theory i 97 - hirohonshuku.com · 2017. 5. 6. · jazz theory i, new england conservatory extension...

Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)- 1 -

Jazz Theory I5th edition

byHiroaki Honshuku

Index

Notation ........................................................................................................... 2Class Restrictions ............................................................................................ 4Key Signature (the Circle of the 5th) .............................................................. 5Intervals ........................................................................................................... 6

How to get the Interval ............................................................................... 7Chord

Chord Structure .......................................................................................... 8Chord Tone & Tension ............................................................................... 9Inversion ................................................................................................... 10

ModeChurch Mode ............................................................................................ 12How to get the correct mode scale ........................................................... 13Tension & Avoid Note .............................................................................. 14Tritone ...................................................................................................... 15Tritone Substitution Chord (Altered Mixo) ............................................. 16Melody Analysis ...................................................................................... 18Exercise .................................................................................................... 19Summary .................................................................................................. 20

Diatonic Functioning Chord .......................................................................... 21Analysis .................................................................................................... 22Harmonic Rhythm .................................................................................... 23Secondary Dominant ................................................................................ 24Extended Dominant .................................................................................. 26Related II minor ....................................................................................... 27Example (Peace) ...................................................................................... 28Summary .................................................................................................. 31

Project ............................................................................................................ 32About the author ............................................................................................ 33

Theory II SubjectDiminished Scales

Minor KeyModal InterchangeSpecial Dominant

#

IV-7(b5)

Deceptive ResolutionCompound Chords

- 2 - Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)

Notation

←

Same space as the

Extended

• Treble Clef (G Clef)Starts from the bottom, should makea sharp top, and circle the note G.

• Bass Clef (F Clef)Starts from circling thenote F (4th line).

• FlagThe direction of the flag is the sameside of the note head, going down, andup.

• Note Head30˚ right up angle.

• Quarter RestStarts from the bottom.Note that the starting circleis on the 2nd line.

• 8th RestShould fit be-tween the 2nd andthe 4th line.

→ →

• Notation is the most profound communication tool between the composer and the performer. If themusic is not notated clearly, the performer will fail to sight read. The composer, most likely, has tobe present at the rehearsal, and the performer will demand more payment for the over work. On theother hand, if the music is written perfectly clear, the performer will be blamed for a bad perfor-mance. As most of the college assignments will not accept hand written paper, this class requiresbasic notation skill by hand. The assignments done by unreadable hand writing or notated bycomputer will not be graded.

• Basically, a right up angle of 30˚ should be kept in mind. This angle is the maximum and/orcomfortable angle to the sight reader's eyes.

TIP Unlike written language, music notation is very psychological to the sight reader. You mustpretend to be a a performer reading the music for the first time, trying to get all the necessaryinformation (tempo, dynamics, articulations, etc.) as quick as possible.

• Important : Eachledger must bethe same size asthe staff space. Ifthe ledger lines

→

are more than two, the length of the stem is extended tothe 3rd line.

8va

• StemThe length of the stem is an 8va. Thedirection of the stem switches at the 3rdline.

staff space


• The direction of the beam is decided by the first and the last note. However, it is better touse a leveled one when many notes in the beam are distant.

↑ ↑ ↑ ↑↑ ↑

Leveled

• The Beam AngleShould not exceed 30˚.

• Imaginary Bar LineAn imaginary bar line is a line drawn in the middle of a measure that has a time signature ineven beats (2/4, 4/4, 6/8, 12/8 etc.). It is a sub-division of a bar.

The dotted quarter on the 2ndbeat crosses the Imaginary barline which makes it harder toread. The sight reader will notbe able to tell the time signa-ture of the piece without going back to the top of the piece. Therefore, it must be written asshown in the 2nd bar.

Exception to this rule is when the note value is bigger than 2beats (half note in this case), because it is not as difficult toidentify the imaginary bar line in sight reading.

• SpaceSpacing is one of the biggest issues. If each note is not spaced in relation to the others, the sightreading will not be easy.

The example on the first measure here makes sight reading almost impossible. You have torewrite it as in the 2nd measure.


ssalcsihtnireveN ssalcsihtnihcumyrevderefrP

rojaM

ronim

ht5dettalfhtiwht7ronim

detnemuguA

dehsinimid

snoisnethtiwdrohC

X CM7

X Cy7

C- 7

C- 7(b5)

CAug7

Cdim7

C7( b9 )

CMaj7

X Cm7

X Cø7

X C+7

X Co7

X C7 b9,b13b13

Never "Half Diminished"!There is no diminish function.

Class Restriction (the big rules)* The neat manuscript skill is required as described in page 2 and 3.* When the Interval is asked verbally, the prefix must always be said along with the number. For

example, 7th will not have any meaning if Major, minor or other prefixes are not attached.* " - " sign must be used for chord tones, - 3rd and - 7th, while "b" sign is used for tensions, b9th and

b13th."Aug" and "dim" sign must be used for chord tones, Aug5th and dim5th, while "#" sign is used fortensions, #9th and #11th.

* The Chord spelling must follow the class rule as shown below:

Prefered very much in this class


Key Signature

Circle of the 5th

CF

B

E

A

D

GC

E

A

D

G

BF

C

FC

GD

AE

B

BE

AD

GC

FP5th Up

P5th Down

The Circle of the 5th onlygoes clockwise, because5th goes down to resolve.For example, "C" is atonic, which becomes the5th of "F", so "C" goesdown to "F". "F" becomes5th of "Bb" so on...


Perfect

Augmented

diminished

Double Augmented

double diminished

Intervals

C D E F G A B (C)

1/2 Step

Major 2nd

Major 3rd

Perfect 4th

Perfect 5th

Major 6th

Major 7th

Perfect 8th

1/2 Step

Intervals

Major

minor

Augmented

diminished

Double Augmented

double diminished

THESPOT

THESPOT

If th

e in

terv

al is

2nd

, 3rd

, 6th

, and

7th

, use

this

cha

rt.

One

leve

l = H

alf S

tep

If th

e in

terv

al is

4th

, 5th

, and

8th

, use

this

cha

rt.

One

leve

l = H

alf S

tep

cinoTehtmorfgnitratSelacSrojaMC

dn2rojaM topSoN

dr3rojM topSoN

ht4tcefreP topS1

ht5tcefreP topS1

ht6rojaM topS1

ht7rojaM topS1

ht8tcefreP stopS2


• How to get the correct interval with no screw-ups

&

w

w#Lets find the interval shown here, step by step as shown below.

1. Hide any accidentals.

2. Use your fingers to count the distance.E F G A B C D E F G1 2 3 4 5 6 7 8 9 10

Now you know the interval is some kind of 10th. When you count, do not forget to include thefirst note.

Write down the number NOW.

3. Since this is more than an octave away (the number is greater than 8), you have to take the topnote down an octave in order to find the kind (Major, Perfect, etc.) or it will not fit with the chartshown on page 6.

Now this is a 3rd that will fit in the chart. The third is the Major-minor group, not the Perfectgroup. So, is this Major or minor?Lets use the keyboard chart.

According to the chart on page 6, C to E is a Major 3rd and does not have the Spot (where theblack key is missing). But E to G has the Spot, which tells you the interval is a step shorter thanMajor 3rd. Therefore, it is a minor 3rd.

4. Put the accidental back in.From here on, forget the keybord.

Use both of your hands vertically, and add the accidental.

• Now you know the answer is a diminished 10th. Easy!.

&

w

w

&

w

w

( 10th)

C D E F G A B C D E F G A B←

Major 3rd

&

œ

ww ←

&

œ

ww

#

↔ E to G = minor 3rd ←

Adding a # on thebottom note makesthe distance shorterby a step.

* The MORE Spots, the SMALLER the Interval. The Fewer Spots, the BIGGER the interval.


&

G7w

w

ww

ww

ww

B- 7(b5)

w

w

ww

ww

ww

&

Eaug

w

ww

##

ww#

w#

C#dim

w

ww

# w#w

w

&

CMaj

w

ww

ww

w

A-

w

ww

ww

w

Major Triad minor Triad

Augumented Triad diminished Triad

&

CMaj7

w

w

ww

ww

ww

A- 7

w

w

ww

ww

ww

Chord

Diatonic Triads

M3rd - 3rdP5th P5th

M3rd - 3rdAug5th dim5th

M3rdP5th

M7th

- 3rdP5th

- 7th

M3rdP5th

- 7th

- 3rddim5th

- 7th

Seventh Chord

Major Seventh minor Seventh

Dominant Seventh minor Seventh (b5)

The definition of a chord is two or more notes in a certain intervalaway vertically. To be a tonal harmonic chord, the root and the 3rd areessential.


