure and the top d a d s togerheractingas a combined upper structure, the process for creating chords k [he same as with two-part chord constnrcrion: placing h e US over alE the roots of the parent acoustic source or aperimenring by pIacing them wer the
remaining roots rhat are i n the chromatic scale.
Example 14-2: Placing the upper structures over the acoustic source
unaltered ~onian b3
T H R E E - P A R T U P P E R S T R U C T V R E C H O R D S
ronian 63 56 harmonic maior
The resulting modality of all of the above is found in previous chapters.
To find the acoustic source, resolve the tritone that has the leading-tone natural 7.
EXAMPLE: The C meIadic minosexample (bar 2 ofExample 142) has the tritone F ro $3 which resoIves to C Ionian b3.
Because one triad by irseIf, in most cases, dosen'c fully define a chord's modaliry, you often find that both triads are used in combination, on dlfferenr bears, of course.
Example 14-3: Use of both US triads
melodic minor $5 melodic minor A5
I t ' " I .
6 - w
melodic minor unaltered
The three-way upper structure technique is not found only in jazz harmonic systems; it is a
prominent technique of film scoring, big band arranging, and classical music- Try to identi+ its use in your listening sessions.
SUGGESTED EXERCISES
Construct the following chords with three-~arr US. ~nc lude both US for four oF them. Also
include a chord symbol over the chord.
2. E Phrygian \3
4. Bb Dorian
5 . Db Amlian b.5
6. E altered
7 . F Mixolydian 84
8. F Lydian C2
9. C AeoIian \7
10. G Mixolydian b6
C H A P T E R X V
The Mode! 7d Chords of
Diatonic No.3 and N
,JNIAN b6 (Harmonic Major) ana iONlAN b3 #5 (Melodic Minor n 3 I .
C H A P T E R X V
These Iast two sers of modes and their chords are the most esoteric of rhe jazz harmonic vocabulary. Use of material from rhe firsc p u p is found on onIy the most contemporary of harmony baed compositions. Use of some chords from rhe second group can be found in early j~ harmony but withont a reference to its source.
A. IONIAN b6 (HARMON3C MAJOR)
THE TiTRACHORD FORMULAS
As with previous altered diatonic modes, the descriptions can be determined by a comparison wich the parent Ionian, pointing out the difirences obrained by the alrerarion Ionian 66 is a
darker version of Ionian, Lydian-augmented $2 a brighter and more tense version oFLydian, etc.
Example 15-1 : The Modes o f Harmonic Major
lonian b6 Dorian 6.5 P h tygiari b4
T H E M O D E S A N D C H O R D S Of A L T E R E D D I A T O N I C N O . 3 AND 4
CONSTRUCTION Of THE CHORDS OF WARMONlC MAJOR
THE TABLE OF COLOR TONES
At least the first three of the cones are needed ro define the mode. The order of che lasr three
i s not strict.
REPRESENTATIVE CHORD EXAMPLES
1 . ION1 AN b6 - Sounds W e a dreamy Lydran-augmented or a dark Ionian; include rhe & to
show that it isn't Ionian #5 or Lydian-augmented.
Example 15-2:
2. DORIAN bS - Has an irnelikd diminished sound, including rhe 44 verifies that it isn't Dorian t4.
L a m ple 1 5-3:
Example 15-4:
3. PHRYGIAN b4 - Similar to aIrered b6, including the b5 verifies i r isn't IE has a wry "domi- nanr" sound.
C H A P T E R X Y
Example 15-5:
4. LYDIAN b3 - Being similar to Lydian 12, include the b2 for verificarion (see "Mike1l'sn by Calderazze.
5. MIXOLYDIAN 52 - This is the source of the much used dominant 69 chord.
Example 15-6:
Example 15-7:
Example 15-8:
6. LYDIAN-AUGMENTED $2 - Can sound like a slash chord, AAJF, or poIychord D/Eb#5.
7. LOCRIAN bb7 - A brighter, more active sounding Locrian.
~ b - / C F Locrian bb7
Because of the arnbiguiy and resident tension of most of these chords, rhey should be either mixed with more conventional chords or used with slower harmonic rhythm. Of course, there will be a number of composers who find these chords to quite satisfy their aesthetic require-
ments.
T H E M O D E S h H D CHORDS O F A L T F R E D D I A T O N I C NO. 3 A N D 4
43. IQNIAN b3 $5 (MELODIC MINOR #5)
This group of modes contains some very beautiful chords for achieving a modern sound. The combination of the darkness of the flatted third with rhe brigfimess of che sharped fifth of h e source scale offers a great qudir). of "interest" A number of these chords have been in use
from the times of Mingus to Brecker, but there has noc been too much, if any, explanation of their source and consuucrion. Two such chords found in common use are the Mkmlydia 19 and rhe dtered 46. In addition, nvo new tetrachords are introduced and used in the mode's coastruccion. Looking at the exotic ternchord combinations, wne wouldn't think these rnodes/chords would sound as good as they do. dso, nore that these modes are a Form of missing note diminished scaIe and al l che chords can be used with a diminished scale - or for
improvisors, the diminished scale can be used with any of the chords (see tetrachord consrruixion in the appendix).
