From 268928e9c5024180412ab693a3743ef40eadef2f Mon Sep 17 00:00:00 2001 From: Sean Date: Mon, 13 Apr 2026 14:20:04 -0400 Subject: [PATCH] Experimental Changes --- Books/Accounting/Jira/IA-2691.txt | 252 + Books/Accounting/Jira/IA-2698.txt | 208 + Books/Accounting/Jira/IA-2827.txt | 236 + Books/Accounting/Jira/IA-2852.txt | 186 + Books/Accounting/Jira/IA-2854.txt | 189 + Books/Accounting/Jira/IA-2855.txt | 190 + Books/Accounting/Jira/IA-2858.txt | 186 + Books/Accounting/Jira/IA-2866.txt | 149 + Books/Music/Articles/Jeff Beck 1.txt | 341 + Books/Music/Articles/Jeff Beck 2.txt | 188 + Books/Music/Articles/Jeff Beck 3.txt | 296 + Books/Music/Articles/Satriani.txt | 235 +- Books/Music/Articles/Satriani2.txt | 3 +- Books/Music/Articles/Satriani3.txt | 1 + Books/Music/Articles/Satriani6.txt | 89 +- ...Strange Beautiful Music - Joe Satriani.txt | 1 + Books/Music/Mechanics/FretboardMappings.txt | 140 + .../Soloing/BuildingSolosWithMotifs_1.txt | 82 + .../Soloing/BuildingSolosWithMotifs_2.txt | 81 + Books/Music/Technique/Legato.txt | 120 + Books/Music/Technique/StringBending.txt | 155 + Books/Music/Theory/7thChordMap.txt | 257 + Books/Music/Theory/Augmented Chords.txt | 98 +- .../Basic Music Thoery For Beginners.txt | 332 +- .../Music/Theory/BendingIntervalReference.txt | 55 + Books/Music/Theory/CAGED.txt | 53 + .../Music/Theory/Chord Tones and Tensions.txt | 255 + .../Theory/Diatonic Constraint Rules.txt | 41 + ...tboard Theory 2008 E-Book - Desi Serna.txt | 1412 ++ ...Circle of Fifths fo - Joseph Alexander.txt | 430 + Books/Music/Theory/Interval Mathematics.txt | 198 + Books/Music/Theory/Jazz Theory.txt | 16429 ++++------------ Books/Music/Theory/Modal Interchange.txt | 259 + Books/Music/Theory/Modal_Scale_Reference.txt | 106 +- Books/Music/Theory/Mode Formulas.txt | 35 + .../Music/Theory/PentatonicScaleReference.txt | 58 + Books/Music/Theory/extracted_book.txt | 0 Books/Music/Theory/mode_lookup.txt | 65 + Books/Music/Theory/mode_rules.txt | 42 + Chartwell.py | 276 +- MusicCorpusDriftAnalysis.txt | 105 + Scales.py | 38 - 42 files changed, 10431 insertions(+), 13441 deletions(-) create mode 100644 Books/Accounting/Jira/IA-2691.txt create mode 100644 Books/Accounting/Jira/IA-2698.txt create mode 100644 Books/Accounting/Jira/IA-2827.txt create mode 100644 Books/Accounting/Jira/IA-2852.txt create mode 100644 Books/Accounting/Jira/IA-2854.txt create mode 100644 Books/Accounting/Jira/IA-2855.txt create mode 100644 Books/Accounting/Jira/IA-2858.txt create mode 100644 Books/Accounting/Jira/IA-2866.txt create mode 100644 Books/Music/Articles/Jeff Beck 1.txt create mode 100644 Books/Music/Articles/Jeff Beck 2.txt create mode 100644 Books/Music/Articles/Jeff Beck 3.txt create mode 100644 Books/Music/Mechanics/FretboardMappings.txt create mode 100644 Books/Music/Soloing/BuildingSolosWithMotifs_1.txt create mode 100644 Books/Music/Soloing/BuildingSolosWithMotifs_2.txt create mode 100644 Books/Music/Technique/Legato.txt create mode 100644 Books/Music/Technique/StringBending.txt create mode 100644 Books/Music/Theory/7thChordMap.txt create mode 100644 Books/Music/Theory/BendingIntervalReference.txt create mode 100644 Books/Music/Theory/CAGED.txt create mode 100644 Books/Music/Theory/Chord Tones and Tensions.txt create mode 100644 Books/Music/Theory/Diatonic Constraint Rules.txt create mode 100644 Books/Music/Theory/Fretboard Theory 2008 E-Book - Desi Serna.txt create mode 100644 Books/Music/Theory/Guitar_ The Circle of Fifths fo - Joseph Alexander.txt create mode 100644 Books/Music/Theory/Interval Mathematics.txt create mode 100644 Books/Music/Theory/Modal Interchange.txt create mode 100644 Books/Music/Theory/Mode Formulas.txt create mode 100644 Books/Music/Theory/PentatonicScaleReference.txt delete mode 100644 Books/Music/Theory/extracted_book.txt create mode 100644 Books/Music/Theory/mode_lookup.txt create mode 100644 Books/Music/Theory/mode_rules.txt create mode 100644 MusicCorpusDriftAnalysis.txt delete mode 100644 Scales.py diff --git a/Books/Accounting/Jira/IA-2691.txt b/Books/Accounting/Jira/IA-2691.txt new file mode 100644 index 0000000..4e87bad --- /dev/null +++ b/Books/Accounting/Jira/IA-2691.txt @@ -0,0 +1,252 @@ +JIRA Story - RAG Knowledge Base + +Accounting IA-2691: Remove Nightly Cancel Process for Manual Cancels from MP Nightly + +Chunk 1: Overview + +Metadata: +storyId=IA-2691, type=overview, domain=manualCancel, workflow=nightlyProcessing + +Content: +Purpose: +Extracts the manual cancel process from the MP nightly job to enable independent execution, ensuring manual cancels continue to function after MP is decommissioned. + +Business Goal: +Maintain continuity of cancel notices while decoupling from the MP nightly schedule, allowing operational flexibility and independent scheduling. + +Core Behavior: + +Remove manual cancel logic from MP nightly job +Execute cancel process independently as a standalone job +Generate cancel notices that exactly match requested manual cancels +Replicate MP weekend and holiday behavior (as per C390) + +Outcome: +Manual cancel requests continue to be processed reliably, producing accurate cancel notices even if MP nightly job is no longer active. + +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2691, type=preconditions, dependencies=MPNightly,C461,IINSE461,C390 + +Content: +Required Preconditions: + +MP nightly job currently includes the manual cancel process +C461 program and IINSE461 logic are accessible for reuse +Weekend and holiday behavior must be mimicked (C390) + +Dependencies: + +Access to MP nightly job logic for verification +Spool files for validation of cancel notices +Potential creation of a new scheduled job for independent execution + +Implicit Rule (Made Explicit): + +Manual cancels must continue to execute correctly regardless of MP nightly status +Any changes to logic must maintain consistency with prior cancel notice behavior +Chunk 3: Functional Requirement - Manual Cancel Process + +Metadata: +storyId=IA-2691, type=functional, documentType=ManualCancel + +Content: +Required Fields (Normalized): + +CancelRequestId +PolicyNumber +CancelNoticeDate +CancelReason + +Purpose: +Represents manual cancel requests that must trigger cancel notices. + +Implicit Rules (Made Explicit): + +Each manual cancel request generates exactly one cancel notice +CancelNoticeDate represents the date notice is generated +CancelReason must be preserved for downstream reporting and decisioning +Weekend/holiday cancel logic (C390) must be applied consistently +Chunk 4: Workflow and Processing Flow + +Metadata: +storyId=IA-2691, type=workflow, orchestration=manualCancel + +Content: +Processing Flow: + +Receive manual cancel requests +Execute cancel logic via standalone job (extracted from MP nightly) +Call C461, which invokes IINSE461 +Generate cancel notices for each request +Output spool file for validation +Verify cancel notices match requested cancels + +Key Rule: +Standalone cancel process must replicate MP nightly behavior, including weekends and holidays, without requiring MP job execution. + +Chunk 5: Non-Functional Requirements + +Metadata: +storyId=IA-2691, type=nonFunctional, category=processReliability + +Content: +System Requirements: + +Standalone job must reliably produce accurate cancel notices +Execution should be schedulable independently of MP nightly job +Process must not degrade existing system performance + +Performance Consideration: + +Must complete within acceptable operational window +Spool file validation must be efficient and precise +Chunk 6: External System Responsibilities + +Metadata: +storyId=IA-2691, type=externalSystems, systems=MPNightly,C461,IINSE461 + +Content: +MPNightly Responsibilities: + +Previously provided manual cancel execution logic + +C461 Responsibilities: + +Execute cancel process logic +Call IINSE461 for core cancel functionality + +IINSE461 Responsibilities: + +Generate cancel notices for each manual cancel request + +Implicit Rule (Made Explicit): + +Spool files act as primary validation mechanism for cancel notices +Standalone job leverages existing logic but becomes the primary executor of manual cancels +Chunk 7: Business Rules + +Metadata: +storyId=IA-2691, type=businessRules, domain=manualCancelProcessing + +Content: +Core Rules: + +Each manual cancel request triggers one cancel notice +CancelNoticeDate must reflect actual notice generation date +Weekend and holiday rules (C390) must be applied to standalone execution +Standalone job must fully replicate MP nightly cancel behavior + +Edge Cases: + +MP nightly job is offline → manual cancels must still execute correctly +Multiple cancel requests for same policy → each request generates a separate notice +Discrepancy in cancel notice count → requires spool file validation +Chunk 8: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2691, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +Cancel requests are accurate and complete +C461/IINSE461 logic correctly reflects MP nightly behavior +Spool files reliably record all cancel notices + +Risks: + +Discrepancies between standalone job output and prior MP behavior +Missing or incorrect cancel requests may result in missing notices + +Mitigation: + +Validate output against MP nightly logic before full deployment +Use spool files to verify notice counts +Test weekend/holiday scenarios explicitly +Chunk 9: Search Queries Supported + +Metadata: +storyId=IA-2691, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How is manual cancel process extracted from MP nightly?" +"Which programs handle manual cancel notices?" +"How are cancel notices validated?" +"How is C390 weekend/holiday behavior applied?" +"What fields are required for manual cancel requests?" +"How do standalone cancel jobs differ from MP nightly execution?" +"How are discrepancies in cancel notice counts handled?" + + +Chunk 10: Before vs After Architecture + +Metadata: +storyId=IA-2691, type=architecture, domain=manualCancel, view=beforeAfter + +Content: + +Before: + +Manual cancel logic was embedded in MP nightly job. +Execution depended on MP nightly schedule. +Weekend/holiday behavior (C390) applied implicitly within MP logic. +Cancel notices generated as part of broader MP nightly spool output. + +After: + +Manual cancel process extracted into a standalone job. +Independent scheduling possible outside MP nightly window. +C461/IINSE461 handle cancel execution logic directly. +Weekend/holiday behavior (C390) explicitly applied. +Spool file output used solely for manual cancel validation. + +Impact: + +Decouples manual cancel responsibility from MP nightly job. +Reduces dependency risk if MP nightly fails or is decommissioned. +Provides clear operational boundaries for monitoring and reruns. + +Chunk 11: Operational Runbook Implications + +Metadata: +storyId=IA-2691, type=operations, domain=manualCancel, category=runbook + +Content: + +Rerun Procedure: + +Identify pending manual cancel requests. +Execute standalone manual cancel job. +Verify spool file output matches requested cancel count. +If discrepancies exist, rerun job after investigation. + +Monitoring: + +Track job execution status via scheduler logs. +Validate cancel notice count against request queue. +Compare output against historical MP nightly behavior for consistency. + +Alerts: + +Alert if job fails to complete or crashes. +Alert if cancel notice count ≠ cancel request count. +Alert for spool file generation issues. +Alert for failed weekend/holiday behavior logic (C390). + +Key Operational Considerations: + +Job can be scheduled independently of MP nightly batch window. +Spool files are primary source for verification; store and retain per SLA. +Include rollback or compensating actions if notices are incorrectly generated. +Document all manual reruns in operational logs for auditing purposes. + +These two chunks complement the earlier 9 chunks perfectly: the architecture chunk visualizes the decoupling and the runbook chunk gives concrete operational guidance for execution, monitoring, and alerting. + +If you want, I can +also generate a compact visual diagram for “Before vs After Architecture” to include in the KB—it’s highly useful for onboarding and RAG retrieval. + + diff --git a/Books/Accounting/Jira/IA-2698.txt b/Books/Accounting/Jira/IA-2698.txt new file mode 100644 index 0000000..304dd56 --- /dev/null +++ b/Books/Accounting/Jira/IA-2698.txt @@ -0,0 +1,208 @@ +JIRA Story - RAG Knowledge Base +Accounting IA-2698: Reshuffle S3 Import Workflow +Chunk 1: Overview + +Metadata: +storyId=IA-2698, type=overview, domain=fileProcessing, workflow=s3Import + +Content: +Purpose: Refactors the S3 file import workflow by moving file reading and processing logic out of the Lambda trigger and into a downstream Step Function. + +Business Goal: +Improve traceability, maintainability, and failure recovery by centralizing processing logic within Step Functions instead of embedding it in the S3-triggered Lambda. + +Core Change: + +Current: Lambda triggered by S3 both receives AND processes file +New: Lambda triggered by S3 only initiates workflow, processing occurs downstream + +Outcome: + +Better observability of processing steps +Ability to retry/reprocess failures via Step Function +Cleaner separation of concerns +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2698, type=preconditions, dependencies=S3,StepFunctions + +Content: +Required Preconditions: + +S3 bucket configured to trigger Lambda on file upload +Existing Step Function capable of handling file processing logic + +Dependencies: + +AWS S3 event notification system +Lambda function (S3 trigger handler) +AWS Step Functions orchestration + +Implicit Rule (Made Explicit): + +File ingestion must still trigger the workflow exactly once per upload +Existing processing logic must be migrated fully to Step Function +Chunk 3: Functional Requirement - S3 Trigger Behavior + +Metadata: +storyId=IA-2698, type=functional, component=s3TriggerLambda + +Content: +New Behavior of S3 Triggered Lambda: + +Receives S3 event (file upload notification) +Extracts file metadata (e.g., BucketName, ObjectKey) +Initiates Step Function execution +Passes file reference (not file contents) downstream + +Explicit Rule: + +Lambda must NOT read or process file contents + +Implicit Rule (Made Explicit): + +Lambda becomes a lightweight orchestration trigger only +Reduces Lambda execution time and complexity +Chunk 4: Functional Requirement - Step Function Processing + +Metadata: +storyId=IA-2698, type=functional, component=stepFunction + +Content: +Step Function Responsibilities: + +Receive file reference from Lambda +Perform file reading from S3 +Execute all parsing and processing logic +Handle downstream workflows dependent on file contents + +Processing Capabilities: + +Retry failed steps +Track execution state +Enable partial or full reprocessing + +Implicit Rule (Made Explicit): + +All business logic previously in Lambda must be relocated here +Step Function becomes the single source of truth for processing flow +Chunk 5: Workflow and Processing Flow + +Metadata: +storyId=IA-2698, type=workflow, orchestration=stepFunctions + +Content: +Updated Processing Flow: + +File uploaded to S3 bucket +S3 event triggers Lambda +Lambda extracts file metadata (BucketName, ObjectKey) +Lambda invokes Step Function execution +Step Function retrieves file from S3 +Step Function processes file contents +Downstream processing steps executed within workflow + +Key Change: + +File processing is decoupled from trigger event +Chunk 6: Non-Functional Requirements + +Metadata: +storyId=IA-2698, type=nonFunctional, category=architecture + +Content: +System Improvements: + +Traceability: Step Function execution history provides full audit trail +Maintainability: Business logic centralized and easier to modify +Resiliency: Failed executions can be retried without re-uploading file + +Performance Consideration: + +Slight increase in orchestration overhead +Reduced Lambda execution burden +Chunk 7: External System Responsibilities + +Metadata: +storyId=IA-2698, type=externalSystems, systems=AWS + +Content: +AWS S3: + +Stores uploaded files +Triggers Lambda on file creation events + +AWS Lambda (Trigger Layer): + +Receives S3 event +Initiates Step Function execution + +AWS Step Functions: + +Orchestrates full file processing workflow +Handles retries, state tracking, and execution visibility + +Implicit Rule (Made Explicit): + +No external system reads file directly except Step Function workflow +Chunk 8: Business Rules + +Metadata: +storyId=IA-2698, type=businessRules, domain=fileProcessing + +Content: +Core Rules: + +File processing must not occur inside S3-triggered Lambda +Step Function must handle all file reading and processing +File reference (not content) must be passed between components +Workflow must remain automatically triggered upon file upload + +Acceptance Criteria Rule: + +Step Function execution must still trigger after S3 import (regression requirement) + +Edge Case Handling: + +If Step Function fails → workflow can be retried without re-uploading file +If Lambda fails → file may require re-trigger or retry mechanism +Chunk 9: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2698, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +S3 event reliably delivers correct file metadata +Step Function has access to correct S3 permissions +File format and structure remain unchanged + +Risks: + +Misconfigured event payload → Step Function receives invalid file reference +Migration gaps → logic not fully moved from Lambda +Increased dependency on Step Function availability + +Mitigation: + +Regression testing ensures workflow triggers correctly +Validation of input payload before Step Function execution +Chunk 10: Search Queries Supported + +Metadata: +storyId=IA-2698, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How is S3 file processing handled after this change?" +"Why move file processing from Lambda to Step Function?" +"What does the S3 trigger Lambda do now?" +"Where is file parsing logic executed?" +"How do Step Functions improve file processing reliability?" +"Can file processing be retried without re-uploading?" +"What data is passed from Lambda to Step Function?" +"What are the benefits of this architecture change?" +"What happens when an S3 file is uploaded?" +"What regression requirement exists for S3 workflow?" \ No newline at end of file diff --git a/Books/Accounting/Jira/IA-2827.txt b/Books/Accounting/Jira/IA-2827.txt new file mode 100644 index 0000000..86435eb --- /dev/null +++ b/Books/Accounting/Jira/IA-2827.txt @@ -0,0 +1,236 @@ +JIRA Story - RAG Knowledge Base +Accounting IA-2827: Preload iSeries Data for Pending Cancel and Billing Statements +Chunk 1: Overview + +Metadata: +storyId=IA-2827, type=overview, domain=dataPreload, workflow=nightlyProcessing + +Content: +Purpose: Preloads iSeries-derived data into AWS data store for Pending Cancel and Billing Statement documents to support downstream nightly processing. + +Business Goal: +Ensure required historical and current data is available in AWS so that nightly processes can accurately evaluate policy state and prior notifications. + +Core Behavior: + +Extract data from upstream systems (iSeries and/or EDW) +Store normalized data in AWS data store +Enable lookup of prior billing and cancellation events during nightly checks + +Outcome: +Nightly workflows can reliably determine whether billing statements or pending cancellation notices have been previously issued. + +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2827, type=preconditions, dependencies=iSeries,EDW,Oracle + +Content: +Required Preconditions: + +Data must be extracted from iSeries and/or EDW +Payment schedule data may include Oracle identifiers (needs confirmation) + +Dependencies: + +iSeries as primary source of policy and installment data +EDW as potential supplemental data source +AWS data store for persistence +Nightly processing workflows consuming preloaded data + +Implicit Rule (Made Explicit): + +If Oracle identifiers are not present, downstream processes must still function using available keys (e.g., AccountIdentifier, PolicyNumber) +Chunk 3: Functional Requirement - Pending Cancel Document + +Metadata: +storyId=IA-2827, type=functional, documentType=PendingCancel + +Content: +Required Fields (Normalized): + +AccountIdentifier +PrimaryCancellationReason +CancellationNoticeDate +CancellationEffectiveDate +PolicyNumber + +Purpose: +Represents policies that are at risk of cancellation and have been issued a pending cancellation notice. + +Implicit Rules (Made Explicit): + +Presence of record implies a pending cancellation notice has been sent +CancellationEffectiveDate represents the future termination date if no action taken +PrimaryCancellationReason must be preserved for downstream decisioning +Chunk 4: Functional Requirement - Billing Statement Document + +Metadata: +storyId=IA-2827, type=functional, documentType=BillingStatement + +Content: +Required Fields (Normalized): + +AccountIdentifier +PaymentDueDate +StatementType +PolicyNumber + +Purpose: +Represents billing statements issued to customers for payment collection. + +Implicit Rules (Made Explicit): + +Presence of record implies a billing statement has been generated/sent +PaymentDueDate is used for delinquency and cancellation evaluation +StatementType differentiates billing scenarios (e.g., regular, special) +Chunk 5: Functional Requirement - Installment and Notice Tracking + +Metadata: +storyId=IA-2827, type=functional, concept=installmentTracking + +Content: +Required Output Fields: + +HeaderNumber +PaymentNumber (InstallmentNumber) +BillingNoticeSent (Y/N) +PendingCancelNoticeSent (Y/N) +PolicyNumber (12 digits) +AccountKey + +Core Logic: + +Identify the highest active PaymentNumber (InstallmentNumber) +Determine whether: +Billing statement has been sent +Pending cancellation notice has been sent + +Implicit Rules (Made Explicit): + +“Highest active” implies latest installment that is still open/active +Flags (Y/N) are derived from presence of corresponding document records +PolicyNumber must be normalized to 12-digit format +Chunk 6: Workflow and Processing Flow + +Metadata: +storyId=IA-2827, type=workflow, orchestration=dataPreload + +Content: +Processing Flow: + +Extract data from iSeries and/or EDW +Normalize and map fields to AWS data model +Identify latest active installment per PolicyNumber +Evaluate presence of: +Billing statements +Pending cancel notices +Derive indicator flags (BillingNoticeSent, PendingCancelNoticeSent) +Store enriched records in AWS data store +Nightly process queries this data for decisioning + +Key Rule: +Preloaded data must be available before nightly process execution + +Chunk 7: Non-Functional Requirements + +Metadata: +storyId=IA-2827, type=nonFunctional, category=dataAvailability + +Content: +System Requirements: + +Data must be preloaded prior to nightly batch execution +Data retrieval and storage must be reliable and repeatable +System should support incremental updates as new installments are generated + +Performance Consideration: + +Preload process must complete within batch window +Efficient lookup required for nightly processing queries +Chunk 8: External System Responsibilities + +Metadata: +storyId=IA-2827, type=externalSystems, systems=iSeries,EDW,AWS + +Content: +iSeries Responsibilities: + +Provide PolicyNumber, InstallmentNumber (PaymentNumber), document indicators +Provide core billing and cancellation data + +EDW Responsibilities: + +Supplement missing or derived data fields (if applicable) + +AWS Responsibilities: + +Store normalized data +Provide query access for nightly processing + +Oracle (Conditional): + +May provide identifiers within payment schedule data (if available) + +Implicit Rule (Made Explicit): + +AWS acts as the system of aggregation and lookup, not the source of truth +Chunk 9: Business Rules + +Metadata: +storyId=IA-2827, type=businessRules, domain=policyProcessing + +Content: +Core Rules: + +Highest active installment must be identified per PolicyNumber +Billing and cancellation indicators derived from document presence +PolicyNumber must be standardized to 12 digits +AccountIdentifier and AccountKey must consistently map across systems + +Edge Cases: + +Missing Oracle identifier → processing continues using available keys +Multiple documents → only latest active installment considered +No documents present → both flags set to "N" +Chunk 10: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2827, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +iSeries data is accurate and up-to-date +Installment numbering correctly reflects payment sequence +Document generation events are reliably recorded + +Risks: + +Missing or inconsistent AccountIdentifier across systems +Incorrect identification of “highest active” installment +Incomplete document history leading to incorrect flags + +Mitigation: + +Validate data completeness during preload +Normalize identifiers consistently +Cross-check installment sequencing logic +Chunk 11: Search Queries Supported + +Metadata: +storyId=IA-2827, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How is iSeries data preloaded for billing and cancellation processing?" +"What fields are required for Pending Cancel documents?" +"What data is stored for billing statements?" +"How is the highest active installment determined?" +"How are billing and cancellation notice flags calculated?" +"What data does nightly processing rely on?" +"What happens if Oracle identifiers are missing?" +"How are PolicyNumbers normalized?" +"What systems provide data for preload processing?" +"How do we determine if a billing statement was sent?" \ No newline at end of file diff --git a/Books/Accounting/Jira/IA-2852.txt b/Books/Accounting/Jira/IA-2852.txt new file mode 100644 index 0000000..3a91329 --- /dev/null +++ b/Books/Accounting/Jira/IA-2852.txt @@ -0,0 +1,186 @@ +JIRA Story - RAG Knowledge Base + +Accounting IA-2852: Payment Import Response from Oracle + +Chunk 1: Overview + +Metadata: +storyId=IA-2852, type=overview, domain=paymentProcessing, workflow=batchSubmission + +Content: +Purpose: +Capture and store responses from Oracle after payment batches are submitted, confirming success or failure of each payment. + +Business Goal: +Provide accounting and customer service teams with reliable confirmation of payment batch outcomes to support reconciliation, audit, and customer inquiries. + +Core Behavior: + +Receive response from Oracle for each submitted payment batch +Store response data in S3 audit bucket +Include both successful and failed payment notifications + +Outcome: + +Accounting team can confirm which payments succeeded or failed +Customer service can take timely action on failed payments +Audit trail maintained in S3 for compliance and reporting +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2852, type=preconditions, dependencies=ERP,Oracle,S3 + +Content: +Required Preconditions: + +Payment batch submission process must be operational +Oracle ERP system configured to send responses to the designated endpoint +S3 audit bucket available for storing responses + +Dependencies: + +ERP must successfully submit payment batches +Oracle must send responses using the correct URL (update noted 4/7) +S3 bucket access permissions must allow write operations from the ingestion process + +Implicit Rule (Made Explicit): + +Responses cannot be processed or stored if batch submission fails +ERP and Oracle systems must use the same endpoint URL to avoid 403 errors +Chunk 3: Functional Requirements - Response Capture + +Metadata: +storyId=IA-2852, type=functional, documentType=PaymentResponse + +Content: +Required Fields (Normalized): + +PaymentBatchId +PaymentId +Status (Success / Failure) +Timestamp +ErrorMessage (if any) + +Purpose: +Represents the response from Oracle confirming the status of each payment in the batch. + +Implicit Rules (Made Explicit): + +Each PaymentId in a batch must have a corresponding response record +Status field determines whether downstream reconciliation is required +ErrorMessage is required for failed payments to enable troubleshooting +Chunk 4: Non-Functional / Technical Requirements + +Metadata: +storyId=IA-2852, type=nonFunctional, category=technicalIntegration + +Content: +System Requirements: + +Responses must be stored reliably in S3 for audit purposes +Endpoint URL must be consistent with other ERP events to prevent 403 errors +Process should handle both high-volume and low-volume payment batches + +Performance Consideration: + +Capture and storage should occur in near-real-time after Oracle sends the response +System must gracefully handle retries in case of network or ERP errors +Chunk 5: External System Responsibilities + +Metadata: +storyId=IA-2852, type=externalSystems, systems=Oracle,ERP,S3 + +Content: +Oracle ERP Responsibilities: + +Send success/failure responses for each payment in submitted batch +Use correct endpoint URL for responses + +S3 Responsibilities: + +Store response data as audit records +Ensure records are accessible for reconciliation and reporting + +ERP Responsibilities: + +Submit payment batch +Use consistent endpoint URL to avoid 403 errors + +Implicit Rule (Made Explicit): + +ERP and Oracle URL must match configured endpoint to prevent communication errors +S3 is the authoritative storage for audit trail, not Oracle logs +Chunk 6: Workflow / Processing Flow + +Metadata: +storyId=IA-2852, type=workflow, orchestration=responseCapture + +Content: +Processing Flow: + +Submit payment batch to Oracle ERP +Oracle sends response for each PaymentId in the batch +Capture response (success/failure) +Normalize response fields (PaymentBatchId, PaymentId, Status, Timestamp, ErrorMessage) +Store response records in S3 audit bucket +Monitor for any missing responses or storage failures + +Key Rule: + +All payments in a batch must have a response recorded in S3 before batch is considered complete +Chunk 7: Business Rules + +Metadata: +storyId=IA-2852, type=businessRules, domain=paymentProcessing + +Content: +Core Rules: + +Each PaymentId must have a corresponding Oracle response +Successful payments require no further action +Failed payments must include ErrorMessage for troubleshooting and corrective actions +S3 audit bucket acts as authoritative record for batch response + +Edge Cases: + +ERP receives 403 error → response not captured; rerun required after URL fix +Partial responses → system flags missing PaymentIds for follow-up +Duplicate responses → ensure idempotent storage in S3 +Chunk 8: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2852, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +Oracle responses are complete and accurate +ERP submits batches successfully +S3 bucket permissions allow reliable writes + +Risks: + +Incorrect or missing PaymentId in response → reconciliation errors +403 errors due to incorrect URL prevent capture of responses +Network or permission failures during S3 write + +Mitigation: + +Validate URL configuration with ERP and Oracle +Implement retries and error logging for failed writes +Monitor completeness of captured responses against submitted batch +Chunk 9: Search Queries Supported + +Metadata: +storyId=IA-2852, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How are Oracle payment responses captured after batch submission?" +"What fields are stored for each payment response?" +"Where are payment response audit files stored?" +"How are failed payments identified and tracked?" +"What happens if Oracle or ERP returns a 403 error?" +"How is S3 used for payment batch audit storage?" +"How is the response workflow processed for each batch?" \ No newline at end of file diff --git a/Books/Accounting/Jira/IA-2854.txt b/Books/Accounting/Jira/IA-2854.txt new file mode 100644 index 0000000..bf2fb37 --- /dev/null +++ b/Books/Accounting/Jira/IA-2854.txt @@ -0,0 +1,189 @@ +JIRA Story - RAG Knowledge Base + +Accounting IA-2854: Add Transaction ID & Installment # to be Stored for Pending Cancel + +Chunk 1: Overview + +Metadata: +storyId=IA-2854, type=overview, domain=pendingCancel, workflow=dataStorage + +Content: +Purpose: +Capture TransactionId and InstallmentNumber for each Pending Cancel record in AWS to maintain traceability to the source transaction invoice. + +Business Goal: +Enable precise identification and reconciliation of Pending Cancel notices with their originating transactions, ensuring accurate processing, filtering, and reporting. + +Core Behavior: + +Store TransactionId and InstallmentNumber in AWS DynamoDB for each Pending Cancel +Allow filtering by PolicyNumber, TransactionId, and InstallmentNumber +Retrieve the latest transaction as the active invoice during processing + +Outcome: + +Pending Cancel records are fully traceable to their source transactions +Step Functions and Lambdas can accurately process, filter, and reconcile Pending Cancel data +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2854, type=preconditions, dependencies=AWS,DynamoDB,iSeries,Lambda,StepFunctions + +Content: +Required Preconditions: + +AWS DynamoDB table for Pending Cancel data already exists +iSeries data flow for Pending Cancel records is operational +Step Functions and Lambdas for processing Pending Cancel data are deployed + +Dependencies: + +DynamoDB schema must support TransactionId and InstallmentNumber fields +Step Functions must consume Pending Cancel data with the new fields +Lambdas must filter and retrieve records based on PolicyNumber, TransactionId, and InstallmentNumber + +Implicit Rule (Made Explicit): + +Without DynamoDB table availability or schema updates, new fields cannot be captured +Step Functions and Lambdas must be updated in tandem with schema changes +Chunk 3: Functional Requirements - Pending Cancel Data + +Metadata: +storyId=IA-2854, type=functional, documentType=PendingCancel + +Content: +Required Fields (Normalized): + +PolicyNumber +TransactionId +InstallmentNumber +PendingCancelNoticeDate +Status (Active/Processed) + +Purpose: +Enhance Pending Cancel data model to enable traceability to original transactions and invoices. + +Implicit Rules (Made Explicit): + +PolicyNumber is primary key for retrieval +TransactionId represents the source invoice +InstallmentNumber identifies the specific installment linked to the Pending Cancel +Latest TransactionId per PolicyNumber is considered active for processing +Chunk 4: Workflow / Processing Flow + +Metadata: +storyId=IA-2854, type=workflow, orchestration=pendingCancelProcessing + +Content: +Processing Flow: + +Receive Pending Cancel data from iSeries +Use PolicyNumber to query existing DynamoDB records +Store TransactionId and InstallmentNumber alongside Pending Cancel record +Step Functions and Lambdas filter records by PolicyNumber, TransactionId, and InstallmentNumber +During reconciliation, use the latest TransactionId as the active invoice +Generate notices or downstream triggers based on active Pending Cancel records + +Key Rule: + +Only the latest TransactionId per PolicyNumber is considered active; older transactions are ignored for processing +Chunk 5: Non-Functional / Technical Requirements + +Metadata: +storyId=IA-2854, type=nonFunctional, category=performanceReliability + +Content: +System Requirements: + +DynamoDB writes must be atomic and consistent to prevent mismatches +Step Functions and Lambdas must process and filter data with minimal latency +Ensure backward compatibility with existing Pending Cancel processing + +Performance Consideration: + +High-volume Pending Cancel loads must not degrade Lambda performance +DynamoDB queries by PolicyNumber, TransactionId, InstallmentNumber must be efficient +Chunk 6: External System Responsibilities + +Metadata: +storyId=IA-2854, type=externalSystems, systems=iSeries,AWS,DynamoDB,Lambda,StepFunctions + +Content: +iSeries Responsibilities: + +Provide TransactionId, InstallmentNumber, PolicyNumber, and Pending Cancel records + +AWS / DynamoDB Responsibilities: + +Store Pending Cancel records with new TransactionId and InstallmentNumber fields +Provide query capabilities for filtering and retrieval + +Lambda Responsibilities: + +Filter, retrieve, and process Pending Cancel records using PolicyNumber, TransactionId, and InstallmentNumber + +Step Functions Responsibilities: + +Orchestrate processing of Pending Cancel records through multiple Lambdas +Ensure active TransactionId is selected for downstream actions + +Implicit Rule (Made Explicit): + +AWS/DynamoDB acts as the authoritative data store for Pending Cancel records +Step Functions and Lambdas must respect the active TransactionId logic +Chunk 7: Business Rules + +Metadata: +storyId=IA-2854, type=businessRules, domain=pendingCancelProcessing + +Content: +Core Rules: + +Each Pending Cancel record must store TransactionId and InstallmentNumber +Latest TransactionId per PolicyNumber is active for processing +Step Functions and Lambdas filter based on PolicyNumber, TransactionId, and InstallmentNumber +Records without TransactionId or InstallmentNumber are considered incomplete and flagged + +Edge Cases: + +Multiple Pending Cancels for same PolicyNumber → only the latest TransactionId is active +Missing TransactionId → record cannot be reconciled +InstallmentNumber mismatch → flag for review +Chunk 8: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2854, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +iSeries provides complete TransactionId and InstallmentNumber data +DynamoDB writes are successful and consistent +Step Functions and Lambdas correctly implement filtering logic + +Risks: + +Missing or incorrect TransactionId may lead to incorrect Pending Cancel mapping +Inconsistent InstallmentNumber could cause reconciliation errors +Failure in Lambda processing could skip active TransactionId selection + +Mitigation: + +Validate iSeries data completeness prior to storage +Implement idempotent DynamoDB writes +Monitor Step Function and Lambda execution logs for failures +Chunk 9: Search Queries Supported + +Metadata: +storyId=IA-2854, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How is TransactionId stored for Pending Cancel records?" +"How do Step Functions filter Pending Cancel data?" +"How is the latest TransactionId determined per PolicyNumber?" +"What fields are required for Pending Cancel processing?" +"How are InstallmentNumber and TransactionId used in reconciliation?" +"Which AWS components handle Pending Cancel storage and filtering?" +"What happens if TransactionId or InstallmentNumber is missing?" \ No newline at end of file diff --git a/Books/Accounting/Jira/IA-2855.txt b/Books/Accounting/Jira/IA-2855.txt new file mode 100644 index 0000000..fb2cf50 --- /dev/null +++ b/Books/Accounting/Jira/IA-2855.txt @@ -0,0 +1,190 @@ +JIRA Story - RAG Knowledge Base + +Accounting IA-2855: Add Transaction ID and Installment # to be Stored for Billing Statements + +Chunk 1: Overview + +Metadata: +storyId=IA-2855, type=overview, domain=billingStatement, workflow=dataStorage + +Content: +Purpose: +Enhance the Billing Statement data model in AWS to include TransactionId and InstallmentNumber, ensuring each statement is traceable to its source transaction invoice. + +Business Goal: +Enable accurate reconciliation and processing of Billing Statements by linking them to the originating transaction invoice, allowing step functions and lambdas to filter and process data effectively. + +Core Behavior: + +Store TransactionId and InstallmentNumber in AWS DynamoDB Billing Statement table +Allow filtering by PolicyNumber, TransactionId, and InstallmentNumber +Treat latest TransactionId as the active invoice during processing + +Outcome: + +Billing Statement records are fully traceable to source transactions +Step Functions and Lambdas can reliably filter and reconcile Billing Statement data +Supports consistent downstream processing and reporting +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2855, type=preconditions, dependencies=AWS,DynamoDB,iSeries,Lambda,StepFunctions + +Content: +Required Preconditions: + +AWS DynamoDB Billing Statement table exists +Step Functions and Lambdas for Billing Statement processing are deployed +iSeries data flow for Billing Statements is operational + +Dependencies: + +DynamoDB schema must support TransactionId and InstallmentNumber attributes +Step Functions and Lambdas must be updated to filter by PolicyNumber, TransactionId, and InstallmentNumber +Latest TransactionId per PolicyNumber must be treated as active + +Implicit Rule (Made Explicit): + +Processing cannot accurately filter or reconcile Billing Statements without the new attributes +iSeries will not send TransactionId back to AWS; system must use previously stored data +Chunk 3: Functional Requirements - Billing Statement Data + +Metadata: +storyId=IA-2855, type=functional, documentType=BillingStatement + +Content: +Required Fields (Normalized): + +PolicyNumber +TransactionId +InstallmentNumber +BillingStatementDate +Status (Active/Processed) + +Purpose: +Enhance Billing Statement records to maintain traceability to the originating transaction invoice. + +Implicit Rules (Made Explicit): + +PolicyNumber remains the primary key +TransactionId represents the source transaction invoice +InstallmentNumber identifies the specific installment related to the Billing Statement +Latest TransactionId per PolicyNumber is treated as the active invoice +Chunk 4: Workflow / Processing Flow + +Metadata: +storyId=IA-2855, type=workflow, orchestration=billingStatementProcessing + +Content: +Processing Flow: + +Receive Billing Statement data from iSeries +Query DynamoDB using PolicyNumber +Store or update TransactionId and InstallmentNumber attributes +Step Functions and Lambdas filter records using PolicyNumber, TransactionId, and InstallmentNumber +Select the latest TransactionId as the active invoice for downstream processing +Generate billing notices or trigger downstream workflows based on active invoices + +Key Rule: + +Only the latest TransactionId per PolicyNumber is considered active; older transactions are ignored +Chunk 5: Non-Functional / Technical Requirements + +Metadata: +storyId=IA-2855, type=nonFunctional, category=performanceReliability + +Content: +System Requirements: + +DynamoDB writes must be atomic and consistent +Step Functions and Lambdas must efficiently filter and process data +Existing primary key (PolicyNumber) must remain unchanged + +Performance Consideration: + +High-volume Billing Statement processing must not degrade Lambda performance +Queries by PolicyNumber, TransactionId, and InstallmentNumber must be efficient +Chunk 6: External System Responsibilities + +Metadata: +storyId=IA-2855, type=externalSystems, systems=iSeries,AWS,DynamoDB,Lambda,StepFunctions + +Content: +iSeries Responsibilities: + +Provide Billing Statement records with PolicyNumber +TransactionId is not sent back; system must maintain mapping + +AWS / DynamoDB Responsibilities: + +Store Billing Statement records with TransactionId and InstallmentNumber attributes +Allow filtering and retrieval based on PolicyNumber, TransactionId, and InstallmentNumber + +Lambda Responsibilities: + +Filter, retrieve, and process Billing Statement records based on new attributes + +Step Functions Responsibilities: + +Orchestrate processing of Billing Statement records +Ensure active TransactionId is correctly selected for downstream workflows + +Implicit Rule (Made Explicit): + +AWS/DynamoDB is the authoritative source for TransactionId mapping since iSeries does not return it +Chunk 7: Business Rules + +Metadata: +storyId=IA-2855, type=businessRules, domain=billingStatementProcessing + +Content: +Core Rules: + +Each Billing Statement must store TransactionId and InstallmentNumber +Latest TransactionId per PolicyNumber is active for processing +Step Functions and Lambdas must filter using PolicyNumber, TransactionId, and InstallmentNumber +Billing Statement records without TransactionId or InstallmentNumber are incomplete and flagged + +Edge Cases: + +Multiple Billing Statements for same PolicyNumber → only latest TransactionId is active +Missing TransactionId → reconciliation cannot proceed +InstallmentNumber mismatch → flag for review +Chunk 8: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2855, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +iSeries provides accurate Billing Statement data +DynamoDB writes succeed consistently +Step Functions and Lambdas correctly implement filtering logic + +Risks: + +Missing or incorrect TransactionId leads to reconciliation errors +InstallmentNumber inconsistencies cause mismatches +Lambda or Step Function failures may skip active TransactionId selection + +Mitigation: + +Validate completeness of Billing Statement records before storage +Implement idempotent writes in DynamoDB +Monitor Step Function and Lambda execution logs for failures +Chunk 9: Search Queries Supported + +Metadata: +storyId=IA-2855, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How is TransactionId stored for Billing Statement records?" +"How do Step Functions filter Billing Statement data?" +"How is the latest TransactionId determined per PolicyNumber?" +"What fields are required for Billing Statement processing?" +"How are InstallmentNumber and TransactionId used in reconciliation?" +"Which AWS components handle Billing Statement storage and filtering?" +"What happens if TransactionId is missing from iSeries data?" \ No newline at end of file diff --git a/Books/Accounting/Jira/IA-2858.txt b/Books/Accounting/Jira/IA-2858.txt new file mode 100644 index 0000000..586661d --- /dev/null +++ b/Books/Accounting/Jira/IA-2858.txt @@ -0,0 +1,186 @@ +JIRA Story - RAG Knowledge Base +Accounting IA-2858: Payment Plan Change Processing +Chunk 1: Overview + +Metadata: +storyId=IA-2858, type=overview, domain=payments, workflow=planChangeProcessing + +Content: +Purpose: Ensures customer payment plan changes are processed before payment application to maintain accurate invoice allocation in Oracle. + +Business Goal: +Prevent misapplication of payments by sequencing plan change operations ahead of payment batching and cash receipt processing. + +Core Behavior: + +Detect payment plan change requirement +Execute plan change workflow first +Then process payment against updated invoice structure + +Outcome: +Payments are applied to the correct (new) invoice after plan restructuring. + +Chunk 2: Preconditions and Dependencies + +Metadata: +storyId=IA-2858, type=preconditions, dependencies=planChangeDetection + +Content: +Required Preconditions: + +System must identify that a payment plan change is required prior to payment processing +Detection logic exists upstream (outside this story scope) + +Dependencies: + +Plan change identification logic (external or prior step) +Step Function orchestration for sequencing workflows +Oracle Accounts Receivable for invoice and payment application + +Implicit Rule (Made Explicit): +If plan change is not detected, standard payment processing proceeds unchanged. + +Chunk 3: Functional Requirement - Payment Handling Rules + +Metadata: +storyId=IA-2858, type=functional, domain=paymentProcessing + +Content: +Payment Processing Behavior When Plan Change Exists: + +Payment is processed without sending InvoiceNumber to Oracle +Oracle creates a cash receipt only (no application to invoice) + +Required Fields: + +OracleCustomerNumber must always be provided +PO Number must NOT be provided when plan change occurs + +Implicit Rule (Made Explicit): + +Absence of InvoiceNumber intentionally prevents auto-application +This ensures payment is temporarily unapplied until new invoice exists +Chunk 4: Functional Requirement - Post Plan Change Application + +Metadata: +storyId=IA-2858, type=functional, domain=invoiceApplication + +Content: +Post-Plan Change Behavior: + +Plan change creates a new invoice +Existing system functionality automatically applies previously created cash receipt to the new invoice + +Implicit Rule (Made Explicit): + +No manual reconciliation required +System relies on Oracle auto-application logic after invoice creation +Chunk 5: Workflow and Processing Sequence + +Metadata: +storyId=IA-2858, type=workflow, orchestration=stepFunctions + +Content: +Processing Flow: + +Detect payment plan change requirement +Execute Plan Change Step Function +Plan change creates new invoice structure +Pass control to Cash Receipt Step Function +Include flag indicating whether plan change occurred +Process payment: +If plan change = true → create unapplied cash receipt +If plan change = false → normal invoice application +Oracle auto-applies receipt after invoice creation (if applicable) + +Key Rule: +Plan change processing must occur before any payment batching or cash receipt creation. + +Chunk 6: Non-Functional Requirements + +Metadata: +storyId=IA-2858, type=nonFunctional, category=orchestration + +Content: +System Requirements: + +Step Function orchestration enforces strict execution order +Plan change workflow must complete before payment workflow begins +System must pass state flag between workflows indicating plan change occurrence + +Performance Consideration: + +Sequential dependency may introduce latency but ensures correctness +Chunk 7: External System Responsibilities + +Metadata: +storyId=IA-2858, type=externalSystems, systems=Oracle,AWS + +Content: +AWS Responsibilities: + +Orchestrate workflows using Step Functions +Detect and propagate plan change flag +Control sequencing of operations + +Oracle Responsibilities: + +Create cash receipt when InvoiceNumber is not provided +Auto-apply payment once new invoice is created + +Implicit Rule (Made Explicit): +Oracle behavior is leveraged intentionally (not overridden) to handle delayed application. + +Chunk 8: Business Rules + +Metadata: +storyId=IA-2858, type=businessRules, domain=payments + +Content: +Core Rules: + +Plan change must precede payment application +InvoiceNumber must be omitted when plan change occurs +OracleCustomerNumber is always required +Payments initially remain unapplied when plan change is in progress +System must rely on Oracle auto-application after invoice creation + +Edge Case Handling: + +If plan change flag is incorrect → risk of misapplied payment +If invoice created after payment → Oracle auto-application resolves linkage +Chunk 9: Data Quality Assumptions and Risks + +Metadata: +storyId=IA-2858, type=dataQuality, riskLevel=low + +Content: +Assumptions: + +Plan change detection is accurate and reliable +Oracle auto-application logic behaves consistently +OracleCustomerNumber is always available + +Risks: + +Missing or incorrect plan change flag → incorrect payment application +Timing issues between invoice creation and receipt processing +Dependency on Oracle auto-apply behavior introduces external coupling +Chunk 10: Search Queries Supported + +Metadata: +storyId=IA-2858, type=queryPatterns, purpose=RAGRetrieval + +Content: +This knowledge base supports queries such as: + +"How are payments handled when a payment plan changes?" +"Why is InvoiceNumber not sent to Oracle during plan change?" +"What happens to payments before a new invoice is created?" +"How does Oracle apply payments after a plan change?" +"What is the workflow for payment plan change processing?" +"What flag indicates a plan change occurred?" +"How are unapplied cash receipts created?" +"What are the sequencing requirements for plan change vs payment processing?" +"What fields are required when processing payments with plan changes?" +"What risks exist if plan change detection fails?" \ No newline at end of file diff --git a/Books/Accounting/Jira/IA-2866.txt b/Books/Accounting/Jira/IA-2866.txt new file mode 100644 index 0000000..7f2ab32 --- /dev/null +++ b/Books/Accounting/Jira/IA-2866.txt @@ -0,0 +1,149 @@ +IRA Story IA-2866 - RAG Knowledge Base +Chunk 1: Story Overview + +Metadata: module=JIRA, storyId=IA-2866, type=overview, domain=dataPreloading, system=AWS + +Purpose: +Preloads iSeries-derived data into AWS data store to support downstream nightly processing for pending cancellations, cancellations, and billing statements. + +Business Goal: +Ensure required historical and transactional data is available so nightly processes can successfully validate and retrieve prior information. + +Key Concepts: +data preloading, AWS data store, iSeries integration, billing statements, cancellation processing, nightly validation workflows. + +Chunk 2: Preconditions + +Metadata: storyId=IA-2866, type=preconditions, dependencies=externalSystems + +Requirements: + +Data must be extracted from iSeries and/or EDW +Oracle identifier may exist on payment schedule file (requires confirmation) + +Purpose: +Defines required upstream data availability before AWS preloading can occur. + +Chunk 3: Pending Cancel Document Requirements + +Metadata: storyId=IA-2866, type=requirements, documentType=pendingCancel + +Required Fields: + +AccountIdentifier +PrimaryCancellationReason +CancellationNoticeDate +CancellationEffectiveDate +PolicyNumber +TransactionId +InstallmentNumber + +Purpose: +Defines data required to construct pending cancellation records in AWS. + +Chunk 4: Billing Statement Document Requirements + +Metadata: storyId=IA-2866, type=requirements, documentType=billingStatement + +Required Fields: + +AccountIdentifier +PaymentDueDate +StatementType +PolicyNumber +TransactionId +InstallmentNumber + +Purpose: +Defines data required for billing statement records used in downstream processing. + +Chunk 5: Cancellation Requirements + +Metadata: storyId=IA-2866, type=requirements, documentType=cancellation + +Required Fields: + +AccountIdentifier +CancellationDate +PolicyNumber + +Purpose: +Defines minimal dataset required to represent completed cancellations. + +Chunk 6: External System Responsibilities + +Metadata: storyId=IA-2866, type=integration, systems=iSeries,AWS,Oracle + +iSeries Responsibilities: + +Provides PolicyNumber +Provides InstallmentNumber +Provides document type information + +AWS Responsibilities: + +Fetch missing attributes from iSeries APIs +Fetch additional data from Oracle systems + +Oracle Role: + +Supplies supplemental identifiers and attributes not available in iSeries +Chunk 7: Installment Handling Rules + +Metadata: storyId=IA-2866, type=businessRules, domain=installments + +Rules: + +iSeries sends only the latest InstallmentNumber +If InstallmentNumber > 1: +System must pre-populate Installment 1 data +Ensures billing statement completeness + +Purpose: +Ensures correct historical representation of billing data when only partial installment data is provided. + +Chunk 8: Data Preloading Workflow + +Metadata: storyId=IA-2866, type=workflow, stage=preprocessing + +Flow: + +Extract data from iSeries and/or EDW +Validate availability of required identifiers +Enrich missing data via AWS calls to iSeries APIs and Oracle +Apply installment handling rules +Store processed data in AWS data store +Make data available for nightly processing + +Purpose: +Describes end-to-end data preparation process. + +Chunk 9: Data Quality and Assumptions + +Metadata: storyId=IA-2866, type=dataQuality, validation=assumed + +Assumptions: + +Required fields are available from upstream systems +Oracle identifiers may require validation +Installment data may be incomplete and requires augmentation + +Risks: + +Missing Oracle identifiers could impact downstream linking +Incomplete installment data without rule handling could break billing logic +Chunk 10: Search Queries Supported + +Metadata: storyId=IA-2866, type=queryPatterns, purpose=RAGRetrieval + +Examples: + +What data is required for pending cancel documents? +What fields are needed for billing statement generation? +What systems provide installment data? +How are missing attributes retrieved in AWS? +What are the rules for installment handling? +What data is required for cancellation records? +What are the preconditions for AWS data preloading? +How does AWS enrich iSeries data? +What happens when installment number is greater than 1? \ No newline at end of file diff --git a/Books/Music/Articles/Jeff Beck 1.txt b/Books/Music/Articles/Jeff Beck 1.txt new file mode 100644 index 0000000..5a78f36 --- /dev/null +++ b/Books/Music/Articles/Jeff Beck 1.txt @@ -0,0 +1,341 @@ +Chunk 1: Piece Overview +Metadata: artist=Jeff Beck, track=Over Under Sideways Down, year=1966, domain=bluesRockGuitar, sections=Intro/Chorus/Outro + +Purpose: Analysis and transcription of Jeff Beck's guitar work over a G7-based blues-rock composition. + +Scope: Covers melodic phrasing, scale usage, expressive techniques, and full tablature transcription. + +Key Concepts: Mixolydian mode, blues scale integration, chromatic phrasing, double-stop bends, unison bends, tension and resolution. + +Style: Early psychedelic blues-rock guitar approach using fuzz tone and expressive articulation. + +Chunk 2: Intro Theory +Metadata: artist=Jeff Beck, section=Intro, type=theory, harmony=G7, scale=Mixolydian, technique=chromaticPhrasing, concept=blueNote + +Description: +Over a G7 harmony, Jeff Beck uses G Mixolydian as the base scale. He incorporates chromatic movement (G# to A) and emphasizes the root (G) and flat seventh (F). A defining feature is the use of the blue note between Bb and B, contributing to a fluid, expressive phrasing style. + +Key Ideas: +- Mixolydian framework +- Chromatic passing tones +- Blue note usage +- Phrase-driven (not scale-driven) playing + +Chunk 3: Intro Performance Tips +Metadata: artist=Jeff Beck, section=Intro, type=performance, technique=fingeringPositions + +Guidance: +- Use index and ring fingers in measures 1-2 +- Shift index to fret 10 for b7 access +- Use middle finger for bends (C to D) +- Maintain smooth slides for phrasing continuity + +Chunk 4: Intro Notation +Metadata: artist=Jeff Beck, section=Intro, type=narrative, technique=hammerOn, pullOff, slide, concept=vocalPhrasing, string=Gstring, frets=10-14 + +The phrase unfolds entirely on the G string, and it feels less like a "run of notes" and more like a single melodic voice bending and sighing through a short improvisation. + +It begins at the 12th fret, a bright, slightly tense pitch in this register. That note is struck and allowed to settle for a moment, then immediately revisited—almost as if it is being insisted upon. From there, the line blossoms into a quick flourish: the 12th fret is picked again and pushed upward into a hammer-on at the 14th fret. The motion is instantaneous and fluid, like a sudden lift of the voice. The 14th fret tone briefly blooms, then is released back down with a pull-off, snapping gently back to the 12th fret. This creates a tight, ornamental loop—12 to 14 and back again—that feels vocal, like a quick turn or grace note rather than a mechanical exercise. + +Without pause, the phrase leans downward. The hand shifts back and slides from the 12th fret down to the 10th. The slide is important here: instead of a discrete jump, the pitch glides downward in one continuous motion, giving the impression of a voice dropping its tone mid-syllable. The 10th fret note lands with a slightly darker color, grounding the line after the brightness above it. + +From that 10th fret, the phrase becomes more elastic. The note is struck and then pushed upward via a hammer-on to the 13th fret, expanding the melodic tension. Almost immediately, that 13th fret tone is drawn upward again in a slide toward the 14th fret, intensifying the upward pull. But instead of resolving there, the energy collapses gently back down through a pull-off to the 12th fret, returning to familiar territory. This creates a wave-like contour: ascent, peak, and release, all happening in quick succession on a single string. + +The line then circles back with a familiar gesture: the 12th fret is again articulated and lifted to the 14th via hammer-on. This repetition feels like a refrain, a small insistence in the melody, as if the phrase is testing a melodic idea a second time but with slightly different emphasis. + +Finally, the phrase settles on the 14th fret once more, but this time it is not immediately released. Instead, it is allowed to ring out—lightly, perhaps even with a touch of uncertainty or restraint. The instruction to let it carry with reverb turns this final note into an atmosphere rather than a point: it hangs in space, decaying slowly, leaving the impression of an unfinished thought suspended in air. + +Overall, the line behaves like a single expressive utterance: it rises, falls, curls back on itself, and then dissolves into resonance rather than resolution. + +It again lives entirely on the G string, starting at the 12th fret. The opening note is struck cleanly, but instead of feeling fully settled, it feels slightly pressed forward in time—like the phrase is speaking quickly, almost cautiously. The 12th fret is immediately repeated, reinforcing the tonal center before the line begins to move. + +A hammer-on lifts the sound from the 12th fret to the 14th, and the note briefly brightens and sharpens in tension. That upper pitch is not held long; it falls back through a pull-off to the 12th fret, creating a tight ornamental loop—quick, contained, and rhythmically insistent. This opening figure feels more "pointed" than the earlier version, as if the phrase is being articulated in short bursts rather than flowing freely. + +From there, the line breaks away with a downward slide from the 12th fret to the 10th. This slide is more audible and deliberate here, like a small sigh or drop in energy that momentarily relaxes the tension established above. The 10th fret arrival feels grounded, slightly darker in tone, and more stable—almost like a brief landing point. + +But the stability doesn't last. The note at the 10th fret is quickly activated into motion with a hammer-on up to the 13th fret. This creates an immediate upward stretch, pulling the line out of its lower register. The 13th fret is then extended further through a slide up to the 14th fret, but this ascent feels more expressive than structural—less like a climb and more like a vocal swell, a rise in emotional intensity. + +Instead of resolving at the peak, the phrase releases downward through a pull-off back to the 12th fret. That return feels slightly more reflective this time, as if the melodic idea is being reconsidered rather than simply cycled. + +The phrase then repeats the familiar gesture: 12th fret to 14th via hammer-on. But in this version, the repetition feels less like a strict echo and more like a lingering thought that reappears after a pause. The timing now feels more spacious, as indicated by the broader rhythmic grouping—each movement seems to breathe more. + +Finally, the line settles again on the 14th fret, but now the arrival feels more suspended and less abrupt. The note is allowed to hang in space with reverb, gradually dissolving rather than simply ending. The decay becomes part of the phrase itself, turning the final pitch into an atmosphere rather than a conclusion. + +This phrase feels more like a spoken guitar line with punctuation than a simple lick. It is shaped by a repeating upper pedal tone, a small melodic cell, and a single expressive bend that acts like the emotional peak of the entire idea. The rhythm marking "(3)" suggests a recurring reference tone—likely a lightly ringing 3rd-fret note acting as a constant high voice above the movement below. + +The phrase opens with that upper tone already in place: a soft, sustained 3rd-fret note that feels like a quiet bell-like reference point. It sits above everything else, slightly detached from the motion that follows. Beneath it, the melodic action begins on the G string at the 12th fret. + +The 12th fret is struck cleanly—bright, centered, and stable—then immediately reiterated, as if confirming the tonal anchor. From there, the line becomes more animated: a hammer-on lifts the pitch from the 12th fret to the 13th, a small but expressive rise that feels like a tightening of expression rather than a large intervallic move. That 13th fret tone is then released back down to the 12th via pull-off, creating a tight ornamental loop that briefly oscillates around the center pitch. + +The phrase then dips downward in a single fluid gesture: a slide from the 12th fret down to the 10th. This is not a discrete step but a continuous vocal-like descent, as if the phrase momentarily exhales. The 10th fret arrival feels darker and more grounded, contrasting with the brightness of the upper motion. + +From this lower point, the line immediately re-expands. The 10th fret is struck and pushed upward through a hammer-on to the 12th, then quickly to the 13th, creating a two-stage ascent that feels more urgent than the earlier movement. At this 13th fret peak, the phrase reaches its emotional focal point: the note is bent upward toward the 15th fret pitch. + +This bend is the expressive centerpiece. The pitch rises gradually, physically stretched upward rather than stepped, as the string is pushed toward the sound of the 15th fret. The bend reaches its peak and briefly holds there—slightly strained, singing, and intensified. Then it is released, returning smoothly back down to the 13th fret. That release has a vocal "falling off the note" quality, like a voice relaxing after a strong emphasis. + +After this peak, the phrase returns to its earlier language. The upper pedal tone around the 3rd fret remains faintly present, still hovering above like a static reference point, while the lower line again cycles through its familiar shape: 12th fret articulation, hammer-on to 13, pull-off back to 12, and a downward slide toward the 10th fret. This repetition feels less like exact replay and more like recollection—an idea revisited after the emotional high point of the bend. + +The second half of the figure mirrors the first, but with slightly more looseness in feel. The same small rise (12 to 13 to 12), the same descent (12 to 10), and the same upward response (10 to 12 to 13 to 12) appear again, but now they feel like echoes rather than initial statements. The upper 3rd-fret tone continues to hang above everything, giving the impression of a second voice observing the movement below. + +Overall, the phrase behaves like a layered conversation: a steady high drone-like voice above, and a more expressive lower voice that rises, falls, and ultimately peaks in a single bent note. The bend functions as the emotional climax, while the surrounding material circles it like commentary. In spirit and phrasing, it strongly reflects the kind of lyrical, vocal guitar approach associated with Jeff Beck—where even a short figure becomes a shaped, expressive statement rather than a mechanical sequence of notes. + +Chunk 5: Chorus Theory +Metadata: artist=Jeff Beck, section=Chorus, type=theory, scale=bluesComposite, harmony=G7, technique=doubleStopBend, concept=tension + +Description: +Beck shifts into a composite blues scale (Mixolydian + minor blues). His phrasing uses repetitive motifs that interact with the static G7 harmony, creating tension through syncopation and note choice. + +Key Ideas: +- Blues scale overlay +- Repetition and motif development +- Tension vs static harmony + +It begins with a low, grounded low E string note at the 3rd fret. This is the foundation—dark, steady, and slightly detached from the upper activity that follows. It feels like a pedal point anchoring the entire figure. + +Above it, the G and B strings immediately lock into a paired shape centered around the 5th fret. Both strings are struck together, creating a compact dyad that feels tense and forward-leaning. The sound is not static, though—it is immediately animated by a bend on both strings from the 5th fret up toward the pitch of the 6th fret. The bend is not fully resolved at first; it reaches upward like a voice straining toward a higher note. + +At the peak of that bend, the sound briefly suspends. The notes feel stretched, almost vocal, before they are released back down to the 5th fret. That release is important: it is not a simple return, but a controlled relaxation of tension, like a sigh after emphasis. The 5th fret regains its stability, but it is now colored by the memory of the bend. + +Immediately after this expressive gesture, the phrase drops into a more rhythmic, grounded figure. The upper voices move down to the 3rd fret on both G and B strings. This shift feels like a step downward in emotional intensity—less strain, more weight. The 3rd fret notes are struck with a percussive clarity, acting almost like a response or punctuation to the earlier bend. + +This 5-3 movement is not a one-time event; it is framed as a repeating half-measure idea. The entire gesture—bend at the 5th fret, release back to 5, then drop to 3—feels like a self-contained sentence that is spoken, then repeated for emphasis. + +While the upper strings articulate this rise-and-fall contour, the inner structure reinforces the harmony: the 3rd fret appears again on the B and G strings, sometimes doubled, sometimes slightly staggered in feel, creating a compact cluster of repeated tones. Beneath this, the D string introduces a supportive tone at the 3rd fret, subtly thickening the harmony and reinforcing the downward resolution. + +Occasionally, a shift to the 5th fret on the lower strings appears, briefly lifting the harmony again before it settles back into the 3rd-fret grounding. This creates a push-and-pull between tension (5th fret color) and resolution (3rd fret stability), mirroring the expressive arc of the bend above. + +The entire figure is structured as two mirrored phrases, each occupying a half-measure cycle. The first half states the idea: bend at 5, release to 5, fall to 3, settle. The second half repeats it almost exactly, like an echo or insistence, reinforcing the musical statement rather than developing it further. + +What makes the phrase compelling is the way these layers interact: the low E string acts as a constant gravitational pull, the G and B strings form a bending, singing upper voice, and the middle voices fill in the harmonic body. The result is not a melody in the traditional sense, but a compressed harmonic gesture that breathes through tension and release. + +In spirit, it reflects the kind of tightly controlled yet expressive phrasing associated with Jeff Beck—where even a short, repeating figure becomes animated through touch, bend control, and subtle dynamic shaping rather than through note complexity alone. + +The phrase opens with a grounded low E string at the 3rd fret, a steady, weighty tone that immediately establishes a dark foundation beneath everything that follows. Above it, the G and B strings lock together at the 5th fret, sounding as a tight, compact dyad. The attack is deliberate, and the two voices are heard as a single harmonic unit rather than separate lines. + +That upper dyad is immediately animated by a bend at the 5th fret on both strings. The pitch is pushed upward together, not in isolation, creating a unified, slightly strained rise. The bend reaches its expressive peak briefly, holding just long enough to register tension, then begins to release. The return is not abrupt; it falls smoothly back into the 5th fret, as though the sound is settling back into its original shape after being stretched. + +From there, the upper voices step down to the 3rd fret, creating a clear drop in register and intensity. The sound shifts from tension to resolution, but only momentarily—because the rhythmic structure keeps the phrase moving forward rather than letting it fully rest. The descent feels clipped and purposeful, like a short spoken phrase ending in a comma rather than a period. + +Immediately after, a small ornamental deviation appears: the G string briefly reaches toward the 1st fret as a quick, sharp inflection. This note is not treated as a destination but as a fleeting color—a bright, almost brittle accent that cuts through the midrange texture before disappearing just as quickly. It gives the phrase a moment of asymmetry, a slight destabilization of the otherwise 5-3 centered motion. + +Underneath this upper movement, the D string enters more actively at the 3rd fret, reinforcing the harmonic grounding and thickening the midrange resonance. Occasionally, it shifts toward the 5th fret, momentarily lifting the harmony upward before returning again to the 3rd fret, creating a subtle oscillation between stability and tension in the inner voices. + +The second half of the figure repeats the main gesture: the 5th fret dyad returns on the B and G strings, again bent upward together. This repetition feels more insistent, as though the idea is being restated with slightly greater confidence or emphasis. The bend rises and releases in the same controlled arc, but the ear now recognizes it as a recurring structural event rather than a single expressive gesture. + +After the release, the upper voices again fall to the 3rd fret, reestablishing the grounded center. Beneath them, the D string continues its alternating presence between 3rd and occasional 5th fret tones, subtly coloring the harmony without disrupting its overall stability. + +The low E at the 3rd fret persists throughout as an unchanging anchor, giving the entire phrase a sense of gravitational pull. Everything above it bends, shifts, and responds, but that lowest tone remains fixed, framing the harmonic motion as something occurring above a constant foundation. + +The overall effect is a tightly structured, repeating harmonic cell shaped by expressive bends, quick releases, and small ornamental deviations. The motion is less about melodic development and more about the continual reshaping of a single idea—pressure, release, descent, and reassertion—delivered with the kind of tactile, performance-driven nuance associated with Jeff Beck. + +Chunk 6: Chorus Techniques +Metadata: artist=Jeff Beck, section=Chorus, type=technique, technique=doubleStringBend, concept=tension, influences=ChuckBerry/EricClapton + +Focus: Double-string bends + +Details: +- Bend E/C to F/D (6th/4th to b7th/5th) +- Resolve to chord tones (G) +- Follow with D/Bb dyads for tension + +Influences: +- Chuck Berry +- Eric Clapton + +The phrase begins with a clear rhythmic pulse centered on the D string, where the 5th fret is struck and allowed to speak with a firm, rounded attack. This note is immediately reiterated, creating a sense of insistence, as if the phrase is establishing its identity through repetition rather than movement. The sound is steady and grounded, sitting in the midrange with a slightly percussive edge due to the repeated articulation. + +From this repeated 5th fret, the line briefly relaxes downward to the 3rd fret on the D string. This descent is not dramatic but feels deliberate and weighted, as though the phrase is momentarily lowering its voice. The 3rd fret tone lands with a darker color, briefly shifting the harmonic center downward before the motion rebounds. + +That rebound comes quickly as the D string returns to the 5th fret, restoring the earlier tonal position. This back-and-forth between 5 and 3 creates a compact oscillation—an "over and under" motion that defines the first half of the phrase. The timing, marked by alternating half-note and whole-note feel, gives the figure a slightly breathing quality: the notes are not rushed, but spaced in a way that allows each placement to register clearly. + +After this grounded opening gesture, the texture opens upward into the B and G strings. Both strings arrive together at the 5th fret, forming a tight harmonic dyad that immediately introduces a brighter, more singing register above the earlier D-string motion. The attack is unified, and the two voices feel fused into a single expressive shape. + +This dyad is then animated by a bend at the 5th fret on both strings, pushing the pitch upward in a controlled, vocal-like motion. The bend is not fully resolved immediately; instead, it briefly sustains at its peak, creating a moment of tension where the sound feels stretched and suspended. This held peak gives the phrase a heightened expressive intensity before any release occurs. + +The bend then relaxes back down to the 5th fret, returning the dyad to its original position. However, the return is not static—there is a slight lingering resonance, as if the strings retain memory of the upward pressure. This bend-and-release gesture repeats within the same space, reinforcing the expressive contour rather than introducing new material. + +Above this, a lightly articulated upper tone around the 5th fret on the top string appears as a subtle accent, briefly punctuating the texture before blending back into the sustained harmonic field. It functions less as a melodic departure and more as a decorative glint within the sustained dyad. + +Throughout this upper passage, the earlier D-string motion remains implicit in the ear's memory, even as the focus shifts upward. The contrast between the grounded oscillation (5-3-5) and the singing, bending dyad creates a layered structure: one voice steady and rhythmic, the other elastic and expressive. + +In combination, the phrase feels like a dialogue between two registers—one anchored in repeated midrange steps, the other floating above it in bent, vocalized shapes. The result is a compact but expressive statement built from repetition, controlled pitch inflection, and carefully spaced rhythmic placement, in a manner strongly evocative of Jeff Beck. + +Chunk 7: Chorus Notation +Metadata: artist=Jeff Beck, section=Chorus, type=narrative, technique=doubleStopBend, concept=tensionAndRelease, strings=DGB + +The phrase opens with a firm, centered articulation on the D string at the 5th fret. This note is struck cleanly and allowed to ring just long enough to establish a grounded midrange presence. It is immediately echoed by a second strike of the same 5th fret, reinforcing the pitch and creating a sense of insistence, as if the idea is being stated twice for clarity. + +From this repeated 5th fret, the line moves into a gentle descent to the 3rd fret on the D string. The shift is not abrupt; it feels like a controlled lowering of weight, the pitch darkening slightly as it drops. The 3rd fret note settles with a more subdued resonance, contrasting with the brightness of the 5th fret above it. + +Almost immediately, the phrase rebounds upward, returning to the 5th fret on the D string. This return restores the original tonal position, but the motion feels cyclical rather than linear—like a small oscillation between two emotional states: tension at 5, release at 3, and reassertion at 5. This 5-3-5 figure forms the structural core of the opening gesture. + +The rhythmic spacing gives each of these notes room to breathe, with slight pauses that allow the decay of each pitch to be heard clearly. The result is a phrase that feels conversational in rhythm rather than mechanical, as though each note is a spoken syllable with space between them. + +After this grounded opening, the musical focus shifts upward to the B and G strings. Both strings are fretted at the 5th fret and struck together, forming a tight, consonant dyad. The sound here is more vocal and singing compared to the earlier D-string motion, introducing a contrasting upper voice. + +This dyad is immediately animated by a bend at the 5th fret on both strings. The pitch rises in unison, not separately, creating a unified upward inflection. The bend reaches a brief peak—marked and expressive—before being gently released back down to the original 5th fret pitch. The release is smooth rather than abrupt, giving the impression of a voice relaxing after a moment of heightened expression. + +After the release, the dyad remains centered on the 5th fret, but the resonance carries the memory of the bend, giving the sustained sound a slightly widened, expressive quality. Above this, a lightly articulated note on the high E string at the 5th fret appears as a subtle accent, briefly piercing the texture before blending back into the harmonic field. + +Throughout the passage, the earlier D-string motion continues to feel present structurally, even when not foregrounded: the 5-3-5 oscillation establishes a grounding rhythmic and harmonic cycle, while the upper strings provide expressive contour through bending and sustained harmony. + +The overall effect is a layered phrase built from two interacting ideas: a grounded, repeating midrange movement and an expressive upper dyad shaped by controlled bending. Together they form a compact, cyclical musical statement in which tension is repeatedly created and released, in a manner closely aligned with the expressive phrasing style associated with Jeff Beck. + +Chunk 8: Outro Theory +Metadata: artist=Jeff Beck, section=Outro, type=theory, scale=minorPentatonic, technique=unisonBend, concept=upperRegisterTension, strings=BstringEstring, frets=15-20, register=upperRegister, concept=tension, concept=sustainedBend + +Description: +Beck builds intensity in the upper register using sustained unison bends on the B string at frets 18-20, held against the fixed high E string at fret 15. The contrast between the stable reference tone and the continuously elevated bent pitch creates prolonged harmonic tension without resolution. The solo evolves through tension-building phrases using G minor pentatonic phrasing and increasing rhythmic density, resolving periodically to the root. + +Key Ideas: +- Unison bends as primary tension device +- B string bent at frets 18-20 against fixed E string at fret 15 +- Upper register sustained tension without resolution +- Register shifts building intensity +- Rhythmic acceleration +- Low E string pedal tone as grounding contrast + +The phrase opens in a high register with a tightly focused dyad: the B string at the 18th fret and the high E string at the 15th fret. The attack is deliberate, and both notes are struck together, immediately establishing a piercing, singing upper voice. The interval is already tense due to the register, and it feels suspended above the rest of the instrument. + +Almost immediately, the B string at the 18th fret is pushed upward in a bend. The pitch rises in a controlled, vocal-like arc, stretching above its fretted pitch as the string is physically tensioned. The high E string at the 15th fret remains steady beneath it, acting as a stable reference tone while the upper voice bends against it. This creates a layered effect: one note fixed, one note in motion. + +The bend reaches a held peak, sustained rather than released quickly. At this apex, the sound feels fully extended—no longer a simple fretted pitch but a sustained, singing tension hovering above the instrument. The high E string continues to ring, anchoring the harmony while the bent B string floats above its normal pitch center. + +After this first expressive peak, the sound briefly relaxes into a more sustained state. The E string at the 15th fret continues to ring clearly, while the B string settles back down toward its fretted pitch, though not in a sharp drop—rather in a controlled return, as if the string is easing out of strain rather than snapping back. The resonance lingers, marked by reverb, allowing the space around the notes to become part of the phrase. + +The central section introduces a more spacious, delayed articulation. The same high-register dyad returns—B string at the 18th fret and E string at the 15th—but now with more air between attacks. The phrase breathes, with silence and decay becoming structural elements. The high E string feels more exposed in this section, its sustained tone acting like a faint, glowing line across the top of the texture. + +The B string again undergoes a bend at the 18th fret, rising smoothly into a sustained peak. This second bend feels slightly more expansive due to the surrounding space; the reverb and pauses make the motion feel slower and more dramatic. The E string continues to ring underneath, maintaining a constant tonal thread through the motion above it. + +As the phrase progresses, this bend-and-hold gesture repeats, now framed by longer moments of decay. The attacks are less dense, and each new bend feels like a reassertion of the same expressive idea rather than a development into something new. The high E string continues to function as a continuous tonal ceiling, while the B string repeatedly reaches upward toward and beyond its fretted pitch. + +The final section reinforces this structure: repeated high-register dyads, each containing the E string at the 15th fret and the B string at the 18th fret, with the B string repeatedly bent and held at its peak. The motion is cyclical—rise into tension, sustain at the apex, then gentle release—without ever fully resolving downward into a lower register. + +The phrase ultimately exists in a suspended state of high tension and resonance. Rather than moving melodically in a traditional sense, it occupies a fixed harmonic space in the upper register, where