Glossary of some important musical terms

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ost-Tonal Jazz

Modes

MODAL JAZZ COMPOSlTlON G HARMONY

When the Welsh social reformer Robert Owen established New Harmony in 1825, on 20,000 acres in Indiana, he attracted an enthusiastic following, gaining more than 800 members in just a little over six weeks.

Quartal Harmony and sus ChordsQuartal chords can have a variety of uses. Sometimes they imply quartal harmonyand other times they are merely used to create interesting voicings of tertian chords; bothare staples of modern jazz keyboard harmony. There are many Preludes with isolatedchords voiced in fourths or with a right-hand figuration using fourths, and even thesequick references, along with Kapustin’s other devices, create a modern jazz context forhis musical ideas. Most of the examples discussed below feature more extensive use ofquartal techniques, and most use tertian harmony with quartal chord voicings

PROCEDURE FOR CHORD CONSTRUCTION The priori~y order dIe is 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. It 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 of 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 the 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 hat there is a problem with rhe 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

n comparing themarabi harmonic structure and its seminalposition in vernacular jazz improvisatory practice in South Africa to that of the AfricanAmerican blues in its relationship to jazz, Ballantine explained its basis ‘on a cyclicpattern’ as ‘stretch[ing] over four measures, with one measure for each of the followingchords: I – IV - I 6/4 - V’ (Ballantine 1993:26)

Chord/Scale Theory.

There are two ways of establishing a chord–scale relationship for ii 7 –V 7 or ii≤57–V 7progressions: either select a mode that works for V7 or select a mode that works for ii7or (ii≤57). As shown in Figure 18.4, mm. 2–4 feature a descending sequence of incompleteII–Vs connecting the tonic on I with the predominant on IV. Each II–V progressionestablishes a chord–scale relationship with the corresponding dominant 7th. Notice that,in m. 2, the use of Mixolydian ≤13 fits the underlying context much better than the diatonicMixolydian mode. The tonic note F4 functions as the ≤13th of Mixolydian ≤13 and isretained as a common tone in mm. 1–2. The second A section (mm. 9–16) demonstratesa different approach to chord–scale theory. The selection of modes for the II–V pro-gression in Figure 18.4 is based on the quality of the predominant chord. Thus, inm. 10, Emin7(≤5)–A7 uses E Locrian, while in m. 11, Dmin7–G7 establishes a chord–scalerelationship with D Dorian, etc

THE TWILIGHT OF THE TONAL SYSTEM

The A Section—Arpeggiation Patterns

ownward arpeggiation of Cmin7

Another relatively simple technique used by Jones in his solo involves the arpeggiation offour-part chords

Even though the subdominant on IV features a dominant 7th chord, inthe context of this progression it functions as a predominant

With the exception of the blues, the rhythm changes progression is probably the mostimportant chord progression in jazz. The term “rhythm changes” refers to a 32-bar AABAform based on the harmonic structure of “I Got Rhythm” by George and Ira Gershwin.The song appeared in the Aarons and Freedley production Girl Crazy (1930) andoriginally featured a 34-bar AABA form with a two-bar extension in the last A section.The two-bar extension was eventually cut and the chord changes of the last A sectionreplicated those from the second A. A newly composed line based on the rhythm changesprogression is known as a contrafact. The enormous popularity of rhythm changes hasbeen well documented by an ever-increasing number of composed contrafacts andrecordings

“Moose the Mooche” features a 32-bar AABA form.3 The first A section is harmonicallyopen and ends on a ii 7–V7 in m. 8. The second A features a full-cadential closure on I inm. 16. The bridge cycles through a cycle of dominant 7ths progression and interruptsthe form on V 7 in m. 24. The final A section is harmonically closed but, in order to allowfor the circularity of the chorus improvisation, it features a Imaj7–VI 7–ii7–V7 turnaroundprogression (or any acceptable substitute variant).The tonic is prolonged in mm. 1–4 and then morphed into a V 7/IV in m. 5. The tonicprolongation takes the form of an idiomatic Imaj 7–vi7–ii7–V7 progression, which lendsitself to a variety of harmonic substitutions. The subdominant controls mm. 5–6 and iscapable of many surface realizations. Next, mm. 7–8 proceed to the dominant, which canalso be idiomatically expanded, transformed, and/or confirmed. The A section of rhythmchanges is also known as an eight-bar blues because it contains the harmonic paradigmof the blues: tonic in m. 1, subdominant in m. 6, and dominant in m. 8.4 This foreshortenedblues preserves the structural weight of the fundamental chords, as the tonic controls thelongest span (mm. 1–4), the subdominant occupies the shorter span (mm. 6–7), and thedominant (m. 8) becomes subject to various harmonic modifications