THE TETRACHORD FORMULAS
Example 75-9: T h e Modes oFMelodic Minor #5
Dorian A7 15 Phtygian b6 #4 Lydian 13 15
A Mixolydian 82 M altered bb6 bbJ Aeolian 65 47
altered 46
C H A P T E R X V
CONSTRUCTION OF THE CHORDS OF MELODIC MINOR $5
Tftf TABLE OF COLOR TONES
Example 3 5-1 0:
1 Dorian 15 1 es I b 3 I h6 1 h7 ( 2 1 4 1 Phrygian b6 #4
Lydian-augmented #3
Aeolian bS p7 1 b 5 1 h 7 1 b 6 ) b 3 ( 2 1 4 1
Mixolydian #Z 14
Altered bb6 bb7
f?EPRES€N~TIVf CHORD f XAMPLES
1. DO RlAN b7 115 - bright and rense
#4
83
2. 'PHRYGIAN h6 #4 - brighter
#2
bb6
3. LYDIAN-AUGMENTED fl3 - sounds "dominant"
b2
#5
b7
bb7
h6
i7
3
b4
b9
84
114
k2
b3
6
5
2 ' 6
b3
5
65
T H E M O D E S A H D C H O R D 5 O F h L S E R E D D I A T O N I C N O . 3 APED 4
4. MiXOLYDtAN #2 #4 - the much used b7#9 chord is in this group
Example 1 5-1 3:
Example 1 5-1 4:
Example 15-1 5:
5. ALTERED bb6 bb7 - nor used much
G altered bb6 bb7
I 6. AEOLIAN h7 b5 - not much Aeolian quality left
7. ALTERED b6 - the most used of this group, has a very positive sound
C altered \6
This completes the consmcuon of aIt the chords that will be presented for use in Volume 1 afthis textbook. Not including the nonrnodal group ofchords, we have a formidable palette OF thirty-five modaI caIots with which to work.
hoking at the section on tetrachord construction in r h e appendix, one can see the possibiliries of unusual sombinanans and the creation of many more esoteric modes and their chords. Of course, with the btener of your creative efforts taken into account, more than a Few of rhese and the newly created chords may not be accessible. Bat experiment anyway; eventually che wodd will "catch up."
C H A P T E R X Y
THE COLLATED ORDER Of ALL CONSTRUCTED MODES
With the many alterations of rhe later consrmcted modes, there is much harmonic ambiguig introduced. Determining an accurate order ofbrighr ro dark is not as easy as ir would seem. The effects OF the ambiguity is to obscure a clear comparison. Bur by considering a sharping oFa pitch as a brightening and a flaming as a darkening, this is the resulring orcler:
1. Lydian $5 $3
2. Lydian #5 113
3. Lydian #2
4. Lydian hS
5. Lydian b3
6. Ianian #5
7. Ionian h5
8. Ionian b6
9. MixoIydian 112 $4
10. Mixolydian b2 #4
11. MixoIydian b6
12. Mixolydian &' h4
13. Mixolydian b2 h4
14. Dorian b7 $5
f 5. Dorian 47
16. Dorian 47 bS
17. Dorian b7 #4
18. Dorian b7 b4
f 9. AeoIian h7 '115
20. Aeolian \7 b5
21. Aeolian b7 @
22. Aeolian b7 bS
23. Phrygian hi' 35
24. Phrygian h6 C4
25. Phrygian h6 h4
26. Phrygian b3 b6
27. Phrygian 63 66
28. Locrian h6
29. Locrian 66
30. Locrian bb7
31. Locrian b4
32. Locrian \4
33. Atered h6
34. Altered bb7
35. AItered bb6 bb7
The emotional qualities also can be obscured by rhe added rension of the alterations, but considering as before, the basic qualities of the unaltered modes being enhanced by rhe alteration, Mixolydian R2 #4 has the same qualiries as the unalrered hiixvlydian h4 bur a bit brighter and more active.
T H E M O D E S A N D C H O R D S O F A L T E R E D D l A f O N l C N O . 3 A N D 4
SUGGESTED EXERCISES
I. Construct a number of chords wirh all spacings; include a number of grip method
I construcdons and a fern three-part upper smtcmre consrmctions.
1 2. PIay all rhe chords with an ar training goal in mind; try to idendfy char use on
recordings.
This concludes che presentation oFthe materia15 oSVolumc 1 of this book. Although there is suGcient information for the creation oFbeautiFuI and forward-looking harmonic schemes, harmony alone does not define music. Needed to be covered are the elements of melody, rhythmic concepts, style, and tonal harmony.
Tonal harmony is so prevalent in the student's continuing educational and listening back- ground chat furrher study is not that critical. Awarenes of its use within style categories is imponant to acquiring a well-rounded harmonic concept In pardcular, looking at the use OF tonal harmony by the masters of rhat genre - TheIonious Monk, Charles Mingus, Tadd Dameron and Benny GoIson - can be of benefit.
Referring t o The Categories ooFJazz Cornpositians found in the introduction of this book, i t is apparent rhar there 1s a diversity of jazz styles, each tvivich their own particular descriptions of harmonic, melodic, rhythmic, and orchesrral implementations.
The serious jazz composer should be aware ofthose means of implementationand be abIe to compose in any of the lisred styles. Even if the primary goal of rhe composer Is to develop a single personal sryle, che abilisy m compose in all styles wiII only enhance and clarify the development of one's own sq le .
The goals of further volumes of this book are toward char end, with the presentation o f the following subjects:
2. Penratnnic and bIues tunes
3. Tonal harmony: Monk, Mingus, and hardbop
4. Romantic melody writing
5. Avant-garde jazz compositions
6. Group c~rnposirional styles
Wirhour access to furcher volumes, the smdent should pursue his own regimen ofstudy by transcribing and analyzing a number of compositions from each category and compose within the studied style.