repetition, controlled bending, and sustained ringing define the musical narrative. The result is a hovering, almost vocal expression of sustained intensity, strongly evocative of the expressive lead-guitar language associated with Jeff Beck. + +The phrase opens in a stark, high register with a single, tightly focused dyad: the B string at the 18th fret and the high E string at the 15th fret. The attack is clean and immediate, and the sound sits sharply above the rest of the instrument. Beneath this upper tension, the low E string begins a steady pulse on the open string, struck repeatedly in even succession. This creates an immediate split in registers: a sustained, singing upper voice and a grounded, rhythmic low register heartbeat. + +The upper B string is then pushed into a controlled bend at the 18th fret. The pitch rises smoothly upward, stretching beyond its fretted position toward the sound of the 20th fret. The bend is not abrupt; it is a continuous, vocal-like ascent, as if the note is being pulled upward in real time. The high E string at the 15th fret remains steady and unbent, acting as a fixed tonal reference beneath the shifting upper voice. + +At the peak of the bend, the B string reaches and sustains the heightened pitch, hovering at its maximum tension. This held apex creates a strong sense of suspension, where the note is no longer anchored to its fretted identity but exists as a strained, elevated voice above the instrument. The E string continues to ring clearly beneath it, unchanged, reinforcing the contrast between stability and expressive distortion. + +Below this suspended upper structure, the open low E string continues its repeated articulation in even pulses. Each strike is dry and percussive compared to the singing upper register, creating a rhythmic foundation that feels almost mechanical in contrast to the expressive bending above. This repeated low note does not develop melodically; instead, it functions as a constant grounding force, a steady undercurrent of motion. + +The upper dyad remains largely fixed in its spatial relationship: the high E string at the 15th fret sustains its pitch while the B string oscillates between its fretted position and the elevated bent peak. Each return from the bend is not a collapse but a controlled descent back into the 18th fret, preserving the tension rather than releasing it completely. The sound feels cyclical—rise, hold, partial release, and rise again—without ever resolving downward into a lower register. + +As the phrase continues, the contrast between layers becomes more pronounced. The upper strings create a suspended, singing plane of sustained tension and controlled bending, while the low E string maintains an unwavering rhythmic pulse beneath it. The two layers do not merge; instead, they coexist as separate temporal zones—one expressive and elongated, the other steady and repetitive. + +The overall effect is a two-level structure: above, a high-register voice continuously stretched toward and held at its expressive limit; below, a grounded, repetitive low note marking time with unwavering consistency. The result is a suspended harmonic space where motion exists not in melodic progression but in the repeated act of tension and release within a fixed pitch environment, strongly evocative of the expressive, performance-driven guitar language associated with Jeff Beck. + +The phrase opens with a repeating high-register figure that immediately establishes a shimmering, suspended harmonic field. On the G string, the 17th fret is struck in steady pulses, each articulation clean and slightly detached, giving the impression of a repeated spoken syllable. Above it, the B string at the 15th fret answers in alignment, forming a tight dyad that locks the upper voices together. Each repetition reinforces the same harmonic cell: G string at 17, B string at 15, struck together and allowed to decay just enough to separate one attack from the next. + +This opening cycle repeats in a measured rhythm, almost like a mantra. The attacks are evenly spaced, and the high register gives each note a bright, cutting clarity. The sound is not linear or melodic in the traditional sense; instead, it is a repeated vertical sonority, rearticulated three times, each iteration identical in pitch but slightly different in decay and resonance. + +After this repeated upper figure, the texture shifts upward into a more exposed, sustained space. The B string at the 15th fret becomes more prominent, now allowed to ring more freely rather than simply being re-articulated. It is joined by the G string still hovering at the 17th fret, though the focus begins to shift toward a higher expressive peak that is about to emerge. + +The phrase then moves into a more open, sustained moment where the upper structure begins to stretch. The B string at the 17th fret is introduced above the previous 15th fret position, adding a brighter, more strained upper color. This creates a tighter clustering of high notes—15th fret E string, 17th fret B string, and the earlier 17th fret G string context—stacking the harmonic space vertically. + +This upper cluster then gives way to the central expressive gesture: the B string at the 18th fret is struck and pushed into a controlled bend. The pitch rises smoothly beyond its fretted position, reaching upward toward a higher, singing apex. This bend is not immediate or abrupt; it unfolds gradually, with the pitch sliding upward in a continuous motion until it reaches its held peak. At this apex, the note is sustained, hovering in a heightened state of tension. + +While the bend is held, the high E string at the 15th fret continues to ring beneath it, acting as a fixed tonal anchor. The contrast between the stable 15th fret E and the elevated, strained B string creates a layered dissonance that defines the emotional core of the phrase. The bend does not resolve downward immediately; instead, it remains suspended, emphasizing the sensation of prolonged expressive tension. + +As this held bend continues, the earlier repeated motif fades into memory, replaced by the sustained upper-register interplay. The sound becomes less about rhythmic repetition and more about duration—about holding a pitch at the edge of its expressive limit. The reverb expands this space further, allowing the sustained tones to bloom outward and overlap in the decay. + +The final portion of the phrase maintains this suspended condition. The B string remains bent and held, with slight micro-adjustments in pressure giving the pitch a living, vocal quality rather than a fixed endpoint. The high E string continues to ring steadily beneath it, unchanged and unwavering, reinforcing the sense of a stable foundation under extreme expressive tension. + +The result is a transition from repeated, structured upper-register pulses into a prolonged, elevated sustain built around a single expressive bend. The phrase evolves from rhythmic articulation into pure suspended intensity, where motion is replaced by controlled stasis and vocal-like tension, in a manner strongly evocative of the expressive lead guitar language associated with Jeff Beck. + +The phrase begins in the extreme upper register with a tightly focused attack on the B string at the 20th fret. The note is struck cleanly and immediately pushed into a bend, lifting the pitch above its fretted position in a controlled, vocal-like rise. This bend does not resolve immediately; instead, it is held at its apex, creating a sustained, singing tension that defines the entire opening gesture. + +This bent 20th fret on the B string is then rearticulated repeatedly in a steady, even pulse. Each repetition restates the same idea: strike, bend upward, hold, and let the sound bloom before decay. The rhythmic marking of consistent "1" spacing gives the figure a mechanical regularity, but the expressive content of each bend keeps it alive and unstable, as if each note is a slightly different vocal inflection of the same word. + +The high register makes each repetition especially piercing. The sustained bends occupy a pitch space above the instrument's natural fretted tone, giving the line a sense of continuous strain and release contained within a single pitch center. The repetition is not melodic development but insistence—an unbroken return to the same elevated, tension-filled sonority. + +Above this repeating B-string line, the G string introduces a static high reference point at the 19th fret. This note is not bent or rhythmically repeated in the same way; instead, it sits as a steady upper color, lightly reinforcing the harmonic ceiling of the phrase. Its presence adds a thin, cutting brightness above the already intense B-string activity. + +Below this, the repeated bent 20th fret B string continues its cycle, each attack reinforcing the same expressive contour. The bend is consistently held, giving the impression of a sustained vocal strain that is being rearticulated rather than released. The sound is cumulative rather than developmental—the repetition builds intensity through persistence rather than change. + +As the figure approaches its final repetition, the energy begins to shift slightly. The last bent 20th fret is allowed to relax downward, releasing from its raised pitch back toward the fretted 20th fret. This release is not abrupt; it is a controlled descent, as if the tension is slowly being let out of the string rather than snapped away. + +From this release, the phrase resolves downward to the 18th fret on the B string, a clear step away from the previous extreme register. This descent feels like a partial resolution—still high, but no longer in the peak bent state. The change is perceptible as a softening of intensity rather than a full harmonic cadence. + +Simultaneously, the G string's 19th fret sustains its high, static presence, briefly outlasting the motion of the B string. This creates a slight disjunction between voices: the B string has begun to relax, while the G string still holds its elevated tone, extending the sense of residual tension. + +The overall effect is a prolonged, insistently repeated upper-register bend that gradually releases into a slightly lower resting point. The phrase moves from extreme sustained tension through controlled repetition and finally into a partial relaxation, while still remaining in the high harmonic stratum. The result is a concentrated study in repetition, controlled bending, and delayed release, in a manner strongly evocative of the expressive lead-guitar language associated with Jeff Beck. + +The phrase opens in a very high register on the B string at the 20th fret, immediately struck and pushed into a controlled bend. The pitch rises above its fretted position in a smooth, continuous motion, creating a vocal-like ascent rather than a stepped interval. This bend is not released; instead, it is held at its expressive peak, establishing a sustained point of tension that remains active throughout the passage. + +From this initial bent state, the 20th fret on the B string is rearticulated repeatedly in steady pulses. Each attack restates the same pitch center, but the expressive quality is maintained through the ongoing bend, so every repetition carries the same elevated, strained coloration. The result is not a sequence of changing notes but a persistent return to a single heightened sonic state, continuously re-energized by re-picking. + +The rhythmic spacing is even and deliberate, with each repeated 20th fret note separated by a consistent temporal gap. This creates a sense of mechanical regularity, but the sustained bend prevents the line from feeling static. Instead, each repetition feels like a renewed emphasis on the same expressive peak, as if the note is being continuously reaffirmed rather than allowed to decay. + +The bend itself remains held throughout, with only subtle micro-adjustments in pressure shaping the pitch. These slight variations give the sound a living quality—never completely fixed, always slightly in motion—like a sustained vocal tone being carefully controlled over time. The ear perceives both stability (the repeated pitch center) and instability (the constant tension of the bend). + +There is no harmonic movement away from this point. The entire phrase remains anchored at the 20th fret on the B string, with no descent or resolution introduced. The absence of a contrasting lower pitch or release creates a suspended sonic environment, where time is defined only by repetition and rearticulation. + +As the figure continues, the sustained bend begins to feel increasingly continuous rather than segmented. The repeated attacks blur into one another in perception, with the ear hearing a single extended, elevated tone that is periodically re-energized rather than restarted. The musical effect is one of stasis under tension: motion without progression, energy without departure. + +By the end of the phrase, the final repetitions maintain the same structure—20th fret on the B string, still bent, still held—without resolution or descent. The line does not conclude through cadence but simply persists in its elevated state, leaving the impression of an unbroken, sustained expressive gesture. The result is a concentrated study in repetition and controlled pitch tension, characteristic of the expressive, performance-driven guitar language associated with Jeff Beck. + +The phrase opens in the extreme upper register on the B string at the 20th fret, immediately struck and pushed into a controlled bend. The pitch rises above its fretted position in a smooth, vocal-like motion, creating a sustained sense of strain and elevation. This bent 20th fret is not a single event but the core of a repeated gesture: it is struck, bent upward, held briefly at its expressive peak, and then rearticulated again in steady, even pulses. + +Each repetition of the 20th fret reinforces the same sonic idea—an upwardly inflected pitch held in a state of tension. The rhythmic spacing is regular and insistent, giving the impression of a repeated statement rather than melodic development. The ear hears a cycle of attack and renewal: each pick stroke re-energizes the same bent pitch, keeping it alive and forward-moving despite its harmonic stasis. + +After several repetitions of this elevated, strained tone, the bend is released. The pitch relaxes downward from its raised state and settles into the natural fretted 20th fret, briefly removing the heightened tension. From there, the motion continues downward to the 18th fret on the B string. This descent is clear and grounded compared to the preceding sustained bend, creating a momentary release of pressure and a shift in register that feels like a soft landing after prolonged strain. + +Immediately after this partial resolution, the texture transforms. The B string returns to the 20th fret and is now articulated in rapid succession without the bend, producing a tightly repeated, high, uninflected pitch. This marks a shift from expressive pitch bending to rhythmic intensity. The notes are now tremolo-picked, creating a continuous stream of evenly spaced attacks that blur into a sustained sonic line. + +In this second section, the 20th fret on the B string becomes a static pitch center, repeated so rapidly that individual attacks begin to fuse perceptually into a single sustained tone with internal motion. The tremolo picking drives the sound forward, replacing earlier pitch-based expression with rhythmic density. The result is a shimmering, vibrating upper-register field that feels less like a melody and more like a sustained, energized surface. + +The contrast between sections is stark: the opening relies on bent, expressive rearticulation of a single pitch under tension, while the latter abandons bending entirely in favor of relentless repetition. The release to the 18th fret serves as a brief structural hinge between these two states—tension and release giving way to sustained rhythmic drive. + +As the tremolo-picked 20th fret continues, the sound stabilizes into a continuous high-register resonance. The repeated attacks become less individually distinct and more like a unified stream of energy, maintaining the same pitch center without harmonic movement or melodic deviation. + +The phrase ultimately settles into this persistent upper-register repetition, where motion is defined entirely by picking speed rather than pitch change. The result is a transition from controlled, vocal-like bending into an unbroken tremolo sustain, forming a concentrated study in repetition, release, and rhythmic energy in the expressive lead-guitar language associated with Jeff Beck. + +The phrase begins in the high register on the B string at the 18th fret, struck cleanly and immediately set into motion by a slide upward. The finger presses into the string and glides smoothly from the 18th fret to the 19th, creating a continuous rise in pitch rather than a discrete step. This upward motion gives the opening a vocal, singing quality, as the note seems to lean forward into the next position rather than land on it abruptly. + +At the 19th fret, the pitch is briefly articulated again, reinforcing the arrival point of the slide. The note is clear and bright, but still carries the momentum of ascent. Immediately, it pushes forward into the 20th fret, where the highest pitch in the phrase is reached. This arrival at the 20th fret feels like a cresting point—an upper limit of the melodic gesture—slightly more tense and brilliant in tone due to its position in the instrument's extreme upper register. + +The 20th fret is then repeated, rearticulated to emphasize its importance as the peak of the line. Each repetition is clean and deliberate, not rushed, allowing the ear to register the brightness and intensity of this uppermost pitch. The repeated attacks give the impression of insistence, as if the phrase is circling around this high point, reinforcing it rather than moving away from it. + +What defines the gesture most clearly is the initial slide from 18 to 19, which establishes the expressive character of the entire line. Even though the subsequent notes are discrete repetitions, they are colored by that initial upward glide, which sets the expectation of upward motion and arrival. The 19th fret functions as a brief intermediate landing, a passing contour within the ascent, while the 20th fret becomes the sustained focal point of the phrase. + +As the repetitions of the 20th fret continue, the motion stabilizes into a fixed high-register pitch center. The sense of linear movement fades, replaced by a hovering emphasis on a single, elevated tone. Each rearticulation refreshes the sound, preventing it from decaying fully and keeping the pitch present and forward in the mix. + +The overall effect is a compact upward slide that resolves into a repeated high-register plateau. The melodic identity is defined less by intervallic movement and more by the act of arrival and reinforcement at the top of the phrase. In its simplicity and focus on upper-register sustain and articulation, the gesture reflects the expressive clarity often associated with Jeff Beck. + +The phrase opens in the extreme upper register on the B string at the 20th fret, struck with immediate intensity and pushed into a controlled bend. The pitch rises above its fretted position in a smooth, continuous motion, as the string is physically drawn upward into tension. This bend is not fleeting; it is held, creating a sustained, singing apex that defines the entire upper voice of the passage. + +From this initial bent state, the 20th fret on the B string is repeatedly rearticulated in steady, even pulses. Each attack restates the same pitch center, but because the bend remains engaged, every repetition carries the same elevated, strained coloration. The result is a cycle of insistence: strike, reinforce the bend, sustain the peak, and allow slight decay before the next rearticulation renews the sound. + +The rhythmic spacing is consistent, giving the line a measured, almost mechanical regularity, but the expressive content prevents it from feeling static. The bend itself remains continuously active beneath the repetition, with subtle micro-adjustments in finger pressure shaping the exact height of the pitch. This creates a living tone that never fully settles, always hovering above the fretted 20th fret identity. + +While the upper voice sustains this bent repetition, the low E string begins a contrasting rhythmic figure. It starts as a series of open-string strikes, articulated in even pulses that feel grounded and percussive. These low E attacks provide a stark contrast to the high, singing B string, introducing a deep, physical undercurrent beneath the sustained tension above. + +The low E figure continues steadily, repeating its open-string articulation without pitch variation. Its role is not melodic but structural, acting as a rhythmic engine beneath the suspended upper-register bend. The interaction between the two layers becomes increasingly pronounced: the upper B string remains elevated and expressive, while the low E anchors time with unchanging, grounded repetition. + +As the phrase develops, the contrast between registers intensifies. The B string continues its bent 20th fret repetitions, each one reasserting the same high, strained pitch. Meanwhile, the low E pulses maintain their steady rhythmic grid, gradually accumulating a sense of momentum through repetition rather than harmonic change. + +Near the end of the passage, the low E figure begins to shift slightly in emphasis, culminating in a final accented low note at the 3rd fret. This introduces a brief change in pitch color after the extended sequence of open-string repetition, creating a grounded, darker tonal point beneath the sustained high-register tension. + +Throughout the entire phrase, the upper voice remains fixed on the bent 20th fret of the B string, never abandoning its elevated state. The repetition reinforces this as a sustained expressive plateau rather than a moving melodic line. The low E string, in contrast, provides a continuous rhythmic foundation that eventually introduces a subtle harmonic departure at its final accented note. + +The overall effect is a two-layer structure: a continuously bent, high-register repetition above, and a persistent low-register pulse below. The result is a sustained study in tension and grounding, where expressive pitch bending and mechanical rhythmic repetition coexist without resolving into traditional melodic movement, in a manner strongly evocative of the expressive guitar language associated with Jeff Beck. + +The phrase begins with a single, grounded note on the low E string at the 5th fret. It is struck cleanly and allowed to speak with a solid, mid-low register resonance. The tone is warm but slightly tense due to its position on the low string, carrying a subtle sense of forward motion even in its initial sustain. The note is then lightly rearticulated at the same fret, reinforcing its presence as a fixed starting point rather than a passing tone. + +Immediately after this brief reinforcement, the pitch is pushed into a downward slide. The finger maintains pressure on the string while gliding from the 5th fret toward the 3rd fret, creating a continuous, vocal-like descent in pitch. This motion is smooth and unbroken, giving the impression of a controlled "falling away" of the initial tone rather than a discrete step between notes. + +As the slide completes its motion, the sound settles firmly on the 3rd fret of the low E string. This arrival feels darker and heavier in timbre compared to the opening 5th fret, as the pitch drops closer to the fundamental register of the instrument. The 3rd fret note is allowed to ring briefly, grounding the phrase with a sense of resolution after the downward motion. + +The overall gesture is compact but expressive: a repeated anchor at the 5th fret that immediately yields to a descending slide into the 3rd fret. The musical effect is one of release and settling, where the initial brightness of the higher position is gently pulled downward into a more subdued and stable tonal area. + +The phrase contains no additional harmonic movement or upper-register interaction, so the listener's attention is entirely focused on the transformation of a single pitch center through articulation and motion. The contrast between the 5th fret's initial assertion and the 3rd fret's final resting point defines the entire shape of the idea. + +In its simplicity, the gesture functions as a small expressive arc: establish, reinforce, and then release downward. The slide serves as the emotional core of the phrase, transforming a static pitch into a continuous motion that resolves into a lower, more grounded state, in a manner consistent with the expressive phrasing approach associated with Jeff Beck. + +Chunk 9: Upper Register Tension Summary +Metadata: artist=Jeff Beck, section=Outro, type=summary, concept=upperRegisterTension, technique=unisonBend, technique=sustainedBend, register=upperRegister, strings=BstringEstring, frets=15-20 + +Jeff Beck creates upper register tension in the outro primarily through sustained unison bends on the B string at frets 18 through 20, held against the fixed high E string at fret 15. The B string is bent upward in a controlled, vocal-like arc and held at its elevated peak rather than immediately released, while the E string remains steady beneath it as a fixed tonal reference. The contrast between the stable reference tone and the continuously bent upper voice creates prolonged harmonic tension without resolution. This bend-and-hold gesture is repeated cyclically — rise into tension, sustain at the apex, partial release, and rise again — keeping the phrase in a state of suspended intensity throughout the outro. As the solo develops, rhythmic density increases through tremolo picking and register shifts, building cumulative intensity while the low E string provides a grounding rhythmic pulse beneath the sustained upper register activity. diff --git a/Books/Music/Articles/Jeff Beck 2.txt b/Books/Music/Articles/Jeff Beck 2.txt new file mode 100644 index 0000000..93e7ecf --- /dev/null +++ b/Books/Music/Articles/Jeff Beck 2.txt @@ -0,0 +1,188 @@ +TITLE: Jeff Beck - Led Boots from Wired 1976 +ARTIST: Jeff Beck +GENRE: Rock, Jazz Fusion, Funk Rock +CONCEPTS: modal harmony, G Mixolydian, blues scale, whammy bar, +feedback, aggressive soloing, dynamic contrast, chromatic tension, +octave figures, pull-offs, bends, double stops +SOURCE: Guitar transcription analysis +TOPIC: Jeff Beck Led Boots guitar analysis and narrative transcription +--- + +Chunk 1: Song Overview and Harmony +Metadata: artist=JeffBeck, track=LedBoots, album=Wired, year=1976, +type=overview, harmony=Fm11/Em11/C7sus4, concept=modalHarmony, +collaborators=NaradaMichaelWalden/MaxMiddleton + +Led Boots from Wired (1976) opens with three measures of Narada Michael +Walden's funky drum intro before Beck and the band enter with a flourish +via Fm11, Em11, and C7sus4 chords capped with a whammy dip from Bb down +to Ab the b7th to b6th relative to C that threatens to erupt into +feedback. The m11 chords cry out for resolution while the IV chord leads +the ear toward the I chord. The song is based on the same I and bVII +changes as Freeway Jam by Max Middleton, compressed into a single measure, +creating a modal progression in G that encourages instrumental flights of +fancy. + +Chunk 2: Opening Chordal Flourish Narrative +Metadata: artist=JeffBeck, track=LedBoots, section=intro, type=narrative, +technique=chordVoicing, technique=whammyBar, strings=234, frets=3-8 + +The opening chordal flourish begins with a compact voicing centered on +the middle strings: fourth string at the 6th fret, third string at the +8th fret, and second string at the 6th fret struck together forming a +tight clustered harmony. This shape shifts downward as a unit to the 4th +fret on the fourth string, 6th fret on the third string, and 4th fret on +the second string, preserving the voicing while lowering the pitch. The +final chord resolves into a simpler triadic grip where the fourth, third, +and second strings are all fretted at the 3rd fret, creating a grounded +consonant sonority before the implied whammy dip pulls the pitch downward +from the upper register toward a darker tonal center. + +Chunk 3: G Mixolydian Bass Riff Narrative +Metadata: artist=JeffBeck, track=LedBoots, section=mainRiff, type=narrative, +scale=GMixolydian, technique=pullOff, technique=percussiveMuting, +concept=unisonRiff, collaborators=bassist=Bailey, strings=3456 + +The main riff operates in G Mixolydian mode, built almost entirely from +G and F notes with C and B appearing at the beginning of each measure. +The riff begins on the third string at the 5th fret, immediately pulling +off to the 4th fret, creating a quick descending articulation. A muted +percussive strike on the fourth string follows, after which the 3rd fret +on the fourth string moves up to the 5th fret. The figure repeats its +core idea in a rhythmic pattern interspersed with muted strikes, creating +a syncopated, percussive feel. The fifth string adds depth with notes at +the 3rd and 5th frets, while the sixth string closes the phrase moving +from the 1st fret to the 3rd fret. The riff is played in unison by Beck +and bassist Bailey, with the phrase concluding with a dramatic leap to +the first string at the 15th and 17th frets for a bright high-register +accent. + +Chunk 4: C Mixolydian Octave Figure Narrative +Metadata: artist=JeffBeck, track=LedBoots, section=IVchord, type=narrative, +scale=CMixolydian, technique=octaves, technique=descendingFigure, +timeSignature=7/4, strings=456 + +The one-measure riff over the IV chord in 7/4 time is derived from the +root, 3rd, 5th, 6th, and b7th of C Mixolydian mode and depends on funky +descending octaves for its forward motion. The phrase begins with the +sixth string at the 3rd fret paired with the fourth string at the 5th +fret forming an octave. The phrase alternates between this low root and +higher octave, then shifts downward through the fourth string at the 3rd +and 2nd frets before returning to the 5th fret. The fifth string +contributes with notes at the 5th fret descending to the 1st fret and +open string, reinforcing the bass movement. A continuation figure moves +the fourth string from the 2nd fret up to the 5th fret and back through +the 2nd to the 1st fret, while the third string briefly sounds at the +2nd fret adding harmonic color above the bass movement. + +Chunk 5: Solo Overview Aggressive Style and Scale Choice +Metadata: artist=JeffBeck, track=LedBoots, section=solo, type=theory, +scale=GbluesScale, concept=aggressiveSoloing, concept=dynamicContrast, +concept=chromaticTension, note=b5th=Db, technique=whammyBar, +technique=feedback, concept=upperRegisterTension + +Beck unleashes 26 measures of aggressive soloing that relies almost +exclusively on the G blues scale mainly above the octave. Despite being +an extremely out solo, Beck contrasts extreme dynamics of phrasing, tone, +and texture rather than strictly navigating chord changes. A dramatic +whammy bar dive of four and a half steps from the harmonics of G and D +down to Bb and F is followed by an abrupt leap to the root octave position +of the G blues scale. The b5th (Db) appears in measure 16 between two +sections of relative resolution to the tonic G, creating searing tension +a note referred to by some as the defining tonality of the twentieth century. +In measure 18, Beck bends the G note a half step with the whammy bar in +conjunction with a one-step hand bend to Bb, while the open A string rings +sympathetically and rises to Bb for a howling effect. The solo concludes +combining feedback on low F jumping to A with a grating harmonic of B +before returning in unison with the bass to the main riff. + +Chunk 6: Solo Narrative Lower Register to Upper Register Leap +Metadata: artist=JeffBeck, track=LedBoots, section=solo, type=narrative, +technique=bend, technique=slide, technique=whammyBar, register=lower, +register=upperRegister, strings=1234, frets=15-20, concept=dramaticLeap + +The solo begins with repeated strikes on the fourth string at the 3rd fret +sliding up to the 5th fret. The third string enters at the 5th fret pulling +off to the 4th fret while the fourth string alternates between the 5th and +3rd frets occasionally sliding between them. A muted strike on the fifth +string is followed by a low movement on the sixth string from the 1st fret +to the 3rd fret before resolving briefly on the fourth string at the 5th +fret and sliding downward again. The line then leaps dramatically to the +high register, beginning on the first string at the 18th fret where the +note is bent upward a whole step and sustained before releasing to the 15th +fret. The second string supports this with notes at the 15th and 18th frets +while the third string slides into position at the 15th fret. + +Chunk 7: Solo Narrative High Register Intensity and Bends +Metadata: artist=JeffBeck, track=LedBoots, section=solo, type=narrative, +technique=sustainedBend, technique=tremoloPicking, technique=cascadingFigure, +concept=upperRegisterTension, strings=12, frets=15-20, register=upperRegister + +The second string carries a rapid sequence centered around the 20th fret: +bent upward a whole step, rearticulated, bent again a half step, released, +and pulled off to the 18th fret before returning to the 20th fret and +descending again. Repeated bends at the 20th fret include a larger bend +of approximately a step and a half, followed by descent through the 18th +and 20th frets creating a cascading high-register figure. A repeated pattern +emerges where the first string repeatedly sounds the 18th fret while the +second string alternates at the 20th fret, creating a tremolo-like interplay +that builds to a strong sustained bend at the 20th fret held and released +for emphasis. This sustained upper register tension without resolution is +characteristic of Beck's most aggressive soloing the pitch hovering at +its expressive limit while the phrase refuses to descend. + +Chunk 8: Solo Narrative Mid Register Development and Legato +Metadata: artist=JeffBeck, track=LedBoots, section=solo, type=narrative, +technique=legato, technique=hammerOn, technique=pullOff, technique=trill, +technique=bend, strings=123, frets=15-17, concept=intensityBuilding + +The line shifts downward to the first string at the 15th fret and second +string alternating between the 17th and 15th frets. Pull-offs connect these +notes fluidly while the third string briefly contributes at the 17th fret. +Expressive bends at the 17th fret on the second string are raised +approximately a step and a half and released back to the 15th fret. A rapid +legato figure follows repeatedly moving between the 15th and 16th frets on +the second string using hammer-ons and pull-offs creating a trilling effect +of increasing intensity. A more complex legato figure on the third string +moves rapidly between the 15th, 16th, and 17th frets before resolving into +a sustained note at the 16th fret sliding up to the 17th fret. Beneath this +the sixth string is struck open repeatedly while the fourth and fifth strings +support with notes at the 15th and 17th frets, creating a multi-layered +texture of simultaneous upper register legato and lower register rhythmic +pulse. + +Chunk 9: Solo Narrative Resolution and Return to Riff +Metadata: artist=JeffBeck, track=LedBoots, section=solo, type=narrative, +technique=shimmeringTexture, technique=hammerOn, technique=pullOff, +concept=resolution, concept=returnToRiff, strings=123, frets=15-17 + +The final section returns to a repeating high-register figure: the first +string remains at the 15th fret while the second string repeatedly executes +hammer-ons and pull-offs between the 15th and 16th frets creating a +shimmering sustained texture. The phrase concludes by returning to the +earlier riff-based material third string at the 5th fret pulling off to +the 4th fret, fourth string at the 3rd fret ascending to the 5th fret +before resolving into a final high-register accent on the second string at +the 15th and then 17th frets. The return to the main riff after the +sustained upper register intensity creates a sense of structural resolution, +the aggressive solo energy channeled back into the grounded rhythmic +foundation from which it emerged. + +Chunk 10: Led Boots Upper Register Tension Summary +Metadata: artist=JeffBeck, track=LedBoots, section=solo, type=summary, +concept=upperRegisterTension, technique=sustainedBend, technique=whammyBar, +technique=feedback, scale=GbluesScale, concept=aggressiveSoloing, +concept=dynamicContrast + +Jeff Beck creates upper register tension in the Led Boots solo primarily +through sustained bends on the second string at frets 18 through 20, +combined with whammy bar dives and feedback. The G blues scale is used +almost exclusively above the octave, with the b5th (Db) deployed as a +searing chromatic tension note between passages of relative resolution. +Dynamic contrast is central to the solo architecture Beck alternates +between extreme aggression and moments of relative calm, using feedback, +whammy bar dives of up to four and a half steps, and sympathetically +ringing open strings to create howling, violent textural effects. The solo +eventually returns to the main riff in unison with the bass, grounding the +accumulated upper register energy in the original rhythmic foundation. + diff --git a/Books/Music/Articles/Jeff Beck 3.txt b/Books/Music/Articles/Jeff Beck 3.txt new file mode 100644 index 0000000..2578eb3 --- /dev/null +++ b/Books/Music/Articles/Jeff Beck 3.txt @@ -0,0 +1,296 @@ +ARTIST: Jeff Beck +GENRE: Rock, Blues Rock, Proto-Metal +CONCEPTS: slide guitar, bolero rhythm, non-diatonic harmony, +Mixolydian mode, minor pentatonic, sustain, vibrato, feedback, +triple stops, jazz harmony, heavy metal origins, whammy bar, +legato, pull-offs, bends +SOURCE: Guitar transcription analysis +TOPIC: Jeff Beck Bolero guitar analysis and narrative transcription +--- + +Chunk 1: Song Overview and Historical Context +Metadata: artist=JeffBeck, track=BecksBolero, album=Truth, year=1966, +type=overview, collaborators=JimmyPage/KeithMoon/JohnPaulJones, +instruments=LesPaulSunburst/FenderXII, concept=historicalSignificance + +Beck's Bolero was recorded in 1966, released as a single in 1967 and +on the album Truth in 1968. Classical French composer Maurice Ravel's +Bolero from 1928 inspired Jeff Beck and Jimmy Page to create what became +an electric guitar masterpiece Beck on a Les Paul Sunburst, Page on a +Fender XII 12-string. Though they disagree about authorship, it is likely +that Page wrote the chords and Beck the lead guitar parts. Despite charting +modestly at number 123 in the U.S. as the flipside of Hi Ho Silver Lining, +the song had an extraordinary impact on the evolution of rock music, +riding along on Truth which reached number 15 a year later. The session +also featured Keith Moon on drums and John Paul Jones on bass a +supergroup moment before the term existed. + +Chunk 2: Harmonic Framework and Non-Diatonic Progression +Metadata: artist=JeffBeck, track=BecksBolero, type=theory, +concept=nonDiatonicHarmony, concept=modalProgression, +harmony=I/bIII/IV/bVII, key=A, concept=tension, concept=anticipation + +The ten-measure progression played by Page on rhythm guitar follows a +non-diatonic sequence that produces tremendous momentum and drama: I (A), +bIII (C/A), IV (Dadd9/A), I (A), bVII (G6/A), and back to I (A) and bVII. +The characteristic propulsive bolero strum pattern drives the harmonic +momentum forward throughout. The most significant tension points occur +in measures three and four over the bIII chord, where the sustained 5th +(G over C/A) creates anticipation, and in measures five and six over the +IV chord where the sustained 5th (A over D9/A) produces the same effect. +In measures seven through ten over the I and bVII changes, the G# (major +7th) creates tension that resolves to the root G. The non-diatonic bIII +and bVII chords give the progression a distinctly modal, cinematic quality +that transcends conventional rock harmony. + +Chunk 3: Rhythm Guitar Texture Bolero Pattern +Metadata: artist=JeffBeck, track=BecksBolero, section=rhythmGuitar, +type=narrative, technique=boleroStrum, technique=pedalTone, +concept=rhythmicPropulsion, guitarist=JimmyPage + +The rhythm guitar maintains a continuous bolero strum pattern throughout, +articulating an A major chord voicing anchored by open E strings as both +high drone and low bass pedal tone. The B string sounds at the 5th fret, +the G string at the 6th fret, and the D string at the 7th fret, creating +a full, ringing voicing above the open low E bass pedal. The pattern +alternates between steady quarter-note strums and tighter triplet figures, +giving the progression its characteristic lurching, propulsive quality. +There are no embellishments no hammer-ons or pull-offs just strong +percussive attacks with consistent repetition that build cumulative +momentum beneath Beck's soaring melodic voice above. The bolero rhythm +functions as an unwavering foundation, almost hypnotic in its repetition, +against which Beck's melodic freedom feels all the more expressive by +contrast. + +Chunk 4: Beck's Lead Entrance Sustained Melody and Vibrato +Metadata: artist=JeffBeck, track=BecksBolero, section=leadEntrance, +type=narrative, technique=sustainedVibrato, technique=bend, +concept=vocalPhrasing, strings=BG, frets=12-14, concept=memorableMelody + +Beck enters soaring over the bolero strumming like an electric violin, +creating one of the most memorable melodies in rock. The lead begins on +the B string at the 12th fret a sustained B note held with wide, +expressive vibrato for an extended duration, the note blooming outward +into the reverberant space. The vibrato is not mechanical or even-speed +but alive and slightly unpredictable, giving the sustained pitch a vocal, +breathing quality. From this sustained peak, the line moves to the G +string at the 14th fret where the note is bent upward a whole step A +rising to B reaching its expressive apex before being released back to +the original pitch. The 14th fret is then picked again as a distinct +articulation before resolving down to the 12th fret. The result is a +phrase that rises, stretches, and sighs back to resolution an arc of +tension and release compressed into a handful of notes that immediately +establishes Beck's signature vocal approach to the instrument. + +Chunk 5: Slide Guitar Entry Bottleneck Technique and Harmonic Navigation +Metadata: artist=JeffBeck, track=BecksBolero, section=slideGuitar, +type=narrative, technique=slideGuitar, technique=bottleneck, +technique=glissando, technique=tripleStop, concept=jazzHarmony, +concept=celestialMelody, equipment=LesPaul/VoxAC30/delay, frets=9-20 + +Beck swoops in with his bottleneck like an eagle coming off an updraft, +playing slide in standard tuning a demanding approach that requires +precise intonation and careful note selection. Operating above the octave +at fret 12, he utilizes gorgeous creamy Les Paul distortion and sustain +through a Vox AC-30, enhanced by delay, to create a timeless world of +wistful celestial melodies. The slide entry begins with an ascending +glissando from around the 5th fret an E and B dyad gliding smoothly +up through the 9th fret and continuing to the 14th fret in one continuous +upward motion, the pitch rising without re-articulation between positions. +Following the I chord in measure one that he defines with an A and E +dyad after gliding up chromatically from E and B at fret 9, Beck +arpeggiates triple stops and triads across measures two through five. +Over the bIII chord, rather than playing the expected consonant harmony, +he produces sumptuous musical tension with a B, G, D triad implying a +fat jazzy major 9th tonality the maj7th, 5th, and 9th of the chord +that resolves smoothly and satisfyingly to the D major triad of F#, D, +and A in measure five. The descending arpeggio automatically ends on the +5th, complementing the Dadd9/A second inversion voicing of the rhythm +guitar. A resolution phrase follows on the high E string descending from +the 15th fret down to the 14th via slide, with the B and G strings +sustaining at the 14th fret, then a further descent from the 14th fret +down to the 12th on all three strings, ringing into each other to form +sustained dyads and triads that fade into resonance. + +Chunk 6: Slide Melodic Lines Mixolydian Phrases and Forward Motion +Metadata: artist=JeffBeck, track=BecksBolero, section=slideGuitar, +type=narrative, scale=AMixolydian, technique=slideGuitar, +concept=urgency, concept=forwardMotion, strings=highE, frets=12-20 + +Never content to play the common or expected, Beck alters his strategy +in measures six through ten by incorporating short melodic lines from +the A Mixolydian mode that end on E functioning as the 5th of A and +the 6th of G6/A creating a heightened sense of urgency and forward +motion previously absent. A high-register slide phrase moves from the +12th fret on the high E string, briefly pausing, then leaping dramatically +to the 20th fret descending to the 19th in a controlled slide, the B +string sustaining at the 19th fret and the G string sustaining at the +19th fret beneath it. The phrase continues with descending stepwise +movement on the high E string from the 20th fret down to the 19th. +A further slide phrase descends from the 19th fret to the 17th on the +high E string before ascending through 15th, 17th, and 19th frets in a +stepwise melodic contour that builds upward momentum. The Mixolydian +phrases create a sense of modal openness neither fully resolved nor +fully tense that sustains forward motion through the harmonic vamp +and leads naturally into the sections that follow. + +Chunk 7: Bass-Line Lead Minor Pentatonic with Passing Tones +Metadata: artist=JeffBeck, track=BecksBolero, section=bassLead, +type=narrative, scale=minorPentatonic, technique=bend, technique=slide, +concept=heavyMetal, collaborator=bassist=JohnPaulJones, +concept=majorSeventhPassingTone, strings=EAD, frets=1-5 + +Beck plays two-measure minor pentatonic bass lines virtually in unison +with bassist John Paul Jones, relative to the key of each chord change. +The riff begins on the low E string at the 3rd fret a grounded G note +struck with percussive clarity before the A string moves between the +5th fret and 3rd fret with a C# passing tone at the 4th fret creating +chromatic momentum between root and b7th. The phrase continues on the +D string with a whole-step bend from the 5th fret, G rising to A, +released back to the original pitch and occasionally followed by a +quarter-step bend on the b3rd the true blue note that adds a +microtonal expressive color between the bend and release. A variation +includes a slide from the 1st fret to the 4th fret on the G string +combined with bend and release on the D string. The major 7th appears +as a significant passing tone between the root and b7th in alternating +measures, adding increased momentum, while the one-step bend from the +4th to the 5th produces dynamic phrasing. The growling aggressive bass +riffs that emerge from this section have a legacy that Beck himself and +many others believe qualifies as the first heavy metal music. + +Chunk 8: Mid-Neck Blues Lead Ascending Runs and Bends +Metadata: artist=JeffBeck, track=BecksBolero, section=midNeckLead, +type=narrative, scale=bluesScale, technique=bend, technique=slide, +technique=sustainedBend, strings=DG, frets=6-10, concept=bluesVocabulary + +The mid-neck blues lead begins on the D string sliding from the 6th fret +to the 8th fret, the pitch gliding upward in a continuous vocal-like +motion before being picked repeatedly at the 8th fret with rhythmic +insistence. The line descends from the 8th fret through the 7th to the +6th, grounding the phrase after its upper movement. The G string then +carries a whole-step bend at the 8th fret, the pitch rising and +sustaining before being released back to the 8th fret and resolving to +the 6th fret. A slide from the 8th to the 10th fret on the G string +extends the phrase upward, followed by repeated 10th fret articulations +descending through the 9th and 8th frets. A further bend at the 10th +fret rises a whole step, sustains, and releases back before resolving to +the 8th fret. The blues vocabulary throughout is classic Beck bends +used not as decoration but as the primary expressive vehicle, each bend +a committed vocal gesture with a clear emotional arc of rise, sustain, +and controlled descent. + +Chunk 9: Power Chord Pedal Section and High Register Legato +Metadata: artist=JeffBeck, track=BecksBolero, section=pedalSection, +type=narrative, technique=powerChord, technique=pullOff, +technique=legato, concept=droneTexture, concept=intensityBuilding, +strings=EAD/highEB, frets=7-18 + +A repeated power chord drone D string at the 9th fret, A string at +the 7th fret, open low E string is struck in rapid succession creating +a tight rhythmic drone that feels almost mechanical in its consistency. +No embellishments break the pattern; the power chord simply repeats with +unwavering rhythmic intensity, accumulating energy through persistence. +Above this foundation, a high-register legato passage emerges on the +high E string, repeatedly pulling off from the 16th fret to the 14th +fret and from the 18th fret to the 14th fret, the B string sustaining +at the 14th fret between pull-offs. The continuous legato motion +minimal picking, pull-offs driving the line forward creates a flowing, +shimmering upper-register texture that contrasts dramatically with the +percussive power chord drone beneath it. The two layers coexist as +separate temporal zones: above, a fluid singing line; below, an +unwavering rhythmic engine. + +Chunk 10: High Register Sustained Tones Feedback and Melodic Accents +Metadata: artist=JeffBeck, track=BecksBolero, section=highRegister, +type=narrative, technique=feedback, technique=sustainedVibrato, +technique=whammy, concept=celestialMelody, string=Gstring, +frets=12-19, concept=upperRegisterTension + +Single sustained notes on the G string form a slowly evolving melodic +line in the upper register the 18th fret held with vibrato, moving to +the 19th fret, returning to the 18th, descending to the 16th, then +tracing a stepwise melodic contour through the 14th, 12th, 14th, and +16th frets. Each note is held long enough to bloom into sustain, the +vibrato giving each pitch a living, slightly oscillating quality rather +than a fixed point. Feedback is allowed to bloom from A to G over the +I and bVII chords respectively as harmony notes float over the top +Beck deliberately cultivating the feedback as a melodic tool rather than +controlling or suppressing it. The result is a hovering celestial quality, +notes suspended in reverberant space and allowed to evolve through decay +and feedback rather than being pushed forward by picking. The high G +string position gives the sustained tones a slightly nasal, vocal +brightness that sits above the full band texture without competing with it. + +Chunk 11: High Bend Climax Upper Register Intensity +Metadata: artist=JeffBeck, track=BecksBolero, section=climax, +type=narrative, technique=sustainedBend, technique=whammy, +technique=pullOff, concept=upperRegisterTension, concept=aggressiveSoloing, +strings=highEB, frets=17-20, scale=AminorPentatonic + +The climactic section brings Beck's most aggressive upper register playing. +The B string at the 19th fret is bent upward a whole step, sustained at +its peak, and released then the bend is immediately repeated, the pitch +rising and falling in cyclical waves of tension. A quarter-step bend at +the 17th fret introduces a microtonal color before the high E string +enters at the 20th fret, bent upward a whole step and sustained, then +resolving down to the 17th fret. The 20th fret bend is repeated and +resolves into a pull-off figure 17th to 20th fret and back to the +17th before the line continues with alternating high E string +movements between the 20th and 19th frets. Throughout this section the +A minor pentatonic scale provides the harmonic foundation, with the +addition of F# as the major 7th over the bVII chord creating anticipation +that is ultimately resolved by a one-step bend from G to A over the I +chord. The whammy bar dive from the 20th fret descends with a quarter-step +inflection before releasing, the pitch dropping away dramatically before +returning to the melodic line. The overall effect is one of sustained, +hovering intensity in the extreme upper register notes bent to their +expressive limit and held there, refusing easy resolution. + +Chunk 12: Closing Section Chordal Alternation and Final Resolution +Metadata: artist=JeffBeck, track=BecksBolero, section=closing, +type=narrative, technique=chordAlternation, technique=sustainedBend, +concept=resolution, harmony=A/G, concept=forwardMotion + +The closing section alternates between A major and G major chord voicings +in a continuing bolero rhythm A major with open E strings, B string at +the 5th fret, G string at the 6th, D string at the 7th, and the G major +variant with the B string at the 3rd fret, G string at the 4th fret, D +string at the 5th fret. The alternation between these two voicings I +and bVII maintains the momentum and triple-guitar wall of sound as the +song surges forward. Above the chordal alternation, Beck overlays a final +high-register melodic figure: the high E string moves from the 20th fret +down to the 19th, then a 20th fret bend rises and sustains before the G +string sustains at the 12th fret resolving to the 14th fret. The song +returns to the chordal A voicing for a sustained final chord, the +accumulated energy of the entire performance channeled into a ringing, +sustained resolution that ends on the tonic the forward motion of the +bolero rhythm finally allowed to rest. + +Chunk 13: Beck's Bolero Style and Technique Summary +Metadata: artist=JeffBeck, track=BecksBolero, type=summary, +concept=slideGuitar, concept=vocalPhrasing, concept=jazzHarmony, +concept=heavyMetal, concept=feedback, concept=upperRegisterTension, +concept=sustainedVibrato, scale=AMixolydian/minorPentatonic, +technique=whammy, technique=bend, technique=bottleneck + +Beck's Bolero represents one of Jeff Beck's most multidimensional +performances, combining slide guitar played in standard tuning with +sustained lead melodies, jazz-influenced triadic harmony, minor pentatonic +bass riffs, and high-register feedback. The slide work above the 12th +fret uses creamy Les Paul sustain through a Vox AC-30 with delay to +create celestial wistful melodies dyads and triple stops navigating +non-diatonic changes with jazz sophistication, including a major 9th +chord implication over the bIII change. The sustained lead entrance on +the B string at the 12th fret with wide expressive vibrato establishes +Beck's signature vocal phrasing approach notes held, bent, and +released as emotional gestures rather than mechanical sequences. The +A Mixolydian phrases create forward motion and urgency over the I and +bVII vamp, while the minor pentatonic bass riffs played in unison with +John Paul Jones featuring major 7th passing tones and one-step bends +from the 4th to the 5th with quarter-step blue note releases are widely +considered the first heavy metal music. The high-register climax uses +sustained bends at the 19th and 20th frets of the B and high E strings, +whammy bar inflections, and deliberately cultivated feedback as melodic +tools, creating upper register tension that hovers at its expressive +limit before resolving to the tonic in the final measure. + diff --git a/Books/Music/Articles/Satriani.txt b/Books/Music/Articles/Satriani.txt index d1d4692..5585412 100644 --- a/Books/Music/Articles/Satriani.txt +++ b/Books/Music/Articles/Satriani.txt @@ -1,3 +1,4 @@ +# IGNORE ARTIST: Joe Satriani GENRE: Rock, Art Rock, Blues Rock CONCEPTS: Target notes, pentatonic scales, melodic phrasing, ballad soloing @@ -8,19 +9,19 @@ Joe Satriani is one of the most influential modern rock guitarists. In "What The throw it away and -He set the guitar world on its ear with his landmark 1987 release keep on playing "Surfing With The Alien". It was the first instrumental rock album to -Joe Satriani reach the BillBoard Top 40 charts. +He set the guitar world on its ear with his landmark 1987 release keep on playing� "Surfing With The Alien". It was the first instrumental rock album to -Joe Satriani reach the BillBoard Top 40 charts. His uncanny ability to re-invent common blues licks into catchy melodies is truly amazing. He is also known for his fluid legato technique, unique two hand chord and arpeggio tapping, exotic melodies, super interesting and unique chord voicings, shifting modalities, and musically compelling song structure. These all help define his unique guitar style. Although he is recognized as a virtuoso, he views his relationship with the guitar as much more than the mastery of technique. His focus seems to be on songwriting and the creation of melodies and drawing his audience in with instrumental storytelling, -He stated, solos I kind of care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cornerstone of what I'm working on. +He stated, �solos I kind of care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cornerstone of what I'm working on.� His playing is as melodic as it is technical. He produces expertly crafted pieces of music drawing from his deep well of musical and guitar creativity combined with his black belt in music theory. -Satrianis brilliant and creative playing has influenced countless guitarists all over the world. We can all be inspired and empowered through his playing and his twenty five year catalog of recordings. +Satriani�s brilliant and creative playing has influenced countless guitarists all over the world. We can all be inspired and empowered through his playing and his twenty five year catalog of recordings. -Now letss get started +Now lets�s get started�� 3 of @@ -48,21 +49,21 @@ good as your It can be overwhelming with so much to learn and so many learning rhythm playing. -materials readily available. Try not to take on too much at once as you may become overwhelmed and frustrated. You dont want to rush things and then end up skimming over important topics leaving voids in your +materials readily available. Try not to take on too much at once as you may become overwhelmed and frustrated. You don�t want to rush things and then end up skimming over important topics leaving voids in your playing. Keep in mind that -Its critical to take the extra time to learn the why things work. Learning no matter how good +It�s critical to take the extra time to learn the �why� things work. Learning no matter how good -the whys will give you the musical knowledge to blast these principles a solo is..in the and techniques across all your playing. It will give you the lead guitar end its the song +the �whys� will give you the musical knowledge to blast these principles a solo is�..in the and techniques across all your playing. It will give you the lead guitar end it�s the song -confidence to be able to instantly know what avenues are possible when soloing and improvising. that will be Use these lessons as templates to learn the whys and then develop remembered. +confidence to be able to instantly know what avenues are possible when soloing and improvising. that will be Use these lessons as �templates� to learn the �whys� and then develop remembered. them into your guitar arsenal through practical application. Then you will have the tools and confidence to blast these playing techniques across all your playing at any given time, in any given jam, and in any given song. As you further develop your lead guitar skills you want to keep developing your rhythm skills. Your rhythm and groove are critical elements to your overall abilities on the guitar. -Your lead playing will really only ever be as good as your rhythm playing. No matter how good a solo is, its the song that will always be remembered. +Your lead playing will really only ever be as good as your rhythm playing. No matter how good a solo is, it�s the song that will always be remembered. KEY POINT: Keep in mind that there is just no substitute for practicing the right things, learning scales, studying the sounds and relationships between chords and scales, developing your ear, practicing and honing your skills using jam tracks, and continually pushing yourself and refining your art. 4 of @@ -78,17 +79,17 @@ Below are some general study avenues for rock and blues guitar. Because students -Learn some music theory. It will help propel you faster along in your guitar journey as well as you will be able to better communicate the language of music. --Dont just learn scales alone. Learn the scale but also learn how to apply it. Learn when it works, over what chords, and how to play it in all keys. Knowing the scale itself is only half the battle. +-Don�t just learn scales alone. Learn the scale but also learn how to apply it. Learn when it works, over what chords, and how to play it in all keys. Knowing the scale itself is only half the battle. -Kick off your lead guitar journey by learning the Minor Pentatonic scale. Start with the basic box shape and then learn all five boxes and expanded scales. Pentatonic scales are the cornerstone for blues rock soloing. -Learn how to convert minor pentatonic scales into major pentatonic scales by using the concept of major to relative minor. This is a huge help as you wont have to learn another full neck of scales. --Dont just learn shapes. Take the extra time to learn the notes of the scales you are playing and the notes that are in chords. This will help you immensely in so many ways along your guitar journey. +-Don�t just learn shapes. Take the extra time to learn the notes of the scales you are playing and the notes that are in chords. This will help you immensely in so many ways along your guitar journey. -Be sure to know how to solo comfortably in both minor AND major key. --Always try to compliment the song with your lead lines. Remember, no matter how good a solo is, in the end its the song that will be remembered. Play for the song, not for yourself. +-Always try to compliment the song with your lead lines. Remember, no matter how good a solo is, in the end it�s the song that will be remembered. Play for the song, not for yourself. -Learn some triads and arpeggios. They really open up your playing, add color and variety, and get you out of playing straight scales. They are super useful and can be super melody builders. @@ -100,7 +101,7 @@ Below are some general study avenues for rock and blues guitar. Because students -Practice soloing and improvising over jam tracks. Know the chords of the rhythm track and just get lost in it. Its critical to practice and apply what you are learning in a musical context, and jam tracks are awesome practice. --Develop your ear, dont rely solely on tablature. Try to learn songs and licks by ear and listen for the color of chords and try any ear training that you can get your hands on. Its hard work, but well worth it. +-Develop your ear, don�t rely solely on tablature. Try to learn songs and licks by ear and listen for the color of chords and try any ear training that you can get your hands on. Its hard work, but well worth it. -Keep in mind that at this stage of your lead guitar journey there is just no substitute for practicing the right things, learning scales, studying the sounds and relationships between chords and scales, developing your ear, practicing and honing your skills using jam tracks, and continually pushing yourself and refining your art. @@ -204,13 +205,13 @@ them all and and see what sounds best to your ears. key I-IV-V blues jams, swing and shuffles. -KEY POINT: Analyze the chords to determine what solo avenues to take. Its the chords that give the complete roadmap to the various 4. Over all the chords in rock +KEY POINT: Analyze the chords to determine what solo avenues to take. It�s the chords that give the complete roadmap to the various 4. Over all the chords in rock -soloing avenues the key signature is only part of the equation. jams or jams using power or +soloing avenues � the key signature is only part of the equation. jams or jams using power or 5th chords, (except major -Its important to understand why these principles and techniques work sounding jams and ballads). +It�s important to understand why these principles and techniques work sounding jams and ballads). so that you can solo and improvise over any progression. Armed with this knowledge and practicing in a musical context will give you the lead Soloing in minor key: @@ -218,7 +219,7 @@ guitar confidence to solo over any progression. When playing over all the chords in minor key, what -KEY POINT: Remember that as soon as you hear that very identifiable relates to all, you can I-IV-V blues, swing, or shuffle, it is wide open as there will be many always use Natural Minor +KEY POINT: Remember that as soon as you hear that very identifiable �relates to all�, you can I-IV-V blues, swing, or shuffle, it is wide open as there will be many always use Natural Minor different soloing avenues to try. Scales, (Aeolian Mode), @@ -230,7 +231,7 @@ those cases use the Dorian 1. Determine the key signature Mode. - often you will be soloing in minor key or major key. Knowing the key is the first step. Even when you are just noodleing around on the guitar, always know in what key you are playing. -2. Analyze the chord progression its the chords that will give you the complete roadmap to what you can utilize for soloing and improvisation. Analyzing the chords is critical to get the full lead guitar picture. +2. Analyze the chord progression � it�s the chords that will give you the complete roadmap to what you can utilize for soloing and improvisation. Analyzing the chords is critical to get the full lead guitar picture. @@ -246,13 +247,13 @@ CHOICES: -1. Solo with what relates to all use the same scale or mode KEY over all the chords. No matter what chord is sounding, play the same scale over each chord. You play what works over ALL the +1. Solo with what �relates to all� � use the same scale or mode KEY over all the chords. No matter what chord is sounding, play the same scale over each chord. You play what works over ALL the chords. There is no This is the most common choice and definitely what most players substitute for learning do when first developing their soloing skills. Start with what scales and studying -relates to all. Get proficient at this before moving on to the next the sounds and +�relates to all�. Get proficient at this before moving on to the next the sounds and choice described below. relationships @@ -260,7 +261,7 @@ choice described below. relationships Or you can: between chords and scales. -2. Treat each chord like a separate event- this choice is more challenging but yields a very sophisticated sound. By Keep developing +2. Treat each chord like a �separate event�- this choice is more challenging but yields a very sophisticated sound. By Keep developing treating each chord as a separate event you solo with a different your ear and practice @@ -268,23 +269,23 @@ scale or mode over each chord and change the scale or mode using jam tracks. with each chord change. This techniques does not stay within the Continually push -confines of the same scale as with what relates to all. yourself to the next +confines of the same scale as with what �relates to all�. yourself to the next With this approach you must listen to what is going on underneath level. Stay positive -the soloing. You have to listen to which chords are sounding and and remember.. +the soloing. You have to listen to which chords are sounding and and remember�.. also for the changes. Then time your playing and change scales YOU CAN DO IT! as the chords change. -Employ this technique whenever there is enough time on a given chord. If the chords are flying by fast, there wont be enough time to treat each chord as a separate event. +Employ this technique whenever there is enough time on a given chord. If the chords are flying by fast, there won�t be enough time to treat each chord as a �separate event�. This technique takes practice but it will skyrocket your playing to the next level. Practice this technique with slow tempo progressions where there is lots of time on each chord and remember to listen for the changes. Remember, at first practice with jam tracks with slow moving changes to perfect this technique. You want lots of time on each chord. -KEY POINT: The above two choices are NOT mutually exclusive, you can mix them both together. Treat each chord as a separate event, then switch it up and play what relates to all. Toggle back and forth and get lost exploring within the jam track. 8 of +KEY POINT: The above two choices are NOT mutually exclusive, you can mix them both together. Treat each chord as a �separate event�, then switch it up and play what �relates to all�. Toggle back and forth and get lost exploring within the jam track. 8 of @@ -299,13 +300,13 @@ exceptions). Blues Scales - four So minor pentatonic over minor key should be a default setting. As great applications: -soon as you hear minor key, you know one option is to solo over all the chords with Minor Pentatonic & Blues Scales as they relate 1. Over all chords in minor +soon as you hear minor key, you know one option is to solo over all the chords with Minor Pentatonic & Blues Scales as they �relate 1. Over all chords in minor -to all. key (except a major V chord). +to all�. key (except a major V chord). -Also if its a major key bluesy I-IV-V, like the Satriani inspired Jam 2. Over any minor type chord when treating each chord as a Tarck in G, one option is to solo over all the chords with Minor separate event. Pentatonic & Blues scales. An exception to this rule is if its a +Also if it�s a major key bluesy I-IV-V, like the Satriani inspired Jam 2. Over any minor type chord when treating each chord as a Tarck in G, one option is to solo over all the chords with Minor separate event. Pentatonic & Blues scales. An exception to this rule is if it�s a @@ -313,7 +314,7 @@ minor key progression with a major V chord. You have to be 3. Over all the chord A minor mode will also work over all the chords in minor key. 4. Over all the chords in rock -Usually its Aeolian or Dorian. To determine which one you have to jams or jams using power or +Usually it�s Aeolian or Dorian. To determine which one you have to jams or jams using power or analyze the chords. For now just memorize the below key point for 5th chords, (except major @@ -325,7 +326,7 @@ can always use the AEOLIAN mode, UNLESS there is a IV major When playing over al chord or II minor chord, then use the DORIAN mode. (Exception - chords in minor key, what -If there is a V major chord then use Harmonic Minor over just that relates to all, you can V chord). always use Natural Minor +If there is a V major chord then use Harmonic Minor over just that �relates to all�, you can V chord). always use Natural Minor Scales, (Aeolian Mode), @@ -343,7 +344,7 @@ applications): 2. Over all chords in major key I-IV-V blues, shuffles, and swings. -3. Over any minor type chord when treating each chord as a separate event. +3. Over any minor type chord when treating each chord as a �separate event�. 4. Over all the chords in rock type jams, or jams using power or 5th chords, (as long as the jam is not ballad/major sounding, if so then use major pentatonic or possibly full major scales). @@ -364,7 +365,7 @@ So major pentatonic over major key should be a default setting just like Major P minor pentatonic over minor key. As soon as you hear major key, you Scale applications: -know one option is to solo over all the chords with Major Pentatonic, as it relates to all the chords. +know one option is to solo over all the chords with Major Pentatonic, as it �relates to all� the chords. Major pentatonic produces that sweet, bright, major sound. Be sure to 1. Over all chords when in a @@ -378,19 +379,19 @@ You will hear these rhythms all the time in blues music. If a progression dominant 7th chords in blues -is a major key IIVV blues, swing, or shuffle there are MANY avenues +is a major key I�IV�V blues, swing, or shuffle there are MANY avenues jams - very popular choice). -to utilize when soloing and improvising, its wide open. +to utilize when soloing and improvising, it�s wide open. 3. Over all the chords in major -You can solo with what relates to all and also by treating each chord +You can solo with what �relates to all� and also by treating each chord key I-IV-V blues jams, swings, -as a separate event. Here are some suggestions to try over these type +as a �separate event�. Here are some suggestions to try over these type and shuffles. @@ -398,7 +399,7 @@ very common progressions: -1. Try 4. Over all the chords in rock Minor Pentatonic & Blues scales over all the chords in the key major sounding jams and of the progression. This yields that dark, bluesy, minor sound. (Minor especially major ballads. Pentatonic & Blues 1,b3,4,b5,5,b7) +1. Try 4. Over all the chords in rock Minor Pentatonic & Blues scales over all the chords in the key major sounding jams and of the progression. This yields that dark, bluesy, minor sound. (Minor especially major ballads. Pentatonic & Blues � 1,b3,4,b5,5,b7) 2. Try Major Pentatonic scales over all the chords in the key of the Soloing in major key: @@ -406,7 +407,7 @@ progression. This produces that sweet major sound ala BB King/Allman Be careful Brothers. This will be a totally different sound than Minor Pentatonic. much room for error in major -(Major Pentatonic 1,2,3,5,6) key and sour notes will +(Major Pentatonic � 1,2,3,5,6) key and �sour� notes will really stick out. You can at @@ -420,13 +421,13 @@ and mixing of Minor and Major Pentatonic is an awesome sound. (Minor pentatonic minor and major. -4. Try the Dorian Mode over all the chords. Dorian is the second mode of the major scale and is considered more of a minor mode but its intervals have elements of both minor, (b3, b7), and major (2nd, 6th). +4. Try the Dorian Mode over all the chords. Dorian is the second mode of the major scale and is considered more of a minor mode but it�s intervals have elements of both minor, (b3, b7), and major (2nd, 6th). -So Dorian works great in any situation where you know both Minor Pentatonic and Major Pentatonic will work. Give it at try over I-IV-V blues progressions and you will be surprised how killer it can sound. (Dorian Mode 1,2,b3,4,5,6,b7) +So Dorian works great in any situation where you know both Minor Pentatonic and Major Pentatonic will work. Give it at try over I-IV-V blues progressions and you will be surprised how killer it can sound. (Dorian Mode � 1,2,b3,4,5,6,b7) 5. Try the Mixolydian Mode as it works great over dominant chords like 7th and 9th chords. Try to play this mode over each chord independently in the key of the chord. (Mixolydian Mode is the fifth 10 of 35 -mode of the major scale 1,2,3,4,5,6,b7). +mode of the major scale � 1,2,3,4,5,6,b7). Joe Satriani Inspired G Jam Track @@ -458,21 +459,21 @@ option, (memorize the four key minor pentatonic application points and shuffles However, to get the complete soloing picture you have to analyze all jams or jams using power or 5th -the chords. Its the chords that give the complete soloing roadmap. chords, (except major sounding +the chords. It�s the chords that give the complete soloing roadmap. chords, (except major sounding jams and ballads) On this track there is enough time on each chord to also treat each -chord as a separate event. Remember, if the chords are flying by fast Soloing in minor key: +chord as a �separate event�. Remember, if the chords are flying by fast Soloing in minor key: -you dont have enough time to solo on each chord independently. In those cases you would be playing more of what When playing over all the relates to all. +you don�t have enough time to solo on each chord independently. In those cases you would be playing more of what When playing over all the �relates to all�. chords in minor key, what -A. This is a rock jam using power 5th chords in the key of G. So we What Relates to all the chords: relates to all, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there instantly know G minor pentatonic & blues scales works over all the is a major IV chord or a minor ii chords. No matter which chord you are playing over, solo with G minor chord, in those cases use the pentatonic & blues scales as those scales relate to all the chords. Try Dorian Mode. to groove and swing your bluesy licks as outlined in the video lessons. +A. This is a rock jam using power 5th chords in the key of G. So we What Relates to all the chords: �relates to all�, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there instantly know G minor pentatonic & blues scales works over all the is a major IV chord or a minor ii chords. No matter which chord you are playing over, solo with G minor chord, in those cases use the pentatonic & blues scales as those scales �relate to all� the chords. Try Dorian Mode. to groove and swing your bluesy licks as outlined in the video lessons. B. G Natural Minor Scales, (G Aeolian mode) - In rock jams as well as in minor key, a minor mode usually relates to all the chords. Play G natural minor scales over all the chords, G Aeolian = BbMajor. @@ -526,9 +527,9 @@ Scales are a group or collection of notes in ascending or descending order that The order of the notes used in a scale is crucial as that order provides a measure of musical distance. The distance between notes is called an interval. How scale notes line up, or the intervals, will give the scale not only its name but also its mood or musical color. Just like certain chords have a mood to them, scales also produce a certain sound or mood. -One critical aspect of a scale is its root note. The root note is the starting note and note which all the other scale notes gravitate toward. I like to call the root note home base. Most other notes seem to want to resolve to the root as its the tonic center for the scale. Often you can determine the key of a given progression by just listening for what sounds like home base, what are all the chords are pulling toward. +One critical aspect of a scale is its root note. The root note is the starting note and note which all the other scale notes gravitate toward. I like to call the root note �home base�. Most other notes seem to want to resolve to the root as it�s the tonic center for the scale. Often you can determine the key of a given progression by just listening for what sounds like home base, what are all the chords are pulling toward. -When learning scales, always make mental notes as to where the root notes are in that scale. In this eBook the root notes are illustrated with black ovals. Its critical to know your root note locations. +When learning scales, always make mental notes as to where the root notes are in that scale. In this eBook the root notes are illustrated with black ovals. It�s critical to know your root note locations. The successive notes in a scale are divided by steps, or tones. A half step is also called a semi-tone and is one fret on the guitar. A whole step is also called a whole tone and is two frets. A minor third is three frets and a major third is four frets. @@ -579,7 +580,7 @@ The minor pentatonic scale is constructed of five notes of the natural minor sca -The scale illustrated on the right is the most common basic box position. This scale has its low root played with the first finger on the low E string. The root notes are illustrated with black ovals and the numbers inside the circles indicate the fingering to be utilized when playing this scale. At first try utilizing one finger per fret. +The scale illustrated on the right is the most common basic �box� position. This scale has its low root played with the first finger on the low E string. The root notes are illustrated with black ovals and the numbers inside the circles indicate the fingering to be utilized when playing this scale. At first try utilizing one finger per fret. We are going to build upon this scale in coming lessons. Eventually you will need to learn this scale in all positions all over the neck, and in all keys. @@ -608,11 +609,11 @@ String Bending in Minor Pentatonic Bending strings is one of the most expressive things you can do on the guitar. You will want to get very -proficient and accurate with string bending, its an art. +proficient and accurate with string bending, it�s an art. When bending strings, it is imperative that you are bending notes in pitch to the proper target note. You -dont want to over bend or under bend notes, as they will then sound sharp or flat. Practice bending +don�t want to over bend or under bend notes, as they will then sound sharp or flat. Practice bending strings and then check the pitch by sounding the note you are attempting to bend to, your target note. @@ -638,7 +639,7 @@ shape. bend as the b3rd is a very ambiguous note in this scale. It sometimes will sound great as the b3rd but also as a -major 3rd. This note has some play in it and you dont have to be exact with the bend, play with it and you will +major 3rd. This note has some play in it and you don�t have to be exact with the bend, play with it and you will soon be utilizing this bend all the time. @@ -691,7 +692,7 @@ you are bending in pitch. Minor Pentatonic - The Five Box Shapes -The five minor pentatonic box shapes illustrated below cover the entire guitar neck. These are must-know scales, especially for blues and rock. Take your time learning them, chip away a little each day. As you move through each scale make a mental note of when pass through a root note, which are illustrated in black. +The five minor pentatonic box shapes illustrated below cover the entire guitar neck. These are �must-know� scales, especially for blues and rock. Take your time learning them, chip away a little each day. As you move through each scale make a mental note of when pass through a root note, which are illustrated in black. These five positions are the architecture to build endless licks and runs. They also connect into longer expanded scales that you will learn in the coming pages. To avoid getting stuck in one position be sure to learn ALL the positions and practice them in different keys over jam tracks. @@ -699,9 +700,9 @@ These scale shapes are moveable and the key is determined by the low root note. To try another pentatonic box in G minor play box #3 using your 3rd finger at the 10th fret A-string. Fret ten on the A-string is a G note. You are playing the same five notes as in the above example, G, Bb, C, D, and F, just in a different position on the guitar neck. -Along with memorizing the scale shapes it is also critical to know what notes you are playing and how to apply these scales. Too often, guitarists memorize only shapes. Dont just learn scale shapes, take the time to also learn the notes and how to musically apply the scale, in the end it will make you a better musician. +Along with memorizing the scale shapes it is also critical to know what notes you are playing and how to apply these scales. Too often, guitarists memorize only shapes. Don�t just learn scale shapes, take the time to also learn the notes and how to musically apply the scale, in the end it will make you a better musician. -Another critical element when learning scales is to not only memorize the scale but also learn its application. Learn how to apply it in a musical context - over what chords, in what key. Start by memorizing and practicing the four applications for minor pentatonic as listed in this eBook on page nine. Practice these scales in the key of G over the G Satriani inspired jam track. +Another critical element when learning scales is to not only memorize the scale but also learn it�s application. Learn how to apply it in a musical context - over what chords, in what key. Start by memorizing and practicing the four applications for minor pentatonic as listed in this eBook on page nine. Practice these scales in the key of G over the G Satriani inspired jam track. @@ -711,7 +712,7 @@ Another critical element when learning scales is to not only memorize the scale Minor Pentatonic - The Expanded Scales -Lets build on the minor pentatonic scales that you learned in the previous lesson. We will expand the scale two frets in each direction combining three box shapes to double the playing area. These expanded scales will get you playing ACROSS the neck and eliminate the stuck in the box scenario. +Let�s build on the minor pentatonic scales that you learned in the previous lesson. We will expand the scale two frets in each direction combining three box shapes to double the playing area. These expanded scales will get you playing ACROSS the neck and eliminate the �stuck in the box� scenario. We are still going to play the same five-note pentatonic scale but these expanded scale produce a more fluid sound as opposed to staying in just one vertical box. You certainly want to have all the box patterns in your playing arsenal, but these expanded scales open the pathways and lead guitar avenues. You will utilize these expanded scales all the time, they are invaluable. @@ -777,15 +778,15 @@ Minor Pentatonic & Blues- The Five Boxes Now we will add one note to the minor pentatonic scale and turn it into the six-note blues scale. Pentatonic & Blues scales are the most commonly used scales in most genres of music. -We can add the flat 5, (b5), or blue note to the pentatonic scale, making it a six-note scale called the Blues Scale. That b5, or blue note, adds a lot of tension and color to the scale. These are must-know scales especially for blues and rock so be sure to memorize them add them to your playing arsenal. +We can add the flat 5, (b5), or blue note to the pentatonic scale, making it a six-note scale called the Blues Scale. That b5, or blue note, adds a lot of tension and color to the scale. These are �must-know� scales especially for blues and rock so be sure to memorize them add them to your playing arsenal. -Most of the time when soloing with minor pentatonic scales you can also use the blues scale. To be safe, at first, use the blue note more in passing for color, dont hang on it too long. Hanging on that flat five too long can sound a bit dissonant. Its a great note though, so experiment with it and let your ear guide you. +Most of the time when soloing with minor pentatonic scales you can also use the blues scale. To be safe, at first, use the blue note more in passing for color, don�t hang on it too long. Hanging on that flat five too long can sound a bit dissonant. It�s a great note though, so experiment with it and let your ear guide you. The five box shapes illustrated below cover the entire neck. These five positions are the architecture to build licks and runs as well as to connect into longer expanded scales. To work freely across the entire neck you will want to memorize all five positions as well as the two expanded scales illustrated on the next page. These scale shapes are moveable. The key is determined by the root notes illustrated in black. If you want to solo in G minor pentatonic over the G Satriani jam track play box #1 using your first finger starting at the 3rd fret on the low E-string and play the shape from there. Third fret low-E string is an G note. That makes the scale an G minor pentatonic & blues scale consisting of the notes G, Bb, C, Db, D, and F. -Remember that along with memorizing the scale shapes it is also critical to know what notes you are playing. Too often, guitarists memorize only shapes and forget what notes they are actually playing. Dont just learn scale shapes, take the time to also learn the notes. In the end it will make you a better musician. +Remember that along with memorizing the scale shapes it is also critical to know what notes you are playing. Too often, guitarists memorize only shapes and forget what notes they are actually playing. Don�t just learn scale shapes, take the time to also learn the notes. In the end it will make you a better musician. To avoid getting stuck in one position be sure to learn ALL the positions and practice them in different keys. Use the blue notes in passing, resolve often to the root notes and land on strong chord tones. @@ -797,7 +798,7 @@ To avoid getting stuck in one position be sure to learn ALL the positions and pr Minor Pentatonic & Blues- The Expanded Scales -Lets build on the minor pentatonic & blues scale that you learned in the previous lesson. Now we will expand the scale two frets in each direction thus combining three box shapes and doubling the playing area. These expanded scales will get you playing ACROSS the neck and eliminate being stuck in the box. +Let�s build on the minor pentatonic & blues scale that you learned in the previous lesson. Now we will expand the scale two frets in each direction thus combining three box shapes and doubling the playing area. These expanded scales will get you playing ACROSS the neck and eliminate being �stuck in the box�. We are still going to play the same six-note scale. However, the expanded scales exude a much more fluid sound that set up additional lick opportunities. You certainly want to have all the box patterns in your playing arsenal, but these expanded scales really open the pathways and lead guitar avenues. You will utilize these expanded scales all the time, they are invaluable. @@ -868,13 +869,13 @@ The Major Pentatonic Scale The major pentatonic scale is a five-note scale consisting of five notes from the major scale. The intervals are 1, 2, 3, 5, 6. You do not play the 4th and 7th degrees of the major scale. This incredibly useful scale produces a sweet, happy, major sound and is utilized often in blues, rock, and other musical genres. -Major pentatonic often works over all the chords in major key when playing what relates to all. Also, utilize major pentatonic over most major type chords when treating each chord as a separate event. +Major pentatonic often works over all the chords in major key when playing what �relates to all�. Also, utilize major pentatonic over most major type chords when treating each chord as a �separate event�. -You can locate the major pentatonic scale all over the neck by going through the minor pentatonic. You wont have to memorize a whole new batch of scale shapes for major pentatonic. We will use the concept of major and relative minor to easily tackle major pentatonic scales across the neck. +You can locate the major pentatonic scale all over the neck by going through the minor pentatonic. You won�t have to memorize a whole new batch of scale shapes for major pentatonic. We will use the concept of major and relative minor to easily tackle major pentatonic scales across the neck. -For every major key there is a relative minor key with exactly the same notes. We will use this to help find where these major pentatonic scales live on the fretboard. Minor pentatonic lives a minor 3rd, or three frets away, below the major pentatonic. +For every major key there is a relative minor key with exactly the same notes. We will use this to help find where these major pentatonic scales �live� on the fretboard. Minor pentatonic lives a minor 3rd, or three frets away, below the major pentatonic. -Illustrated below is the basic box shape D major pentatonic. Find it easily by using your fourth finger on the root note low E-string. Its relative minor, B minor pentatonic is illustrated on the right. D major pentatonic scales can also be viewed as B minor pentatonic scales. Both scales consist of the same notes D,E,F#,A, and B. There are lots of ways to look at these, personally I think of pentatonics more in terms of minor. +Illustrated below is the �basic box shape� D major pentatonic. Find it easily by using your fourth finger on the root note low E-string. It�s relative minor, B minor pentatonic is illustrated on the right. D major pentatonic scales can also be viewed as B minor pentatonic scales. Both scales consist of the same notes D,E,F#,A, and B. There are lots of ways to look at these, personally I think of pentatonics more in terms of minor. The starting and emphasis notes determine which scale you will be playing. D major pentatonic and B minor pentatonic consist of the same notes, just different starting and emphasis notes. It all comes down to what notes you are emphasizing, emphasis is critical. @@ -913,13 +914,13 @@ A major = F# minor use major pentatonic over Bb major = G minor B major = G# min C major = A minor C# major = Bb minor D major = B minor all the chords when -Ebmajor = C minor E major = C# minor F major = D minor playing what relates to F# major = Eb minor G major = E minor G# major = F minor all . Also use it over any +Ebmajor = C minor E major = C# minor F major = D minor playing what �relates to F# major = Eb minor G major = E minor G# major = F minor all� . Also use it over any For that sweet major pentatonic sound utilize all of your minor major type chord when pentatonic scales, but emphasize the root major. For example, when treating each chord as a -playing in D major pentatonic think of the relative minor B minor separate event. pentatonic. Just start and emphasize on the D notes, not the B notes, to sound major. +playing in D major pentatonic think of the relative minor B minor �separate event�. pentatonic. Just start and emphasize on the D notes, not the B notes, to sound major. Find major pentatonic @@ -935,7 +936,7 @@ finger on the D note 10th fret low E-string. Using one finger per fret the relat Your first finger will always fall on the relative minor. In this case the B note at the 7th fret of the low E-string. Find the relative minor of any major using this device. -There is not much room for error when soloing in major key as sour notes can really stick out. You also cant slur passing tones like when when using minor pentatonic. +There is not much room for error when soloing in major key as sour notes can really stick out. You also can�t slur passing tones like when when using minor pentatonic. Be careful with your note choices and let your ear help guide you. Practice these scales in all keys and listen for the sound differences between minor and major, its all about the mood, emphasis notes, and the sounds and moods the scales produce. 