Figure 18.5 provides a chord–scale relationship for “Confirmation” using bebop scalesonly.The selection of bebop scales is analogous to the use of modes from Figure 18.4. Inm. 2, for instance, Emin7 (≤5)–A7 uses A Mixolydian ≤13, which accommodates ^1 in itspitch structure, as does A dominant bebop ≤13, making them much better choices thantheir diatonic counterparts.Demonstrating slightly different and more advanced organization of bebop scales, the lastA section alternates between ascending and descending scalar patterns. In addition, thelast note of each measure forms a stepwise connection with the first note of the next,thereby ensuring effective voice leading between different scales. Thus the last note ofm. 26, C≥4, resolves up to D4, which begins the G dominant bebop scale on 5. Similarly,the use of B≤3 in m. 31 is a consequence of the C4 in m. 30 resolving down to the ≤7thof C7

As indicated in the analysis of the tune, the A section of “Confirmation” contains elementsof the blues, such as single blue-note inflections and characteristic blues harmonies

Figure 12.2 illustrates the use of Model II. The R.H. distributes the Charleston rhythmat different locations within the measure

Chapter 21 introduces 13 phrase models that illustrate the essential harmonic, contrapuntal,and structural properties of the different eight-bar phrases commonly found in standardtunes.

any melodic line can be represented by a chord and/or harmonicprogression and, conversely, any chord or harmonic progression can be horizontalizedwith a melodic line

In modal jazz theory, there are 14 modes: seven diatonic and seven chromatic. Modes inmodal jazz typically function as independent scalar formations that are devoid of traditionaltonal relationships. For instance, a complete section of a tune might feature only a singlemodal scale (e.g. John Coltrane’s “Impressions” or McCoy Tyner’s “Passion Dance”).5In tonal jazz, however, modes exhibit similar functional behaviors comparable to thoseof four-, five-, or larger-part structures. In Chapter 8, diatonic and chromatic modes willbe combined and their tonal functional associations shown

Chapter 18 provides an analysis of Charlie Parker’s “Confirmation” as a representativecomposition from the Bebop Era. It offers a transcription of the solo by the pianist HankJone

In the most fundamental form, the generic blues consists of only three chords: I7, IV 7,and V 7. These harmonies control the structure of the blues, even though in some chordprogressions, particularly those from the Bebop Era, they might be disguised, substituted,transformed, or omitted all together. The generic or three-chord blues, without anyadditional chord changes, was often employed in early jazz, particularly in Early Blues,Boogie-Woogie, and different New Orleans styles.3 We will now examine the harmonicstructure of a slightly modified blues (one that is probably the most common in jazz),

Chapter 3 defines harmonic function

Rhythmic and Harmonic Anticipation

Diminished Scales and Harmony

The modal approach de-emphasized the tonic-dominant axis of Bebop, leadingto a more pan-diatonic approach to harmony

Modal Jazz

Jazz Harmonic Progressions

Jazz Reharmonization

Harmonic Considerations

Modal Harmony

Modes

JAZZ VOICINGS

CHORD SYMBOLS

BLUES HARMONY

EMBELLISHING CHORDS

In the 20th and 21st centuries, composers sometimes used the diatonic collection, but without making anyattempt to make a specific pitch sound like the the pitch center. Such examples are not tonal, nor are theymodal; instead, they are considered pandiatonic. Igor Stravinsky often wrote pandiatonic passages; manycan be heard throughout the opening of his ballet Petrushka

ii–V space

II–V–I

We live in a society that emphasizes glamour and sex appeal. That is why most of us strive to achieve external beauty, but oftentimes we lose our uniqueness in the process.

Modal Jazz Improvisation & Harmony

In the third chapter, ‘Modes of experience: modal jazz and the authority of experience in Ishmael’s Reed’s Mumbo Jumbo, Morrison’s The Bluest Eye and Song of Solomon’, I examine different emphases in notions of ethnic identity that takes place in the middle of the twentieth century.