We cannot conclude wirhout reminding the student that he rnusr bting the precess to its consummation: The presentation of his efforts m an attentive audience, whether through a live performance or &rough the recording process.
(b) Dete~
1. ACOUSTICS AND MOD
(a) Th me Serie
rrninlng the PARENT SCALE and ACOUS
(c) Chord Stability
( d ) Detenr e Color Tones lining th
TIC
3. ADDITIONAL EXAMPI
(a) Common C ~n
(b j Symmetric patterns
(c) Computer Generated Examples
onnectic
-
4. EAR TRAINING
i. TREE OF INFLUENTIALJAZZ COMPOS
6. DISCOGRAPHY-BIBLIOGRAPHY
7. ABOUTTHE AUTHOR
The f~Ilowmg is not meant to be a rreatise on the science of amusria but a cursory introduction ro the subject for referenrial purposes. The student whose interests require a
more in-depth study should consult eicher The Crufi of Mil~ictaI Composiiion by Paul Hindemith, Contemporary Hamony by Lurnila Ulehla, or Modem Humonic T ~ h n i q w by Gordon Delarnont.
AIl acoustic explanation for that which occurs in harmonic and melodic application can be derived from a reference to the Overtone Series.
The overtone series (0s) is a phenomenon which is as much a part of our narural universe as is the force of gravity. Just as the prism splits the spectrum oflighc into a fked order, the OS produces a series o f pitches following strict natural Iaw. Any sounded tone produces ad&- tion4 tones (overtones and sometimes undertones) of varying intensity. It is this variation af the intensity o f the generated overtones that creates timbre.
The OS consists oFpartiats: a fundamend pirch and its overtones.
Overtones are computed by increasing mulriples of the frequency of the Fundamertcal. If x =
rhe Fdamenta l , the partids are: l x , 2x, 3x ........ nx, or if h e fundamenta1 is 64 hz, rhe overtones are: 2x = 128, 3x - 192, etc. The spaces benveen the individd parrials grow progressively smdler as the partial number gets higher.
Our use of she OS requires only the knowledge af parcial &o and pardd number. Ic is suggesnld that the serious student memorize the ratio of the pitches a€ the OS, i.e., the i n t e n d s - P8, P5, P4* etc.
T H E OVERTONE SERIES:
DETERMINING THE PARENT SCALE
T h e parent scale, our point of reference in the stabilig comparisons, is the Ionian mode or
commonly knmvn as the major scale. We know by inruirion and by actual listening experience that the mode seems totally u"at rest." Taking a look at all asymmetric scales, one wilI find an
interval of a trirone (sometimes there are two in dtered scales). Tritona have a strong desire to resolve, up or down depending on the acoustic source. The interval of the resolved m tone is the point of reference for determining a scale's degree of stability.
When nvo pitches (an interval) are sounded together, a third pirch (or somecirnes more) is
generated naturally. This pitch is c d e d a cornbinauon tone. Combination tones are usualIy determined by finding the difference in che ratio of rhe frequency ofthe sounding pitches. It
is suff~cient co refer only to the parrial number. As an example, i f che two tones being produced are middle C and G a P5 above, their partial numbers ace 4 and 6, the difference tone in this case wodd be 6-4 = 2 or rhe second pardal, which is C below middle C. There are cases where additive tones are produced, bur: rhey are usually inaudible and not of parricular interest M us.
q The point of all rhis is that oF all the possible asymmetric scales in use, only lonian has a
The filled plrches arc slightly out tritone resolution r h a ~ produces a difference cone that completes the construction of a major o T m e . triad on the tonic of the scale, allowing a complere state of repose.
A P P E N D I X
1- 5 ( - j :
d
i - * tonic -
? mnic a F F
1. The major scale, with the tritone in filled notes.
2. The resulting interval and parrial numbers.
3. The computed difference tone, creating a mad.
4. A Phrygian mode, with the tritone in filled notes.
5. T h e results, a rriad not built upan the mode's tonic.
ACOUSTIC SOURCE
The acoustic source is the Ionian mode whose root is h e f u n d m e n d of the ovettone series,
defined by the critone resolution shown above. For the Phrygian exampIe above, iris C Ionian. Of course, the quick way is to refer to a mode's key signature: C Lydian's is 6, Eb Aeolian's is Gb, etc.
CHORD SllBI LITY
A chord's stability or instability is a result of the divergence of the verdcal spacing of the chord's sones from the natural piacemenr ofthose tones in the overrone series. The degree of
difference gives rhe resulting chord qualicy a "bite," starkness, or consonance. A chord's
spacing can pervert the QS in these ways: a partid can be altered, it can be transposed, or it can be both altered and rransposed. In addition, the chord's ressimra can effect a dark or brighr qualig by a diffusion of the chord's fundamental. If a chord is too low, the resulting placement of ics fundarnend may be below the range of hearing, creating the effect of a11 the
chord's pitches being transposed partials.