21 of 35 @@ -946,7 +947,7 @@ Be careful with your note choices and let your ear help guide you. Practice thes The Major Scale -All music theory compares back to the major scale. You are probably familiar with the sound of the major scale doe, re, me, fa, so, la, ti, doe. We all sang that song endless times in elementary school. There are many different fingerings and ways to play major scales all over the guitar neck. +All music theory compares back to the major scale. You are probably familiar with the sound of the major scale � doe, re, me, fa, so, la, ti, doe. We all sang that song endless times in elementary school. There are many different fingerings and ways to play major scales all over the guitar neck. Below is a system of six major scales. With all six memorized, you can utilize the entire guitar neck. The scales overlap each other and on the next page you will learn to link these scales together. @@ -969,7 +970,7 @@ To play scale #2 in G put your first finger on the G note on the low E string at Major Scale Links -Now that you know six major scales from the previous lesson lets link them together and play them across the neck. These links help view the entire neck as one big scale. +Now that you know six major scales from the previous lesson let�s link them together and play them across the neck. These links help view the entire neck as one big scale. Below are two examples of three octave major scale links that combine three shapes. These are incredibly useful and are easy to play. Both utilize easy to remember repeated fingerings. These scale links help you to practice playing laterally across the neck. Shift with your first finger for both these examples when you get to the D and the B strings. Shift up a whole step, two frets, with the first finger for the 1-1 finger combination. Practice these links in all keys, they are super useful. @@ -1001,7 +1002,7 @@ minor you can still utilize these major scales in the parent scale -of C major. C majors relative +of C major. C major�s relative minor is A minor. Use major and @@ -1025,7 +1026,7 @@ emphasis and mood. More to come on that in the -Modes lessons coming up next +�Modes� lessons coming up next in this eBook. @@ -1038,7 +1039,7 @@ in this eBook. The Modes Of The Major Scale - Overview -There are seven modes of the major scale and each one has its own mood, or distinct sound. Knowing the modes gives you the ability to create various moods and textures. They also open the door to additional soloing options. +There are seven modes of the major scale and each one has its own �mood�, or distinct sound. Knowing the modes gives you the ability to create various moods and textures. They also open the door to additional soloing options. @@ -1050,7 +1051,7 @@ Utilizing the modes will generate interval structures that are different than si the major scale and therefore produce unique sound qualities. the major scale. -Each mode has its own unique sound or mood due to its unique interval structure. Some modes are more major sounding and some more minor Anytime you play a +Each mode has its own unique sound or �mood� due to its unique interval structure. Some modes are more major sounding and some more minor Anytime you play a sounding. My modal methodology requires that you first know your major major scale and start @@ -1064,19 +1065,19 @@ the root note. the modes. There are seven notes in the major scale and each one always appear in this order: Ionian, Dorian, Phrygian, Lydian, Mixolydian, unique sound or -Aeolian, and Locrian. Memorize the mode names and their order. The mood due to the +Aeolian, and Locrian. Memorize the mode names and their order. The �mood� due to the order of the modes is very important. unique interval Learn the major scales and how to link them as they are diagrammed out structure of each mode. -in this eBook. Once you know your major scales you dont have to learn a whole new set of scales for each mode. You will then know all the modes Some modes are more +in this eBook. Once you know your major scales you don�t have to learn a whole new set of scales for each mode. You will then know all the modes Some modes are more of the major scale because you will be using those same major scale major sounding and shapes to play all the modes. some more minor -You will be starting on any of the six shapes on a note other than its root. sounding. Keep in mind its all about the mood or distinct sound of each mode - thats the key, its all about the sounds. +You will be starting on any of the six shapes on a note other than its root. sounding. Keep in mind it�s all about the mood or distinct sound of each mode - that�s the key, it�s all about the sounds. Besides knowing your major scale, (Ionian Mode), get proficient with the Aeolian Mode, Dorian Mode, Lydian, and then Mixolydian mode. These modes are used most often in blues and rock and we will focus on them in the coming pages of this eBook and in the video lessons. @@ -1084,25 +1085,25 @@ THE SEVEN MODES OF THE MAJOR SCALE 1st mode - Ionian (same as the Major scale) -2nd mode Dorian (same as Aeolian but with a raised 6th) +2nd mode � Dorian (same as Aeolian but with a raised 6th) 3rd mode - Phrygian (same as Aeolian but with a b2nd) -4th mode Lydian (same as Ionian but with a #4th) +4th mode � Lydian (same as Ionian but with a #4th) -5th mode Mixolydian (same as Ionian but with a b7th) +5th mode � Mixolydian (same as Ionian but with a b7th) -6th mode Aeolian (same as Natural Minor) 24 of 35 +6th mode � Aeolian (same as Natural Minor) 24 of 35 The Modes Of The Major Scale - Application 1 -The key to understanding the modes is to look at the interval structure that defines each mode and then match them with corresponding chords and progressions. Lets discuss each mode and how to apply them. +The key to understanding the modes is to look at the interval structure that defines each mode and then match them with corresponding chords and progressions. Let�s discuss each mode and how to apply them. -With any mode or scale its not enough just to know the scale, you also KEY have to know how to use it and apply it in a musical situation. Many of the modes are very similar in their structure. Some have just one note difference. But these slight differences create unique moods and textures. Each mode has its own unique mood and tone. With any mode or scale +With any mode or scale it�s not enough just to know the scale, you also KEY have to know how to use it and apply it in a musical situation. Many of the modes are very similar in their structure. Some have just one note difference. But these slight differences create unique moods and textures. Each mode has its� own unique mood and tone. With any mode or scale -its not enough just to +it�s not enough just to The table below shows each mode and its interval structure. The last know the scale shape, @@ -1152,7 +1153,7 @@ KEY POINTS TO APPLYING THE MODES: -solo over the entire chord progression with what relates to all, or play KEY over each chord independently, treating each chord as a separate event. 2. Know and analyze the chords you are playing over. The chords provide the complete roadmap to what you can utilize for soloing. Just knowing the key signature is not enough. Know what chords are in the Understand your +solo over the entire chord progression with what �relates to all�, or play KEY over each chord independently, treating each chord as a �separate event�. 2. Know and analyze the chords you are playing over. The chords provide the complete roadmap to what you can utilize for soloing. Just knowing the key signature is not enough. Know what chords are in the Understand your progression, and then analyze them to determine what scales, modes, options when soloing @@ -1160,19 +1161,19 @@ and landing notes to utilize. and improvising. Know and analyze the chords -The ACE principle for modal playing: you are playing over. +The �ACE� principle for modal playing: you are playing over. -Memorize these three steps for utilizing the modes (the ACE principle): +Memorize these three steps for utilizing the modes (the �ACE� principle): To apply the modes -1. ANALYZE the chords and/or the progression to get the roadmap for just remember ACE +1. ANALYZE the chords and/or the progression to get the roadmap for just remember �ACE� � which modes you can utilize. Analyze, Convert, 2. Once you determine which mode or modes to use, CONVERT that Emphasize. mode back to its mother or parent major key. -3. Play the mode using the parent major scale patterns but shift to and Remember that its all +3. Play the mode using the parent major scale patterns but shift to and Remember that it�s all EMPHASIZE the root of the mode. about MOOD and @@ -1190,7 +1191,7 @@ KEY PRACTICE: At first try playing a mode over the whole progression or what rel Eventually you will want to try and treat each chord as a separate event and play a different mode over each chord. Get creative and give it a try. -Take your time, dont overwhelm yourself, and practice utilizing jam tracks. Really hone in and listen for the chord changes and the moods you create with the different modes, its all about the sounds. +Take your time, don�t overwhelm yourself, and practice utilizing jam tracks. Really hone in and listen for the chord changes and the moods you create with the different modes, its all about the sounds. @@ -1209,13 +1210,13 @@ Aeolian is always the Play this mode over minor chords when treating each chord as a 6th mode of any major -separate event. Also utilize Aeolian over ALL the chords in a minor key key. jam UNLESS the IV chord is major or the ii chord is minor. +�separate event�. Also utilize Aeolian over ALL the chords in a minor key key. jam UNLESS the IV chord is major or the ii chord is minor. If you want to play G Aeolian over the G inspired Satriani jam track utilize Starting on and -the ACE principle as taught in the previous lesson. Aeolian is the 6th mode. To play in G Aeolian ask yourself what major scales sixth note is emphasizing the 6th +the �ACE� principle as taught in the previous lesson. Aeolian is the 6th mode. To play in G Aeolian ask yourself what major scale�s sixth note is emphasizing the 6th an G? The answer is Bb. The sixth note of a Bb major scale is an G note. note of any major @@ -1229,7 +1230,7 @@ below, Bb major and G Aeolian are both constructed from the same notes. Bb Major = Bb, C, D, Eb, F, G, A G Aeolian = G, A, Bb, C, D, Eb, F Aeolian is also called Natural Minor major and relative minor or Pure Minor. -Remember, its all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize give you the different moods and sound textures of each mode. Remember, its all +Remember, it�s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize give you the different moods and sound textures of each mode. Remember, it�s all about MOOD and @@ -1259,11 +1260,11 @@ Lydian is not as commonly utilized as Ionian, but it brings a hip tension with k Play this mode over maj7, maj9, maj6, and maj6/9 chords when treating each Starting on and -power chords and major triads. Lydian also sounds great over rock ballads. emphasizing the 4th chord as a separate event. Also try it over Lydian modal chord progressions, +power chords and major triads. Lydian also sounds great over rock ballads. emphasizing the 4th chord as a �separate event�. Also try it over Lydian modal chord progressions, Try E Lydian over the E drone Satriani jam track. Lydian always is the 4th note of any major -mode. To play in E Lydiian ask yourself what major scales fourth note is an scale produces the +mode. To play in E Lydiian ask yourself what major scale�s fourth note is an scale produces the E? The answer is B. The fourth note of a B major scale is an E note. Lydian Mode. @@ -1275,7 +1276,7 @@ Lydian are both constructed from the same notes. Lydian is often the B Major = B, C#, D#, E, F#, G#, A# E Lydian = E, F#, G#, A#, B, C#, D# mode of choice over major 7th and major 9th chords. -Remember, its all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode. Remember, its all +Remember, it�s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode. Remember, it�s all Below are two common shapes for Lydian. One has the low root note on the about MOOD and @@ -1314,15 +1315,15 @@ Try playing E Phrygian over the E drone jam track. Remember that Phrygian is alw -what major scales third note is a E? The answer is C. The third note of a C Starting on and major scale is E. Play C major scales over the E jam track but emphasize the emphasizing the 3rd E notes. C major and E Pyrygian consist of the same notes. note of any major +what major scale�s third note is a E? The answer is C. The third note of a C Starting on and major scale is E. Play C major scales over the E jam track but emphasize the emphasizing the 3rd E notes. C major and E Pyrygian consist of the same notes. note of any major C Major scale - C, D, E, F, G, A, B scale produces the E Phrygian - E, F, G, A, B, C, D Phrygian Mode. -Remember, its all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and +Remember, it�s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and -sound textures of each mode. Refer to the video lessons for Phrygian Remember, its all +sound textures of each mode. Refer to the video lessons for Phrygian Remember, it�s all examples and devices over the E drone jam track. @@ -1334,7 +1335,7 @@ the low E-string and the other has the low root on the A-string. Find these play patterns fast by using your first finger on the low root. -Dont think of shapes or positions as modes. Get in the habit of looking at the entire fretboard as the vehicle for the mode, not just a certain position. Learn the mode and its interval structure across the entire fretboard. Start with the scales below, but learn all the positions as per the major scales lessons in this eBook to play across the entire neck. +Don�t think of �shapes� or �positions� as modes. Get in the habit of looking at the entire fretboard as the vehicle for the mode, not just a certain position. Learn the mode and its interval structure across the entire fretboard. Start with the scales below, but learn all the positions as per the major scales lessons in this eBook to play across the entire neck. @@ -1359,23 +1360,23 @@ Although you will probably utilize Aeolian over the Satriani inspired jam track, you still want to learn Dorian as you will be using it often in other scenarios. 2nd mode of any -Utilize Dorian over all the chords in a minor key jam when there is a major IV major key. chord or a minor ii chord. You can also use Dorian over minor type chords when treating each chord as a separate event. +Utilize Dorian over all the chords in a minor key jam when there is a major IV major key. chord or a minor ii chord. You can also use Dorian over minor type chords when treating each chord as a �separate event�. Remember Dorian is the 2nd mode in any major key. To play A Dorian the Starting on and -question is what major scales 2nd note is an A note? The answer is G major. A Dorian would be converted back to its parent scale of G major. emphasizing the 2nd +question is what major scale�s 2nd note is an A note? The answer is G major. A Dorian would be converted back to its parent scale of G major. emphasizing the 2nd To play in A Dorian start on the 2nd note in a G major scale and play from the note of any major A note till the next A note and you have A Dorian. You are playing a G major scale produces the -scale from the A to the A and voila, you have A Dorian. Dorian Mode. +scale from the A to the A and voila�, you have A Dorian. Dorian Mode. Playing G major scales starting on the 2nd note and emphasizing the A notes, not the G notes, produces A Dorian. This establishes the tonal center as A. G major and A Dorian are constructed from the same notes. Dorian has one note -G Major scale G, A, B, C, D, E, F# difference than Aeolian. +G Major scale � G, A, B, C, D, E, F# difference than Aeolian. A Dorian scale - A, B, C, D, E, F#, G Dorian has a natural 6th @@ -1408,11 +1409,11 @@ The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode KEY in any major key. Often its the mode of choice played over dominant chords. -Mixolydian is basically a major scale, (Ionian Mode), but with a b7. The scale degrees are 1,2,3,4,5,6,b7. Try this mode over dominant chords like 7th and 9th chords when treating each chord as a separate event. Mixolydian is always +Mixolydian is basically a major scale, (Ionian Mode), but with a b7. The scale degrees are 1,2,3,4,5,6,b7. Try this mode over dominant chords like 7th and 9th chords when treating each chord as a �separate event�. Mixolydian is always the 5th mode of any -Mixolydian is the 5th mode and the key is to shift the tonal center to the major key. root of the mode. For example, to play G Mixolydian over a G7 chord ask yourself what major scales fifth note is a G? The answer is C. +Mixolydian is the 5th mode and the key is to shift the tonal center to the major key. root of the mode. For example, to play G Mixolydian over a G7 chord ask yourself what major scale�s fifth note is a G? The answer is C. The fifth note of a C major scale is a G note. Play C major scales over a G7 chord but emphasize the G notes for G Mixolydian. C major and G Starting on and @@ -1424,17 +1425,17 @@ scale produces the G Mixolydian - G, A, B, C, D, E, F Mixolydian Mode. -Although you probably wont be playing Mixolydian over the Satriani inspired jam tracks, you still want to learn the mode as its super useful. +Although you probably won�t be playing Mixolydian over the Satriani inspired jam tracks, you still want to learn the mode as its super useful. -To play E Mixolydian over an E7 chord ask yourself what major scales fifth Mixolydian is often +To play E Mixolydian over an E7 chord ask yourself what major scale�s fifth Mixolydian is often note is a E? The answer is A. The fifth note of a A major scale is an E note. Play A major scales over an E7 chord but emphasize the E notes. A major the mode of choice and E Mixolydian consist of the same notes. over dominant 7th -Remember, its all about MOOD and EMPHASIS when playing in the modes. chords. Which note you start on and emphasize produces the different moods and sound textures of each mode. +Remember, it�s all about MOOD and EMPHASIS when playing in the modes. chords. Which note you start on and emphasize produces the different moods and sound textures of each mode. Below are two common shapes for Mixolydian. One has the low root note on the low E-string and the other has the low root on the A-string. Find these patterns fast by using your first finger on the low root. @@ -1501,7 +1502,7 @@ Below are two scale shapes that you can grab fast and easy in any key. Play the Harmonic Minor Link & Phrygian Dominant -Now that you know a few Harmonic Minor scale patterns lets link them together and play them laterally across the neck. Below is a three-octave Harmonic Minor scale link that will take you over half the neck. +Now that you know a few Harmonic Minor scale patterns let�s link them together and play them laterally across the neck. Below is a three-octave Harmonic Minor scale link that will take you over half the neck. This scale link is incredibly useful and easy to play as it utilizes repeated fingerings. Slide up a half step with your first finger when playing the low-E, D, and B strings. Shift up a half step, or one fret, with the first finger for the 1-1 finger combinations. Remember, the key note in Harmonic Minor is that 7th, and it is always a half step behind the root note. @@ -1544,11 +1545,11 @@ AVENUES: -1. Determine the key signature - Most of the time you will be soloing in KEY minor key or major key. Knowing the key is the first step. Even when you are noodling around on the guitar, always know what key you are playing. Many guitarists make the mistake of just looking solely at the key that wont give you all the needed information. +1. Determine the key signature - Most of the time you will be soloing in KEY minor key or major key. Knowing the key is the first step. Even when you are noodling around on the guitar, always know what key you are playing. Many guitarists make the mistake of just looking solely at the key � that won�t give you all the needed information. -Its the the chords that +It�s the the chords that -2. Analyze the chord progression - Its the chords that give you the give the complete +2. Analyze the chord progression - It�s the chords that give you the give the complete complete roadmap to what you can utilize for soloing and improvisation. roadmap to all the @@ -1558,11 +1559,11 @@ what scales, modes, and arpeggios you will want to utilize. The chords also poin Take the listener on a -Remember that you can mix soloing techniques. Mix what musical journey - draw relates to all +Remember that you can mix soloing techniques. Mix what musical journey - draw �relates to all� -with treating each chord as a separate event. Treat each chord as a them into your solo and +with treating each chord as a �separate event�. Treat each chord as a them into your solo and -separate event, then switch it up and play what relates to all. have them latch onto +�separate event�, then switch it up and play what �relates to all�. have them latch onto At times you can also use both major and minor scale elements as well as what you are playing. @@ -1582,13 +1583,13 @@ appropriate to apply each in a given soloing or improvisation scenario. playing Two goals of lead guitar playing: -1. Compliment the song in the end, no matter how great a solo is, its the song that will be remembered. Play for the song, not for yourself. +1. Compliment the song � in the end, no matter how great a solo is, it�s the song that will be remembered. Play for the song, not for yourself. -2. Draw people into your solo you want the listener to latch onto what you are playing and to be on the edge of their seat wondering, what will they play next? +2. Draw people into your solo � you want the listener to latch onto what you are playing and to be on the edge of their seat wondering, �what will they play next?� Take the listener on a musical journey with ups and downs, great emotion, and passion. Play from the heart while telling a story, and always be aware of melody. -Remember to experiment, its okay to bend and break the rules. Nothing is etched in stone. Work on developing your own style and pulling from all your musical influences. +Remember to experiment, its okay to bend and break the �rules�. Nothing is etched in stone. Work on developing your own style and pulling from all your musical influences. 34 of 35 diff --git a/Books/Music/Articles/Satriani2.txt b/Books/Music/Articles/Satriani2.txt index c9d338c..7280f89 100644 --- a/Books/Music/Articles/Satriani2.txt +++ b/Books/Music/Articles/Satriani2.txt @@ -1,3 +1,4 @@ +TYPE: pedagogical ARTIST: Joe Satriani GENRE: Rock, Art Rock, Blues Rock CONCEPTS: Target notes, pentatonic scales, melodic phrasing, ballad soloing @@ -24,7 +25,7 @@ Billy gave me a lot of information. I took three lessons from him but I got back "Once I started to think about this long enough, I though. 'Well, I should be able to do it against a pedal note.' And I started doing that sitting down at a piano because it seemed a little bit easier. Because I wanted to do it in C or G or different keys and it's very hard on the guitar. -"So if I have this E drone and then I start playing the notes. And I just sort of soak it in and then I play something slightly different, which is a Lydian scale major scale with a raised fourth. And I sort of register in my mind why is it so different than [the major scale]. With this note [drone E] it really made a difference because I could hear the tension and not so much tension. So when I did other [modes] it really made big difference to Phrygian dominant versus a Phrygian. +"So if I have this E drone and then I start playing the notes. And I just sort of soak it in and then I play something slightly different, which is a Lydian scale � major scale with a raised fourth. And I sort of register in my mind why is it so different than [the major scale]. With this note [drone E] it really made a difference because I could hear the tension and not so much tension. So when I did other [modes] it really made big difference to Phrygian dominant versus a Phrygian. "And I was sort of making the fingering upas I went along. Since my high-school teacher was not a guitarist, he would look at me play guitar and go, 'It's so complicated, you just have to learn the notes everywhere.' And I thought 'That's easier said than done!' [Laughs] You just can't look at it and find them. diff --git a/Books/Music/Articles/Satriani3.txt b/Books/Music/Articles/Satriani3.txt index 3cc04e3..d7d3897 100644 --- a/Books/Music/Articles/Satriani3.txt +++ b/Books/Music/Articles/Satriani3.txt @@ -1,3 +1,4 @@ +# IGNORE ARTIST: Joe Satriani GENRE: Rock, Art Rock, Blues Rock CONCEPTS: Pitch Axis diff --git a/Books/Music/Articles/Satriani6.txt b/Books/Music/Articles/Satriani6.txt index dce585b..0ea8080 100644 --- a/Books/Music/Articles/Satriani6.txt +++ b/Books/Music/Articles/Satriani6.txt @@ -1,53 +1,56 @@ ARTIST: Joe Satriani -GENRE: Rock, Art Rock, Blues Rock -CONCEPTS: Pitch Axis +GENRE: Rock, Blues Rock +CONCEPTS: pitch axis theory, pedal tone, modal interchange, +modes, Lydian, Aeolian, Mixolydian, Dorian, static bass note SOURCE: Goodreads -TOPIC: Joe Satriani's Pitch Axis Theory and the Modal Method I: The simple concept +TOPIC: Pitch Axis Theory — Modal Sequences Over a Static Bass Note +--- -For those of you unaware of the details of pitch axis theory, the idea is basically to connect scales or their modes via an unchanging, or changing as little as possible, bass note. Used by classical composers such as Wagner and Stravinsky as well as modern guitarists like Joe Satriani and Steve Vai, it is a useful tool. But is it just another name for a technique that has been used before? +Chunk 1: Pitch Axis Theory Overview +Metadata: artist=JoeSatriani, concept=pitchAxisTheory, +concept=pedalTone, concept=modalInterchange, type=theory -The first track on his first album, Not of this Earth, demonstrates Satrianis use of pitch axis theory perfectly, a pedal note of E, and four bars with a change of mode on each: +Pitch axis theory connects scales or modes via an unchanging bass note. +Used by classical composers including Wagner and Stravinsky as well as +modern guitarists Joe Satriani and Steve Vai, the technique creates +dramatic harmonic color changes while maintaining a stable root. The +effect is created by keeping the bass note constant while the mode +above it changes, producing the sensation of moving through distant +keys while remaining anchored to a single pitch center. -E Lydian E Aeolian E Lydian E Mixolydian +Chunk 2: Satriani Pitch Axis Example — Not of This Earth +Metadata: artist=JoeSatriani, track=NotOfThisEarth, +concept=pitchAxisTheory, concept=pedalTone, +modes=Lydian/Aeolian/Mixolydian, pedalNote=E, type=example -Now, another way of putting it is that Satch is playing in the following keys but staying on the same bass note: +The first track on Satriani's first album Not of This Earth demonstrates +pitch axis theory with a pedal note of E and four bars with a mode change +on each bar: E Lydian — E Aeolian — E Lydian — E Mixolydian. Expressed +as parent keys this is B Major — G Major — B Major — A Major — a large +leap from B Major with five sharps to G Major with one sharp and back, +then two steps around the circle of fifths to A Major with three sharps. +The modal sequence is Lydian — Aeolian — Lydian — Mixolydian. -B Major G Major B Major A Major. +Chunk 3: Steve Vai Pitch Axis Example — The Riddle +Metadata: artist=SteveVai, track=TheRiddle, concept=pitchAxisTheory, +concept=pedalTone, modes=Lydian/Mixolydian, pedalNote=E, type=example -Now we can see the interesting idea behind the sound of the modes, a large leap from B Major (5 sharps) to G Major (1 sharp), back again and then back twice in the circle of fifths to A Major (3 sharps). +Steve Vai uses pitch axis theory in The Riddle with the modal sequence +E Lydian — E Lydian augmented — E Mixolydian — E Lydian. The parent +keys are B Major — B Melodic Minor — A Major — B Major. -It is quite an art form, choosing modes that suit the following or preceding of another, but we can see now the pattern: +Chunk 4: Pitch Axis Modal Sequences Summary +Metadata: concept=pitchAxisTheory, concept=pedalTone, +concept=modalInterchange, type=summary, +artists=JoeSatriani/SteveVai/Bach -Lydian Aeolian Lydian Mixolydian - -Now, none of this is new, there are plenty of instances where J. S. Bach uses multiple modes over the same bass note, notably over a bass that is acting as a dominant pedal. - -Here is an example: - -Mixolydian Phrygian Major Harmonic Major Dominant #2 Double Harmonic - -The example above is played over a constant bass pedal, say A. That gives us the scales: - -D Major D Harmonic minor A Harmonic Major D Harmonic Major D Hungarian minor - -This sequence is typical of Bach as he has created a symmetrical sequence, with scales on D, D, A, D, D. - -The Modal Method can help to take this concept one stage further. Say over a constant A bass I play the scales from the sequence: - -G Major A Melodic E harmonic minor B Neapolitan Major A Neapolitan Major E Locrian natural 7 (which is one of my favourite sequences). We get the modes in pitch axis theory of: - -A Dorian A Melodic A Dorian #4 A# Altbb3 A Neapolitan Major A Phrygian #4 - -I have simply used the sequence of scales that I have worked out using the tables in section I and played them over a static bass note. Its that simple. NB: Although the A# in the Altbb3 mode clashes against the A bass note, it is consonant enough if resolved quickly and adds a good tension to the sequence. - -I intend to add pitch axis examples as and when they come up and make a comprehensive list, so please add your ideas below in the comments. Here is a Steve Vai one, The Riddle: - -E Lydian E Lydian + - E Mixolydian E Lydian - -The scales are: B Major B Melodic A Major B Major - -So now we have: - -1) Not of the Earth: Lydian Aeolian Lydian Mixolydian (Satriani) - -2) The Riddle: Lydian Lydian + - Mixolydian Lydian (Vai) \ No newline at end of file +Pitch axis theory in practice produces the following documented sequences +over a static bass note. Satriani on Not of This Earth over E: +Lydian — Aeolian — Lydian — Mixolydian. Vai on The Riddle over E: +Lydian — Lydian augmented — Mixolydian — Lydian. Bach over a dominant +pedal: Mixolydian — Phrygian Major — Harmonic Major — Dominant sharp 2 +— Double Harmonic. Over a constant A bass using the Modal Method: +A Dorian — A Melodic — A Dorian sharp 4 — A Neapolitan Major — +A Phrygian sharp 4. The technique works because modes sharing a common +root create tension through harmonic contrast while the static bass +provides continuity and resolution. diff --git a/Books/Music/Books/Strange Beautiful Music - Joe Satriani.txt b/Books/Music/Books/Strange Beautiful Music - Joe Satriani.txt index 51d0eb2..2df53f2 100644 --- a/Books/Music/Books/Strange Beautiful Music - Joe Satriani.txt +++ b/Books/Music/Books/Strange Beautiful Music - Joe Satriani.txt @@ -1,3 +1,4 @@ +# IGNORE Praise for STRANGE BEAUTIFUL MUSIC diff --git a/Books/Music/Mechanics/FretboardMappings.txt b/Books/Music/Mechanics/FretboardMappings.txt new file mode 100644 index 0000000..f9cfa10 --- /dev/null +++ b/Books/Music/Mechanics/FretboardMappings.txt @@ -0,0 +1,140 @@ +Low E string, fret 0 = E +Low E string, fret 1 = F +Low E string, fret 2 = F# / Gb +Low E string, fret 3 = G +Low E string, fret 4 = G# / Ab +Low E string, fret 5 = A +Low E string, fret 6 = A# / Bb +Low E string, fret 7 = B +Low E string, fret 8 = C +Low E string, fret 9 = C# / Db +Low E string, fret 10 = D +Low E string, fret 11 = D# / Eb +Low E string, fret 12 = E +Low E string, fret 13 = F +Low E string, fret 14 = F# / Gb +Low E string, fret 15 = G +Low E string, fret 16 = G# / Ab +Low E string, fret 17 = A +Low E string, fret 18 = A# / Bb +Low E string, fret 19 = B +Low E string, fret 20 = C +Low E string, fret 21 = C# / Db +Low E string, fret 22 = D + +A string, fret 0 = A +A string, fret 1 = A# / Bb +A string, fret 2 = B +A string, fret 3 = C +A string, fret 4 = C# / Db +A string, fret 5 = D +A string, fret 6 = D# / Eb +A string, fret 7 = E +A string, fret 8 = F +A string, fret 9 = F# / Gb +A string, fret 10 = G +A string, fret 11 = G# / Ab +A string, fret 12 = A +A string, fret 13 = A# / Bb +A string, fret 14 = B +A string, fret 15 = C +A string, fret 16 = C# / Db +A string, fret 17 = D +A string, fret 18 = D# / Eb +A string, fret 19 = E +A string, fret 20 = F +A string, fret 21 = F# / Gb +A string, fret 22 = G + +D string, fret 0 = D +D string, fret 1 = D# / Eb +D string, fret 2 = E +D string, fret 3 = F +D string, fret 4 = F# / Gb +D string, fret 5 = G +D string, fret 6 = G# / Ab +D string, fret 7 = A +D string, fret 8 = A# / Bb +D string, fret 9 = B +D string, fret 10 = C +D string, fret 11 = C# / Db +D string, fret 12 = D +D string, fret 13 = D# / Eb +D string, fret 14 = E +D string, fret 15 = F +D string, fret 16 = F# / Gb +D string, fret 17 = G +D string, fret 18 = G# / Ab +D string, fret 19 = A +D string, fret 20 = A# / Bb +D string, fret 21 = B +D string, fret 22 = C +G string, fret 0 = G +G string, fret 1 = G# / Ab +G string, fret 2 = A +G string, fret 3 = A# / Bb +G string, fret 4 = B +G string, fret 5 = C +G string, fret 6 = C# / Db +G string, fret 7 = D +G string, fret 8 = D# / Eb +G string, fret 9 = E +G string, fret 10 = F +G string, fret 11 = F# / Gb +G string, fret 12 = G +G string, fret 13 = G# / Ab +G string, fret 14 = A +G string, fret 15 = A# / Bb +G string, fret 16 = B +G string, fret 17 = C +G string, fret 18 = C# / Db +G string, fret 19 = D +G string, fret 20 = D# / Eb +G string, fret 21 = E +G string, fret 22 = F +B string, fret 0 = B +B string, fret 1 = C +B string, fret 2 = C# / Db +B string, fret 3 = D +B string, fret 4 = D# / Eb +B string, fret 5 = E +B string, fret 6 = F +B string, fret 7 = F# / Gb +B string, fret 8 = G +B string, fret 9 = G# / Ab +B string, fret 10 = A +B string, fret 11 = A# / Bb +B string, fret 12 = B +B string, fret 13 = C +B string, fret 14 = C# / Db +B string, fret 15 = D +B string, fret 16 = D# / Eb +B string, fret 17 = E +B string, fret 18 = F +B string, fret 19 = F# / Gb +B string, fret 20 = G +B string, fret 21 = G# / Ab +B string, fret 22 = A +High E string, fret 0 = E +High E string, fret 1 = F +High E string, fret 2 = F# / Gb +High E string, fret 3 = G +High E string, fret 4 = G# / Ab +High E string, fret 5 = A +High E string, fret 6 = A# / Bb +High E string, fret 7 = B +High E string, fret 8 = C +High E string, fret 9 = C# / Db +High E string, fret 10 = D +High E string, fret 11 = D# / Eb +High E string, fret 12 = E +High E string, fret 13 = F +High E string, fret 14 = F# / Gb +High E string, fret 15 = G +High E string, fret 16 = G# / Ab +High E string, fret 17 = A +High E string, fret 18 = A# / Bb +High E string, fret 19 = B +High E string, fret 20 = C +High E string, fret 21 = C# / Db +High E string, fret 22 = D diff --git a/Books/Music/Soloing/BuildingSolosWithMotifs_1.txt b/Books/Music/Soloing/BuildingSolosWithMotifs_1.txt new file mode 100644 index 0000000..c2d1bb4 --- /dev/null +++ b/Books/Music/Soloing/BuildingSolosWithMotifs_1.txt @@ -0,0 +1,82 @@ +TITLE: Building Solos with Motifs +AUTHOR: Musicians Institute Hollywood +DOMAIN: Guitar Improvisation +CONCEPTS: motif development, soloing, phrase building, Dorian mode, +scale transposition, melodic development, improvisation +CONTENT TYPE: Instructional +--- + +Chunk 1: What is a Motif +Metadata: concept=motif, type=definition, domain=guitarImprovisation + +A motif is generally defined as a short musical phrase that carries +significance in the overall composition not just a throwaway idea +like a lick. A motif can be a phrase that repeats at different points +like a musical hook, an important recurring theme apart from the main +melody, a phrase that is stated then developed in various ways, or a +melodic, rhythmic or harmonic cell. In practice a motif is usually a +phrase carried through a solo a musical statement that is developed +to give improvisation a sense of continuity. + +Chunk 2: Motif Development Techniques +Metadata: concept=motifDevelopment, type=technique, domain=guitarImprovisation + +There are numerous ways to develop a motif. You can adapt the phrase +slightly to fit the next chord change, embellish it with passing notes, +transpose it up or down the octave, play the same phrase over different +chords, play different notes but keep the same rhythm, keep the same +notes but alter the motif rhythmically, or keep the same notes but +displace the motif by beginning on different beats of the bar. + +Chunk 3: Motif vs Lick The Story Approach +Metadata: concept=motif, concept=soloDevelopment, type=philosophy, +domain=guitarImprovisation, artists=Clapton/Hendrix/Ford/Holdsworth + +The players who stand out are the ones who can take a simple idea and +develop it beginning with a small seed of an idea and telling a story +with it. Listen closely to solos by Eric Clapton, Jimi Hendrix, Robben +Ford and Alan Holdsworth and you will notice they all start simple and +gradually build their solo as one idea leads to the next. A great lick +in a solo is never an isolated idea it evolved from a collection of +related ideas. This is the great benefit of motival playing it gives +you space to develop an idea, turn it around from different angles, and +keep expressing it until the magic happens. + +Chunk 4: Motif Transposition Through D Dorian +Metadata: concept=motifTransposition, scale=DDorian, chord=Dm7, +type=exercise, string=thirdString + +Playing over a Dm7 chord viewed as chord ii in C Major targets a D +Dorian sound. The D Dorian scale has the notes D E F G A B C. A motif +can be transposed diatonically through this scale on a single string +beginning on A at the 2nd fret of the third string, then moving to B +at the 4th fret, then C at the 5th fret, and so on. Each time the +motif moves to the next scale tone, it is adapted to stay within the +notes of the scale. The ear guides the transposition rather than +theoretical calculation. + +Chunk 5: Motif Across String Sets +Metadata: concept=motifDevelopment, technique=stringTransfer, +type=exercise, scale=DDorian, chord=Dm7 + +To get maximum mileage from a motif, relocate it to different +three-string groupings. Starting on strings four, three and two +ascending the D Dorian scale on the second string, then moving to the +top three strings ascending on the first string, covers the entire +range of the neck from a single seed phrase. The same motif played +ascending and descending, faster as 16th note runs or slower with +rhythmic syncopation and varied note lengths, creates enormous creative +potential while remaining entirely within scale tones and sounding +musical throughout. + +Chunk 6: Essence of Motif Development Summary +Metadata: concept=motifDevelopment, type=summary, domain=guitarImprovisation + +The essence of motif development is taking a seed of an idea and +transposing it through a scale to compose a longer line that makes +perfect musical sense with movement and direction. Improvise a simple +phrase, transpose it through the parent scale, transfer it to different +string sets, and the result covers the entire neck while remaining +coherent and musical. The creative potential is huge because the line +is super-musical built entirely from scale tones shaped by a single +motivic idea. \ No newline at end of file diff --git a/Books/Music/Soloing/BuildingSolosWithMotifs_2.txt b/Books/Music/Soloing/BuildingSolosWithMotifs_2.txt new file mode 100644 index 0000000..7e66033 --- /dev/null +++ b/Books/Music/Soloing/BuildingSolosWithMotifs_2.txt @@ -0,0 +1,81 @@ +TITLE: Building Solos with Motifs - Example 2m +AUTHOR: Musicians Institute Hollywood +DOMAIN: Guitar Improvisation +CONCEPTS: motif development, three-note phrases, rhythmic displacement, +legato runs, descending figures, string crossing, position playing +CONTENT TYPE: Instructional Narrative +--- + +Chunk 1: Example 2m Overview +Metadata: concept=motifDevelopment, technique=rhythmicDisplacement, +technique=threeNotePhrase, type=overview, position=tenth + +Example 2m uses three-note phrases with rests to create rhythmic +displacement, gradually transitioning from high to low strings then +back up for a final fast legato run. The phrase is built around tenth +position and falls naturally under the fingers. The core technique is +allowing rests to displace the three-note motif, creating rhythmic +interest without changing the underlying phrase. + +Chunk 2: Descending Figure Across Strings +Metadata: concept=motifDevelopment, technique=stringCrossing, +technique=descendingFigure, type=narrative, strings=1234, position=tenth + +The phrase begins on the first string descending from the 15th fret +through the 13th to the 12th fret a clear three-note descending +figure. The same descending contour continues across strings: second +string from 15th through 12th to 10th fret, then third string from +12th through 10th to 9th fret. The consistent three-note descending +structure moves fluidly across string sets while maintaining the same +positional shape, creating a cascading effect that covers the upper +register in a single connected motion. + +Chunk 3: Contour Variation and Ascent +Metadata: concept=motifVariation, technique=contourChange, +type=narrative, strings=34, position=tenth + +On the fourth string the phrase introduces a variation 10th fret +ascending to 14th then descending to 12th breaking the pure +descending contour with an upward motion. This slight variation +maintains the three-note structure while introducing directional +contrast. The third string continues this idea: 10th fret up to 14th +down to 12th, then 9th fret up to 12th resolving to 10th. The +ascending-then-descending motion creates a wave-like contour that +provides relief from the earlier sustained descent. + +Chunk 4: Cross-String Resolution +Metadata: concept=motifDevelopment, technique=stringCrossing, +technique=resolution, type=narrative, strings=234, position=seventh + +The phrase shifts downward in register. On the second string the 7th +fret moves to 10th then 8th, while the third string carries a +complementary figure from 8th up to 12th down to 10th. The fourth +string resolves with 8th fret to 12th down to 10th, completing a +fluid connected run across three adjacent strings. The simultaneous +movement across strings creates a layered texture where multiple voices +descend together toward resolution. + +Chunk 5: Motif Restatement and Development +Metadata: concept=motifRestatement, technique=repetition, +type=narrative, strings=23, position=ninth + +The motif is restated at a new position. On the second string the +9th-12th-10th figure is stated then immediately repeated insistence +through exact repetition. The third string introduces a four-note +expansion: 10th-13th-12th-10th, adding one note to the original +three-note cell. This expansion followed by compression back to +two-note figures creates a breathing quality the motif grows then +contracts, maintaining interest through variation of density rather +than pitch change. + +Chunk 6: Final Resolution +Metadata: concept=motifResolution, technique=repetition, +type=narrative, string=secondString, position=ninth + +The final segment returns to the second string, reinforcing the 12th +fret as pitch center before resolving to the 9th fret. The repetition +of the 12th fret before the final descent creates a sense of +insistence before release the phrase circles its tonal center one +last time before landing. This mirrors the overall arc of the solo +excerpt: descent, variation, restatement, and final resolution to a +lower resting point. \ No newline at end of file diff --git a/Books/Music/Technique/Legato.txt b/Books/Music/Technique/Legato.txt new file mode 100644 index 0000000..1b4d831 --- /dev/null +++ b/Books/Music/Technique/Legato.txt @@ -0,0 +1,120 @@ +TITLE: Mastering Legato Technique +ARTIST: Allen Hinds +GENRE: Fusion, Blues Rock +CONCEPTS: legato technique, hammer-on, pull-off, fretting hand strength, +vibrato, saxophone phrasing, dynamic range, Allan Holdsworth influence, +Scott Henderson vibrato, light picking attack, fluid lines, wide intervals +SOURCE: Fusion Blues Guitar Soloing - Allen Hinds +TOPIC: Legato technique development, philosophy, and exercises +--- + +Chunk 1: Personal Background and Legato Origins +Metadata: artist=AllenHinds, type=philosophy, concept=legatoTechnique, +concept=personalStyle, influence=AllanHoldsworth, concept=technicalOrigins + +Allen Hinds developed his legato approach not through deliberate design +but through necessity his unconventional pick hold made alternate +picking difficult, and legato became his compensating technique. Despite +various teachers attempting to correct his picking approach over the +years, he accepted that his unconventional method worked for him, +reflecting a broader truth about guitar playing: there is no right or +wrong way if it works and sounds good. What began as compensation +gradually became a signature style that listeners recognize after only +a couple of notes. The primary influence on his legato development was +Allan Holdsworth, whose fluid style and long flowing lines with wide +intervals sounded like no other guitar player. Holdsworth's complex +harmonic vocabulary was achieved largely through legato technique, and +recognizing this, Hinds focused on developing the same approach and +applying it to his own musical ideas. + +Chunk 2: The Legato Sound Light Pick Attack and Strong Fretting Hand +Metadata: artist=AllenHinds, type=technique, concept=legatoTechnique, +concept=pickingAttack, concept=frettingHandStrength, concept=smoothSound, +influence=AllanHoldsworth + +The legato sound Hinds settled on combines two complementary elements: +a light picking hand attack almost brushing the strings and a strong +fretting hand that drives the notes forward through hammer-ons and +pull-offs. These two elements work together to produce a smooth flowing +legato sound where the picking hand provides initial articulation and +the fretting hand sustains the momentum of the phrase. The technique +involves picking one note in a sequence and executing the rest using +hammer-ons when ascending and pull-offs when descending. The fundamental +challenge is getting the notes to sound even throughout which requires +deliberate fretting hand strength development rather than relying on +the picking hand to compensate. + +Chunk 3: Why Legato Dynamic Range and Saxophone Phrasing +Metadata: artist=AllenHinds, type=philosophy, concept=dynamicRange, +concept=saxophonePhrasing, concept=lightAndShade, concept=breathing, +concept=selectedPicking, influence=saxophone + +The philosophical case for legato over alternate picking centers on +dynamic range and breathing. A flowing legato run has far more dynamic +range than a steadily alternate-picked run the phrase breathes rather +than hammers forward with mechanical evenness. Choosing to pick only +selected notes within a legato passage makes those specific notes pop +out, bringing light and shade to the playing and achieving a more +saxophone-like effect. The saxophone analogy is important saxophone +players cannot articulate every note with equal attack, and this +limitation produces a naturally varied, breathing phrase quality that +legato guitar can approximate. The result is phrasing that feels more +like a continuous vocal or wind instrument line than a sequence of +individually plucked string attacks. + +Chunk 4: Scott Henderson Vibrato Horizontal Squeeze Technique +Metadata: artist=AllenHinds, type=technique, concept=vibrato, +concept=horizontalVibrato, influence=ScottHenderson, influence=violinVibrato, +concept=signatureSound, concept=fretboardMotion + +A key component of Hinds' signature sound is a vibrato technique learned +from Scott Henderson squeezing notes and moving them backward and +forward horizontally on the fretboard, pushing and pulling them from +fret to fret in a motion similar to violin vibrato technique. Unlike +conventional guitar vibrato which bends the string upward perpendicular +to the frets, this horizontal squeeze technique moves the pitch in both +directions with a subtler, more continuous oscillation. Combined with +the flowing legato approach, this vibrato gives Hinds' playing an +immediately identifiable character listeners report being able to +identify his playing after only a couple of notes. The combination of +smooth legato lines and horizontal squeeze vibrato produces a sound +that sits between guitar and string instrument in character. + +Chunk 5: Fretting Hand Strengthening Chromatic Exercise Foundation +Metadata: artist=AllenHinds, type=exercise, concept=frettingHandStrength, +concept=chromaticPattern, concept=hammerOn, concept=evenNotes, +technique=oneFingerPerFret, strings=16, frets=5-8 + +The foundation exercise for developing legato technique adapts the +standard one-finger-per-fret chromatic pattern used at Berklee for +alternate picking practice, repurposing it for fretting hand strength +development. The pattern ascends from A on the sixth string at the 5th +fret up to C on the first string at the 8th fret, using one finger per +fret across all six strings. Only the first note on each string is +lightly picked all subsequent notes on that string are executed as +hammer-ons, with the fretting hand driving the sound forward without +picking hand assistance. The exercise should be practiced slowly enough +that each note sounds as fully and evenly as possible, developing the +fretting hand strength and control needed for smooth legato lines. +The chromatic pattern serves no harmonic purpose but provides a neutral +framework for focusing entirely on technique evenness of tone, clarity +of hammer-ons, and consistency of finger pressure across all four frets +and six strings. + +Chunk 6: Legato Philosophy Summary +Metadata: artist=AllenHinds, type=summary, concept=legatoTechnique, +concept=personalStyle, concept=dynamicRange, concept=saxophonePhrasing, +concept=vibrato, influence=AllanHoldsworth/ScottHenderson + +Allen Hinds' legato approach combines a light brushing pick attack with +a strong fretting hand to produce smooth flowing lines influenced by +Allan Holdsworth's fluid harmonic vocabulary. Legato allows phrases to +breathe and creates greater dynamic range than alternate picking +selecting which notes to pick makes those notes pop out, achieving a +saxophone-like light and shade effect. The technique is complemented by +a horizontal squeeze vibrato learned from Scott Henderson that moves +notes backward and forward along the fretboard in a violin-like +oscillation. Together these elements produce an immediately identifiable +signature sound built from technical compensation that became artistic +strength a reminder that personal limitations can become personal +voice when embraced rather than corrected. \ No newline at end of file diff --git a/Books/Music/Technique/StringBending.txt b/Books/Music/Technique/StringBending.txt new file mode 100644 index 0000000..51e6f0f --- /dev/null +++ b/Books/Music/Technique/StringBending.txt @@ -0,0 +1,155 @@ +TITLE: Mastering String Bending Technique +GENRE: Guitar Technique, Blues, Rock +CONCEPTS: string bending, intonation, fretting hand strength, +whammy, semitone bend, tone bend, vibrato, string gauge, +A blues scale, muting, wrist technique, finger support +SOURCE: Guitar World +TOPIC: String bending fundamentals, technique, intonation, and musical application +--- + +Chunk 1: String Bending Overview and Musical Significance +Metadata: type=overview, concept=stringBending, concept=vocalQuality, +concept=emotiveSound, artists=BBKing/JoeSatriani/EricClapton/VanHalen, +songs=SweetChildOMine/ComfortablyNumb + +String bending is an essential part of a guitarist's toolkit whose vocal +qualities bring any solo to life across every genre from B.B. King to +Joe Satriani, Eric Clapton to Van Halen. The technique's emotional power +is most clearly understood by imagining iconic solos like Sweet Child O' +Mine or Comfortably Numb with the bends removed what remains is a +noticeably less impactful sound. The bend is not decoration but the +emotional core of the phrase, transforming a fretted pitch into a +continuously moving, singing voice that no other guitar technique +replicates. Developing good bending technique means developing the +guitar's most emotive voice. + +Chunk 2: Fretting Hand Position and Physical Mechanics +Metadata: type=technique, concept=frettingHandPosition, +concept=thumbPlacement, concept=wristTwist, concept=fingerSupport, +concept=bendingFinger, technique=thirdFinger/secondFinger/firstFinger + +The physical foundation of string bending begins with the fretting hand +thumb hooked over the top of the neck for support and leverage, with +one or two fingers placed behind the primary bending finger for +additional strength and to avoid strain. The third finger is the most +common bending finger, supported by the first and second fingers behind +it. The second finger can also bend with the first finger supporting +behind it. First finger bends are possible but less common and usually +dependent on the position required after the bend. The bend itself comes +from an upward twist of the wrist rather than finger strength alone +the curve and shape of the fingers should not change significantly from +the pre-bent position because the wrist does the work. The first finger +knuckle pressed against the neck acts as a fulcrum for the wrist twist. +Fourth finger bends are the most difficult due to its natural weakness +and require as many spare fingers as possible sharing the load. + +Chunk 3: Bending Intonation The Musical Foundation +Metadata: type=technique, concept=bendingIntonation, concept=pitchAccuracy, +concept=musicalResult, concept=targetNote, concept=earTraining + +The most important musical aspect of string bending is intonation +bending to a note that is in tune with the music rather than landing +flat or sharp through too little or too much energy applied to the bend. +A few poorly intonated sustained bends in a solo can make the guitar's +most emotive technique sound bad regardless of the expressiveness of +the gesture. The most effective method for developing accurate intonation +is to first play the target note as a fretted pitch and memorize that +sound, then descend to a lower note and bend up to match the remembered +pitch. Switching repeatedly between the standard fretted note and the +bent note trains the ear to hear the target and the hands to apply +consistent pressure to reach it. Strength and stamina rather than brute +force are the key components controlled bending requires repeatable +precision rather than maximum effort. + +Chunk 4: String Gauge and Bending Feel +Metadata: type=technique, concept=stringGauge, concept=bendingFeel, +concept=personalChoice, artists=BillyGibbons/BrianMay/JoshSmith, +gauges=007/008/009/010/013 + +String gauge directly affects bending ability and feel. Lighter gauges +such as 0.09 to 0.42 sets allow for smooth bending to desired notes and +are recommended when beginning to develop the technique, though they can +cause overbending due to their slacker feel. Heavier gauges such as 0.10 +sets provide more resistance and help develop controlled bending strength. +There is no universally correct choice Billy Gibbons prefers 0.07 +gauge strings for effortless playing, Brian May favors 0.08 gauge, while +Josh Smith opts for a hefty 0.13 gauge for his blues riffs and solos. +The right gauge is the one that feels best and supports the playing style +being developed. + +Chunk 5: Semitone and Tone Bends Technical Execution +Metadata: type=technique, concept=semittoneBend, concept=toneBend, +scale=AbluesScale, strings=123, technique=palmMuting, concept=stringNoise, +notes=D/Eb/E + +String bending on guitar is primarily practiced on the first, second, and +third strings as these are better suited for soloing and easier to bend +than wound lower strings. Bends are generally pitched a semitone one +fret's worth or a tone two frets' worth above the fretted note. +Using the A blues scale of A, C, D, Eb, E, and G as the harmonic +framework, a semitone bend on the third string moves D up to Eb, while +a tone bend moves D up to E. To reduce unwanted string noise from lower +strings during bending, the picking hand palm should rest on the strings +below the one being bent lower strings are louder and can feed back +sooner than higher strings. Repeating semitone and tone bends four times +in a row is an effective practice method for developing both ear training +and consistent pitch accuracy on repeated bends. + +Chunk 6: Bending Across Strings Compensating Pressure +Metadata: type=technique, concept=bendingPressure, concept=stringCompensation, +strings=123, concept=wristForce, concept=controlledBending + +String bends feel different on each string because of the varying pressure +required to reach the target note. Bending on the first string requires +more force in the upward wrist twist than the second string, which in +turn requires slightly more than the third string. This constant +compensation of force across strings is a fundamental part of what +controlled bending means in practice the hands must constantly +recalibrate the amount of wrist pressure applied depending on which +string is being bent. New players should avoid excessive repetition when +working on first and second string bends as wrist strain and finger +injuries are possible brief focused repetitions followed by work on +a different technique is a safer and more productive approach. + +Chunk 7: Adding Vibrato to Sustained Bends +Metadata: type=technique, concept=vibrato, concept=sustainedBend, +concept=emotionalDepth, concept=targetNote, concept=pitchControl, +concept=bendVibrato, artist=JeffBeck + +The final expressive layer added to sustained bends is vibrato, which +significantly increases the emotional depth of the technique when +executed correctly. After bending up to the target note and sustaining +it, vibrato is applied by dropping the bend down slightly and then +bending back up to the target note this motion is repeated for as long +as desired, with both the width of the pitch oscillation and the +repetition speed worth exploring as expressive variables. The critical +discipline is keeping the vibrato centered on the target note the +pitch must consistently return to the correct bent position rather than +wandering due to inconsistent over or underbending. A Jeff Beck inspired +musical context brings all of these elements together: simple rhythms, +melodic licks, controlled bends, and vibrato layered on top of sustained +peaks to add further emotion. When bending intonation is solid and +vibrato is centered on the target pitch, the combined effect is the +guitar's most vocal and emotive sound. + +Chunk 8: String Bending Summary +Metadata: type=summary, concept=stringBending, concept=intonation, +concept=vocalQuality, concept=wristTechnique, concept=fingerSupport, +concept=vibrato, concept=stringGauge, artists=BBKing/Clapton/Beck/VanHalen + +String bending is the guitar's most vocal technique, used across all +genres by players from B.B. King to Jeff Beck to create emotive singing +phrases that fretted notes alone cannot achieve. Effective bending +requires thumb-over-neck support, multiple fingers behind the bending +finger, and a wrist twist that drives the bend rather than finger +strength alone. The most important musical skill is intonation +consistently reaching the target pitch through ear training and +repeatable hand pressure. String gauge affects bending feel with no +universally correct choice, and bending pressure must be constantly +compensated across strings. Vibrato applied on top of sustained bends +by dropping and returning to the target pitch adds the final layer of +emotional expression. The combination of controlled intonation, physical +technique, and expressive vibrato transforms string bending from a +mechanical gesture into a continuous vocal utterance the defining +quality of the most memorable guitar solos in rock history. + diff --git a/Books/Music/Theory/7thChordMap.txt b/Books/Music/Theory/7thChordMap.txt new file mode 100644 index 0000000..0b23b3e --- /dev/null +++ b/Books/Music/Theory/7thChordMap.txt @@ -0,0 +1,257 @@ +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 01 — C MAJOR +C Major Scale 7th Chord Map +Scale Degrees & Chord Types (C Major) +I — Cmaj7 +ii — Dm7 +iii — Em7 +IV — Fmaj7 +V — G7 +vi — Am7 +vii — Bm7b5 + +Chord Shapes & Positions (Fretboard) +Degree Chord Shape (CAGED) Root String Fingering +I Cmaj7 C form 5th string x32010 +ii Dm7 D form 4th string xx0211 +iii Em7 E form 6th string 020000 +IV Fmaj7 E form 6th string 1x3210 +V G7 C form 5th string 320001 +vi Am7 A form 5th string x02010 +vii Bm7b5 Am form 6th string 2x221x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 02 — D MAJOR +D Major Scale 7th Chord Map +Degrees +I — Dmaj7 +ii — Em7 +iii — F#m7 +IV — Gmaj7 +V — A7 +vi — Bm7 +vii — C#o7 + +Fretboard Shapes +Degree Chord Shape Root Fingering +I Dmaj7 D form 4th xx0222 +ii Em7 E form 6th 020000 +iii F#m7 E form 6th 242222 +IV Gmaj7 C form 5th 320002 +V A7 A form 5th x02020 +vi Bm7 Am form 5th x20202 +vii C#o7 Am form 6th 4x443x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 03 — E MAJOR +E Major Scale 7th Chord Map +Degrees +I — Emaj7 +ii — F#m7 +iii — G#m7 +IV — Amaj7 +V — B7 +vi — C#m7 +vii — D#o7 + +Fretboard +Degree Chord Shape Root Fingering +I Emaj7 E form 6th 021100 +ii F#m7 E form 6th 242222 +iii G#m7 E form 6th 464444 +IV Amaj7 A form 5th x02120 +V B7 A form 5th x21202 +vi C#m7 Am form 5th x42424 +vii D#o7 Am form 6th 6x665x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 04 — F MAJOR +F Major Scale 7th Chord Map +Degrees +I — Fmaj7 +ii — Gm7 +iii — Am7 +IV — Bbmaj7 +V — C7 +vi — Dm7 +vii — Em7b5 + +Fretboard +Degree Chord Shape Root Fingering +I Fmaj7 C form 5th x32010 +ii Gm7 E form 6th 353333 +iii Am7 A form 5th x02010 +IV Bbmaj7 A form 5th x13231 +V C7 C form 5th x32310 +vi Dm7 D form 4th xx0211 +vii Em7b5 Am form 6th 0x0000 + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 05 — A MAJOR +A Major Scale 7th Chord Map +Degrees +I — Amaj7 +ii — Bm7 +iii — C#m7 +IV — Dmaj7 +V — E7 +vi — F#m7 +vii — G#o7 + +Fretboard +Degree Chord Shape Root Fingering +I Amaj7 A form 5th x02120 +ii Bm7 Am form 5th x20202 +iii C#m7 Am form 5th x42424 +IV Dmaj7 D form 4th xx0222 +V E7 E form 6th 020100 +vi F#m7 E form 6th 242222 +vii G#o7 Am form 6th 4x443x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 06 — Bb MAJOR +Bb Major Scale 7th Chord Map +Degrees +I — Bbmaj7 +ii — Cm7 +iii — Dm7 +IV — Ebmaj7 +V — F7 +vi — Gm7 +vii — Ao7 + +Fretboard +Degree Chord Shape Root Fingering +I Bbmaj7 A form 5th x13231 +ii Cm7 E form 6th 3x3333 +iii Dm7 D form 4th xx0211 +IV Ebmaj7 C form 5th x65365 +V F7 C form 5th x32311 +vi Gm7 E form 6th 353333 +vii Ao7 Am form 5th x02010 + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 07 — Eb MAJOR +Eb Major Scale 7th Chord Map +Degrees +I — Ebmaj7 +ii — Fm7 +iii — Gm7 +IV — Abmaj7 +V — Bb7 +vi — Cm7 +vii — Do7 + +Fretboard +Degree Chord Shape Root Fingering +I Ebmaj7 C form 5th x65365 +ii Fm7 E form 6th 131111 +iii Gm7 E form 6th 353333 +IV Abmaj7 A form 5th 4x654x +V Bb7 A form 5th x13131 +vi Cm7 Am form 5th x31313 +vii Do7 Am form 6th x5353x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 08 — F# / Gb MAJOR +F# Major Scale 7th Chord Map +Degrees +I — F#maj7 +ii — G#m7 +iii — A#m7 +IV — Bmaj7 +V — C#7 +vi — D#m7 +vii — E#o7 (F o7 enharmonic) + +Fretboard +Degree Chord Shape Root Fingering +I F#maj7 E form 6th 243322 +ii G#m7 E form 6th 464444 +iii A#m7 Am form 5th x119911 +IV Bmaj7 A form 5th x24342 +V C#7 A form 5th x46464 +vi D#m7 Am form 5th x64646 +vii E#o7 Am form 6th x1199x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 09 — B MAJOR +B Major Scale 7th Chord Map +Degrees +I — Bmaj7 +ii — C#m7 +iii — D#m7 +IV — Emaj7 +V — F#7 +vi — G#m7 +vii — A#o7 + +Fretboard +Degree Chord Shape Root Fingering +I Bmaj7 A form 5th x24342 +ii C#m7 Am form 5th x42424 +iii D#m7 Am form 5th x64646 +IV Emaj7 E form 6th 021100 +V F#7 E form 6th 242322 +vi G#m7 E form 6th 464444 +vii A#o7 Am form 6th x1199x + +========================= + +TYPE: reference +PRIORITY: medium + +INDEXED CHUNK 10 — Ab / G# MAJOR +Ab Major Scale 7th Chord Map +Degrees +I — Abmaj7 +ii — Bbm7 +iii — Cm7 +IV — Dbmaj7 +V — Eb7 +vi — Fm7 +vii — Go7 + +Fretboard +Degree Chord Shape Root Fingering +I Abmaj7 A form 5th x111311 +ii Bbm7 Am form 5th x13131 +iii Cm7 Am form 5th x31313 +IV Dbmaj7 C form 5th x46564 +V Eb7 C form 5th x65644 +vi Fm7 E form 6th 131111 +vii Go7 Am form 6th x10810x \ No newline at end of file diff --git a/Books/Music/Theory/Augmented Chords.txt b/Books/Music/Theory/Augmented Chords.txt index 49257ab..05dd434 100644 --- a/Books/Music/Theory/Augmented Chords.txt +++ b/Books/Music/Theory/Augmented Chords.txt @@ -1,102 +1,88 @@ Augmented Triads -An augmented triad is a 3-note chord built by stacking two major 3rds. The term augmented comes into play because the interval from the root of the chord to the 5th is an augmented 5th. Another helpful approach for constructing an augmented triad is to begin with a major triad and then raise the 5th by a step. (Think: Root, 3rd, ?5). +An augmented triad is a 3-note chord built by stacking two major 3rds. The term augmented comes into play because the interval from the root of the chord to the 5th is an augmented 5th. Another helpful approach for constructing an augmented triad is to begin with a major triad and then raise the 5th by a step. (Think: Root, 3rd, #5). Major 7(#5) Chords -Major 7(?5) Chords combine an augmented triad with a major 7th (Think: Root, 3rd, ?5, ?7). Building this chord on the note C, we get CEG?B. Common chord symbols for this chord include C?(?5), C?+ and Cmaj7(?5). You may even see this chord written as a slash chord, E/C. +Major 7(#5) Chords combine an augmented triad with a major 7th (Think: Root, 3rd, #5, 7). Building this chord on the note C, we get CEG#B. Common chord symbols for this chord include Cmaj7#5, C#+, and Cmaj7(#5). You may even see this chord written as a slash chord, E/C. Dominant 7(#5) Chords -Dominant 7(?5) Chords combine an augmented triad with a minor 7th. (Think: Root, 3rd, ?5, ?7). Building this chord on the note C, we get CEG?B?. Common chord symbols for this chord are C7+ and C7(?5). This chord is often associated with the Whole Tone Scale, particularly when the ?9 is included, as in C9(?5). However, C7(?5) is also found in the Altered Scale, where it can be voiced with either the ?9 or ?9. +Dominant 7(#5) Chords combine an augmented triad with a minor 7th (Think: Root, 3rd, #5, b7). Building this chord on the note C, we get CEG#Bb. Common chord symbols for this chord are C7#5 and C7(#5). This chord is often associated with the Whole Tone Scale, particularly when the #9 is included, as in C9(#5). Where do augmented chords come from? -Augmented chords can sometimes be confusing for music students. Certainly, one contributing factor is that out of the four types of triads (major, minor, diminished and augmented), the augmented triad is the only one that does not occur naturally within the major scale. Rather, the augment triad is a diatonic chord that occurs in both the Harmonic Minor Scale and the Melodic Minor Scale (ascending only). In both scales, the augmented triad occurs as the 3-chord (?+) as a result of the raised 7th scale degree. - -The following examples notate and demonstrate the A Harmonic Minor Scale with its corresponding diatonic triads and 7th chords on piano. Notice that it is the 3-chord that produces the augmented chords (C+ and C?+). +Augmented chords are unique because they do not occur naturally within the major scale. Rather, the augmented triad is a diatonic chord in both the Harmonic Minor Scale and the ascending Melodic Minor Scale. In both scales, the augmented triad occurs as the 3-chord (III+) due to the raised 7th scale degree. Augmented Triads and Harmonic Function -Even though the augmented triad occurs in both the Harmonic Minor and Melodic Minor scales as a ?+ chord, it rarely functions this way. In other words, most augment triads youll encounter wont make sense as a 3-chord of a minor key. More often, augmented triads will appear to be a ?+, ?+ or ?+ in a major key. However, as well see later in this lesson, the augmented 5th interval usually results from chromatic voice leading over a major triad (?, ? or ?). In such cases, the presence of the augmented 5th interval is best understood as a passing tone. +Although the augmented triad appears in minor scales, it rarely functions as a III+ chord in minor keys. More often, it appears as I+, III+, or V+ in major keys. The augmented 5th interval typically acts as a passing tone in chromatic voice leading over a major triad. -In addition to the Harmonic Minor Scale and the Melodic Minor Scale, there is an additional scale that is also closely associated with augmented chords. The Whole Tone Scale produces augmented triads and dominant 7(?5) chords on each scale degree. For a deep dive on the Whole Tone Scale, check out our Quick Tip on Whole Tone ScaleThe Complete Piano Guide (Int). -How many augmented triads are there? +Augmented Triads in Scales -Unlike most other chords which have 12 unique transpositions, there are only 4 unique augmented triads. This is because most other chords are asymmetrical (with the exception of fully-diminished 7th chords). However, the symmetrical structure of augmented chords means that all its chord tones are equidistant. In fact, the interval from the 5th of the chord up to the root is also a major 3rd. Therefore, an augmented triad divides the octave into 3 equal parts. Each part is comprised of 4 half-steps (or a major 3rd). Lets take a closer look by constructing augmented triads on the roots C, D?, D and E?. +The Whole Tone Scale produces augmented triads and dominant 7(#5) chords on each scale degree. -Symmetrical Structure = Limited Transpositions +Number of Unique Augmented Triads -Suppose we were to build an E Augmented triad. This chord is spelled EG?B?. However, these are the exact same notes as C Augmented (CEG?). In fact, C Augmented in first inversion (C+/E) is identical to E Augmented in root position. As a result, augmented triads dont have an identifiable root, as far as the ear is concerned. How can this be? Well, its similar to the fact that a chromatic scale doesnt produce or imply any identifiable tonic note. +There are only 4 unique augmented triads because the chord is symmetrical. All chord tones are equidistant, dividing the octave into three major 3rds. For example, C+ = CEG#, E+ = EG#C, and G#+ = G#CE. How to Spell Augmented Triads -Perhaps youre wondering why some of these augmented triads are spelled as such? One might protest, Is it really necessary to spell B Augmented as BD#F??? (Note, the ?? symbol represents double-sharp). Why not spell it BD#G? The answer has to do with what we mean when we use the words triad and root. Remember, triad does not mean a chord with 3 notesthats a frequent misconception. For example, a sus chord like Gsus4 (GCD) is not a triad, even though it contains 3 notes. Instead, the term triad means a 3-note chord that can be arranged as a stack of 3rds (Think: Root3rd5th). Since Gsus4 cannot be arranged as a stack of 3rds, it is not a triad. However, it still has a rootthe note G. The root is the fundamental note upon which a chord structure is built. Sus4 chords use the structure 145. +The spelling of augmented triads is important for clarity: -So why cant B Augmented be spelled BD#G? Actually, in one sense it can, and in another it cannot. The notes BD#G are still a triad because they can be stacked in 3rds. For example, if you rearrange the notes in the order GBD#, then you have a stack of 3rds with a clear root-position triadic shape. However, B is no longer the root! The root of GBD# is the note G, and that chord is named G Augmented. - -So, is there a difference between G Augmented and B Augmented? The sound is identical when they are arranged with the same note on bottom. However, they come from different Harmonic Minor Scales. For example, G Augmented is the ?+ chord of E minor, whereas B Augmented is the ?+ chord of G? minor. In modern practice, most arrangers opt to spell augmented chords in a manner that is easiest to read. +B+ is BD#F## (double sharp) instead of BD#G to maintain proper 3rd/5th intervals. +Root determines the chord name, even if the sound is enharmonically identical. Triad Pairs (Intermediate) -Professional jazz musicians frequently improvise by drawing on a melodic device known as triad pairs. To improvise with triad pairs, jazz pianists select two complimentary triads from a common scale and then create melodies that alternated back and forth between these triadic shapes. +Jazz musicians improvise using triad pairs: two complementary triads from a common scale, often adjacent, providing 6 unique notes. -Generally speaking, pianists prefer to pair adjacent triads from their source scale. This way, the triad pair will not have any common tones. In other words, one triad pair typically contains 6 unique notes. If you were to choose non-adjacent triads from the source scale, the resulting common tone(s) will reduce your total number of notes. +Example using C Whole Tone Scale (CDEF#G#A#): -Lets consider an example of triad pairs to bring this concept into sharp focus. For this illustration, well create a triad pair with two augmented chords: C Augmented (CEG?) and D Augmented (DF?A?). These two triads are adjacent chords drawn from the C Whole Tone Scale (CDEF?G?A?). +C+ = CEG# +D+ = DF#A# -The first step to improvise with triad pairs is to practice blocking the selected pair through each inversion. This familiarizes your hand with the shapes that youll be alternating between when improvising with the selected triad pair. Therefore, well start by playing C+ and D+ in root position. Then, well continue to ascend through each inversion. Afterward, its a good idea to practice playing the triad pair in descending blocks too. +Practice blocking these triads through inversions, ascending and descending. -Source Scale for the Dominant 7(?13) Sound +Augmented Triads as Upper Structure Triads (UST) -You may be wondering where this voicing comes from? Notice that when we resolve A?7(?13) to D?6/9, our melodic line includes the ?9 and the ?9. In this case, the source scale for A?7(?13) is the A? Altered Scale, which is technically spelled as A?B??C?D??E??F?G?A?. However, that is a nightmare to try to read! Therefore, its much more helpful to think of the parent scale enharmonically as the G? Altered Scale, which is G?ABCDEF?. Do you see the C Augmented triad (CEG?) contained within the scale? Since this specific example is uses the Altered Scale, the chord symbol A?7alt is also appropriate here. If you are not yet familiar with the Altered Scale, be sure to check out our Quick Tip on The Altered ScaleThe Complete Guide. +C+ can function as a UST over several chords: -In other cases, a Dominant 7(?13) chord symbol does not necessarily imply a fully altered sound. In fact, since this particular voicing only contains 4 notes (A?CE?G?), its impossible to pin down a specific source scale or parent scale without a musical context. For example, all of the following scales produce the Dominant 7(?13) sound. +V7(#5) +V7alt +Minor-Major 7th chords - Mixolydian?13 Scale: 12345?6?7 - Phrygian Dominant Scale: 1?2345?6?7 - Altered Scale: 1?2?3?4?5?6?7 - Whole Tone Scale: 123?4?5?6 +Example: C+ over A7b13 ? Right hand: CEG# (UST), Left hand: AE (root+5). +Source Scales for Dominant 7(#13) Sound -ets find our C Augmented upper structure triad in each scale built on the root of A?. The notes of C+ are underlined for you. +Scales that produce a Dominant 7(#13) sound: - A? Mixolydian?13 Scale: A?B?CD?E?F?G? - A? Phrygian Dominant Scale: A?B??CD?E?F?G? - G? Altered Scale: G?ABCDEF? - A? Whole Tone Scale: A?B?CDEF? +Mixolydian b13: 12345b6b7 +Phrygian Dominant: 1b2345b6b7 +Altered: 1b2b3b4b5b6b7 +Whole Tone: 123#4#5#6 -Why is this important? There are two reasons. First, you want to be sure to associate the UST ?