&

w ww ¿

w ww

& w ww ¿

w ww

&

w ww w

w ¿w

&

CMaj7(#5)

w

w

ww#

Cdim7

w

w

ww

∫

bb

CMaj6

w

w

ww

C96

w

w

w

ww

C- 6

w

w

ww

b

C- (b6)

w

w

wwb

b

&

CMaj9

w

w

ww

C- 9

w

w

ww

b

b

G7(b9)

w

w

wwb

G7(b13)

w

w

ww

b

G7(#9)

w

w

ww

#

C- (11)

w

w

w

w

b

b

Chord Tone & Tension (references)

Root (1) T9th 3rd (4) 5th 13th M7th

Root (1) T9th - 3rd T11th 5th b6th - 7th

Root (1) T9th 3rd (4) 5th T13th - 7th

M7th dim7th M6th M9th M6th - 6thAug5th dim5th P5th M6th P5th P5thM3rd - 3rd M3rd P5th - 3rd - 3rdRoot Root Root M3rd Root Root

Root

M7th - 7th Root M3rd T.Aug9th - 3rdP5th P5th P5th M3rd - 7th - 7thM3rd - 3rd M3rd Root P5th T.P11th

T.M9th T.M9th T.- 9th T.- 13th M3rd Root

C Major Scale

A minor Scale

G Dominant Scale


&

w

w

ww

b

b

b

D b7

w

w

ww

b

bb

F-7(b5)

w

w

ww

b

b

bb

Gb7

w

w

ww

#

#

#

C #-(Maj7)

&

w

w

w

ww

CMaj7(13)w

w

w

ww

b

b

bb

E b- 7(13)

w

w

w

ww

#

#

#

DMaj7(#11)

w

w

w

ww

#

E- 9

&w

w

ww

bb

Edim7

w

w

ww

bb

Ddim7

w

w

ww

∫

bb

Fdim7

w

w

ww

b

b

∫b

D bdim7

&

w

w

ww

CMaj6

w

w

ww

b

C- 6

w

w

w

ww

C96

w

w

w

wwb

C-96

&w

w

ww

FMaj7/E

w

w

ww

FMaj7

w

w

wwb

b

A bMaj7/Eb

w

w

ww

b

b

AbMaj7

• Chord: Root Position and InversionAlmost every type of chord is formed with a rule. That is, if the root is on the staff line, the rest ofthe chord tones above it will also be on the line. Similarly, if the root is in the staff space, the restof the chord tones above it will also be in the space. Therefore, whenever you see a chord formedwith notes that are a mix of on the line and in the space, you should assume the chord is an Inver-sion.

• Examples shown below contains Cb, Fb, and B#. Those spellings are necessary to find theroot of the chord.

• Likewise, all the tension notes must be written in the same rule to be a root positionedchord.

• Diminished chords are the ones you need to spell correctly, or you may never find the rightscale.

• Exception is Six and/or Six Nine chords. Though usually, the Six chords are regarded as atype of inversion.

Inversion

b


Church Mode

Ionian

Dorian

Phrygian

Lydian

Mixo-Lydian

Aeolian

Locrian

&

&

&

&

&

&

&

[x=Avoid Note]

IonianC

w ww ¿

w ww w

DorianD

w ww w

w ¿w w

PhrygianE

w ¿w w

w ww w

LydianF

w ww w

w ww w

Mixo-LydianG

w ww ¿

w ww w

AeolianA

w ww w

w ¿w w

LocrianBw ¿

w ww w

w w

IonianC

w ww ¿

w ww w

DorianC

w wwb w

w ¿wb w

PhrygianC

w ¿bwb w

w wbwb w

LydianC

w ww w#

w ww w

Mixo-LydianC

w ww ¿

w wwb w

AeolianC

w wwb w

w ¿bwb w

LocrianC

w ¿bwb w

wb wbwb w

I Maj7

II - 7

III - 7

IV Maj7

V7

VI - 7

VII - 7(b5)

Parent Key: C Major Transposed to C Root

&

CMaj7

w

w

ww

D- 7

w

w

ww

E- 7

w

w

ww

FMaj7w

w

ww

G7w

w

ww

A- 7w

w

ww

B- 7(b5)

w

w

ww

C Major Diatonic Chords

R T9 3 (4) 5 T13 M7 R

R T9 - 3 T11 5 (6) - 7 R

R (2) - 3 T11 5 (6) - 7 R

R T9 3 T#11 5 T13 M7 R

R T9 3 (4) 5 T13 - 7 R

R T9 - 3 T11 5 (6) - 7 R

R (2) - 3 T11 b5 Tb13 - 7 R

*Note: The 6th note of Dorian becomes Avoid Noteonly when it is followed by V7 chord of thekey, because the note will create Tritone withthe - 3rd, which will be a duplicate of the Tri-tone following V7 has.

*

(T13)¿

Diatonic Chords are chords built on each of the scale notes within thesame key. Therefore, no note will have accidentals except melodic andharmonic minor scale.

Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian


• How to get the correct mode scale with no screw-ups

C Maj

D-

E-

F Maj

G7

A-

B-( 5)

Maj

or2n

d

Dor

ian

Ionian

Maj

or 3

rd

Phry

gian

Perf

ect 4

th

Lyd

ian

Perf

ect 5

th

Mix

olyd

ian

Maj

or 6

th

Aeo

lian

Maj

or 7

th

Loc

rian

Parent Key: C

• Lets find the correct scale for Eb Aeolian using the chart above.First, write out the notes across an octave from E to D (ignore the b at this point).

• Next, using the chart above, find the Parent key for Eb Aeolian. The Aeolian is located atthe Major 6th above the Parent key. You will get Gb Major going down a Major 6th fromEb as the Parent key.

• Apply the key signature of Gb Major to the scale above. The key signature for Gb Major isBb-Eb-Ab-Db-Gb-Cb.

• This is the Eb Aeolian scale. Easy, Isn't it?!

&w w

w ww w

w

&wb w

wb wbwb wb

wb


&

w ww w

w ww

Chord Tones

Non Chord Tones

* Tension notes are notes other than chord tones that can be placed 8va above the chord, yet will notcreate b9th interval from one of the chord tones. If the note creates the b9th interval from one of thechord tones, the note becomes a scale note rather than a tension note.

Tension

&

w

w

ww

˙

˙

œ

œœ

œ

˙

˙

œœ

˙

œ

œ

œ˙

CMaj7 CMaj9 CMaj13

M9th 9th

M9th

Avoide Note

* The example above shows that each one of the non chord tones from the C Ionian scale can beplaced above the chord, except the 4 th note. The scale note 2nd (D) becomes Tension 9th, and thescale note 6th (A) becomes Tension 13th. The scale note 4th (F), however, will create b9th intervalfrom the chord tone 3rd (E). Therefore, the 4th note in a Ionian scale becomes an Avoid Note,which is identified by writing with a parenthesis, like (4), and is called "The scale note 4".

* The b9th interval is the most dissonant interval that will destroy a sense of quality of the chord. Inthe example above, as soon as the note F is played over C Maj chord, it destroys a sense of Majorharmony.

* The definition of the Avoid Note is;1) Do not start with.2) Do not hold with.3) Do not end with.

Note that in general, passing the Avoid Note with a value smaller than an 8th note will not createany effect. Occasionally, even the beat value (i.e., quarter note in 4/4) is acceptable if the note isplaced on the weak beat (i.e., 2nd and 4th beat in 4/4).


Tritone

&

w

w# wb

w

Whole Note x 3

a b cab / 2 = c; (8va / 2 = Tritone) * The word Tritone originally came from the in-

terval built with three whole tones. However, itis often talked about as the three points withinan Octave: the bottom note (a), the top note (c)and the very mid point note (b). Since the Me-dieval Era, this interval was often called "TheDevil's interval" because of the difficulty in per-formance. Since this interval must be exact midpoint of an Octave, the enharmonic spelling willnot matter.