1. G - nu Junge L Bb - right on! 1. Ff - where it should be 2. Eb - altered, darker 2. G - OK 2 . D - O K 3 Bb - d~sptacc down a n o c u m rmse 3. Eb - alrcred, a bir darker 3. A - down an octave, a bad r c t w 4. AL - altered &dispkrrd, dark & 4. D - displaced an ocavt, a bit less 4. E - unchanged
tense sr ablt 5. J% - altcmd & displactd, btighr &
Resulc quire dark, nor too u n d e Rtsulr: nor too dark, not too mnse m s e
Resdc r brighr and slightly rmnsc
chard
1.G- OK 2. F - drspkrrd b altered d;uk & tense
3. ~b - alarcd &down an o c m , dark &
eense
4 . C - O K 5. C - O L bur not th. Fmdamcntal, a k c
weak
k u I r quite dark and tense
The nexr: scep here is to pIay chtsc chords and compare the subjective resulm TTry m e r e n t
tessimras, note the result.
Hindemith points out that the changes in partial placement md spelling resdcs in an actud increase in energy through molecular acduiry. Try to hear an increase in "heaviness" in the tense spacings.
A P P E H D I X
DWERMINING THE COLOR TONES A chord that would most clearly define the modalicy of a scale would conrain all seven notes
of chat scale. Obviously, that would not be too musical; a group of chords all voiced rhac way
would be much roo dense and overbearing as well as inhibitive of any sense ef voicing con- tour. Irt order EO selea fewer notes that wi1I give mi the transparent spacing that is needed while still defining the particular modalicy of the scale we are representing, we need a method to determine a priorir). of note selecrion.
T H E METHOD
As shown an previous pages, the Ionian mode is the most srable of all the 35* modes available for use in contemporary jazz composition.
Even without investigating its acoustic properties, the listener "knaws" h a t the Ionian mode is the one wich the least desire ro resolve. So, from this poinc an, we will consider it axiornadc thac the Ionian mode will be the point oF cornpxison for all other modes, whether they are brighter or darker than rhe compared Ionian.
With this in mind, to determine the modal definition of any scale, we need to make a nore-to- note comparison wich the Ionian mode that has the same roor as rhe mode to which it is being
compared. The nores that differ are rhe notes we will use to define the new mode chordally.
As rhe following examples show: Lydian could be thought o f as Ionian wich a sharp 4, the sharp 4 being the only difference between Ionian and Lydian built on the same root Dorian could be thoughc of as Mixolydian with a flat third or as Ionian with ics third and seventh flatred. To determine the primaty color cone, a comparison with a mode's immediate pre- decessor must be made, and the remaining color mncs are derived from cycling back to the original Ionian As one can see> this wouId give us a flat sixth as the primary color r o n e of Aeolian and a namrd sixth as the primary color cone of Dorian. The process goes on ...
DERIVING THE COLOR TONES
ronian h447 . Lydian #4b7
LYDIAN is brighter than Ionian and refers m a sharper key. Ic is like bnian with a sharp 4. Sharp 4 is its primary color tone.
A t &is point, the primary color tones of Ionian are rhe natural 4 and the natural 7.
lonian @ \4 -47 Mixolydian 113 L14 b7
MIXOLYDIAN has che same spellings as Ionian except for che alteration of rhe flat 7. flat 7 and natural 4 are its primary qualities.
A P P E N D I X
lonian q4 96 47 Dotian b3 46 bJ
DO Rl AN is a darker version of Mixolydian. Looking ahead to Aeolian, because A e o h has a SIar 6, the primary quality of Dorian is natural 6.
I lonian $2 h3 b6 47 Aeolian 42 45 b6
AEOUAN is clearly in the redm of darkness, with so many flats. Flat 6 is its primary E O ~ O ~
wne, natural 2 (9) completes it.
lonian 42 h3 h4 h6 47 Phrygian 62 $4 PS
PHRYGIAN" primacy color tone is flat 2. There d l be mote Phrygians to come and flat 2 is
a primary quaLty of aII of them.
LOCRIAN is so altered ir approaches anocher key center. I t is like Phrygian with a flat 5. Hat 5 is the primary quality of hcrian.
Notice that many of t h e note choices include the pitch that is found a tritone from the primary color tone; that pitch is usually definitive of the mode. (Ex: the natural 2 of Aeolian,
the fifth oEPhrygian). Looking a t the a ~ o u r t i c source &ere is a trimne between rwo oFthe notes: C lonian's are F and 8, and che two usually are found irr the first two notes oFche order table.
This also exphins why Lydian and Locrian are special modes regarding resolution tendencies;
they both have a tritone built From the root.
Zhe method for determining color tones is the same for the altered diatonic modes. The above example should be sufficient as a guide iEa student wants to pursue &at assignrnenr.
A P P E N D I X
CONSTRUCTION OF TETRACHORDS
There are many more tetrachords that can be used by the forward-looking composer than is Found in contemparary examples. T h e following is a method for construcring the tetrachrsr& presently in use, as well as a means for deriving new ones.
The onIy "rulesn ta follow are to incIude four notes and to keep the sum of che semitones of
the tetrachord within the definitive limit. IFthe terrashod is to be used to conscrucr modes, the sum should not be higher than s i x semitones - a limit of less than four semitones would
give a tetrachord chat couId not be transposed. h addition, one should assure that the pitch sequence folIow the normal alphabetical sequence: A B C D, C D E F, err. A semitone Iimit above six allows the creation OF pentatonic and ocher specid use tetrachords. A few will be included here and the subject will be covered in more detail in Volume 2 of this rextbook.
