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

FUSION, CROSSOVER, AND CATEGORIZATION .

TERNARY FORMS..

TWO WORLDS COLLIDE ..

NOTATION OF JAZZ STYLE, SWING RHYTHM, AND PERFORMANCE

Modal Jazz

Diminished Scales and Harmony

Pentatonics

Quartal Harmony and sus Chords

Garner-style Chords

Bent-note and Double-note Techniques

Swing Eighths

Boogie-woogie.

Chord Voicings

Jazz Harmonic Progressions

STANDARD JAZZ TECHNIQUES ..

KAPUSTIN

Stride

CONTEMPORARY JAZZ ARRANGING TECHNIQUES: A STUDY IN TIME, ORCHESTRATION, AND STYLE

modal practices,

Use of Tempo in Jazz

studies indicated that this swing beat is not quite this quarter-eighth triplet

Microrhythms in Jazz: A Review of Papers

Stride involves the alternation of chords and single notes (or octaves) in the left hand and the rapid, pianistic figures typical of ragtime in the right

African-American

blues

African background

Jazz

Only Stravinsky and Milhaud were able to use these new resources in such a way as to give rise to great works of art. Stravinsky concentrated on the rhythmic possibilities of the music, whereas Milhaud was attracted more to its "inner voice," especially the expressive potential of its instrumenta-tion, in particular the eloquent use of percussion. Excerpts from the above-mentioned chapter of his Etudes help us to follow the genesis of La creation du monde: Their primitive African herita~e still remains deeply anchored in the souls of Amencan Negroes, and thereto lies the source of their formidable sense of rhythm as well as their profoundly moving gift for a kind of melody that only people who have been long oppressed know how to utter. The first examples of Negro music were spirituals, religious songs sung by slaves and based on popular tradition. These songs have the same sort of melodies as are found in, for example, W. C. Handy's "Saint-Louis Blues" .... All have the same ten-derness, sadness, and profession of faith as do songs like "Go Down Moses," in which the slaves compared their fate to that of the Jews in bondage in Egypt and cried out to Moses to save them. Such reflections by Milhaud already indicate that his use of jazz ele-ments in La creation du monde was anything but superficial. But let us continue to read what he says about his choice of instruments: In addition to their dance music, with its unique improvisational quality, the Blacks also adapt jazz to theatrical spectacle in a most felicitous manner. ... In Liz a, an operetta by Mr. Maceo Pinkard, the orchestra consists of a flute, a clarinet, two trumpets, a trombone, an assortment of percussion instruments all handled by one player, a piano, a string quartet in which the viola is re-placed by a saxophone, and a double bass .... Moreover, Black jazz is far removed from the slick sophistication of so much contemporary American dance music. It never loses its primitive African character; the intensity and repetitiousness of the rhythms and melodies produce a tragic, desperate ef-fect. And it is this capacity to arouse deep emotions in its listeners that puts it in the same category as the greatest works of art.

Introduction to Neo-Riemannian Theory:

Jazz Harmonic Analysis as Optimal Tonality Segmentation

Seventh Chords

THE SOLO ORGAN WORKS OF JON LAUKVIK

urendran Reddy Draft Catalogue of Works2020

Neo-Riemannia

Borrowing

Swing

Free jazz

Borrowing

Groove Aesthetics in Afro-Cuban Jazz

Afrocentrism, Old and New

hord/scale relationship scale relationship

Ragtime

Pentatonic Seades

MELODIC STRUCTURES»

GERSHWINESCA

Expressive Microrhythm

Bossa nova

Marabi

TWENTIETH-CENTURY ORGAN MUSIC

Mbaqanga

SCALES

What is ‘groove’? 18Four Elements of Groove 241Metronomic Time 242Syncopation 313‘Deep metricality’ or Multi-levelled Meter 424Back-beat 49

MarabiMarabi is described by Ballantine as just as important in the development of South Africanpopular music as the blues was to American popular music (Ballantine 2012, 7). Merz (2016)echoes this statement claiming prominent South African “musicians ranging from tenor-manBazil Mannenberg Coetzee to pianist Darius Brubeck” have referred to marabi as “SouthAfrica’s blues”, highlighting its central importance in South African jazz as “the form to basecompositions on” (Merz 2016, 34). Described by Matshikiza as a set of “highly rhythmicrepetitive single-themed dance tunes” (Matshikiza in Ballantine 2012, 32) which developedbetween the 1910s to 1930s, marabi was generally performed on keyboard, banjo or guitar inshebeens5 and at drinking and dancing parties. Like the blues, it followed a three-chordcyclical harmonic structure. 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.

Although, mbaqanga became exceptionally popular both locally and internationally, it willnot be a key focus of the analysis presented in this dissertation as, like tsaba tsaba, its musicaltraits reveal it as being more of a hybrid, sub-genre of the original styles of South Africanjazz: marabi, African Jazz and kwela.

the popular South African big-band swing styleofmbaqanga orAfrican jazz (Musical Excerpts 2.14 to 2.19).

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)

Mackay Davashe, a prolific composer in thembaqanga jazz style, acontingent of the Blue Notes

Chris McGregor’s ‘first real experiences of building things from riffs’ weregleaned from jam sessions with black South African musicians whose improvisationalmusical practices, relying on a stable harmonic cyclicity ofmbaqanga chords (providedby piano or guitar), would proceed as follows:[T]he lead trumpeter or sax player would improvise a melody, and then in the next eight-bar sectionout it would come, voiced and all - that was magic to me. Out of this would emerge the most amazingcomplexity of texture, instrumental colour, melodic interactions, the melodic interactions of three orfour riffs going together, and a soloist in front, improvising. (McGregor 1994:14)

An important aspect of the close musical relationships between South Africanmbaqanga,Caribbeancalypso and West Africanhighlife as a coalescence of postcolonial Africanand diasporic cultural experiences is the rhythmic element of all three dance-music styles.I have transcribed a duple-meter rhythm strain of the three genres (Musical Transcription9) in order to illustrate this musical relationship. In West Africa, particularly in 1950sGhana and Nigeria, the popularity ofhighlife resulted in hybrid musical experimentswhich gave birth to highly influential styles such as Yorubahighlife, with its use ofindigenous performance and instruments, and also influenced the development of WestAfrican popular musical genres likepal mw ine,ashiko,maringa ,jújù,makossa , andafro-beat, among others (Sadie 2001:490, vol. 11)