* The real importance of the Tritone interval is as follows:The Tritone interval is the most unstable interval to the human ear, and it wants to be resolved. Inother words, this interval will not create a stable sound for use as a stand-alone chord. If thisinterval is used in the end of a music, it will never sound a sense of complete release.Note that it became more popular to purposely use the Tritone to make an unstable impression inthis century.

&

œ

˙

˙œ

˙

œœ

G7 CFrom F to EDown by 1/2 step

From B to CUp by 1/2 step

&

œ

˙

˙œ

œ

œ˙

b

bb

G7 Gb

From B to BDown by 1/2 step

From E to GUp by 1/2 step

The Primary Resolution(Inward resolution)Tritone goes inward to re-solve to the root and the thirdof the target chord. Thechord itself resolves downfrom G7 to C by Perfect 5th.

The Secondary Resolution(Outward resolution)Tritone goes outward to re-solve to the root and the thirdof the target chord. Thechord itself resolves downfrom G7 to Gb by minor 2nd.

ac / 2 = b; (8va / 2 = Tritone)


&

?

G7œ œ œb œb

œœ

œb œb

w

w

ww

CMaj7

˙ .Œ

˙

˙

˙˙

.

.

.

. Œ

b7th R Tb13th b5th 3rd b5th T#9th Tb9th

&

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Db7œ œ œb œb

œœ

œb œb

w

w

ww

b

b

b

CMaj7

˙ .Œ

˙

˙

˙˙

.

.

.

. Œ

3rd T#11th T9th R b7th R T13th T9th

& œ

˙

˙œ

˙

œ

œ˙

b

b

b

œ

œ

˙

n

G7 Db7 C

From F to EDown by 1/2 step

From C to CUp by 1/2 stepB = C

F = F

Tritone Substitution Chord (Substituted Dominant, or subV7)

* As shown before, a dominant chord can resolve to 2 targets, one by going down Perfect 5th as aprimary dominant motion, the other by going down minor second. This is called Substituted Domi-nant Motion.

* The example bellow shows that there are two dominant chords that can be resolved to a targetchord, C Maj. Note that G7 (Primary Dominant) and Db7 (Substituted Dominant) have the sameTritone, F and B(Cb). This means that Db7 can substitute G7. Thus, this function of the dominantresolution is called Tritone Substitution. Coincidentally, the distance from the root of G7 to theroot of Db7 is a Tritone away.

* This is an example of a Be-Bop line over a Substituted Dominant chord.

* When the same line is played over the Primary Dominant, the natural tensions, 9th, 13th, and a leastimportant chord tone, 5th becomes Altered Tensions.


&

Db7

w

w

ww

b

b

b

CMaj7

w

w

ww

wb wbw w

wb wbwb

&

G7w

w

ww

C

w

w

w w wb w#w ¿

wb wbw

R(1) Tb9th T#9th 3rd (4) b5th Tb13th b7th

R(1) T9th 3rd T#11th 5th T13th b7th

Lydian b7th (Mixolydian with #11th)

Altered Mixolydian (Commonly called; Altered Scale)

& ˙ œ˙ œ

˙ œ˙

&

˙b œb˙ œb

˙b œb˙b

& ˙ œb œ#˙ œ

œb œb˙

&

˙b œb˙ œn

˙b œb˙b

G Mixolydian (parent Key: C)

Db Mixolydian (parent Key: Gb)

G Altered Mixolydian(Db Mixolydian Superimposedover G Mixolydian)

Db Lydianb7th(Raised 11th in order to maintainthe substitute function)

* As seen in the example, an Altered Mixolydian scale is a result of a superimposed SubstitutedDominant scale.

• There are few important points that must be remembered:1) ONLY on a Dominant chord is a b9th interval allowed for the non-chord tones, because Tritone

is stronger than the b9th dissonance effect.2) The 4th note of the Mixolydian (includes any kind of tension notes) is ALWAYS the Avoid

Note, because the 4th note is the root of the target chord. Tritone must maintain the wanting toresolve, so it cannot anticipate the target.

3) Note that the tension 9th splits to b9th and #9th as a result of superimposing the SubstitutedMixolydian.

V to I motion

subV to I motion


& 4

4‰

œ œœ

œbœ œ

œ

C7

3rd 5thT9th RR 7th T9th

& 4

4‰

œ œ

œ

œbœ œ

œ

C7

3rd 5th5th R(4) 7th T9th

& 4

4‰

œ œ# œ

œbœn œ

œ

C7

3rd 5thT9th RPass. 7th

1/2 step

T9th

1/2 step

& 4

4‰

œ

œ# œ

œbœn œ

œ

C7

3rd 5th5th RApp. 7th

1/2 step

T9th

& 4

4‰

œ œœ

œnœb œ

œ

C7

3rd 5thT9th RR W.App.

1/2 step

W.App.

1/2 step

7th T 13th7th

& 4

4‰ œb

j

œ œ œ

C7 B7

& 4

4‰ œb

j

œ ‰

j

œ œ

C7 B7

7th 5th7th T 13th

Melody Analysis

* Analyzing melody is done by numbering eachnote according to the mode (C Mixolydian, inthis example).

An Avoid NoteAn Avoid Note is one of the Scale Notes as ex-plained before, so it will be marked accordingly.In this example, the 4th note is the Avoid Noteto the Mixolydian. Therefore, it will be markedas (4), which indicates it is one of the ScaleNotes.

A Passing NotePassing Note is a note located between the notesfrom the mode. APassing Note must be pre-ceded by a 1/2 step, and followed by a 1/2 stepas well. Note that D# in this example is not T#9thbecause the Passing Note function is obvious.

An Approach NoteAn Approach Note , unlike a Passing Note, is anote that is followed by a note from the modeby a 1/2 step. Note that D# in this example isnot T#9th because the Approach Note functionis obvious.

An Double Approach NoteAn Double Approach Note is a note that is fol-lowed by an Approach Note. Note that a DoubleApproach note must have the opposite directionof an Approach Note by a whole step.

App.

AnticipationAnticipation is defined by a value smaller thanthe beat value (i.e., Quarter Note in 4/4). In thisfirst example, if the note A is a quarter noteplaced on 2 instead of an 8th note on the end of2, it becomes T13th against C7, and will bechanged to b7th on beat 3 even though the noteis tied over.The second example shows that the Anticipa-tion appears followed by a rest. It is easier ifthe imagination is used to hear the ring of thenote over the rest.

* This is jazz specific, while classical music theory explains further.


& 4

4 ..

A

1

‰ .œ

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C

2

.œb

j

œb œ

œb œœ

F-7 Bb7

3

˙ .œ

j

œ

C7 Bb7

4

.œ

j

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A7

&

.

.

5

œœ

‰ j

œ ˙

D7

6

1

Œ ‰ j

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G7

7

.œ

j

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œ œœ

E-7 A7

8

G7

.˙Œ

D-7

&

9

2

Œ ‰ j

œœ

œœ

œ

G7

10

w

C

11

Ó Œ

3

œ œ œ œb

C7 B7(#

9)

&

B

12

.œ

j

œ#

j

œœ

j

œ

E-7

13

‰

j

œ .˙

F#

-7 (b5) B7(

b9)

14

œ œ œ œ# œ

œ œ œ#

E-7

15

˙

Œ ‰j

œb

A7

&

16.œ

j

œ ‰

œ œœ

D-7

17

‰ .œ œ œ œ œ#

E-7 (b5) A7

18

œ

œ

‰ j

œ .œj

œ

D7

19

œ œœ œ

Ó

D-7 D b7

&

A'

20

‰ .œ

œ œ

C

21

.œb

j

œb œ

œb œœ

F-7 Bb7

22

˙ .œ

j

œ

C7 Bb7

23

œ œ œ

‰

œ# œ

œ

A7

&

24

‰

j

œ .˙

D7

25

‰j

œ

3

œ œœ œ

œ

œ

G7

26

w

C96

27

∑

Melody Analysis Exercise * Number each note according to the chord.