Example: 4 Semitones
Dorian b4 Spanish Phrygian 6b3
Example: 5 Semitones
Ianian Dorian Phrygian u I I I
Blues harmonic Blues
Example: 6 Semitones
Lydian Hungarb pentatonic Hungarian major Hungarian Phrygian
unnamed Erebird I I
tl * it- x* tl- 7T
Example: Pentatonic Tetrachords (perfect fifth limit)
As one can see, as long as there is the four note Iimit, there are quice a few possibilities for tetrachord construcrion. T h i s procedure can be of greac use for the Irnpsonsor/cornposes for the inscant creation of exotic "lines" while "blowing" over changes with relaxed harmonic rhyhrn - but this is a subject for another book.
ADDITIONAL EXAMPLES
The following miscelIaneous examples are included for further reference for ideas, examples ro pIay at a keyboard, for ear raining, or for clarification of concepts. A number of &ern were
created by computer ptograms - and are still useful. The examples include common tone connection, both upper and root, symmetric patterns, and harmonizations. Wirhin the exarnpIes are additional chord voicings for further study.
A. COMMON CHORD CONNECTION
Mixolydian altered h6 Locrian bb7 Mixolydian tonian
Aeolian
1 A Aeolian lonian
A P P E N D I X
C. COMPUTER Gf NERATED EXAMPLES
A P P E N D I X
COMPUTER GENERATED PATTERNS
A P P E N D I X
EAR TRAINING GUIDE
Ic has been emphasized more than a few times that one cannot work creatively w i h chromatically related modal chords wirhout first *hearingn them in a rnusicd conrexr. The student whose musical background or innate tebiliries show a weakness in the area of aural
identification of modal chords can use chis guide to ease the pain o f whac is a very difficult chore. There is no real shartcutro acquiring these aural skills - it is hard work, requiringhours of frustrating practice.
As a musician who acquired his knowledge and skills before there was a Concept of jazz education, the aurhor and ochers of his generation learned all they could by the "aural tradition" of listening to records, attending concerts or jazz clubs, consrant 'Tammind and
badgering our peers and heros for information. The listening to records was nor just for the inspiration rhey provided, but for all one could glean from &em - they were the "textbooks" of our group, as they are to many of today's students. Because there was so litde written information at chat time, the aural identlficarion of whac was on rhose recordings was more
than an enhancement OF our skills, it was an absoIute requirement to attaining any skills. Transcribing improvisations, or learning them by playing along with the recordings is one OF the best ways KO team to play jazz. In the same way, one shouId transcribe compositions with all the correct chord voicings, melodies and bass and drum parts. This aurhor can attest that the rranscribi~lg of three compositions changed his musical life: "Little One" by Herbie Hancock, Ti l les de KiIirnanjaro" by Wayne Shorter, and "Power to che People" by Joe Henderson. These compositions became avaiIable to the listening public in the middle ro late '60s, when the author was writing runes rhat showed an influence of Horace Silver, Thelonious Monk, and the compsitions typical of those performed by CanntrnbaIl AdderIey and the Jazz Messengers. It was very painful to transcribe so far above one's abilities - but truly worth the effort.
The plan ofattack For improving your "ear" abilities folIows:
I. Learn to identify dl the termchords played both up and down.
2. Learn to hear and identify retrachorb hidden within the playing o f chords.
3. Do as the above with the modes.
4. Be able to identify rhe primary cobr tones as an inrervd of root to coIor cone. This first part wiIl not be me diff~cult because of the arnounr of melodic ear training rhat is a part of one's early training.
5. Learn to identify the arpeggiated unaltered diatonic modal chords - this, still a Form o f melodic ear training, shouldn't be too difficult
6. Try to hear the unaltered chords with three notes only root, primary, and secondary color
cones. Refer to the following guide.
THE GUIDE
This is organized by categories of a primary color tone with its added secondary qualities. Once you learn the primary qualiry as an intervalic definition, add the secondary color tone.
1. Groups of 117 Ionian 2. Groups of b7 Mixolydian
Ionid0 lonian b4 Lydian 11 minor 7 Mixolydian Mixolydian * Mixolydian 14 I I
3. Minor rhird group 4. b2 Phrygian
{I rnim 7 Dorian Aeolian minor s ( Phrygian b7 P h ~ a n i6 Phtygisn I S Locrim Phrygian Phryg*n h3 11
5. - 7. The remaining groups
II II 51 Lydian Lydian $7 Lydian 12 e il
You can further organize the chords iE you wish, maybe by groups of major thirds, a11 the altered types or all Lydians: Lydian, Lydian-augmented, Lydian BZ, etc.
Moving on ro full spacings, it is best to learn the chords by their composite sound and by their grip. When you hear a chord, your right hand should have a "Feel" for what you are hearing. Learning the chords by their composite sound has no real shortcut - you musr spend a lot of time in practice. S m by learning the voidrrgs that are most commonly used; rhey are available within the pages of this book. IF needed, practice with atpeggiations at first. In addition to "ear raining" practice, much keyboard playing of the chords will be of benefic, particularly for the "grip" merhod of idmcification (see Exampk 8).
Slash chard idmtificatian can be Iearned by an inrervaIic method. As you will recall, the upper structure triad has a root as part of its construction; learn to identify rhe ratio of that roar to
the root of the chord (see ExampIe 9).
8. Grips 9.9ash chords
down major 3rd up rninorfd
Once you are fairly proficient with modal chord identification you should move on to the
mansccibing of h I l compositions, with fuU transcriptions of the chordal voicings.