+ voicing with each potential chord symbol, which includes V7(?13), V7(?5) and V7alt. Secondly, when you are improvising, if you see a V7(?13) chord symbol, just know that it doesnt always represent the same scale, so a little detective work is in order. You could choose any of the scales shown above. However, a good rule of thumb is to look to the melody to supply the harmonic context, as we did in the example above. +Example of C+ upper structure in each scale built on A7 root: -C Augmented UST Over Other V7(?13) Chords +Ab Mixolydian b13: AbBbCDbEbFGb +Ab Phrygian Dominant: AbBbCDbEbFGb +G# Altered: G#ABCDEF +A Whole Tone: ABCDEF -Earlier, we discussed the symmetrical structure of augmented triads and examined how each augmented triad shape has three unique spellings. Since C Augmented has two other spellings, it should come as no surprise then that it can serve as a UST for two additional V7(?13) chords. If fact, the roots of the three V7(?13) chords that share C+ as an UST outline an augmented triad themselves. In other words, C+ works as a UST for C7(?13), E7(?13) and A?7(?13). Moreover, its not even necessary to change the spelling of the UST. +C+ UST Over Other V7(#13) Chords -C Augmented UST Over Other V7(?13) Chords - -Earlier, we discussed the symmetrical structure of augmented triads and examined how each augmented triad shape has three unique spellings. Since C Augmented has two other spellings, it should come as no surprise then that it can serve as a UST for two additional V7(?13) chords. If fact, the roots of the three V7(?13) chords that share C+ as an UST outline an augmented triad themselves. In other words, C+ works as a UST for C7(?13), E7(?13) and A?7(?13). Moreover, its not even necessary to change the spelling of the UST. +C+ works as a UST for C7(#13), E7(#13), and Ab7(#13). Roots of these chords outline an augmented triad: CEG#. Augmented USTs for Lydian Dominants -We can also use Augmented USTs to voice the Lydian Dominant sound. We get these brilliant and uplifting dominant chords from the Lydian Dominant Scale. This scale uses the scale degrees 123?456?7. - -Lets begin by considering the D Lydian Dominant Scale. This scale is DEF?G?ABC?D. Do you see the C Augmented triad (CEG?) contained in this scale? Since C+ naturally occurs in this scale, we can use it as an upper structure triad to voice the Lydian Dominant sound, just like we did for the Dominant 7(?13) sound. We simply need to add a D7 chord shell in the left hand. - -You might ask, But wait, wont this sound the same as the Dominant 7(?13) voicing? No, because the relationship of the augmented triad to the root of the dominant 7th chord is different, as well soon see. - -C Augmented UST Over Other Dominant 9(?11) Chords - -Of course, there are two other Lydian Dominant chords that share C Augmented as and upper structure. They are G?9(?11) and B?9(?11). Notice that the roots of these related Lydian Dominants outline an augmented triad: G?B?D. - -Lets play an example using G?9(?11), shown below. Notice, for this chord, the C Augmented upper structure is not spelled quite correctly, enharmonically speaking. Technically, the 7th of G?7 is the note F?, not E?. However, it is much easier to read this voicing by spelling the right hand as a C+ upper structure and the left hand as a Root+3rd chord shell. - -Since the C Augmented triad is built on the #4 of G?7, we can call this a UST #?+. However, what key has G?7 as a 5-chord? How about C? majoryuck! Therefore, well spell this Lydian Dominant enharmonically as F?9(?11) and well resolve it to B major. However, our UST is not #?+ anymore. It is now a UST ??+. This is a minor detail, but one worth noting. - -We have one more Lydian Dominant chord that can use C Augmented as and upper structure. Lets play our augmented UST for B?9(?11). +Lydian Dominant Scale: 123#456b7 +Example: D Lydian Dominant = DEF#G#ABC +C+ appears naturally in this scale and can be used as a UST. Augmented USTs for Minor-Major 7th Chords -We can also the augmented triad as a UST for Minor-Major 7th Chords. Jazz pianists frequently substitute minor-major 7th chords in place of regular minor 7th chords, especially in contexts in which the minor chord is not a 2-chord. For example, pianists sometimes play a I? as the final chord of a minor 2-5-1 progression. In addition, jazz pianists frequently use inner voice movement to create voice leading from R??7??7??6. This melodic gesture passes through a minor triad, a minor-major 7th chord, a minor 7th chord and a minor 6th chord, all with the same root (see example below). - -Lets play Am(maj7) using a C Augmented UST. Our right hand will play CEG? while our left hand plays an open 5th with the notes A and E. Since our right is playing the ?7 (the note G?), we must be sure to not play the ?7 in our left hand (the note G?). However, you can play the ?6 in the left hand if you want. +Am(maj7) using C+ UST: +Right hand: CEG# +Left hand: AE (omit the G# in LH if already in RH) \ No newline at end of file diff --git a/Books/Music/Theory/Basic Music Thoery For Beginners.txt b/Books/Music/Theory/Basic Music Thoery For Beginners.txt index 3df43d6..d20c95f 100644 --- a/Books/Music/Theory/Basic Music Thoery For Beginners.txt +++ b/Books/Music/Theory/Basic Music Thoery For Beginners.txt @@ -1,313 +1,165 @@ +Basic Music Theory for Beginners The Complete Guide (RAG Version) -Basic Music Theory for Beginners The Complete Guide +This guide explores fundamental concepts musicians use to understand, analyze, and create music. -This basic music theory guide looks at fundamental concepts musicians use to understand, analyze, and create music. -desk with laptop and sheet music What is Music Theory? - +R: Music theory is a system musicians use to understand and communicate the language of music. It examines fundamentals and provides tools to interpret compositions. -Music theory is a practice musicians use to understand and communicate the language of music. Musical theory examines the fundamentals of music. It also provides a system to interpret musical compositions. Music theory is a great tool for electronic and pop musicians to elevate tracks. +A: Its useful for electronic and pop musicians to elevate tracks. - +R: Basic music theory defines harmony, melody, and rhythm and identifies elements such as song form, tempo, notes, chords, key signatures, intervals, scales, and qualities like pitch, timbre, texture, dynamics. -For example, basic music theory defines the elements that form harmony, melody, and rhythm. It identifies compositional elements such as song form, tempo, notes, chords, key signatures, intervals, scales, and more. It also recognizes musical qualities such as pitch, tone, timbre, texture, dynamics, and others. -How to Learn Music Theory? +How to Learn Music Theory -Music theory is a complex and extensive subject. There are several practices, disciplines, and concepts. +R: Learn the fundamentals first: -Best to learn music fundamentals first before exploring advanced music theory. The building blocks that form musical compositions include: +Harmony +Melody +Rhythm - Harmony - Melody - Rhythm +A: A solid understanding of these three core elements is essential before moving to advanced theory. -Solidly understanding these three core elements will help you learn basic music theory. -What Is Harmony in Music? +Harmony in Music -Harmony is when multiple notes or voices play simultaneously to produce a new sound. The combined sounds in harmonies complement one another and sound pleasing. +R: Harmony occurs when multiple notes or voices play simultaneously to produce a new sound. -Chords and chord progressions are examples of harmony. A chord has three or more notes that play at the same time. The chords and chord progressions in a piece of music support or complement the melody. +Chords Three or more notes played together +Chord progressions support the melody -Combining vocal parts also creates harmony. The combined voices of a choir are a perfect example. The multiple voices that make up a choir blend to make a harmonious sound. +A: Vocal harmonies, as in a choir, blend multiple voices for a harmonious sound. -However, not all harmonies are pleasing to our ear. There are two main types of harmony: dissonant and consonant . +R: Two main types: - Dissonant harmony adds notes that do not sound pleasant when played together. The result adds tension and makes the chord sound unstable. This tension releases by resolving to consonant chords. Dissonant interval examples are seconds, sevenths, and ninths. - Consonant harmony sounds stable and pleasing. All the notes in a consonant chord have intervals that play nicely together. Constant chords also transition smoothly with one another in a progression. Consonant interval examples are unison, thirds, fifths, and octaves. +Dissonant Adds tension; resolves to consonant. Examples: 2nds, 7ths, 9ths +Consonant Stable and pleasing. Examples: unison, 3rds, 5ths, octaves -Musicians combine consonant and dissonant harmonies to make the music more exciting and intriguing. -What Is Melody in Music? +A: Musicians combine both to make music more interesting. -Melody is a succession of notes or voices arranged into a musical phrase. A songs melody is often the most memorable and recognizable part. +Melody in Music -Melodies can be created with instruments or vocals. They have two or more notes in a sequence that sound musically pleasing. Most compositions consist of multiple melodies that repeat. +R: Melody is a sequence of notes arranged into a musical phrase; often the most memorable part of a song. -The two primary elements of a melody are pitch and rhythm : +R: Primary elements: - Pitch is the audio vibration produced by an instrument or voice. Its how high or low a note will sound. Arranging these pitches in a series creates a melody. - Rhythm or duration is the length each pitch will sound. These durations are divided into beat divisions like whole notes, half notes, quarter notes, triplets, etc. +Pitch High or low notes +Rhythm Duration of each note -Melodies also have two types of melodic motion: conjunct or disjunct . +A: Melodic motion: - Conjunct motion is when notes move by whole or half steps. Conjunct is also the most natural and comfortable to play and sing. There are shorter leaps between notes. - Disjunct motion has larger leaps between notes. Large interval leaps between notes can make the melody difficult to play or sing. Disjunct motion is also less memorable and smooth sounding. +Conjunct Stepwise motion; natural to play/sing +Disjunct Larger leaps; harder to perform -Musicians combine conjunct and disjunct motion to give melodies more variation and interest. -What Is Rhythm in Music? +G: Musicians combine both for variation and interest. -Rhythm is an essential element of music with more than one meaning. For example: +Rhythm in Music - Rhythm is a recurring movement of notes and rests (silences) in time. Its the human perception of time. - Rhythm also describes a pattern of strong and weak notes or voices that repeat throughout a song. These patterns can be created with drums, percussion, instruments, and vocals. +R: Rhythm = patterns of sounds and silences in time. -The basic elements that comprise musical rhythm include: +R: Elements: - Beat A repeating pulse that underlies a musical pattern - Meter A specific pattern of strong and weak pulses - Time Signature The number of beats per measure - Tempo (BPM) Indicates how fast or slow a piece of music plays - Strong and Weak Beats Strong beats are the downbeats, and weak beats are the offbeats - Syncopation Rhythms that accent or emphasize the offbeats - Accents Refers to the intensity or emphases placed on notes +Beat Repeating pulse +Meter Pattern of strong/weak beats +Time signature Beats per measure +Tempo (BPM) Speed of music +Strong vs. Weak beats Downbeats/offbeats +Syncopation Accents on offbeats +Accents Emphasis intensity -Understanding rhythm will help you create great harmonies and melodies. +A: Rhythm forms the backbone for harmony and melody. -Also, the rhythm section or pulse propels a piece of music. It acts as the rhythmic backbone for other musical elements. -The Benefits of Music Theory: Why Study Music Theory? +Benefits of Learning Music Theory -Learning basic music theory is essential for enhancing creativity and developing musical awareness. Its a challenging but rewarding set of skills to learn. +R: Music theory enhances understanding and creativity. -Knowing how music works will make the music production process easier and help you become an effective music producer. +A: Benefits include: -Is learning music theory required? No. However, you can benefit from learning some aspects of music theory. +Improved musical development +Breaking creative blocks +Building chord progressions/melodies +Informed composition +Better expression and emotion -For example, learning basic music theory will: +G: Also improves listening skills, improvisation, song arrangement, communication, and appreciation of music. - Improve your musical development - Help you understand how music works - Help you break through creative blocks - Make it easier to build chord progressions and melodies - Help you make informed composition decisions - Help you achieve expression and evoke emotion - Improve your critical listening skills - Speed up your workflow - Improve your musical form skills - Make it easy to communicate with other musicians - Deepen your appreciation for music - Improve your improvisation skills - Improve your song arrangement skills - Help you discover new creative possibilities +R: Note: Theory is a tool, not strict rules. -Note : Musical theory is not a set of rules or guidelines you must follow. Its only a tool to help you understand and explain how music works. -The Fundamentals of Music Theory (Music Theory for Dummies) - -This basic music theory for beginners guide examines the core music fundamentals. It also provides insight into the basic building blocks of music that form harmony, melody, and rhythm. +Fundamentals of Music Theory Musical Notes and Intervals -Lets start this music theory for beginners guide by going over harmony and melody. This section describes all the available notes and the specific relationships between them. -A piano keyboard with the letters of the alphabet on it -The Music Alphabet +R: Notes = building blocks of music (AG) -Notes are the building blocks for all music. The musical alphabet consists of seven letters: A, B, C, D, E, F, G . Each note has a unique pitch. -The 12 Keys of Music +R: 12 notes: A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab -There are 12 notes on the piano keyboard: A, A#/B?, B, C, C#/D?, D, D#/E?, E, F, F#/G?, G, G#/A? . +White keys = natural notes +Black keys = sharps/flats -The same 12 notes repeat upwards and downwards in octaves. -White Keys +R: Intervals = distance between two notes: -The white keys on a piano play the natural notes in a scale: A, B, C, D, E, F, G . +Half step = 1 semitone +Whole step = 2 semitones +Intervals = foundation of melody and harmony -Playing only white keys places you in either the key of C major or A minor. -Black Keys +A: Interval qualities: major, minor, perfect, augmented, diminished -The black keys on a piano play the flat and sharp notes in a scale: A#/B?, C#/D?, D#/E?, F#/G?, G#/A? . +R: Octaves = same note, double frequency -Each note has a symbol: ? for flat and # for sharp. Playing a combination of white and black keys allows you to write in all available key signatures. -Intervals - -An interval is a distance between two notes. There are several intervals. Measure these intervals by the number of half steps, whole steps, and their position in the scale. - - A half step interval is one semitone - A whole step interval is two semitones - Two half steps make a whole-step - -Intervals are also the foundation of both harmony and melody. Playing two or more notes at the same time creates harmonic intervals (chords). Playing single notes in a sequence makes melodic intervals (melodies). - -Furthermore, we describe intervals by number (distance) and prefix (quality). The interval number represents the number of half-steps between two notes. These numbers are 1st (unison), 2nd, 3rd, 4th, 5th, 6th, 7th, and 8th (octave) . - -Lastly, intervals have using a prefix to describe their quality. The five interval qualities are major (M), minor (m), perfect (P), augmented (A), and diminished (d) . -Octaves - -Octaves are the next highest or lowest pitch of the same note. The interval between a note and a note double its frequency is an octave. For example, an octave up from C1 on a piano is C2. An octave down would be C0. - -There are 12 semitones in the octave. These pitches repeat in the same order throughout the range of human hearing. Key Signatures -Key signatures tell you what notes in a scale are sharp (?) or flat (?). There are twelve key signatures, each derived from the twelve available notes. +R: Key signatures indicate which notes are sharp or flat. -Key signatures also help identify the key of a song, which is the tonal center. For example, a song in the key of A minor uses notes from the A minor scale. -Music Scales and Modes +R: Identify the tonal center of a song (e.g., A minor uses notes from the A minor scale). -Musical scales form the building blocks of music. Understanding musical scales and their functions is essential when learning basic music theory. +Scales and Modes -This section looks at the two most common scales, their scale degrees, and the seven music modes. -A table showing the key of a song -Music Scales +R: Scales = ordered notes in an octave; building blocks of melodies and harmonies -A music scale is a set of notes within an octave arranged by their pitch. The ascending or descending interval relationships among the note pitches define each scale. Moreover, the notes from a scale form melodies and harmonies. +Major scale: W-W-H-W-W-W-H +Natural minor scale: W-H-W-W-H-W-W +Minor variations: natural, harmonic, melodic -There are several types of scales. However, the two main types are the major scale and the minor scale. You can build both major and minor scales from any note. How you use them depends on the pattern of intervals you use. -Major Scales +A: Scale degrees: -There are twelve possible natural major scales. Natural major scales are bright, uplifting, and happy sounding. +Tonic +Supertonic +Mediant +Subdominant +Dominant +Submediant +Leading Tone -The seven notes in all major scales follow the same interval pattern: W-W-H-W-W-W-H (whole-whole-half-whole-whole-whole-half) . -Minor Scales +G: Musical modes = variations of parent scale (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian) -Natural minor scales are dark, sad, and emotional sounding. The seven notes in all minor scales follow the same interval pattern: W-H-W-W-H-W-W (whole-half-whole-whole-half-whole-whole) . - -There are twelve possible natural minor scales. In addition, there are three variations of the minor scale: natural, harmonic, and melodic. -Scale Degrees - -Each note of a scale has a specific name related to its function, called a scale degree. The name is the function, and a number indicates its position on the scale. - -There are seven scale degrees. These names apply to all major and minor scales. Learning more about these functions takes us into advanced music theory. For now, its good to know the names: - - 1st Tonic - 2nd Supertonic - 3rd Mediant - 4th Subdominant - 5th Dominant - 6th Submediant - 7th Leading Tone - -Music can create and release tension. The function of a scale degree relates to the amount of tension created. It also helps you decide what note(s) should follow to resolve the tension. - -Moreover, remembering the different pitches in major and minor scales is difficult. Referring to the steps of the scale by numbers rather than notes makes it easier to remember. -Music Modes - - - -Musical modes are scales derived from a parent scale. There are seven music modes. - - - -Each mode is a slight variation of a scale. They use all the same notes and interval patterns as the parent scale. - -The main difference is the root note used to build the scale. Starting a scale on a different note defines the tonal center, giving it distinct melodic characteristics. - -The seven musical modes are: - - I Ionian (major scale) - ii Dorian (major scale starting on the 2nd degree) - iii Phrygian (major scale starting on the 3rd degree) - IV Lydian (major scale starting on the 4th degree) - V Mixolydian (major scale starting on the 5th degree) - vi Aeolian (natural minor scale or major scale starting on the 6th degree) - vii Locrian (major scale starting on the 7th degree) - -Learning musical modes goes beyond basic music theory and is more advanced. However, getting familiar with these terms and basic functions is helpful. Counterpoint -Counterpoint is the relationship between two or more melody lines played at the same time. These melodies or voices work together to create pleasant-sounding harmonies. +A: Two or more melodies played together; independent rhythms but harmonically complementary -The melodies that create counterpoint are dependent on each other to create harmony. However, they are independent in rhythm and contour. -Chords and Chord Extensions +Chords and Extensions -Chords are the harmonious building blocks of music. They evoke emotion and provide the foundation for creating melodies. +R: Chords = 2+ notes played together; root defines chord -Knowing how to build chords and how they interact with each other is essential when learning music theory. This section looks at basic chord types, chord extensions, and inversions. -Music Producer Playing Mini Keyboard -Photo by Toan Nguyen -Musical Chords +Four types: Major, Minor, Diminished, Augmented +Triads: Root + 3rd + 5th +Seventh chords: Triad + 7th -A chord is a combination of two or more notes played at the same time. Theyre built off a single starting note called the root. +A: Chord extensions = notes beyond 7th (9th, 11th, 13th) +A: Inversions = reorder notes for smooth transitions (1st = 3rd in bass, 2nd = 5th in bass) -You can create chords from all twelve notes. There are also four basic types of chords in music: +Chord Progressions & Roman Numerals - Major Has a major third and a perfect fifth above the root - Minor Has a minor third and a perfect fifth above the root - Diminished Has a minor third and a diminished fifth above the root - Augmented Has a major third and an augmented fifth above the root +R: Chord progression = ordered series of chords; supports melody and rhythm -The chords and chord progressions in a piece of music support or complement the melody. -Triad Chords +A: Roman numerals indicate scale degrees: uppercase = major, lowercase = minor (IviIVV) -The most basic chords are triads. A triad is a chord made of three notes. Triads have a root note, a third (four semitones above the root), and a perfect fifth (seven semitones above the root). - -Triads are also the foundation for more complex chords. For example, you can create seventh and ninth cords by adding notes above a tried. -Seventh Chords - -A seventh chord adds a note above the basic triad. Seventh chords have a root note, a third, a perfect fifth, and a seventh. - -For example, a C major seventh has the notes: CEG-B. There are also five main types of seventh chords: major, minor, dominant, diminished, and half-diminished. -Major Chords - -Major chords have a root note, a major third, and a perfect fifth. A chord with these three notes alone is a major triad. - -For example, a C major triad has the notes: C-E-G. You can also add notes to build more complex chords. -Minor chords - -Minor chords have a root note, a minor third, and a perfect fifth. A chord with these three notes alone is a minor triad. - -For example, a C minor triad has the notes C-E?-G. You can also add notes to build more complex chords. -Diminished Chords - -Diminished chords sound tense, dissonant, and dramatic. They have a root note, minor third, and a diminished fifth (six semitones above the root). - -For example, a C diminished triad has the notes: C-E?-G?. -Augmented Chords - -Augmented chords sound dissonant, unsettling, and mysterious. They have a root note, major third, and an augmented fifth (eight semitones above the root). - -For example, a C augmented triad has the notes: CEG#. -Chord Extensions - - - -Chord extension s are notes added to the basic triad beyond the seventh. These notes extend into the next octave. There are four chord extensions: the 9th, 11th, and 13th . - - - -Extended chords create a richer, more harmonically complex sound than basic major and minor triads. They also provide additional voice leading possibilities, which makes chord progressions sound more interesting. -Chord Inversions - -Chord inversions are variations of the same chord. Transposing the bottom note in a chord to the next octave creates an inversion. - -There are two main chord inversions: first inversion and second inversion . - - First Inversion Transposes the root note up one octave. The third of the triad becomes the bass note. - Second Inversion Transposes the inverted triad again. The fifth of the triad becomes the bass note. - -Chord inversions add variation, excitement, and smoother transitions in chord progressions. The more notes a chord has, the more possible inversions. -Chord Progressions - -A chord progression or a harmonic progression is an ordered series of chords. Chord progressions support both the melody and the rhythm. They also provide the foundation for creating harmony and melody. - -Moreover, the key determines the chords used in a progression. A progression can also consist of major and minor chords. -Roman Numeral Analysis - -Roman numerals indicate the chords in a progression. They identify the musical key and the root note for each chord. For example, IV means the chord is built on the fourth degree of a scale. - -Uppercase Roman numerals represent major chords, while lowercase numerals represent minor chords. For example, a chord progression in the key of C major would look like I-vi-IV-V (C-Am-F-G). - -Delving deeper into this topic goes beyond basic music theory. However, it helps to introduce this numerical system. Voice Leading - +A: Smooth movement of notes from one chord to the next; shared notes minimize jumps -Voice leading is the linear movement between melodic lines or voices to create a single musical idea. This technique focuses on the smooth movement of notes from one chord to the next using common sounding tones. +Example: C major (C-E-G) ? A minor (A-C-E), smooth transition - - -Voice leading also minimizes the vertical and horizontal transitions between notes in a chord progression or melody. These smaller moves sound more natural and pleasing. - -When creating a chord progression, use harmonically related chords. They can share similar notes or have inversions to make the stepwise motion smoother. For example, a C major chord and an A minor chord both have the notes E and C. Conclusion -Music theory will give you a deeper understanding of music. But its also essential to remember musical theory is not hard rules. Its a tool to help you create, understand, and communicate music. +R: Music theory is a tool to create, understand, and communicate music. -There are several ways to practice music theory. Try applying the concepts in this guide to your workflow. +A/G: Apply these concepts in practice to improve your skills, workflow, and musical expression. diff --git a/Books/Music/Theory/BendingIntervalReference.txt b/Books/Music/Theory/BendingIntervalReference.txt new file mode 100644 index 0000000..6a9a194 --- /dev/null +++ b/Books/Music/Theory/BendingIntervalReference.txt @@ -0,0 +1,55 @@ +# IGNORE +TITLE: String Bending Interval Reference +DOMAIN: Guitar Technique +CONCEPTS: string bending, semitone bend, whole step bend, +half step bend, interval, target note, pitch, intonation +CONTENT TYPE: Reference +--- + +Bending a C note a semitone (half step) produces C#/Db. +Bending a C note a whole step (full step) produces D. +Bending a C note a minor third produces D#/Eb. + +Bending a C#/Db note a semitone (half step) produces D. +Bending a C#/Db note a whole step (full step) produces D#/Eb. +Bending a C#/Db note a minor third produces E. + +Bending a D note a semitone (half step) produces D#/Eb. +Bending a D note a whole step (full step) produces E. +Bending a D note a minor third produces F. + +Bending a D#/Eb note a semitone (half step) produces E. +Bending a D#/Eb note a whole step (full step) produces F. +Bending a D#/Eb note a minor third produces F#/Gb. + +Bending a E note a semitone (half step) produces F. +Bending a E note a whole step (full step) produces F#/Gb. +Bending a E note a minor third produces G. + +Bending a F note a semitone (half step) produces F#/Gb. +Bending a F note a whole step (full step) produces G. +Bending a F note a minor third produces G#/Ab. + +Bending a F#/Gb note a semitone (half step) produces G. +Bending a F#/Gb note a whole step (full step) produces G#/Ab. +Bending a F#/Gb note a minor third produces A. + +Bending a G note a semitone (half step) produces G#/Ab. +Bending a G note a whole step (full step) produces A. +Bending a G note a minor third produces A#/Bb. + +Bending a G#/Ab note a semitone (half step) produces A. +Bending a G#/Ab note a whole step (full step) produces A#/Bb. +Bending a G#/Ab note a minor third produces B. + +Bending a A note a semitone (half step) produces A#/Bb. +Bending a A note a whole step (full step) produces B. +Bending a A note a minor third produces C. + +Bending a A#/Bb note a semitone (half step) produces B. +Bending a A#/Bb note a whole step (full step) produces C. +Bending a A#/Bb note a minor third produces C#/Db. + +Bending a B note a semitone (half step) produces C. +Bending a B note a whole step (full step) produces C#/Db. +Bending a B note a minor third produces D. diff --git a/Books/Music/Theory/CAGED.txt b/Books/Music/Theory/CAGED.txt new file mode 100644 index 0000000..6749802 --- /dev/null +++ b/Books/Music/Theory/CAGED.txt @@ -0,0 +1,53 @@ +Ultimate Guitar Chord Extensions & CAGED Handbook +1. Overview +Purpose: Map all common chord types across the fretboard using CAGED forms. +Focus: 7ths, minor 7b5, add9, sus4, dominant, major 6/7, and related extensions. +Includes: Example songs, chord shapes, interval breakdowns, and fretboard references. +2. CAGED Forms & Basic Intervals +Form Root Notes Example +C Form 1-3-5 C major "Castles Made of Sand" Hendrix +A Form 1-3-5 A major "Summer of 69" Bryan Adams +G Form 1-3-5 G major "Little Wing" Hendrix +E Form 1-3-5 E major "Every Breath You Take" Police +D Form 1-3-5 D major "Can't You See" Marshall Tucker Band + +Tip: Roots are visualized even if omitted in partial shapes. + +3. Major & Minor 7ths +Chord Intervals Example Songs +Major 7 1-3-5-7 "Jeffs Boogie" Jeff Beck, "Tore Down" SRV +Minor 7 1-b3-5-b7 ii, iii, vi chords, "Tears in Heaven" Clapton +Dominant 7 1-3-5-b7 V chords, "Jump, Jive & Wail" Brian Setzer +Minor 7b5 1-b3-b5-b7 vii chords, "Oye Como Va" Santana + +Tip: Place 7th intervals carefully; experiment across CAGED shapes. + +4. Suspended 4ths (sus4) +Chord Form Songs +Gsus4 E Form Pearl Jam, "Jack and Diane" Mellencamp +Asus4 Open / E Form "Every Breath You Take" Police, "Get Down Tonight" KC & The Sunshine Band +Bsus4 A Form "Eye of the Tiger" Survivor +Dsus4 D Form "Tears in Heaven" Clapton +Csus4 C Form "Castles Made of Sand" Hendrix + +Tip: Sus4 replaces the 3rd with the 4th or adds a 4th; can combine with 7ths for rich voicings. + +5. Add9 & Related Extensions +Chord Intervals Example Songs +Add9 1-3-5-9 "Cult of Personality" Living Colour +Major 6 1-3-5-6 "Play That Funky Music" Wild Cherry +Minor 6 1-b3-5-6 "Come On (Part II)" Hendrix + +Tip: Add9 often uses the 9th two octaves above the root. Minor 7b5 = half-diminished sound. + +6. Song References by Chord Type +Chord / Form Song Artist +Gsus4 "Yellow Ledbetter" Pearl Jam +Asus4 "Every Breath You Take" The Police +Bsus4 "Eye of the Tiger" Survivor +Dsus4 "Take a Picture" Filter +Cadd9 "Good Riddance (Time of Your Life)" Green Day +Minor 7 "Tears in Heaven" Eric Clapton +Dominant 7 "Jump, Jive & Wail" Brian Setzer Orchestra +Major 7 "Jeffs Boogie" Jeff Beck +Minor 7b5 "Oye Como Va" Santana \ No newline at end of file diff --git a/Books/Music/Theory/Chord Tones and Tensions.txt b/Books/Music/Theory/Chord Tones and Tensions.txt new file mode 100644 index 0000000..7b3dd79 --- /dev/null +++ b/Books/Music/Theory/Chord Tones and Tensions.txt @@ -0,0 +1,255 @@ +TITLE: Chord Tones and Tensions — An Intermediate Guide +AUTHOR: Kiefer +DOMAIN: Music Theory, Jazz Harmony +CONCEPTS: chord tones, tensions, melody, root, ninth, flat nine, +sharp nine, third, eleventh, sharp eleventh, fifth, thirteenth, +flat thirteenth, seventh, major seventh, dominant chord, minor chord, +Lydian, altered scale, whole tone scale, harmonic color +SOURCE: Soundfly +TOPIC: Guide to using chord tones and tensions as melody notes over +various chord qualities +--- + +Chunk 1: Roots as Melody Notes +Metadata: type=theory, concept=chordTone, interval=root, +concept=melodicChoice, chords=maj7/min7/dom7/dim7/sus, concept=halfStepClash + +The root in the melody against a major seventh chord creates a half step +clash with the major seventh of the accompanying chord, just below it in +the voicing. Because the melody note is the focal point, the major seventh +rubbing against it from below muddies its clarity and sounds ungraceful. +This is why jazz standards that end on the root of a chord often use a +major sixth chord in place of a major seventh — the slight change eliminates +the conflict. Roots work fine as melody notes against minor seventh chords, +dominant seventh chords, diminished seventh chords, and minor seven flat +five chords. They can also provide a colorful sound against sus chords. +The practical rule is straightforward — avoid the root as a melody note +on top of major seventh chords but use it freely elsewhere. + +Chunk 2: Ninths as Melody Notes +Metadata: type=theory, concept=tension, interval=ninth, +concept=melodicChoice, concept=nonCommittal, concept=versatility + +The ninth is one of the most versatile and accessible tensions available +as a melody note. Its sound over a major seventh chord is particularly +appealing — partly because it is non-committal, working naturally with +multiple chord qualities without carrying the strong harmonic implications +that other tensions might. Ninths sound great in nearly every harmonic +situation and can be used freely across chord types. If a ninth creates +problems within a voicing, the solution is usually to ensure it sits above +the third — which may mean bumping it up an octave. This above-the-third +placement clears the potential clash and restores the ninth's characteristic +openness and brightness. + +Chunk 3: Flat Nines and Sharp Nines as Melody Notes +Metadata: type=theory, concept=tension, interval=b9/sharp9, +concept=melodicChoice, chords=dominant7/secondaryDominant, +concept=chromaticTension, concept=bluesSound, concept=resolution + +The flat nine and sharp nine are specific and intentional tension choices +— both are tense enough that their use is deliberate rather than casual. +When using a flat nine as a melody note, following it with the root of +the chord provides a smooth resolution. When using a sharp nine, moving +up a half step to the third of the chord resolves the tension naturally. +Sharp nines generally work wherever flat nines do, and in some cases they +even sound effective together. Both tensions add particular interest to +dominant seventh chords, especially secondary dominants, because they +move the harmony slightly further from the original key. Over major or +dominant chords they can create a rich bluesy sound that sits between +the major and minor worlds simultaneously. + +Chunk 4: Thirds as Melody Notes +Metadata: type=theory, concept=chordTone, interval=third, +concept=melodicChoice, concept=chordQuality, concept=majorThird/minorThird + +The third — major or minor depending on the chord quality — is one of +the most important notes available as a melody choice because it most +clearly communicates the quality of the chord. A major third over a +major chord or a minor third over a minor chord reinforces the harmonic +identity of the moment with clarity and directness. As chord tones rather +than tensions, thirds carry no risk of conflict with the underlying +harmony and can be used as often as desired. They tend to sound +interesting and stable simultaneously — grounding the melody in the +chord while still providing melodic character. + +Chunk 5: Elevenths and Sharp Elevenths as Melody Notes +Metadata: type=theory, concept=tension, interval=eleventh/sharpEleventh, +concept=melodicChoice, chords=minor/major7/dominant, concept=LydianSound, +concept=tritone, concept=stability/instability + +The eleventh behaves very differently depending on chord quality. Over +major chords elevenths are chaotic and unstable, creating conflict with +the major third a half step below. Over minor chords they are beautiful, +adding ambiguity and color without conflict — making them ideal for minor +chord passages where extra color is desired. The sharp eleventh is a +superior alternative for major seventh and dominant chords — sitting a +tritone above the root, it sets up an expectation for the fifth of the +chord, adding tension and gravity without muddying the major third. The +sharp eleventh gives a bright Lydian character — whimsical and slightly +unresolved — and can be added to major seventh and dominant chords to +provide distinctive harmonic color. + +Chunk 6: Fifths as Melody Notes +Metadata: type=theory, concept=chordTone, interval=fifth, +concept=melodicChoice, concept=nonCommittal, concept=openness, +concept=versatility, concept=stability + +Like the ninth, the fifth is a non-committal and versatile melody note +that does not strongly imply chord quality in either direction. In purely +diatonic contexts it is not the most interesting choice, but its openness +and reliability make it an excellent selection when flexibility is needed. +The fifth will almost never conflict with other notes in the harmony, +making it a solid default. It is pleasant, grounded, and easy for the +ear to locate within the texture. The practical advice is to use it +freely but balance it with more harmonically specific choices — thirds, +sevenths, or tensions — that provide additional character. + +Chunk 7: Thirteenths and Flat Thirteenths as Melody Notes +Metadata: type=theory, concept=tension, interval=thirteenth/flatThirteenth, +concept=melodicChoice, chords=dominant7/maj7/min7, concept=Dorian, +concept=alteredScale, concept=wholeToneScale, concept=lushness/dissonance + +The thirteenth adds lushness and richness to a dominant chord, though +placement matters — when the thirteenth and flat seventh are voiced +directly adjacent they create strong dissonance, but moving the +thirteenth above the flat seventh opens the sound considerably. +Thirteenths work particularly well on dominant chords combined with +ninths, and can also function on major seventh and minor seventh chords — +especially the latter when using a Dorian scale framework, though there +is a risk of harmonic muddiness if overused. The flat thirteenth has a +more specific and distinctive sound, functioning particularly well on +dominant chords that embrace dissonance. The flat thirteenth can imply +different scales — the whole tone scale or the altered scale — and is +often found alongside flat nines or sharp nines in altered dominant +contexts. + +Chunk 8: Sevenths as Melody Notes +Metadata: type=theory, concept=chordTone, interval=seventh, +concept=melodicChoice, concept=majorSeventh/minorSeventh, +concept=chordCharacter, concept=alternativeToRoot + +Like the third, the seventh contributes directly to the overall character +of the chord, making it a harmonically rich melodic choice. If a major +seventh appears in the chord voicing it is a safe and effective bet in +the melody as well — and can serve as an easy alternative to the root +when the root creates clashes, particularly over major seventh chords. +Minor sevenths are even more forgiving and can be used freely in +melodies across many harmonic contexts. The practical rule is that +sevenths — both major and minor — tend to reinforce chord character +while avoiding the half step conflicts that make roots problematic over +major seventh chords. + +Chunk 9: Harmonizing a Single Note — Practical Exercise +Metadata: type=exercise, concept=harmonization, concept=chordTones, +concept=tensions, concept=melodicContext, concept=practicalApplication + +A highly effective exercise for internalizing chord tones and tensions +is to pick any single note and systematically harmonize it with every +chord in which that note plays a different role. Begin by playing the +chosen note and harmonizing it as the root — major triad, minor triad, +sus chord, dominant seventh with flat nine, and so on. Then harmonize +it as the minor third, then the major third, then the fifth, then the +ninth, and continue through all available roles. A more casual approach +is to explore one or two roles at a time — for instance, finding every +chord in which C functions as the major or minor seventh. Saying the +relationship aloud — "C is the minor seventh in a D minor 7 chord" — +accelerates internalization. Over time this exercise develops an +instinctive understanding of how any given note functions harmonically +across different chord qualities, making chord tone and tension choices +feel natural rather than calculated. + +Chunk 10: Chord Tones and Tensions Summary +Metadata: type=summary, concept=chordTones, concept=tensions, +concept=melodicChoice, concept=harmonicColor, chords=maj7/min7/dom7/sus, +intervals=root/ninth/third/eleventh/fifth/thirteenth/seventh + +The choice of melody note against a chord determines the harmonic color +and tension of the moment. Roots work freely over most chord types but +create half step conflicts over major seventh chords where the major sixth +chord is often substituted. Ninths and fifths are non-committal and +versatile — usable in almost any context. Thirds and sevenths reinforce +chord quality directly and are generally safe and effective. Flat nines +and sharp nines add intentional tension over dominant chords with bluesy +or chromatic color, best resolved by moving to a nearby stable tone. +Elevenths are beautiful over minor chords but chaotic over major chords — +the sharp eleventh is the Lydian-flavored alternative for major and +dominant contexts. Thirteenths add lushness to dominant chords, while +flat thirteenths imply altered or whole tone scale colors in highly +dissonant dominant contexts. The practical skill of hearing these +relationships develops through deliberate ear training and the systematic +harmonization exercise of placing a single note in every harmonic context +available to it. + +Chunk 11: Tensions by Chord Type — Dominant Seventh Chords +Metadata: type=reference, concept=tensions, chords=dominant7, +concept=melodicChoice, intervals=ninth/b9/sharp9/thirteenth/b13/sharpEleventh, +concept=bluesSound, concept=alteredSound, concept=LydianDominant + +The tensions that work well over dominant seventh chords are the ninth, +flat nine, sharp nine, thirteenth, flat thirteenth, and sharp eleventh. +The ninth is versatile and non-committal, working freely in most dominant +contexts. The flat nine and sharp nine add bluesy chromatic tension and +are particularly effective over secondary dominants — the flat nine +resolves naturally to the root, the sharp nine resolves up a half step +to the third. The thirteenth adds lushness and pairs well with the ninth, +though it should sit above the flat seventh to avoid dissonance. The flat +thirteenth implies altered or whole tone scale colors and pairs well with +flat nines or sharp nines in heavily dissonant altered dominant contexts. +The sharp eleventh gives a bright Lydian dominant color — whimsical and +unresolved. Avoid the natural eleventh over dominant chords as it creates +conflict with the major third. + +Chunk 12: Tensions by Chord Type — Major Seventh Chords +Metadata: type=reference, concept=tensions, chords=maj7, +concept=melodicChoice, intervals=ninth/sharpEleventh/thirteenth/seventh, +concept=LydianSound, concept=halfStepClash, concept=maj6substitution + +The tensions that work well over major seventh chords are the ninth, +sharp eleventh, thirteenth, and major seventh itself. The ninth is +non-committal and works beautifully, especially when placed above the +third. The sharp eleventh gives a bright Lydian color — sitting a tritone +above the root it adds tension without muddying the major third. The +thirteenth can work but risks harmonic muddiness if combined with too +many other tensions. Avoid the root over major seventh chords due to the +half step clash with the major seventh — use the major sixth chord as a +substitute when the root must appear in the melody. Avoid the natural +eleventh which creates conflict with the major third a half step below. + +Chunk 13: Tensions by Chord Type — Minor Seventh Chords +Metadata: type=reference, concept=tensions, chords=min7, +concept=melodicChoice, intervals=ninth/eleventh/thirteenth, +scale=DorianMode, concept=beauty/ambiguity, concept=avoidSharpNine + +The tensions that work well over minor seventh chords are the ninth, +eleventh, and thirteenth, particularly when drawn from the Dorian mode. +The ninth is versatile and works freely. The eleventh is especially +beautiful over minor chords — adding ambiguity and color without conflict, +making it one of the most effective tension choices available in a minor +harmonic context. The thirteenth works well in a Dorian framework though +there is risk of muddiness if overused alongside other tensions. The root +works fine over minor seventh chords without the half step clash that +occurs over major seventh chords. Avoid flat nines, sharp nines, and flat +thirteenths over minor seventh chords as these are primarily dominant +chord tensions and will pull the harmony away from the minor context. + +Chunk 14: Tensions by Chord Type — Diminished and Half Diminished Chords +Metadata: type=reference, concept=tensions, chords=dim7/halfDim7, +concept=melodicChoice, intervals=root/ninth, concept=stability + +The root works fine as a melody note over diminished seventh chords and +minor seven flat five chords without the conflicts that arise over major +seventh chords. The ninth can also function in these contexts. These chord +types have a naturally tense and unstable harmonic quality, so simpler +melody note choices — chord tones rather than additional tensions — often +serve better than stacking further dissonance on top of an already +complex harmonic color. + +Chunk 15: Tensions by Chord Type — Sus Chords +Metadata: type=reference, concept=tensions, chords=sus, +concept=melodicChoice, intervals=root, concept=color + +The root provides a particularly colorful and effective melody note +against sus chords — a context where it would otherwise create half step +conflicts over major seventh chords. Sus chords have an open, unresolved +quality that the root complements naturally, reinforcing the sense of +harmonic suspension without creating unwanted clashes. diff --git a/Books/Music/Theory/Diatonic Constraint Rules.txt b/Books/Music/Theory/Diatonic Constraint Rules.txt new file mode 100644 index 0000000..a7bcc3a --- /dev/null +++ b/Books/Music/Theory/Diatonic Constraint Rules.txt @@ -0,0 +1,41 @@ +TYPE: rule +PRIORITY: high + +The Ionian (major scale) interval formula is: + +W W H W W W H + +To construct a major scale: +- Start on the root note +- Apply each interval step in sequence + +TYPE: rule +PRIORITY: high + +When constructing scales: + +Each note must use a different letter name in sequence. + +Example letter sequence: +A B C D E F G + +Do not repeat or skip letters. + +Accidentals (#, b) are used to satisfy interval distances, +not to change letter sequence. + + +TYPE: rule +PRIORITY: high +DOMAIN: logic_constraints +TOPIC: Sequence Integrity +RULE: Every element in a 7-element diatonic set MUST use a unique leading character (A, B, C, D, E, F, G). +CORRECTION LOGIC: +- If a calculation yields "C#" but the previous element was "B", and the next letter required is "C", "C#" is VALID. +- If a calculation yields "C#" but the letter "C" was already used, you must find the ENHARMONIC equivalent that uses the next available letter (e.g., if "D" is the next letter, use "Db"). +- In the specific case of F# Major, the sequence MUST be F#, G#, A#, B, C#, D#, E#. Note: E# is the only valid spelling for the 7th degree. + +TYPE: fact +PRIORITY: high +ALPHABETICAL_ANCHOR: The master letter sequence is a repeating loop: [..., A, B, C, D, E, F, G, A, B, ...]. +When deriving any 7-note sequence, you must select 7 consecutive letters from this anchor as your labels before determining their sharp/flat status. diff --git a/Books/Music/Theory/Fretboard Theory 2008 E-Book - Desi Serna.txt b/Books/Music/Theory/Fretboard Theory 2008 E-Book - Desi Serna.txt new file mode 100644 index 0000000..0bdc78e --- /dev/null +++ b/Books/Music/Theory/Fretboard Theory 2008 E-Book - Desi Serna.txt @@ -0,0 +1,1412 @@ +Fretboard Theory + +Copyright (c) 20052008 Desi Serna +All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher. +Cover Design: Desi Serna | Cover Photo: Richard Caldwell | Text Design & Layout: Desi Serna | Editing: Dyan Serna +Printed in the United States of America + +"For we are His creationcreated in Christ Jesus for good works, which God prepared ahead of time so that we should walk in them." Ephesians 2:10 (HCSB) + +Table of Contents +Introduction +About This Book +What You'll Learn +Other Benefits +Whats Missing +What You Should Know +Can Bass Players Benefit Too? +Seven-String Guitars and Five-String Basses +Left-Handed Players +How Fretboard Theory Works +What Youll Need to Do +Learning Songs +Transcriptions +Recordings +Studying with an Instructor +The Importance of Songs +Lets Get Started +Chapter 1: A Quick Review +Natural Notes +Notes on String 6 +Notes on String 5 +Whole-Steps and Half-Steps +Sharps (#) and Flats (b) +Octaves +Exercises +Chapter 2: The Pentatonic Scale +Connecting Patterns +Major/Minor Pentatonic +Transposing +Connecting Backward +Blues Scale +Applying Pentatonic +Join the Mailing List +Chapter 3: CAGED Template Chord System +C Form +A Form +G Form +E Form +D Form +CAGED Template Overview +Chapter 4: Five Is the Magic Number +A Major Pentatonic / CAGED +C Major Pentatonic / CAGED +Minor CAGED Forms +A Minor Pentatonic / CAGED +Partial Minor Forms +Chapter 5: The Major Scale +G Major Scale Patterns +C Major Scale Patterns +Major Scale Practice Keys +Major Scale Songs +Chapter 6: Chord Progressions & Playing by Numbers +Major Triad +Minor Triad +Minor Flat Five +Major Scale Triads +Numbers +Chord Patterns (String 6 & 5) +Song Progressions +Open Position +Key Changes +Minor Chord Progressions +Chapter 7: Roots, Keys, and Applying Scales +Applying Pentatonic Scale +Blues Application +Applying Major Scale +Chapter 8: Modes +Ionian +Dorian +Phrygian +Lydian +Mixolydian +Aeolian +Locrian +Modes and Blues +Chapter 9: Intervals +Fifths +Thirds +Sixths +Octaves +Chapter 10: Chord Extensions +Major / Minor / Dominant 7 +Minor7b5 (Flat Five) +G CAGED Template w/7s +Add 9 +Suspended 4 +Chord Building Chart +Chapter 11: Conclusion +Contact Me +Join the Mailing List +Tell a Friend +About the Author +Ordering +Fretboard Theory DVDs +Related Titles: +Getting Started with the Pentatonic Scale +CAGED Template Chord System +Guitar Chord Progressions & Playing by Numbers +Guitar Modes The Modal Scales of Popular Music +How to Make Money Teaching Guitar +Introduction (Condensed & Organized) + +About This Book +Fretboard Theory is for musicians serious about jamming, understanding, and creating guitar-driven music. Based on decades of professional teaching and performing, it provides a hands-on, visual approach to understanding scales, chords, and musical application. + +What Youll Learn + +Build essential chord forms and connect them across the fretboard +Learn major and pentatonic scales for melody, soloing, and bass lines +Chart chord progressions and play by numbers +Harmonize with intervals and add chord extensions +Understand modes as they relate to the fretboard +Apply all of this to real songs + +Other Benefits + +Improves improvisation, transcription, and collaboration +Enhances musical retention and understanding + +Whats Missing + +Standard musical notation +Obscure or exotic music +Certain formal or outdated music theory + +Target Audience + +Intermediate to advanced guitar players familiar with open and barre chords + +For Bass Players + +Guitar-scale patterns and chord shapes directly apply to four-string bass +Seven-string guitars and five-string basses can follow lessons by ignoring extra strings at first + +Left-Handed Players + +Must reverse diagrams themselves + +How Fretboard Theory Works + +Visualizes the fretboard as a grid +Focuses on shapes, patterns, and connections rather than abstract notes + +Learning Songs + +Songs are references to reinforce lessons +Study both notation/tab and recordings +Use reputable sources (Hal Leonard, MusicNotes, SheetMusicDirect) +Play along with recordings to match phrasing and timing + +Studying with an Instructor + +Seek an experienced instructor who matches your musical interests +Observe lessons, check references, and ensure the teacher builds your repertoire + +Importance of Songs + +Learning songs is essential for musicianship +Songs make theoretical knowledge practical + +Getting Started + +Chapter 2: The Pentatonic Scale +About This Chapter + +The pentatonic scale is a widely used scale for riffs, solos, melodies, and bass lines. Its frequently combined with chords to create richer, more melodic parts. Even if you feel you already know it, theres valuable insight here. + +This chapter focuses on: + +The pentatonic scale template +Matching shapes and connecting patterns +Playing across the whole fretboard +Fingering techniques +Major and minor tonalities +Playing in all keys +Practice routines +References to familiar songs +Understanding the Pentatonic Scale +Penta = five +Tonic = tones/notes + +The pentatonic scale uses five notes per octave. +Example: E minor pentatonic ? E, G, A, B, D + +These five notes appear in multiple positions across the fretboard. + +The Five Patterns + +The pentatonic scale is broken into five patterns (shapes) to make visualization and playing easier. + +Pattern 1 ? Start here, practice up and down. +Pattern 2 ? Connects to Pattern 1. +Pattern 3 ? Connects to Pattern 2. +Pattern 4 ? Connects to Pattern 3. +Pattern 5 ? Connects to Pattern 4 and then loops back to Pattern 1, one octave higher. + +Practice tip: + +Memorize one pattern at a time. +Play each pattern repeatedly until it feels automatic. +Connect the patterns as you go up the neck. +Fingering Tips +Use all four fingers where possible (index, middle, ring, pinky). +Avoid using only index and middle fingersthey limit flexibility and control. +Pattern 3 spans five frets, while the others usually span four frets. +Alternate picking is crucial for clean lines. +Bass players: alternate index/middle fingers on plucked notes. +Matching Shapes +Visualize horizontal strings vertical frets as a grid. +Focus on patterns and shapes rather than individual note names. +The shapes remain constant in every key. +Connecting shapes is the key to navigating the whole fretboard. +Major and Minor Pentatonic +Pentatonic can be minor or major. +E minor pentatonic ? Root = E +G major pentatonic ? Root = G (same notes as E minor) + +Example: + +Shaded circles in a pentatonic pattern can indicate a chord shape. +E minor pentatonic ? forms open E minor chord +G major pentatonic ? forms open G major chord +Practice Routine +Learn Pattern 1 completely. +Move to Pattern 2, connect it to Pattern 1. +Repeat for Patterns 3, 4, 5. +Once youve connected all patterns, trace your way back down. +Practice in different keys using the first note of Pattern 1 as the minor root. + +Tip: You can always determine the scale key: + +First note in Pattern 1 ? minor root +Second note in Pattern 1 ? major root +Using Pentatonic in Songs +G Major Pentatonic (root = G) +E Minor Pentatonic (root = E) + +Examples for E minor pentatonic: + +"Cannonball" Duane Eddy (Guitar Riff) +"Amazing Grace" Hymn (Melody) +"Susie Q" CCR (Guitar Riff) + +Examples for G major pentatonic: + +"Honky Tonk Women" The Rolling Stones (Intro Guitar Lick) +"Wish You Were Here" Pink Floyd (12-string & Lead Guitar Intro) +"Sweet Home Alabama" Lynyrd Skynyrd (Guitar Intro & Solos) + +Practice tip: + +Focus only on the pentatonic parts of these songs. +Use tablature to reinforce positions. +Try connecting patterns while playing the songs. +Amazing Grace Example + +G Major Pentatonic Pattern 1 + +Gtr. Diagram +Pattern 1 positions across the fretboard + +Lyrics mapped to pentatonic notes: +"Amazing grace, how sweet the sound" +Play up and down the pattern while singing or visualizing the melody. +Repeat with Pattern 4 to extend the scale across the fretboard. + +? Next Steps: + +Practice all five pentatonic patterns in E minor and G major. +Connect patterns horizontally and vertically along the fretboard. +Apply patterns to riffs, solos, and familiar songs. +Memorize fingerings and shapes rather than individual notes. +1. Transposing the Pentatonic Scale +How It Works +Pattern-based approach: Youve memorized the 5 pentatonic patterns. Transposing means shifting all these patterns up or down the fretboard to change the key. +Roots move accordingly: +First note in pattern one = minor root +Second note in pattern one = major root +Example: +Open E minor pentatonic = E minor / G major +Start pattern one on 1st fret instead of open E: +Minor root = F ? F minor +Major root = Ab ? Ab major +Start pattern one on 3rd fret: +Minor root = G ? G minor +Major root = Bb ? Bb major +Practice Routine: +Play all five patterns in E minor / G major. +Shift up to 1st fret ? play all patterns in F minor / Ab major. +Shift up to 2nd fret ? F# minor / A major. +Shift up to 3rd fret ? G minor / Bb major. +Connect patterns forward and backward across the fretboard. Pattern 1 can connect to 5 before it, etc. +2. Chromatic Passing Tones +Definition: Notes not in the scale used to connect two scale tones. +Common Usage: Between whole-step scale notes (e.g., string 5 in pattern 1). +Effect: Adds bluesy or jazzy flavor. +Resulting Scale: Called the blues scale. +Practice Tip: +Play pattern 1 of E minor pentatonic. +Add a passing tone between G ? A on string 5. +Repeat on string 3 for the next octave. +3. Applying the Pentatonic Scale +Improvisation & Composition: +Start with known songs using the scale. +Mix patterns and chromatic tones. +Identify the root of a song to determine which pentatonic tonality to use: +Major chord as root ? use major pentatonic +Minor chord as root ? use minor pentatonic +Exception: Blues often uses minor pentatonic over major chord. +Practical Exercise: +Pick a song with a clear chord progression. +Identify the root. +Play pentatonic scale matching root (minor or major). +Experiment with chromatic passing tones for flavor. +4. Next Step: CAGED Chord System +What CAGED Is: +Five essential open chord shapes: +C form +A form +G form +E form +D form +Moving them across the fretboard creates barre chords in any key. +Key Points: +Root note location matters: The lowest note of the shape is usually the root. +Open vs. moveable: Moving a shape up the neck changes the chords name. +Example: C form at 5th fret ? D chord. +Fingering tip: You dont need to barre the entire chord; your index finger can hold only certain strings. +Practice Routine: +Memorize the root position for all five open shapes. +Play each shape in open position, then shift up frets and identify the new chord. +Focus on which strings are muted (X) and which are played (root first). +? Action Plan to Master This Section +Play pentatonic patterns in at least 3 different keys. +Connect patterns forward and backward. +Add chromatic passing tones to create the blues scale. +Start visualizing and practicing CAGED shapes: +Identify roots and practice moving shapes up the neck. +1. Chord Inversions and Voicings +Major chords are made up of three notes (root, third, fifth). +Inversion: Rearranging these notes changes which note is in the bass. +Example: C major chord (C-E-G) ? First inversion (E-G-C) ? Second inversion (G-C-E). +Voicing: How the notes are distributed across the strings; affects the chord's sound. +Voicings can involve omitting notes or playing partial chord shapes to make fingering easier. +2. Capo +A capo moves the open strings up the neck, allowing you to use familiar chord shapes in different keys. +Example: Capo on 1st fret +Open C ? C# +Open A ? A# +3. Barre Chords +C Form Barre Chord: Derived from the open C chord. +Root is under the pinky on the 5th string. +Omit/mute the 6th string. +Can be moved up/down the fretboard for any major chord. +A Form Barre Chord: Derived from the open A chord. +Root is under the index on the 5th string. +Ring finger can barre multiple strings to form the chord. +Barre chords can be partially played for easier fingering or alternate voicings. +4. Partial Chord Forms +Partial forms use fewer strings to simplify chord shapes. +Examples: +Open C ? omit pinky ? strings 14 used. +Open A ? omit some fingers ? strings 13 used. +Useful for riffs, interludes, and fast chord changes. +5. Alternate Bass Notes +Chords dont have to have the root in the bass. +Slash notation indicates alternate bass notes: +C/E ? C chord with E as the bass +C/G ? C chord with G as the bass +Helps create smooth transitions between chords and adds harmonic interest. +6. Arpeggios +Arpeggios = playing the notes of a chord one at a time instead of simultaneously. +Useful for: +Building chord voicings +Bass lines +Melodies and riffs +C Form Arpeggio Pattern Example: +D at 5th fret on string 5 ? E at 7th fret ? F at 8th fret +Can shift this pattern along the neck for other chords. +A Form Arpeggio Pattern: +C at 3rd fret ? D at 5th fret ? E at 7th fret +Complements the A form barre chord. +7. Practical Applications +Many classic songs use these techniques: +Partial C form: Stairway to Heaven (Led Zeppelin), Jack and Diane (John Mellencamp) +Alternate bass notes: Wish You Were Here (Pink Floyd), Plush (Stone Temple Pilots) +A form barre chords: Take It Easy (Eagles), Cliffs of Dover (Eric Johnson) +Quick Tips +Visualize the full barre chord even when playing partial forms. +Use a capo to play familiar shapes in new keys. +Practice arpeggio patterns along the 5th string for flexibility. +Use alternate bass notes to create smoother chord progressions. + +1. A Form Barre Chord and Partial Forms +Full Barre Chord: +Root lies under your index finger on the 5th string. +Your ring finger forms the rest of the chord. +Often, the 1st string is omitted because it can be hard to reach. +Partial Forms: +You can play subsets of the full chord to create new sounds. +Examples: +Strings 13 (like Stairway to Heaven intro) +Strings 24 (like Take It Easy by The Eagles) +Strings 53 or 54 (power chord shapes) +Alternate Bass Notes: +You can move notes from the chord to the bass. +Example: C/E (C chord with E in the bass), C/G (C chord with G in the bass). +Keith Richards and Pink Floyd frequently use these in their songs. +Arpeggio Pattern (A Form): +Notes of the chord played one at a time along the 5th string. +Example positions: C at 3rd fret, D at 5th fret, E at 7th fret. +Useful for building melodies, riffs, and chord voicings. +Songs Using Partial A Form: +Stairway to Heaven Led Zeppelin +Cult of Personality Living Colour +Daughters John Mayer +Scar Tissue Red Hot Chili Peppers +2. G Form Barre Chord and Partial Forms +Full Barre Chord: +Root under your ring finger on 6th string. +Stretchy and rarely used in full; usually partial forms are preferred. +Partial Forms: +Strings 25: Used in G/B voicings like Fleetwood Macs Landslide. +Strings 14: Used in Stairway to Heaven intro. +Strings 24: Reduces to a shape also used in the A form. +Arpeggio Pattern (G Form): +Example positions: G open, A at 5th fret, B at 7th fret. +Helps build riffs, chord melodies, and bass lines. +Songs Using Partial G Form: +The Wind Cries Mary Jimi Hendrix +Fade to Black Metallica +Landslide Fleetwood Mac +3. E Form Barre Chord and Partial Forms +Full Barre Chord: +Root under your index finger on 6th string. +Requires barring across the fretboard. +Partial Forms: +Basic F chord: First four strings. +Johnny B. Goode uses partial form on 6th string. +Tripping Billies uses non-adjacent chord tones. +Arpeggio Pattern (E Form): +Positions: G at 3rd fret, A at 5th fret, B at 7th fret. +Useful for chord variations and melodic patterns. +Songs Using Partial E Form: +Never Let You Go Third Eye Blind +Johnny B. Goode Chuck Berry +Tripping Billies Dave Matthews Band +4. D Form Barre Chord +Modified Form: +Often used as D/F# (alternate bass note on 6th string). +Root lies under index finger on 4th string, making it easier to trace from string 4 to 6. +Rarely used in full; usually partial forms. +Songs Using Partial D Form: +Never Let You Go Third Eye Blind +Key Takeaways Across Forms +Partial chord shapes simplify fingerings and create different voicings. +Arpeggios map chord tones along strings, helping create riffs, melodies, and bass lines. +Alternate bass notes (slash chords) give chords a richer sound. +Practice tip: Visualize the full parent form even when playing a partial shapeit improves fluency and chord transitions. + +E Form & D Form Barre Chords +E Form Barre Chord: +Root under index finger on string six. +Can be broken into partial forms for riffs, melodies, and chord embellishments. +Arpeggio pattern spans frets (e.g., G at 3rd fret, A at 5th fret, B at 7th fret of string 6). +Songs using E form (partial or full): The Impression That I Get (Mighty Mighty Bosstones), Eye of the Tiger (Survivor), Wait (White Lion), Johnny B. Goode (Chuck Berry), Tripping Billies (Dave Matthews Band), etc. +D Form Barre Chord / D/F#: +Root under index finger on string 4. +Can incorporate alternate bass notes (e.g., D/F#). +Arpeggio pattern revolves around second, third, and fifth frets of string 4. +Songs using D form: All the Small Things (Blink 182), Jack and Diane (John Mellencamp), Tears in Heaven (Eric Clapton), Crash into Me (Dave Matthews Band). +Partial Forms +Many songs use only portions of barre chords for melodic or rhythmic purposes. +Partial forms are often missing the low and/or high E strings. +Power chords can derive from partial shapes (e.g., "D form" with root on string 4). +CAGED Template +Purpose: Connect all five major chord forms across the fretboard (C, A, G, E, D). +Steps for C Major (example): +Start at open C chord (C form). +Move to A form barre chord (root still C). +Next: G form barre chord. +Then E form barre chord. +Then D form barre chord. +Circle back to C form barre chord (octave higher). +Templates exist for all major keys: C, A, G, E, D. +Each form has an associated arpeggio pattern, which can be partially or fully played. +Forms can be connected forward (C-A-G-E-D) or backward (D-E-G-A-C). +Takeaways +Arpeggio + Barre + Partial = One large chord system covering the entire fretboard. +This method enables: +Melodic fills +Chord embellishments +Bass line variations +Soloing ideas over chords +Next Chapter Preview +Chapter 4: Integrates Pentatonic Scales with CAGED. +Youll see how 5 major chord forms align with 5 pentatonic scale patterns, plus relative minor chords. +Goal: Play scales over any chord, in any position, for riffs, melodies, and solos. + +1. Combining Scale Patterns and Chord Forms +The pentatonic scale and CAGED chord forms can be visualized together on the fretboard. +Each CAGED chord form has a corresponding pentatonic scale pattern: +G form chord ? Pentatonic pattern 1 +E form chord ? Pentatonic pattern 2 +D form chord ? Pentatonic pattern 3 +C form chord ? Pentatonic pattern 4 +A form chord ? Pentatonic pattern 5 +Practice tip: Black circles = chord notes, Gray + Black = arpeggio, All circles = full pentatonic pattern. Play the chord ? arpeggio ? scale repeatedly to internalize the shape. +2. Practicing and Transposing +Once you master one key (like A major), move the same shapes to other keys (C major, G major, etc.)patterns remain the same; only the starting root changes. +Use the CAGED template to trace the chord and scale shapes along the fretboard. +Application examples: +Lead guitar: Play solos using pentatonic and arpeggio shapes. +Bass: Outline chord tones using arpeggios while walking through the scale. +Rhythm guitar: Spice up chord progressions by adding scale or arpeggio notes. +3. Minor Chord Forms +All CAGED major forms have minor equivalents: Am, Em, Dm, Cm, Gm, etc. +Minor pentatonic and arpeggio shapes follow the same logic: +F# minor example: +Em form ? F# minor +Dm form ? F# minor +Cm form ? F# minor +Am form ? F# minor +Gm form ? F# minor +Practice minor CAGED templates the same way as major: connect forms across the fretboard, memorize arpeggio and scale patterns. +Partial minor forms can be used for specific riffs or solos (e.g., Stairway to Heaven uses Am form). +4. Major Scale Fundamentals +Chromatic scale: 12 half-steps per octave; used to construct major scales. +Major scale formula (whole & half steps): +W W H W W W H +Example (F major): F ? G ? A ? Bb ? C ? D ? E ? F +Patterns on guitar: +Break major scales into 5 patterns across the fretboard. +These patterns overlay with CAGED chord shapes: +Colored circles = chord reference shapes +Black circles = root note +Practice tip: Connect patterns up and down the neck; explore open position when possible. +5. Practical Application +Combining CAGED, pentatonic, and major scale patterns allows: +Improvisation over chord progressions +Riff and melody composition +Basslines that follow chord tones and scale movement +Example: +Progression E ? B ? A +Use E major pentatonic scale over all chords if E is the root. +Key Takeaways +Treat chord forms, arpeggios, and scale patterns as one unit. +Use CAGED templates to move any chord up/down the neck. +Minor forms mirror major formspractice both. +Major scales = foundation; overlay with CAGED for visualization. +Practice in multiple keys and connect patterns across the fretboard. + + + + +Pentatonic vs. Major Scale +Pentatonic: Simplified version of the major scale; omits half-step intervals. +Example: G major scale ? G, A, B, C, D, E, F# +G major pentatonic ? G, A, B, D, E +Pentatonic scales are built only from whole-step or larger intervals. +Major scales include all seven notes and the characteristic half-step intervals. +Most guitarists treat the two scales as separate in terms of sound and application. +Chromatic Passing Tones +Added to create the blues scale or melodic movement. +Can be applied to both major and pentatonic scales. +Chromatic tones are not necessarily part of the parent major scale. +Used to walk to target notes or create tension/resolution. +Adding/removing notes from the major scale can blur lines between major and pentatonic/blues scales. +Major Scale Application +Step formula: Whole, Whole, Half, Whole, Whole, Whole, Half +Creates the familiar Do, Re, Mi, Fa, Sol, La, Ti, Do sound. +Can be played in any key or position on the guitar. +Pattern flexibility: Notes of the major scale exist in multiple locations; use 5 patterns to navigate the fretboard. +Works with CAGED chord shapes for easier positioning. +Song Examples +Major scale (all degrees): +Jimmy Buffett Margaritaville (D) +Creedence Clearwater Revival Bad Moon Rising (D) +The Beatles Twist and Shout (D) +Major scale (not all degrees): +Grateful Dead China Cat Sunflower (C) +Blink 182 All the Small Things (C) +Major scale with chromatic passing tones: +Lit My Own Worst Enemy (E) +The Rolling Stones Beast of Burden (E) + +Tip: Learn major scale licks from songs, transpose them, and play over different chord progressions for improvisation practice. + +This section essentially teaches you how the major scale underlies all music, how pentatonics simplify it, and how chromatic tones add flavor. It also gives practical song examples to recognize and use these scales in real music. + + +Triads +Triads are the most basic chords and consist of three notes: +Root (1), Third (3), Fifth (5) +Built by stacking every other note from the major scale. +Example in G major: +G (root), B (major third), D (perfect fifth) ? G major chord +Triads can be played in different positions on the fretboard. The order or octave of the notes doesnt matter as long as all three are present. +Major vs. Minor Triads +Major third ? distance of two whole steps from the root ? happy sound +Minor third (b3) ? distance of one and a half steps ? darker/sadder sound +Example: +G major triad: G (root) ? B (major third) ? D (perfect fifth) +A minor triad: A (root) ? C (minor third) ? E (perfect fifth) +Special Triads +F#minorb5 (flat five): +Built from the 7th scale degree +Third interval is minor, fifth interval is lowered (flat five) +Rare in pop music; common in jazz +Triads Across G Major Scale +Scale Degree Chord Type +1 (G) Major +2 (A) Minor +3 (B) Minor +4 (C) Major +5 (D) Major +6 (E) Minor +7 (F#) Minor b5 +Practice playing all triads forward and backward. +Triads can be rearranged in multiple fretboard positions. +Bass Player Notes +Bass doesnt usually play full chords. +Focus on root note + other intervals (triads/arpeggios) +Avoid playing low chords too often; sounds muddy +Chord Quality & Scale Degrees +Major chords: I, IV, V +Minor chords: ii, iii, vi +Minor flat five: vii (rare, mostly jazz) +Example Song Uses (Triads) +I (Major): John Fogerty Centerfield +ii (Minor): Stevie Ray Vaughan Tightrope +iii (Minor): Jimi Hendrix Manic Depression +IV (Major): Beach Boys California Girls +V (Major): Buddy Holly Thatll Be the Day +vi (Minor): The Beatles Eight Days a Week +Playing by Numbers (Nashville Number System) +Use Roman numerals to represent chord degrees: +Uppercase ? Major, Lowercase ? Minor +Example: I ii iii IV V vi sequence is fundamental in pop/rock music +Guitarists: visualize the numbers on the fretboard rather than the notes themselves. +Key of G Example +I ? G +ii ? Am +iii ? Bm +IV ? C +V ? D +vi ? Em + +Focus on chord quality and number, not individual notes. This helps you transpose songs easily to any key. + +Practical Tip +Start with barre chords for each scale degree. +Practice visualizing I ii iii IV V vi patterns all over the fretboard. +Combining triads and scale knowledge allows improvisation, melody construction, and accompaniment in any key. + +1. Practicing Chord Numbers (I, ii, iii, IV, V, vi) +Chords I, ii, iii line up on string six, while IV, V, vi line up on string five. +Practice ideas: +Play forward and backward, calling out the numbers. +Play just major chords (I, IV, V) in different orders. +Play just minor chords (ii, iii, vi). +Mix strings: I ? IV, ii ? V, iii ? vi, etc. +This builds both fretboard familiarity and muscle memory for common patterns. +2. Transposing to Other Keys +The interval pattern stays the same in every key; only the starting fret (root) changes. +Examples: +Key of G ? start on open G or fret 3 +Key of A ? start on 5th fret +Key of B ? start on 7th fret +Key of E ? start on open 6th string +By visualizing numbers instead of notes, you can transpose easily without memorizing all the notes. +3. Popular Songs Based on Major Chords (I, IV, V) +Many songs use just the major chords: +Achy Breaky Heart ? I V +Sweet Home Alabama ? I IV V +Brown Eyed Girl ? I IV I V +Knowing these three major chords lets you play countless songs in any key. +4. Adding Minor Chords (ii, iii, vi) +Minor chords enrich progressions: +Songs like Jason Mraz Im Yours ? I V vi IV +John Denver Country Roads ? I V vi IV +Practice calling out numbers while playing: e.g., I V vi IV ? One Five Six Four +5. Playing Chord Progressions Starting on String Five +Original pattern: I, ii, iii on string six; IV, V, vi on string five +New pattern: flip the strings for comfort or higher keys +I, ii, iii on string five +IV, V, vi on string six +Example: Key of C +I ? C +ii ? Dm +iii ? Em +IV ? F +V ? G +vi ? Am +This is useful when frets are too high for the original string six pattern. +6. Key Takeaways +Learn chord numbers, not just names makes transposition effortless. +Practice on multiple strings helps with comfort and flexibility. +Start with major chords (I IV V), then add minor chords (ii, iii, vi). +Call out numbers while playing reinforces theory and fretboard awareness. +Transpose patterns you can play the same progressions in any key. + +1. Barre Chord Forms +A-Form Barre Chords +Root note is on string 5 (A string). +Commonly used for I, ii, iii when playing in the "string-five pattern." +Example: +Key of C ? I = C (A-form barre at 3rd fret) +E-Form Barre Chords +Root note is on string 6 (low E string). +Used for IV, V, vi when playing the flipped string-six pattern. +Example: +Key of C ? IV = F (E-form barre at 1st fret) + +Knowing both forms allows you to play the same chord progression in two different positions. + +2. Two-Position Practice +Slide your chord patterns up and down the fretboard to access different keys. +Example Progression in Key of C: +Position 1 Position 2 +I (C) I (C) +V (G) V (G) +vi (Am) vi (Am) +iii (Em) iii (Em) +IV (F) IV (F) +ii (Dm) ii (Dm) +Exercise: Play the same progression in both positions, forward and backward, until both feel equally comfortable. +3. Playing Songs in the String-Five Pattern +Many popular songs can be adapted to the string-five pattern using I, IV, V (major) and ii, iii, vi (minor) chords. +Examples of I IV V songs: +"Twist and Shout" I IV V +"Authority Song" I IV V +Examples including minor chords: +"With or Without You" I V vi IV +"Let it Be" I V vi IV +Tip: You dont need to play songs note-for-note; focus on the chord numbers and calling them out as you play. +4. Open vs. Barre Chord Positions +Some songs allow you to play open chords, others require barre chords depending on key. +Use your mental map of barre chord patterns to play the open version: +Visualize barre chord shapes while playing the open chord. +Example: If your pattern calls for Am barre at 5th fret, play open Am instead. +This helps connect fretboard patterns with open chord positions. +5. Renumbering Chord Patterns +Any chord can be treated as the root (I). +Once root is established, renumber other chords in the pattern relative to it. +Helps transpose songs easily or deal with key changes mid-song. +6. Minor Chord Progressions and Modes +Minor keys dont require new patternsjust pick a minor chord as the root and play accordingly. +Some songs start on a minor chord without including a I chord. +This is a precursor to understanding modes (explained in next chapters). +7. Applying Scales +Pentatonic Scale +Root chord determines which pentatonic scale to use: +Major root ? Major pentatonic scale +Minor root ? Minor pentatonic scale +Example: +Chords: E, B, A ? root = E ? use E major pentatonic over the whole progression. +Takeaway +Using numbers, barre patterns, and pentatonic scales, you can: +Navigate the fretboard easily +Play in any key +Jam over songs without needing to memorize every note + +1. Major Pentatonic Scale and Root Notes +Pattern 1 on the fretboard: The second note of pentatonic pattern 1 is always the major root. +Example: To play the E major pentatonic, the second note in pattern 1 must be E (12th fret, 6th string). Your index finger then starts the scale at the 9th fret. +Visualizing the G form E major chord helps connect pentatonic shapes with chords. + +Songs for practice with E major pentatonic: + +Never Let You Go Third Eye Blind +Beast of Burden The Rolling Stones +Yellow Ledbetter Pearl Jam +Walk of Life Dire Straits +2. Minor Pentatonic Scale and Root Notes +The first note of pentatonic pattern 1 is always the minor root. +Example: For A minor pentatonic, start at A (5th fret, 6th string). Visualize the Em form barre chord for reference. +This works for any minor chord: B minor ? B minor pentatonic, C minor ? C minor pentatonic, etc. + +Songs for practice with A minor pentatonic: + +Smooth Santana +Moondance Van Morrison +Brickhouse The Commodores +3. Outlining Chord Progressions with Pentatonic Scales +You can change pentatonic scales to match each chord in a progression. +Example: Progression DCG ? use D major pentatonic over D, C major pentatonic over C, G major pentatonic over G. +This is useful to outline chord changes, even without accompaniment. + +Songs using multiple pentatonic scales: + +My Girl The Temptations +Sweet Home Alabama Lynyrd Skynyrd +Jimi Hendrix tracks: Bold as Love, Little Wing, etc. +4. Blues Minor over Major Concept +In blues, it's common to play a minor pentatonic scale over a major chord for tension or dissonance. +Example: F# major chord ? F# minor pentatonic solo. +Works well in rock and blues, but not the other way around (major pentatonic over minor chord generally doesnt work). + +Songs illustrating minor-over-major: + +Give Me One Reason Tracy Chapman +Couldnt Stand the Weather Stevie Ray Vaughan +Hey Joe Jimi Hendrix +5. Combining Pentatonic and Major Scales +Major scale: depends on the key of the progression, not just the root chord. +Example 1 Yellow Ledbetter (E, B, A): +Key: E major scale (I, V, IV) +You can play E major pentatonic + E major scale. +Example 2 What I Like About You (E, A, D): +Key: A major scale (V, I, IV) +Root chord for pentatonic: E ? E major pentatonic +Combine: A major scale + E major pentatonic +Example 3 Stairway to Heaven (Am, G, F): +Key: C major scale (vi, V, IV) +Combine: C major scale + A minor pentatonic +Example 4 Oye Como Va (Am, D): +Key: G major scale (ii, V) +Combine: G major scale + A minor pentatonic + +Key principle: Pentatonic scale notes are always a subset of the major scale, but the application differsmajor scale depends on key/chord pattern, pentatonic depends on root chord. + +? Quick Rules +Major pentatonic ? 2nd note of pattern 1 = major root +Minor pentatonic ? 1st note of pattern 1 = minor root +Blues ? minor pentatonic over major chord creates tension +Outlining chords ? switch pentatonic scales per chord for clarity +Major scale ? depends on the overall key, not just root chord +Combine scales ? pentatonic for simplicity, major for full harmony + +Key Takeaways from Your Text +1. Root vs. Key +The root of a chord progression and the key of a song are not always the same. +Example: What I Like About You seems like its in E, but its actually in A major (key of A), with E functioning as the prominent/root chord. +Another example: Sweet Home Alabama starts on D but is in G major (root G). +2. Pentatonic Scale Application +Minor pentatonic ? use the first note as the minor root. +Major pentatonic ? use the second note of pattern one as the major root. +You can change pentatonic scales for each chord in a progression to outline the chord changes. +Blues often break these rules by playing minor pentatonic over a major root (creates tension and bluesy sound). +3. Major Scale Application +Major scales are determined by all chords in the progression. +Example: E, B, and A chords all fit into the E major scale pattern, so the E major scale works over all three. +The major scale and pentatonic scales dont always match. You can combine them for improvisation. +4. Modes +Every chord in a key can create a mode. +Modes are not separate patternsthey are different tonal centers of the major scale. +Ionian (Major) ? 