Yardbird Suite by Charlie parker


&

C- 7

w

w

ww

b

b

C- 6

w

w

ww

b

C- (b6)

w

w

wwb

b

C- 7(13)w

w

w

ww

b

b

&

CMaj7

w

w

ww

C2

ww

CMaj6

w

w

ww

CMaj13w

w

w

ww

Summary of Chord and Tension

• The definition of a Chord is any combination of more than one note piled up vertically.• The definition of Tension is one of the non-chord tones from the scale (including the church mode

scales), and can be placed an octave above the chord and yet does not create b9th interval with anyone of the chord tones. However, the b9th violation will not affect the dominant chord which AvoidNote is always (4).

↑

This is still a chord.Note that there is no3rd, 5th or 7th, be-cause 2nd is thehighest chord tone.

↑ ↑

Note the difference. The Major 13th chord mayhave hidden 9th and #11th.

• As shown above, the number attached to the chord name indicates the available tensions. In 6chord, because 6 is the highest number, 7th, 9th, 11th, and 13th will not be available in the strictsense in theory. However, composers often write 6 chord to prohibit only 7th. Especially in Majorchord, Major 7th chord cannot be used if the melody is the root. Because the melody alwayssounds an 8va above the chord no matter what the actual range of the note is, it will sound theviolation with the b9th interval. Even though the melody is played in a close range on the sameharmony instrument, it will still be weak sounding by a 1/2 step above the M7th of the chord. Thus,when the melody is the root of the chord, M6th or 6/9th chord must be used to maintain the integrityof the melody.

• The minor b6th chord in the example above may be easier if treated as an inversion of AbMaj7chord. However, spelling this chord this way maintains minor quality which affects the perfor-mance, and indicates Aeolian mode as well.

• Important Chord spelling rule:If a number appears with no prefix (i.e., C9, C13), it is a dominant chord; while the Maj sign mustbe used to indicate a Major chord (i.e., CMaj9, CMaj13), except on 6 chord, which does not needany prefix to identify whether Dominant or Major because 6 chord is prohibited to have 7th notewhich is needed to create Tritone in the dominant chord, and therefore it will never be a dominantchord.


Diatonic Functioning Chord

T = Tonic Function SD = Subdominant Function D = Dominant Function

Tonic Functioning ChordsIII - (E- 7) is I Maj9 without the Root.VI - (A- 7) is Inverted I Maj6

&

w

w

w

w

ww

( )œ

w

w

ww

w

w

ww

CMaj(13) E- 7 A- 7

Subdominant Functioning ChordsII - (D- 7) is Inverted IV Maj(13).

Dominant Functioning ChordsVII - (B- 7(b5)) is V7 without the Root.

&

w

w

w

ww

w

w

ww

G7(9) B- 7(b5)

&

CMaj7

w

w

ww

D- 7

w

w

ww

E- 7

w

w

ww

FMaj7w

w

ww

G7w

w

ww

A- 7w

w

ww

B- 7(b5)

w

w

ww

T SD T SD D T D

Basic Cadence

&

w

w

ww

w

w

ww

CMaj7 FMaj7

w

w

ww

CMaj7

&

w

w

ww

w

w

ww w

w

ww

CMaj7 FMaj7 G7

w

w

ww

CMaj7

&

w

w

ww

w

w

ww

CMaj7 G7

w

w

ww

CMaj7

T - SD - T

T - D - T

T - SD - D - T

&

w

w

w

ww

w

w

w

ww

FMaj(13) D- 9

Note: In jazz theory, - 7(b5) will not substitute the dominant

even though it contains Tritone. This chord is a member ofminor chords, instead (i.e., II degree in a minor key).


Analysis

Find all the Dominant Chords first

• When you see a set of progression: __7 (any Dominant 7th, including altered tension(s)) goingdown Perfect 5th to any kind of chord, draw an arrow.

[V to I Motion] G7 CMaj 7

G7(b9) C- 6

• When you see a set of progression: __7 (any Dominant 7th, including altered tension #

11th) going

down minor 2nd to any kind of chord, draw a dotted arrow. (See page 13 for the scale)

[SubV to I Motion]

Db7 C7

• When you see a set of progression: __ - 7 (any minor, including __ - 7(b5) ) going up Perfect 4th

to __7 (any Dominant 7th, including altered tension(s)), draw a bracket.

D- 7 G7

[II - V Motion]

D- 7(b5) G7(b9)

Complete Major II - V - I

D- 7 G7 CMaj 7

Complete minor II - V - I

D- 7(b5) G7(b9) C-

Scale: Lydian b7th

Scale: Mixolydianwith or withoutaltered tension(s)

P5 ↓

P4 ↑

P5 ↓

- 2 ↓

P4 ↑

P4 ↑

P4 ↑

P5 ↓

P5 ↓


Harmonic Rhythm

• Harmonic Rhythm is a division line in music that evenly divides the section.I.e., a 32 bars music form is divided in 16 bars x 2, the 16 bars section will be divided in 8 bars x 2,the 8 bars section....., a measure in 4/4 is divided in 2 beats x 2..., and so on.

• Harmonic Rhythm creates a sense of section which affect melody as well as chord changes.• Note that the Blues form differs in division. The 12 bars form could have been divided into 6 bars

each, but the 6 bars section cannot be divided into 3 bars each because it is an odd number. There-fore, the Harmonic Rhythm in a 12 bars Blues form is 4 bars x 3.

• In most of the standard jazz music, which written in a 32 bars form, the Harmonic Rhythm subdi-vision is 8 bars x 4, because most common form styles are "A-A-B-A" and "A-B-A-C".

srab23mrof

)A(A 4 4

)B(A 4 4

)A(B 4 4

)C(A 4 4

& 4

4

’ ’ ’ ’

F7

’ ’ ’ ’

E-7

’ ’ ’ ’

A7(b9)

’ ’ ’ ’

D-7 G7

Harmonic Rhythm Division

& 4

4

’ ’ ’ ’

CMaj7 E-7 A7(b9) D-7

’ ’ ’ ’

E-7 (b5) A7(

b9) D-7 G7

Harmonic Rhythm Division Harmonic Rhythm Division

* IMPORTANT: Note that any of the dominant functions are not affected when it appears withinHarmonic Rhythm; However, II - V motion are affected. As shown in the examples , if the II -Vmotion is seen across the Harmonic Rhythm division, it will never sound II - V motion.

In both examples, E- 7 will sound an extension of CMaj7 because E- 7 is a tonicfunctioning diatonic chord. Therefore, it will not be analyzed with a bracket.


Secondary Dominant

• Secondary Dominant Chords are non-diatonic dominant chords that resolve to a diatonic chord. V7chord is already a diatonic chord, so it is called primary dominant chord. IV7 is not a SecondaryDominant Chord, because expected destination (Perfect 5th down) is a bVII, which is not a diatonicchord. However, it may be considered as a SubV7 chord which resolved to III- 7 (minor 2nd down),so it could be analyzed as SubV7/III.

C

&

CMaj7

w

w

ww

D- 7

w

w

ww

E- 7

w

w

ww

FMaj7w

w

ww

G7w

w

ww

A- 7w

w

ww

B- 7(b5)

w

w

ww

& 4

4

’ ’ ’ ’

A7

’ ’ ’ ’

D-7

’ ’ ’ ’

B7

’ ’ ’ ’

E-7

& ’ ’ ’ ’

C7

’ ’ ’ ’

FMaj7

’ ’ ’ ’

D7

’ ’ ’ ’

G7

& ’ ’ ’ ’

E7

’ ’ ’ ’

A-7

’ ’ ’ ’

F#

7

’ ’ ’ ’

B-7 (b 5)

V7/II II - 7 V7/III III - 7

V7/IV IV Maj7 V7/V V7

V7/VI VI - 7 V7/VII VI - 7(b5)


• Available Scale for Secondary Dominant Chords.

V7/IV C7 Mixolydian

V7/VII F#7 Mixolydian b5, b9, b13 (Can be Altered Mixo with #9 added)

R T9 3 (4) 5 T13 b7

V7/II A7 Mixolydian b13 (see the option bellow)

V7/V D7 Mixolydian

R Tb9 3 (4) 5 Tb13 b7

V7/II A7 Mixolydian b9, b13

• It is very common to see V7/II with Tb9. This is because II- 7 is assumed as a I- 7 momentary, so thekey signature of that assumed minor will apply, which is b9 to V7/II. This option will not occur withany other Secondary Dominant Chord.