An ultimate goal is to be abIe ro identi$ everything that you hear and to be able to transcribe it to musical notation: all drum parts, bass parrs, horns, voices, rhythmic figures, chord vaicings, and drnbral or instrumencaI assignrnenrs. The mamre student should include identificatiort of the players by style and sound. And for the meticulous, identification of makes of instruments, reed size and mouthpiece and even synthesizer makes and "patchesn; in shocc, all you know and hear.
Your ear training shodd not just be in the academic environment or in the car listening ta the stereo: while watchingw at movies, identify and, later transcribe the music - the film scores
have some great scuff. Try to rranscribe Stravinsky or Gil Evans; go for d you hear.
Everyone has different abiIities for aurd identificadon, from those wivh perfect pitch so those
whose listening background has been mostly "pop" harmony - but all can benefit from more ear training.
A P P E N D l X
THE TREE OF INFLUENTIAL Jazz COMPOSERS
The Following is nor meant to be a comprehensive representation of the evolution of jazz and its composers; ic is meant to be a guide for the discography chat foliows. In addition, i t emphasizes the composers whose materials are closer to the materials presented in this rext-
book.
The key word here is infienhifi because mosr jazz musiciarfi arc composers. Yet, there are composers who, because ofthe strength of their compositional skills, have inspired others to
wtite in a sirn~lar style. That is tvhy some names are nor included, names that once mentioned bring forth memories oFgreat compositians. Names Iike Kenny Dorharn, Freddie Hubbard, Cedar Walton, Benny GoLon and Hank MobIey - great tunes, but no movements starred because o€ them. So, using t h e FolIowing visual reference, rcy to hear rhe influences as you
listen to the suggested recordings found in the discography.
I Blues / Church / ( ~ l ass ica l I M -
!
-+ Horace Silver
- Monk
+ Billy Strayhorn
, C h a r l ~ Mingus 4 Eberhard Weber
Ralph Townw
i f Kenny Wheeler
Omette Coleman k r v Ron Miller 4 Par Merheny
'If
Cada Bley
1
v
David Liebrnan 4 Keith Jarretr
Andrew Hill
I Albert Ayler
Herb~e Hancock
Joe Hedederson
-+ Randy Weston
Chick Corea
RECORDINGS
The following, although net complete and not torally up to dace, as there are so many new
releases each month, are represencarive of the composer's works as advocated By this .texr As mentioned early on in rhe text, knowing the music on these recording is essential to mastery of the harmonic/composicionaI techniques presented. More than a cursory listening, the music must become a part of your inner being: it must change your musical life.
DUKE ELLINGTON
1. Ma-ieces Ly .EI!ington
2. E!lmgron At Newpwt
3. The Ellington Suites
4. Aj-o Bossa
5. Such Sweet Thnder
WAYNE SHORTER
1. Nkht Dreamer
2. Spedk No E d
3. Etcemd
4. Adam's Apple
5. Nrbh Ddncer
6. Ahatis
HERBIE HANCOCK
1. M& Voyage
2. Speak Like A Child
3. Cmsringr
HORACE SILVER
1- Finger Poppin'
2. Silwr'r S d e
6. The Far East Suite
7. And His Mother Called Him Bill
8. New Odeans Suite
9. Anatomy Of R Murder
JOE HENDERSON
I . Paww to tbc People
2. In P u m i t of Bkkf i e s i
3. Pdge One
4. isnw Utge
MILES DAVIS
1. T%e Sorcerer
2. My Fwnny V a h t i n e
3. ESP
JAZZ MESSENGERS
1. trgetslc
2. Juzz C m w of tfic W d d
THELONIOUS MONK CHARLES MINGUS
1. Who's A f i d of the Big B a d Monk 1. Barnlab Sessimrr
2. Live at thc Eiue Spot 2. Ah Urn
3. TSle Black Saint The Sinner Lady
CANNONBALL ADDERLEY
1. Live in New York
2. Live in &pun
3. Live i?? Sari Frankco
GIL EVANS / MILES DAVlS
I. Q#i& Ni@&
2. Miles + 12
3. id;r&hIism
A P P E H D l X
EBERWARD WEBER RALPH TOWNER / OREGON
1. Yellow Fields I . SoI5ricc
2. The Followfng Mornkg 2. Winter L i t
3. Little M o v e m m 3. B h e Stsn
AVANT-GARDE MISCELLANEOUS
I. Paul Bley - Barrage 1. Keith Jarcert - Belonging Trem~m Island
2. Ornerte Coleman - Omette on Tmm 2. Jan Garbarek - Th Rtkne~
3. Albert Ayler - Ghosrs 3. McCoy Tyner - Expansions, Tmdm Mmnenh
4. Sun Ra - HeluKenhic Worlds 4. Weacher Report - Weunber Reporl
5. Mareria1 - Memoly S m s 5. Joe ZawinuI - Zawinnb
6. LaswelI - Baseltnes 6. Kenny Wheeler - D~abk, Double You
7. Dave Liebman - Dmm O d e
8. Joey Calderazza - In the Door
9. Andrew Hill - B k k Pi#
10. Kenny Bamn - Golden Lohsr
CLASSICAL LISTENING
The following sample selection should provide good starting point for additional harmonic and meIodic source rnateriaL Most of h e non-idiomaric harmonic and melodic mawrials, as
presented in this book, are derived from rhe listed sourcex Romantic melodies are very much a panr of the jazz Ianguage and these compositions also provide great examples OF modal harmony, chord voicing, romantic harmony and, of course, the skills of the rrtorld's best composers.