However, in the case of marabi, the three chords were usuallyplayed in short two or four bar phrases, and were most commonly voiced as triads in thesequence I-IV-I-V. Due to the preference for diatonic tonality in marabi, few chord extensiontones were used other than the occasional addition of a major 6th to chord IV and the use ofthe dominant 7th on chord V. The resulting progression is the iconic I-IV6-Ic-V7 whichbecame the harmonic foundation of the South African sound.

In the pre-colonial music of Southern Africa there seems to be little evidence of the I-IV-V-Iprogression typical to the U.S.-American blues style, or many longer harmonic cycles.Instead, there seems to be a definite predilection for short harmonic progressions, such as theaforementioned two-chord progression of traditional Xhosa music of the Eastern Cape notedby Dargie. It can be argued that it was the use of these short harmonic cycles that then led tocertain styles of melodic and rhythmic phrasing which mirrored the short, repetitive harmonicmovement, thus resulting in characteristics common to much South African jazz, such asshort repetitive motivic melodies, basslines and drum grooves.

The underlying harmonic structure inmarabitypically uses the major (I), the subdominant major (IV), and the dominant (V) in aperpetually repeating structure suited to dance. In its advanced form inmbaqanga(African jazz), the simple three-chordmarabi harmonic structure was consolidated in alengthened cyclic form in which the (V) root was preceded with the tonic major in itssecond inversion (I 6/4 ). In comparing themarabi harmonic structure and its seminalposition in vernacular jazz improvisatory practice in South Africa to that of the AfricanAmerican blues in its relationship to jazz, Ballantine explained its basis ‘on a cyclicpattern’ as ‘stretch[ing] over four measures, with one measure for each of the followingchords: I – IV - I 6/4 - V’ (Ballantine 1993:26)

use a cyclic structure

The underlying harmonic structure inmarabitypically uses the major (I), the subdominant major (IV), and the dominant (V) in aperpetually repeating structure suited to dance. In its advanced form inmbaqanga(African jazz), the simple three-chordmarabi harmonic structure was consolidated in alengthened cyclic form in which the (V) root was preceded with the tonic major in itssecond inversion (I 6/4 ). In comparing themarabi harmonic structure and its seminalposition in vernacular jazz improvisatory practice in South Africa to that of the AfricanAmerican blues in its relationship to jazz, Ballantine explained its basis ‘on a cyclicpattern’ as ‘stretch[ing] over four measures, with one measure for each of the followingchords: I – IV - I 6/4 - V’ (Ballantine 1993:26)

Harmonically, bothhighlife (Musical Excerpt 7.3) andmbaqanga (MusicalExcerpt 7.4) use a cyclic structure based on I – IV – (I6/4 or I) – V roots of the Europeandiatonic major scale.

Harmonizing the Bebop Scale

ODES, SCALES, FUNCTIONAL HARMONY, AND NONFUNCTIONAL HARMONY IN THE COMPOSITIONS OF HERBIE HANCOCK

What is Modal Jazz?

Harmony, jazz

Fractal Harmonies of Southern Africa

Kinds of Harmony

Modal Jazz Composition and Harmony

List of All Usable Modes

REHARMONIZATION

relatively undemanding by comparison with those based on chord progressions. Because it is free of frequent harmonic interruption it can more easily create an unhurried and meditative feeling. Many performances are based on a two-chord sequence or a drone. The absence of frequent chord changes alone is sometimes regarded as defining modal jazz

Tonality

Another

Harmony

How Weird Can Things Get? (Maps for PantonalImprovisation)

Debussy, Pentatonicism, and the Tonal Tradition

Harmony 2—Harmonic Situations: Tonality . . . . . . 987Harmony 3—Harmonic Situations: Blues, Modality, Non-functionality

modal practices,

Jazz Harmonic Analysis as Optimal Tonality Segmentation

Seventh Chords

Neo-Riemannia

mbaqanga(MusicalExcerpt7.4)useacyclicstructurebasedonI–IV–(I6/4orI)–V

‘stretch[ing]overfourmeasures,withonemeasureforeachofthefollowingchords:I–IV-I6/4-V’(Ballantine1993:26).

Theunderlyingharmonicstructureinmarabitypicallyusesthemajor(I),thesubdominantmajor(IV),andthedominant(V)inaperpetuallyrepeatingstructuresuitedtodance.Initsadvancedforminmbaqanga(Africanjazz),thesimplethree-chordmarabiharmonicstructurewasconsolidatedinalengthenedcyclicforminwhichthe(V)rootwasprecededwiththetonicmajorinitssecondinversion(I6/4).