R Tb9 3 (4) b5 Tb13 b7

R Tb9 3 (4) 5 Tb13 b7

R T9 3 (4) 5 T13 b7

V7/III B7 Mixolydian b5, b9, b13 (Can be Altered Mixo with #9 added)

V7/VI E7 Mixolydian b9, b13

R Tb9 3 (4) b5 Tb13 b7

R T9 3 (4) 5 Tb13 b7

& ˙œ ˙#

œ ˙œ ˙

&˙ œ

˙# œ˙ œ

˙

&

˙ œ˙ œ

˙ œ˙b

&

˙ œ˙# œ

˙ œ˙

&˙ œ

˙# œ˙ œ

˙

& ˙# œ˙# œ

˙ œ˙

& wwb w#

¿ ww w


Extended Dominant

& ’’’’

D7

’’’’ ’’’’

G7

’’’’ ’’’’

C7

’’’’ ’’’’

F7

’’’’

• Extended Dominant Chords are dominant chords in a pattern of Circle of 5th which eventuallyreaches to a target. The changes shown below are typical Rhythm Changes bridge in Bb. The targetchord after this section is Bb Maj7, which is I Maj7.

V7/V V7

ExtendedDominant

ExtendedDominant

SecondaryDominant

PrimaryDominant

• Note that the Roman Numeral Analysis is usually not applicable to the Extended Dominant Chords.However, this class will apply them with Parentheses as shown.

Left: Hiro Honshuku withDave Liebman andTiger Okoshi at LiveHouse RAG.

Bottom: Honshuku with hisBoston Blazing Or-chestra and MikeStern.

Scale: Mixolydian

(V7/V/V/V) (V7/V/V)


Related II-

• Any dominant chord can be preceded by a minor chord, which is a P4th below the dominant chord.This is because the dominant chord is assumed as a V7 no matter where it is resolving to, so theadded minor chord becomes a II- chord as the relationship. Therefore, the Roman numeral analy-sis are not applied, but brackets are needed.

& ’’’’

D7

’’’’ ’’’’

G7

’’’’ ’’’’

C7

’’’’ ’’’’

F7

’’’’

& ’’’’

A- 7

’’’’

D7

’’’’

D- 7

’’’’

G7

’’’’

G- 7

’’’’

C7

’’’’

C- 7

’’’’

F7

V7/V V7Bb

BbV7/V II - 7 V7

• Shown below is the bridge of Rhythm Changes and an arrangement applied withrelated II- chords. This kind of re-harmonization was common during the Be-BopEra.

&b

b

4

4‰

j

œ œœ

˙

Ó

C- 7

Œ ‰j

œ œœ

œ

F7

J

œ .œ œŒ

B- 7 E7

Œ ‰ j

œ œœ

œ

Bb- 7 Eb7

w

A-7(b5)

œ

D7(b9)

&b

b

4

4

œ œœ

w

C- 7

œ

œ œœ

F7

˙ ˙

BbMaj7

œ

œ œœ

EbMaj7

w

A-7(b 5)

G-

G-

• The example shown below is Autumn Leaves, and its arrangement. Note that the target iscompletely ignored and replaced with a sequence of subV7 and its related II- 7.

IV - 7 bVII 7 bIII Maj7 bVI Maj7 II - 7(b5)

IV - 7 bVII 7 subV7/V II - 7(b5) V7(b9)


&b

b

4

4 ..

3

‰ œœ

1

A- 7(b5)

3

Œ

œ œ

D7(b9)

œ

3œ œ œ

2

G- 7

3œ œ œ œ

C7

œ .

J

œ

&b

b

3

BMaj73

œ œb œb œ

C- 7(b5)

œ

F7(#9)

œ

4

BbMaj7

˙ .

3

‰

œ œn

5

B- 7

3

œ# œ œ

E7

œ

3

œ œn œ

&b

b

6

AMaj7

œ#œn

A/G#

œ œn

F#- 7

œ#

F#- /E

3

œ œ œ

7

Eb- 7(b5)

3

œ#œn œ

D7(#11)

œb œ

8

D bMaj7

˙ .b Œ

&b

b..

9

C7(#11)

3

œb œb œ

B7(#11)

œ œ

10

BbMaj7

˙ .

Œ

Horace SilverPEACEAnalysis (cont.)

II - 7(b5) V7(b9) II - 7 V7

bII Maj7 II - 7(b5) V7(#9) I Maj7 II - 7 V7

I Maj7 (I Maj7) VI - 7 (VI - 7) II - 7(b5) SubV7 I Maj7

n/a SubV7 I Maj7

A

Db

Bb

BbBb Bb-

FG-


&b

b

4

4 ..

3

‰ œœ

1

A- 7(b5)

3

Œ

œ œ

D7(b9)

œ

3œ œ œ

2

G- 7

3œ œ œ œ

C7

œ .

J

œ

&b

b

3

BMaj73

œ œb œb œ

C- 7(b5)

œ

F7(#9)

œ

4

BbMaj7

˙ .

3

‰

œ œn

5

B- 7

3

œ# œ œ

E7

œ

3

œ œn œ

Horace SilverPEACEAnalysis (cont.)Analysis (cont.)

VII - 7(b5) V7(b9)/VI VI - 7 V7/V

bII Maj7 II - 7(b5) V7(#9) I Maj7

Bb

• The analysis shown on page 22 is a way for improvisation, which is not quite

correct in the sense of strict theory. These complicated changes in the beginning

are landing on bar 4. One reasons is that the 4th bar will sound strong as a target

to the human sense. Another reason is that all of the changes will not sound too

far away from key in Bb Major. Therefore, if all of the progressions of the first 4

bars are analyzed as in key in Bb Major, it will be shown above. This analysis is

done using a technique called Modal Interchange, which will be explained later

in this book. When you are improvising, it is necessary to see the quick momen-

tary key changes in order to make effective solo line. When you are composing,

it is necessary to use a related change to get to a landing key.


& œ¿b œ

œ œbœ œ

A- 7(b5)

œ œbœ# œ

¿ œbœ

D7(b 9)

œ œœb œ

œ ¿œ

G- 7

œ œœ ¿

œ œœb

C7

&

œ œ#œ# œ#

œ# œ#œ#

BMaj7

œ ¿bœb œ

œb œbœb

C- 7(b5)

œ œ#œ ¿b

œ œbœb

F7(#9)

œb œœ ¿b

œ œœ

BbMaj7

&

œ œ#œ œ

œ# ¿#œ

B- 7

œ œ#œ# ¿

œ œ#œ

E7

œ œœ# ¿

œ œ#œ#

AMaj7

œ# œ#œ œ

œ# ¿œ

F#- 7

&œb œ

œb œbœb œ

œb

Eb- 7

œ œœ# œ#

œ œœ

D7(#11)

œb œbœ ¿b

œb œbœ

D bMaj7

œ œœ œ#

œ œœb

C7(#11)

&

œ œ#œ# œ#

œ# œ#œ

B7(#11)

œb œœ ¿b

œ œœ

BbMaj7

• Available Scale for "PEACE".

Loc Mixo b9 Dori Mixo

Lyd Loc Mixo #

9 Ion

Dori Mixo Ion Aeo

Dori Lyd b7 Ion Lyd b7

Lyd b7 Ion

Analysis (cont.)

Note: When this is analyzedas VI- 7 as theory suggests,Aeolian should be used instead. As matter of fact, if thispiece is played slow using Aeolian rather than Dorian, itwill sound more effectively.


Summary of Analysis

& 4

4‰

œ œœ œ

œ

œœ

CMaj7 A- 7

œ

œœ

3

œœ œ

D7 G7

œ

œœ

3

œœ œ

CMaj7 FMaj7 A7

œ

œ˙

G7 E- 7

‰ œ œ œ

D- 7

• When you are asked to analyze a tune in the class, the steps shown below are required

1. Arrow and Bracket Analysis, and the Key of the Moment indication with the box.

C

& 4

4‰

œ œœ œ

œ

œœ

CMaj7 A- 7

œ

œœ

3

œœ œ

D7 G7

œ

œœ

3

œœ œ

CMaj7 FMaj7 A7

œ

œ˙

G7 E- 7

‰ œ œ œ

D- 7

& 4

4‰

œ œœ œ

œ

œœ

CMaj7 A- 7

œ

œœ

3

œœ œ

D7 G7

œ

œœ

3

œœ œ

CMaj7 FMaj7 A7

œ

œ˙

G7 E- 7

‰ œ œ œ

D- 7

C

I Maj7 VI - 7 V7/V V7 I Maj7 IV Maj7 V7 III - 7V7/II II - 7Ion Aeo Mixo Mixo Ion Lyd Mixo Phry Mixo Dori

b9,b13

2. Roman Numeral Analysis and Mode (Scale) Analysis.

C


b9,b13

3. Indication for M.I.(Modal Interchange) and/or D.R.(Deceptive Resolution) if applicable.

D.R.