It is suggested that you obrain rhe scores and read along with the recording, making notes of
particular areas of interest Like the jazz recordings, you should attempt co make rhese musicaI exampIes a permanent part of your inner self.
1. Tchaikovsky - Romeo and Juliet
2. Rachrnaninov - Piano Concerto No. 2
3. Mendelssohn - Songs Without Words
4. Rimsky Korsakov - Scheherezzde
5. Prokofiev - Romeo and Juliet
6. Rave1 - Daphnis er ChIoe
7. Ravel - Valses Nobles e t Sentinencdes
8. Respighi - Pines of Rome
9. Stravinsb - Firebird
1 0 Stravinsky - Symphony of Psalms
11. Messiaen - Seven Haiku
12. Copland - Rodea
13. Wagner - Tristm und IsoIde
14. Stravinsky - Pulcinella
IS. Frank - VioIin Sonata in A
A P P E N D I X
BOOKS
A. THEORY
I. Anything by Jerry Coker
2. % ] ~ z z T h e 0 9 IVorkbook by Mark Bofing
3. Jazz Hmmony by Andy Jaffe
4. Jazz Arranging and Composing - A Linear Appmch by Bill Dobbins
5. Changes Over Ti - n e EvoEurion ofJcz Andngivg by Fred Stunn
6. A C h w d c Approach tujl~zz H a m m y and Mehdy by David Liebrnan
7. Cmfi of Wc6sicrsl Connpon'tiotn VoZ. 3 d n d 2 by Paul Hindemith
8. Conternply Harmony by Ludrnila UIehla
9. AU books by Godon Delamonc
10. Mmic Mdnscscllpt Techniques by Paul Harder
f 1. Tuvntierh. C e n t q Com+tion by Leon DalIin
12. Thesdwcs of Scdu &' Syrnmetricd P u m s by Nicholas SIonirnsky
13. The j d z r Composer's Companion by Gil Goldstein
8. HISTORY
1. Milei Davir by Tan Carr
2. Minps by Brian Priestly
3. Jm S t y h by Mark Gridley
C. MlSCELLANEOUS
1. The Music ofRon Miller
2. The Poeh'cr ofMusic by lgor Stavinsky
A P P E M D I X
ABOUT THE AUTHOR
Ron MilIer is a professor OF jazz studies at the Univesicy of Miami. His areas of expertise are jazz composition, advanced improvisation, and jazz piano. He also directs he Monk-Mingus, Horace Silver, ECM and Avant-Garde ensembles.
Ron's compositions have been perfomed worldwide by many musicians including the faculty and studena at the Jamey Aebsrsold clinics.
His compositions also have been recorded and/or performed by notable musicians such as
Hal Gaiper, Red Rodney, uE1ernen~s," Ira Sdlivan, and Stan G e m
Composition students OF Ron's that have accained notoriety include Par Metheny, Stwe Morse, 'T' Lavitz, Bruce Hornsby, Gil Goldsrein, Mark Egan, Mart Harris, Denis DiBIasio, and Rick Margiba
The Jazz hed dry Workbook ORDER NO. 11201 (125 P A G E BOOK)
The 1- Theory WarkbwK is a primer in j z theory, intended to prepare the nudent for the serious
study of jazz imprwiutwn, anangement and c o r n p i t i o n
The f o c u is on the harmonic Tanguage djan, especially the harmonic practjEes which malasced in
the bebop and pwt bop periods of the 19405 and 1950s when M o p and standard tunes formed the
care of the mainstream repertoire. The harmonic language of that period is still the framework nn which
contemporary jan musiciam build Included are many musical examples and written assignments for pracrice in the theoretical skilk.
Appropriate w e h e r , are provided 20 ranforce theoretical concepts by immediate application to the
instrument.
..*...
8 r t L DOBBIWS
Jazz Arranging and Composing a Linear Approadr O R D E R NO. 31305 ( B O O K W / C D )
Many different p i b i l i i e s for harmonizing the same melody n iflustrated and analysed,
using techniques by such influential arrangers and composers ar, Duke Enington, Bifly
Strayhorn, Oliver NeTsorr, Gil Evans; and Clare Fixher.
-Techniques of melody harmonisah, linear rvriting and hourrterpoint for 2,3, 4 and 5 horns.
-A chapter on witing far the rhythm section dearly illustrates the techniques mmmanly d by jan
anangus and cornpasem
-Six complete scows in concert key are ideal for a n a w for playing the horn parts on the
piano or for following the pehrrnamces an the CD.
-An extemive h p w r on form and development deals with exteded mmpasitional f o m and the use of cumpositional techniques in mting for the small jazz ensemble.
-A useful diswgraphy is included a t the end of each chapter.
" J w Amrnging and Carnw"g: Lineer Apprwch is a w&me and greatly mrded addition to jan educafional
lit~rature It ir the jrrt bwk to provide a dear and lagicnl b-e Jram the more basic techniques of arranging and melody hmmenishn m the m r e adwrrred linear metham employ& by mme ofthr most interm'ng and infhren-
oal jm m g e n d cumparerr. The m&I exarnpl~ and om urn we!! organized and the anriw~ is clmr and
txces~ible. I have bng known Bill's unique abrlities ar a pfted pianist and cornparer, and I highly recammend this
most recent m n r n i n to jm writen uf all lmIs a! expen'meY F f s k ) -.....