However, in the case of marabi,the threechords were usually played in short two or four bar phrases, and were most commonly voiced as triads in the sequence I-IV-I-V. Due to the preference for diatonic tonality in marabi, few chord extension tones were used other than the occasional addition of a major6thto chord IV and the use of the dominant 7thon chord V. The resulting progression is the iconic I-IV6-Ic-V7which became the harmonic foundation of the South African sound.

ntroduction to Harmony, Cadences, andPhrase Endings

Diatonic Modes

Blues Harmony

Besides the metaphor of the honeybee, Seneca also compares this method to a stomach digesting food as well as a choir that produces one sound from many harmonized voices.

At the same time, the vision of a good life for all integrates our in-dividual pursuit of this goal with an immediate concern for others.In other words, we can enjoy and exercise freedoms only to the extentthat doing so does not impinge on others. Achieving this vision under-lines both the crucial role of freedom but also the necessity of limitsfor this freedom to exist. Thereby, pursuing the vision of a good lifefor all has the potential of bridging current political divides, as it is avision that all people can adhere to.

Should my granddaughter even listen to a word I say about the world?

A retrospective of 50 years as a human being on planet Earth.

Philosophy and rhetoric, taken as the two great opposites of the Western cultural conversation, can be harmonized

finally how to control and utilizeyour desires so that they will always serve YOU, instead of your being a slave to them.You have within you all possibilities. For I AM there. My Idea must express, and It must expressthrough you. It will express itself perfectly --- if you but let it; if you will only still your humanmind, put aside all personal ideas, beliefs and opinions, and let if flow forth. All you need to dois to turn within to Me, and let Me direct your thinking and your desires, let Me express whateverI will, you personally accepting and doing what I desire you to do. Then will your desires cometrue, your life become one grand harmony, your world a heaven and your self one with My Self.When you have begun to realize this and have glimpsed somewhat of its inner meaning, then youwill be ready to grasp the real import of what follo

I want you to consider that in everything we are doing, we are harmonizing and flowing with the divine energies—with the outpouring of the river of Life, right at Its source. This river of Life flows freely and totally through and as your conscious experience of Being. It is always doing this, whether or not you have placed yourself properly in that Place. This is important to understand, since it makes clear that the only thing we need to do in order to find the resolution to whatever situation we are faced with, is simply go to the Source as the Door.

You must realize that Being functions according to Its own infinite, eternal Harmonies. If that which has been set into motion has not appeared, it is because appearing at that point would not be in harmony with Its unfolding Being. You can trust you do not need it at the moment you are considering the fact that it hasn’t yet appeared.

Do not misunderstand me. To know Who You Are, What You Are, and that You Are Where It’s All Happening is, indeed, Divine Fulfillment of Purpose. It is to be One with God. It is to flow with the Divine Energies. It is to be One and in Harmony with the Great Works of Divine Intelligence. BUT, IT IS ABSOLUTELY NORMAL!

I want to remind you of that, because the apparently external demands which you have been faced with have caused you to withdraw your attention from your awareness of that fact. As a result, you have not been feeling the loving kindness and the totally constructive and harmonious Nature of your Being as It is unfolding Itself as your conscious experience. Objectively speaking, Love is all around you, because Love is what constitutes your subjective Being. Whether or not you are temporarily caught up in the three-dimensional appearance of things, you are never removed from the ability to perceive the omnipresence of Love, because It is the warp and woof of all four dimensions.

Seeing out from Being is that perfect Awareness which Mind experiences of its own infinite Self-expression. All that actually happens is that the illusion, or misunderstanding, caused by conceptual thinking simply evaporates. One is left with a clear view of the Actuality of one’s own Being and the Harmony of it as one’s own experience.

Today we need to deeply consider the orderliness of things—the orderliness of Life in Its infinite manifestations. We need to remember that all of Life, infinitely speaking, is unfolding Itself at every moment, and not just an isolated part of that infinity. It is essential for you to realize that your thinking processes do not in any way have any effect, whatsoever, on this infinitely detailed, yet harmonious unfolding of Being. This does not mean you have nothing to do with it, but it simply means that you have no three-dimensional control over it.