& 4

4‰

œ œœ œ

œ

œœ

CMaj7 A- 7

œ

œœ

3

œœ œ

D7 G7

œ

œœ

3

œœ œ

CMaj7 FMaj7 A7

œ

œ˙

G7 E- 7

‰ œ œ œ

D- 7C


b9,b13

4. Scale Degree Analysis.

55 5 5

T135T11 T11R R R R R

T9 b7 b7b7b3 b3

D.R.

3 3 3 3M7


Project

• Write a piece using the technique you have learned

• 32 bars form recommended.

• Two types of the conventional forms are recommended.

1) A - A - B - AA - A - B - AA - A - B - Ai.e.; "Take The A Train"

2) A - B - A - CA - B - A - CA - B - A - Ci.e.; "The Days Of Wine And Roses"

If you are sure you can make unconventional form musically, it is acceptable as long as you knowwhat you are doing.

I.e.; "Peace", "Blue In Green"

No Blues please.

• Check Points

• NotationNeatness, Imaginary bar line, Beats positioning, Accidentals, Ending bar line, Beaming, Clef andso on.

• Scale notesNotes must fit in the chord scales, unless otherwise it is an passing/approach note. Therefore, youmust analyze with Roman numeral and name of the scale (mode) for your piece referring to thepage 31.

• Extra Points

• Musical Phrasing.

• Intro and TAG (Outro).

• Recording of the piece.

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 1 -

Draft

- 2 - Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)

&b

b

w

w

ww∫

b

∫b

w

w

w

w

A

n

#

Dbdim7 C#dim7

w

w

wwA

A

C-7

œ#wœnwœwœA w#

&

w

w

ww∫

bb

Cdim7

w

w

ww

CMaj7

œw

œbw

œbw∫

œ∫ wn

&b

w

w

ww

b

#

F#dim7w

w

wwA

G-9

œ#wœwAœwœb w#

Diminished Scales

Diatonic Functioning Diminish Chord

I dim 7 ................................ resolve to .......................... I Maj 7#I dim 7 ................................ resolve to ............................... II-7bIII dim 7 .............................. resolve to ............................... II-7#II dim 7 ............................... resolve to ............................. III-7#IV dim 7 .............................. resolve to ................................. V7V dim 7 ............................... resolve to ................................. V7#V dim 7 ............................... resolve to ............................. VI-7bVI dim 7 .............................. resolve to ................................. V7

I dim 7 I Maj 7

R T9 b3 T11 dim 5 (6) dim 7 TM7

#

I dim 7 II-7

R (2) b3 (4) dim 5 Tb13 dim 7 TM7

C

F

Bbb

III dim 7 II-7

R (2) b3 (4) dim 5 Tb13 dim 7 TM7

• All the diatonic functioning diminished chords must resolve by half step up or down,except I dim 7 and V dim 7 resolve to the same root.

See Tip on Page 29.


&

w

w

ww

b

#

F#dim7w

w

ww

G7

œ#w

œw

œw

œb w#

&b

bw

w

ww

∫

b

∫∫

w

w

w

w

A

#

Gbdim7 F#dim7w

w

ww

A

F7

œ#wœwAœwœA w#

&

#w

w

ww##

A#dim7w

w

wwa

B-7

œ#wœ#wœwaœ w‹

&b

w

w

ww∫

bb

Cdim7

w

w

wwA

C7

œwœbwœbw∫œ∫ wb

&b

w

w

wwA

#

C#dim7

w

w

ww

D-7

œ#wœwœwœA w#

#

II dim 7 III-7

R (2) b3 (4) dim 5 Tb13 dim 7 TM7

G

C#

IV dim 7 V7

R (2) b3 T11 dim 5 Tb13 dim 7 TM7

V dim 7 V7

R T9 b3 T11 dim 5 (6) dim 7 (7)

F

#

V dim 7 VI-7

R (2) b3 (4) dim 5 Tb13 dim 7 TM7

F

Bbb

VI dim 7 V7

R (2) b3 (4) dim 5 Tb13 dim 7 TM7See Tip on Page 29.


&

G7(#11b

9)w

w

w

ww

b

#

CMaj9

w

w

w

ww w

wbwb wn

w#w

ww

• Symmetric Diminished Scale appears as non-diatonic functioningdiminished chord (means it does not fit any one of eight categoriesdescribed before). Because the scale is built with constant whole/half steps, there is no tension which will create b9th interval. There-fore, all the tensions are available.

• The example shown above will sound strong resolution becauseof the root motion of V to I. G dim 7, however, does not create anylogical voice leading (will be discussed later). Therefore, G dim 7is not functioning as diatonic.

• If one diminished scale could built with whole and half steps, thereversed positions as half/whole would be possible, too. This scaleis usually used for dominant. Note; there is no available tensionthis time.

• The same scale may start on the root of the substitute dominantchord.

Symmetric Diminished Scale

&

w

w

ww

b

bb

Gdim7

w

w

w

ww

CMaj9

ww

wbw

wbwb

wbwb

W 1/2 W 1/2 W 1/2 W

R T9 dim 3 T11 dim 5 Tb13 dim 7 TM7

Combination Dominant Scale

&

Db7(#11b

9)w

w

w

w

ww

b

bb

C96w

w

w

ww

wb wnw

ww

wbwb

wb

Lydian b7Altered

Lydian b7Altered

R Tb9 T#9 3 T#11 5 13 b7

R Tb9 T#9 3 T#11 5 13 b7


Non Diatonic Functioning Diminished Chords

Additional information for the diminished chords (p.10-12).

• As we discussed thoroughly, diminished chord scales will be decided by the fact that if the dimin-ished chord is acting as a diatonic function within the key of the moment.The list below shows the progressions which will not create a resolution sound in the sequenceeven though it may look diatonic functioning diminished chords. This list will against the list onpage 10.

bII dim 7 ........... goes to, but does not resolve to ........... I Maj7bV dim 7 ........... goes to, but does not resolve to ........... IV Maj7bVI dim 7 .......... goes to, but does not resolve to ........... V7bVII dim 7 ........ goes to, but does not resolve to ........... VI-7#VI dim 7 .......... goes to, but does not resolve to ........... VII-7(b5)

Those progressions are called non diatonic functioning diminished chords sequence. Therefore,the chord scales will not be considered by the Key of the moment. The Symmetric diminishedscale will be used, instead.

• Again, if any of the diminished chords do not resolve in the Key of the moment as shown on thepage 10, the chord scale will be Symmetric diminished scale as well.

• There is an exception to the rule above.

Tip Enharmonic respelling is necessary when the root of the diminished choed is flat.I.e.; Respell Eb dim 7 to D# dim 7 in order to find the chord scale.

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I #I dim 7 V on 5th #II dim 7 I on 3rd

The #I dim 7 did not resolve to II-7. Instead, it resoled to V with the 5th (D) on bass. This is asemi-diatonic functioning progression, because the ear will hear the bass move to the 2nd degree ofthe diatonic scale (C Major) as where the II-7 is supposed to be, and the actual chord on top of thebass which is another diatonic chord. #II dim 7 resolves to I with the 3rd on bass is also semi-diatonic for the same reason. Therefore, the chord scale will be decided by the Key of the moment.Note that this kind of progression is commonly heard in Gospel music.


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Minor Key

Relative Keys

• Relative Keys are a pair of keys which uses same key signature. Those two keys are Major andminor, and the minor key starts from VI degree of the Major key. In other word, the tonic of relativeminor starts from Major 6th above the tonic of relative Major.