G ~ L GOLDSTEIH
Jazz Composer's Companion - ORDER N O . 43304 (116 P A G E B O O K ]
T h i s book i s divided imo three main sectiom: Melody, Rhythm, and Harmony. Dozens musical examples
x well as mmpwkions by 8ill Evans (pianist), laco Pastonou, Jim Hall, Ralph Towner, Steve Swdlour, Pat
Metheny Michael t ibbs ao. am induded in order to illustrate &fic compositional techniques. An
extensive rhapter on fhe Grnpositiamal Pr- features interviews with jazz composers Bill E m s , Carla
Bley, George Rwell, Home Srlver, Pat M&eny, Chick Carea, Lyk Map, Anthony Davis, Herbie Hancock, Richie Beinch, Wph Towner, a n .
'Gil doer a service here on a high level. The mnrcpn he ofm impuse im stye and thur, can be used and extended
fa enrich my mw&s vocubdaly. 7he rest ir up to you." (Ell Fvum)
CONTEMPORARY HARMONY n?rrmuun ch- rhc Tweh.-Tmc R a
ANDY J A F F E
Jazz Harmony * O R D E R NO. 11210 ( C A . 100 PAGES]
2nd edition, mrnpleteb wised and enlarged. 14 chapters induding exercises and assignments: I m a l s ,
Chords, Inversions, Modes; Diatwlic And Modal Chard Progrersions; The Blues; Lead Sheetr; Song Forms
and Melodic Variations; Secondary Dominant Chords; Substitute Dominant Sewnth Chords and Tritone
Subr; Minor Key Hanmny; Modal Interchange and Minor 81~s; Common Chord Progresrionr and Voice-
Leadin% Modulation; Pentatoniu and Other SymmeWic Scdu; Blues Variations; Rhythm Chang- Caltrane's 3-Tonic Syscem; Slash Chords and Hybrid Chord Voi~ngs.
The first edition was one of the most widely wed book on jan harmony. For classmom and mdivi-
dual use.
" J m Harmony is a brilfimt addirmn to the fwMofjm theory. It ir well-wdm and beautiJullyarganited, and the infirmation i t mntvins is drornughg mearched snd aurhmtiral~ prrrented I mcammmd it hrgh." (David
Baker)
FRED S T U R M
Changes Over Time: The Ewlution of J a n Arranging ORDER NO. 11350 ( 2 1 4 P A G E B O O K W / C D )
'Chanps Over Tme: The Evolutian of J a n Arranging" was conceived to illustrate, thmugh cornpamtive
case srudiec, the dramatic development of rhythmic, mel* harrnorric, orchcstrat~ond, and nrucrural
variation in jm arranging from the 1920s to the present A broad -Dry of cornpitions that have
each inspird numerous jazz arrangements was ertablished. and the arrangements assmiated d h each
of the crig~nal works were examined to determine the level of quality, the span of jazz history represent-
e d a d the number of renditions creatod by historically significant jam arrangefi, including Dan Redman,
Fletmer Henderson, Benny Carter. Duke f l l inpn, Billy Strayham, Gfl Evans, Thad Jonq Bill Hdman,
Bob Bmokmq.er, and dare Fixher
The c a s studteq were n a r m d to 35 arrangements of three classic jazz mrnp&ions and one
Amenan papular standard song: Jelly "Roll" M o m ' s Kimg Porter Smrnp, Don Rdman's Chant ofthe W, Gerald Mavks' and kpmur Simon's Al l OfMe, and Billy Strayhorn's Tuk The "A* Train.
and/or parts representing nine decades were suppl~ed by llving mangers, bwrowed from
colkctions, monstnrwd from sketches or tranwnlxd from recording. Fmr contemporary rnaners
were ultimately mmmissiuned ta create new arrangements af four selected mrnpositions.
LUDMILA ULEHLA Contemporary Harmony - Romanticism through the 12-Tone ROW
ORDER NO. 17440 ( 5 3 4 P A G E B O O K )
The undemanding of the musical techniques of campasition can rrot be reduced to a handbook of sim-
plified ruler Music is complex and ever changin~ It is the p p o s e of this b d to trace the path of
musical growth fmm the late Romantic period to the serial techniques of the contemporary composer.
Through the detajledanalysis of the musical characteristjcs that dominate a specific styie of writing, a
graduated plan is orp ized and presented here in the fawn of explanations and exemses. A new analyti-
cal method substitutes fur the diatonic figured bass and makes exercises and the analysis of non-diatonic
I h t U r e mum manageable.
The mplanat~om de~ribmg each techn~que are thoroqk They are dsfgned to help the teacher and
the nudent ree i h e many extenuating circumshnces that affect a particular analpid decision. More
important than a dogmatic decision on a particular key cmter or a rowt tone, for example, is the under-
M n g af why such an underdeterminate condition may exist
"I bve ued diir b o o k ~ n n a l y r i r f i r wading and ar a creative mol in rrq own cmparitkn* h i s e n m w l y use-
ful md p m ~ m t i v e . ~ (Robert M Abranm~u, The JuifIiilliord 5rhwl, New York)
"Qntonpomry Harmony is& anly b w b that adquatdy matr conmpomry urmposithml t h i q u e r ar rhemn'ml erpansions upon the part . .one OJ t h e m andpiml essays oJ our century' (Ron mamas, Nnin)
'Conremporary Hmmony IS one oj the finest, most comprehensive tertr wef written od thc subject A unique and imaluaMe ronrribardon to MI the nudolt a d the pmfexknal muskinn" (fi Anthoqy R l c i g l h ,
Manhatrun Sdruol ofhlurrc, New York)