C Major ---- Major 6th ↑ ---- A minor

C minor ---- Major 6th ↓ ---- EbMajor

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I II III IV V VI VII

I II bIII IV V bVI bVII

C Maj

A -

Ion Dori Phry Lyd Mixo Aeo LocIMaj7 II-7 III-7 IVMaj7 V7 VI-7 VII-7(

b5)

I-7 II-7(b5) bIIIMaj7 IV-7 V-7 bVIMaj7 bVII7

Aeo Loc Ion Dori Phry Lyd Mixo

C Maj

A -

Diatonic Chords / Modes

Scale Degree


Minor Key (cont.)

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C Maj Scale A Natural minor Scale (Aeolian Mode)

↑Leading

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↑Leading

Tone

↑Leading

Tone

↑Not

LeadingTone

A Harmonic minor A Melodic minor

• Minor scale has three different types. The reason is Leading Tone.Leading Tone is a note which leads the tonic form -2nd below.Since Natural minor scale (Aeolian Mode) is VIth mode of rela-tive Major, the scale does not have Leading Tone. Therefore,Natural minor does not sound resolving to the Tonic.

• Harmonic minor is a minor scale with Leading Tone. LeadingTone is needed for resolution harmonically. Note that raising the7th note to make Leading Tone changed V-7 chord to V7 chord(E-7 to E7 in A minor, see page 32), which makes much smootherprogression of V7 to I -.

• Harmonic minor is smoother harmonically. It, however, no longersmooth as a scale because Leading Tone created an Aug 2nd in-terval from the 6th note F. To make the scale smoother, the 6thnote is rased, too. That is Melodic minor Scale. The rased 6thand 7th are needed only when going up to the tonic. Therefore,descending scale goes back to Natural minor Scale (AeolianMode).

Aug 2ndGap


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A-7 B-7(b5) CMaj7 D-7 E-7 FMaj7 G7

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A-(Maj7) B-7 CMaj7(#5) D7 E7 F#-7(

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#5) D-7 E7 FMaj7 G#dim7

Minor Key (cont.)

Diatonic Chords

Harmonic minor

I-(Maj7) II-7(b5) bIIIMaj7(

#5) IV-7 V7 bVIMaj7 VIIdim7

Natural minor


Melodic minor Ascending

I-(Maj7) II-7 bIIIMaj7(#5) IV7 V7 VI-7(

b5) VII-7(b5)


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A-7 B-7(b5) CMaj7 D-7 E7 FMaj7 G#dim7

Typical minor diatonic chords in minor key chord progression.

I-7 II-7(b5) bIIIMaj7 IV-7 V7 bVIMaj7 VIIdim7

Aeo Loc Ion Dori Mixo Lyd dim

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Harmonic Consideration for minor key

• Because Mixolydian and diminished scales varies according to the Key of the Moment, all thetension notes must be adjusted.

R Tb9 3 (4) 5 Tb13 b7

Therefore, this is Mixo b9 which contains b13 automatically.

R (2) dim3 (4) dim5 Tb13 dim7 T Maj7

diminished scale for VIIdim7 is shown below.


Minor Key (cont.)

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• "-7(b5)" appears very distinctively. Most likely, this is a

II chord of a minor key of the moment. If this chord isfollowed by a Dominant chord, it must be a minor II - Vprogression, no matter what chord to resolve. There-fore, the mode is Locrian for the II-7(

b5), and Mixo b9for the V7.


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Modal Interchange

C Natural minor


Tonic minor Subdominant minor

I-7 bIIIMaj7 V-7 II-7(b5) IV-7 bVIMaj7 bVII7

• Note that the notes indicated black are scale degree b6 in C Natural minor (C Aeolian) which is the

Avoid. That is why any diatonic chord contains scale degree b6 is not Tonic minor. Those areSubdominant minor chords.

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R (2) b3 T11 5 (b6) b7

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II-7(b5) bII Maj7

Lyd

bVI Maj7 bVI7

Lyd b7

minor II - V - I

• Because the II-7(b5) usually precedes the V7 chord, it is a modal interchange chord from Harmonic

minor.

• Note that the bVI7 (altered bVI Maj7) and the bVII7 (diatonic) are not Dominant functioning chords

because those are not located at the 5th position in the diatonic, and do not resolve to I- going down

Perfect fifth.

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Modal Interchange (cont.)

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• Mixolydian Modal Interchange Chord.

C Mixolydian Scale

Summary of the basic Modal Interchange Chords

Tonic minorfrom natural minor

R T9 3 (4) 5 T13 b7 R

V-7 bVIIMaj7

Subdominant minorfrom natural minor

II-7(b5) V7

from Harmonic minor

• I-7 Aeolian

• bIIIMaj7 Ionian

• V-7 (not common) Phrygian

• bIIMaj7 Lydian

• II-7(b5) Locrian

• IV-7 Dorian

• bVIMaj7 Lydian

• bVI7 Lydian b7

• bVII7 Mixolydian

• II-7(b5) Locrian

• V7 Mixo b9, b13

• bVIIMaj7 Lydian

• V-7 Dorian

Mixolydian ModalInterchange


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bVIMaj7 SubV7

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V7(b9)/II

IMaj6 II-7 V7

IMaj6 IV-7 V7/IV

II-7 V7

Ab

Eb


Special Dominant

• Special Dominant Chords are chords which appear in diatonic situation, yet do not resolve by goingdown Perfect 5th nor minor 2nd.

II7 II7 appears as a substitution of V7. The tritone resolves to a part of I Maj7 (5th, M7th).

Since II7 is derived from V7/V, Take The "A" Train changes (below) is well known.

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III7 Since III7 is derived from V7/VI, it resolves to IV Maj7 which is Inverted VI-6.

III7 IV Maj7 V7/VI VI-b6

• II7 can be explained as a Modal Interchange chord from I Lydian.

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bVI7 Since bVI7 is same structure as SubV7/V, it resolves to I Maj with 5th on root.

bVI7 I Maj bVI7 V7


VI7 Since VI7 is derived from V7/II, it resolves to IV Maj7 which is II-9 without the root.

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Special Dominant (cont.)

VII7 Since VII7 is derived from V7/III, it resolves to I Maj7 which is III- without the root.

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F#-7(b5)

• #IV-7(b5) is often found in standard jazz progressions as a special diatonicfunctioning chord. It can be explained theoretically in a number of differentways (shown bellow). Yet, as always, the available scale is Locrian because itis a minor 7th chord with a flated 5th.

#IV-7(b5) Locrian

• It can be explained as a Modal Interchange chord from Tonic Lydian (C Lydian), just as II7 wasexplained in p. 37.

#IV-7(b5) V7 V7/V V7

• #IV-7(b5) can be explained as a V7/V without the root.

• #IV-7(b5) can be found as a passing chord which resolve to IV chord. This is the most commonuse of #IV-7(b5).

• Instead of resolving to V, #IV-7(b5) can resolve to I/5th (inverted), just as #IV diminished chord did.

This also supports that II7 followed by I chord (p. 29).#IV-7(b5) V7 #IV-7(b5) I/5th

#IV-7(b5) IVMaj7 #IV-7(b5) IV-7


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The Days of WineAnd Roses

#IV-7(b5)

#IV-7(b5)

• Those are the common use of #IV-7(b5) shown below. There are many Modal Interchange chords inthe music, as well. Reviewing the Modal Interchange (p. 35-38), indicate those chords with "M.I.".


Deceptive Resolutions

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V7 I V7 VI-

V7 I V7 III-

• Standard Deceptive Resolutions: A dominant 7th chord resolve to a tonic functioning chord (seepage 16) other than I chord.

VI- shares the root and the 3rd of I.

III- is I Maj7 without the root.

• Non Standard Deceptive Resolutions: Since the dominant 7th chord resolve to the I Major 7th ina Major key, other Modal Interchange Major 7th chords may be seen as a deceptive resolution.

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V7 bVI Maj7 V7 bIII Maj7

Altered Deceptive Resolution of V7 to VI-. Altered Deceptive Resolution of V7 to III-.

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DbMaj7

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V7 bII Maj7 V7 bVII Maj7

Other Modal Interchange Major Chords.


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Deceptive Resolutions (cont.)

• One additional Deceptive Resolution is a dominant 7th chord followed by #IV-7(b5). This progres-sion may be seen as three diferent functions.

II-7 V7 #IV-7(b5)

M.I.

• #IV-7(b5) appears as a Lydian Modal Interchange tonic functioning chord. As theVI-7 and the III-7 replaces I Major in the Standard Deceptive Resolution, #IV-7(b5)replaces I Major Lydian chord.

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F#-7(b5) B7

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E-7

II-7 V7 #IV-7(b5) V7/III III-7

• #IV-7(b5) appears as a related II-7 of V7/III.

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F-7

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M.I.

• #IV-7(b5) appears as a passing chord to IV-7. This may be called Altered Subdomi-nant minor, sometime.


Compound Chords

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C7/Ew

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C7/Gw

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C7/Bb

• Inversion is a chord with the bass which is replaced with a chord tone other than the root.

Root Position 1st Inversion 2nd Inversion 3rd Inversion

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D-7/G

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A/D#

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• Hybrid is a chord with a bass which is other than any of chord tones. Note that the any kind of 3rdagainst the bass can not be included in the upper structure chord, because it will characterize achord to the bass. Basically, the upper structure chord is derived from the scale notes against thebass. However, because the 3rd of the bass is not included, ambiguous sound will be created.

1)

1) Derived from D Dorian with b7, 9, 11, and 13 those which create the upper structure chord.Since the b3rd (F) is missing from this chord, it will not sound D-7. It rather sound C Maj7with the 9th on the bass.

2) Derived from G Mixolydian with 5, b7, 9 and S4. Note that the avoid note (S4: C) can beused because the 3rd (B) is missing from this chord. The sound will be D-7 with the 11thon the bass.

3) Derived from D# Locrian with 11, b7 and S2(b9). Note that the flat 9th interval createdbetween D# and E is acceptable in two reasons. The one is because Locrian is a semidomi-nant functioning mode, so as altered dominant tensions are, flat 9th interval will createmore resolution sense. The other is because the upper structure chord creates strong unityas a chord, the ear can separate it from the bass. However, the caution must be taken whenit is used.

3)2)

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GbF-7

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b

b

• Polychord is a chord combined with two triads or 7th chord. Usually, the upper structure iscreated from the available tensions of the bottom chord. This is extremely useful when the key-board voicing is needed to be specified for ensemble arranging reasons.


Project I

• Write a piece using the technique you have learned.

• 32 bars form recommended.

• Two types of the conventional forms are recommended.

1) A - A - B - AA - A - B - Aie; "Take The A Train"

2) A - B - A - CA - B - A - Cie; "The Days Of Wine And Roses"

If you are sure you can make unconventional form musically, it is acceptable as long as you knowwhat you are doing.

ie; "Piece", "Blue In Green"

No Blues please.

• Check Points

• NotationNeatness, Imaginary bar line, Beats positioning, Accidentals, Ending bar line, Beaming, Clef andso on.

• Scale notesNotes must fit in the chord scales, unless otherwise it is an approach note. Therefore, you mustanalyze with Roman numeral and name of the scale (mode) for your piece.

• Extra Points

• Musical Phrasing.

• Intro and TAG (Outro).

• Recording of the piece.


Project II1. Quiz on Intervals and Chord Scales (Modes).

2. Write a piece using five subjects of the seven listed below(Diatonic Functioning Dominant Chords must be included asindicated). The piece must be analyzed according to thedirections of Appendix A.

1) Diatonic Functioning Dominant Chords (include Primary Dominant).

Must use at least two of the four listed below.

a) Secondary Dominant

b) Extended Dominant

c) Special Dominant

d) Substituted Dominant (SubV7)2) Related II-

3) #IV-7(b5)

4) Diatonic Functioning Diminished Chord.

5) Minor Key.

6) Modal Interchange (exclude Lydian M.I. and Mixolydian M.I.).

7) Deceptive Resolutions

Warning• If the piece is notated and analyzed in a hard-to-read way, it will be re-

turned without being graded.• Note that this assignment is not for writing a musical composition, but for

a correct harmony and melody with the theory you have learned.• Duplicated analysis must be avoided (i.e. #IV-7(b5) as a Modal Interchange).Tip• Write the chord progression first, then the melody according to the avail-

able scales.• The bass motion (P5th down, Major or minor 2nd up and down) will make

the sound stronger.

Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)

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b

1. Write out the Intervals.

2. Write a note by the given Interval.

( ) ( ) ( ) ( ) ( )

-9th Below P12th Above Aug.6th Below dim.15th Above -10th Above

Hint

1. Hide all the accidentals.

2. With your fingers, count the Interval. Do not forget to include the note to begin with.

3. Write down the number NOW.

4. If the Interval is more than an octave apart, take the top note down, so the Intervalbecomes within an octave.

5. Find how many of "1/2 Step Spot" in the distance according to the chart. Remember,you need to think of only C Major scale.

6. Find the kind ( Major, Perfect, etc.) using the bar chart. Use your both hands verti-cally, so you can picture the distance with the bar chart.For example, the Interval is 6th with 2 of "1/2 Step Spot" in the distance, becauseM6th supposed to have only 1 "1/2 Step Spot", it becomes one of the bar chart levelshorter, so it is -6th.

7. Still holding your hands vertically, apply the accidental(s) you hid in the beginningone by one.

Quiz #1 Name Date


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M10th Above Aug.4th Above -13th Above P15th Below M7th Below

3. Find out the parent key, then write out the given scale.

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Parent Key ____ B Phrygian Parent Key ____ Db Mixolydian

Parent Key ____ A Lydian Parent Key ____ D Locrian

Parent Key ____ Bb Aeolian

Quiz #2 Name Date


Quiz Summer '96 par 1 Name Date

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1. Write out the Intervals. [4 point each]

2. Write a note by the given Interval. [4 point each]

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Aug 4th ↓ -13th ↓ -9th ↑ Aug 5th ↑ M16th ↑

( ) ( ) ( ) ( ) ( )

3. Fill out the blank, write out the Chord Scale and label each note. [5 point each]

Roman Numeral Mode Parent Key

( III- / / Eb )Roman Numeral Mode Parent Key

( bVI Maj / / )Eb-Ke

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Key


( / F# Loc / G )Roman Numeral Mode Parent Key

( / F Ion / )D-Key

Key


( VI- / / )Roman Numeral Mode Parent Key

( V7 / / )Key

Key


( V dim / n/a / n/a )Roman Numeral Mode Parent Key

( bIII dim / n/a / n/a )Key

Key

C C Harmonic minor

C G


• Analyze the composition shown below by the direction given on the next page.

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Hiroaki Honshuku


Quiz Summer '96 par 2 Name Date

Direction for the analysis

• Indicate the key(s) with box(es) beginning of the piece and whenever modulation occur.

• Draw arrows, dotted arrows, and brackets.

• Write out roman numeral wherever it applies.

• Write out the name of mode or scale for every chords. Be aware of hidden altered tension.

• Indicate with M.I. wherever which applies.

• Write out the diminished scale on bar 10, 26, and 28 below. Number each scale note below the scale.

1 2 3 4 5 6

7 8 9 10 11 12

13 14 15 16 17 18

19 20 21 22 23 24

25 26 27 28 29 30

31 32

• Find the notes which are not one of chord tones under every chords, and write the number of thescale degree or tension number in the each boxes below. Use parenthesis if the note is not available.Use n/a for the measure which does not have any one of them. Be aware of anticipations.


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-9th Below P12th Above Aug.6th Below dim.15th Above -10th Above

Hint

1. Hide all the accidentals.

2. With your fingers, count the Interval. Do not forget to include the note to begin with.

3. Write down the number NOW.

4. If the Interval is more than an octave apart, take the top note down, so the Intervalbecomes within an octave.

5. Find how many of "1/2 Step Spot" in the distance according to the chart. Remember,you need to think of only C Major scale.

6. Find the kind ( Major, Perfect, etc.) using the bar chart. Use your both hands verti-cally, so you can picture the distance with the bar chart.For example, the Interval is 6th with 2 of "1/2 Step Spot" in the distance, becauseM6th supposed to have only 1 "1/2 Step Spot", it becomes one of the bar chart levelshorter, so it is -6th.

7. Still holding your hands vertically, apply the accidental(s) you hid in the beginningone by one.

Quiz #2 Name Date

Jazz Theory Qu

theory i 97 - hirohonshuku.com · 2017. 5. 6. · jazz theory i, new england conservatory extension...

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