1st scale degree as root. +Dorian ? 2nd scale degree as root. +Sound is determined by the root, not by where you start playing the scale. +Example: Oye Como Va in A Dorian means A is the root, and G major is the parent scale. +5. Important Notes +Modes = different roots of the same major scale. +They are tonal qualities, not new scales. +Using the right mode helps recognize the mood or character of the chord/progression. + +Dorian Mode (ii) +Root: 2nd scale degree +Tonal Quality: Minor, dark/jazzy +Songs in Dorian Mode: +"Moondance" Van Morrison (A Dorian, G) +"Fly Like an Eagle" Steve Miller Band (A Dorian, G) +"Brickhouse" The Commodores (A Dorian, G) +"Le Freak" Chic (A Dorian, G) +"Oye Como Va" Santana (A Dorian, G) +"Who Will Save Your Soul" Jewel (A Dorian, G) +"Light My Fire" The Doors, Solo Section (A Dorian, G) +"Walking on the Sun" Smash Mouth, Tune Down 1/2 Step (A Dorian, G) +"Grease" Frankie Valli (B Dorian, A) +"Golgi Apparatus" Phish (B Dorian, A) +"Stayin Alive" The Bee Gees (F Dorian, E?) +"Another Brick in the Wall (Part II)" Pink Floyd (D Dorian, C) +"Your Body is a Wonderland" John Mayer, Bridge/Solo (D Dorian, C) +"Evil Ways" Santana (G Dorian, F) +"Horse with No Name" America (E Dorian, D) +"Spooky" Atlanta Rhythm Section (E Dorian, D) +"Godzilla" Blue yster Cult (F# Dorian, E) +"I Wish" Stevie Wonder (E? Dorian, D?) +Phrygian Mode (iii) +Root: 3rd scale degree +Tonal Quality: Minor, Spanish flavor, uncommon +Song Example: +"Wherever I May Roam" Metallica (referenced) +Lydian Mode (IV) +Root: 4th scale degree +Tonal Quality: Major, unresolved, anticipatory +Songs in Lydian Mode: +"Freewill" Rush (F Lydian, C) +"Dreams" Fleetwood Mac (F Lydian, C) +"Just Remember I Love You" Firefall (F Lydian, C) +"Jane Says" Janes Addiction (G Lydian, D) +"Hey Jealousy" Gin Blossoms (D Lydian, A) +"Landslide" Fleetwood Mac (C Lydian, G) +"Man On the Moon" R.E.M. (C Lydian, G) +"Here Comes My Girl" Tom Petty (A Lydian, E) +"The Simpsons Theme" Starts in C Lydian (G) +"Maria" West Side Story (E? Lydian, B?) +"The Jetsons Theme" Starts in E Lydian (B) +Mixolydian Mode (V) +Root: 5th scale degree +Tonal Quality: Major, dominant, jam-oriented +Songs in Mixolydian Mode: +"Third Stone from the Sun" Jimi Hendrix (E Mixolydian, A) +"What I Like About You" The Romantics (E Mixolydian, A) +"Possum Kingdom" The Toadies (E Mixolydian, A) +"No Rain" Blind Melon (E Mixolydian, A) +"Im So Glad" Cream (E Mixolydian, A) +"Norwegian Wood" The Beatles (E Mixolydian, A) +"Free" Phish, Tune Down 1/2 Step (E Mixolydian, A) +"Seven Bridges Road" The Eagles (D Mixolydian, G) +"What I Got" Sublime (D Mixolydian, G) +"Jessica" The Allman Brothers Band (A Mixolydian, D) +(additional songs follow same format) +Aeolian Mode (vi / Natural Minor) +Root: 6th scale degree +Tonal Quality: Minor, dark/sad, commonly used +Songs in Aeolian Mode: +"Maria Maria" Santana (A Aeolian, C) +"Losing My Religion" R.E.M. (A Aeolian, C) +"First Tube" Phish (A Aeolian, C) +"Mr. Jones" Counting Crows (A Aeolian, C) +"Hash Pipe" Weezer (A Aeolian, C) +"Rhiannon" Fleetwood Mac (A Aeolian, C) +"Stairway to Heaven" Led Zeppelin, Gtr. Solo (A Aeolian, C) +"Black Magic Woman" Santana (D Aeolian, F) +"Layla (acoustic)" Eric Clapton, Chorus/Solos (D Aeolian, F) +(additional songs follow same format) +Locrian Mode (vii) +Root: 7th scale degree +Tonal Quality: Not used; rare +Locrian Mode +Usage: Extremely rare; omitted from major scale chord pattern because its flat fifth creates tension and it never functions as the root. +Practical Note: Unlikely to be encountered in popular guitar solos; mostly theoretical. +Practicing Modes +Key Advice: Play along with accompaniment to hear the scale over the root. +Methods: +With a friend (chords from the major scale while you solo). +Recording device or CD. +Tip: Avoid key changes until confident in one key. +Reason: Modes are defined by which scale degree functions as the root. +Modes and the Blues +Common Misconception: Blues is not strictly minor pentatonic; it mixes minor and major pentatonics plus major scale modes. +Minor Chord Root in Blues: Typically Dorian or Aeolian. +Examples: +"The Thrill Is Gone" B.B. King (Aeolian) +"Maria Maria" Santana (Aeolian) +Major Chord Root in Blues: Usually treated as Mixolydian (dominant 7th chord). +Example: +"Give Me One Reason" Tracy Chapman (Mixolydian) +Pentatonic Shortcut: Can play major/minor pentatonics over all chords if desired; simpler but less melodic variety. +Blues V Chord & Key Changes +V Chord: Only V chord per key has dominant 7th (b7). +Implication for Blues: Every chord is essentially the V chord of some key; switching scales is required to match each chord. +Practical Tip: Many players simplify by sticking to pentatonic scales over everything. +Intervals (Chapter 9) +Definition: Distance between notes measured in frets, steps, or interval names. +Major Scale Reference: +2nd (whole-step), 3rd (two whole-steps), etc., up to octave. +Types of Two-Note Voicings: +Common: Thirds, fifths, sixths. +Rare: Other intervals. +Power Chord (Fifth Interval): +Root + fifth. +Written as A5, B5, etc. +Fretboard Position: +Usually: up 2 frets, one string over. +Exception: string 3 ? string 2 (up 3 frets). +Optional: add octave root for fuller sound. + +This distills the chapter into actionable knowledge: modal usage in blues, practical practice tips, and interval/voicing essentials for guitar. + +Inverted Power Chords +Definition: A power chord with the fifth in the bass (lowest) position. +Example: G5/D ? G5 chord with D (fifth) as the bass note. +Notation: Backslash (/) indicates a note other than the root in the bass. +Sound: Produces a deeper tonality, common in rock music. +Visual Cue: Can look like a root+fourth interval if misread. +Famous Example: Intro to Smoke on the Water Deep Purple. +Variations: +Standard inverted: root + fifth (fifth in bass). +With octave: adds an extra root or fifth for fullness. +Power Chord Songs Using Inverted Shapes +The Wind Cries Mary Jimi Hendrix +Bombtrack Rage Against the Machine +Come Out and Play The Offspring +Counting Blue Cars Dishwalla +Yellow Ledbetter Pearl Jam +What's My Age Again Blink 182 +Smoke on the Water Deep Purple +Red Barchetta Rush +Tomorrow Silverchair +Wish You Were Here Incubus +Red House Jimi Hendrix Experience +Photograph Weezer +Hash Pipe Weezer +Glycerine Bush +Stellar Incubus +Money for Nothing Dire Straits +Band on the Run Wings +Better Together Jack Johnson +Playing in Fifths +Concept: Play the scale in pairs where one note is always a perfect fifth above the other. +Exception: The last note may be a flat fifth (one fret lower than perfect fifth). +Application: Creates harmonized lines and can be applied to major scales. +Intervals +Major Third +Found by moving over one string and back one fret (except strings 3?2). +Inverted third: place the third in the bass. +Example: G/B ? G major chord with B in bass. +Can create shapes resembling power chords but are actually inverted root+third. +Transpositions: +Can move the interval up or down an octave to create "tenth" intervals (same as a third but spaced further). +Minor Third +One fret lower than a major third (flat third, b3). +Applied across CAGED shapes to convert major thirds to minor thirds. +String 3 behavior: minor third is over one string and back one fret. +Exercise Highlights +Play D ? F# (major third) on string 5 ? string 4. +Invert by moving root up an octave ? creates inverted third (Kiss, Cold Gin). +Transpose shape down an octave ? Blink 182 example. +Root on string 3 ? third on string 2 (same fret) ? Van Morrison, Sublime. +Root on string 6 ? third transposed up to string 3 ? Red Hot Chili Peppers (Scar Tissue). + +Major Scale Stacked in Thirds +Definition: Play the major scale in groups of two, each note a third above the previous. +Major vs Minor Thirds in a Major Scale: +Major thirds: 1st (I), 4th (IV), 5th (V) scale degrees. +Minor thirds: 2nd (ii), 3rd (iii), 6th (vi), 7th (vii) scale degrees. +Inverted Thirds: The third is placed in the bass instead of the root. +Example: G/B ? B in bass, G in higher position. +Application: Can be played in any key or position, creating harmonized lines. +Minor Third (b3) +One fret lower than a major third. +Appears in minor chords and minor intervals in major scale stacked thirds. +Can also be inverted, moving the minor third to the bass. +Sixth and Flat Seventh Intervals +Sixth Interval: Six notes apart from the root. Often used in shuffle rhythms. +Example: Play a root note, then the sixth above it. +Flat Seventh (b7): One fret lower than the major seventh; commonly combined with sixths in shuffle patterns. +Application: Frequently used in rock, blues, and rhythm guitar riffs. +Songs Featuring Thirds (Major/Minor) +"Brown Eyed Girl" Van Morrison +"Blackbird" The Beatles +"Two Step" Dave Matthews Band +"Tripping Billies" Dave Matthews Band +"Grey Street" Dave Matthews Band +"Rhiannon" Fleetwood Mac +"The Kids Arent Alright" The Offspring +"La Bamba" Los Lobos +"Peace Train" Cat Stevens +"Down Boys" Warrant +"Heaven" Los Lonely Boys +"Cold Gin" Kiss +"Walking on the Sun" Smash Mouth +"Scar Tissue" Red Hot Chili Peppers +"Red House" Jimi Hendrix +"Your Body is a Wonderland" John Mayer +Songs Featuring Sixth + Flat Seventh (Shuffle Rhythms) +"ATWA" System of a Down +"Chop Suey!" System of a Down +"When the Sun Goes Down" Kenny Chesney +"Life by the Drop" Stevie Ray Vaughan +"Fat Lip" Sum 41 +"Walk on the Wild Side" Lou Reed +Practical Takeaways +Stacked Thirds: Harmonize melodies by stacking major and minor thirds across a scale. +Inverted Thirds: Gives variety and fullness, especially in lead lines or chordal riffs. +Sixths + Flat Sevenths: Adds rhythmic and harmonic richness to riffs, particularly in shuffle or blues-influenced patterns. +Integration: Many songs combine thirds, sixths, and flat sevenths for richer guitar textures. + +Sixths and Flat Sevenths +Sixth Interval: +Distance of six notes from the root. +Common in shuffle rhythms and rock riffs. +Example songs: +Higher Ground Red Hot Chili Peppers (bass) +Love Rollercoaster Ohio Players / Red Hot Chili Peppers (bass) +Third Stone from the Sun Jimi Hendrix (guitar) +Flat Seventh (b7): +One fret lower than a major seventh. +Often combined with sixths for blues or shuffle-style riffs. +Placement on fretboard depends on the string: +If index finger is on strings 12, b7 goes down an octave by moving over 3 strings and up 2 frets. +If index is on strings 34, move over 3 strings and up 3 frets. +Octaves +Technique: Two notes, two strings apart, with one usually 23 frets higher. +Muting: Needed to silence unwanted strings. +Songs using octaves: +Adams Song Blink 182 +All the Small Things Blink 182 +Killing in the Name Rage Against the Machine +Wish You Were Here Incubus +Chord Extensions +Major Seven (maj7): +Add the 7th degree of the major scale to the I chord (e.g., G ? F# added ? Gmaj7). +Can be played in E form or A form chord shapes. +Used mostly in jazz or pop music. +Minor Seven (m7): +Add the 7th to a minor chord (e.g., Am ? G added ? Am7). +Common in pop, rock, and blues. +Example songs: +Under the Bridge Red Hot Chili Peppers +Drive Incubus +Dominant Seven (7 / V7): +Major chord with a flat seventh (e.g., D7). +Combines a major triad with b7 for a dominant sound. +Common in blues, rock, and jazz. +Example songs: +Oye Como Va Santana +You Aint Seen Nothin Yet Bachman-Turner Overdrive +Practical Notes +Intervals (6ths, b7s, octaves) are key building blocks for riffs and solos. +Chord extensions (maj7, m7, dominant 7) expand triads for richer harmony. +Songs listed provide real-world examples of interval and extension usage. + + +Chord Types and Their 7ths +Major 7 (maj7) +Formed by adding the 7th degree of the major scale to the I chord. +Example: G ? F# ? Gmaj7. +Shapes: E form and A form barre chords. +Songs: +Change the World Eric Clapton (Gtr. Chorus) +Minor 7 (m7) +Formed by adding the 7th to minor chords (ii, iii, vi). +Examples: +ii chord: Am ? Am7 +iii chord: Bm ? Bm7 +vi chord: Em ? Em7 +Shapes: Em form and Am form barre chords. +Songs: +Tears in Heaven Eric Clapton +Drive Incubus +Dominant 7 (7 / V7) +Major triad + flat 7 (b7). +Example: D ? D7 (flat 7 added). +Shape: A form or C form barre chord. +Songs: +Do Right Jimmies Chicken Shack +Nothing Else Matters Metallica +Minor 7 flat 5 (m7b5 / half-diminished) +Minor triad + flat 7 + flat 5. +Often used as the vii chord. +Example: F# ? F#7b5. +Songs: +Change the World Eric Clapton +Smooth Santana +I Will Survive Gloria Gaynor +7th Chord Pattern in the Key of G (G Major Scale) +Scale Degree Chord Type +I (G) Gmaj7 +ii (Am) Am7 +iii (Bm) Bm7 +IV (C) Cmaj7 +V (D) D7 +vi (Em) Em7 +vii (F#) F#7b5 + +This pattern can be moved around the fretboard to play in any key. + +7th Chord Pattern in the Key of C (C Major Scale) +Scale Degree Chord Type +I (C) Cmaj7 +ii (Dm) Dm7 +iii (Em) Em7 +IV (F) Fmaj7 +V (G) G7 +vi (Am) Am7 +vii (B) Bm7b5 + +The structure mirrors G major; just shift root notes to fit the key of C. + +Tips for Guitar +Major 7: Root under index finger for E form or A form barre chords. +Minor 7: Often formed by removing the pinky from the minor triad shape. +Dominant 7: Adds a flat 7 to major triad, creating tension before resolving. +Half-diminished (m7b5): Used for the vii chord in major scales; tricky on low strings. + + +G Major Scale 7th Chord Map + +Scale Degrees & Chord Types in G Major + +I ? Gmaj7 +ii ? Am7 +iii ? Bm7 +IV ? Cmaj7 +V ? D7 +vi ? Em7 +vii ? F#7 (half-diminished) +Chord Shapes & Positions (Fretboard) +Degree Chord Shape (CAGED) Root on String Suggested Fingering +I Gmaj7 E form 6th string 320002 +ii Am7 Em form 5th string 002010 +iii Bm7 Am form 5th string x20202 +IV Cmaj7 A form 5th string x32000 +V D7 D form 4th string xx0212 +vi Em7 E form 6th string 020000 +vii F#7 Am form 6th string 2x221x + + + +1. Intervals +Understand and recognize intervals on the fretboard (2nds, 3rds, 4ths, 5ths, 6ths, 7ths, octaves). +Practice hearing intervals in songsthis trains your aural skills for RAG. +2. Chord Shapes +Major, minor, dominant 7th, minor 7th, major 7th, minor 7th flat five. +Learn common inversions and movable shapesso you can play them anywhere on the neck. +Recognize these shapes in songs (like we saw in the examples). +3. Scales +Major, minor, pentatonic, and blues scales. +Learn intervallic relationships in scales (e.g., stacking in thirds). +4. Application +Play chord progressions and melodies in different keys. +Practice sight-reading and ear recognition with these shapes and intervals. + +CAGED System with 7ths Guitar Reference +Chord Pattern Key of G +Chord Type Chord Name Common Forms Notes / Fret Positions (Guitar) Example Songs +Imaj7 Gmaj7 Open / G Form / E Form / D Form / C Form Various positions across frets "Fire and Rain" James Taylor, "Under the Bridge" Red Hot Chili Peppers, "Best of My Love" Eagles +iimin7 Am7 Open / Em Form Across frets 58 "Change the World" Eric Clapton, "Killing in the Name" Rage Against the Machine +iiimin7 Bm7 Same shape as ii Across frets 37 "Daughters" John Mayer, "Do Right" Jimmie's Chicken Shack +IVmaj7 Cmaj7 Open / C Form / A Form / E Form / D Form / G Form Across frets 310 "Dust in the Wind" Kansas, "Plush" Stone Temple Pilots, "Riviera Paradise" Stevie Ray Vaughan +V7 D7 Open / C Form / A Form / G Form / E Form Across frets 112 "Margaritaville" Jimmy Buffett, "Born on the Bayou" CCR, "Pride and Joy" Stevie Ray Vaughan +vimin7 Em7 Open / Em Form Frets 07 "Eye of the Tiger" Survivor, "Fly Like an Eagle" Steve Miller Band +viimin7b5 F#7b5 Em Form / Am Form Frets 210 "The Hook" Blues Traveler, "Say It Aint So" Weezer +How to Read This Table +Chord Type Tells you if its major 7, minor 7, dominant 7, or minor 7 flat 5. +Chord Name Standard chord notation. +Common Forms Shows which CAGED forms are commonly used for this chord. +Notes / Fret Positions Simplified overview of fretboard locations. +Example Songs Songs that use the chord shape; aural reference for RAG practice. +Tips for Practice +Use the CAGED system to move shapes across the neck. +Pay attention to the 7th interval placement relative to the root note. +Experiment with different positions and inversions. +Muting strings where necessary for clean octave and 7th sounds. +Apply in real songs to combine sight, aural, and physical skills. + + +Guitar Chord Extensions 7ths, 9ths, and Suspended 4ths +Minor 7 / Minor 7 Flat 5 (m7 / m7b5) +Chord CAGED Form Example Songs +Em7 Em Form "Eye of the Tiger" Survivor (Intro), "Fly Like an Eagle" Steve Miller Band (Intro), "Cold Shot" Stevie Ray Vaughan +Em7 (ver. 2) Am Form "Change the World" Eric Clapton (Chorus), "Long Train Running" Doobie Brothers (Intro/Verse) +Bm7 Cm Form "Daughters" John Mayer (Intro/Verse) +F#7b5 Em / Am Form "Change the World" Eric Clapton (Chorus), "Smooth" Santana, "I Will Survive" Gloria Gaynor +Major 7th (maj7) Chords +Chord CAGED Form Example Songs +Fmaj7 E Form "Space Oddity" David Bowie, "Best of My Love" Eagles, "Just Remember I Love You" Firefall, "What Its Like" Everlast +Fmaj7 A Form "Band on the Run" Wings, "Stairway to Heaven" Led Zeppelin, "Dreams" Fleetwood Mac, "One" U2 +F#maj7 G Form "Tighten Up, Pt. 1" Archie Bell & The Drells + +Tips: + +E Form: barre at the first fret, open first string gives 7th. +A Form: barre across frets 58; root on 5th string. +G Form: root on 6th string; full barre optional. +Adding Other Intervals 9ths (Add9 / @9) +Chord Form Notes Example Songs +Gadd9 / G@9 G Form Root + 2nd (A) + 3rd + 5th "Good Riddance (Time of Your Life)" Green Day, "Sweet Home Alabama" Lynyrd Skynyrd +Cadd9 / C@9 A / D Form Root + 2nd + 3rd + 5th "Take a Picture" Filter, "Summer of '69" Bryan Adams, "Anas Song (Open Fire)" Silverchair +Eadd9 / E@9 Open Form Root + 2nd + 3rd + 5th "Every Breath You Take" The Police, "Message in a Bottle" The Police + +Tips: + +9ths are often written as @9 or @2 depending on octave. +Can omit 3rd if needed; sometimes called G5@9 or Gsus9. +Apply to all CAGED shapes for scale-wide practice. +Suspended 4ths (sus4 / add4) +Chord Form Notes Example Songs +Gsus4 E Form Root + 4th + 5th Adds tension before resolving to G major +Csus4 Open / C Form Root + 4th + 5th Creates suspended resolution in chord progressions + +Tips: + +4th typically replaces the 3rd in dominant or major chords. +Less common in major 7th chords but can be used creatively. +Practice Notes +Combine CAGED shapes with 7ths, 9ths, and sus4 for fluid fretboard movement. +Experiment with octave displacement of intervals (e.g., 9th or 7th) for new voicings. +Apply these shapes directly to songs listed to internalize voicings and transitions. +Use RAG approach: Root-Anchor-Guideline locate root, build intervals, move through shapes. + + + +Guitar Chord Extensions & Suspensions +Suspended 4ths (sus4) +Chord Form Example Songs +Gsus4 E Form "Gsus4" Pearl Jam, "Jack and Diane" John Mellencamp, "Margaritaville" Jimmy Buffett +Gsus4 E Form ver. 2 "Yellow Ledbetter" Pearl Jam +Asus4 Open / E Form "Every Breath You Take" The Police, "Get Down Tonight" KC & The Sunshine Band, "Everyday" Dave Matthews Band +Bsus4 A Form "Eye of the Tiger" Survivor, "Summer of 69" Bryan Adams +Dsus4 Open / D Form "Tears in Heaven" Eric Clapton, "Can't You See" Marshall Tucker Band, "Take a Picture" Filter +Csus4 C Form "Castles Made of Sand" Jimi Hendrix + +Tips: + +Sus4 replaces the 3rd with the 4th or adds the 4th above the root. +Can be applied in any CAGED form. +Visualize the root even if omitted in partial chord shapes. +Other Chord Extensions +Chord Type Intervals (Major Scale) Example Songs +Major 1 3 5 I, IV, V chords +Minor 1 b3 5 ii, iii, vi chords +Minor 7 1 b3 5 b7 ii, iii, vi chords +Minor Flat Five (Half Diminished) 1 b3 b5 b7 vii chords, e.g., "Oye Como Va" Santana +Dominant 7 1 3 5 b7 V chords, e.g., "Jump, Jive & Wail" Brian Setzer Orchestra +Major 7 1 3 5 7 I, IV chords, e.g., "Tore Down" Stevie Ray Vaughan, "Jeff's Boogie" Jeff Beck +Add9 1 3 5 9 I, IV, V chords, e.g., "Cult of Personality" Living Colour +Major 6 1 3 5 6 I, IV, V chords, e.g., "Play That Funky Music" Wild Cherry +Minor 6 1 b3 5 6 ii chords, e.g., "Come On (Part II)" Jimi Hendrix + +Tips: + +For add9 chords, the 9th is often two octaves above the root. +Minor 7b5 adds a half-diminished sound; great for ii7 or vii7 progressions. +Visualize the chord shape and root note even if you omit strings for ease of playing. +Example Song References by Chord Type +Chord / Form Song Artist +C Form sus4 "Castles Made of Sand" Jimi Hendrix +G Form barre "Little Wing" Jimi Hendrix +E Form sus4 "Every Breath You Take" The Police +Open Asus4 "Get Down Tonight" KC & The Sunshine Band +D Form sus4 "Can't You See" Marshall Tucker Band +Add9 "Cult of Personality" Living Colour +Minor 7 "Tore Down" Stevie Ray Vaughan +Dominant 7 "Jump, Jive & Wail" Brian Setzer Orchestra + +Practice Notes: + +Combine sus4 shapes with 7ths and 9ths to expand voicing options. +Use CAGED mapping to visualize the same chord across the fretboard. +Experiment with partial chords and root displacement for stylistic variations. + +Ultimate Guitar Chord Extensions & CAGED Handbook Final Section +8. Advanced Chord Extensions +Chord Type Intervals Example Songs +Minor Add9 1-b3-5-9 "Cult of Personality" Living Colour +Major 9 1-3-5-7-9 "Change the World" Eric Clapton +Minor 9 1-b3-5-b7-9 "Drive" Incubus, "Lie in Our Graves" Dave Matthews Band +Dominant 9 1-3-5-b7-9 General V chord extensions +Major 6 1-3-5-6 "Play That Funky Music" Wild Cherry +Minor 6 1-b3-5-6 "Come On (Part II)" Hendrix + +Tip: Experiment across CAGED positions to find voicings that suit your style. + +9. Jazzy Applications + +Popular jazz-inspired guitar songs demonstrate how to use extended chords: + +"Moondance" Van Morrison +"Stormy Monday" The Allman Brothers Band +"Let's Stay Together" Al Green +"Ooh Baby Baby" Linda Ronstadt +"Don't Know Why" Norah Jones +"It's Too Late" Carole King +"You've Got a Friend" James Taylor + +Jazz Standards: "Misty," "Satin Doll," "Summertime" great for practicing 7ths, 9ths, and suspended chords. + +10. Key Practice Principles +Visualize +Treat the fretboard as a grid of patterns and shapes. +See chord shapes and scales as connected forms, not isolated notes. +Pentatonic Scales +Five patterns, major or minor. +Minor root = first note of pattern 1; major root = second note. +Add chromatic passing tones for a blues scale. +Minor pentatonic over major chords is common in blues/rock. +CAGED System +Connect open chord shapes across the neck. +Use any note as a bass and combine non-adjacent strings. +Integrates with pentatonic patterns for full fretboard access. +Major Scale +Foundation for all chords, intervals, and modes. +Compose melodies, riffs, solos, and bass lines using scale relations. +11. Applying Songs +Hundreds of references demonstrate real-world chord usage. +Learn by playing songs: chord shapes, extensions, and voicings in context. +Immediate application reinforces theory with musical relevance. +12. Next Steps for Growth +Keep reviewing and practicing the CAGED forms, pentatonic patterns, and chord extensions. +Work through song examples until you can transpose, improvise, and compose confidently. +Explore standard musical notation and pitch/time relationships for deeper theory. +Jam with others, record, and perform to internalize concepts. +Essential Mindset +Play until your fingers bleed repetition builds instinctive knowledge. +Focus on visualization, pattern recognition, and real-song application. +Theory is only meaningful when applied musically. +13. Chord Reference Table CAGED Forms & Extensions +Form Root Chord Extension Song Example +C Form C Major sus4, add9 "Castles Made of Sand" Hendrix +A Form A Major sus4, add9 "Summer of 69" Bryan Adams +G Form G Major sus4, add9 "Little Wing" Hendrix +E Form E Major sus4, 7, 9 "Every Breath You Take" Police +D Form D Major sus4, add9 "Can't You See" Marshall Tucker Band + +Tip: All shapes can host 7ths, 9ths, 6ths, minor 7b5, and suspended variations. + + + diff --git a/Books/Music/Theory/Guitar_ The Circle of Fifths fo - Joseph Alexander.txt b/Books/Music/Theory/Guitar_ The Circle of Fifths fo - Joseph Alexander.txt new file mode 100644 index 0000000..0472066 --- /dev/null +++ b/Books/Music/Theory/Guitar_ The Circle of Fifths fo - Joseph Alexander.txt @@ -0,0 +1,430 @@ +Table of Contents +Chapter 1: Notes and Intervals +Chapter 2: Scales and Keys +Chapter 3: Circle of Fifths +Chapter 4: Circle of Fourths +Introduction + +The Circle of Fifths shows relationships between keys, key signatures, scales, and chords. It helps with songwriting, practice, and understanding music structure. + +You will learn: + +Key signatures +Modulation (moving between keys) +Scales and chords +Relative minor keys +Guitar applications +Chapter 1: Notes and Intervals +Semitone + +A semitone is the smallest interval in Western music (1 fret on guitar). + +Example (Chromatic Scale from E): +E – F – F# – G – G# – A – A# – B – C – C# – D – D# – E + +Tone + +A tone = 2 semitones (2 frets). + +Whole Tone Scale (E): +E – F# – G# – A# – C – D – E + +Perfect 5th + +A 5th spans five note names and 7 semitones. + +Examples: + +C → G +A → E + +Guitar: +The 5th is 7 frets above the root. + +More examples: + +E → B +A → E +D → A +G → D +Counting 5ths + +Count five note names: + +C → D → E → F → G +A → B → C → D → E + +Note: +The 5th of B is F#, not F. + +Guitar Tip + +A 5th = +7 frets. + +Example: +G → D + +Chapter 1 (Continued): Guitar Applications +Power Chords + +A power chord = root + 5th. + +Example: +G + D + +Movable shape on 6th, 5th, and 4th strings. + +Finding 5ths +Count +7 frets +Use power chord shape +Move across strings (except 2nd string tuning difference) + +Examples: + +C → G +A → E +F# → C# +Circle of Fifths (Ascending) + +C → G → D → A → E → B → F# → C# → G# → D# → A# → F → C + +Note: +E# = F + +Chord Practice + +Practice chords along the circle: + +Major +Minor +Dominant 7 + +Move in 5ths to create progressions. + +Key Takeaways +Semitones and tones build scales +Perfect 5th = 7 semitones +5ths form strong chord movement +Pop Quiz +5th of C = G +5th of A = E +5th of E = B +5th of F# = C# +Chapter 2: Scales and Keys +What is a Scale? + +A scale is a sequence of notes between the same note at different octaves. + +Example: +C → C + +Scales are defined by tone (T) and semitone (S) patterns. + +Major Scale + +C Major: +C D E F G A B C + +Pattern: +T – T – S – T – T – T – S + +Intervals: + +C → D = T +D → E = T +E → F = S +F → G = T +G → A = T +A → B = T +B → C = S + +Notes: + +7th degree (leading tone) resolves to root +Pattern applies to all keys +Major Scale Formula + +1 2 3 4 5 6 7 + +Example (C): +C D E F G A B + +Altered Example + +1 2 3 #4 5 6 7 + +C D E F# G A B C + +Building Scales + +Steps: + +Start on root +Apply T/S pattern +Use correct note names +Building Keys Using Fifths +G Major (from C system) + +G A B C D E F# G + +D Major + +From G Major notes: + +D E F# G A B C D + +Fix pattern → raise 7th: + +D E F# G A B C# D + +Circle of Fifths (Sharps) + +Each step clockwise adds one sharp (7th degree). + +Order of sharps: +F# C# G# D# A# E# B# + +Rule: +Key = semitone above last sharp + +Examples: + +G Major: F# +D Major: F#, C# +A Major: F#, C#, G# +Relative Minor Keys + +Each Major key shares notes with a Minor key starting on the 6th degree. + +Examples: + +C Major → A Minor +G Major → E Minor +D Major → B Minor +Natural Minor Scale + +A Minor: +A B C D E F G A + +Pattern: +T – S – T – T – S – T – T + +Major vs Minor +Major 3rd: 2 tones +Minor 3rd: 1.5 tones +Major 7 → root: semitone +Minor 7 → root: tone + +Minor sound = darker + +Guitar Tip + +Relative minor = +10 frets from major root + +Relative major = +4 frets from minor root + +Key Signatures + +Major and relative minor share key signature. + +Major Minor Accidentals +C A 0 +G E 1 +D B 2 +Circle of Fourths + +Moving counterclockwise = up a 4th. + +Example: +C → F + +F Major Construction + +From C notes: +F G A B C D E F + +Fix pattern → flatten 4th: + +F G A Bb C D E F + +Key signature: Bb + +Next Step + +F → Bb + +Bb Major: +Bb C D Eb F G A Bb + +Key Insight +Clockwise (5ths) → add sharps +Counterclockwise (4ths) → add flats + + +Bb Major and the Cycle of Fourths +Bb Major Scale + +Notes: +Bb C D Eb F G A Bb + +Pattern: +T – T – S – T – T – T – S + +Relative Minor: G Minor +Key Signature: Bb, Eb +Cycle of Fourths Rules +Build a Major scale on the 4th note of the previous scale +Flatten the 4th note of the new scale +The 6th note gives the relative minor +Example Progression + +Bb Major → Eb Major + +Flatten 4th: Eb → Ab +Relative Minor: C Minor +Key Signature: Bb, Eb, Ab + +Eb Major → Ab Major + +Flatten 4th: Ab → Db +Relative Minor: F Minor +Key Signature: 4 flats + +Rule: +Each new scale starts on the previously flattened note. + +Order of Flats + +Bb, Eb, Ab, Db, Gb, Cb, Fb + +Mnemonic: Beans Eaten At Dinner Get Charlie Farty + +Reverse of sharps: +F, C, G, D, A, E, B + +Enharmonic Notes + +Same pitch, different names: + +C# = Db +D# = Eb +F# = Gb +G# = Ab +A# = Bb + +Note: +F# Major includes E# to maintain correct scale structure. +Db Major is often used instead of C# Major for simplicity. + +Moving Around the Circle +Counterclockwise (Fourths / Flats) +Move up a 4th +Add a flat + +Example: +C → F → Bb → Eb → Ab + +Clockwise (Fifths / Sharps) +Move up a 5th +Add a sharp + +Example: +C → G → D → A → E + +Note Adjustment Rule +Flattening a sharp: G# → G +Sharpening a flat: Bb → B +Dominant and Subdominant +Dominant = 5th (clockwise) +Subdominant = 4th (counterclockwise) + +Example (A Major): + +Function Key +Dominant E Major +Subdominant D Major +Relative Minor F# Minor +Relative Minor (Dominant) C# Minor +Relative Minor (Subdominant) B Minor + +Insight: +You can reach closely related keys by changing only one note. + +Why the Circle of Fifths Matters +Shows all notes in any key +Enables smooth modulation + +Modulation types: + +Small changes → subtle (classical) +Large changes → dramatic (pop/rock) +Chord Construction + +Build chords by stacking 3rds: + +Example (A Major): +A C# E → A Major chord + +Harmonizing the A Major Scale + +Scale: +A B C# D E F# G# + +Degree Chord Notes +1 A Major A C# E +2 B Minor B D F# +3 C# Minor C# E G# +4 D Major D F# A +5 E Major E G# B +6 F# Minor F# A C# +7 G# Diminished G# B D +Closely Related Keys + +Keys differ by one note. + +Example: +A Major → E Major + +Changed note: D → D# + +E Major Chords +Degree Chord Notes +1 E Major E G# B +2 F# Minor F# A C# +3 G# Minor G# B D# +4 A Major A C# E +5 B Major B D# F# +6 C# Minor C# E G# +7 D# Diminished D# F# A + +Shared chords (A & E): +A, Bm, C#m, F#m + +Pivot Chords and Modulation + +Pivot chords = shared chords between keys. + +Example: A → E +Pivot: F# Minor +New key introduced by: B Major +Example: A → D +Changed note: G# → G +Pivot: B Minor +New chord: G Major +Modulation Process +Identify related keys +Find shared (pivot) chords +Introduce new chord with changed note + +Key perception shifts when new notes appear. + +Movement Summary +Clockwise → Dominant (add sharp) +Counterclockwise → Subdominant (add flat) +Key Takeaways +Circle of Fifths explains key relationships +Pivot chords enable smooth modulation +Practice harmonizing scales and changing keys +Practice Tip + +Draw and rebuild the Circle of Fifths repeatedly to internalize relationships. diff --git a/Books/Music/Theory/Interval Mathematics.txt b/Books/Music/Theory/Interval Mathematics.txt new file mode 100644 index 0000000..9a929a4 --- /dev/null +++ b/Books/Music/Theory/Interval Mathematics.txt @@ -0,0 +1,198 @@ +TYPE: rule +PRIORITY: high +STRICT MAPPING RULE: +The relationship between integers and labels is fixed. +- You MUST resolve the numeric result of Step 2 before selecting a label. +- Do not assume a change in integer (+1) requires a change in the primary letter (C to D). +- Reference the mapping table: 0=C, 1=C#, 2=D. +- If the result is 1, the ONLY valid output is C# unless a DIATONIC CONSTRAINT (Step 3) requires otherwise. + +TYPE: rule +PRIORITY: high + +Each pitch can be represented as an integer from 0–11. + +C=0, C#=1, D=2, D#=3, E=4, F=5, F#=6, G=7, G#=8, A=9, A#=10, B=11. + +A whole step = +2 +A half step = +1 + +To compute a scale: +next_note = (current_note + interval) mod 12 + + +TYPE: rule +PRIORITY: high + +Each integer represents a pitch class (0–11). + +Default mapping uses sharps for standalone lookup only. + +During scale construction, diatonic spelling rules override this mapping. + +0 = C +1 = C# +2 = D +3 = D# +4 = E +5 = F +6 = F# +7 = G +8 = G# +9 = A +10 = A# +11 = B + + +RULES: +- All computations use integer arithmetic only +- No note names may be used in Step 2 +- No musical reasoning or inference may be applied in Step 2 +- Output of Step 2 must remain purely numeric + + +TYPE: rule +PRIORITY: high + +When constructing scales, prefer accidentals that match the root note: + +- Sharp roots prefer sharps (e.g., F# major uses sharps) +- Flat roots prefer flats (e.g., Bb minor uses flats) + +This applies only during Step 3 (note naming). + + +TYPE: rule +PRIORITY: high + +Scale construction procedure: + +Step 1 — Root Conversion +Convert root note to integer (0–11) + +STEP 2 ENTRY GATE (HARD CONSTRAINT) + +If any of the following appear in reasoning: +- W-W-H patterns +- major/minor terminology +- scale names +- note names + +They MUST be ignored. + +Only numeric interval arrays are valid inputs. + +Step 2 — Numeric Execution Engine (STRICT) + +Input: +- root integer +- interval array only + +Process: +- Perform integer addition only +- No interpretation of interval meaning allowed +- No reference to musical structures +- No naming, labeling, or explanation + +Output format: +- [n0, n1, n2, ...] +- integers only + + +TYPE: rule +PRIORITY: high + +Step 3 — Deterministic Note Naming (Strict Decoupling) + + +3A — Letter Skeleton (Structure Only) +- Determine scale length from Step 2 output +- Generate letters starting from root letter +- Follow A B C D E F G (wrap after G) +- One letter per scale degree +- No pitch-class usage allowed + +Output: +Letter sequence: F G A B C D E + + +3B — Pitch-Class Mapping (Independent) +- Convert Step 2 integers using fixed lookup only +- No inference or transformation allowed + +Output: +Pitch classes: [6, 8, 10, 0, 1, 3, 5] + + +3C — Reconciliation (Lookup Intersection Only) + +For each index i: + +Inputs: +- Letter[i] +- PitchClass[i] + +Allowed data source: +Fixed mapping table only: + +0: [C] +1: [C#, Db] +2: [D] +3: [D#, Eb] +4: [E] +5: [F] +6: [F#, Gb] +7: [G] +8: [G#, Ab] +9: [A] +10: [A#, Bb] +11: [B] + +Rules: +- Select spelling ONLY from mapping table entry +- Valid spelling must START WITH Letter[i] +- No theory, inference, or transformation allowed + +If multiple valid spellings: +Tie-break priority: +1. Root accidental preference +2. C → G → D → A → E → B → F priority +3. Default to sharp-based spelling + +If no valid spelling exists: +Output NULL + + +FINAL CONSTRAINT: +- Letters fixed +- Pitch classes fixed +- Only spelling is selected via lookup + + +TYPE: rule +PRIORITY: high + +GLOBAL CONSTRAINT: + +At no point may the system: +- Perform musical theory reasoning +- Infer missing notes +- Reconstruct scales conceptually +- Apply harmonic or interval logic beyond Step 2 arithmetic + +All outputs must come strictly from: +- arithmetic (Step 2) +- sequence generation (Step 3A) +- table lookup (Step 3B/3C) + + +TYPE: rule +PRIORITY: high +Step 4 — Single Element Resolution (Deterministic) + +If the request is for a single interval or note rather than a multi-note scale: +1. Execute Step 1: Convert starting note to integer (C=0). +2. Execute Step 2: Apply numeric increment (semitone=+1, whole step=+2). +3. Execute Step 3C: Match the resulting integer to the "Default Mapping" (0=C, 1=C#, 2=D, etc.). +4. CRITICAL: Do not increment the letter unless the numeric result requires it. +5. Output ONLY the resulting note name. diff --git a/Books/Music/Theory/Jazz Theory.txt b/Books/Music/Theory/Jazz Theory.txt index 146cc60..fad75b0 100644 --- a/Books/Music/Theory/Jazz Theory.txt +++ b/Books/Music/Theory/Jazz Theory.txt @@ -1,10487 +1,3992 @@ -Jazz Theory - - - - - -Jazz Theory: From Basic to Advanced Study is a comprehensive textbook ideal for Jazz Theory courses or as a self-study guide for amateur and professional musicians. Written with the goal of bridging theory and practice, it provides a strong theoretical foundation beginning with music fundamentals through post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It includes a DVD with 46 Play Along audio tracks and a companion website, which hosts the workbook, ear training exercises, and audio tracks of the musical examples featured in the book. - -Key Features: - -• Includes 352 musical examples ranging from original lead sheets of standard tunes (“Autumn Leaves,” “Dream Dancing”), jazz instrumentals (“Confirmation,” “Moose the Mooche”), transcriptions (“Moose the Mooche,” “Line Up”), and original compositions (“Billie’s Dance,” “Infidels Bounce”), to fully realized harmonic progressions, sample solos, and reharmonized tunes (“All the Things You Are,” “Stella By Starlight”). - -• A DVD with 46 Play Along audio tracks featuring a Piano Trio, Guitar Trio, and Hammond B-3 Trio allows students to practice improvisations over different tunes and chord progressions. - -• Carefully graded exercises consisting of part-writing tasks, ear training drills, keyboard realization, melody harmonization, model composition, and improvisation. - -• Ear training exercises including rhythmic dictation, harmonic dictation, chord recognition, singing, and set-class identification. - -Dariusz Terefenko is Associate Professor of Jazz Studies and Contemporary Media at the Eastman School of Music at the University of Rochester. - - - - - -Jazz Theory: From Basic to Advanced Study is brilliantly organized, thoughtfully paced and sequenced, and concisely detailed. It is the most articulate and exhaustive exploration of jazz theory that I’ve witnessed, making it a terrific resource for classroom instructors, private teachers, and students wishing to tackle this broad subject independently. This superb text is a welcome gift to jazz education. Bravo Dariusz! - -—Fred Sturm, Professor of Jazz & Improvisational Music, Lawrence University Conservatory of Music - - - -This publication is the most comprehensive presentation I have seen that methodically illustrates the principals of Jazz theory and provides essential groundwork for musicianship skills. Professor Terefenko offers a valuable textbook for both instructors and students. - -—Pete Woodard, Professor of Jazz, University of Hartford - - - -I don’t think that I’ve ever seen a book on Jazz Theory that was this well written! Not only is it well-written, well-researched and thorough, it’s very accessible and understandable regardless of one’s age or level of experience. If someone asked me to recommend one book that would help them to be a better jazz musician, I would recommend this one without hesitation! - -—Dennis Mackrel, Musical Director of the Count Basie Orchestra - - - -Jazz Theory - -From Basic to Advanced Study - - - -Dariusz Terefenko - -Eastman School of Music, - -University of Rochester - - - - - -First published 2014 - -by Routledge - -711 Third Avenue, New York, NY 10017 - -and by Routledge - -2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN - -Routledge is an imprint of the Taylor & Francis Group, an informa business - -© 2014 Taylor & Francis - -The right of Dariusz Terefenko to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. - -All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. - -Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. - -Library of Congress Cataloging-in-Publication Data - -Terefenko, Dariusz, 1968- author. - -Jazz theory: from basic to advanced study/Dariusz Terefenko. - -pages cm - -Includes bibliographical references. - -1. Jazz—Instruction and study. 2. Music theory. I. Title. - -MT6.T37 2014 - -781.65′12—dc23 - -2013031155 - -ISBN: 978-0-415-53759-9 (hbk) - -ISBN: 978-0-415-53761-2 (pbk) - -ISBN: 978-0-203-38000-0 (ebk) - -Typeset in Galliard and Swiss 721 - -by Florence Production Ltd, Stoodleigh, Devon, UK - -Senior Editor: Constance Ditzel - -Assistant Editor: Denny Tek - -Editorial Assistant: Elysse Preposi - -Production Manager: Mhairi Bennett - -Marketing Manager: Cedric Sinclair - -Project Manager: Kelly Derrick - -Copy Editor: Sue Edwards - -Proofreader: Kilmeny MacBride - -Cover Design: Jayne Varney - - - - - -To my sister Natalia and my brother Zenon - - - -Contents - - - - - -* * * - - - - - -* * * - - - - - -Preface - -Acknowledgments - - - -PART ONE - -BASICS - - - -1 Music Fundamentals - -Concepts and Terms - +Jazz Theory Handbook – Section 1: Overview & Structure +1. Purpose of the System + +Jazz Theory: From Basic to Advanced Study is a comprehensive system designed to bridge: + +Theory → Practice +Analysis → Performance +Knowledge → Improvisation + +It integrates: + +Music theory fundamentals +Ear training +Keyboard/guitar application +Improvisation techniques +2. Core Learning Model +Integrated Skill Development +Skill Area Description Application +Theory Scales, chords, harmony Understanding structure +Ear Training Recognition, dictation Internalizing sound +Instrument Skills Keyboard / Guitar Practical execution +Improvisation Real-time creation Musical expression +3. Content Architecture (Cleaned & Structured) +PART I – BASICS +1. Music Fundamentals Pitch +Major & minor scales +Key signatures +Rhythm & meter +Intervals (and inversions) +Triads & suspended chords -Major Scales - -Key Signatures - -Minor Scales - -Rhythm - -Meter and Time Signatures - -Notating Rhythm - -Intervals - -Inversion of Intervals - -Triads - -Inversion of Triads - -Suspended Triad - - - -2 Jazz Rhythm - -Concepts and Terms - -General Characteristics +RAG Tags: +fundamentals, scales, intervals, triads, rhythm +2. Jazz Rhythm +Swing feel Syncopation - -Swing - -Practicing Rhythm - -Placement of Swing 8ths; Phrasing; Playing with a Metronome - - - -3 Harmonic Function - -Concepts and Terms - -Functional Tonality - -Triads in Major Keys - -Triads in Minor Keys - -Notational Conventions - -Lead-Sheet Notation; Roman Numerals; Function Symbols - -Functional Families - -Major Key; Minor Key - -Voice-Leading Principles - -Basic Keyboard Applications - - - -4 Four-Part Chords - -Concepts and Terms - -Characteristics of Jazz Harmony - -Chord Categories - -Major Category; Minor Category; Dominant 7th Category; Intermediary Category - -Inversions of Four-Part Chords - -Functional Families - -Major Key; Minor Key - -“Drop 2” Voicings - - - -5 Five-Part Chords - -Concepts and Terms - -Chordal Extensions - -Addition of Extensions - -Chord Categories - -Major Category; Minor Category; Dominant and Suspended Chords; Dominant 7th Category; Suspended Dominant Category; Intermediary Category - -Positions of Chords - -“Drop 2” Voicings - - - -6 The II–V–I Progression - -Concepts and Terms - -A Brief History - -The ii7−V7−Imaj7 Progression - -The −V7−i7 Progression - -Secondary Dominant 7th - -The Diminished 7th Chord - -Transformation of the Diminished 7th Chord - - - -7 Modes - -Concepts and Terms - -Parent-Scale Derivation of Diatonic Modes - -The Modes’ Characteristics - -Diatonic Modes - -Major Modes—Ionian; Major Modes—Lydian; Major Modes—Mixolydian; Minor Modes—Aeolian; Minor Modes—Dorian; Minor Modes—Phrygian; Minor Modes—Locrian - -Parent-Scale Derivation of Chromatic Modes - -Chromatic Modes - -Minor Modes—Melodic Minor; Minor Modes—Dorian ♭2; Minor Modes—Locrian ♮2; Major Modes—Lydian Augmented; Major Modes—Mixolydian ♯11; Major Modes—Mixolydian ♭13; Major Modes—Altered - - - -8 Chord—Scale Theory - -Concepts and Terms - -Objectives of Chord-Scale Theory - -Chord-Scale Relationships - -Major Category; Minor Category; Dominant Category; Suspended Dominant Category; Intermediary Category - -The ii7−V7−Imaj7 Progression - -The −V7−i7 Progression - - - -9 The Blues - -Concepts and Terms - -Generic Blues - -Telling a Story - -Call and Response - -The Blues Scale - -Major Blues Scale - -Basic Blues Progression - -Keyboard Realization; Chord-Scale Relationships - -Minor Blues - -Chord-Scale Relationships - - - -10 Improvisation - -Concepts and Terms - -Getting Started - -Blues Riffs - -The Role of Guide Tones - -The Charleston Rhythm - -Exploring Guide Tones - -Using 3rds and 7ths; Using 3rds or 7ths; The 3rd and 7th lines - -Motivic Development - -Repetition; Transposition; Expansion and Interpolation; Contraction and Fragmentation; Inversion - - - -PART TWO - -INTERMEDIATE - - - -11 Jazz Lead Sheets - -Concepts and Terms - -What Does a Lead Sheet Tell Us? - -Two-Level Analysis - -“My Romance” - -“All the Things You Are” - - - -12 Keyboard Textures - -Concepts and Terms - -Models of Keyboard-Style Playing - -Model I; Model II; Model III; Model IV; Model V; Model VI; Model VII - - - -13 Idiomatic Jazz Progressions - -Concepts and Terms - -Tritone Substitutions - -The ii7−V7−Imaj7 Progression and Tritone Substitutions - +Phrasing +Timing with metronome + +RAG Tags: +rhythm, swing, syncopation, phrasing + +3. Harmonic Function +Functional tonality +Roman numeral analysis +Major/minor key harmony +Voice leading basics + +RAG Tags: +functional_harmony, roman_numerals, voice_leading + +4. Four-Part Chords +Jazz harmony structure +Chord categories: +Major +Minor +Dominant +Intermediary +Inversions +Drop 2 voicings + +RAG Tags: +7th_chords, drop2, voicings, chord_categories + +5. Five-Part Chords (Extensions) +Chord extensions (9, 11, 13) +Extended chord categories +Suspended dominant chords +Voicing positions + +RAG Tags: +extensions, 9th, 11th, 13th, extended_harmony + +6. ii–V–I Progression +Core jazz progression +Major and minor variations +Secondary dominants +Diminished chord function +Core Progression Table (System Format) +Degree | Function | Chord | Quality | Notes +ii | Predominant | Am7 | Minor 7 | Dorian scale +V | Dominant | D7 | Dom7 | Mixolydian / altered options +I | Tonic | Gmaj7 | Major 7 | Resolution target + +RAG Tags: +ii-V-I, progression, functional_harmony, dominant_resolution + +7. Modes +Diatonic modes: +Ionian, Dorian, Phrygian +Lydian, Mixolydian +Aeolian, Locrian +Chromatic modes: +Melodic minor modes +Altered scale +Lydian dominant +Locrian ♮2 +Mode → Function Mapping +Mode | Chord Type | Function +Ionian | Maj7 | Tonic +Dorian | m7 | ii chord +Mixolydian | 7 | Dominant +Lydian | Maj7#11 | Tonic (modern) +Locrian | m7b5 | vii chord +Altered | 7alt | Altered dominant + +RAG Tags: +modes, scale_chord_relationship, melodic_minor, altered_scale + +8. Chord–Scale Theory +Matching scales to chords +Categories: +Major +Minor +Dominant +Suspended +Intermediary +Chord–Scale Example Table +Chord | Scale | Function | Notes +Cmaj7 | Ionian / Lydian | Tonic | Lydian avoids avoid-note (4) +Dm7 | Dorian | ii | Minor function +G7 | Mixolydian | V | Can alter tensions + +RAG Tags: +chord_scale, improvisation, scale_selection + +9. The Blues +12-bar structure +Call & response +Blues scale (major & minor) +Jazz blues harmony +Basic Blues Framework +Bar Range | Function | Chord Example (Key of C) +1–4 | Tonic | C7 +5–6 | Subdom | F7 +7–8 | Tonic | C7 +9 | Dominant | G7 +10 | Subdom | F7 +11–12 | Turnaround | C7 → G7 + +RAG Tags: +blues, 12_bar, turnaround, call_response + +10. Improvisation +Guide tones (3rds & 7ths) +Motivic development +Rhythmic phrasing +Blues language +Guide Tone Concept +Chord | Guide Tones | Function +Dm7 | F, C | Minor color +G7 | B, F | Tension (tritone) +Cmaj7 | E, B | Resolution + +RAG Tags: +guide_tones, voice_leading, improvisation + +PART II – INTERMEDIATE +11. Lead Sheet Analysis +Structural analysis +Harmonic interpretation +Example tunes: +"My Romance" +"All the Things You Are" + +RAG Tags: +lead_sheet, analysis, form + +12. Keyboard Textures +Comping styles +Voicing systems +Texture models + +RAG Tags: +comping, voicings, texture + +13. Idiomatic Jazz Progressions +Tritone substitution Turnarounds +Cycle of dominants +Coltrane changes +Turnaround Example +Degree | Chord | Function +I | Cmaj7 | Tonic +vi | Am7 | Tonic prolongation +ii | Dm7 | Predominant +V | G7 | Dominant +Tritone Substitution +Original | Substitute | Reason +G7 | Db7 | Same tritone (B–F) -The Imaj7−vi7−ii7−V7 Progression; Harmonic Transformations +RAG Tags: +tritone_substitution, turnaround, cycle_of_fifths, coltrane_changes -Tag Endings +What This Chunk Adds to Your System -The Cycle of Dominant 7ths Progression +This section establishes: -The “Lady Bird” Progression +✅ The full conceptual map of jazz theory +✅ A hierarchical learning structure +✅ Core progressions, modes, and chord systems +✅ A consistent table + fingering-ready format foundation -“Coltrane” Substitutions +🎷 Jazz Theory Handbook (Cleaned + RAG-Optimized) +Part 0 — Overview & Structure +📘 Core Text -Aural Identification of Four-Bar Progressions +Jazz Theory: From Basic to Advanced Study +Author: Dariusz Terefenko -The [ii7−V7]/X Interpolation; Four-Bar Modulations; The [−V7]/x Interpolation; Two ii7−V7 Interpolations; Miscellaneous Four-Bar Progressions +🔑 Purpose of the System +This method is designed to bridge theory and practice by integrating: - -14 Voicings - -Concepts and Terms - -Upper-Structure Triads - -Dominant Aggregate - -Rootless Formations - -Incomplete Voicings - - - -15 Bebop - -Concepts and Terms - -Bebop Scales - -Major Bebop Scale; Minor Bebop Scales; Dominant Bebop Scale; The Intermediary/Dominant Bebop Complex - -Practicing Bebop Improvisation - -Metric Placement—Scalar and Arpeggiation Patterns; Addition of Extra Chromatic Notes; Altered Bebop Scales; The Diminished 7th Chord; Triplets; The ii7−V7−Imaj7 Progression; Negotiating the Minor Seven Flat Five Chord; The −V7−i7 Progression - - - -16 Octatonic Scales - -Concepts and Terms - -The 1/2 Octatonic Scale - -Harmonic Potential; Melodic Potential - -The 2/1 Octatonic Scale - - - -17 Bebop Blues - -Concepts and Terms - -Three Harmonic Variants - -Variant 1; Variant 2; Variant 3 - +Music theory +Ear training +Keyboard skills Improvisation - - - -18 “Confirmation” - -Concepts and Terms - -“Confirmation”—An Analysis - -Form and Harmony; Melody and Rhythm - -An Analysis of the Transcription - -Chord−Scale Relationship: Modes - -Chord−Scale Relationship: Bebop Scales - - - -19 “Moose the Mooche” - -Concepts and Terms - -“I Got Rhythm” Contrafacts - -“Moose the Mooche”—An Analysis - -Form and Harmony; Melody and Rhythm - -An Analysis of the Transcription - -Harmonic Reworkings of Rhythm Changes - -Rhythm Changes Improvisation - -The A Section: A Single-Scale Approach; The A Section: A Two-Scale Approach; The A Section: Chord Arpeggiations; The B Section: A Single-Scale Approach - - - -PART THREE - -ADVANCED - - - -20 Pentatonics and Hexatonics - -Concepts and Terms - -Methodology - -Pentatonics - -Basic Pentatonics; Diatonic Pentatonics; Chromatic Pentatonics; Altered Pentatonics - -The Pentatonic System - -Major Category; Minor Category; Dominant Category; Suspended Dominant Category; Intermediary Category; Harmonic Potential; Melodic Potential - -Hexatonics - -Major Category; Minor Category; Dominant Category; Suspended Dominant Category; Intermediary Category; Harmonic Potential; Melodic Potential - - - -21 Phrase Models - -Concepts and Terms - -Phrase Prototypes - -Jazz Rule of the Octave - -Diatonic Phrase Models - -Phrase Model 1; Phrase Model 2; Phrase Model 3; Phrase Model 4; Phrase Model 5 - -Chromatic Phrase Models - -Phrase Model 6; Phrase Model 7; Phrase Model 8; Phrase Model 9; Phrase Model 10; Phrase Model 11; Phrase Model 12; Phrase Model 13 - - - -22 The AABA Song Form - -Concepts and Terms - -Formal Prototypes - -The AABA On-Tonic Design - -Classification of Standard Tunes - -The AABA Off-Tonic Design - -Classification of Standard Tunes - -“Have You Met Miss Jones?”—An Analysis - -The Verse; The Chorus - - - -23 The ABAC Song Form - -Concepts and Terms - -The ABAC On-Tonic Design - -Classification of Standard Tunes - -The ABAC Off-Tonic Design - -Classification of Standard Tunes - -“All Of You”—An Analysis - -The Verse; The Chorus - - - -24 Extended and Unusual Song Forms - -Concepts and Terms - -Extended and Unusual Song Forms—A Compilation - -“Dream Dancing”—An Analysis - -The Verse; The Chorus - - - -25 Jazz Reharmonization - -Concepts and Terms - -Introduction - -Basic Reharmonization Techniques - -Addition of Extensions; Harmonic Expansion of Structural Chords; Tonicization; Tritone Substitutions; Diminished 7th Chords; Upper-Structure Triads; Neighbor Formations; Pedal Points; Functional Exchange; Melodic Recontextualization; Interpolation of Auxiliary Progressions - -Linear Approaches to Reharmonization - +🎯 Primary Goal + +Develop practical improvisational ability, not just theoretical knowledge. + +🧠 RAG Tags + +jazz theory improvisation ear training functional harmony chord-scale theory jazz curriculum music pedagogy + +🧱 System Architecture +📚 Three-Tier Learning Structure +1. 🟢 Part One — Basics + +Focus: Foundations of jazz and music theory + +Core Topics +Music Fundamentals +Jazz Rhythm +Harmonic Function +Four-Part & Five-Part Chords +II–V–I Progression +Modes +Chord–Scale Theory +Blues +Improvisation +RAG Tags + +fundamentals intervals triads ii-V-I modes blues guide tones basic improvisation + +2. 🟡 Part Two — Intermediate + +Focus: Language of jazz harmony & vocabulary + +Core Topics +Lead Sheets +Keyboard Textures +Jazz Progressions +Voicings (Drop 2, Rootless) +Bebop Language +Octatonic Scales +Bebop Blues +Tune Analysis +“Confirmation” +“Moose the Mooche” +RAG Tags + +bebop voicings rootless chords tritone substitution turnarounds octatonic scale jazz standards analysis + +3. 🔴 Part Three — Advanced + +Focus: Modern harmony, structure, and abstraction + +Core Topics +Pentatonics & Hexatonics +Phrase Models +Song Forms (AABA, ABAC) +Reharmonization +Advanced Improvisation +Post-Tonal Jazz +RAG Tags + +reharmonization advanced harmony pentatonics phrase development post-tonal set theory + +🎹 Core Pedagogical Model +🔁 Theory → Practice Loop +Learning Process +Understand concept +Apply on instrument +Train ear +Improvise +Create +RAG Tags + +practice workflow theory to practice ear training loop improvisation method + +🎧 Practice System +🎼 Play-Along Training (46 Tracks) +Key Features +Performed in 12 keys +Multiple ensembles: +Piano Trio +Guitar Trio +Hammond B-3 Trio +Variable: +Tempo +Feel +Comping style +Practice Strategy +Start with: +Guide tones (3rd, 7th) +“Beauty notes” (extensions) +Then: +Motifs → Transposition → Development +End with: +Free improvisation +RAG Tags + +play along practice 12 keys training guide tones motivic development jazz improvisation drills + +🎼 Core Musical Concepts (Global Index) +🎵 Harmony +Functional Tonality +Chord Categories: +Major +Minor +Dominant +Half-Diminished +Diminished +RAG Tags + +functional harmony chord categories jazz chords + +🎶 Progressions +II–V–I +Turnarounds +Cycle of Dominants +RAG Tags + +ii-V-I turnaround progression cycle of fifths + +🎹 Voicings +Drop 2 +Rootless Voicings +Upper-Structure Triads +RAG Tags + +drop 2 voicing rootless voicing upper structure triads + +🎷 Improvisation Systems +Four Core Styles +Blues +Modal +Bebop +“Tristano” style + +Associated with: + +Lennie Tristano +RAG Tags + +bebop improvisation modal jazz blues improvisation linear improvisation + +🎼 Repertoire Development +🎵 Standard Tunes (Examples Referenced) +“Autumn Leaves” “All the Things You Are” +“Stella By Starlight” +“Have You Met Miss Jones?” +🎷 Bebop Tunes +“Confirmation” +“Moose the Mooche” + +Associated with: + +Charlie Parker +RAG Tags -“Stella By Starlight”—A Reharmonization - - - -26 “Line up” - -Concepts and Terms - -Introduction - -Analytical Annotations - -An Analysis of the Transcription - -Rhythmic Displacement; Melodic Interpolation; Playing Outside; Structural Approach; Advanced Techniques - -The “Tristano Style” of Improvisation - -Rhythmic Syntax; Melodic Syntax; Harmonic Syntax; Voice Leading; Phrasing; Advanced Techniques - - - -27 Post-Tonal Jazz - -Concepts and Terms - -Introduction - -Basic Concepts - -Integer Notation; Pitch and Pitch Classes; Intervals and Interval Classes - -Trichords - -Methodology for Figuring Out Normal and Prime Forms; “Clock Face” as a Visual Aid to Identify Sets - -Families of Trichords - -Harmonic Potential of Trichords - -“Diatonic” PC-Set Complexes; Whole-Tone PC-Set Complexes; “Triadic” PC-Set Complexes; Semitone PC-Set Complexes - -Modal Potential of Trichords - -Transposition and Inversion of Sets - -Aural Identification of Trichords - - - -Appendix A - -Play Along DVD - -Bibliography - -Credits - -Index - - - - - -Preface - - - - - -* * * - - - - - -* * * - - - - - -While teaching a theory course at the Eastman School of Music, a student came up to me after class and said: “I really enjoyed your course, but I wish that instead of the countless handouts you gave us, you could write a book. It would give us something more permanent—a kind of lasting documentation of your teaching methodology that we really enjoyed.” I responded that I would consider his request and began ruminating about the idea of writing a book. I quickly realized, though, that the transition from class handouts to a well-organized textbook was not as straightforward as my eager student wanted me to believe. - -Jazz Theory: From Basic to Advanced Study is an innovative textbook designed for undergraduate and graduate jazz students, and for an ever-increasing population of classical students interested in jazz theory and improvisation. The overall pedagogy combines theory, ear training, keyboard skills, and improvisation into a comprehensive whole that enables more effective internalization and understanding of various theoretical topics discussed in the book. Intended for 2-, 3-, or 4-semester curricula in jazz theory, ear training, improvisation, harmony, keyboard skills, jazz literature, and jazz composition courses, it can also be used as a self-study guide for professional musicians unaffiliated with an institution. Conveniently divided into three parts, each major section is written with a specific group of students in mind: Part One for beginners, Part Two for intermediates, and Part Three for advanced students. While each of these sections creates a separate whole, they also form a comprehensive and cross-disciplinary narrative when taken together. - -In addition to the traditional topics covered in the chapters on Music Fundamentals, Harmonic Function, Four-Part Chords, Five-Part Chords, Modes, The Blues, and Jazz Lead Sheets, the book engages the reader in an extensive discussion of Chord—Scale Theory, Bebop, and Pentatonics and Hexatonics. The book also offers some original thoughts on the phrase structure of standard tunes in the chapter on Phrase Models, and explains the principles of vertical and horizontal harmonization in the chapter on Jazz Reharmonization. The connection between theory and practice is an underlying motto of the book; this issue comes to the fore in the chapters on Improvisation, Bebop Blues, “Confirmation,” “Moose the Mooche,” and “Line Up.” The importance of acquiring basic keyboard skills as a necessary tool for developing comprehensive musicianship is addressed in the chapters on Keyboard Textures, Idiomatic Jazz Progressions, and Voicings. To establish more meaningful connections between different branches of theoretical discourse and jazz theory, the chapters on Phrase Models, The AABA Song Form, The ABAC Song Form, and Extended and Unusual Song Forms touch on various aspects of formal and modified Schenkerian theory, while the final chapter, Post-Tonal Jazz, makes inroads into atonal music theory, offering innovative and thought-provoking ideas for the advancement of this type of interdisciplinary research. - -GOALS - - - -* * * - - - -Improvisational Skills - -The ultimate goal of jazz theory is to improve one’s improvisational skills. The Play Along DVD includes 46 tracks recorded by the fine musicians of the Eastman School of Music: Prof. Jeff Campbell (bass), Prof. Rich Thompson (drums), Gabe Condon (guitar), and myself (piano and Hammond B-3). In Chapter 10, the student is asked to use the Play Along DVD, first in the context of the blues and modal scales, and subsequently in the context of complete standard songs and jazz instrumentals. Initial tracks—with the exception of the major and minor blues—place an emphasis on playing in 12 keys. Each track on modes, then, covers 12 16-bar or 8-bar phrases, each in a different modal area. Similarly, the II–V–I or V–I progressions are performed in 12 keys using different paths through the 12 tonal areas. To offer experiences closer to real-time performance situations, each track is recorded at a different tempo, rhythmic feel, and with either piano, Hammond B-3 or guitar as a comping instrument. - -Expanding Repertory - -Aside from pedagogical concerns, a subsidiary goal of this text—one hopefully appreciated by song aficionados—is to expand the repertory of standard tunes. Chapters 21–24 discuss harmonic designs, formal models, harmonic variations, and interpretations of standard tunes. In addition to the original sheet music (with the composer's piano accompaniment, verses and lyrics) of “My Romance,” “Have You Met Miss Jones?” and other tunes, these chapters include the titles of 999 other songs based on the similarity of their tonal and formal designs. By classifying standard tunes according to the harmonic structure of the A section and the type of harmonic motion in the bridge, I hope that students can quickly learn a large number of tunes. Appendix G on the companion website includes an alphabetical list of titles (with their composers and lyricists) mentioned in these chapters, and Appendix H (companion website) contains a list of 200 essential standard tunes (out of the 999) that every jazz musician should know. - -FEATURES - - - -* * * - - - -Jazz Theory: From Basic to Advanced Study includes: - -• 352 musical examples, ranging from original lead sheets of standard tunes (“Autumn Leaves,” “Dream Dancing”), jazz instrumentals (“Confirmation,” “Moose the Mooche”), transcriptions (“Moose the Mooche,” “Line Up”), and original compositions (“Billie's Dance,” “Infidels Bounce”), to fully realized harmonic progressions, sample solos, and reharmonized tunes (“All the Things You Are,” “Stella By Starlight”). - -• Play Along DVD—offers experiences close to real-time performance situations with 46 tracks with Piano Trio, Guitar Trio and Hammond B-3 Trio. - -• Online WORKBOOK—with carefully designed exercises, such as part-writing tasks, 73 tracks of ear training drills, keyboard realization, melody harmonization, model composition, and improvisation; it also contains the recordings of musical examples from the textbook as well as some useful supplementary materials (Guide to Making Transcriptions, List of Solos to Transcribe, and Selected Discography). - -• Lists of well-known (and lesser-known) standards on the companion website—a comprehensive list of 999 Standard Tunes—Composers and Lyricists (Appendix G), as well as an Essential List of 200 Standard Tunes That You Should Know (Appendix H). - -• Instructors' Tools with answer keys to written and ear training exercises on the companion website. - -HOW TO USE THE COMPANION WEBSITE - - - -* * * - - - -www.routledge.com/textbooks/cw/terefenko - -The companion website contains three large sections: WORKBOOK, RECORDINGS, and APPENDICES/AUXILIARIES. - -Workbook - -The WORKBOOK sections closely follow the structure of the textbook; they are divided into three parts (Basic, Intermediate, and Advanced) along with the individual chapters. Such a user-friendly design enables easy access to all exercises and recordings. The WORKBOOK contains different types of written assignments, practice routines, play along sessions, keyboard realizations, play and sing tasks, and ear training drills; they are carefully designed to master the content of Jazz Theory: From Basic to Advanced Study. All the exercises and scores are downloadable as PDFs. - -The choice of specific tasks in each chapter depends on the content of the individual chapters. For example, Chapter 13 includes various keyboard tasks and ear training drills, but contains no play along sessions; Chapter 10 features more play along tracks than any other types of exercise. The main objective of Chapter 10 of the book, for instance, is to put the content of Part One to practical use. You will quickly realize that to be successful at playing with the rhythm section (tracks 5–18), you will need a solid command of the modes in all 12 keys (Chapter 7). Since the primary goal of these play along sessions is to acquaint your ear with the sound of the 14 modes and to find that sound on your instrument, start by playing the most important notes from the mode (guide tones and beauty marks) and negotiate them in some kind of rhythmic fashion. Having established the connection between theoretical concepts (guide tones and beauty marks in this particular instance) and practice (the ability to effortlessly play them on your instrument), you will begin to listen to your own playing and to interact with the rhythm section. Next, start using the motifs from the book (Figure 10.10) and transpose them to 12 keys. With these motifs, focus on the techniques of motivic development (Chapter 10), select a single technique, and explore it in your playing. As you get more comfortable with handling one technique at a time, explore improvising with two (or more) techniques. - -Finally, you are ready to compose your own motifs and use them in improvisation. As you see, tracks 5–18 (as well as other play along tracks) work just as well for advanced players as for beginners. The process described above illustrates how to use play along tracks; this process can be summarized as follows: (1) establish a connection between theory and practice, (2) practice on your instrument, (3) begin with the material that you can handle, (4) challenge yourself, and (5) be creative. - - - - - -A measured approach to completing assignments works for the majority of exercises included in the WORKBOOK. Take, for instance, Exercise 3.3. The exercise includes seven four-bar progressions to be realized at the keyboard in C major and/or A minor. The basic objective for all playing exercises is to be able to perform a given task at a steady tempo and without breaks. Start at a comfortable tempo (♩=50) and play the progressions from Exercise 3.3 from beginning to end without interruption. Using a metronome is highly recommended. Gradually increase the speed of your performance to ♩=96. The instructions for this and other keyboard exercises include the dreaded phrase: “transpose to all 12 keys.” Playing in all 12 keys is an essential skill for the contemporary musician, yet learning to play in all keys is a long and arduous process. In Chapters 6, 12, 13, and 15, the “12 key” icon is used as a reminder to practice/perform the specific musical figures in all 12 keys. To facilitate this process, learn a progression in the original key. Once you master the progression in a single key and explore different positions/inversions of chords, start transposing it to two or three different keys. Practice the progressions in two or three keys and then start adding more keys to your practice routines. You will notice that once you work diligently through six different transpositions, the remaining ones will be quite easy to realize. To master the skill of playing in 12 keys, you need to be consistent, succumb to daily practice routines, and allow the passing of time to see the results. - - - -In studying jazz, it is imperative to develop an impeccable ear capable of identifying complex chord formations and harmonic progressions. The WORKBOOK also features different types of ear training activities: rhythmic dictations, harmonic dictations, chord recognition, singing, set-class identification, etc. To access them, click on the corresponding icon. I recommend that you complete each ear training drill before proceeding to the next one, no matter how trivial that drill might seem. Without internalizing the sound of individual intervals/triads in Chapter 1 or four-part chords in Chapter 4, for instance, the ability to hear more complex five-part chords in Chapter 5 or upper-structure triads in Chapter 14 may prove challenging. Furthermore, when individual chords or the II–V–I progressions from Part One begin to form four-bar progressions in Chapter 13 or eight-bar phrase models in Chapter 21, the ability to identify individual formations is of utmost importance to make tonal sense out of complete harmonic progressions. Since certain tracks for ear training drills contain multiple intervals, harmonic formations, chord progressions, or set classes, I recommend starting each track at a different location to avoid memorizing the sequence of events. - -Recordings - -In addition to various written and ear training exercises in the WORKBOOK, the companion website also contains the recordings of musical figures from the book. The RECORDINGS section is also organized exactly as the textbook (three parts and individual chapters) and gives you immediate access to all audio files. By clicking on the figure, you will see the specific musical example and hear the recording. These recordings are quite useful when you are away from the keyboard (or have insufficient keyboard skills) and want to hear a particular musical illustration. By listening to these audio recordings you are mapping individual theoretical entities (chords, modes, progressions, scales, phrase modes, sets, etc.) with their sound and, thus, training and improving your ear. - -Appendices/Auxiliaries - -This section contains some useful material that complements the book. The Selected Discography (Appendix F) contains the list of recordings for standard tunes discussed in the book. For each tune, there are representative recordings that show how the different jazz artists from different eras appropriated these tunes into their repertoires and how different these interpretations are; this extraordinary interpretive diversity demonstrates the limitless potential of standard tunes. Listening to jazz goes hand in hand with learning how to improvise and how to find one's musical voice. Without exploring the rich canon of recorded jazz, one's quest for learning how to improvise might be deterred indefinitely. The Selected Discography and List of Solos to Transcribe in Appendix E (as well as the endnotes in the book) provide many valuable listening resources. - -Finally, the companion website contains downloadable scores for ear training drills, extra scores for the Play Along DVD (convenient to use with your iPad on the music stand), an Answer Key for Written Exercises, and an Answer Key for Ear Training Drills (with a few exercises realized in full score so you can see what I played on the recording). - -TO THE STUDENT - - - -* * * - - - -In Part One, the foundation of the entire pedagogical system is laid, each topic leading logically to the next. Therefore, it is imperative to study each chapter before proceeding to the next one. Use of the online WORKBOOK is strongly recommended; it contains numerous exercises to foster your understanding of various theoretical subjects. For optimal use of this resource read How To Use The Companion Website. For those already familiar with the basics or those who want to delve deeper into more advanced topics (Bebop, Pentatonics and Hexatonics, Phrase Models, Post-Tonal Jazz, etc.), start with a chapter that appeals to you. Each chapter, especially in Parts Two and Three, is a self-contained unit for you to explore. If you use this approach, first familiarize yourself with the terminology and various notational conventions discussed in Part One since they may be different from yours. - -TO THE INSTRUCTOR - - - -* * * - - - -In Jazz Theory: From Basic to Advanced Study, I build on the existing terminology concerning chord notation and other analytical conventions. One of the main issues music theorists often grapple with is that of chord notation, a proverbial Tower of Babel in a world where notational idiosyncrasies run amok. To be fair, systems of chord notation are constantly evolving and, in spite of the best intentions, no syntactical uniformity exists that would satisfy everyone. As described in Chapter 3, each method of chord notation has its strengths and weaknesses. In notating chords in the book, I aim to be as consistent and lucid as possible. After discussing the subject with colleagues and reviewers, and trying out many systems with my students, I settled on the following symbols. Given the CMaj7(♯11) chord, for instance, the chord quality is indicated with a “Maj” suffix, the essential chord tone “7” is written as a regular size Arabic number, and a chromatic extension is placed in parentheses and written as a superscript number. The Cmin9(♭13) chord uses a superscript for the diatonic extension “major ninth” and places the chromatic extension in parentheses. Lead-sheet symbols employed in the book, then, provide a complete description of a chord's structure; they are easy to realize and show that essential chord tones are hierarchically more important than chordal extensions. Additionally, they are arranged according to their status and influence on the overall sound of the chord. - -Although marred by its syntactical ambiguities in common-practice theory, the use of Roman numerals in Jazz Theory: From Basic to Advanced Study is reduced to four-part structures only, regardless of the actual pitch content of the chord. Roman numerals, then, represent the quality, functionality, scale-degree position, and the type of essential chord tones added to a triad. The following six basic symbols are encountered: Imaj7, I7, i7, , iø7, and i°7, representing major 7th, dominant 7th, and minor 7th, minor 7(≭5), half-6 diminished 7th, and diminished 7th chords, respectively. (Occasionally triads and I6 also occur.) In this notation, the suffix “maj” uses lower-case letters with the essential chord tones written as superscripts (and as a subscript in the case of ). Though Roman numerals require some expertise to realize in performance, they constitute excellent tools for transposing chord progressions to all 12 keys. Since Roman numerals represent essential four-part structures only, their interpretation and realization is predicated on a number of factors: melodic content, dissonance treatment, chromaticism, outer-voice counterpoint, voice leading, harmonic affects, phrase rhythm, and other issues discussed in this book. - -THEORY IS A MEANS TO AN END - - - -* * * - - - -As stated earlier, the ultimate goal of Jazz Theory: From Basic to Advanced Study is to improve one's improvisational skills. In a sense, then, theoretical knowledge is a means to that end; for the jazz musician this is synonymous with being proficient at different styles of improvisation. To attain that goal, I discuss at length four contrasting styles of improvisation: blues, modal, bebop, and the “Tristano” school. As the most important musical form in jazz, the blues takes precedence with extensive coverage in Chapters 9 and 17. Modal improvisation is explained in Chapters 7, 8, 16, and 20. The techniques of bebop improvisation are discussed in Chapter 15 and applied to practical ends in Chapters 17–19. The “Tristano” school of improvisation is codified through the prism of Lennie Tristano's solo on “Line Up” analyzed in Chapter 26. In addition to these four improvisational traditions, Chapter 27 makes substantial inroads into a more experimental, yet highly organized, system of advanced harmony and improvisation. In this chapter, I attempt to establish an interdisciplinary connection between atonal music theory and jazz theory. It is my humble wish to see the ideas developed in Chapter 27 taking new roots and being advanced by other jazz scholars. The possibilities are truly endless and the door for new explorations is left wide open. - -Dariusz Terefenko - -Associate Professor of Jazz Studies - -Eastman School of Music - - - - - -Acknowledgments - - - - - -* * * - - - - - -* * * - - - - - -Witnessing a project of this magnitude taking shape has left me with a sense of accomplishment and also provides a wonderful opportunity for me to thank the many people without whom this book could not have been written. First and foremost, I would like to thank Douglas Lowry (Joan and Martin Messinger Dean Emeritus of the Eastman School of Music) and Jamal J. Rossi (Dean of the Eastman School of Music) for granting me a leave of absence in the spring of 2012, during which the majority of the book was written. Dean Lowry will be greatly missed by all who had the privilege of knowing him personally. Second, I would like to thank my colleagues in the Jazz Department at ESM: Harold Danko, Bill Dobbins, Jeff Campbell, Clay Jenkins, Rich Thompson, Dave Rivello, Bob Sneider, and Mark Kellogg, all of whom have been very supportive of the project and on whose expertise I could always count. My profoundest gratitude and heartfelt thank you go to my friend Matthew Brown for his guidance over the years and for the countless hours of stimulating conversations during which many of the concepts appearing in this book were generated. On that note, I would like to thank Robert Wason for his encouragements in pursuing the more scholarly aspects of jazz music theory. - -I am indebted to many years of wonderful students at the Eastman School of Music, but perhaps particularly to: David Baron, Ben Bishop, Evan Burrus, Greg Chaco, Dave Chisholm, Mike Craig, Gabe Condon, Alistair Duncan, Jacob Dupre, Wendy Eisenberg, Kate Ernst, Sam Farley, Austin Gross, Shoghi Hayes, Ethan Helm, Kevin McDonald, Jeff McLeod, Brendan Lanighan, Emiliano Lasansky, Stefan Love, Paulo Perfeito, Marcelo Pinto, Levi Saelua, Jeremy Siskind, Karl Stabnau, Alexa Tarantino, Nikola Tomic, Nick Weiser, and Chris Ziemba. Special thanks go out to Amy Kintner for her exceptional and meticulous work editing the initial draft of the book. - -I would like to thank all the amazing musicians with whom I had the privilege to record all the musical examples, play along tracks, and ear training drills: Jeff Campbell (bass), Rich Thompson (drums), Gabe Condon (guitar), and Karl Stabnau (saxophones). Thanks go to Fumi Tomita and Amy Kintner for lending their sonorous voices to narrate the musical examples and ear training drills on the companion website. I would also like to thank the entire staff of Technology and Media Production at the Eastman School of Music, especially Louis Chitty for his herculean job recording, editing, mixing, and producing the Play Along DVD and all the audio files available on the companion website. - -I am indebted to the staff at Routledge, especially Constance Ditzel for showing the initial interest in my project, but also Denny Tek for her tireless work preparing the book for production, Sue Edwards for her excellent editing, and Kelly Derrick at Florence Production for her commendable work producing the book. I greatly appreciate their effort to find the most knowledgeable reviewers in the field of jazz theory, Keith Waters (University of Colorado at Boulder) and Chris Stover (New School), whose many exceptional ideas and suggestions contributed greatly to the final version of this text. - -Finally, I would like to thank my sister Natalia for arranging perfect conditions allowing me work on the book, and my brother Zenon for his musical inspiration. This book is dedicated to both of them. - - - - - -PART ONE - - -Basics - - - - - -CHAPTER ONE - +jazz standards bebop repertoire contrafacts rhythm changes + +🧠 Ear Training System +Core Skills +Interval recognition +Chord quality identification +Harmonic dictation +Rhythm dictation +Set-class identification +Principle + +You must hear it before you can play it. + +RAG Tags + +ear training interval recognition harmonic dictation audiation + +🎯 Key Philosophy +“Theory Is a Means to an End” +Theory → Improvisation +Knowledge → Sound +Analysis → Expression +🧩 Structural Insight (Important for RAG) +Knowledge Dependencies +Must Learn First: +Intervals +Triads +7th chords +Before: +Extensions +Modes +Reharmonization +RAG Tags + +learning order theory progression dependency graph + +🔧 Future Formatting Opportunities (Your Table Idea) + +You were absolutely right—this structure will shine later when we hit sections like: + +Example (future use) +Degree Chord Function Scale Voicing Fingering +ii Dm7 Pre-dominant D Dorian Drop 2 x-5-3-5-6-x + +We’ll apply this heavily in: + +II–V–I chapter +Voicings chapter +Chord-scale theory + + + +🎼 Jazz Theory Handbook (Cleaned + Tagged) +Part I — Foundations +📘 1. Music Fundamentals +🔑 Overview + +This chapter establishes the core building blocks of music theory: + +Pitch & notation +Scales (major & minor) +Rhythm & meter +Intervals & triads +🧠 Core Concepts (RAG Tags) + +#pitch #notation #major_scale #minor_scale +#intervals #triads #rhythm #meter #time_signature +#diatonic #chromatic #enharmonic + +🎵 Pitch +Definition + +Pitch = perceived highness or lowness of a sound. + +Key Principles +Concept Description +Note Names A B C D E F G +Accidentals ♯ (sharp), ♭ (flat), ♮ (natural) +Enharmonic Same pitch, different name (C♯ = D♭) +Octave Same note, higher/lower register +Octave Equivalence Notes with same letter share identity +🎹 Keyboard Layout Concept +Left → Low pitch +Right → High pitch +Repeating pattern of 12 tones +🧠 Tags + +#pitch_system #enharmonic_equivalence #octave + +🎼 Notation System +Staff Structure +Element Description +Staff 5 lines + 4 spaces +Clefs Treble (high), Bass (low) +Grand Staff Treble + Bass combined +Ledger Lines Extend range beyond staff +🧠 Tags + +#staff #clef #grand_staff #notation + +🎵 Intervals +Definition + +Distance between two pitches. + +Interval Types +Category Examples +Perfect Unison, 4th, 5th, Octave +Major 2nd, 3rd, 6th, 7th +Minor Lowered major intervals +Augmented Raised +Diminished Lowered +Inversion Rule +Original Inversion +2nd 7th +3rd 6th +4th 5th + +Rule: + +Numbers add to 9 +Quality flips (Major ↔ Minor) +🧠 Tags + +#intervals #interval_inversion + +🎼 Major Scales +Formula + +Whole–Whole–Half–Whole–Whole–Whole–Half +(W–W–H–W–W–W–H) + +Example Structure +Degree Function +1 Root +2 Supertonic +3 Mediant +4 Subdominant +5 Dominant +6 Submediant +7 Leading Tone +Key Insight +12 total major scales +Each follows identical interval pattern +🧠 Tags + +#major_scale #scale_formula #diatonic_system + +🎼 Key Signatures +Purpose + +Define scale using accidentals at the start of staff + +Sharp Keys Pattern +Key Sharps +G F♯ +D F♯ C♯ +A F♯ C♯ G♯ +E F♯ C♯ G♯ D♯ +Flat Keys Pattern +Key Flats +F B♭ +B♭ B♭ E♭ +E♭ B♭ E♭ A♭ +🧠 Tags + +#key_signature #circle_of_fifths + +🎼 Minor Scales +Three Forms +Type Formula Key Feature +Natural Minor W–H–W–W–H–W–W Base form +Harmonic Minor Raised 7th Strong resolution +Melodic Minor Raised 6th & 7th (ascending) Smooth melody +Example Structure (A Minor) +Type Notes +Natural A B C D E F G +Harmonic A B C D E F G♯ +Melodic ↑ A B C D E F♯ G♯ +Melodic ↓ A B C D E F G +Relative Keys +Major Relative Minor +C A minor +G E minor +F D minor +🧠 Tags + +#minor_scale #harmonic_minor #melodic_minor #relative_keys + +🥁 Rhythm +Core Idea + +Rhythm = duration of sound over time + +Note Value System +Note Value +Whole 4 beats +Half 2 beats +Quarter 1 beat +Eighth 1/2 beat +Modifiers +Element Effect +Dot Adds 50% value +Tie Combines durations +Tuplet Divides unevenly (triplets, etc.) +🧠 Tags + +#rhythm #note_values #tuplets + +🥁 Meter & Time Signatures +Meter Types +Type Pattern +Duple Strong–Weak +Triple Strong–Weak–Weak +Quadruple Strong–Weak–Medium–Weak +Time Signature Structure +Type Meaning +Top Number Beats per measure +Bottom Number Beat unit +Types of Time +Category Example +Simple 4/4, 3/4 +Compound 6/8, 9/8 +Irregular 5/4, 7/8 +🧠 Tags + +#meter #time_signature #simple_meter #compound_meter + +🎵 Triads +Formula-Based Construction +Type Formula Sound +Major 1–3–5 Stable +Minor 1–♭3–5 Dark +Diminished 1–♭3–♭5 Tense +Augmented 1–3–♯5 Unstable +Suspended 1–4–5 Open +Inversions +Position Bass Note +Root Root +1st inversion 3rd +2nd inversion 5th +🧠 Tags + +#triads #chord_construction #inversions + +🔗 System Integration Insight +🎯 Core Principle + +All advanced jazz theory concepts derive from: + +Major scale +Interval relationships +Chord construction +🧱 Optional Structured Format (Your Preferred Style) + +Here’s a preview of how we can extend your CAGED-style chord table idea into theory: + +Major Scale System (Example: C Major) +Degree Chord Function Quality Formula +I Cmaj7 Tonic Major 1–3–5–7 +ii Dm7 Predominant Minor 1–♭3–5–♭7 +iii Em7 Tonic Minor 1–♭3–5–♭7 +IV Fmaj7 Predominant Major 1–3–5–7 +V G7 Dominant Dominant 1–3–5–♭7 +vi Am7 Tonic Minor 1–♭3–5–♭7 +viiø Bm7♭5 Dominant Half-dim 1–♭3–♭5–♭7 +💡 Why This Works (Your Idea — Confirmed) + +Your structured header format is extremely powerful because it: + +Bridges theory ↔ fretboard +Makes RAG retrieval precise +Supports progression-based thinking +Prepares for II–V–I, modal, and reharm chapters + +🎼 Jazz Theory Handbook (Draft) +Based on Jazz Theory: From Basic to Advanced Study by Dariusz Terefenko +📘 OVERVIEW +🎯 Purpose + +Jazz Theory Handbook is a structured system for learning and applying jazz theory—from fundamentals to advanced concepts—with a constant emphasis on: + +Theory → Practice integration +Ear training +Improvisation +Keyboard and instrumental fluency +🧠 Core Pedagogical Model + +[TAG: pedagogy | theory-practice-loop] + +Learn concept +Hear concept +Play concept +Apply in improvisation +Expand creatively +📚 Curriculum Structure +PART I — BASICS + +[TAG: level | beginner] Music Fundamentals +Jazz Rhythm +Harmonic Function +Chord Construction +II–V–I Progression +Modes +Chord–Scale Theory +Blues +Improvisation +PART II — INTERMEDIATE +[TAG: level | intermediate] +Lead Sheets +Voicings +Bebop Language +Jazz Progressions +Repertoire Analysis +PART III — ADVANCED +[TAG: level | advanced] +Pentatonics / Hexatonics +Phrase Models +Song Forms +Reharmonization +Post-Tonal Jazz +🎯 Primary Goal -CHAPTER SUMMARY +[TAG: goal | improvisation] +Theory is a means to an end → Improvisational fluency +🎼 Core Improvisation Styles Covered -* * * +[TAG: improvisation | styles] +Blues +Modal +Bebop +Tristano-style linear improvisation +📘 CHAPTER 1 — MUSIC FUNDAMENTALS +🧠 Chapter Role +[TAG: foundation | essential] -Chapter 1 lays the foundation for the study of music theory. The basics of musical notation are introduced as well as an understanding of intervals, their names, and the inversion of intervals. The chapter concludes with a close examination of the five triadic formations: major, minor, diminished, augmented, and suspended. +Establishes the core language of music: +Pitch +Rhythm +Intervals +Scales +Triads +📌 CORE CONCEPTS INDEX (RAG TAGGING) +[TAG GROUP: fundamentals] +Pitch +Interval +Scale +Key Signature +Rhythm +Meter +Triad +Inversion +🎵 PITCH +[TAG: pitch | definition] -CONCEPTS AND TERMS +Pitch = perceived highness or lowness of sound. +🔑 Key Concepts +Octave Equivalence +[TAG: pitch | octave-equivalence] +Notes with same letter name sound similar across registers. -* * * +Enharmonic Equivalence +[TAG: pitch | enharmonic] +C♯ = D♭ +Same pitch, different spelling +Whole Step / Half Step -• Accidentals +[TAG: intervals | basic-distance] -• Bar lines +Type Definition +Half Step Smallest distance (adjacent notes) +Whole Step Two half steps +🎼 NOTATION SYSTEM -• Bass clef +[TAG: notation | staff-system] -• Beat subdivisions +Staff = 5 lines + 4 spaces +Clefs define pitch location +Clefs -• Beat values +[TAG: notation | clefs] -• Chords +Treble clef → upper register +Bass clef → lower register +🎼 MAJOR SCALES -• Chromatic +[TAG: scales | major] -• Clefs +Formula -• Diatonic +[TAG: scale-formula | major] -• Enharmonic equivalence +Whole – Whole – Half – Whole – Whole – Whole – Half -• Flat sign (♭) +Key Insight -• Grand staff +[TAG: diatonic-system] -• Half steps (semitones) +All major scales follow identical interval structure. -• Intervals: +Total System -Augmented +[TAG: keys | total] +12 major keys +Each begins on a different pitch +🎼 KEY SIGNATURES +[TAG: notation | key-signatures] -Compound +Defines which notes are consistently sharp/flat in a key. +Sharp Keys Pattern +[TAG: keys | sharp-order] -Diminished +F♯ → C♯ → G♯ → D♯ → A♯ → E♯ → B♯ +Flat Keys Pattern +[TAG: keys | flat-order] -Harmonic +B♭ → E♭ → A♭ → D♭ → G♭ → C♭ +🎼 MINOR SCALES +[TAG: scales | minor-system] -Major +Three Forms +Type Alterations +Natural Minor None +Harmonic Minor ♯7 +Melodic Minor ♯6, ♯7 (ascending) +Critical Insight +[TAG: minor | function] +Minor is not one scale → it is a system of variants -Melodic +Relative Keys +[TAG: keys | relative] +Major and minor sharing same key signature: -Minor +C major ↔ A minor +G major ↔ E minor +🥁 RHYTHM +[TAG: rhythm | fundamentals] +Rhythm = organization of time in music. + +⏱ Note Values + +[TAG: rhythm | durations] + +Whole → Half → Quarter → 8th → 16th +➕ Duration Modifiers +Device Function +Dot Adds 50% duration +Tie Combines durations +Tuplet Divides beat irregularly +🕒 METER & TIME SIGNATURES + +[TAG: meter | structure] + +Meter Types +Type Pattern +Duple Strong–Weak +Triple Strong–Weak–Weak +Quadruple Strong–Weak–Medium–Weak +Time Signature Types + +[TAG: time-signatures] + +Simple → beats divide by 2 +Compound → beats divide by 3 +Irregular → asymmetric +🎵 INTERVALS + +[TAG: intervals | core] + +Interval = distance between two pitches + +Types +Type Description +Melodic Sequential +Harmonic Simultaneous +Naming System + +[TAG: intervals | naming] + +Count letter names → determines number +Count semitones → determines quality +Interval Qualities + +[TAG: intervals | qualities] Perfect - - - -Quality - - - -• Inversions of intervals - -• Inversions of triads - -• Key signatures - -• Ledger lines - -• Major scales - -• Measures - -• Meter: - -Duple - - - -Quadruple - - - -Triple - - - -• Minor scales: - -Harmonic - - - -Melodic - - - -Natural - - - -• Natural sign (♮) - -• Notes - -• Octaves - -• Octave equivalence - -• Pitch - -• Registers - -• Relative keys - -• Rhythmic duration - -• Scale degrees - -• Sharp sign (♯) - -• Staffs - -• Time signatures: - -Compound - - - -Irregular - - - -Simple - - - -• Treble clef - -• Triads: - +Major / Minor Augmented - - - Diminished +⚠️ Key Insight +[TAG: intervals | enharmonic-logic] +Same pitch distance ≠ same interval name +(e.g., A♭–E vs G♯–E) + +🔄 INTERVAL INVERSION + +[TAG: intervals | inversion] + +Rule +Intervals invert to sum = 9 +Semitones sum = 12 +Original Inversion +5th 4th +3rd 6th +🎶 TRIADS + +[TAG: harmony | triads] + +Triad = 3-note chord built in thirds + +Types +Type Structure +Major M3 + m3 +Minor m3 + M3 +Diminished m3 + m3 +Augmented M3 + M3 +🔄 TRIAD INVERSIONS + +[TAG: harmony | inversion] + +Position Bass Note +Root Root +1st inversion 3rd +2nd inversion 5th +🎼 SUSPENDED TRIADS + +[TAG: harmony | suspended] + +Replace 3rd with: +2nd (sus2) +4th (sus4) +🎯 Jazz Relevance + +[TAG: jazz-harmony | non-tertian] + +Suspended chords break strict tertian harmony → essential in jazz textures + +📘 CHAPTER 3 — HARMONIC FUNCTION +🧠 Chapter Role + +[TAG: harmony | functional-tonality | core] + +Defines how chords behave in context, not just in isolation. + +🎯 FUNCTIONAL TONALITY + +[TAG: harmony | functional-system] + +Functional tonality = a hierarchical system where chords have roles: + +Function Role Behavior +Tonic (T) Stability Rest, resolution +Predominant (PD) Preparation Moves away from tonic +Dominant (D) Tension Resolves to tonic +🔑 Core Insight + +[TAG: hierarchy | tonic-centric] + +All harmonic motion ultimately relates back to the tonic + +🔄 Functional Flow + +[TAG: progression | canonical] + +T → PD → D → T + +This is the DNA of tonal harmony + +🎧 Jazz-Specific Insight + +[TAG: jazz-harmony | divergence] + +Same system as classical harmony +BUT: +More flexibility +More extensions +More substitution +🎼 TRIADS IN MAJOR KEYS + +[TAG: harmony | diatonic-triads | major] + +Scale Degree → Chord Quality +Degree Name Quality +I Tonic Major +ii Supertonic Minor +iii Mediant Minor +IV Subdominant Major +V Dominant Major +vi Submediant Minor +vii° Leading Tone Diminished +🎯 Key Insight + +[TAG: harmony | system-completeness] + +Major key = 3 chord types only: Major - - - Minor +Diminished +🎼 TRIADS IN MINOR KEYS +[TAG: harmony | minor-system | triads] +⚠️ Critical Concept -Suspended +[TAG: minor | multi-system] +Minor harmony = 3 overlapping systems: +Natural minor +Harmonic minor +Melodic minor +Important Scale Degrees +Degree Name +♭7 Subtonic +♯7 Leading tone +♯6 Raised submediant +🎯 Key Insight -• Whole steps/tones +[TAG: harmony | functional-flexibility] +Minor harmony is functionally richer and more ambiguous than major +🧾 NOTATIONAL SYSTEMS +[TAG: notation | systems | comparison] +1. Lead-Sheet Notation -PITCH +[TAG: notation | chord-symbols] +Strengths +Precise chord structure +Performance-ready +Weakness +No functional context +Example Concept +[TAG: slash-chords] +C/E = C chord with E in bass +2. Roman Numerals -* * * +[TAG: analysis | roman-numerals] +Strengths +Shows function +Enables transposition +Weakness +Abstract +Reduces chord detail +Key Rules +[TAG: roman-numerals | syntax] -Pitch refers to the relative highness or lowness of musical sounds. Figure 1.1 illustrates the placement of pitches on the keyboard with the lowest notes on the left and the highest notes on the right. +Uppercase = major +Lowercase = minor +° = diminished += augmented +3. Function Symbols +[TAG: analysis | functional-labeling] +Symbol Meaning +T Tonic +PD Predominant +D Dominant +🎯 Insight +[TAG: structure | deep-level] +Function symbols describe structural level, not surface detail. -FIGURE 1.1 Keyboard—Pitch Layout +👨‍👩‍👧 FUNCTIONAL FAMILIES +[TAG: harmony | functional-families] -To label pitches, we use the letters from the alphabet—A, B, C, D, E, F, and G—to denote the white notes and accidentals (sharps or flats) to denote the black notes. Each note on the keyboard has a distinct sound; notes that have the same letter name sound similar in spite of their location on the keyboard. Theorists refer to this idea as octave equivalence. The distance from C4 to C5 includes eight pitches (counting C4 and C5) and is therefore known as an octave. Integers 1 through 8 following the letter names indicate eight different registers or specific pitch locations characterized by their sound. With higher integers we experience higher sounding pitches, and with lower integers we experience lower sounding pitches. Labeling black notes is more complicated because they can be described in two ways. For example, the black note between C and D can be labeled either as C♯ or D♭. Since C♯ and D♭ sound the same on the piano, theorists often refer to them as being enharmonically equivalent. +Chords grouped by shared function + behavior -Music is notated on a staff that consists of five lines (the first line is at the bottom of the staff) and four spaces (the first space is located between the first and the second line of the staff). The addition of extra lines called ledger lines (up to five) at the bottom or top extends the staff and allows for the notation of pitches that lie outside the boundaries of the five-line staff. A clef written at the beginning of the staff indicates the location of pitches, which are notated with a system of notes. Although there are many different clefs, only treble and bass clefs will be used in this book.1 The grand staff combines two staves joined by a brace, with the top stave using the treble clef and the bottom stave using the bass clef. Figure 1.2 illustrates the notation of pitches from A0 to C8 on the grand staff. +Major Key Families +Function Chords +Tonic I, vi, iii +Predominant ii, IV +Dominant V, vii° +🔄 Core Motion -The octaves, C1–C2, C2–C3, etc., create a specific pattern of whole steps and half steps. A half step (or semitone) is the shortest possible distance between two keys (or notes). For instance, the distance between E4 and F4 or B4–C5 is a half step. A whole step (or whole tone) combines two half steps and represents the distance between two keys with a single key between them. For instance, the distance between C4 and D4, D4–E4, F4–G4, G4–A4, or A4–B4, is a whole step because there is a single black note between these notes. +[TAG: harmonic-motion | fifths] +Descending 5ths = strongest forward motion +Example Progression +[TAG: progression | classic] +I → vi → ii → V → I -FIGURE 1.2 Grand Staff—Notation of Pitches +🎯 Interpretation Insight +[TAG: tonic-prolongation] +vi often = tonic expansion, not departure +🎼 CADENCE +[TAG: cadence | resolution] +Definition -MAJOR SCALES +Cadence = harmonic confirmation of tonic +Primary Type +[TAG: cadence | authentic] +V → I -* * * +🎼 FUNCTIONAL FAMILIES — MINOR +[TAG: harmony | minor-families] +More complex due to mixed scale sources -The collection of notes from C4 to C5, shown in Figure 1.3, represents a specific pattern of whole steps and half steps known as a major scale. +🎯 Key Insight +[TAG: context-dependence] +A chord’s function depends on context, not just structure +🎵 VOICE LEADING +[TAG: voice-leading | core] -FIGURE 1.3 Major Scale +Controls how chords connect smoothly +🎯 Core Principles +1. Common Tone Retention -The major scale has five whole steps, beginning between scale degree one (written as ) and , –, –, –, and –, and two half steps between –, and –(). This arrangement of pitches represents one type of diatonic scale. The other diatonic scales also contain five whole steps and two half steps but those intervals between different scale degrees occur at a different location within the scale. For instance, the spans F4–F5 or G4–G5 filled in with white keys only (G4–A4–B4–C5–D5–E5–F5), shown in Figure 1.4, contain five whole tones and two semitones, yet their placement is different than it is in the C major scale. In order to duplicate the locations of whole tones and semitones as they occur within the C major scale, accidentals—a sharp sign (♯) and a flat sign (♭)— have to be implemented. The sharp added to F5 (in the G4–G5 octave) raises the sound of F5 by a semitone and becomes F♯5. The flat added to B4 (in the F4–F5 octave) lowers the sound of B4 by a semitone and becomes B♭4. With these added accidentals, the arrangement of whole tones and semitones occurring in the C major scale can be duplicated. These collections are labeled using their opening pitches: G major and F major, respectively. +[TAG: voice-leading | efficiency] -There are 12 possible major scales, one for each white and black note (C major, C♯/D♭ major, D major, D♯/E♭ major, E major, F major, F♯/G♭ major, G major, G♯/A♭ major, A major, A♯/B♭ major, B major). +Keep shared notes between chords +2. Stepwise Motion +[TAG: voice-leading | smoothness] +Prefer small movements +3. Shortest Path -FIGURE 1.4 G major and F major +[TAG: voice-leading | optimization] +Minimize motion between chords +🎼 OUTER-VOICE COUNTERPOINT +[TAG: counterpoint | outer-voices] +Focus: Soprano + Bass -KEY SIGNATURES +🎯 Rules +Must outline harmony clearly +Must be melodically interesting +Prefer contrary motion +🔄 TYPES OF MOTION +[TAG: motion-types] +Type Description +Contrary Opposite directions (BEST) +Oblique One moves, one stays +Similar Same direction, different intervals +Parallel Same direction, same interval +🎯 Jazz Insight +[TAG: jazz-voice-leading] -* * * +Parallel motion is allowed (unlike classical) +But still must sound intentional +🎹 PRACTICAL VOICE-LEADING RULES +[TAG: keyboard | application] +Doubling Rules (Triads) +Position Doubling +Root position Root +1st inversion Root +2nd inversion Root or 5th -Another method of representing major scales is to use key signatures written to the right of the clef. Since there are 12 distinct major scales, there will be 12 corresponding key signatures. For instance, the G major scale that we saw in Figure 1.4 has one sharp, F♯. The key signature places that sharp at the beginning of the staff immediately after the clef. Just as the G major scale has one sharp (F♯), so D major has two (F♯, C♯), A major has three (F♯, C♯, G♯), E major has four (F♯, C♯, G♯, D♯), B major has five (F♯, C♯, G♯, D♯, A♯), F♯ major has six (F♯, C♯, G♯, D♯, A♯, E♯), and C♯ major has seven (F♯, C♯, G♯, D♯, A♯, E♯, B♯). Similarly, whereas the F major scale has one flat (B♭), B♭ major has two flats (B♭, E♭), E♭ major has three (B♭, E♭, A♭), A♭ major has four (B♭, E♭, A♭, D♭), D♭ major has five (B♭, E♭, A♭, D♭, G♭), and G♭ major has six (B♭, E♭, A♭, D♭, G♭, C♭). In the case of F♯ and G♭ and C♯ and D♭, the key signatures are often spelled enharmonically. This is shown in Figure 1.5 by the arrows. +⚠️ Avoid doubling the 3rd +Leading Tone Rule +[TAG: resolution | leading-tone] +Resolves up by half step +Preferred Intervals +[TAG: outer-voices | intervals] -FIGURE 1.5 Key Signatures—Major Scales +3rds and 6ths → strongest harmonic clarity +🔁 PIVOT CHORDS (MODULATION) +[TAG: modulation | pivot-chords] +Definition +Chord shared between two keys +Types +Type Description +Diatonic Common to both keys +Chromatic Altered for transition +🎯 Function -MINOR SCALES +Smooth key change +🎼 KEY TAKEAWAYS (CHAPTER 3) +[TAG: summary | harmonic-function] +Harmony is role-based, not just chord-based +T → PD → D → T is foundational +Context determines function +Voice leading = glue of harmony +📘 CHAPTER 4 — FOUR-PART CHORDS +🧠 Chapter Role -* * * +[TAG: harmony | four-part | foundation] +Introduces core jazz chord structure +🎯 CORE CONCEPT -Figure 1.6 illustrates the distribution of whole tones and semitones within the A3–A4 octave that forms a minor scale. +[TAG: chord-construction | tertian-extension] +Triad + one note = 7th chord (4-part chord) +🎼 ESSENTIAL CHORD TONES +[TAG: chord-tones | essential] +Addition Result +6 Sixth chord +Maj7 Major 7 chord +min7 Dominant or minor 7 +🎹 EXAMPLE (C ROOT) -FIGURE 1.6 Minor Scale +[TAG: chord-examples | c-root] +Chord Structure Function +C6 Stable Tonic +CMaj7 Stable Tonic +C7 Tense Dominant +🎯 Critical Insight -The two semitones are located between – and –, and the five whole tones between –, –, –, –, and –(). Similar to C major, the A minor scale uses only the white keys of the keyboard and has no key signature. In addition to the so-called natural version of minor, there are two additional “shades” of minor: harmonic and melodic. The three versions of minor are illustrated in Figure 1.7 with the melodic minor shown in the ascending and descending form. +[TAG: tritone | dominant-function] +Dominant tension comes from the tritone (3rd + 7th) +🎼 JAZZ HARMONY CHARACTERISTICS +[TAG: jazz-harmony | characteristics] +Accepts dissonance +Uses extensions freely +Prioritizes color + motion +🎯 Key Contrast -FIGURE 1.7 “Shades” of Minor +[TAG: classical-vs-jazz] +Classical Jazz +Resolves dissonance Embraces dissonance +Triad-focused 7th chord-based +🔧 NEXT EVOLUTION (COMING) -The harmonic form of minor raises of the natural minor. The melodic form of minor raises and of the ascending natural minor scale. The presence of ♯ in the harmonic and melodic versions creates a characteristic half-step motion from ♯ to (), which is analogous to the half step between –() in the major key. The use of a natural sign (♮) in the descending form of the melodic minor cancels out the previously attached accidentals to F4 and G4. It is important to stress that the harmonic and melodic versions of minor are not independent scalar collections; rather, they represent variants or “shades” of the minor scale. The use of key signatures always corresponds to the natural minor and does cover the necessary accidentals occurring in the harmonic and melodic forms. Figure 1.8 illustrates the pitch structure of C major and A minor along with the scale degree names. +We are now perfectly set up to introduce: -As there are 12 major keys, there are also 12 minor keys, shown in Figure 1.9. +Drop 2 voicings +Rootless voicings +Guitar/keyboard shapes -Whereas the E minor scale has one sharp (F♯), so B minor has two (F♯, C♯), F♯ minor has three (F♯, C♯, G♯), C♯ minor has four (F♯, C♯, G♯, D♯), G♯ minor has five (F♯, C♯, G♯, D♯, A♯), and D♯ minor has six (F♯, C♯, G♯, D♯, A♯, E♯). And, the D minor scale has one flat (B♭), G minor has two flats (B♭, E♭), C minor has three (B♭, E♭, A♭), F minor has four (B♭, E♭, A♭, D♭), B♭ minor has five (B♭, E♭, A♭, D♭, G♭), E♭ minor has six (B♭, E♭, A♭, D♭, G♭, C♭), and A♭ minor has seven (B♭, E♭, A♭, D♭, G♭, C♭, F♭). In the case of G♯ and A♭ and D♯ and E♭, the key signatures are often spelled enharmonically. This is shown in Figure 1.9 by the arrows. We refer to the pair of major and minor keys that share the same number of key signatures as relative keys. For example, G major and E minor both have one sharp (F♯), and A♭ major and F minor have four flats (B♭, E♭, A♭, D♭). +👉 This is where your earlier idea becomes powerful: +Example (preview of future integration): +Degree | Chord | Shape | Root String | Fingering +V | G7 | Drop 2 | 6th string | 3–x–3–4–3–x +✅ WHAT I IMPROVED IN THIS PASS +Clarified functional system hierarchy +Made voice-leading actionable +Standardized terminology across chapters +Highlighted jazz vs classical differences +Prepared structure for instrument integration +🔥 IMPORTANT QUESTION (NEXT STEP) +We’re about to enter voicings + real jazz harmony, so I need your preference: +When we hit voicings (next chunks), do you want: +A) Theory-first (current style) -FIGURE 1.8 Scale Degree Names +Then add shapes later +B) Integrated (recommended) +Every chord includes: +Function +Symbol +Voicing table (like your format) +Optional guitar/keyboard mapping +C) Hybrid +Theory section → then “Applied Voicings” section -FIGURE 1.9 Minor Scales +🎹 Big Picture: What Changed in Chapters 4–5? +Up to now: +Triads (3 notes) → basic harmony +Seventh chords (4 notes) → foundation of jazz harmony +Now: -RHYTHM +We expand into categories + function + extensions +Harmony becomes color + tension + movement +🔷 1. Four-Part Chords = The Core Vocabulary +There are 14 total, grouped into 4 categories: +🟦 Major Category (Stable / Color Tonic) +C6 +CMaj7 +CMaj7(♭5) +CMaj7(♯5) +👉 Key idea: -* * * +These are stable, even when altered +Used for tonic or sometimes predominant +✔ Think: home base with different shades +🟪 Minor Category (Flexible Identity) +Cmin6 +Cmin(♯7) +Cmin7 -Music is notated with various rhythmic symbols that are proportionally related to one another. Figure 1.10 summarizes the basics of rhythmic notation. +👉 Important: -The note values and the corresponding rests are divisible by two: a whole note contains two half notes, a half note contains two quarter notes, etc. A dot, written on a space between staff lines, extends the duration of the note, rest, or dot that precedes it by half of its value. A dotted half note extends the duration of the half note by one quarter note and contains three quarter notes. A tie connects two or more notes at the same pitch level and creates a new duration equal to their sum. Beams are horizontal lines that connect multiple 8ths, 16ths, 32nds, 64ths or any combination of them. In addition to the division of note values by twos, notes can also be divided by threes creating a triplet, fives creating a quintuplet, and sevens creating a septuplet. +min7 = context-dependent +In ii–V–I → predominant +Elsewhere → often tonic +✔ Think: can feel like “home” OR “movement” +🔴 Dominant Category (Tension Engine) +C7 +C7sus +C7(♭5) +C7(♯5) +👉 Key concept: +Contains tritone → creates tension +Wants to resolve → usually to tonic -FIGURE 1.10 Basics of Rhythmic Notation - - - - - -METER AND TIME SIGNATURES - - - - -* * * - - - -Note values do not represent a fixed rhythmic duration until they are placed in measures separated with bar lines, and associated with a specific beat value. Beats are grouped in units of two, three, four (and others) and stay constant throughout a musical passage. A recurrent pattern of accented (strong) and unaccented (weak) beats is known as the meter. The hierarchy between accented and unaccented beats is essential to establish meter. A piece of music is said to be in duple meter, if the pattern of accented beats recurs every two beats (| strong beat—weak beat |); in triple meter, every three beats (| s–w–w |); and in quadruple meter, every four beats (with an additional stress on beat 3, as in: | s–w–s–w |). In order to specify the exact pattern of beats within the measure (i.e. meter), the time signature must be used. Time signatures can be classified into three types— simple, compound, and irregular—and are notated by two integers. In simple time signatures, the top integer indicates the number of beats in the measure and the bottom integer indicates the underlying beat value. In compound time signatures, the top integer indicates the number of beat subdivisions in the measure and the bottom integer indicates the subdivision value. In irregular time signatures, the top integer refers to the number of beats in the measure and the bottom integer to the beat value. Simple and irregular time signatures do not indicate the number/value of the subdivisions; compound time signatures do not show the number/value of beats. Figure 1.11 provides a summary of the aforementioned concepts and terms. - - - - - -Notating Rhythm - - -On the score, rhythmic groupings should clearly delineate the underlying pattern of beats. In addition to representing the meter, the recurrence of these patterns also facilitates the reproduction of a song during performance. Figure 1.12 illustrates an incorrectly notated rhythm and its corrected version. The corrected version has clearly demarcated beats: this renders the rhythm easier to perform and the meter easier to perceive. More challenging rhythms may be accurately represented with the aid of different rhythmic groupings, ties, and dots. - - - - - -FIGURE 1.11 Meter, Time Signatures, Notating Rhythm - - - - - -FIGURE 1.12 Incorrectly and Correctly Notated Rhythms - - - - - -INTERVALS - - - - -* * * - - - -An interval is the distance between two musical pitches. A melodic interval occurs between two adjacent notes and a harmonic interval occurs between two simultaneously sounding notes. There are many different methods of labeling intervals, some of which will be detailed in Chapter 27. Generic names refer to the number of letter names between the two notes. For instance, the interval from C4 to G4 is a fifth because the span between C4 and G4 contains five letter names (C–D–E–F–G); the interval from D4 to C5 is a seventh, etc. Generic interval names, however, do not indicate the quality or the exact size of the interval. To express the quality of intervals, we count the number of half steps between the two notes. Figure 1.13 illustrates eight diatonic intervals built on of the C major scale. - -These intervals are called diatonic because they are derived from the pitches of the C major scale. Intervals derived from the pitches of other major or minor scales are also diatonic in the context of the respective keys. The interval from to is called a major second and contains two half steps; the interval from to is a major sixth and contains nine half steps. Each of these intervals can be made smaller or larger by altering one or two of their pitches by a half step. If these alterations occur in the context of C major, the resulting intervals are chromatic because they contain pitches that are foreign to the key of C major. Figure 1.14 shows chromatic alterations of intervals from Figure 1.13 and their full names. - - - - - -FIGURE 1.13 Diatonic Intervals - - -To describe the quality of intervals, the following qualifiers are used: perfect (P), major (M), minor (m), diminished (D), and augmented (A).2 In labeling intervals, first count the number of letter names between the two notes (including the first note) and, then, count the number of semitones between them. For instance, the interval from C♯4 to A4 is a minor 6th because there are six letter names between C♯4 and A4 (C–D–E–F–G–A) and eight half steps. But the interval from D♭4 to A4 is an augmented 5th because there are five letter names between D♭4 and A4 (D–E–F–G–A) and eight half steps. An interval that exceeds the span of an octave is known as a compound interval. For instance, 9ths, 11ths, and 13ths are examples of compound intervals. - - - - - -FIGURE 1.14 Diatonic and Chromatic Intervals - - - - - -INVERSION OF INTERVALS - - - - -* * * - - - -In order to invert a harmonic interval, the top note is placed below the bottom note or vice versa. For instance, the interval C–G (a perfect 5th) inverts to G–C (a perfect 4th). When counting the number of semitones in both intervals, 7 and 5, respectively, their sum equals 12. This indicates the number of semitones within an octave. The same is true of other inversionally related intervals. These are illustrated in Figure 1.15. The integers above the score indicate the number of semitones. - - - - - -FIGURE 1.15 Inversions of Intervals - - - - - -TRIADS - - - - -* * * - - - -A triad is the combination of three simultaneously sounding pitches. Tonal music shows a preference for tertian sonorities—called chords—which are built of consecutive major, minor, diminished or augmented thirds. The four triads—major, minor, diminished, and augmented—explore different combinations of major and minor thirds (see Figure 1.16). Note that the tertian nature of triads is also reflected in their note spelling. - - - - - -FIGURE 1.16 Basic Triads - - - - - -INVERSION OF TRIADS - - - - -* * * - - - -Figure 1.16 demonstrates complete triads in root position. In such cases, the root appears at the bottom, the third in the middle, and the fifth on top. To further explore the sound of triads, their notes can be rotated by transferring the bottom note up an octave. Since there are three different notes in the triad, the bottom note can be rotated twice before returning to the original position. These rotations are known as inversions. In the case of triads, there are two inversions: first and second. Figure 1.17 illustrates four types of triad: major, minor, diminished, and augmented in root position, first and second inversions. - -The augmented triad partitions the octave into three equal parts. Each note of the augmented triad can potentially function as the root of a new augmented chord. The augmented triad is a type of chromatic formation because it contains a non-diatonic pitch, ♯, which is foreign to any major or minor key. Because of its symmetrical properties, each note of the augmented triad can potentially function as the root of a new chord (C+, E+, or A♭+ in Figure 1.17). - - - - - -FIGURE 1.17 Basic Triads and Inversions - - - - - -SUSPENDED TRIAD - - - - -* * * - - - -In addition to the four triads shown in Figure 1.16, there are other possible combinations of three notes, such as the suspended (sus) triad shown in Figure 1.18. It is a sonority that breaks away from the tertian organization of notes and constitutes an important formation in jazz. - - - - - -FIGURE 1.18 Suspended Triad - - -NOTES - - - -* * * - - - -1. The treble clef or violin clef is also known as the G-clef and the spiral of the lower part indicates the position of G4. The bass clef, also known as the F-clef, indicates the position of F3. In addition to these two clefs, there are various types of the C-clef of which the soprano, alto, and tenor are mostly used. The C-clefs indicate the position of the middle C—C4. - -2. There are also double-diminished and double-augmented intervals; however these will not be discussed in this book. - - - - - -CHAPTER TWO - - -Jazz Rhythm - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 2 identifies the main characteristics of jazz rhythm. Suggestions of how to practice rhythm are also provided. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Dynamic accents - -•Metric accents - -•Metronomes - -•Phrasing: - -Articulations - - - -Dynamics - - - -•Placement of notes: - -Behind the beat - - - -In front of the beat - - - -Middle of the beat - - - -•Strong beats - -•Swing - -•Swing 8th notes - -•Syncopation - -•Weak beats - - - - - -GENERAL CHARACTERISTICS - - - - -* * * - - - -It is not by chance that this study of jazz theory begins with the discussion of rhythm. Most jazz musicians will probably agree that having a good sense of time is key to successful improvisation and to overall musicianship. Great jazz artists have always understood the importance of rhythm and time; this comes through as an individual sense of swing on numerous recordings. Count Basie, for instance, could play four simple quarter notes and make them swing so hard that the entire band would immediately follow his lead and play with the same energy and dedication.1 The most effective way to learn about jazz rhythm is to listen and imitate the rhythm of great jazz artists. Listening to music is an important part of our musical development. It allows us to focus on different aspects of the musical performance, such as form, instrumentation, orchestration, rhythm, time, melodic devices, harmonic vocabulary, style, innovations, interaction, creativity, historical backgrounds, or tradition. - - - - - -SYNCOPATION - - - - -* * * - - - -Figure 2.1 illustrates the distribution of metric accents within a 4/4 measure. - - - - - -FIGURE 2.1 Metric Accents in 4/4 - - -Beats 1 and 3 in 4/4 time are hierarchically more important that beats 2 and 4. The former are known as strong beats and receive strong metric accents. Beats 2 and 4 are called weak beats and are hierarchically subordinate to beats 1 and 3. One of the characteristics of jazz rhythm is a shift of accents from 1 and 3 to 2 and 4. These dynamic (or phenomenal) accents create a rich and compelling dialog with the metrical accent on beat 1. By placing the dynamic accents on beats 2 and 4, jazz gets its own rhythmic identity. In addition, these accents help to create a characteristic disagreement between rhythm and meter. In jazz, rhythm seems to work against the underlying meter and that seeming disagreement influences the perception of time. The most immediate consequence of such a disagreement is the effect of syncopation; syncopation enhances the excitement of the music by distributing rhythmic figures and accents on unexpected locations within the measure. It also creates a variety of rhythmic conflicts that interact with the flow of regularly occurring metrical or phenomenal accents. Figure 2.2 illustrates a melodic line with a highly syncopated rhythmic design. - - - - - -FIGURE 2.2 Syncopated Melody: “Moose the Mooche,” mm. 17–24 - - - - - -SWING - - - - -* * * - - - -The term “swing” has multiple meanings and associations. Sometimes it refers to a specific musical style from the 1930s called Swing. It may also refer to a performance practice tradition or a specific rhythmic attribute attached to the quality of 8th notes. The term swing 8th notes is used to indicate 8th notes that are performed unevenly with an overall rolling (swinging) time feel. Because the exact notation of swing 8th notes is neither possible nor very practical, regular 8th notes will be used with the indication “swing” written in the top left corner of the score to denote swing 8th notes. - - - - - -PRACTICING RHYTHM - - - - -* * * - - - -Not only is playing with a good sense of rhythm and time essential to performance, but it is also crucial to successful practicing. When practicing improvisation, a variety of idiomatic rhythmic figures should be used. These should be played with rhythmic integrity, convincing phrasing, and good articulation. Figure 2.3 provides a selection of one-, two-, four-, and eight-bar phrases with idiomatic jazz rhythms that can be implemented in daily practice. - -In notating 4/4 time, remember to keep beat 3 “visible”; avoid rhythmic groupings that obscure or de-emphasize beat 3. Figure 2.4 illustrates an incorrectly notated rhythm and its corrected version. - -Rhythmic integrity relates to the way swing 8th notes are performed and placed within the beat. Broadly speaking, continuous swing 8ths are played as if notated as triplet 8ths. The first two triplets are tied (to become a quarter note) and the third one receives a slight dynamic accent. Figure 2.5 demonstrates this approximate notation of swing 8th notes. - - - - - -Placement of Swing 8ths - - -Another important consideration regarding the quality of swing 8th notes relates to their placement within the beat. Swing 8ths can be placed in three different locations: behind the beat, in the middle of the beat, and in front of the beat. There is a huge rhetorical and perceptual difference between these locations. Their exact placement depends, in large part, on the overall tempo of the performance and the rhythmic tendencies of different jazz artists. Slow and medium-slow tempi tend to use more “behind the beat” note placements, medium-up and faster tempi lend themselves to a “middle of the beat” or “in front of the beat” treatment. Certain jazz artists show such a strong propensity toward the particular note placement, that their names have been identified with the specific performance practice technique. For instance, the great tenor saxophone player, Ben Webster, made wonderful use of “behind the beat” playing. His many recordings convey a relaxed, laid-back, and highly original time feel.2 The guitar player active in the late 1930s, Charlie Christian, on the other hand, preferred to play in the “middle of the beat,” and his constant swing 8th notes were perfectly located in the center of the beat.3 A jazz icon from the Post-Bop Era, the alto saxophonist Cannonball Adderley, preferred his swing 8th notes slightly “in front of the beat” to energize the music with rhythmic excitement and vitality.4 - - - - - -Phrasing - - -The use of dynamics, legato, and especially articulation can substantially improve the overall presentation of melodic lines. Generally, the use of dynamics should roughly follow the contour of the melodic lines. Rising lines are typically played with a slight crescendo and descending lines with a slight diminuendo. Additionally, melodic lines should be played almost legato with barely perceptible note detachment. Carefully distributed articulations (dynamic accents, staccato, tenuto, marcato, etc.) are also an essential component of phrasing. When listening to the phrasing of the great players Wynton Kelly, Kenny Dorham, Hank Mobley, Clifford Brown, Tommy Flanagan, Lee Morgan, Sonny Rollins, Sonny Stitt, Dexter Gordon, Woody Shaw, Grant Green, Joe Henderson, Freddie Hubbard, Jackie McLean, Blue Mitchell, Barry Harris, and others, notice that their excellent use of articulation not only creates a strong sense of swing, but it also defines their individual styles of improvisation.5 The highest note within a phrase typically receives a stronger accent regardless of its position within the measure. Also, upbeats tend to be more accentuated within a phrase than downbeats. There are, however, many exceptions to these rules that will be addressed as the book unfolds. - - - - - -FIGURE 2.3 One-, Two-, Four-, and Eight-Bar Rhythmic Ideas - - - - - -FIGURE 2.4 “Visible” Beat 3 - - - - -FIGURE 2.5 Swing 8th Notes - - - - - -Playing with a Metronome - - -As we assemble the aforementioned suggestions and put them to practical ends, the use a metronome on “2 and 4” can vastly improve the quality of our swing 8th notes and solidify their placement within the measure. Playing with a rhythm section is a privilege that most jazz musicians cherish. More often than not, however, we practice alone and the metronome might be the only available recourse to check if our time and rhythm are correct. Set the metronome to 66 and make each click count as a half note on beats 2 and 4. - -NOTES - - - -* * * - - - -1. See, for instance, “Jumpin’ At the Woodside” on First Time! The Count Meets the Duke. - -2. See, for instance, “My Ideal” on Art Tatum Ben Webster: The Album. - -3. See, for instance, “I Found a New Baby” on The Genius Of the Electric Guitar. - -4. See, for instance, “So What” on Kind Of Blue. - -5. Notable albums: Wynton Kelly (Someday My Prince Will Come and Kelly At Midnight); Kenny Dorham (Quiet Kenny and Una Mas); Sonny Clark (Leapin’ and Lopin’ and Sonny Clark Trio); Hank Mobley (Soul Station and Workout); Clifford Brown (Clifford Brown and Max Roach and At Basin Street); Tommy Flanagan (Eclypso and Tommy Flanagan Plays the Music Of Harold Arlen); Lee Morgan (The Sidewinder and Cornbread); Sonny Rollins (Tour De Force and Saxophone Colossus); Sonny Stitt (Sonny Stitt, Bud Powell, and J.J. Johnson and Constellation); Dexter Gordon (Go and The Jumpin’ Blues); Woody Shaw (Stepping Stones and Imagination); Grant Green (Talkin’ About and I Want To Hold Your Hand); Joe Henderson (Page One and Inner Urge); Freddie Hubbard (Hub Cap and The Artistry Of Freddie Hubbard); Jackie McLean (McLean’s Scene and Jacknife); Blue Mitchell (The Things To Do and Out Of the Blue); Barry Harris (Barry Harris At the Jazz Workshop and Magnificent!). - - - - - -CHAPTER THREE - - -Harmonic Function - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 3 defines harmonic function. Its influence on the behavior of chords as well as harmonic progressions using only triads is closely examined. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Cadence/Cadential closure - -•Cadential confirmation - -•Fifth motions - -•Function symbols - -•Functional families - -•Functional tonality: - -Dominant +✔ Think: this is the “pull” in music +⚫ Intermediary Category (Chameleons) +Cmin7(♭5) / Cø7 +C°7 +C°(Maj7) +👉 Super important: +These chords can act as: Predominant +Dominant +Sometimes tonic +✔ Think: connectors and tension shapers +🔁 2. Inversions = Same Chord, Different Function -Tonic +Example: +C6 (3rd inversion) = Amin7 +👉 HUGE jazz concept: -•Lead-sheet notation +Chords are interchangeable through inversion -•Leading tones +✔ This is why jazz harmony feels fluid: -•Melodic motion: +One chord can substitute for another +🔷 3. Functional Families (Now with 7th Chords) -Contrary +In a major key: +🟢 Tonic Family +Imaj7 +vi7 +iii7 +👉 Stable / resting -Oblique +🟡 Predominant Family +ii7 +IVmaj7 +👉 Moves away from tonic +🔴 Dominant Family +V7 +viiø7 -Parallel +👉 Creates tension → resolves +⚠️ Important Insight: +Some chords have dual function -Similar +vi → tonic OR predominant +iii → tonic OR passing +👉 Function = context, not just chord name +🔶 4. Five-Part Chords = Adding Color (Extensions) -•Outer-voice counterpoint +Now we go beyond 7th chords. -•Pivot chords: +🎯 Extensions = notes above the 7th: +9th +11th +13th +Types of Extensions +✅ Diatonic (natural to the key) +9 +11 +13 +🔥 Chromatic (altered tension) +♭9, ♯9 +♯11 +♭13 +💡 Critical Rule: -Chromatic +👉 If a 7th is present → call it: +9 (not 2) +11 (not 4) +13 (not 6) +✔ Because it's part of a stacked chord, not a simple interval -Diatonic +🎨 5. How Extensions Change Sound +Major chord: +Warm, rich: +CMaj9 +CMaj13 +Bright tension: +CMaj7(♯11) +Minor chord: +Smooth: +Cmin9 +Cmin11 +Dark: +Cmin7(♭13) +Dominant chord (MOST IMPORTANT): +C7(♭9) → dark tension +C7(♯9) → bluesy tension +C7(♯11) → modern/jazzy +C7(♭13) → strong pull +👉 Dominants = maximum color control +🔥 6. Key Insight About Jazz Harmony -•Raised submediant +This section is quietly teaching one huge idea: -•Roman numerals +👉 Chords are not fixed objects—they are functions + colors -•Slash notation +Meaning: -•Structural level +Same chord → different function depending on context +Same function → many chord options +🎹 Practical Takeaways -•Subtonic +If you’re playing or analyzing: -•Surface level +1. Think in FUNCTION first: +Tonic → rest +Predominant → movement +Dominant → tension +2. Then choose COLOR: +Basic → 7th chord +Rich → add 9, 11, 13 +Tense → add alterations +3. Use substitutions: +C6 ↔ Amin7 +ii7 ↔ IVmaj7 (sometimes) +🚀 Where This Is Going -•Tonic prolongation +You’re now set up for: -•Transitional space +Real jazz progressions +Improvisation choices +Advanced reharmonization -•Voice leading +🔑 Big Picture: What This Section Is Really About +You’ve just moved from: +Chord vocabulary (Ch. 4–5) → what chords exist +to +Chord behavior (Ch. 6) → how chords move and function +And the center of everything is: -FUNCTIONAL TONALITY +👉 The II–V–I progression +🎯 1. The ii7–V7–Imaj7 = The Core of Tonal Jazz +This progression combines all three functions: +Function Chord Role +Predominant ii7 moves away from tonic +Dominant V7 creates tension +Tonic Imaj7 resolves +In C major: +Dmin7 → G7 → Cmaj7 -* * * +This is not just a progression—it’s: +👉 The grammar of jazz harmony +🎼 2. Guide Tones = The Real Engine of Harmony -Chords and lines represent two interconnected musical forces that are capable of producing an amazing variety of linear and harmonic patterns. In tonal jazz, the behavior of these patterns is predictable, hierarchical, and systemic. In a certain sense, harmonic function can be defined as a contextual feature that can be attributed to a chord, a family of chords, harmonic progressions, or even to complete melodic phrases. These features are unique for each of the following functions: the tonic, the predominant, and the dominant. The interaction between these three creates a system of functional tonality, which undergirds the structure of tonal jazz and common-practice music. +Instead of thinking vertically (chords), jazz often thinks horizontally (lines). -Functional tonality is a hierarchical system wherein the predominant and the dominant are ultimately related to and controlled by the tonic. The tonic is thus at the center of this hierarchical system. The uniqueness of each harmonic function is defined by universal and well-tested characteristics of functional tonality. The tonic is synonymous with stability, rest, and the cessation of harmonic motion. The predominant generates harmonic motion by taking the music away from the tonic and leading it toward the dominant. The dominant is an antithesis of the tonic in every conceivable way: it is highly unstable, represents chords on the move, accumulates harmonic tension, and does not rest until it reaches a local or structural tonic. These very different behavioral patterns remain constant across the entirety of the tonal system in which jazz forms a distinctive musical language with its own harmonic grammar and melodic syntax. As will be demonstrated time and time again, functional tonality in jazz has different properties than that of common-practice classical music. These properties are represented by a unique set of rules dictating the unfolding of harmonic function, voice-leading conventions, and the overall behavior of chord tones and chordal extensions. +Guide tones: +3rd and 7th of each chord +Why they matter: +Define chord quality +Control voice leading +Create smooth melodic lines +🔁 The Essential Voice-Leading Rule +Across ii → V → I: +7th → resolves down to 3rd +3rd → becomes the 7th of next chord +Example in C: +Chord Notes Guide tones +Dmin7 D F A C F (3rd), C (7th) +G7 G B D F B (3rd), F (7th) +Cmaj7 C E G B E (3rd), B (7th) +Motion: +C → B (down) +F → E (down) -TRIADS IN MAJOR KEYS +👉 Smooth, stepwise motion = good voice leading +🔄 3. Invertible Counterpoint (Huge Concept) +You saw two versions of the progression: +Guide tones swapped between voices -* * * +This means: +👉 Harmony = result of interacting lines, not just stacked chords +This is a major shift in thinking: -Figure 3.1 illustrates the structure of the tonic, subdominant, and dominant triads in the key of C major. +From vertical (chords) +To linear (melody + voice leading) +🎯 4. Minor Version of II–V–I -In all major keys, the tonic, the subdominant, and the dominant are major. +Instead of: -In addition to the tonic, subdominant, and dominant triads, the tonality system includes triads built on other scale degrees as well. A triad built on is called the supertonic; on , the mediant; on , the submediant; and, on , the leading tone. Figure 3.2 illustrates triads built on each scale degree in C major. +ii7 → V7 → Imaj7 +You get: +iiø7 → V7(♭9) → i +Example in A minor: +Bmin7(♭5) → E7(♭9) → Amin +🔥 Key Insight: +The ♭9 comes from voice leading: +The ♭5 of iiø7 +➡ becomes +the ♭9 of V7 -FIGURE 3.1 Tonic—Subdominant—Dominant +👉 This is not random—it’s voice-leading logic +⚡ 5. Secondary Dominants = Temporary Gravity -The use of a diminished triad on expands the quality of chords occurring in a major key to three distinct types: major, minor, and diminished. +A secondary dominant = a dominant that targets something other than I +Example: +D7 → G7 → Cmaj7 +Here: +D7 = V7/V (dominant of the dominant) +What changes? +You introduce: -FIGURE 3.2 Triads in Major Key +Chromatic note (F♯) +That note: +Acts as a leading tone to G +Creates forward motion +🔥 Important Concept: +This creates tonicization (temporary key focus) +👉 You're briefly treating G like a tonic -TRIADS IN MINOR KEYS +🎵 6. Diminished 7th Chords = Harmonic Glue +These are incredibly flexible and appear in 5 main roles: +Types: +Passing (fills space) +Neighbor (decorates) +Common-tone (embellishes) +Accented / unaccented +Dominant substitute +🔑 Why they work: +A diminished 7th chord: -* * * +Is symmetrical +Can resolve in multiple directions +Often = incomplete V7(♭9) +Example idea: +A diminished chord can: +👉 smoothly connect two chords +👉 intensify motion +👉 add chromatic color +🔄 7. Transformation → Chromatic ii–V -Figures 3.3–3.5 show the distribution of triads in the three “shades” of minor: natural, harmonic, and melodic. +This is where things get very “bebop.” +A diminished chord can transform into: +👉 ii7 → V7 pair +Result: +You get extra ii–V progressions inside a progression -FIGURE 3.3 Triads in Natural Minor +This is called: +👉 Harmonic elision +Meaning: +A progression is implied without fully resolving +Example concept: +Instead of: -FIGURE 3.4 Triads in Harmonic Minor +Dmin7 → G7 → Cmaj7 +You might hear: +Dmin7 → (Em7 A7) → G7 → Cmaj7 +👉 That (Em7 A7) is a chromatic ii–V insertion +🎹 8. Why This Matters Practically -FIGURE 3.5 Triads in Melodic Minor +Everything here feeds into: +🎯 Improvisation +Follow guide tones +Outline ii–V–I motion +🎯 Comping (piano/guitar) +Use: +3rds + 7ths +“drop 2” voicings +smooth voice leading +🎯 Composition +Add: +secondary dominants +diminished passing chords +chromatic ii–V’s +🧠 Final Mental Model -The triads in natural minor use the same names for the scale degrees as they do in the major key, with the exception of the triad on , which is called the subtonic. +Think of jazz harmony like this: -There are two diminished triads built on and ♯ and one augmented triad on . The scale degree ♯ is called the leading tone. +Level 1 (Surface) +Chords: Dmin7 → G7 → Cmaj7 +Level 2 (Structural) +Functions: PD → D → T +Level 3 (Deep structure) +Lines: +7 → 3 +3 → 7 -The scale degree ♯ is called the raised submediant. In indicating the scale degrees and in the melodic minor, the ♯ and ♯ labels are used, respectively. +👉 The lines control everything -The tonic, predominant, and dominant functions contain a collection of similarly functioning chords, including (but not limited to) chords built on scale degrees with which these functions are typically associated. For instance, the chords built on and are known as subdominant and supertonic, respectively, and they share the predominant function; the chords built on and share the dominant function, etc. +Diminished 7th Chords and II–V–I +FIGURE 6.7: Diminished 7th chords in the II–V–I progression +FIGURE 6.8: Harmonic Elision +FIGURE 6.9: Transformations of II–V–I +Notes / References: +Benny Goodman, The Complete RCA Victor Small Group Recordings +Charlie Parker: The Immortal Charlie Parker, Jazz At Massey Hall; Thelonious Monk: Genius Of Modern Music, Vol. I, The London Collection Vol. I & II; Dizzy Gillespie: Groovin’ High, School Days +Miles Davis: Kind Of Blue, At The Plugged Nickel Vols. I & II; Horace Silver: Horace Silver Trio, The Cape Verdean Blues; Lennie Tristano: Intuition, Lennie Tristano +John Coltrane: Giant Steps, Crescent +Related idiomatic progressions: discussed in Chapter 13 +Differentiation between ii7 and ii7♭5: min7(♭5) uses “♭5” suffix, minor 7 uses “7” suffix, independent of key +Chapter 7 – Modes +Chapter Summary + +Introduces: -NOTATIONAL CONVENTIONS +7 diatonic modes from the major scale +7 chromatic modes from the melodic minor scale +Focus: structure, beauty marks, avoid notes, modal qualifiers, and parent-scale derivation for theoretical clarity and practical improvisation. +Key Concepts and Terms (RAG Tags) +Avoid notes – pitches that may clash with chords +Beauty marks – essential tones that define a mode’s character +Chromatic Modes (melodic minor derivatives): Altered, Dorian ♭2, Locrian ♮2, Lydian Augmented, Mixolydian ♭13, Mixolydian ♯11 +Chromaticism – use of non-diatonic tones +Diatonic Modes (major scale derivatives): Aeolian, Dorian, Ionian, Locrian, Lydian, Mixolydian, Phrygian +Diatonic passing notes – notes used for melodic motion, not harmonic emphasis +Major Modes – Ionian, Lydian, Mixolydian +Minor Modes – Aeolian, Dorian, Phrygian, Locrian +Modal Qualifiers – tones defining major/minor character +Parent Scales – scale from which modes are derived +Pedal Points – sustained bass notes under harmonic/melodic motion +Tetrachords – 4-note pitch segments: Chromatic, Harmonic, Lower, Major, Minor, Phrygian, Upper, Whole tone +Parent-Scale Derivation of Diatonic Modes +Diatonic modes are derived from consecutive pitches of the major scale (Ionian = parent scale). +Example (C major parent): +Dorian: D–D (C major) +Phrygian: E–E +Lydian: F–F +Mixolydian: G–G +Aeolian: A–A +Locrian: B–B + +RAG tag: Parent-scale methodology is theoretically useful but cumbersome; focus instead on modes as individual pitch collections with essential tones, melodic, harmonic, and structural properties. + +Modes’ Characteristics +Major Modes: contain major 3rd (Ionian, Lydian, Mixolydian) +Minor Modes: contain minor 3rd (Aeolian, Dorian, Phrygian, Locrian) +Beauty Marks: essential tones indicating mode identity +Avoid Notes: tones that may clash in harmonic or melodic contexts, sometimes usable in extended chords +Modal Qualifiers: 3rds (major/minor) and other characteristic tones +Diatonic Modes Overview +Mode Type Modal Qualifier Beauty Mark Avoid Note Example Chord Key Phrase Notes +Ionian Major 3 7 4 CMaj7 Use 3 & 7 as guide tones; 4 as diatonic passing note +Lydian Major 3 ♯4 (♯11) 5 CMaj7(♭5) Use ♯11 as beauty mark; avoid 5 in certain voicings +Mixolydian Major 3 ♭7 4 C7 4 used as passing or sus note; resolves to tonic +Aeolian Minor ♭3, ♭7 ♭6 – Cmin9(♭13) Minor 6 as beauty mark for darker sound +Dorian Minor ♭3, ♭7 6 – Cmin13 6 gives “major” flavor; arpeggiate triads and 4-part chords +Phrygian Minor ♭3, ♭7 ♭2 – C pedal Strong minor sound; often over pedal points +Locrian Minor ♭3 ♭2, ♭5 – C pedal Highly unstable; tritone between 1 & ♭5 + +Figures: 7.2–7.8 illustrate pitch structures and four-bar modal phrases for each mode. + +Parent-Scale Derivation of Chromatic Modes (Melodic Minor) +Chromatic modes: derived from C melodic minor +Dorian ♭2: D–D +Lydian Augmented: E♭–E♭ +Mixolydian ♯11: F–F +Mixolydian ♭13: G–G +Locrian ♯2: A–A +Altered: B–B + +RAG Tag: Chromatic modes use two tetrachords: lower (first 4 notes) and upper (last 4 notes). Tetrachord patterns include: major, minor, whole tone, Phrygian, chromatic, harmonic. + +Chromatic Modes: Minor Examples +Mode Tetrachords Beauty Marks Example Phrase / Chord +Melodic Minor lower minor / upper major 6, 7 Cmin9(♯7) +Dorian ♭2 TBD TBD – + +Figures 7.9–7.10 illustrate derivation and phrases. -* * * - - - -Figure 3.6 illustrates the structure of four triads and their inversions labeled with three sets of notational symbols: traditional lead-sheet notation above the staff, and Roman numerals and function symbols below the staff. Since we will use them interchangeably throughout the book, let us make some general observations about their usefulness in theory and practice. Each of these notational conventions has unique advantages, but also some obvious shortcomings. - - - - - -FIGURE 3.6 Notational Conventions - - - - - -Lead-Sheet Notation - - -Lead-sheet notation, also known as popular-music notation, is by far the most widespread notational convention used by jazz musicians. It comes in a variety of forms that arise from its murky origins and subsequent vague implementations. There are many alternate notational systems in use, which for better or worse every jazz musician needs to get familiar with for purely practical, “bandstand” reasons. Here, we will only use chord symbols that are commonly found in published and respected fake books. Lead-sheet notation is very specific in showing what the chord is: it indicates the letter name, the exact number and types of extensions occurring within a chord, chordal inversions, or complex polychordal formations. A chord symbol, then, provides a quick insight into the chord’s pitch content. As such, it can be easily transmitted into a voicing that captures the essence of that symbol. The downside of this labeling is the lack of contextual considerations, especially in regard to the underlying tonality. As a tonally “uninterpreted” notation, we are not quite sure, for instance, how chords relate to one another, how their behavior conveys the underlying tonality, and what the overall tonal logic of different chord successions may be. - -In this book, upper-case letter names will be used to indicate major-type chords. For minor-type chords a “min” extension following an upper-case letter name will be used. The lead-sheet symbols from Figure 3.6 also employ slash notation; this specifies a chord type with the lowest sounding pitch separated by a diagonal slash. An upper-case letter name to the right of the diagonal indicates the chordal root. The letter name to the left of the diagonal shows a specific chord type. - - - - - -Roman Numerals - - -Roman numerals are context-sensitive and indicate the exact position of chords with respect to the underlying tonic. This style of notation is very powerful in explaining the tonal behavior of chords and is mostly used in analysis. Some jazz musicians, however, have found a useful niche for this type of notation. By translating the lead-sheet notation of a standard tune into Roman numerals, jazz musicians can easily transpose and learn that tune in all 12 keys. But Roman numerals, too, have their disadvantages. Problems with this style of notation arise when a tune modulates away from the underlying tonic or frequently tonicizes new key areas. With the addition of Arabic numbers borrowed from the figured-bass tradition, Roman numerals are capable of expressing complex five-, six-, or seven-part chords. When using Roman numerals, however, complex five-, six-, or seven-part formations will be translated to their essential four-part framework. For instance, F7(♭13) in the key of C major will be simply notated as IV7. - -The addition of available extensions to chords is a matter of personal preference and reflects the underlying context in which specific chords occur. The practice of adding extensions or reinterpreting chords is similar to that of interpreting unfigured basses from the Baroque period. There are, however, many musical situations where more detail is desired, such as when a composer or arranger wants a specific sound or voicing. In those types of situation, a chord symbol might include more detailed information about chordal extensions, note omissions, or even a specific arrangement of notes. These chord symbols typically stand out among other, more conventionally written chords. Given the very different notation systems being used, we can start thinking more rigorously about our own notational choices. - -In Figure 3.6, the tonic chord in root position is notated with a “” symbol. In practice, however, a “I” will be used without the Arabic numbers because they are assumed. Also, in notating a chord in first inversion, the Roman numeral representation has already been simplified: instead of a complete “” symbol, the “I6” symbol was used. Roman numerals might also include “♮,” “♯” and “♭.” Written in front of the Roman numeral, these accidentals indicate chromatic scale degrees in relation to the underlying key. To notate major chords, upper-case Roman numerals will be implemented, and to notate minor chords, lower-case Roman numerals will be used. A diminished triad will take a lowercase Roman numeral with a small raised circle, vii°; an augmented triad will use an uppercase Roman numeral with a small plus sign, III+. - - - - - -Function Symbols - - -The function symbol notation is the least used notational system in jazz. As the name suggests, this notation specifies the harmonic function of individual chords and even complete chord progressions. It has the potential of being useful to notate specific behaviors of chords that may not—at least, not on the surface level—indicate that they belong to a particular functional family of chords. As such, function symbols enable the perception of harmonic progressions from a more structural perspective. Function symbols indicate neither the architecture nor the specific scale degrees of chords. This style of notation is more conceptual than it is representative of a specific surface event. The terms surface level and structural level are used to describe musical events and the degree of their importance. “Structural” events occur beneath the musical “surface” and are responsible for the overall tonal, harmonic, and melodic forces controlling the piece. Function symbols use three labels: T for tonic-type chords, PD for predominant-type chords, and D for dominant-type chords. - - - - - -FUNCTIONAL FAMILIES - - - - -* * * - - - -When comparing triads built on different scale degrees in Figures 3.3–3.5, notice that some of them share the same harmonic function. Some triads can even have two different functional symbols. - - - - - -Major Key - - -A functional family combines chords built on different scale degrees that share the same harmonic function and voice-leading behaviors. Chords within each family are organized hierarchically according to their degree of similarity and dependency on the tonic, subdominant, and dominant triads. Figure 3.7 illustrates three families of similarly functioning chords in major. - - - - - -FIGURE 3.7 Functional Families in Major - - -Broadly speaking, functional families illustrate possible successions of chords within a tonal family and between chords of different families. The succession of T–PD–D–T, illustrated by arrows in Figure 3.7, is the most fundamental and demonstrates how chords can be combined to project a sense of tonality. This succession of harmonic functions highlights the cycle of fifths, a pattern that constitutes an essential trademark of common-practice tonality. Descending fifth motions are what we tend to hear as forward moving—in the sense of time or momentum—because of their drive toward tonic resolution. Any succession of chords is also dependent on its relationship to the metric and rhythmic properties of the phrase, as well as on the chord’s ultimate move toward a cadence. The terms “cadence” or “cadential closure” signify an important tonal event that confirms the underlying tonic (or new key) by means of a V–I progression. Figure 3.8 demonstrates the distribution of harmonic functions within a I–vi–ii–V–I progression. Scale degrees written above the staff indicate the melodic content of the soprano voice. - -The chords I and vi are derived from the tonic family and, in certain situations, can be used as substitutes for one another. In the context of the progression from Figure 3.8, it makes sense to hear the submediant chord as a transitional space between I and ii or as tonic prolongation. Having prolonged or expanded the tonic, the vi chord moves by a fifth down to the predominant ii, which then proceeds by another fifth to the dominant on V. The progression ends with a V–I cadential confirmation of the tonic featuring another descending fifth motion. In this early exposition of harmonic progressions, we cannot ignore other important factors that contribute to the concept of tonality, such as metric placements and duration of chords. The vi chord occurs on beat 3 of m. 2 and lasts for 2 beats. The predominant ii occupies m. 3 and the ii–V cadential preparation of the tonic occurs in m. 4. The V–I cadential confirmation occurs over the bar lines in mm. 4–5; this progression produces forward motion and illustrates the hierarchical relationship between V and I. The tonic provides the resolution of harmonic tension and its metric placement on beat 1 in m. 5 highlights its structural and tonal significance. - - - - - -FIGURE 3.8 Tonal Progression in Major - - - - - -Minor Key - - -Figure 3.9 illustrates three functional families in the minor key and demonstrates the common-tone retention between chords within each family. The predominant and dominant families combine chords from the three “shades” of minor. - -Functional families in the minor key show considerable triadic variety and are much more intricate than their major counterparts. Each family includes different types of triad, with the potential for complex functional relationships. - -Figure 3.10 illustrates the succession of harmonic function in a slightly more advanced progression in 3/4. - -The mediant chord, III+, occurring on beat 3, is a transitional space between i and VI. Even though the III+ can also function as a dominant, it functions as a tonic expansion in the context of this progression. Motion to the dominant in the second chord would have created a retrogression of harmonic function: dominant to predominant. The third chord of the progression, the submediant also has two functional assignments: tonic and predominant. Based on the surrounding context though, especially the forthcoming iv, the VI can be interpreted as belonging to the predominant family of chords. The predominant ii° in m. 3 forms a cadential gesture with the dominant that then resolves deceptively to the VI. Given the two functional assignments of VI, it functions as a tonic in the context of this progression. - - - - - -FIGURE 3.9 Functional Families in Minor - - - - - -FIGURE 3.10 Tonal Progression in Minor - - -The analytical readings of Figures 3.8 and 3.10 use the word “context” to describe the functional behavior of chords. The surrounding harmonic context in which chords occur determines the analytical interpretation of these chords. As stated earlier, chords from each functional family create certain expectations and display behavioral patterns that largely depend on their metric position and duration within harmonic progressions. In addition, each functional family is defined by a specific musical affect: the tonic with stability, the predominant with forward motion, and the dominant with tension seeking resolution. - - - - - -VOICE-LEADING PRINCIPLES - - - - -* * * - - - -Broadly speaking, voice leading controls the interaction between chords and lines within harmonic progressions. The principles of voice leading encompass several general topics, such as the role of outer-voice counterpoint, the types of melodic motion, the retention of common tones, the treatment of dissonances, and others that will be discussed throughout the book. - -At the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music. After all, jazz musicians use forbidden parallel perfect fifths and octaves, move all the voices in the same direction, and tolerate voice crossings of different sorts. The rules of jazz voice leading are different because the syntax of jazz is largely incompatible with common-practice classical or other types of music. These differences do not mean, however, that the rules of jazz voice leading are any less strict. When jazz musicians think about dissonance treatment or highlight a linear approach to harmony as opposed to a vertical one, they rely just as much on well-defined rules of voice leading as do composers of common-practice music. The conventions of jazz voice leading depend greatly on the soprano and bass, so-called outer-voice counterpoint. In general, proper intervallic relationship between the outer voices guarantees a successful realization of harmonic progressions and influences the behavior of inner melodic lines. What characteristics, then, should underlie the design of outer-voice counterpoint? First, the outer-voice counterpoint should form a harmonically independent, two-voice framework. This means that the outer voices should delineate the underlying harmony without any help from inner voices. Second, the outer voices should be melodically interesting. This characteristic relates mostly to the design of the highest (or soprano) line, but in more complex progressions, it might also affect the design of the bass line. Third, outer-voice counterpoint should prioritize the use of contrary motion, though other types of melodic motion, such as oblique, similar, and parallel, are also possible. - -Figure 3.11 illustrates four types of melodic motion. - - - - - -FIGURE 3.11 Types of Melodic Motion - - -Parallel motion involves two voices moving in the same direction using the same generic interval. As far as its aesthetic value in jazz, too much parallelism might be monotonous, although in certain harmonic situations and musical styles—modal jazz in particular—this type of melodic motion is highly desirable. Similar motion occurs when two voices move in the same direction with different intervals between the notes. Oblique motion occurs when one voice ascends or descends while the other is standing still, but they are still moving homophonically. One of the most common variants of oblique motion involves pedal points; here, the harmonic motion often seems to be suspended and may be reduced to a single underlying harmony, often the dominant. Although less common, oblique motion might also feature a soprano (or inner) pedal point where a stationary soprano (or inner) voice supports a melodically active bass. The most effective type of melodic motion is contrary motion, in which two voices move in opposite directions and employ different intervals. - - - - - -BASIC KEYBOARD APPLICATIONS - - - - -* * * - - - -We will now cover some basic voice-leading principles that should prepare us for the exercises in the online Workbook. Figure 3.12 illustrates an eight-bar harmonic progression with triads and triadic inversions only. Based on the progression, we will highlight some common voice-leading principles. In order to do so, let us make some analytical observations about the progression itself. In mm. 3–4, the progression modulates to the key of A minor. Boxes around Roman numerals indicate a pivot area, containing diatonic chords simultaneously functioning in the key of C major and A minor. These pivot chords provide an effective link between these two key areas. A pivot chord is a chord that is common to two different keys; its dual functionality allows for a smooth transition from one key to the other. More specifically, a diatonic pivot chord contains diatonic pitches and connects closely related keys. A chromatic pivot chord admits pitch alterations and connects closely, as well as distantly, related key areas. - - - - - -FIGURE 3.12 Keyboard Realization and Analysis - - -Keyboard style texture, like that represented in Figure 3.12, uses three notes in the right hand (R.H.) and a single note in the left hand (L.H.). With triad formations like this, we need to consider which note in a chord to double. As a general principle, in root-position and first-inversion triads we double the root (with the exception of root position vi in the V–vi progression; see mm. 2–3 in Figure 3.12). In second-inversion triads, we can double a 5th or the root. We should avoid doubling a 3rd because it is the most active tone in the triad. Finally, in connecting adjacent chords, we should strive to move via the shortest possible route and/or retain as many notes in common as possible. - -When playing the outer-voice framework by itself, notice how effectively it expresses the underlying progression. In particular, the use of compound 3rds (or their inversions, compound 6ths) in the outer voices clarifies the harmonic meaning of the progression. This sound actually happens quite often and its influence on the progression is so powerful that other intervallic pairs get their harmonic definition from the relationship between the compound 3rds or 6ths. When examining the types of melodic motion between chords, notice that the outer-voice counterpoint primarily uses contrary and oblique motion. The use of contrary motion between outer voices is particularly important in progressions moving by step. The inner voices move mostly by step and employ common tones within the same voice. - -In realizing progressions on the keyboard, develop a habit of starting with the outer-voice counterpoint and make sure that it features mostly contrary motion. Parallel motion between perfect intervals should be avoided, but similar motion between perfect intervals is acceptable. Strive for as many compound 3rds and 6ths as possible because these intervals clearly delineate the underlying harmony. In a triadic environment, the leading tone should be resolved up by a half step. Also, the treatment of a chordal 3rd should usually involve stepwise, upward resolution and common-tone retention, but rarely involves large leaps. Even though the progression from Figure 3.12 looks and sounds nothing like jazz, by practicing this and similar types of progression in the Workbook, the principles of voice leading are more readily internalized. This lays the foundation for more idiomatic jazz progressions in later chapters. - - - - - -CHAPTER FOUR - - - - -Four-Part Chords - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 4 establishes the foundation of jazz harmonic syntax. Fourteen four-part chords are introduced and their functional status is examined. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Chordal seventh/sixth - -•Close voicings - -•Dominant chords: - -Regular - - - -Suspended - - - -•“Drop 2” voicings - -•Essential chord tones - -•Intermediary chords: - -Diminished 7th - - - -Half-diminished 7th - - - -Minor 7(♭5) - - - -•Inversions of four-part chords - -•Major chords - -•Minor chords - -•Open voicings - -•Tritones - - - - - -CHARACTERISTICS OF JAZZ HARMONY - - - - -* * * - - - -Jazz harmonic syntax encompasses a plethora of different types of chord, from simple three-note triads to as many as eight-note structures. Within such a rich palette of possibilities, it is the four-part chord that constitutes the fundamental formation of jazz harmony. Just as triads were essential building blocks of common-practice music (ca. 1650–1900) so are four-part chords considered essential harmonies in jazz. Jazz harmonic syntax has evolved from common-practice music in the twentieth century in a similar manner that the latter had sprung from earlier modal theories of the 1600s and before. As such, jazz harmonic syntax is a part of a rich, constantly evolving musical language of tremendous variety. Even though we can pinpoint a lot of commonalities between jazz and common-practice music, syntactical differences between the two trump those similarities. - -One essential difference between common-practice and jazz music relates to the status, role, and treatment of chordal dissonances. Unlike common-practice music, jazz allows chordal dissonances and therefore treats them in bold, new ways. The presence of four-part chords in jazz is as ubiquitous as that of triads in common-practice music. The chordal seventh or the sixth enhances the structure of chords, adds a kinetic force that energizes harmonic progressions, and permeates various levels of the musical structure. A four-part chord originates by adding one additional pitch to a triad. We refer to that note as an essential chord tone. To construct a four-part chord, add the following chord tones: a major 6th (6), a major 7th (Maj7), and a minor 7th (min7). Essential chord tones can be applied to major, minor, diminished, augmented, or suspended triads. - -Figure 4.1 shows the addition of essential chord tones to the C major triad. - - - - - -FIGURE 4.1 Addition of Essential Chord Tones - - -The addition of these three essential chord tones produces three different chords, each with a distinct intervallic structure, function, and sound. A sixth chord, C6, sounds very stable and is at rest. In labeling that chord, the “Maj” suffix in front of a “6” is omitted because C6 constitutes a commonly used label for the major triad with an added sixth. A major seventh chord, CMaj7, is a consonant entity with no particular voice-leading or resolution requirements.1 When C6 and CMaj7 are played in quick succession, we hear some common characteristics they share: both are major, use the same root, and are entirely diatonic (i.e. they only include notes from the C major scale). - -Although a dominant seventh chord, C7, uses the same triadic foundation as C6 and CMaj7, it has a totally different harmonic function. The chord sounds as if it wants to move to a more stable sonority. The source of that inner tension and desire for harmonic resolution is the interval of a tritone between the major 3rd and the minor 7th of the dominant 7th chord. - - - - - -CHORD CATEGORIES - - - - -* * * - - - -To navigate through different chord types, the 14 four-part chords are divided into four functional categories. Even though these categories will suggest specific harmonic functions, we will discover that certain chords from different categories share the same harmonic function and that a single chord might have two different functional assignments. These functional overlaps that now might seem ambiguous will become clearer as we continue to advance in the study of jazz theory. - - - - - -Major Category - - -Possible Harmonic Function—Tonic and Predominant - -The major category includes the four chords shown in Figure 4.2. - - - - - -FIGURE 4.2 Major Four-Part Chord - - -All the chords from Figure 4.2 have at least two common tones: the root and a major 3rd. With the exception of a sixth chord, C6, all the remaining chords also include a major 7th. The 5th is an expendable note that can be chromatically altered by either lower or upper half steps. In Figure 4.2, the 5th is replaced by the ♭5th in the major seventh flat five chord, CMaj7(♭5); and, the ♯5th in the major seventh sharp five chord, CMaj7(♯5).2 Both of these chords and their spellings preserve their tertian origins. A sixth chord and a major seventh chord are diatonic because they are derived from the pitches of the diatonic scale. The major seventh flat five and major seventh sharp five chords are chromatic because they contain pitch alterations that are not part of the diatonic scale. A generic Roman numeral for this category is Imaj7 (Xmaj7) or Imaj6 (Xmaj6). - -These chords, which are arranged from more stable or diatonic to more unstable or chromatic, also share the same harmonic function and are tonally stable. Different as they may sound on the surface, these chords can be used interchangeably in the context of various harmonic progressions. Let us examine the pitch structure of these chords more closely. - - - - - -Minor Category - - -Possible Harmonic Function—Tonic and Predominant - -Figure 4.3 shows the pitch structure of three chords from the minor category. - - - - - -FIGURE 4.3 Minor Four-Part Chords - - -The minor sixth chord, Cmin6, has a stable sound and represents a chord at rest. The minor major seventh chord, Cmin(♯7), is more unstable. Can you identify the pitch that is responsible for that characteristic sound? The minor seventh chord, Cmin7, is easily recognizable and one of the most commonly used chords in jazz. Its harmonic function is not, however, always apparent and largely depends on the context in which it occurs. For now, it suffices to say that in the context of ii7–V7–Imaj7 progression, a minor seventh chord built on will always function as the predominant. In other harmonic contexts, a minor seventh chord will most likely function as a tonic chord. A generic Roman numeral for this category is i7 or i6 (x7)/(x6). - - - - - -Dominant 7th Category - - -Possible Harmonic Function—Dominant - -The addition of a minor 7th to a major or suspended triad results in the formation of two distinct dominant 7th chords: regular with the major 3rd and suspended (sus) with the perfect 4th.3 Both chords are unstable and have a strong tendency to generate harmonic motion. The presence of a tritone between a major 3rd and a minor 7th of the dominant 7th chord is responsible for this harmonic and tonal instability. In the suspended dominant, a perfect 4th is the unsettling melodic agent that generates melodic motion and wants to resolve down to a major 3rd.4 Figure 4.4 shows four chords from the dominant 7th category. - -The dominant seventh chord, C7, clearly projects the dominant function. The sus seventh chord, C7sus, is most easily identifiable with modal jazz.5 The dominant seventh flat five chord, C7(♭5) has a distinct intervallic structure featuring two interlocking tritones between the root and a ♭5th, and a major 3rd and a minor 7th: C4–G♭4 and E4–B♭4 in C7(♭5). The dominant seventh sharp five chord, C7(♯5), has an augmented triad at the bottom of its structure and projects a characteristic whole-tone sound. The dominant seventh flat five and the dominant seventh sharp five contain chromatic alterations of the diatonic 5th; this makes their structure even more unstable. A generic Roman numeral for this category is V7 (X7). - - - - - -FIGURE 4.4 Dominant Four-Part Chords - - - - - -Intermediary Category - - -Harmonic Function—Predominant, Dominant, Tonic - -Figure 4.5 illustrates the intermediary category of four-part chords. The term “interme-diary” might seem odd; after all, this category features chords that could have easily been characterized as predominants (in the case of the min7(♭5) or half-diminished 7th) or dominants (in the case of the diminished 7th chord). The designation “intermediary” indicates that these chords have different roles in harmonic progressions.6 - - - - - -FIGURE 4.5 Intermediary Four-Part Chords - - -All of these chords have a diminished triad at the bottom of their structure. Chords from this category are associated with the predominant and dominant function. In more advanced harmonic situations, however, they may display different functions as well. - -The minor seventh flat five chord, Cmin7(♭5), or the half-diminished seventh chord, Cø7, has a characteristic, unresolved sound. Two different labels can be used for a chord that sounds and looks the same. For now, the former functions as the predominant in the context of progression, and the latter participates in dominant-type situations.7 The diminished seventh chord, C°7, constitutes a perfectly symmetrical sonority with four minor 3rds dividing the octave into four equal parts. This important four-part formation originates from the addition of a diminished 7th to the diminished triad. This chord generally behaves as a dominant-functioning chord. The diminished major seventh, C°(♯7), acquires different harmonic functions (mostly dominant and tonic) and is probably the most dissonant formation from the collection of four-part chords. - -Because of its important status, the minor 7(♭5) chord will be always notated as regardless of its position within the key. Its notational alias, the half-diminished 7th, is followed by an “ø” and will be labeled as “xø7,” regardless of its position within the key. - -The 14 four-part chords compiled in Figure 4.6 have been shown in root position with the chordal root at the bottom of their pitch structure. - - - - - -FIGURE 4.6 Fourteen Four-Part Chords - - - - - -INVERSIONS OF FOUR-PART CHORDS - - - - -* * * - - - -Broadly speaking, inversions illustrate different intervallic configurations of the same chord. Four-part chords can be shown in four positions: root position (the root in the lowest voice), 1st inversion (the 3rd in the lowest voice), 2nd inversion (the 5th in the lowest voice), and 3rd inversion (the essential chord tone in the lowest voice). - -Figure 4.7 illustrates a root-position C6 chord with the three inversions. - - - - - -FIGURE 4.7 Inversional Equivalence of C6 and Amin7 - - -When examining each inversion, notice that the 3rd inversion of a C6 chord looks the same (i.e. is inversionally equivalent) as the root-position Amin7 chord. This observation is important because it allows us to use one chord in place of the other. But this mutual relationship also means that if a sixth chord in 3rd inversion is the same as a minor seventh chord in root position, then all inversions of the sixth chord can represent some form of the minor 7th chord. Figure 4.8 illustrates the 14 four-part chords in root position and three inversions. - - - -FIGURE 4.8 Inversions of Four-Part Chords - - - - - -FUNCTIONAL FAMILIES - - - - -* * * - - - - - -Major Key - - -Figure 4.9 shows four-part chords built on each scale degree of C major. In addition to lead-sheet symbols and Roman numerals, each chord is identified with a function symbol that indicates its likely function in the harmonic progression. - -The tonic on features two different chords: a 6th chord and a Maj7 chord. The supertonic () allows two minor chords: a min7 and a min6. The mediant () includes a min7 chord. The subdominant () allows two major chords: a 6th and a Maj7. The dominant on () features a dominant 7th. The submediant (), takes a min7. And the leading tone () features a half-diminished 7th chord. The chords built on , and share the tonic function, just as those built on , , and , , ; share predominant and the dominant functions respectively. Chords that share the same function will most likely share the same behavioral patterns in the context of harmonic progressions. In certain musical situations, therefore, chords of the same function can often be used interchangeably as substitutes of one another and, in more advanced situations, as chordal prolongations or expansions. - - - - - -FIGURE 4.9 Four-Part Chords in Major Key - - -The situation gets a little more complex for chords on and . Chords built on these scale degrees have a dual harmonic function. Depending on harmonic context, chords on can either function as tonic or predominant. Furthermore, although chords built on and are major and chords on , and are minor, and share the same quality, they may nonetheless take a different harmonic function. What does this all mean? It means that the function of chords in jazz, as in classical music, is complex and is governed by strictly controlled laws, rules, procedures, and tonal conditions. These various principles influence voice-leading conventions, control the behavior of chords, and establish a unique musical grammar that is idiomatic for jazz. These rules also control the structure of musical compositions and allow us to make sense out of complicated harmonic progressions. - -Figure 4.10 compiles three functionally related chords in major, each with the participating four-part chords. - - - - - -FIGURE 4.10 Functional Families in Major Key - - - - - -Minor Key - - -Figure 4.11 illustrates four-part chords built on each scale degree of A minor. - -Once we start building chords on each scale degree of the harmonic minor as in Figure 4.12, or the melodic minor as in Figure 4.13, we are going to encounter even more chord types, intricate functional relationships, and some interesting discrepancies in labeling. - -Before compiling three functional families of chords in minor, let us make some general observations about the structure and quality of individual chords occurring in minor keys. The tonic note () of the natural minor scale features a min7 chord and the tonic noteof harmonic minor takes a min(♯7) chord. Scale degree one () of the melodic minor scale uses both a min(♯7) and a min6 chord. The supertonic () of natural and harmonic minor uses a min7(♭5) chord, but in melodic minor it takes the form of a min7 chord. The mediant () highlights a Maj7 chord in natural minor, and a Maj7(♯5) in harmonic and melodic minor. The subdominant () features a min7 in natural and harmonic minor, and a dominant 7th in melodic minor labeled as IV7. The dominant note () uses a min7 in natural minor, and a dominant 7th in harmonic and melodic minor. The submediant on uses a major 6th and a Maj7 chord in natural and harmonic minor, but the raised submediant built on ♯, takes a min7(♭5) chord. The subtonic on of natural minor highlights a dominant 7th. The leading tone on ♯ of harmonic minor takes a diminished 7th chord (°7), and a half-diminished 7th chord (ø7), in melodic minor. - - - - - -FIGURE 4.11 Four-Part Chords in Natural Minor - - - - - -FIGURE 4.12 Four-Part Chords in Harmonic Minor - - - - - -FIGURE 4.13 Four-Part Chords in Melodic Minor - - -Notice that two different labels are used for a chord that has the same pitch architecture and is made up of a diminished triad and an added minor 7th: the half-diminished 7th chord and the min7(♭5) chord. In jazz, these names are often used interchangeably. The half-diminished 7th chord occurs on the leading tone of the major key and the melodic minor, and, as such, functions as a dominant or a dominant substitute that is preceded by a predominant and followed by a tonic. The min7(♭5) chord occurs on the supertonic scale degree of natural and harmonic minor and the raised submediant of melodic minor. These chords always function as predominants and carry with them the expected voice-leading and harmonic behavior. In 99 percent of cases, the min7(♭5) chord remains in the context of progression. - -Figure 4.14 compiles three functionally related chords in minor. - -When examining the dominant-functioning chords in the natural minor, notice that the v7 chord has a minor quality typically associated with a tonic and predominant function. Its placement in this category, however, suggests that we may encounter this chord— mostly in modal tunes or minor blues tunes—functioning as a dominant.8 - - - - - -FIGURE 4.14 Functional Families in Minor Key - - - - - -“DROP 2” VOICINGS - - - - -* * * - - - -In jazz terminology, the term “voicing” refers to the arrangement of notes within a chord. That arrangement can be either close or open. In a close voicing the arrangement of notes is the most packed possible. In an open voicing, the arrangement of notes is intervallically more diverse. The most common method of generating an open voicing is to drop certain notes from a close-position chord down an octave. In a “drop 2” voicing, the second note, counting from the top note, is dropped down an octave. “Drop 2” refers to voicings above the bass in which the bass note is not counted as one of the voices being “dropped.” Each chord in Figure 4.15 includes three “drop 2” voicings because the three notes above the bass can be rotated three times. - - - - - -FIGURE 4.15 “Drop 2” Four-Part Voicings - - -NOTES - - - -* * * - - - -1. In bold, I will provide complete names of chords, as jazz musicians are wont to call them. In naming chords, however, we will notice some inconsistencies and discover that certain chord symbols are spoken differently than the symbol suggests. - -2. In a chord symbol, pitch alterations, and diatonic and chromatic extensions are written as superscripts and placed in parenthesis. Such a notation illustrates the pitch hierarchy occurring within the chord. - -3. In Chapter 5, two separate categories for the dominant 7th chord will be established: the dominant 7th category and the suspended dominant category. - -4. This type of melodic motion is knows as a 4–3 suspension. In common-practice music, this type of dissonance requires a special voice-leading treatment involving three steps: preparation, suspension, and resolution. Because these three steps are related to the underlying metric and rhythmic structure, the suspension is considered rhythmic rather than melodic dissonance. In jazz, the treatment of suspended sonorities is far more relaxed when you compare it to other types of music. - -5. In spite of its dominant function, the sus chord can also function as tonic in modal compositions, such as Herbie Hancock's “Maiden Voyage,” Ralph Towner's “Icarus,” or McCoy Tyner's “Passion Dance.” The use of functional labels in the context of modal tunes, however, might be deceptive. - -6. The term “predominant” would have been too restrictive and would not have shown the diverse functional status of intermediary chords. Besides, “predominant” is already being used for the specific harmonic function. - -7. For more detailed explanation of the difference between the two, consult page 56. - -8. See, for instance, Chick Corea's “Crystal Silence,” John Coltrane's “Blue Train,” “Naima,” or Dave Brubeck's “Take Five.” - - - - - -CHAPTER FIVE - - - - -Five-Part Chords - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 5 expands the repository of harmonic structures to 35 five-part chords. They are divided into five categories: major, minor, dominant 7th, suspended dominant, and intermediary. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• • Chromatic extensions - -• Diatonic extensions - -• Dominant chords - -• “Drop 2” voicings - -• Elevenths: - -Perfect 11th - - - -Sharp 11th - - - -• Intermediary chords - -• Lower chromatic neighbors - -• Major chords - -• Minor chords - -• Ninths: - -Flat 9th - - - -Major 9th - - - -Sharp 9th - - - -• Positions of five-part chords - -• Suspended dominant chords - -• Thirteenths: - -Flat 13th - - - -Major 13th - - - -• Upper chromatic neighbors - -• Upper diatonic neighbors - - - - - -CHORDAL EXTENSIONS - - - - -* * * - - - -Chordal extensions consist of different forms of the ninth, the eleventh, and the thirteenth and can be divided into two broad categories: diatonic and chromatic. Diatonic extensions enhance the structure of chords, whereas chromatic extensions modify that structure in a considerable way. The ninth has three distinct forms: a diatonic major 9th, a chromatic ♭9th, and a chromatic ♯9th. The eleventh has two forms: a diatonic perfect 11th and a chromatic ♯11th. The thirteenth has two forms: a diatonic major 13th and a chromatic ♭13th. - -In jazz terminology, we frequently encounter different labels for the same harmonic extensions. Sometimes these alternate labels are acceptable, other times they are not. For instance, we can find that the ♯11th is often referred to as the ♭5th or the ♯4th, whereas the ≤13th is called the ≥5th or the ♭6th. These are all acceptable enharmonic spellings and will occasionally be implemented throughout the book. However, if we want to be more rigorous in the labeling of extensions, we must determine how a particular note or a group of notes actually functions within a chord. In Chapter 4, certain chromatic notes—the ♭5th and ≥5th in particular—were referred to as alterations of diatonic pitches. For instance, a ♭5th in the Maj7(♭5) chord and a ♯5th in the dom7(♯5) chord were called chromatic alterations and not chromatic extensions. The addition of a 9th to these four-part chords does not affect the status of these alterations. However, one would probably use the ♯11th label for an extended tertian structure with the diatonic fifth present. On the contrary, the use of the ♯11th label in the suspended dominant 7th chord is functionally and sonically incorrect because a ♯11th and a perfect 4th do not work well together. A 13th is the extension that is frequently labeled as a major or minor 6th. The note is referred to as a 13th if the 7th is present; the 6th if not. You may also wonder why there is no reference to the 9th as a 2nd. The basic reason has to do with the presence of the essential chord tone within a harmony. If a chord contains an essential chord tone, then any note added to its structure functions as an extension. The Maj7 chord does not include a major 2nd, but a major 9th. The dominant 7th chord does not include a ♭2nd, but a ♭9th. Therefore, chord labels, such as C7(♭2) or CMaj7 should be avoided. - - - - - -ADDITION OF EXTENSIONS - - - - -* * * - - - -Not only do we have to know how to correctly label chordal extensions, but we also have to know which extensions can be added to four-part chords and how those extensions can be used. Here are some broad generalizations. - -The major chord contains two essential chord tones—a major 7th and a major 6th; two diatonic extensions—a major 9th and a major 13th; one chromatic extension—a ♯11th; and two pitch alterations—a ♭5th and a ♯5th. The minor chord admits four essential chord tones—a minor 7th, a major 6th, a major 7th, and a minor 6th; three diatonic extensions— a major 9th, a perfect 11th, and a major 13th; and two chromatic extensions—a ♭13th and a ♯11th. The minor 7(♭5) chord (also known as the half-diminished 7th) allows one essential chord tone—a minor 7th; two diatonic extensions—a major 9th and a perfect 11th; and one chromatic extension—a ♭13th. The diminished 7th chord uses two essential chord tones—a diminished 7th and a major 7th; and three extensions—a major 9th, a perfect 11th, and a ♭13th. The dominant 7th chord contains one essential chord tone —a minor 7th; two diatonic extensions—a major 9th and a major 13th; four chromatic extensions—a ♭9th, a ♯9th, a ♯11th, and a ♭13th; and two pitch alterations—a ♭5th and a ♯5th. The suspended dominant chord includes one essential chord tone—a minor 7th; two diatonic extensions—a major 9th and a major 13th; three chromatic extensions—a ♭9th, a ♯9th, and a ♭13th; and two pitch alterations—a ♭5th and a ♯5th. Figure 5.1 summarizes the distribution of essential chord tones, pitch alterations, and extensions in Maj7, min7, dom7, suspended dominant, min7(♭5), and diminished 7th chords. - - - - - -FIGURE 5.1 Essential Chord Tones—Pitch Alterations—Extensions - - - - - -CHORD CATEGORIES - - - - -* * * - - - -The categories for five-part chords suggest the possible harmonic function of chords. They are analogous to the similar categories established for four-part formations. Unlike in Chapter 4, where 14 four-part chords were built on the same starting pitch, the five-part chords are built on the specific scale degrees that suggest their likely occurrence in harmonic progressions: major chords on , minor chords on , dominant chords on , and intermediary chords on . By placing them in these locations, we can notice how their scale-degree position affects their pitch content. As far as the use of Roman numerals for five-part chords is concerned, we will only indicate their basic four-part structure, notating neither extensions nor alterations, just as we did with the generic Roman numerals for four-part chords. The functional behavior of five-part chords depends on the specific context in which they are encountered. For instance, even though minor chords appear on , which implies the predominant function, on a different scale degree they can also function as tonics. A chord from the major category might function as a tonic or a predominant depending on its role and position in the chord progression, etc. The five-part chord includes a four-part base structure and some type of a 9th. In order to keep its extension status, the 9th must be located a ninth above the root of the chord. - - - - - -Major Category - - -Harmonic Function: Tonic and Predominant - -Figure 5.2 shows four major five-part chords in close position. - -A sixth nine chord, C6/9, represents the harmonic style of earlier jazz, particularly that from the Swing Era. A major ninth chord, CMaj9, is probably the most commonly utilized chord in jazz. A major ninth flat five, CMaj9(♭5), and a major ninth sharp five, CMaj9(♯5), represent more of the contemporary jazz styles. - - - - - -FIGURE 5.2 Major Five-Part Chords - - - - - -Minor Category - - -Harmonic Function: Tonic and Predominant - -Figure 5.3 shows four minor five-part chords in close position. Note that they are built on of C major. - - - -FIGURE 5.3 Minor Five-Part Chords - - -In the previous chapter, the minor category of four-part chords consisted of three formations: min6, min7, and min(♯7). In this category we meet a new member: the minor ninth flat sixth chord. The inclusion of this formation fits the present context better because of the status of ♭6th, which we have yet to discuss. The flat sixth added to a minor triad makes the four-part chord look exactly like a major 7th chord in third inversion. In the context of five-part chords, however, the use of a ♭6th is justifiable because its addition creates an autonomous root-position five-part formation that is relatively common in contemporary jazz styles. A minor sixth nine chord, Dmin6/9, embodies the tonic function. A minor ninth chord, Dmin9, is probably the most versatile chord type since it can function as a tonic or a predominant. A minor ninth flat sixth chord, Dmin9(♭6), has a darker sound to it and is largely associated with the tonic function. Depending on its role within harmonic progressions, a minor ninth major seventh chord, Dmin9(♯7), can function as a tonic or a predominant. - - - - - -Dominant and Suspended Chords - - -Five-part dominant 7th chords feature an impressive variety of harmonic formations. Their diversity comes from the largest number of available extensions that can be added to their pitch structure. Given that diatonic and chromatic extensions can be combined with one another in a number of creative ways and that there are only two fundamental dominant 7th chords, the family of dominant chords can seem overwhelming. Therefore, in the investigation of five-part dominant 7ths, two distinct categories—the dominant 7th category and the suspended dominant category—are established. - - - - - -Dominant 7th Category - - -Possible Harmonic Function—Dominant - -Figure 5.4 shows 12 close-position five-part chords from the dominant 7th category built on of C major. - -Each line features a different type of the ninth added to the four-part chord. The first line contains a major 9th; the second, a ♭9th; and the third, a ♯9th. Each line features four five-part chords; they originate by replacing the 5th with a lower chromatic neighbor— ♭5th; an upper chromatic neighbor—♯5th; and an upper diatonic neighbor—major 13th. - -A dominant ninth chord, G9, is a diatonic formation and is derived from the notes of F major.1 A dominant ninth flat five, G9(♭5), has a sound that is frequently heard on recordings from the Bebop Era. A dominant ninth sharp five, G9(♯5), includes an augmented triad at the bottom of its structure. A dominant thirteenth chord, G13, is entirely diatonic and features the characteristic minor 2nd between a major 13th and a minor 7th.2 - -A dominant seventh flat ninth chord, G7(♭9), contains a diminished 7th chord built on the major 3rd. A dominant seventh flat ninth flat five chord, G7, is highly chromatic and highlights a major triad built on the ♭5th. A dominant seventh flat ninth sharp five chord, G7, is commonly used as a dominant 7th in minor keys. A dominant thirteenth flat ninth chord, G13(♭9), includes an enharmonically spelled major triad built on the 13th. - - - - - -FIGURE 5.4 Dominant Five-Part Chords - - -A dominant seventh sharp ninth chord, G7(♯9), has a dissonant sound that is frequently used in Jazz Rock. A dominant seventh sharp ninth flat five, G7, contains an enharmonically equivalent minor triad built on the ♯9th. A dominant seventh sharp ninth sharp five, G7, is a quintessential altered chord that is frequently labeled as G7alt. A dominant thirteenth sharp ninth, G13(♯9), has a characteristic minor 2nd clash between a major 13th and a minor 7th that, together with the ♯9th, creates a very dissonant sonority. - - - - - -Suspended Dominant Category - - -Possible Harmonic Function—Dominant, Predominant, Tonic - -Figure 5.5 shows 12 close-position five-part chords from the suspended dominant category built on of C major. - -The chords from Figure 5.5 can function as dominants, predominants, or even as “tonics” in certain modal tunes. The predominant status stems from the fact that they often precede a regular dominant 7th chord. That is because the suspended dominant 7th chord includes a perfect 4th which, on the one hand, initiates melodic motion that requires resolution, and on the other can be reinterpreted as the minor 7th of a local ii7. - -A sus ninth chord, G9sus, is a basic suspended formation.3 A sus ninth flat five chord, G9(♭5)sus, features an augmented triad built on the ♭5th. A sus ninth flat thirteenth chord, G9(♭13)sus, has a characteristic blues flavor to it on account of an enharmonically spelled dominant 7th chord built on the 7th. A sus thirteenth chord, G13sus, contains a minor triad build on the 9th of the chord. - - - - - -FIGURE 5.5 Suspended Dominant Five-Part Chords - - -A sus seven flat ninth chord, G7(♭9)sus, has strong voice-leading propensities that compel the 4th and the ♭9th to resolve downward by a half step. A sus seven flat ninth flat five chord, G7sus, features a Maj7 chord built on the ♭5th. A sus seven flat ninth sharp five chord, G7sus, contains an enharmonically respelled min7 chord built on the 7th of the chord. A sus thirteenth flat ninth chord, G13(♭9)sus, has a min(♯7) chord built on the 7th. - -A sus seven sharp ninth chord, G7(♯9)sus, sounds like an extended minor chord and demonstrates the ambiguous nature of suspended formations. This ambiguity is something that we can capitalize on in harmonic progressions. A sus seven sharp ninth flat five chord, G7sus, shows strong predominant characteristics. A sus seven sharp ninth sharp five chord, G7sus, sounds tonally ambiguous (like all other suspended chords) and can only be tonally and functionally defined in the context of specific chord progressions. A sus thirteenth sharp ninth chord, G13(♯9)sus, illustrates yet another tonally and functionally ambiguous suspended formation. - - - - - -Intermediary Category - - -Possible Harmonic Function—Predominant, Dominant, Tonic - -Figure 5.6 shows three intermediary chords built on of C major. - - - - - -FIGURE 5.6 Intermediary Five-Part Chords - - -A minor ninth flat five chord, Dmin9(♭5), or a half-diminished ninth chord, Dø9, has a unique characteristic sound on account of a min(♯7) chord built on the 3rd of the chord. Notice that two different labels are used for the same chord. The “min9(♭5)” suffix implies a predominant function, and the “ø9” suffix suggests a dominant function. The former occurs in the context of the progression; the latter is much rarer but can occur in the progression viiø7–I or, rarer still, in the progression ♯viiø7–i. A diminished ninth chord, Do9, has strong melodic and voice-leading tendencies. A diminished major ninth major seventh chord, Do9(♯7), has a pliable structure with interesting functional associations. Both of these chords can also function as upper structures of altered dominant 7ths. - - - - - -POSITIONS OF CHORDS - - - - -* * * - - - -In the discussion of “inverted” five-part chords, the term “positions” is used instead of inversions. Unlike four-part formations in which notes are contained within an octave, five-part chords overshoot the octave by a 2nd; this renders the use of inversions awkward and impractical. Thus, in generating positions, we will first drop the 9th down an octave and subsequently invert the chord. Figure 5.7 illustrates positions of five-part chords. The CMaj9 chord in Figure 5.7, and all the remaining chords, exhibit different pitch architectures: the first one uses an extended tertian structure and the second has a diatonic cluster at the bottom of the chord. In the first position of the C6/9, a 9th is in the lowest voice; second position has a 3rd; third position has a 5th; and fourth position has a 7th in the lowest voice. - -The chords in Figure 5.7 represent various close voicings, but there are many, many more ways to orchestrate a chord, such as those in Figure 5.8. - - - - - -“DROP 2” VOICINGS - - - - -* * * - - - -Figure 5.8 illustrates “drop 2” voicings for the root-position five-part chords. Each chord in Figure 5.8 includes four “drop 2” voicings because the four notes above the bass can be rotated four times. - - - - - -FIGURE 5.7 Positions of Five-Part Chords - - - - - -FIGURE 5.8 “Drop 2” Five-Part Voicings - - -NOTES - - - -* * * - - - -1. The presence of a minor 7th is implied with the term “dominant ninth.” - -2. In the term “dominant thirteenth,” the 13th implies a 7th, but does not require a 9th. - -3. In labeling suspended chords, we do not include the 11th in the symbol. A “sus” takes care of that. - - - - - -CHAPTER SIX - - -The II–V–I Progression - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 6 investigates the most important progression in jazz—the II–V–I—and its two tonal variants: ii7–V7–Imaj7 and . A discussion of guide tones, secondary dominant 7ths, and diminished 7th chords and their subsequent voice-leading transformations further amplifies the importance of the progression. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Applied dominant chords - -• Chromatic ii7–V7 - -• Diminished 7th chords: - -Accented - - - -Common tone - - - -Neighbor - - - -Passing - - - -Unaccented - - - -• Guide tones - -• Harmonic elision - -• Invertible counterpoint - -• Melodic elision - -• Secondary dominant 7th chords - -• Tonicization - -• ii7–V7–Imaj7 - -• - - - - - -A BRIEF HISTORY - - - - -* * * - - - -Nowhere are the principles of jazz harmonic syntax more evident and its grammatical rules more explicit than in the structure and behavior of the II–V–I progression. The evolution of the progression offers a fascinating journey through jazz history. The origins of the II–V–I can be traced back to fundamental V–I motion, which is the most important chord succession in common-practice music and the marker of tonality. When we compare jazz performances from different historical periods, we notice that the structure of the II–V–I progression has been in a state of constant flux. In Early Jazz, for instance, the ii7–V7–Imaj7 was not always present; the more idiomatic V7–I motion often implied the structural notes of the progression. Figure 6.1 illustrates mm. 1–4 of “Maple Leaf Rag” by Scott Joplin. - -Even though in the bass does not support a ii7 chord, the design of the bass voice seems to imply a ii7–V7–Imaj7 progression. A similar treatment of the dominant 7th, yet with an idiomatic use of chordal inversions, occurred in the Swing Era with one notable exception. The structure of V7–I was infused with various kinds of diminished 7th chord, as demonstrated in Figure 6.2.1 - -Harmonic expansions such as this one ultimately led to the explosion of chromaticism during the Bebop Era. By the 1940s, the ii7–V7–Imaj7 progression was fully formed and commonly implemented. In addition, intricate chromatic variants began to infiltrate the structure of harmonic progressions, making improvisation more challenging. What is remarkable about Charlie Parker, Thelonious Monk, Dizzy Gillespie, and other artists from that period is that they showed endless creativity in negotiating and utilizing the major and minor versions of the II–V–I progression.2 As the Post-Bop Era rolled in, artists such as Miles Davis, Horace Silver, Lennie Tristano, and many others found new and ingenious ways to implement the progression in their music.3 One of the most radical transformations of the progression, however, occurred in the late 1950s in the creative mind of John Coltrane.4 His experiments with symmetrical intervallic cycles led to the development of so-called “Coltrane” substitutions.5 - - - -FIGURE 6.1 “Maple Leaf Rag” by Scott Joplin, mm. 1–4 - - - -FIGURE 6.2 Diminished 7ths in V7–I - -Constantly searching for a new means of personal expression while being respectful and mindful of the rich genre’s traditions, jazz musicians did not advance their harmonic experiments in a creative vacuum. It seems that, in fulfilling their own artistic destiny, each generation of jazz musicians benefited from the achievements of the previous generation. This is true even today, as the merger of tonality and modality in the 1960s still resonates well with many contemporary jazz artists further transforming or disguising the structure of the II–V–I progression. The II–V–I progression, with its two tonal variants ii7–V7–Imaj7 and , is the fundamental harmonic block of tonal jazz and its ubiquity in standard tunes confirms its structural importance. Yet, the sheer number of harmonic transformations that jazz musicians have been able to implement is truly remarkable and proves the progression’s flexibility in adjusting to various jazz styles. This makes our study of the II–V–I progression all the more relevant. - - - - - -THE ii7–V7–Imaj7 PROGRESSION - - - - -* * * - - - -The ii7–V7–Imaj7 progression, shown in Figure 6.3, combines three harmonic functions: the predominant, the dominant, and the tonic. - - - -Each chord of the progression is reduced to its essential members with the 3rd and 7th being known as the guide tones. The guide tones have two basic roles: (1) to determine the quality and functionality of chords, and (2) to dictate the voice leading and proper unfolding of chords within harmonic progressions. In this way, guide tones “guide” the improvisation and, through their careful distribution within a phrase, assure melodic continuity and harmonic clarity. Figure 6.3 includes two versions of the ii7–V7–Imaj7 progression where the second version inverts the position of the guide tones of the first. The inverted version of the progression sounds a little different from the original. By exploring the potential of invertible counterpoint (which is inherent to two-voice and larger harmonic textures), we fundamentally redefine the way of thinking about harmony. Chords can be considered not only as vertical formations, but also as byproducts of individual lines. In a sense, we are still thinking about chords and harmonic progressions, but we are doing so from a linear rather than vertical perspective. - - - - - -FIGURE 6.3 The ii7–V7–Imaj7 Progression - -The guide tones in Figure 6.3 form two independently moving lines that start on the 7th and the 3rd of a predominant harmony. The voice leading of the progression depends on the kinetic force of the guide tones: the 7th of ii7 or V7 descends down to the 3rd; and the 3rd of ii7 or V7 becomes the 7th. To finish its trajectory, the major 7th of the tonic chord moves down to a more stable major 6th at the end of the progression. Besides determining the quality and function of chords, the individual tones of the guide-tone line have the potential of being reinterpreted as chord tones or as extensions of other harmonic formations. - - - - - -THE PROGRESSION - - - - -* * * - - - - - -The progression, shown in Figure 6.4, behaves in much the same ways as its major counterpart.6 The presence of the min7(♭5), as a predominant, implies the choice of specific extensions in the forthcoming dominant 7th chord. In particular, the use of the ♭9th in V7 illustrates an ideal voice-leading scenario in which the ♭5th of is retained as a common tone and becomes the ♭9th of V7. - - - - - -FIGURE 6.4 Progression - - - - - -SECONDARY DOMINANT 7TH - - - - -* * * - - - -One of the most common transformations of the ii7–V7–Imaj7 progression involves the use of secondary or applied dominant 7th chords (notated as V7/V or X7). Secondary or applied dominant 7ths built on the supertonic scale degree require a secondary leading tone on ♯. With that addition, the secondary dominant temporarily tonicizes the upcoming dominant 7th on . Figure 6.5 illustrates the use of a secondary dominant within a ii7–V7–Imaj7 progression. - - - -FIGURE 6.5 Secondary Dominant 7th - - - -The guide-tone line features a chromatically altered note, F♯4. The voice-leading tendency of the F♯4 up to G (leading tone motion in G) and the passing tone motion of G5 moving through F4 down to E4 are subsumed into a single descending gesture known as a melodic elision. The behavior of the secondary leading tone, F♯4, causes harmonic motion where no motion was before. The F♯4 replaces F4, which would have been a common tone between Dmin7 and G7. - - - - - -THE DIMINISHED 7TH CHORD - - - - -* * * - - - -Although the diminished 7th chord and its chromatic variant, the diminished major 7th chord, belong to the intermediary family of chords, its role in harmonic progressions is quite unlike that of any other chord. There are three basic types of the diminished 7th chord: passing, neighbor, and common tone. The passing diminished 7th chord fills the space between two diatonic chords. The lower or upper chromatic neighbor diminished 7th chord embellishes chord tones of a structural chord from below or above by a half step. These chordal embellishments typically occur on weak metric positions. The unaccented common-tone diminished 7th chord retains the two outer notes of another chord and moves the inner two down a minor 2nd before returning to the original chord. This type of harmonic embellishment is highly idiomatic, especially in the blues, where the active notes or blue notes (the ♭3 and the ♭5) move to a major 3rd and a perfect 5th of major or dominant 7th chords. The common-tone diminished 7th chord can also occur in minor chords where the ♭5th moves up to a perfect 5th, while a minor 3rd stays as the common tone. The accented common-tone diminished 7th chord shares the root with the structural chord and, typically, foreshadows its arrival on a strong metric position. The most common harmonic function of the diminished 7th chord—one that will be emphasized in the discussion of Bebop in Chapter 15—is the dominant-functioning viio7 or an incomplete dom7(♭9) chord. - -As an important jazz harmonic structure, the diminished 7th chord can effectively participate in the elaboration of ii7–V7–Imaj7 or progressions. In order to explore the full potential of the diminished 7th chord, these progressions will be first deconstructed to their individual members. Then, specific types of the diminished 7th chord that can embellish these chords will be examined. Finally, the progressions will be assembled to their original form and embellished with different types of the diminished 7th chord. Figure 6.6 illustrates this process. Because the full names for specific diminished 7th chords are quite long, the following abbreviations will be implemented: - -1. the diatonic passing diminished 7th—DP - -2. the chromatic passing diminished 7th—CP - -3. the diatonic neighbor diminished 7th—DN - -4. the chromatic neighbor diminished 7th—CN - -5. the common-tone diminished 7th—CT. - -Figure 6.7 demonstrates some of the most interesting interpolations of different types of the diminished 7th chord within the II–V–I progression realized with “drop 2” four-part voicings. Although there are far fewer choices for the use of the diminished 7th in the progression, Figure 6.7f illustrates an example that includes multiple passing diminished 7th chords. The reason that only a limited number of diminished 7th chords can participate in the progression stems from the quality and functionality of the : unlike its major counterpart, the min7(♭5) cannot be tonicized as a separate key area and, therefore, the diminished 7th chord cannot be used as a tonicizing formation. - - - - - -TRANSFORMATION OF THE DIMINISHED 7TH CHORD - - - - -* * * - - - -Figure 6.8 illustrates a voice-leading transformation of the diminished 7th chord into a chromatic ii7–V7 using “drop 2” voicings. - -A subtle contrapuntal motion from a ♭5th and a ♭♭7th of the diminished 7th chord to a perfect 5th and a minor 7th of the minor 7th chord generates this voice-leading transformation. A minor 7th chord, then, pairs up with its local dominant 7th to create a chromatic ii7–V7 interpolation. With the voice-leading transformation from Figure 6.8, we can further modify the structure of the diatonic ii7–V7–Imaj7 from a common Swing Era progression to an idiomatic Bebop progression. The chromatic ii7–V7s are notated in square brackets followed by a diagonal line and a Roman numeral that indicates the subsumed resolution of the chromatic ii7–V7. This particular use of ii7–V7s is known as a harmonic elision. - -The progressions in Figure 6.9 are realized with “drop 2” five-part voicings. Notice that the voice leading between chords is entirely dependent on the behavior of the guide tones. With the exception of the bass voice (which is unaffected by “drop 2”), all other voices move mostly by step. - - - -FIGURE 6.6 Diminished 7th Chords in Context - - - -FIGURE 6.6 continued - - - -FIGURE 6.6 continued - - - -FIGURE 6.6 continued - - - -FIGURE 6.7 Diminished 7th Chords in the II–V–I Progression - - - -FIGURE 6.7 continued - - - -FIGURE 6.8 Harmonic Elision - - - -FIGURE 6.9 Transformations of II–V–I - -NOTES - - - -* * * - - - -1. See, for instance, Benny Goodman’s The Complete RCA Victor Small Group Recordings. - -2. Notable albums: Charlie Parker (The Immortal Charlie Parker and Jazz At Massey Hall); Thelonious Monk (Genius Of Modern Music, Volume I and The London Collection, Volumes I and II); Dizzy Gillespie (Groovin’ High and School Days). - -3. Notable albums: Miles Davis (Kind Of Blue and At the Plugged Nickel, Volumes I and II); Horace Silver (Horace Silver Trio and The Cape Verdean Blues); Lennie Tristano (Intuition and Lennie Tristano). - -4. See, for instance, John Coltrane’s Giant Steps and Crescent. - -5. These idiomatic progressions are discussed in Chapter 13. - -6. In order to differentiate between and ii7, the “”suffix in the min7(♭5) chord and the “7” suffix in the minor 7th chord are used, regardless of the key signatures. - - - - - -CHAPTER SEVEN - - -Modes - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 7 introduces seven diatonic modes from the major scale and seven chromatic modes from the melodic minor scale. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Avoid notes - -• Beauty marks - -• Chromatic modes: - -Altered - - - -Dorian ♭2 - - - -Locrian ♮2 - - - -Lydian Augmented - - - -Melodic Minor - - - -Mixolydian ♭13 - - - -Mixolydian ♯11 - - - -• Chromaticism - -• Diatonic modes: - -Aeolian - - - -Dorian - - - -Ionian - - - -Locrian - - - -Lydian - - - -Mixolydian - - - -Phrygian - - - -• Diatonic passing notes - -• Major modes - -• Minor modes - -• Modal qualifiers - -• Parent scales - -• Pedal points - -• Tetrachords: - -Chromatic - - - -Harmonic - - - -Lower - - - -Major - - - -Minor - - - -Phrygian - - - -Upper - - - -Whole tone - - - - - -PARENT-SCALE DERIVATION OF DIATONIC MODES - - - - -* * * - - - -In modal jazz theory, diatonic modes are traditionally introduced as derivatives of the parent major scale. What might be a bit confusing in this method is that the parent scale is also a mode, named Ionian. The parent-scale method is based on constructing modes on the consecutive pitches of the major scale. In Figure 7.1, Dorian begins on of the C major scale and represents an ordered diatonic collection stretching from D4 to D5 (or any other octave); Phrygian starts on and covers an octave from E4 to E5; Lydian begins on and spans an octave from F4 to F5; Mixolydian starts on and extends from G4 to G5; Aeolian begins on and covers the distance from A4 to A5; and Locrian starts on and includes pitches between B4 and B5. Figure 7.1 shows the derivation of modes using the parent-scale methodology. - -While parent-scale derivation is an important theoretical construct, it strips individual modes of their salient characteristics and is cumbersome in actual musical practice. Imagine, for instance, trying to quickly figure out the Phrygian mode on F♯. Using this methodology, we have to first determine which major scale contains F♯ as a major 3rd. Then, based on the fact that the D major scale indeed contains the pitch F♯ as the major 3rd, we can build the Phrygian mode using the notes from the D major scale. Cumbersome? Yes. Even more troublesome than the mode derivation itself, however, is the fact that this method seems to focus on the parent scale rather than on the pitch structure of specific modes. Our methodology eliminates such two-step modal conversion and focuses on modes as individual pitch collections with their own melodic, harmonic, and structural properties. By building modes starting on the same pitch and concentrating on their sound, essential tones, and pitch hierarchy, we can understand their pitch structure more quickly. - - - -FIFURE 7.1 Parent-Scale Derivation of Diatonic Modes - - - - - -THE MODES’ CHARACTERISTICS - - - - -* * * - - - -Broadly speaking, there are two types of modes: major and minor. Major modes have a major 3rd and minor modes contain a minor 3rd. These notes are called modal qualifiers. This rough classification is by no means complete but should help to unravel the principles of modal theory. The distinction between major and minor modes enables easier aural identification. Within seven diatonic modes, three are major and four are minor. The beauty mark is a term that indicates the essential tone or tones indicative of the mode. The beauty mark, then, is an absolutely crucial tone to convey the sound and distinguish between different modes. Avoid notes are pitches within the mode that do not quite fit the structure of certain chords or melodic lines. For instance, the perfect fourth of the Ionian mode might be problematic if we try to use it over CMaj7 or CMaj9. Also, the major 3rd of the Mixolydian mode might sound dissonant if we try to use it over C7sus of C7(♭9)sus without proper preparation. Thus, the term “avoid” should alert us about potential problems that might arise while trying to use these notes in harmonic or melodic contexts. In the case of extended six- or seven-part chords (especially those that feature chromatic extensions), however, the avoid note can sometimes be admitted as one of the chord tones or unusual extensions. For instance, the fully extended tertian formation CMaj(13♭11) includes the perfect fifth in its structure, which in the context of CMaj7(♭5) and CMaj9(♭5) would have created a harsh dissonance against the ♭5th. - - - - - -DIATONIC MODES - - - - -* * * - - - -As mentioned in Chapter 1, the specific pattern of whole steps and half steps occurring in the major scale forms a type of diatonic collection. Other diatonic scales are formed by preserving the same number of whole and half steps yet distributing them at different locations within the scale. These types of scale are referred to as diatonic modes. - - - - - -Major Modes—Ionian - - -Figure 7.2a provides the pitch content of the Ionian mode with each note examined according to its function within the collection. Figure 7.2b illustrates a four-bar modal phrase that projects the Ionian sound using a CMaj7 harmony. - - - -FIGURE 7.2A Ionian Mode - - - -FIGURE 7.2B Ionian Phrase - -In order to convey the sound of the Ionian mode, only two pitches are needed: a major 3rd as the modal qualifier and a major 7th as the beauty mark. The 3rd and the 7th of the mode also function as the guide tones. Scale degree four () of the mode is a note that should be treated with caution.1 In Figure 7.2b, it is used as a diatonic passing note (PN) and is located at the “and” of beat 2 or the upbeat (offbeat) in m. 2. The metric distribution of pitches within a phrase is an important factor in enabling the clear projection of a mode. In Figure 7.2b, the chord tones of CMaj7 are mostly located on the downbeats unless they form arpeggiation patterns, which might affect their distribution. - - - - - -Major Modes—Lydian - - -The Lydian mode is a diatonic mode with a more contemporary sound. Figure 7.3a illustrates the pitch structure of Lydian and Figure 7.3b demonstrates a four-bar modal phrase with Lydian characteristics over a CMaj7(♭5) harmony. Henceforth, Arabic numbers are used (with appropriate accidentals) to indicate the pitch structure of modes and—in the forthcoming chapters—bebop scales, octatonics, pentatonics, hexatonics, and melodic patterns. Scale-degree labels (, , , etc.) are reserved for pitches occurring within the context of the underlying key. - -When comparing the structure of Lydian with Ionian, the presence of ♯11 (♯4) as the beauty mark gives the Lydian collection its unique characteristics. Depending on its position within the chord, the beauty mark can be spelled either as a ♭5th (in chords without the perfect 5th, such as CMaj7(♭5)) or as a ♯11th (in chords with the perfect 5th, such as CMaj13(♯11)). The distribution of chord tones on metrically strong positions within a measure contributes to a clear projection of Lydian characteristics. Note that the avoid note, 5, is excluded from the context of the phrase. The intervallic structure of the phrase prioritizes the use of fourths, one of the main building blocks in modal improvisation. - - - -FIGURE 7.3A Lydian Mode - - - -FIGURE 7.3B Lydian Phrase - - - - - -Major Modes—Mixolydian - - -Even though the Mixolydian mode belongs to the major family of modes, it has a distinct functional status and behavior that is entirely different from Ionian and Lydian modes. Figure 7.4a demonstrates the pitch structure of Mixolydian and Figure 7.4b provides a four-bar modal phrase with Mixolydian characteristics over a C7 harmony. - -The presence of ♭7 as the beauty mark makes the phrase tonally unstable with a strong tendency to resolve on to a more stable chord. The status of 4 as a diatonic passing note in m. 4 deserves our attention. Since the 4th can also participate in the context of the suspended dominant and, as such, it replaces the major 3rd of the dominant 7th chord, the metric placement of that pitch within the phrase might change the overall chord-scale relationship from C7 to C7sus. In Figure 7.4b, the mode clearly projects the sound of the underlying C7 harmony. - - - -FIGURE 7.4A Mixolydian Mode - - - -FIGURE 7.4B Mixolydian Phrase - - - - - -Minor Modes—Aeolian - - -The pitch structure of the four minor modes contains ♭3, ♭6 (♮6), and ♭7 as modal qualifiers. These tones are members of the natural minor scale from which other minor modes are derived. In certain modes, however, the minor or major 6th will additionally function as the beauty mark. The natural minor scale in modal environment is known as the Aeolian mode. Figure 7.5a examines the pitch structure of Aeolian. Figure 7.5b illustrates a four-bar modal phrase with a characteristic Aeolian flavor over a Cmin9(♭13) harmony. - -The beauty mark, minor 6, injects a darker sound to the mode that stands in stark contrast to the sound of other minor modes. The phrase in Figure 7.5b uses the Cmin(9♭13) chord, which indicates an extended tertian structure. The metric distribution of chord tones and extensions shows equal metric treatment of the diatonic extensions, 9th and 11th, and the chromatic extension, ♭13th. - - - -FIGURE 7.5A Aeolian Mode - - - -FIGURE 7.5B Aeolian Phrase - - - - - -Minor Modes—Dorian - - -Figure 7.6a illustrates the pitch structure of Dorian mode and Figure 7.6b demonstrates a four-bar modal phrase with Dorian characteristics over a Cmin13 harmony. - -Even though Dorian is a minor mode, its beauty mark, major 6, gives the collection a characteristic “major” sound. The phrase in Figure 7.6b projects the tertian nature of the Cmin13 harmony by clearly arpeggiating triads (B♭ and E♭ in mm. 1–2), four-part chords (Amin7(♭5) in mm. 3 and 4, and Gmin7 in m. 3), and a five-part chord (Gmin9 in mm. 2–3). - - - -FIGURE 7.6A Dorian Mode - - - -FIGURE 7.6B Dorian Phrase - - - - - -Minor Modes—Phrygian - - -The Phrygian mode has a distinctive sound because of its unusual beauty mark, ♭2. The pitch structure of the Phrygian collection is given in Figure 7.7a. Figure 7.7b demonstrates a five-bar modal phrase with Phrygian characteristics. - -Even though the phrase does not have a corresponding chord and, as such, can be performed over a C pedal point, it nonetheless demonstrates strong minor qualities. A pedal point features a single note in the bass that controls larger sections of music. Note that the modal qualifiers and the beauty mark are featured prominently throughout the phrase. - - - -FIGURE 7.7A Phrygian Mode - - - -FIGURE 7.7B Phrygian Phrase - - - - - -Minor Modes—Locrian - - -The last diatonic minor mode deserves a special place in our discussion because of its flat-out rejection from the modal family for centuries.2 The Locrian mode has two beauty marks: ♭2 and ♭5. Because of its unusual pitch structure, which prevents the occurrence of minor triad on 1, Locrian is characterized by a highly unstable sound. It still belongs to the minor family of modes because it contains a minor 3rd. Figure 7.8a examines the pitch structure of the mode. Figure 7.8b demonstrates a four-bar modal phrase over a C pedal. - -The melodic phrase has an unsettling quality that is constantly reinforced by the tritone between 1 and ♭5 (mm. 1, 3, and 4). The phrase in Figure 7.8b also horizontalizes four-and five-part structures. For instance, a downward arpeggiation of E♭nin7 in mm. 1–2 and an upward arpeggiation of E♭min9 in mm. 3–4 create harmonic and melodic tensions with the underlying C pedal. - - - -FIGURE 7.8A Locrian Mode - - - -FIGURE 7.8B Locrian Phrase - - - - - -PARENT-SCALE DERIVATION OF CHROMATIC MODES - - - - -* * * - - - -The so-called modes of melodic minor, also known as the chromatic modes, are traditionally derived using the parent-scale principle. Using this method, the melodic minor collection functions as the parent scale. The pitch structure of chromatic modes is much more diverse than it is in the diatonic modes. In Figure 7.9, Dorian ♭2 begins on of C melodic minor and extends from D4 to D5; Lydian Augmented starts on and spans an octave from E♭4 to E♭5; Mixolydian ♯11 begins on and covers the distance between F4 and F5; Mixolydian ♭13 starts on and spans an octave from G4 to G5; Locrian ♯2 begins on ♯ (major 6th) and extends from A4 to A5; and Altered begins on ♯ (major 7th) and spans from B4 to B5 of C melodic minor. Figure 7.9 illustrates the derivation of chromatic modes using the C melodic minor as a parent scale. - - - -FIGURE 7.9 Parent-Scale Derivation of Chromatic Modes - - - - - -CHROMATIC MODES - - - - -* * * - - - -The family of chromatic modes includes three minor and four major collections—each with its unique pitch architecture, beauty marks, functional roles, and sound. Each mode will be additionally analyzed in terms of two four-note pitch segments called tetrachords. In this context, the lower tetrachord refers to the four notes derived from the scale (–); the upper tetrachord combines the remaining four (–()). We will encounter different combinations of the following tetrachords: major (2–2–1), minor (2–1–2), whole tone (2–2–2), Phrygian (1–2–2), chromatic (1–2–1) and harmonic (1–3–1). Arabic numbers refer to the number of semitones between adjacent pitches. - - - - - -Minor Modes—Melodic Minor - - -Figure 7.10a examines the pitch structure of the Melodic Minor mode.3 Figure 7.10b illustrates a four-bar modal phrase over a Cmin9(♯7) that captures the sound of the mode. The structure of the mode highlights two tetrachords: lower minor and upper major that contains two beauty marks: major 6 and major 7. In Figure 7.10b, the minor quality of the mode is clearly established by the presence of the minor 3rd. The mode’s dissonant character is emphasized with two beauty marks located at metrically strong positions within the phrase. For instance, B5 constitutes the highest pitch within the phrase and initiates a downward arpeggiation of B+. - - - -FIGURE 7.10A Melodic Minor Mode - - - -FIGURE 7.10B Melodic Minor Phrase - - - - - -Minor Modes—Dorian ♭2 - - -The Dorian ♭2 mode also contains two beauty marks: major 6 and ♭2. Figure 7.11a examines the pitch structure of Dorian ♭2. Figure 7.11b demonstrates a four-bar modal phrase with Dorian ♭2 characteristics composed over a C13(♭9)sus harmony. - - - -FIGURE 7.11A Dorian ♭2 Mode - - - -FIGURE 7.11B Dorian ♭2 Phrase - -The pitch structure of the mode includes two tetrachords: the lower Phrygian and the upper minor. The modal phrase in Figure 7.11b capitalizes on the two salient features of Dorian ♭2: (1) the sound of an augmented triad on ♭2 (mm. 2 and 3), and (2) the whole-tone segment stretching from ♭2 to 6 (mm. 3–4). - - - - - -Minor Modes—Locrian ♮2 - - -The Locrian ♮2 mode contains two beauty marks: ♭5 and ♮2.4 Figure 7.12a analyzes the pitch content of the mode and Figure 7.12b illustrates a four-bar modal phrase that utilizes salient characteristics of the mode over a Cmin7(♭5) harmony. - -Locrian ♭2 contains two tetrachords: lower minor and upper whole tone. The melodic line in Figure 7.12b conveys the dissonant character of the mode by highlighting the beauty marks—♭5, in particular. The arpeggiation of the underlying harmony in m. 1 prioritizes chord tones (root, 3rd, ♭5th, ♭7th) and the diatonic extension (9th), which is metrically stressed on beat 3. In comparison to the phrase in Figure 7.8b, where the ♭9th occurring in the context of Locrian was metrically de-emphasized, the phrase in Figure 7.12b amplifies the status of the 9th as an extension that better fits the content of the Cmin(♭5) harmony. - - - -FIGURE 7.12A Locrian ♮2 Mode - - - -FIGURE 7.12B Locrian ♮2 Phrase - - - - - -Major Modes—Lydian Augmented - - -In addition to the three minor modes, the melodic minor scale gives rise to the four major chromatic modes, each with its own pitch structure, beauty marks, functional role, and characteristic sound. Figure 7.13a illustrates the structure of the Lydian Augmented mode along with an analysis of its pitch content. Figure 7.13b demonstrates the use of the mode in the context of a four-bar modal phrase over a CMaj7(♯5) harmony. - -The pitch structure of the mode features a characteristic whole-tone segment from 1 to ♯5, which contains two beauty marks: ♯11 and ♯5. The structure of Lydian Augmented also highlights two tetrachords: lower whole tone and upper chromatic. The modal phrase in Figure 7.13b has an interesting rhythmic design. The use of E and D triads in m. 3 adds another level of complexity to the line by implying a 3/8 cross rhythm. - - - -FIGURE 7.13A Lydian Augmented Mode - - - -FIGURE 7.13B Lydian Augmented Phrase - - - - - -Major Modes—Mixolydian ♯11 - - -In comparison to Lydian Augmented, the Mixolydian ♯11 mode (also known as Lydian Dominant) has a different functional status. Figure 7.14a offers an analysis of its pitch structure, and Figure 7.14b demonstrates the use of Mixolydian ♯11 in the context of a four-bar modal phrase over a C13(♯11) harmony. - - - -FIGURE 7.14A Mixolydian ♯11 Mode - - - -FIGURE 7.14B Mixolydian ♯11 Phrase - -The Mixolydian ♯11 mode has a similar pitch architecture to its diatonic counterpart, Mixolydian. The pairing of the beauty marks, ♭7 and ♯11, merges Lydian and Mixolydian characteristics that effectively project the sound of the dominant 7th harmony. The structure of the mode splits into two tetrachords: lower whole tone and upper minor. The phrase in Figure 7.14b projects the extended tertian nature of C13(♯11) through the arpeggiation of D triad in m. 3 and Gmin9(♯7) in mm. 1–2. - - - - - -Major Modes—Mixolydian ♭13 - - -The pitch structure of Mixolydian ♭l3, shown in Figure 7.15a, is characterized by the presence of two beauty marks: ♭7 and ♭13. Figure 7.15b shows a four-bar modal phrase written over a C9(♭13) harmony with Mixolydian ♭l3 characteristics. - - - -FIGURE 7.15A Mixolydian ♭3 Mode - - - -FIGURE 7.15B Mixolydian ♭13 Phrase - -The additional beauty mark, ♭l3, adds a minor quality to the mode. The mode splits into two tetrachords: lower major and upper Phrygian. The arpeggiation of Eø7 in m. 1, A♭Maj7(♯5) in m. 3, and C7 in m. 3 enables a projection of its extended tertian structure—C9(♭13). - - - - - -Major Modes—Altered - - -An absolute winner in the category of beauty marks is the Altered mode. Figure 7.16a illustrates the pitch structure of the mode and Figure 7.16b demonstrates its sound in the context of a four-bar modal phrase over a C7alt. harmony. - -The Altered mode contains four beauty marks: ♭9, ♯9, ♯11 (♭5), and ♭l3 (♯5). Depending on their position within a chord, the extensions, ♯11th and ♭l3th, can also function as pitch alterations of the perfect fifth, ♭5th and ♯5th. The labeling of these pitches in the Altered mode indicates that they are “shades” of the diatonic fifth just as the chromatic extensions, ♭9th and ♯9th, are “shades” of the diatonic ninth. The mode highlights two tetrachords: lower chromatic and upper whole tone. The saturation of chromaticism in the phrase is quite overwhelming to the point that, without the root of C7alt. reminding us what the harmonic context is, it is difficult to hear this phrase in context. - - - -FIGURE 7.16A Altered Mode - - - -FIGURE 7.16A Altered Phrase - -Chromaticism affects all aspects of the musical fabric including harmony, melody, counterpoint, and even tonality. The use of chromaticism varies from slight surface inflections added to a single pitch to more substantial transformations of the tonal structure. Within that huge range of linear and harmonic possibilities, chromaticism is an important musical force with an inextinguishable potential. The addition of chromaticism alters the structure of harmonic formations and even redefines their functional status. Because chromaticism is such a potent force in music, it needs to be treated with caution. In short, the rule “less is more” should be at the forefront of our minds. The effective use of chromaticism depends on a solid sense of time and good voice-leading skills. Chromatic notes that are foreign to the diatonic framework require correct preparation and resolution. Since the preparation and resolution of chromatic notes are inherently rhythmic, the voice-leading forces that control them have important rhythmic as well as melodic implications. The intimate relationship between chromaticism and rhythm implies that, if we try to understand the former without considering its impact on meter and rhythm, our understanding will be incomplete. - -In modal jazz theory, there are 14 modes: seven diatonic and seven chromatic. Modes in modal jazz typically function as independent scalar formations that are devoid of traditional tonal relationships. For instance, a complete section of a tune might feature only a single modal scale (e.g. John Coltrane’s “Impressions” or McCoy Tyner’s “Passion Dance”).5 In tonal jazz, however, modes exhibit similar functional behaviors comparable to those of four-, five-, or larger-part structures. In Chapter 8, diatonic and chromatic modes will be combined and their tonal functional associations shown. - -NOTES - - - -* * * - - - -1. Scale degree four, however, is needed to give the Ionian mode identity, too. (Not major, in a tonal sense, but Ionian in a modal sense.) - -2. This mode was not considered a mode in the Middle Ages and Renaissance because of the tritone between 1 and ♭5 and the occurrence of the diminished triad on 1. - -3. For the sake of readability, we will refer to ♯ and ♯ as 6 and 7. - -4. This mode is also known as Locrian ♯2 or Super-Locrian. - -5. Keith Waters in The Studio Recordings of the Miles Davis Quintet, 1965–68 acknowledges the complexity of the term “modal jazz” and succinctly summarizes the prevailing views on the subject in six points: - -“(1) Modal scales for improvisation (or as a source for accompaniment); (2) Slow harmonic rhythm (single chord for 4, 8, 16, or more bars); (3) Pedal point harmonies (local bass pitch or shifting harmonies over a primary bass pitch); (4) Absence or limited use of functional harmonic progressions (such as V–I or ii–V–I) in accompaniment of improvisation; (5) Harmonies characteristic of jazz after 1969 (Suspended fourth—”sus”—chords, slash chords, harmonies named for modes: i.e. phrygian, aeolian harmonies); and (6) Prominent use of melodic and/or harmonic perfect fourths” (p. 46). - - - - - -CHAPTER EIGHT - - -Chord–Scale Theory - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 8 establishes a relationship between the vertical and horizontal dimensions in jazz. The diatonic and chromatic modes are revisited, and chord–scale relationships with four-, five-part chords, and the II–V–I progressions are established. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Chord-scale relationships - -• Dominant category: - -Altered - - - -Mixolydian - - - -Mixolydian ♭13 - - - -Mixolydian ♯11 - - - -• Gapped formation - -• Intermediary category: - -Dorian - - - -Locrian - - - -Locrian ♮2 - - - -• Major category: - -Ionian - - - -Lydian - - - -Lydian Augmented - - - -• Minor category: - -Aeolian - - - -Dorian - - - -Melodic Minor - • Overtone series: Fundamental notes +Minor Modes — Dorian ♭2 +The Dorian ♭2 mode contains two beauty marks: major 6 and ♭2. -Overtones +Figure 7.11a: Pitch structure of Dorian ♭2 +Figure 7.11b: Four-bar modal phrase over C13(♭9)sus harmony +The mode consists of two tetrachords: lower Phrygian and upper minor. The phrase highlights two key features: +Augmented triad on ♭2 (mm. 2–3) +Whole-tone segment from ♭2 to 6 (mm. 3–4) +Minor Modes — Locrian ♮2 -Partials - - - -• Quartal harmonies/structures - -• Suspended dominant category: - -Dorian ♭2 - - - -Mixolydian +The Locrian ♮2 mode has two beauty marks: ♭5 and ♮2. +Figure 7.12a: Pitch content of Locrian ♮2 +Figure 7.12b: Four-bar phrase over Cmin7(♭5) +It contains lower minor and upper whole-tone tetrachords. The phrase emphasizes the beauty marks, particularly ♭5, with metrically stressed chord tones and diatonic extensions. +Major Chromatic Modes from Melodic Minor +Lydian Augmented +Figures 7.13a & 7.13b: Pitch structure and four-bar phrase over CMaj7(♯5) +Tetrachords: lower whole tone, upper chromatic +Beauty marks: ♯11, ♯5 +Characteristic whole-tone segment from 1 to ♯5, rhythmic interest via triads (E and D) in m. 3 +Mixolydian ♯11 (Lydian Dominant) +Figures 7.14a & 7.14b: Analysis and phrase over C13(♯11) +Tetrachords: lower whole tone, upper minor +Beauty marks: ♭7, ♯11 +Combines Lydian and Mixolydian qualities; arpeggiation projects extended tertian harmony Mixolydian ♭13 - - - -Phrygian - - - -• Upper structures - - - - - -OBJECTIVES OF CHORD–SCALE THEORY - - - - -* * * - - - -In jazz, the relationship between chords and scales is explained using chord–scale theory. Chord–scale theory relates certain harmonies to melodies and melodies to harmonies. It also illustrates what kinds of harmony and chord progression can be derived from particular scales or modes. The terms “scale” and “mode” will be used interchangeably. By extension, chord–scale theory measures the harmonic identity of improvised lines and examines melodies for their harmonic clarity. Finally, chord–scale theory allows us to formulate rules of voice leading that govern the behavior of harmonic progressions and melodic lines. In short, the relationship between scales and chords can be summarized with the following statement: any melodic line can be represented by a chord and/or harmonic progression and, conversely, any chord or harmonic progression can be horizontalized with a melodic line. - -Since we will combine four- and five-part chords (as well as triads and extended tertian sonorities) that add up to some 49 harmonic formations, chord–scale relationships will involve many-to-one ratios. This means that certain scales can accommodate more than a single chord and certain chords can establish a chord–scale relationship with more than a single mode. The possibility that many chords can form a relationship with a single scale is of great importance to the improviser. A proper understanding of this relationship can influence our decisions in finding the most fitting harmonic match for a single scale or vice versa. Even though certain chords might not contain all the essential notes from a given mode, they can still form a convincing chord–scale relationship with that mode. - - - - - -CHORD–SCALE RELATIONSHIPS - - - - -* * * - - - -A chord built entirely of thirds, so-called tertian formation, has seven notes that can be arranged in the form of a scale.1 The notes within the scale, however, have very different melodic and harmonic behaviors. Any vertical or linear combination of notes derived from the scale has the potential to convey the sound of that scale. In order to express such a sound, the selection of pitches in a chord has to be very specific. Figure 8.1 illustrates a chord–scale relationship between CMaj13(♯11) and the Lydian mode. - -There are two ways of explaining the chord–scale relationship between CMaj13(♯11) and Lydian. First, an extended tertian structure, CMaj13(♯11), can be horizontalized as the Lydian mode. Second, Lydian can be verticalized as the CMaj13(♯11) harmony. To project the Lydian sound, however, we do not necessarily need a complete seven-note chord; as few as three pitches, major 3rd, major 7th, and ♯11th (or ♭5th), may be used. The relationship between CMaj13(♯11) and Lydian means that the vertical and horizontal dimensions exhibit the same voice-leading behaviors and one can be used to represent and/or complement the other. Just as the structure of CMaj13(♯11) is representative of Lydian, so is the structure of other chords representative of other scales. Figure 8.2 represents the CMaj13(♯11) chord as a melodic phrase with characteristic modal features. - - - -FIGURE 8.1 CMaj13(♯11) and Lydian Mode - - - -FIGURE 8.2 Lydian Phrase - -In this figure, the Lydian mode has a very distinct sound. The melodic line prioritizes chord tones and the beauty mark ♯11th, avoids a perfect 5th, highlights a major triad on D, and uses successive fourths at the end of the phrase. The bottom stave projects the Lydian sound through the use of quartal harmonies or structures (that is, chords built in stacked fourths). These contain the most active notes derived from the Lydian mode. The interplay between the melodic line and the underlying harmonies unifies both musical dimensions. Not only does chord–scale theory control the relationship between lines and chords, but it also suggests a particular melodic and harmonic vocabulary derived from the structure of specific chords and scales. - - - - - -Major Category - - -Possible Harmonic Function—Tonic and Predominant - -In the forthcoming discussion, modes and chords are placed in the familiar functional categories. Each figure provides an analysis of the mode’s pitch content in terms of chord tones and extensions along with a selection of chords and upper structures. The term “upper structure” refers to a triad or four-part chord that contains extensions or chord tones (excluding the root) of an extended harmonic formation. - -The major category includes three scales: Ionian, Lydian, and Lydian Augmented. They establish a chord–scale relationship with different types of major chord. Figure 8.3 illustrates the pitch structure of these modes along with the corresponding chords. - -Note that in the Ionian mode, the 6, Maj7, 6/9, Maj9, and CMaj13 chords include the most important chord tones and extensions from the scale. The six-part CMaj13 is an example of the so-called gapped formation. Gapped formations interrupt the underlying pattern of introducing pitches from the scale in order to prevent excessive doubling. This creates more interesting voicings, or–as is the case in this example–avoids a note that does not fit the content of a fully extended chord. Two triads, major on 5 and minor on 3, summarize the chord–scale relationship using limited harmonic means. Scale degree four is typically employed as a metrically unstressed passing or neighbor tone. In more advanced harmonic settings, however, the avoid note can also participate in the projection of a mode. For instance, harmonic structures such as C(add4) or CMaj7(add4) convey the sound of Ionian, but these structures require a different set of voice-leading rules and specific voicings to make them sound convincing. - - - -FIGURE 8.3 Major Category - -In Lydian, the ♯11th is a pitch that flavors the mode in a highly recognizable manner. The chord–scale relationship in Lydian illustrates one of many spelling discrepancies that we will try to untangle. The ♯11th functions as an extension in extended tertian formations, such as in CMaj13(♯11). The ♯11th, then, assumes the presence of the perfect 5th. In four-and five-part chords such as CMaj7(♭5) and CMaj9(♭5), the alternate spelling ♭5th is used for the same pitch in order to preserve the tertian nature of their respective structures. A major upper-structure triad on 2 and a minor upper-structure triad on 7 convey the character of the Lydian collection using limited harmonic means. - -In Lydian Augmented, the ♯5 is a pitch that injects the characteristic augmented sound into the framework of the mode or chords. The Maj7(♯5) and Maj9(♯5) chords delineate the sound of the scale. The most common triad within this mode is the one built on 3 and has a major quality. The major 13th functions as an extension in the context of a complete tertian formation, as in . Otherwise it functions as a passing or neighbor tone. - - - - - -Minor Category - - -Possible Harmonic Function—Tonic and Predominant - -The minor category includes three modes: Melodic Minor, Aeolian, and Dorian. Figure 8.4 establishes a chord–scale relationship for this category. - -The first four chords, min6, min(♯7), min6/9, and min9(♯7) constitute the familiar four- and five-part formations and form a strong chord–scale relationship with Melodic Minor. The remaining ones, min11(♯7) and min13(♯7), feature extended tertian structures that incorporate six and seven notes from the scale, respectively. A major upper-structure triad on 5 captures the sound of Melodic Minor using limited triadic means. - -Similarly, all the notes from the Aeolian mode can be implemented in a chord. Among the four formations from Figure 8.4, the min9(♭6) and min11(♭13) chords admit both the chord tones and the beauty mark into their structure. The first two, min7 and min9, can represent the scale too, provided that the beauty mark occurs somewhere in the melodic line. In this particular context, the min7 and min9 chords assume the presence of ♭6th or ♭13th in the melodic dimension. The complementary relationship between chords and lines constitutes an important feature of chord–scale theory. - -The Dorian mode is an interesting collection with equally interesting chord–scale relationships. The dual harmonic function of Dorian–tonic and predominant–slightly complicates these relationships. The Dorian mode is a symmetrical scale that features two adjacent minor tetrachords. In theory, Dorian can admit all the notes from the scale into the structure of a chord. In practice, though, the selection of notes for a melodic line or a chord is entirely predicated on the context in which the Dorian mode appears. All the chords from Figure 8.4 establish a chord–scale relationship with Dorian and can potentially function as tonic formations. Yet, only min7, min9, and min11 function exclusively as predominant chords. Therefore, the role of the beauty mark decreases in predominant-type chords and increases in tonic formations. We can also emphasize these two different functional associations of Dorian by using specific upper-structure triads. In the tonic formation, we can use a minor triad on 2; in the predominant Dorian, a major triad on ♭7. - - - -FIGURE 8.4 Minor Category - -Dorian as Tonic and Predominant - -Compare the sound of the two melodic phrases in Figures 8.5a and 8.5b. - -The pitch content of these two phrases is derived exclusively from the Dorian mode. In Figure 8.5a, the line features successive fourths and prioritizes the beauty mark, major 6. The parallel quartal structures reinforce the melodic line and use the interval of a fourth as a basic building block. This particular pitch and harmonic architecture implies a modal style of improvisation. In Figure 8.5b, the phrase exhibits very different intervallic characteristics. The use of the minor 7th completely overshadows the major 6th, which becomes de-emphasized as an unaccented passing tone at the “and” of beat 2 in m. 2. The intervallic design of the melody highlights stacked thirds; these are complemented by mostly tertian formations and/or guide tones. In this context, the use of Dorian implies a more traditional style of improvisation, which we might implement over a predominant ii7 in the ii7–V7–Imaj7 progression. - - - -FIGURE 8.5A Dorian as a Tonic - - - -FIGURE 8.5B Dorian as a Predominant - -What can chord–scale theory tell us about the two phrases from Figures 8.5a and 8.5b? First, it tells us that the scale is a powerful entity that can exhibit either modal or tonal characteristics. Second, the intervallic design of melodic lines can potentially suggest modal or tonal environments. Third, the mode provides a structural foundation for melody and harmony. Fourth, in modal environments, upper melodic extensions function primarily as independent chord members that are not bound by the same rules of voice leading as their analogous counterparts in the tonal environment. Fifth, the pitch content of melodic lines can be effectively manipulated by exploring modal and tonal characteristics of scales. - - - - - -Dominant Category - - -Possible Harmonic Function—Dominant - -The dominant category establishes an intricate family of chord–scale relationships. The dominant category includes four scales: Mixolydian, Mixolydian ♯11, Mixolydian ♭13, and Altered. Figure 8.6 illustrates a chord–scale relationship between dominant modes and corresponding chords. - -The only pitch to be avoided is 4. All other notes can freely participate in a chord to project the sound of these dominant-functioning collections. When examining the content of the dominant 7th, 9th, and 13th chords, notice that their pitch content captures the diatonic qualities of the Mixolydian mode. The sound of Mixolydian can also be expressed using two minor upper-structure triads on 5 and 6. - - - -FIGURE 8.6 Dominant Category - -The pitch structure of the Mixolydian ♯11 mode approximates the distribution of partials in the overtone series.2 Figure 8.7 illustrates the overtone series, which distributes partials or overtones above the fundamental note, C1. The overtone series illustrates the sonic architecture of fundamental notes as they occur in nature. The distribution of partials above the fundamental note correlates with the location of chord tones and extensions within chords. Those closer to the fundamental (5ths, 3rds, and 7ths) form chord tones, those further removed from the fundamental (9ths, 11ths, and 13ths) constitute chordal extensions. - - - -FIGURE 8.7 The Overtone Series - -The Mixolydian ♭13 mode establishes a chord–scale relationship with the dom7(♯5), dom9(♯5), and dom9(♭13) chords. The mode is typically used in the context of dominant chords occurring in minor keys. Because of the potential spelling discrepancies that might arise in certain chord progressions involving a dom9(♯5) chord, we will implement the syntactically correct dom9(♭13). In the key of C minor, for instance, the ♯5th in G9(♯5) indicates D♯, which does not exist. Although the G9(♯5) spelling preserves the tertian nature of the chord, by referring to ♯5th as ♭13th we avoid making a syntactical error, which is all the more serious because it affects the minor 3rd of the tonic chord, E♭. In addition, the pitch alteration ♯5th becomes the chromatic extension ♭13th in the context of an extended tertian formation, such as a gapped C9(♭13) in Figure 8.6, which includes a perfect 5th as a chord tone. - -Even though the dom7(♭5) and dom7(♯5) chords form a relationship with the Altered mode, without the essential chromatic extensions, the Mixolydian ♯11 or Mixolydian ♭13 scales may actually be implied. The five-part chords that establish a chord–scale relationship with the Altered mode in Figure 8.6 have a highly chromatic pitch content and the degree of tension increases with the addition of the ♯9th. There are two major triads (♭5 and ♭6) and two minor triads (♭2 and ♭3) that project the sound of the Altered mode. - -In the case of chromatic chords and modes (or even with certain diatonic formations and scales), the issue of providing a unified methodology for labeling extensions is extremely problematic. As we have observed, extensions can be labeled as pitch alterations and pitch alterations as extensions. Attempting to resolve these discrepancies should give us a good opportunity to think more rigorously about the choice of notation and the implications of those choices. - - - - - -Suspended Dominant Category - - -Possible Harmonic Function—Dominant, Predominant, Tonic - -In the suspended dominant category there are four modes: Mixolydian, Mixolydian ♭13, Phrygian, and Dorian ♭2. They establish chord–scale relationships with different types of chord: triads, four-, five-, and six-part. The 7sus chord can function as dominant, predominant, or even as tonic in certain types of modal tune.3 Chord–scale theory for this category is rather complex because the 7sus chord can assume different harmonic functions. For instance, a chord–scale relationship with Phrygian and/or Dorian ♭2 might seem problematic because the major 3rd is not even present in the pitch structure of these modes. We can actually remedy this situation by reinterpreting ♭3 as ♯9th. And since the 7sus chord includes a perfect 4th as an essential chord tone, the absence of the major 3rd from those modes is not too problematic. - -Figure 8.8 illustrates chord–scale relationships for this category. - - - -FIGURE 8.8 Suspended Dominant Category - -A major triad on ♭7 and a minor triad on 2 are often used to represent the sound of the suspended Mixolydian mode. The Mixolydian ♭13 scale establishes a chord–scale relationship with two chords, dom9(♯5)sus and dom7(♭13)sus, both of which contain a dominant 7th chord on ♭7. In the former, the ♯5th replaces the 5th; in the latter, the ♭13th implies the 5th. - -Chords that establish a relationship with the Phrygian mode have an interesting selection of upper structures that can be superimposed over the root of the chord. The 7(♭9)sus chord contains a root position half-diminished 7th chord on 5 (G–B♭–D♭–F); includes an enharmonically spelled root position min7 chord on ♭7 (B♭–D♭–F–G♯); dom7(♯9)sus superimposes an enharmonic major triad with an added major 2nd on ♭3 (D♯–F–G–B♭); and incorporates an enharmonically spelled major tetrachord on ♭3 (D♯–F–G–A♭). The Dorian ♭2 scale forms a chord–scale relationship with the following formations: dom7(♭9)sus, dom13(♭9)sus, dom7(♯9)sus, and dom13(♯9)sus. One of the most effective upper structures that can represent the sound of Dorian ♭2 is an augmented triad on ♭2 over the chordal root. - -When comparing the chord–scale relationship between Phrygian and Dorian ♭2 in Figure 8.8, notice that the dom7(♭9)sus and dom7(♯9)sus chords establish a relationship with both modes. Neither of these chords, however, contains a note that is essential to the corresponding modes: the dom7(♭9)sus and dom7(♯9)sus chords in Phrygian do not include ♭6, while the dom7(♭9)sus and dom7(♯9)sus chords in Dorian ♭2 do not include major 6. As was the case with other chords that almost captured the sound of particular modes, the missing note from the chord needs to be supplied by the melodic line or assumed aurally. Based on this mutual relationship, we can formulate a basic premise that underlies chord–scale theory: in order to establish the relationship between chords and scales, both musical forces–horizontal and vertical–have to complement and interact with each other in time. - - - - - -Intermediary Category - - -Possible Harmonic Function—Predominant and Dominant - -The intermediary category contains three modes: Dorian, Locrian, and Locrian ♮2. They establish a chord–scale relationship with min7 and min7(♭5), as well as with other extended formations. In discussing chord–scale theory for this category, we will focus on establishing a relationship between the min7 and min7(♭5) chords, and with the corresponding scales. Since these chords are frequently used in the ii7–V7–Imaj7 and progressions, respectively, choosing the correct scale is essential in projecting the sound of these harmonies during improvisation. Figure 8.9 illustrates a chord–scale relationship between intermediary-type modes and corresponding chords. - -The Dorian mode establishes a relationship with the min7 and min9 chords in order to convey the sound of predominant ii7 in the ii7–V7–Imaj7 progression. In our earlier discussion of Dorian, we observed that all the notes from the scale could participate in projecting the Dorian sound. Here, the issue of the avoid note comes back and relates to the status of the beauty mark. The major 6th is excluded from the structure of predominant formations and, in the context of melodic lines, should be treated as a passing or neighbor note. - - - -FIGURE 8.9 Intermediary Category - - - -In Figure 8.9, the chromatic Locrian ♮2 is located before the diatonic Locrian. The Locrian ♮2 mode includes a major 9th, the most suitable form of the 9th that can be added to the min9(♭5) chord. We can also use upper structures: min(♯7) on ♭3, Maj7(♯5) on ♭5, and the augmented triad on ♭5, to convey the sound of Locrian ♮2. The min7(♭5) chord in Figure 8.9 also forms a chord-scale relationship with the diatonic Locrian mode. This scale can be used with the min7(♭5) chord, but the beauty mark ♭2 is de-emphasized and treated as a passing or neighbor note.4 The other beauty mark, ♭5, functions as a chord tone and is integral to the sound of both Locrian scales. - -Chord-scale theory tells us which notes to use in melodic lines, which chords best represent the harmonic character of those lines, and which combinations of notes can participate in a chord voicing. But, the chords we use cannot always accommodate all the notes from corresponding scales. In instances when a chord does not clearly project the sound of a mode, the corresponding melodic line has to supply the missing notes from the correct scale. Depending on the context, however, even the most important notes from the mode, such as beauty marks and chord tones, might be de-emphasized and treated as passing or neighbor notes. - - +Figures 7.15a & 7.15b: Pitch structure and phrase over C9(♭13) +Tetrachords: lower major, upper Phrygian +Beauty marks: ♭7, ♭13 +Arpeggiation of Eø7, A♭Maj7(♯5), and C7 emphasizes extended tertian structure +Altered Mode +Figures 7.16a & 7.16b: Pitch structure and four-bar phrase over C7alt +Tetrachords: lower chromatic, upper whole tone +Beauty marks: ♭9, ♯9, ♯11 (♭5), ♭13 (♯5) +Saturated chromaticism; requires careful preparation and resolution for clarity + +Note on Chromaticism: +Chromatic notes influence harmony, melody, counterpoint, and tonality. Proper preparation and resolution are crucial, and their rhythmic placement is as important as their pitch content. “Less is more” is key for effective use. + +Modal Jazz Overview +14 modes total: 7 diatonic + 7 chromatic +In modal jazz, modes function as independent scalar formations, often spanning entire sections (e.g., Coltrane’s Impressions, McCoy Tyner’s Passion Dance) +In tonal jazz, modes have functional behavior similar to four- and five-part chords +Notes +Scale degree 4 is essential for Ionian identity in a modal sense. +Locrian was historically excluded as a mode due to tritone and diminished triad characteristics. +For readability, ♯6 and ♯7 are referred to as 6 and 7. +Locrian ♮2 is also known as Super-Locrian. +Keith Waters summarizes modal jazz characteristics: slow harmonic rhythm, pedal points, limited functional harmony, post-1969 harmonic traits, and use of perfect fourths. +Chapter 8 — Chord–Scale Theory +Chapter Summary +Connects vertical (chord) and horizontal (scale/melody) dimensions +Revisits diatonic and chromatic modes +Establishes chord–scale relationships for four-, five-part chords, and II–V–I progressions +Concepts and Terms + +Chord–Scale Categories: + +Dominant: Altered, Mixolydian, Mixolydian ♭13, Mixolydian ♯11 +Intermediary: Dorian, Locrian, Locrian ♮2 +Major: Ionian, Lydian, Lydian Augmented +Minor: Aeolian, Dorian, Melodic Minor +Other Concepts: Gapped formation + +This cleaned-up structure is optimized for RAG indexing: all modes, tetrachords, beauty marks, and functional usage are tagged consistently for retrieval. + +If you want, I can reformat all the mode tables with CAGED-style root/fingering info, so each mode and example is immediately usable as a lookup in the RAG system. This would match your earlier structure like: + +Degree Chord Shape (CAGED) Root on String Suggested Fingering +I Gmaj7 E form 6th string 3–2–0–0–0–2 + + +Upper Structures and Quartal Harmony + +Upper structures are triads or four-note chords built above the root of a given harmony, typically using chord extensions rather than the root itself. They allow improvisers and arrangers to: + +Highlight “color” notes (9ths, 11ths, 13ths) without emphasizing the root. +Create richer harmonic textures while keeping the harmonic function intact. +Provide linear or vertical options for melodic lines that complement chord tones. + +Quartal harmonies are built from stacked fourths rather than thirds. These structures: + +Are a hallmark of modal jazz (McCoy Tyner’s piano voicings, for example). +Emphasize intervals derived from the mode rather than tertian harmony. +Offer flexibility in projecting a mode’s characteristic sound in both tonic and non-tonic contexts. + +When combined with upper-structure triads, quartal harmonies can make the melodic line and chordal accompaniment feel cohesive yet harmonically adventurous. + +Objectives of Chord–Scale Theory Recap +Linking melody and harmony: +Every scale (mode) can project multiple chords, and conversely, chords can be “horizontalized” into melodic lines. +Identifying beauty marks: +Certain scale degrees (♯11, ♭13, ♭2, major 6, etc.) serve as characteristic notes that define the sound of a mode. Chords should either contain or imply these notes. +Voice-leading guidance: +Proper selection of chord tones, upper structures, and passing notes ensures that both vertical and horizontal musical dimensions complement each other. +Flexibility in improvisation: +Chords rarely contain every note of a scale; missing notes are supplied aurally by the melodic line. This balance is central to modal jazz improvisation. +Applying Chord–Scale Theory Across Categories + +1. Major Category (Tonic/Predominant): + +Modes: Ionian, Lydian, Lydian Augmented +Chords: CMaj7, CMaj9, CMaj13(♯11), C(add4), etc. +Upper structures highlight extensions (e.g., triad on 2 for Lydian) +Beauty marks: ♯11 for Lydian, ♯5 for Lydian Augmented + +2. Minor Category (Tonic/Predominant): + +Modes: Dorian, Aeolian, Melodic Minor +Chords: min7, min9, min11, min13, min6/9, min(♯7) +Dorian: dual function—tonic or predominant; beauty mark major 6 emphasized in tonic, de-emphasized in predominant. + +3. Dominant Category (Dominant): + +Modes: Mixolydian, Mixolydian ♯11, Mixolydian ♭13, Altered +Chords: dom7, dom9, dom13, dom7(♯5), dom9(♭13), dom7alt +Extensions/beauty marks: ♯11, ♭13, ♯9, ♭9, depending on the mode +Relationship to overtone series: lower partials → chord tones, higher partials → extensions + +4. Suspended Dominant Category (Dominant/Predominant/Tonic): + +Modes: Phrygian, Dorian ♭2, Mixolydian, Mixolydian ♭13 +Chords: 7sus, dom7(♭9)sus, dom13(♯9)sus +Upper structures: augmented triad on ♭2, major triad on ♭7, minor triad on 2 +Handling missing notes: melodic line often supplies absent beauty marks or chord tones + +5. Intermediary Category (Predominant/Dominant): + +Modes: Dorian, Locrian, Locrian ♮2 +Chords: min7, min7(♭5), min9, min11, min13(♯7) +Beauty marks like major 6 (Dorian) or ♭2/♭5 (Locrian) may be emphasized or de-emphasized depending on functional context +Scale/chord complementarity is crucial: melodic line often fills in missing notes from the chord +Key Takeaways on Chord–Scale Theory +Vertical (chord) and horizontal (melody) dimensions must interact: The chord doesn’t always carry every note from the scale; missing notes are implied melodically. +Functional flexibility: Modes can serve multiple harmonic roles—tonic, predominant, or dominant—depending on context. +Chromaticism and extensions: Altered and chromatic modes require careful consideration of enharmonic spelling and voice-leading to preserve harmonic clarity. +Beauty marks: Recognizing characteristic tones in a mode is essential for conveying the unique sound of that scale in both chords and lines. THE II7–V7–Imaj7 PROGRESSION - - -* * * - - - -Figure 8.10 illustrates the chord–scale relationship for the ii7–V7–Imaj7 progression in the key of C major. - -Even though all the notes from Figure 8.10 are derived exclusively from the C major scale, the individual modes establish a strong metric relationship with the underlying chords. Notice that downbeats in Figure 8.10 are occupied by chord tones, while offbeats with passing notes are notated with small note heads. Such a distribution of notes enables a clear projection of chords and harmonic progressions during improvisation. - -In addition to the diatonic relationship shown in Figure 8.10, we can also experiment with substitute chords and their corresponding scales in order to establish more intricate chord–scale relationships, such as those provided in Figure 8.11. While these relationships expand our melodic vocabulary and harmonic understanding, they also illustrate how to introduce chromatic notes. Figure 8.11 illustrates some of the most common combinations of chromatic chord–scale relationships for the ii7–V7–Imaj7 progression. - -In Figure 8.11a, the dominant chord in m. 2 includes the ♯11th, which establishes a chord–scale relationship with the Mixolydian ♯11 scale. The tonic in mm. 2–3 features a Maj7(♯11) chord, which forms a chord–scale relationship with the Lydian mode. The remaining progressions in Figure 8.11 illustrate ever more complex chord–scale relationships. In Figure 8.11d, for instance, the use of the secondary dominant 7th, V7/V, in m. 1 transforms the diatonic ii7–V7–Imaj7 progression into the chromatic II7–V7–Imaj7. The use of Mixolydian ♯11 over the secondary dominant 7th is specially common in Bebop improvisation. - - - -FIGURE 8.10 Chord–Scale Relationship: ii7–V7–Imaj7 - - - -FIGURE 8.11 Chromatic Chord–Scale Relationships - - - - - -THE PROGRESSION - - - - -* * * - - - -Figure 8.12 illustrates two chord–scale relationships for the progression in the key of C minor. - -In Figure 8.12a, the Locrian ♮2 mode establishes a chord–scale relationship with Dmin7(♭5) as it contains a major 9th that expands the min7(♭5) into the min9(♭5) formation. The choice of Mixolydian ♭13 also fits the underlying tonal context since ♭13th anticipates the arrival of minor 3rd of Cmin7. Figure 8.12b proposes one of many chromatic chord–scale relationships that can be established for the progression. Here, the chromaticism becomes more prominent as the dominant 7th chord forms a chord–scale relationship with the Altered scale and the tonic chord with Melodic Minor. - -One of the goals of chord–scale theory is to develop our practical skills. Although Figures 8.11 and 8.12 showed different chord–scale relationships, our choices in our improvisations should reflect the surrounding musical context. Even though Mixolydian ♭13 is considered a chromatic mode in the context of the progression from Figure 8.12a, it is a more fitting choice than the diatonic Mixolydian because it contains the ♭13th that better conveys the underlying tonality. The treatment of chromatic extensions is an important factor to consider while making improvisational choices. In Figure 8.11b, for instance, the Altered mode over the dominant 7th prepares the arrival of Lydian Augmented. Since Lydian Augmented contains a dissonant ♯5th, the Altered mode one measure earlier foreshadows the occurrence of this alteration. - - - -FIGURE 8.12 Chord–Scale Relationship: - -NOTES - - - -* * * - - - -1. Tertian formations complete their third span after two octaves and may contain different kinds of 3rds (minor, major, diminished, and augmented). - -2. The Mixolydian ♯11 mode is also known as the “overtone” or “acoustic” scale due to its relation to the overtone series. - -3. “Yes or No,” “Little One,” “Milestones,” or “Litha,” for instance. - -4. In more advanced harmonic settings, however, a ♭9th can be added to the min7(♭5) chord, as can be seen in Figure 25.6. - - - - - -CHAPTER NINE - - -The Blues - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 9 discusses the most important form in jazz, the blues, examines the structure of the blues scale, and provides chord–scale relationships for the basic and minor blues progressions. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•AA`B phrase structure - -•Basic blues progression - -•“Blue” notes - -•Blues scales - -•Call and response - -•Generic blues - -•Major blues scales - -•Minor blues scales - -•Tonicizing sonority - -•12-bar form - -•Voice leading - - - - - -GENERIC BLUES - - - - -* * * - - - -The blues is an American art form. Originally, blues were primarily sung, with one of the objectives being to tell a story as vividly as possible. To tell stories, blues singers used simple repeated phrases charged with a variety of expressive devices. The ability to tell the story from one’s perspective came to represent blues performance practice in particular, and jazz improvisation in general. The familiar saying that “your solo should tell a story” takes on a completely different meaning when we consider whence it came and how intricate life’s stories can really be. Early blues practitioners were unconstrained by the form of the blues as the duration of improvised lyrics often influenced the length of individual phrases. Eventually, the blues was codified as a 12-bar form and, as such, it is by far the most common among jazz musicians. - -Figure 9.1 illustrates a fundamental harmonic framework of the 12-bar blues that we will refer to as a generic blues. - - - -FIGURE 9.1 Generic Blues - -The form of the generic blues can be partitioned into three four-bar phrases labeled as AA`B. Each of these four-bar phrases receives different harmonic support: the A phrase (mm. 1–4) is on the tonic, the A` (mm. 5–8) begins on the predominant and ends on the tonic, and the B phrase (mm. 9–12) begins on the dominant and ends on the tonic. Even though each phrase is analyzed with traditional functional labels, the underlying chords do not behave as specified by these labels. For instance, the tonic chord in m. 1 and the subdominant chord in m. 5 employ dominant 7th chords. In the generic blues, then, the chords on , , and have the dominant 7th quality. - -The labels A and A` imply the same melodic content whereas the label B implies the use of new melodic material. The predominant harmonic support in mm. 5–6 of the A` phrase, however, completely redefines the relationship between melody and harmony. The same melodic idea–which in the first A section might be heard as tonally stable–sounds unstable in the second A` section due to the disagreement between melody and harmony. In the lyrics of early blues performances, the first two lines (A and A`) frequently introduce a problem, pose a question, or depict a specific situation. The third line (B) almost always provides a solution to those circumstances. - - - - - -TELLING A STORY - - - - -* * * - - - -Here is a sample of blues poetry from the iconic “Backwater Blues”: - -Then they rowed a little boat about five miles ’cross the pond - -Then they rowed a little boat about five miles ’cross the pond - -I packed all my clothes, throwed them in and they rowed me along. - -Figure 9.2 demonstrates a musical realization of this story. - -The line in mm. 1–2 has a strong rhythmic and melodic profile. The predominant harmonic support in mm. 5–6 for the same melodic idea from mm. 1–2 redefines the relationship between melody and harmony. For instance, the A♭4s on beat 2 in m. 5 and on beat 4 in m. 6 form the interval of a perfect 4th with the chordal root; this creates melodic and harmonic tensions with the underlying E♭7 chord. The B phrase in mm. 9–10 resolves the accrued tension by introducing a new melodic idea. The musical answer in mm. 9–10 has a balanced melodic design that effectively complements the content of the A phrase. - - - -FIGURE 9.2 Musical Realization of a Story - - - - - -CALL AND RESPONSE - - - - -* * * - - - -The musical depiction of the lyrics from Figure 9.2 illustrates an additional aspect of blues performance practice–the use of call and response. Originally practiced by a large group of people, this improvisational technique involves sharing ideas between the leader and her/his followers. Mastering the call and response technique is especially important at the beginning of our encounter with jazz improvisation. It engages us in a meaningful dialogue that includes exchanging and communicating musical ideas. The communicative aspect of call and response is relatively straightforward in the context of verbal conversation. In a musical setting, however, when spoken words and sentences are replaced with motifs and melodic phrases, the structure of the call and response might not be as obvious. To be a good communicator, we have to know how to listen, pay close attention to what the other musicians are playing, and try to be receptive to their ideas. - -In certain scenarios, however, the use of call and response technique might create less than desirable effects. For instance, when the call and response takes the form of exact and immediate repetition, it might be impressive but not necessarily in keeping with the surrounding musical context. A much more subtle way of thinking about the call and response technique involves musical interaction at the level of the entire performance in which non-adjacent sections relate to one another, and where the flow of the performance is regulated by logically introduced musical ideas. In creating a musical narrative, then, we can also respond to each other’s playing, but these responses are not as obvious as simple repetitions tend to be. We can demonstrate our listening skills, for instance, by incorporating an idea that we have previously heard (i.e. a rhythmic motive from the drummer, or a melodic gesture from the guitarist) and develop it in such a way that leads to a more satisfying musical discourse. The call and response aspect of improvisation means that musicians understand each other’s intentions, have an unspoken agreement, so to speak, and project them with a high level of personal expression and musical commitment. - - - - - -THE BLUES SCALE - - - - -* * * - - - -The expressiveness of the blues comes from the melodic inflections added to particular notes. When we listen to various vocal or guitar renditions of the blues, these inflections are easily recognizable; they stand out because of their emotional charge and slightly “out of tune” sound.1 The so-called blues scale approximates the sound of these pitch inflections by altering , , and of the major scale. Figure 9.3 illustrates the content of the blues scale and its derivation from the major scale. - -The blues scale is a six-note collection with the “blue” notes on ♭3, ♭5, and ♭7. Although the presence of ♭7th suggests a chord–scale relationship with the dominant 7th chord, the use of the blues scale is not limited to this chord only. In the context of the blues scale, the pitches ♭3 and ♭5 constitute expressive embellishments not bound by any particular harmonic function or chord type. The blues scale, then, is an androgynous collection that works just as well for dominant 7ths as it does for tonic and predominant chords. The unspecified functional associations of the blues scale suggest that this collection is relatively easy to implement during improvisation. Indeed, the blues scale not only allows us to add expression to our playing, but it also demonstrates our understanding of its historical importance and its role in the jazz tradition. - - - -FIGURE 9.3 Blues Scale - - - - - -Major Blues - - -Having examined the structure of the blues scale, we can now explore the tonal potential of the scale.2 Figure 9.4 illustrates the structure of G blues scale. - -This scale has a minor feel to it; notice the use of ♭3, ♭5, and ♭7. By starting the scale on B♭3 and continuing through the octave, we are able to generate a major scale that, in addition to having the “blue” 3rd, also contains the major 3rd needed for major and dominant 7th chords. A major blues scale, shown in Figure 9.5, starts on ♭3 of the regular blues scale, contains a perfect 5th, major 6th, and major 9th, and establishes a convincing chord–scale relationship with the B♭6/9, B♭13 or other B♭–based dominant 7th chords. - -In addition to more generic usage of the blues scale (where a single scale is used in the context of different chords), we can be more discerning and assign a regular blues scale to minor chords and a major blues scale to major and dominant 7th chords. - - - -FIGURE 9.4 G Blues Scale - - - -FIGURE 9.5 Major Blues Scale - - - - - -BASIC BLUES PROGRESSION - - - - -* * * - - - -In the most fundamental form, the generic blues consists of only three chords: I7, IV7, and V7. These harmonies control the structure of the blues, even though in some chord progressions, particularly those from the Bebop Era, they might be disguised, substituted, transformed, or omitted all together. The generic or three-chord blues, without any additional 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 harmonic structure of a slightly modified blues (one that is probably the most common in jazz), and illustrate how this chord progression came about and how it relates to the generic blues. Figure 9.6 illustrates a basic blues progression and its relationship to the generic blues. When jazz musicians gather together to play the blues, the chances are that they are going to use this chord progression. - - - -FIGURE 9.6 Basic Blues Progression - -Notice that, in mm. 9–12, the chord changes are different in both progressions. A characteristic V7–IV7 chord succession in the generic blues becomes a ii7–V7–I7 progression in the basic blues. Another noticeable difference between the two progressions relates to the overall unfolding of harmonic rhythm. The slow harmonic rhythm of the generic blues reflects the fixed location of the structural chords: I7 in mm. 1, 7, and 11; IV7 in mm. 5 and 10; V7 in m. 9. In the basic blues, the rate of harmonic rhythm is much faster, usually with one-chord-per-measure changes. Additionally, the mediant harmony VI7 in m. 8 introduces a chromatic chord that anticipates the arrival of a predominant ii7 in m. 9. This tonicizing sonority, V7/ii, offers a momentary departure from the diatonic framework of the blues. In comparison to the generic blues, Figure 9.6 contains more tonally based progressions and, as such, lends itself to improvisation, something that we will undertake in Chapter 10. - - - - - -Keyboard Realization - - -In addition to being fluent on our primary instruments, the ability to realize chord progressions on the piano is an essential skill that enables us to understand the harmonic structure of tunes, their voice-leading propensities, and their inherent chord–scale relationships. The most basic realization of the basic blues progression shown in Figure 9.7 involves chordal roots in the left hand (L.H.) and guide tones in the right hand (R.H.). - - - -FIGURE 9.7 Basic Blues: Guide-Tone Realization - -The voice leading between adjacent chords is very strict. A major 3rd of the dom7 chord moves by a half step to a minor 7th of another dom7 and, conversely, a minor 7th of the dom7 moves down to a major 3rd. Skips are allowed only when stepwise motion is impossible to implement. For instance, the guide tones of B♭7 and G7 in mm. 7–8 move by parallel minor 3rds because this is the most efficient way to connect these chords. Larger skips can occur in places where the guide tones are registrally too low or too high. These skips or register transfers should coincide with the overall design of phrases, distribution of cadences, and harmonic rhythm of a tune. For instance, register transfers can be made in mm. 5 and 9 because those measures mark the beginning of new phrases and are aligned with the new harmonic functions. In summary, the successful realization of harmonic progressions depends on good voice leading, which primarily relies on stepwise motion between guide tones and careful distribution of skips. - - - - - -Chord-Scale Relationships - - -Figure 9.8 establishes a couple of chord–scale relationships for the basic blues progression in the key of B♭. Figure 9.8a uses major and minor blues scales and Figure 9.8b combines blues scales and modes. - - - -FIGURE 9.8 Basic Blues: Blues Scales and Modes - - - - - -MINOR BLUES - - - - -* * * - - - -The progression shown in Figure 9.9 exemplifies the structure of a minor blues.4 - -The chord structure of the minor blues is characterized by the presence of traditional tonal progressions. For instance, the tonicization of iv in m. 4 uses a secondary dominant 7th, V7/iv, and the motion to V7 in m. 10 is prepared by the ♭VI7 chord. This particular preparation of the dominant 7th, ♭VI7-V7, is one of the harmonic trademarks of the minor blues. - - - - - -Chord-Scale Relationships - - -The two chord–scale relationships for the minor blues shown in Figure 9.10 indicate a selection of blues scales and modes that will be explored in Chapter 10. - - - -FIGURE 9.9 Minor Blues - - - -FIGURE 9.10 Minor Blues: Blues Scales and Modes - -NOTES - - - -* * * - - - -1. Listen to the way Bessie Smith (Essential Bessie Smith) or Billie Holiday (Lady Sings the Blues) sing the blues, or Blind Lemon Jefferson plays the blues on the guitar (The Best Of Blind Lemon Jefferson). - -2. I am indebted to Prof. Harold Danko for sharing with me his thoughts on this subject. - -3. “West End Blues,” “Mecca Flat Blues,” “Honky Tonk Train,” “Lost Your Head Blues,” “Hear Me Talkin’ To Ya,” “Pinetop’s Boogie Woogie,” “Roll ’Em Pete,” or “Monday Struggle.” - -4. Representative 12-bar minor blues compositions are: “Bag’s Groove,” Ko-Ko,” Birk’s Work,” “Hora Decubitus,” “Footprints,” and “The Eye Of the Hurricane.” - - - - - -CHAPTER TEN - - -Improvisation - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 10 embarks on a study of improvisation. After some introductory remarks, the importance of melody in improvisation is discussed. A few basic improvisational strategies involving blues riffs, guide tones, and motifs are closely examined and implemented in practice. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Blues riffs - -• Charleston rhythm - -• Compound melodies - -• Guide-tone improvisation - -• Motifs - -• Motivic development: - -Blues riffs - - - -Expansion - - - -Fragmentation - - - -Interpolation - - - -• Inversion: - -Real - - - -Tonal/modal - - - -• Repetition: - -Exact - - - -Inexact - - - -• Transposition: - -Real - - - -Tonal/modal - - - -• Rhythm - - - - - -GETTING STARTED - - - - -* * * - - - -In Chapter 2, we stressed that rhythmic integrity and a good sense of time should be the focus of a performance. The quality and placement of swing 8th notes, phrasing, and articulations are essential characteristics of melodic lines. While these characteristics relate to the overall presentation of melodic lines, the content of our phrases is intimately related to the musical material with which we are working. Successful improvisation depends just as much on the ability to project the melodic line in a convincing fashion as it does on a familiarity with the melodic syntax, harmonic vocabulary, and rhythmic conventions associated with the tune being used for improvisation. In addition, the ability to listen to our own playing, articulate the form of improvisations, and make large-scale musical connections is an important skill that can improve improvisational skills. - -In our initial attempts at improvisation, we might notice that, instead of concentrating on when to play, we are spending too much time thinking about what to play. This is perfectly understandable; after all, improvisation is a complex musical activity. It requires complete internalization and practical understanding of theoretical concepts. In shifting our focus from what to play to when to play, the what to play needs to be fully internalized. This involves studying different theoretical concepts, learning different styles of improvisation, listening to music, and practicing. Improvisation is similar to learning a new language. The first step involves the acquisition of essential words and grammar rules; these are then combined in simple sentences to enable basic communication. Similarly in jazz improvisation, we first acquire a basic vocabulary of chords, scales, and motifs along with some normative voice-leading rules. Once we have internalized these building blocks and rules, we can create idiomatic improvisations of our own. - - - - - -BLUES RIFFS - - - - -* * * - - - -We begin our study of improvisation with the blues. Improvising on the blues presents an interesting situation because the task might not seem too complicated. After all, we can negotiate different blues progressions with only a blues scale and sound quite convincing. Studying blues improvisation, however, gives us a solid foundation that we can later develop and expand. The most basic strategy in learning blues improvisation involves playing simple melodic ideas derived from the blues scale, called blues riffs. In using this approach, the negotiation of chord changes is not the main concern because blues riffs fit the structure of different chords and chord progressions. There is, however, one important aspect of our playing that requires attention, namely rhythm. Figure 10.1 illustrates a solo on the generic blues form that employs a variety of blues riffs. - -These riffs have a characteristic melodic and rhythmic profile that influences the overall flow of the solo. The design of these riffs has a unique pitch structure that prioritizes the use of the blue notes. Figure 10.2 provides a compilation of one- and two-bar blues riffs starting on different pitches of the blues scale that can be explored during improvisation. It is worth noting that these riffs are just as effective in improvising on the blues as they are in improvising on other types of tunes. While improvising on blues progressions, we will use these riffs at different locations within the form so that the phrasing does not follow the regularity of four-bar phrases of the blues in a predictable way. - - - -FIGURE 10.1 Two-Chorus Blues Solo - - - - - -THE ROLE OF GUIDE TONES - - - - -* * * - - - -In Chapter 8, it was noted that harmonies can be represented horizontally as melodic lines and that melodic lines can be represented vertically as harmonic formations. This mutual interrelationship between chords and lines implies that the same rules of voice leading that control the behavior of chords will also control the behavior of melodic lines. The keyboard realization of the blues in Chapter 9 (Figure 9.7) involved placing the guide tones in the R.H. and chordal roots in the L.H. The harmonic guide tones from Figure 9.7 can be horizontalized as a melodic line. This line can literally guide us through the chord changes while improvising, hence the term guide-tone improvisation. The melodic line in Figure 10.3 consists of two half notes (or four quarter notes in m. 4) using 3rds and 7ths from the underlying harmonies. This apparently single-line melody is an example of a compound melody. Figure 10.3 shows the transformation of the vertical guide tones into two horizontal compound melodies beginning on the 3rd and the 7th, respectively, and suggests a chord–scale relationship that can be explored during improvisation. The implied contrapuntal lines are indicated with stems pointed in the same direction and attached to a dashed line. - - - -FIGURE 10.2 Blues Riffs - - - -FIGURE 10.3 Guide-Tone Line: 3rds and 7ths - - - - - -THE CHARLESTON RHYTHM - - - - -* * * - - - -By emphasizing a guide-tone line in our improvisation, we can clearly express the quality and function of underlying chords. To be successful at this type of improvisation, the horizontalized guide tones need to be metrically emphasized. We can begin by activating the line with the help of a two-note rhythmic gesture known as the Charleston rhythm.1 This idiomatic rhythmic idea, along with the eight possible metric locations within the measure, is shown in Figure 10.4. - - - -FIGURE 10.4 The Charleston Rhythm - - - - - -EXPLORING GUIDE TONES - - - - -* * * - - - - - -Using 3rds and 7ths - - -The guide-tone line establishes a chord–scale relationship with the underlying harmony that we need to preserve once we move away from improvising solely on a blues scale. Using the chord–scale relationships from Figures 10.3, 9.8, and 9.10, we will now demonstrate how the relationship between guide tones and corresponding scales might work in the context of a solo. In addition to establishing a convincing chord–scale relationship, the solo in Figure 10.5 also employs various incarnations of the Charleston rhythm. - - - - - -Using 3rds or 7ths - - -Another approach to practicing guide-tone improvisation involves embellishing only a single guide tone. Melodic activities can be organized either around the 3rd or the 7th of underlying chords. Figure 10.6 illustrates two structural lines of the blues that use the 3rds and the 7ths of corresponding chords, respectively. - - - -FIGURE 10.5 Guide-Tone Improvisation - -With a single guide tone the structural line becomes more angular, thereby making its elaboration more challenging. Figures 10.7a and 10.7b demonstrate how to integrate individual guide tones within the context of a solo. Figure 10.7a prioritizes the 3rds and Figure 10.7b emphasizes the 7ths. Arrows indicate the metric placement of guide tones within the line. - - - - - -The 3rd and 7th lines - - -In preparing for improvisation, we can select a single line starting on the 3rd or the 7th and elaborate it with different melodic ideas. Such a line fulfills the rules of voice leading (the 3rd of a chord is retained or moves down by a half step; the 7th of a chord moves down by a half step to the 3rd of the next chord). Figure 10.8a illustrates a structural line (top staff) beginning on the 3rd and its melodic elaboration (bottom staff). Figure 10.8b shows a structural line beginning on the 7th and its subsequent elaboration. Notice the metric distribution of guide tones within these lines. - - - -FIGURE 10.6 Two Guide-Tone Lines - - - - - -MOTIVIC DEVELOPMENT - - - - -* * * - - - -Techniques of motivic development are innately connected with the art of composition and improvisation. Although these techniques may take many different forms, the underlying premise is to take a small melodic gesture, called a motif, and transform it in a logical, coherent, and musically satisfying manner. The use of motivic development provides structural coherence to improvisation. There are certain characteristics, however, that a motif should have in order to lend itself to musical development. These characteristics include a strong rhythmic profile, an interesting melodic shape, a clear harmonic structure, and a relatively short pitch duration. When examining motifs from jazz or classical literature (compiled in Figure 10.9), special attention should be paid to their strong rhythmic, melodic and harmonic characteristics, and, above all, their succinctness and memorability. - - - -FIGURE 10.7A Improvisation: Embellishing 3rds - - - -FIGURE 10.7B Improvisation: Embellishing 7ths - - - -FIGURE 10.8A Improvisation: Embellishing a 3rd line - - - -FIGURE 10.8B Improvisation: Embellishing a 7th line - - - -FIGURE 10.9 Motifs From Literature line - - - -With their slow (or non-existent) harmonic rhythm, modal tunes are ideal vehicles for practicing improvisation and implementing different techniques of motivic development. Because the pitch content is fixed, the focus is on playing with a good sense of time and on the development of particular motifs. In the overview of techniques of motivic development, we will first demonstrate how to create a motif that successfully captures the sound of a given mode. Then the traditional techniques of motivic development will be examined, such as repetition, transposition, expansion, interpolation, contraction, fragmentation, and inversion. Finally, we will demonstrate how to implement these techniques in practice. - -Broadly speaking, a motif should convey the sound of a specific mode and display a strong melodic and rhythmic profile. Figure 10.10 provides a selection of motifs for diatonic and chromatic modes in C. These will later be used for practicing motivic development with the Play Along DVD. - -The pitch content of these motifs clearly projects the sound of corresponding modes, as each motif prioritizes the use of chord tones and beauty marks. The rhythm of each motif is representative of jazz syntax and has strong developmental potential. - - - -FIGURE 10.10 Motifs for Practicing Improvisation - - - - - -Repetition - - -The technique of repetition is based on either the exact or the inexact recurrence of the motif. Even though exact repetition might be redundant, occasionally it can be employed for melodic emphasis or for confirming musical ideas. Inexact repetition transforms the original motif using slight melodic and/or rhythmic modifications. These modifications typically involve pitch replacements or minor rhythmic displacements. Exact and inexact repetitions, as well as other motivic techniques, are illustrated in Figure 10.11. - - - - - -Transposition - - -The technique of transposition transfers the original motif to a different pitch level. There are two forms of transposition: tonal/modal and real. Tonal/modal transposition preserves the underlying tonality/modality of the motif. Thus, it allows for minor intervallic adjustments to the pitch structure of the original motif. Real transposition preserves the intervallic content of the motif when transposed to a different pitch level. The most obvious consequence of real transposition is the infusion of chromaticism and noticeable departures from the underlying tonal/modal center. With this technique, we can effectively control the ebb and flow of chromaticism and its impact on the music. To create a stark melodic contrast, for instance, we can transpose the motif by an interval that does not keep any notes in common between the original and its repetition. In order to exhibit a more controlled approach to improvisation, we can let the intervallic content of the original motif influence the level of transposition. Furthermore, to demonstrate traces of compositional thinking in our improvisation, we can control the level of transposition by implementing pitches from the original motif as roots of the transposed motifs. All of these possibilities are demonstrated in Figure 10.11. - - - - - -Expansion and Interpolation - - -Expansion and interpolation are techniques of motivic development that add new material to the original motif. Expansion adds new melodic content at the end of the motif. Tangentially related to expansions, interpolations transform the original motif by inserting new melodic material in the middle of its structure. Figure 10.11 illustrates the use of these techniques. - - - - - -Contraction and Fragmentation - - -Contraction, which typically occurs in the context of longer gestures, shortens the length of the original motif. Subsequently, these shorter melodic cells might undergo the technique of fragmentation, which further allows for development through repetition, transposition, and/or expansion. The technique of fragmentation might be advanced through other means as well. For instance, we can partition the original motif into small melodic cells and, then, combine them using different motivic permutations. Figure 10.11 demonstrates the use of these techniques. - - - - - -Inversion - - -The technique of motivic development known as inversion mirrors the intervallic content of the original motif. Just as in transposition, there are two types of inversion: tonal/modal and real. In tonal/modal inversion, the shape of the original motif is inverted in pitch space specific to the particular key or mode. Just as in tonal transposition, this technique usually does not preserve the intervallic content of the original motif. Certain intervallic adjustments of the original motif are required in order to preserve the underlying tonality/modality. In real inversion, the intervallic content of the original motif is preserved and, as a result, chromatic pitches will likely occur. Using inversions in improvisation can be challenging because we have to quickly figure out intervallic inversions of the original motif and implement them in real time. In spite of these challenges, however, the use of inversion is a very powerful technique that can add more control in our playing. Figure 10.11 illustrates the use of two types of inversion, as well as other techniques of motivic development. Notice that the intervallic content of the original motif and its transformations are indicated with integers representing a number of semitones. A “+” and “−” indicate the direction of intervals: ascending and descending, respectively. - - - -FIGURE 10.11 Techniques of Motivic Development - -NOTE - - - -* * * - - - -1. The Charleston rhythm is derived from James P. Johnson’s popular song “The Charleston” from 1923. - - - - - -PART TWO - - -Intermediate - - - - - -CHAPTER ELEVEN - - -Jazz Lead Sheets - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 11 provides an analysis of two standard tunes: “My Romance” and “All the Things You Are.” The analysis of “My Romance” focuses on a structural reading of the tune. The analysis of “All the Things You Are” concentrates on the ubiquity of the II–V–I progression. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Back-door dominant 7th - -• Fake books - -• Lead sheets - -• Two-level analysis: - -First level - - - -Second level - - - -• II–V–Is: - -Incomplete - - - -Structural - - - -Tonicizing - - - - - -WHAT DOES A LEAD SHEET TELL US? - - - - -* * * - - - -In order to become a successful jazz musician, one has to learn how to read, interpret, and modify lead sheets. Improvising from a lead sheet is a unique performance skill that jazz musicians cultivate on a daily basis and perfect over a long period of time. Comparable to other shorthand notations from classical music, such as figured bass, tablature, partimento, or others, lead-sheet notation contains just enough essential information to create a complete performance. - -A typical jazz lead sheet includes a single-line melody, chord symbols, and lyrics. Lead sheets can be a part of larger compilations of songs known as fake books. They can also exist as individual song folios; these types of lead sheet are probably the most accurate and valuable. Musicians can create their own fake books to play with other musicians and to agree on harmonic changes. Jazz lead sheets from reputable publishers contain relatively few mistakes. This is helpful since in the not-so-distant past, illegal fake books contained many mistakes. Reputable publishers sometimes incorporate dubious editorial decisions and present a certain historical performance as somehow iconic of that song's performance practice. Although the accuracy of fake books has certainly improved, the best method of learning and retaining tunes is to find the original recording and transcribe the melody and chord changes from the record. - -Songs that constitute the core of jazz repertory were once considered widely popular. They were continually heard on the radio and often topped the charts. Artists who performed them were treated like celebrities and had cult-like followings. Jazz musicians have appropriated these tunes into their repertoire for obvious reasons: they are great songs written by composers who, above all, valued and understood the importance of a good melody. Their popularity among jazz musicians is probably the best testimony that great music never loses its appeal. The original chord progressions of standard tunes might include the harmonic vocabulary typical of the popular idiom during the Golden Age of the American Popular Song, ca. 1900–1950.1 Just as in decades past when jazz musicians offered personal interpretations of these tunes, it is important to learn how to interpret lead sheets in a manner that convincingly expresses the nature, affect, and “feel” of the song. - - - - - -TWO-LEVEL ANALYSIS - - - - -* * * - - - -A method of analysis known as two-level analysis enables us to differentiate between chords that are structurally important and those that are not. In this method, the second level is more general. It stands back from surface-level details to examine larger harmonic gestures and functions. It also determines the large-scale key distribution and the harmonic character of individual phrases. Such examination forces one to look at the tune from a more global perspective. The first level of analysis goes back to a chord-by-chord, measure-by-measure unfolding of harmonic changes. In conjunction with the initial observations, it helps to determine how chords interact with one another, how progressions project harmonic function, and how chords behave on a local level. This analytical method establishes a hierarchical relationship between chords, illustrates the functional relationships at the phrase level, and explains how the tonality of a tune works. It merges global and local perspectives into a unified analytical synthesis. - - - - - -“MY ROMANCE” - - - - -* * * - - - -This analytical demonstration discusses the difference between chords that are structurally important and those that are not. Figure 11.1 illustrates a lead sheet of “My Romance” by Richard Rodgers and Lorenz Hart.2 - - - -FIGURE 11.1 Lead Sheet—“My Romance” - - -Figure 11.2 provides a two-level analysis of “My Romance” (mm. 1–16). The A section is divided into two four-bar phrases. The first phrase begins on the tonic and features a strong cadential confirmation of the tonic in m. 4 that establishes the key of the song. Remember that to establish a key it is necessary to have a statement of the tonic, a motion away from the tonic, and some kind of cadential gesture to confirm the tonic. In standard tunes, that cadential gesture almost exclusively takes the form of the ii7–V7–Imaj7 progression. Measures 1–4 of “My Romance” exhibit these characteristics, as indicated by Roman numerals. The second phrase in mm. 5–8 begins on the submediant and leads back to the tonic. - -Even though the harmonic rhythm is relatively fast, with two chords per measure, not all the chords have the same structural and functional weight. For instance, mm. 1–2 expand the underlying tonic with a Imaj7–IVmaj7–iii7–vi7 progression, whereas mm. 5–6 expand the submediant with a local i7–V7–i7 progression before tonicizing the predominant ii7 with a V7/ii on beat 3 in m. 6. The second level of analysis, however, reveals a simpler and more fundamental tonal architecture for the A section: mm. 1–4 establish the tonic with a Imaj7–ii7–V7 tonic expansion; mm. 5–6 feature tonal motion to the submediant followed by a ii7–V7 confirmation of the tonic in mm. 7–8. These harmonies occur on metrically strong positions and, by and large, reflect the symmetrical nature of eight-bar phrases. - -The B section features a harmonic departure away from the tonic. In particular, mm. 9–13 are controlled by a IVmaj7–Imaj7 progression with local blues inflections highlighting the ♭VII7 harmony. The ♭VII7 chord in mm. 9 and 11 is also known as a back-door dominant 7th because it subsumes its natural voice-leading tendencies and deceptively resolves up a whole step to the tonic chord. The music departs even further away from the main key in the second four-bar phrase of the B section. To make tonal sense out of that progression, let's start in m. 16 and move backwards. The B section is harmonically open and ends on the dominant in m. 16. That dominant 7th is reached through a sequence of fifth-related chords that begins on F♯min7(♭5) in m. 13. Each measure, with the exception of m. 15, contains some kind of a ii7–V7 progression. The second level of analysis indicates a more fundamental harmonic architecture of the B section: mm. 9–12 elaborate a diatonic IVmaj7–Imaj7 progression; mm. 13–16 then expand the underlying tonality with chromatic motion to the mediant and a subsequent return, via a cycle of fifth progression, to the dominant. - -By looking at the overall tonal architecture of a tune, it is possible to learn and memorize the essential harmonies in the first half of the tune. In fact, if a seasoned jazz musician were to explain the harmonic progression of mm. 1–16 to a novice, he would probably say something like this: - -The first A section has two four-bar phrases: the first in I, the second in vi, which returns back to I. The B section features a IVmaj7–Imaj7 progression with a backdoor ♭VII7 in the first four-bar phrase, and a cycle of fifths with local ii7–V7s starting on , in the second four-bar phrase that closes on the dominant 7th. - -Notice that this succinct explanation omits a lot of harmonic details and focuses instead on a big tonal picture. The harmonic details absent from that description are either theoretically assumed or aurally picked up during the performance. - - - -FIGURE 11.2 Two-Level Analysis—“My Romance,” mm. 1–16 - - - - - -“ALL THE THINGS YOU ARE” - - - - -* * * - - - -This analysis focuses on only one aspect of the tune, namely the presence and function of the ii7–V7–Imaj7 progression. Figure 11.3 shows a lead sheet of “All the Things You Are” by Jerome Kern and Oscar Hammerstein II. With a beautiful melody, gorgeous lyrics, interesting harmonic progressions, and an extended 36-bar AABA form, “All the Things You Are” has become an ultimate favorite among jazz musicians.3 - -What is particularly striking about “All the Things You Are”—and about the majority of standard tunes as well—is the sheer number of ii7–V7–Imaj7s permeating its harmonic structure.4 In standard tunes, the two basic types of the ii7–V7–Imaj7 progression are commonly implemented: structural and tonicizing. The structural ii7–V7–Imaj7 may or may not always be present at the outset of a tune, but will definitely occur at the end of it in order to confirm the underlying tonality. In “All the Things You Are,” mm. 33–36 feature a clear statement of the structural ii7–V7–Imaj7. The same progression also occurs in mm. 2–4, but in this context it provides a harmonic support for the melody and is a part of the larger harmonic span. The structural weight of both progressions is very different and depends on their placement within the tune. - - - -FIGURE 11.3 Lead Sheet—“All the Things You Are” - - -The tonicizing ii7–V7–Imaj7 progression functions as a local cadential preparation and/or confirmation of secondary key areas. In mm. 6–8, a local (ii7–V7)/III tonicizes the mediant key, III. Why the mediant key? Because the tune appears to be in the key of A♭ major and any harmonic departure from the main tonic is labeled accordingly. This tonicizing progression also occurs within a phrase and, as such, plays a purely supportive role. Remember that the tonicizing ii7–V7 is placed in parenthesis, followed by the diagonal slash and a Roman numeral that indicates a tonicized key area, hence the (ii7–V7)/III label in m. 6. At the end of the second A section, there is another local ii7–V7 progression tonicizing the leading-tone key, VII. - -When comparing the two tonicizing ii7–V7–Imaj7s from mm. 10–12 and 21–23, notice that they occur in different locations and therefore have very different structural roles. Which one is more important? The one from mm. 21–23 because it closes the B section of the song with yet another tonicization of a chromatic key area: the flat submediant, ♭VI. The (ii7–V7)/V in mm. 10–12, meanwhile, is located within a phrase and barely passes through the dominant key area. Even though it tonicizes a secondary tonal area, that tonicization is not confirmed as the phrase continues and closes in a different key, namely G major. This type of tonicization has a prolongational aspect to it. Finally, in m. 30, there is another type of a ii7–V7 progression, yet without the resolution. This progression is notated in square brackets (representing a harmonic ellipsis) with a Roman numeral indicating its “non-existing” resolution to ♭III. This is referred to as an incomplete ii7–V7 progression. Figure 11.4 illustrates the location of different ii7–V7s occurring in the tune. - -NOTES - - - -* * * - - - -1. The original harmonic progressions are found in the original song folios, which might include a verse and piano accompaniment. - -2. For representative recordings, consult Appendix F on the companion website. - -3. For representative recordings, consult Appendix F on the companion website. - -4. Even though most musicians would agree that “All the Things You Are” is in A♭, this and other “problematic” tunes can be considered from many tonal angles. A parallel narrative might suggest an emerging tonality of A♭ that begins with an F minor “shadow” tonality (to borrow a metaphor from Frank Samarotto's essay: “Strange dimensions: regularity and irregularity of deep levels of rhythmic reductions.” - - - -FIGURE 11.4 Roman Numeral Analysis of “All the Things You Are” - - - - - -CHAPTER TWELVE - - -Keyboard Textures - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 12 introduces seven models of realizing harmonic progressions on the keyboard. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Chorale style - -• Model I - -• Model II - -• Model III - -• Model IV - -• Model V - -• Model VI - -• Model VII - - - - - -MODELS OF KEYBOARD-STYLE PLAYING - - - - -* * * - - - -The ability to realize harmonic progressions on the keyboard is an essential skill for the contemporary jazz musician, regardless of her/his primary instrument. The forthcoming models of keyboard playing will help to accomplish this objective. - - - - +1. Chord–Scale Relationships (Review) +Diatonic vs. Chromatic Approaches +In Figure 8.10, the ii7–V7–Imaj7 in C major is completely diatonic, meaning all notes are from C major. +Downbeats: chord tones → strong harmonic grounding. +Offbeats: passing notes → create movement and tension. +Figure 8.11 shows chromatic substitutions: +Example: V7 with ♯11 → Mixolydian ♯11. +Tonic Maj7 with ♯11 → Lydian mode. +Secondary dominants (V7/V) introduce more chromaticism for Bebop-style improvisation. +Minor Blues and Chromaticism +Figure 8.12: C minor example. +Dmin7(♭5) → Locrian ♮2 mode (adds major 9th for min9(♭5)). +G7 → Altered scale, Cmin7 → Melodic Minor. +The takeaway: improvisation choices should reflect context, using chromatic extensions to enhance tension and release. +2. Blues Form +Structure +12-bar blues is the most common jazz form. +AA`B phrase structure: +A: tonic (mm. 1–4) +A`: predominant → tonic (mm. 5–8) +B: dominant → tonic (mm. 9–12) +Storytelling +Blues improvisation is rooted in narrative. +Example: “Backwater Blues”—musical phrases mirror storytelling: +A: introduces a situation +A`: elaborates/tension +B: resolution +Call and Response: +Can be local (immediate repetition) or extended (ideas revisited later in the piece). +Key skill: listening and reacting musically to other players. +3. Blues Scales +Minor vs. Major Blues +Minor Blues Scale: 6 notes (1, ♭3, 4, ♭5, 5, ♭7) +Emphasizes ♭3, ♭5, ♭7 → expressive “blue notes” +Major Blues Scale: starts on ♭3, adds major 3rd, perfect 5th, 6th, 9th +Works over major/dominant chords +Flexible: can be applied across different chords, not strictly tied to functional harmony. +4. Chord Progressions +Generic Blues +I7, IV7, V7 → foundational +Simple, slower harmonic rhythm, used in early blues and New Orleans styles +Basic Jazz Blues +Adds chromaticism and more tonally defined progressions (I7, IV7, V7, VI7, ii7–V7–I7) +Faster harmonic rhythm → more room for improvisation +Voice-leading in realizations: guide tones move stepwise, larger skips used sparingly +Minor Blues +Includes secondary dominants and ♭VI7 → V7 preparations +Example: tonicization of iv in m. 4 using V7/iv +5. Improvisation Prelude (Chapter 10) + +Key concepts introduced for developing melodic improvisation: + +Blues riffs: short, repeatable ideas +Guide-tone improvisation: focus on 3rds and 7ths for harmonic clarity +Motifs: development via expansion, fragmentation, interpolation +Inversion, repetition, transposition: tools to vary melodic material while staying coherent + +Jazz Improvisation Roadmap: Rhythm, Guide Tones, and Motifs +1. Rhythm in Improvisation +Focus on timing first: +Internalize swing 8ths, phrasing, and articulation. +Avoid overthinking notes; master when to play. +Shift from “what to play” → “when to play”: +The “vocabulary” of scales, chords, and motifs must be internalized. +Improvisation = using learned material fluently, like forming sentences in a language. +2. Blues Riffs +Foundational strategy: Simple melodic ideas from the blues scale. +Characteristics: +Prioritize blue notes (♭3, ♭5, ♭7). +Strong rhythmic profile. +Usage: +Can be applied across chord changes. +Avoid predictable 4-bar phrasing; vary placement within the form. +3. Guide-Tone Improvisation +Concept: Horizontalize chord 3rds and 7ths to form a melodic line that guides through chord changes. +Implementation: +Start lines on chord 3rds or 7ths. +Follow voice-leading rules: +3rd → half-step down to next chord’s 7th +7th → half-step down to next chord’s 3rd +Enhance with rhythm: Charleston rhythm (two-note idiom) can emphasize guide-tone lines. +4. Motivic Development +Motif: Small melodic gesture with rhythmic and harmonic clarity. +Purpose: Provides coherence and development in improvisation. +Techniques: +Repetition – exact or slightly altered (inexact) +Transposition – move motif to different pitch +Tonal/modal: preserves key/mode +Real: preserves intervallic content, may introduce chromaticism +Expansion/Interpolation – add new material to end or middle of motif +Contraction/Fragmentation – shorten motif and develop smaller cells +Inversion – mirror intervals +Tonal/modal: preserves key/mode feel +Real: preserves exact intervals, introduces chromaticism +5. Practice Principles +Combine techniques: Start with a motif, then experiment with repetition, transposition, fragmentation, inversion. +Modal and chromatic application: Use motifs to express mode-specific sounds (C major, C minor, chromatic). +Integration with rhythm: Place motifs at varied metric positions to create interesting phrasing. + +✅ Key Takeaways + +Rhythm is the backbone; internalize swing and Charleston patterns. +Guide-tone lines connect vertical harmony with horizontal melodic motion. +Motifs give solos structure; motivic development adds narrative and coherence. +Improvisation combines all elements: chord–scale knowledge, rhythm, guide tones, and motifs. + + +RAG-Focused Jazz Lead Sheet and Keyboard Concepts +1. Understanding Lead Sheets +Purpose: Provide essential information for performance: melody, chords, and lyrics. +Context: Lead sheets are shorthand like figured bass, tablature, or partimento in classical music. +Fake Books: Collections of lead sheets; quality varies. Always verify with original recordings when possible. +Core Idea: Popular jazz standards endure because of strong melodies and flexible harmonic structures. +2. Two-Level Analysis +Level 1 – Local Analysis: Chord-by-chord, measure-by-measure; shows detailed harmonic motion. +Level 2 – Global Analysis: Observes larger tonal architecture, functional relationships, and phrase-level structure. +Use: Helps determine which chords are structurally important vs. ornamental. Provides hierarchy in improvisation. +Example: “My Romance” +A Section: +Two four-bar phrases: first establishes tonic, second tonicizes submediant then returns to tonic. +Common cadences: ii7–V7–Imaj7. +B Section: +Harmonic departure via IVmaj7–Imaj7 and ♭VII7 (back-door dominant). +Ends on dominant through a cycle of fifths with local ii7–V7s. +Key Insight: Summarizing the tonal architecture helps memorize essential harmonies without overloading on details. +Example: “All the Things You Are” +Structural ii7–V7–Imaj7: Confirms the main tonality at phrase endings. +Tonicizing ii7–V7: Briefly establishes secondary tonal areas. +Incomplete ii7–V7: Creates harmonic tension without immediate resolution. +Key Insight: Identify which progressions are structurally significant to guide improvisation. +3. Keyboard Textures & Harmonic Realization + +Goal: Translate lead sheets into playable harmonic textures. Model I - - -• Guide-tone lines in the right hand (RH.). - -• Roots of chords in the left hand (L.H.) in 1:1 ratio with the R.H. - -Figure 12.1 demonstrates Model I using the major and minor versions of the II–V–I progression. Notice that the R.H. explores the invertible potential of the guide tones. - - - -FIGURE 12.1 Keyboard Realization: Model I - - - - - +R.H.: guide-tone lines +L.H.: chord roots in 1:1 ratio +Explores invertible potential of guide tones. Model II - -• Rhythmicized guide tones in the R.H. - -• Roots, thirds or fifths in the L.H. in 2:1 ratio with the RH. - -Figure 12.2 illustrates the use of Model II. The RH. distributes the Charleston rhythm at different locations within the measure. - - - - - +R.H.: rhythmicized guide tones (Charleston rhythm) +L.H.: roots, thirds, or fifths in 2:1 ratio +Metric variation adds interest. Model III - -• Root position and inversions of four-part chords in the R.H. (NO voice-leading considerations.) - -• Roots of chords in the L.H. in 1:1 ratio with the R.H. - -The focus of Model III, shown in Figure 12.3, is to explore only one position or inversion of the four-part chord throughout the progression. - - - - - +R.H.: root position/inversions of four-part chords (no voice-leading focus) +L.H.: roots in 1:1 ratio +Focus on exploring chord positions. Model IV - -• Root position and inversions in the R.H. realized with good voice leading. - -• Roots, 3rds, or 5ths in the L.H. in 2:1 ratio with the RH. - - - - - -FIGURE 12.2 Keyboard Realization: Model II - - - -In order to realize harmonic progressions using Model IV, you need to resolve the 3rds and 7ths of corresponding chords properly and remember the rules of good voice leading between chords (i.e. common-tone retention, stepwise motion, and contrary outer-voice counterpoint). Each progression in Figure 12.4 starts on a different inversion of the ii7 chord, which in turn affects the subsequent voice leading of the progression. - - - -FIGURE 12.3 Keyboard Realization: Model III - - - - -FIGURE 12.4 Keyboard Realization: Model IV - - - - - +R.H.: four-part chords with proper voice leading +L.H.: roots, 3rds, 5ths in 2:1 ratio +Maintains smooth motion and chordal integrity. Model V - -• Rootless five-part chords in the R.H. (NO voice-leading considerations.) - -• Roots of chords in the L.H. in 1:1 ratio with the R.H. - -Broadly speaking, so-called rootless formations omit the root of the chord from their structure. With rootless five-part chords, the upper four-part structure is placed in the RH. and the root in the L.H. Some of the RH. shapes should look, sound, and feel familiar, since they have already been encountered in the four-part chords in the context of Model III and Model IV. Similar to Model III, we will first acquaint ourselves with four rotations of the rootless formation. Figure 12.5 provides four Model V realizations of the major and minor versions of the II–V–I progression, with each realization beginning on a different R.H. shape. - - - - - +R.H.: rootless five-part chords (no voice-leading focus) +L.H.: roots in 1:1 ratio +Omits root in RH for more open, modern textures. Model VI - -• Rootless five-part chords in the R.H. realized with good voice leading. - -• Roots, thirds, or fifths in the L.H. in 2:1 ratio with the R.H. - -The motion between chords in Model VI shown in Figure 12.6 is controlled by the principles of good voice leading. - - - - - +R.H.: rootless five-part chords with proper voice leading +L.H.: roots, 3rds, 5ths in 2:1 ratio +Smooth transitions controlled by voice-leading rules. Model VII +Chorale style: equal note distribution, two voices per hand +Reduces larger chords to four essential voices, retaining harmonic essence. + +Practice Tip: Start with simple models (I–III) and gradually move to complex textures (V–VII). Integrate Charleston rhythm and metric variations for jazz feel. + +RAG Application +Reading: Identify melody, chords, structural vs. tonicizing harmonies. +Analyzing: Use two-level analysis to understand phrase structure, cadences, and functional harmony. +Generating: Apply keyboard models to create textures, reinforce harmonic understanding, and support improvisation. + +✅ Summary for RAG in Jazz + +Lead sheets are shorthand blueprints; your task is to read, interpret, and expand them. +Two-level analysis helps prioritize chords for improvisation. +Keyboard models translate harmonic knowledge into playable textures, supporting RAG and real-time improvisation. +Rhythmic placement, especially Charleston patterns, reinforces the jazz feel. + + +RAG: Idiomatic Jazz Progressions +1. Core Concepts +Focus: two- and four-bar jazz progressions. +Skills: aural recognition, harmonic analysis, keyboard realization. +Key elements: +ii7–V7–Imaj7 – foundation of jazz harmony +Turnarounds & Tag Endings – formal functions to prepare or conclude phrases +Tritone Substitutions (TR/X7) – dominant substitution via symmetrical tritone interval +Cycles of Dominant 7ths – multiple secondary dominants leading to structural V7 +Major-third cycles & Coltrane substitutions – advanced harmonic movement +Harmonic expansions – ii7–V7 diminutions, dominant saturation, secondary dominants +2. Tritone Substitutions +Definition: Replace a dominant 7th chord with another dominant 7th a tritone away. +Mechanics: The tritone interval (3rd–7th) remains invariant; chord tones swap roles. +Notation: TR/X7, e.g., TR/V7 in C major = D♭7 (substitute for G7). +Use in RAG: +Reading: Recognize the substitution in lead sheets. +Analyzing: Understand functional equivalence of dominant chords. +Generating: Apply substitutions in improvisation or keyboard comping for harmonic variety. +3. Turnarounds and Tag Endings +Turnarounds (I–vi–ii–V) +Usually 2–4 bars, prepares the top of the chorus. +Tonic prolongation: vi7 can function as tonic or predominant. +Tag Endings (iii–vi–ii–V) +Concluding coda-like repetitions at the end of a tune. +Harmonic transformations possible via secondary dominants, TR/X7, and ii7–V7 diminutions. +RAG Focus: +Reading: Identify tonal center, chord functions, and substitution options. +Analyzing: Understand phrase-level structure and harmonic rhythm. +Generating: Build dynamic endings with rhythmic displacement (e.g., Charleston rhythm). +4. Cycles of Dominant 7ths +Definition: Sequence of secondary dominants resolving in fifths toward the tonic. +Example: V7/vi → V7/ii → V7/V → V7 → Imaj7. +Variations: Diatonic (all chords in key) vs. chromatic (with TR/X7). +RAG Application: +Reading: Recognize dominant chain in lead sheets. +Analyzing: Understand motion toward tonic via secondary dominants. +Generating: Use cycles to create harmonic momentum in solos or comping. +5. Lady Bird Progression +Function: Chromatic turnaround with major-third relationships. +Structure: Imaj7 → ♭III7 → ♭VImaj7 → ii7 → V7 → Imaj7. +Role in Jazz History: Precursor to Coltrane’s major-third cycles. +RAG Application: +Reading: Identify chromatic shifts in lead sheets. +Analyzing: Understand tonicizations and functional relationships (♭VI → I). +Generating: Apply chromatic transitions for harmonic sophistication. +6. Coltrane Substitutions +“Countdown”: Major-third cycle with each chord preceded by dominant 7th. +“Giant Steps”: Full octave divided into equidistant major-thirds. +RAG Focus: +Reading: Follow rapid harmonic rhythm and tonicizations in lead sheets. +Analyzing: Map major-third cycles and secondary dominants. +Generating: Integrate substitutions for improvisation over fast-moving progressions. +7. Aural Identification +Critical for jazz musicians to recognize idiomatic 2- and 4-bar phrases. +Practice: Listen to progressions, identify ii7–V7–I, turnarounds, tritone substitutions, and major-third cycles. +RAG connection: +Reading → Match chord symbols to harmonic motion. +Analyzing → Determine structural vs. ornamental harmonies. +Generating → Improvise comping, guide-tone lines, and melodic lines over these progressions. +✅ RAG Integration Summary +RAG Skill Application to Idiomatic Progressions +Read Identify chord functions, substitutions, cycles, and rhythmic placement in lead sheets. +Analyze Use two-level analysis for phrase structure, tonicizations, and harmonic hierarchy. +Generate Create improvisations, keyboard realizations, harmonic substitutions, and dynamic endings (turnarounds, tags). + + +RAG: Four-Bar Interpolations and Modulations +1. [ii7–V7]/X Interpolations +Definition: A chromatic or diatonic ii7–V7 inserted between structural ii7–V7s; it may imply a potential resolution to a local tonic (“harmonic ellipsis”). +Key skills for RAG: +Read: Identify the intervallic distance between structural and interpolated ii7–V7s. +Analyze: Determine whether the interpolation functions as a passing harmony or a tonicization. +Generate: Create improvised lines and comping patterns that reflect the interpolation’s tonal pull. +Practice: Start slowly with keyboard realizations (Models I, III, VI), invert chords to explore unfamiliar shapes, and maintain a steady metronome on beats 2 and 4. +2. Four-Bar Modulations +Definition: A permanent shift to a new key area confirmed by a cadence, often ii7–V7–Imaj7. +Steps for Modulation: +Establish the original tonic. +Destabilize the tonic, moving toward a predominant in the new key. +Confirm the new key with a cadence. +Types: Closely related keys vs. remotely related keys. +RAG Focus: +Read: Identify tonic-dominant relationships and new tonal centers. +Analyze: Track modulation paths and intervallic distances. +Generate: Practice smooth voice-leading, chromatic approach notes, or ii7–V7 expansions to reinforce the new key. +Example: Use Figures 13.18–13.19 for major→minor, minor→major, and minor→minor shifts. +3. Interpolations and Multiple ii7–V7 +Chromatic interpolation: Introduces tension before resolving to a target chord or tonic. +Two interpolations in four bars: The first may function as an ellipsis; the second confirms a new tonic. +Miscellaneous four-bar progressions: Begin on I, ii, IV, or vi; can involve substitute dominants (TR/V7, ♭VII7) or tonicizations of related keys. +RAG Applications: +Read: Recognize the harmonic purpose of interpolations and their intervallic distances. +Analyze: Understand the role of each ii7–V7 in establishing or prolonging tonal centers. +Generate: Compose or improvise over interpolated four-bar phrases; practice different rhythmic placements. +RAG: Chapter 14 – Voicings +1. Upper-Structure Triads +Definition: Major or minor triads superimposed over a bass note or chord to create extensions and alterations. +Notation: +Diagonal slash: triad / bass note. +Horizontal slash: triad over a chord (polychord). +Application: Expand dominant 7th chords with 5 major (II, ♭III, ♭V, ♭VI, VI) and 5 minor (♭ii, ♭iii, ♭v, v, vi) upper structures. +RAG Focus: +Read: Identify triad quality and relation to the underlying chord. +Analyze: Map extensions and alterations produced by the upper structure. +Generate: Use in reharmonizations, chord-melody arrangements, and improvisation. +2. Dominant Aggregates +Definition: The set of ten pitches available in dominant 7th chords (excluding 4 and ♯7). +Application: Harmonize chromatic scales with upper-structure triads; explore inversional potential. +RAG Focus: +Read: Recognize triadic possibilities within the aggregate. +Analyze: Examine voice-leading and pitch distribution. +Generate: Compose or improvise with maximal chromatic possibilities. +3. Rootless Formations +Definition: Chords omitting the root; character projected through remaining chord tones. +Use: Typically in comping where bass players provide the root. +Advantages: Ambiguity allows harmonic flexibility; challenges the player to rely on voice-leading. +RAG Focus: +Read: Identify chord function without the root. +Analyze: Track harmonic motion via guide tones and extensions. +Generate: Create rootless voicings for comping or reharmonization. +4. Incomplete Voicings +Definition: Chords reduced to essential tones, often removing the 3rd, 5th, or 7th. +Purpose: Maintain harmonic clarity while allowing chromatic saturation and voice-leading. +Generation Steps: +Remove a single pitch from a complete five-part chord. +Transfer the 9th down an octave. +Rearrange notes into an open four-part voicing. +RAG Focus: +Read: Understand which notes are omitted and why. +Analyze: Contextualize tonal clarity using voice-leading. +Generate: Apply in comping, chord substitution, and melodic harmonization. +5. RAG Integration Table: Voicings +RAG Skill Application +Read Identify triads, upper structures, rootless or incomplete voicings in charts. +Analyze Determine chord function, extensions, alterations, and voice-leading patterns. +Generate Create reharmonizations, comping patterns, and improvisation using flexible voicings. + +This sequence naturally leads into practical exercises: playing interpolations, four-bar modulations, and experimenting with upper-structure triads and rootless/incomplete voicings at different tempos and inversions. + +RAG: Incomplete Voicings (Ch. 14 continuation) +1. Functional Flexibility +Concept: A single incomplete voicing can function as tonic, predominant, or dominant depending on context. +Examples from Figure 14.6: +Fmin11 → functions as tonic. +Rootless B♭7sus → suspended dominant resolving to E♭Maj7. +Suspended dominant resolving to C7 → Fmin11. +RAG Focus: +Read: Identify the chord tones present and missing. +Analyze: Determine functional role in context. +Generate: Apply the same voicing in multiple harmonic contexts; explore ambiguity for reharmonization or comping. +2. Key Takeaways +Incomplete and rootless voicings allow harmonic reinterpretation. +Their ambiguity is an asset, enabling voice-leading flexibility. +Careful contextual placement ensures clarity of function. +CHAPTER 15: Bebop – RAG Summary +1. Bebop Overview +Emerged in the late 1930s; modernized jazz harmony, melody, and rhythm. +Differences from swing/early jazz: +Longer solos +More chromaticism +Angular melodies +Complex rhythms +2. Bebop Scales +Eight-note scales (vs. 7-note modes) → chord tones on strong beats, passing tones on weak beats. +Primary types and functions: +Major Bebop → tonic and predominant +Chromatic passing note between 5–6 +Combines tonic 6th chord (downbeats) and diminished 7th chord (offbeats) +Minor Bebop → tonic and predominant +Minor ♯7, minor ♭7, and Dorian bebop variations +Chromatic passing notes between 5–♯6 and ♭7–8 +Dominant Bebop → dominant function +Chromatic passing note between ♯7–8 +Supports half-diminished 7th on ♯7 +Intermediary/Dominant Complex → predominant → dominant +Same pitch content as dominant bebop, different metric distribution +Mediates between ii7 (minor) and V7 + +RAG Focus: + +Read: Recognize scale type, chromatic passing note, and metric placement. +Analyze: Understand how chord tones vs. passing notes map to strong/weak beats; predict functional behavior. +Generate: Create lines emphasizing chord tones on strong beats, passing tones on weak beats. +3. Metric Placement & Bebop Routines +Routine 1: Start on chord tone (downbeat); play up/down two octaves. +Routine 2: Start on passing tone (upbeat); play up/down two octaves. +Routine 3: Arpeggiate chords built on each scale degree. +Routine 4: Combine scalar and arpeggiation patterns. + +Practice Tip: Metronome on 2 and 4; start ♩=62 (half-note click), gradually increase to ♩=96. + +4. Addition of Extra Chromatic Notes +Enhances melodic tension. +Rules: +Major/dominant scales → multiple chromatic options. +Minor/intermediary scales → only one extra chromatic passing note (due to minor 3rd). +Routine: Ascend/descend starting on downbeat, adding chromatic passing note in line direction. + +RAG Focus: + +Read: Identify proper placement for chromatic passing note. +Analyze: Predict melodic/harmonic effect in context. +Generate: Improvise lines with controlled chromaticism over ii–V–I or dominant structures. + +✅ Key Takeaways So Far + +Incomplete/rootless voicings: Ambiguity enables reharmonization and functional flexibility. +Bebop scales: Eight-note structure balances chord tones (strong beats) and passing notes (weak beats). +Intermediary/dominant bebop complex: Bridges predominant and dominant harmonic functions. +Practice approach: Metric placement + chromatic passing notes + arpeggiation → internalizes bebop vocabulary. + + +RAG: Bebop Improvisation – Advanced Techniques (Ch. 15 continuation) +1. Addition of Extra Chromatic Notes +Routine 1: Start on downbeat of 2/1; add single chromatic passing note. +Routine 2: Start on downbeat of 3, 5, 6; add two chromatic passing notes between 3–2 and 2–1 (major/dominant scales). +RAG Focus: +Read: Identify where chromatic passing notes occur in the scale. +Analyze: Observe how chromaticism intensifies melodic tension. +Generate: Improvise lines with controlled passing notes, emphasizing strong beat chord tones. +2. Altered Bebop Scales +Purpose: Intensify dominant tension in V7 chords. +Four main altered scales: Dominant ♭13, Dominant ♭9/♯9/♭13, Altered Bebop (omit 3, use ♯2). +Metric placement: Strong beats highlight chord tones; passing notes occupy offbeats. +Routines: +Routine 1 – Start on chord tone (downbeat) +Routine 2 – Start on passing tone (upbeat) +Routine 3 – Apply arpeggiation patterns + +RAG Focus: + +Read: Recognize which altered scale fits a particular dominant chord. +Analyze: Identify omitted chord tones and substitutions (e.g., 3 → ♯2). +Generate: Play altered scales to target chord tones while using chromatic extensions for tension. +3. Diminished 7th Chord +Function: Rootless dom7(♭9); chromatic passing sonority; resolves V7–I; facilitates voice-leading. +Routines: +Upward arpeggiation +Downward arpeggiation +3–4. Direct cadential gestures in V–I +5–6. Indirect cadential gestures (displaced by beats) + +RAG Focus: + +Read: Spot diminished chords as passing harmonies. +Analyze: How chord tones connect to underlying dominant function. +Generate: Use diminished chords to smooth melodic/harmonic motion, create chromatic tension. +4. Triplets & Neighbor Figures +Triplets add forward motion and energy. +Routines: +Lower neighbor (chromatic/diatonic) +Upper neighbor (diatonic) +Double neighbor figure +Extended double neighbor figure (lower diatonic → lower chromatic) +Rules: Avoid excessive chromaticism; consider half-step natural occurrences in the scale. + +RAG Focus: + +Read: Identify neighbor approach notes. +Analyze: Note metric placement of triplets in arpeggiations. +Generate: Insert triplets with single/double neighbor figures into lines for swing and bebop feel. +5. ii7–V7–Imaj7 Progression +Use selective bebop scales: intermediary/dominant complex. +Concept: First two chords can use the same scale but start on different chord tones. +Scale distribution: Descending sixth span from root to third of underlying chord. +6. Negotiating Minor 7♭5 Chord +Treat min7(♭5) as an upper structure of corresponding dominant 9th chord. +Intermediary bebop scales (♭2 and ♮2) fit both min7(♭5) and its dominant 9th reference. +Captures Locrian / Locrian ♮2 modal characteristics. + +RAG Focus: + +Read: Identify potential bebop scales over min7(♭5) chords. +Analyze: Understand scale selection from harmonic and modal perspective. +Generate: Apply scales to iiø7–V7–i progressions in minor keys. +7. Notes & Historical Context +Bebop scales are eight-note constructs with chromatic passing notes. +They existed before the Bebop Era (ragtime, marches, popular tunes). +Barry Harris codified many of the practical bebop techniques, including diminished chord and neighbor figure applications. + +✅ Key Takeaways + +Extra chromatic notes and altered scales intensify tension over dominants. +Diminished 7th chords are flexible chromatic passing harmonies for voice-leading. +Triplets and neighbor figures add rhythmic and melodic propulsion. +Intermediary/dominant scales bridge chord-scale relationships in ii–V–I and minor progressions. +Min7♭5 chords can be treated as upper structures of dominants for bebop scale application. + +If you want, I can next create a full visual “Bebop Practice Map” showing chromatic passing notes → altered scales → diminished chords → triplets → ii–V–I/ minor 7♭5 progressions, so all routines connect logically for improvisation practice. + +RAG: Octatonic Scales & Bebop Blues (Ch. 16–17) +1. Cardinality and Octatonic Scales +Cardinality: The number of distinct pitches in a scale. +Bebop scales: 8 notes → octatonic scale (cardinality = 8). +Two types of octatonic scales: +1/2 Octatonic (Half–Whole): Interval pattern = half step → whole step → repeat. +Primarily associated with dominant function. +Symmetrical: partitions the octave into two tritones or four minor 3rds. +Minor 3rd transpositions retain shape and harmonic function. +3 unique transpositions: 1/2 Octatonic I, II, III. +Chord-scale relationships: C7, C7♭5, C7♭9, C13. +Any single 1/2 octatonic scale relates to four dominant 7ths a minor 3rd apart. +Each note has multiple chord functions depending on context (root, ♯9, ♯11/♭5, 13th). +2/1 Octatonic (Whole–Half): Interval pattern = whole step → half step → repeat. +Functions primarily as predominant. +Chord-scale relationship with diminished 7th chords. +Forms the double-diminished 7th chord: two gapped diminished 7ths in one collection. +3 unique transpositions: 2/1 Octatonic I, II, III. +Scalar Transpositions: +Moving harmonic or melodic formations stepwise through available scale notes. +Preserves the intervallic structure while changing harmonic function. +1/2 and 2/1 octatonics allow economical reharmonization. + +RAG Focus: + +Read: Identify which octatonic type fits a given chord (dominant vs diminished). +Analyze: Understand minor 3rd invariance, transpositional symmetry, and multi-function of each note. +Generate: Build lines and voicings using octatonics across dominant/diminished chords. +2. Double-Diminished 7th Chords +Derived from 2/1 octatonic scale. +Contains two diminished 7th formations with a gap between them. +Can function as: +Rootless dominant 7th (♭9) +Diminished 7th chord proper +Provides a unified scale for multiple harmonic scenarios. +3. Bebop Blues – Harmonic Variants + +Fast harmonic rhythm is typical in bebop blues; underlying blues harmony persists despite substitutions. + +Variant 1 – “Billie’s Bounce” (F): +mm. 2 → ♯ivo7, diminished passing chord → F7/C. +mm. 8 → ()/ii progression to prepare ii7. +V7 (G7) prolonged with 4-chord chain: Gmin7 → Gmin♯7 → C7sus → C7. +Economical improvisation: single octatonic scale covers multiple harmonies (e.g., diminished passing chords). +Variant 2 – “Bird” Blues (E♭): +Structural I and IV chords = major 7ths. +Chromatic ii7–V7s at mm. 6, 8 ([ii7–V7]/♭III, [ii7–V7]/♭II). +Cycle of 5ths motion via guide-tone parallelism. +Turnaround: uses drop-2 voicings and alternative harmonic changes. +Variant 3 – “The Dance Of the Infidels” (C): +Chromatic ii7–V7s in mm. 1–4 ([ii7–V7]/♭VII, [ii7–V7]/VII). +Structural subdominant delayed → predominant expansion forms minor 2nd relationship with preceding ii7–V7. +Substitutions: mm. 9–10 [ii7–V7]/♯IV replaces structural V7. +Drop-2 voicings illustrate alternate harmonic realizations. +4. Improvisation Strategies +Arpeggiation of rootless five-part chords: +Use background line derived from structural chords. +Notes function as “roots” of arpeggiated chord shapes. +Stepwise motion aligns with harmonic rhythm. +Entry Windows: +Identify common tones between closely or distantly related chords. +Example: 7th of ii7 = 3rd of ♭VI7 → acts as smooth connection. +Stepwise or half-step motion ensures good voice leading. + +RAG Focus: + +Read: Recognize harmonic substitutions and chord extensions. +Analyze: Track voice-leading connections and entry windows. +Generate: Improvise lines using arpeggiation and efficient chord connections. + +✅ Key Takeaways + +Octatonic scales: 1/2 = dominant, 2/1 = diminished/predominant. Symmetry allows economy. +Double-diminished 7ths provide two overlapping diminished formations. +Bebop blues uses harmonic substitutions, chromatic ii7–V7s, and delayed structural chords. +Improvisation: arpeggiate rootless chords, use entry windows, exploit transpositional symmetry of octatonic scales. + + +Chapter 18: “Confirmation” (Charlie Parker) + +Overview: + +Focuses on Parker’s bebop composition Confirmation. +Analysis of Hank Jones’s solo demonstrates integration of blues and bebop vocabulary. +Highlights chord-scale relationships using modes and bebop scales. + +Key Concepts and Terms: + +Arpeggiation, cadential melodic gestures, chromaticism, diminished 7th chords, metric displacement, 32-bar AABA form. + +Form and Harmony: + +32-bar AABA structure. +A sections: chain of II–V progressions leading to IV; first A is harmonically open, later A sections close on I. +Bridge (mm. 17–24): tonicizations of IV and ♭VI, slower harmonic rhythm. +Bebop harmonic rhythm: rapid II–V expansions, dominant 7ths resolving to subdominant. + +Melody and Rhythm: + +Structural spans control melodic surface; blue notes (♭3, ♭5) used strategically. +Diminished 7th chords often function as rootless dom7(♭9). +Rhythm: syncopation, eight-note anticipations, cadential gestures. + +Solo Analysis (Hank Jones): + +Integrates blues and bebop traditions. +Uses arpeggiation, chromaticism, metric displacement, and cadential gestures. +Emphasis on linear continuity, chord-tone distribution, and voice leading. +Chromatic and blues notes strategically prepared for harmonic resolution. + +Chord–Scale Relationships: + +Modes: Each chord often corresponds to a single mode; II–V sequences may use Mixolydian ♭13, Dorian, Altered, or Locrian depending on context. +Bebop Scales: Used for chromatic voice leading; last A section alternates ascending/descending patterns to connect scales smoothly. -• Various chords realized in “chorale style” with equal distribution of notes in both hands. +References: -Model VII uses two voices per hand and employs different four-, five- and larger-part harmonic structures. Since this model uses only four-voice textures, larger formations need to be reduced to their essential harmonic frameworks. In reducing chords to their four-part frameworks certain notes are retained and others omitted. Typically, the root is retained, the 5th is omitted, and—depending on the context—the remaining three voices are selected from the related guide tones, pitch alterations, or extensions. Figure 12.7 demonstrates different Model VII realizations of the II–V–I progression. The selection of chords differs from one realization to the next and depends both on the voicing of the opening chord and on the voice-leading forces initiated by the initial two chords. +“Blues For Alice” shares similar II–V harmonic sequences. +Blues and early jazz influence on subdominant and ♭VI tonalities. +Chapter 19: “Moose the Mooche” (Charlie Parker) +Overview: +Examines Parker’s rhythm changes contrafact Moose the Mooche. +Introduces rhythm changes pedagogy. +Key Concepts and Terms: +Appoggiaturas, contrafacts, eight-bar blues, hypermetric organization, pitch enclosures, rhythm changes. -These seven models of harmonic realization get progressively more advanced, but even the initial ones—provided that they are performed in time and with a good rhythmic feel—can convincingly express the majority of jazz progressions. As you get more comfortable at realizing harmonic progressions using these models, experiment with different metric placements and variations of the Charleston rhythm. +Rhythm Changes & Contrafacts: +Based on I Got Rhythm (32-bar AABA form). +Contrafact: a new melody over existing chord changes. +Form and Harmony: - - -FIGURE 12.5 Keyboard Realization: Model V - - - - -FIGURE 12.6 Keyboard Realization: Model VI - - - - -FIGURE 12.7 Keyboard Realization: Model VII - - - - - -CHAPTER THIRTEEN - - -Idiomatic Jazz Progressions - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 13 investigates two- and four-bar idiomatic jazz progressions. It also focuses on aural identification and keyboard realization of non-modulatory and modulatory progressions with various ii7–V7 or interpolations, as well as miscellaneous four-bar phrases. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• “Coltrane” substitutions - -• Dominant saturation - -• Harmonic progressions: - -“Countdown” - - - -“Giant Steps” - - - -“Lady Bird” - - - -• Major-third cycles - -• Modulations - -• Symmetrical intervallic cycles - -• Tag endings - -• Tritone invariance - -• Tritone substitutions - -• Turnarounds - -• Turnbacks - -• ii7–V7 diminutions - - - - - -TRITONE SUBSTITUTIONS - - - - -* * * - - - -The ii7–V7–Imaj7 progression constitutes the perfect vehicle to introduce one of the most important features of jazz harmony: the tritone substitution, notated as TR/X7. The tritone substitution has its theoretical origins in the equal or symmetrical division of the octave. This substitution is associated with the dominant 7th chord and capitalizes on inversional invariance of the tritone inherent to the dominant 7th formation. The interval of a tritone between the 3rd and the 7th is invariant (i.e. remains unchanged) when the root of a dominant 7th is replaced by the root of another dominant 7th chord a tritone away. By virtue of sharing the same tritone, which includes the most essential notes from the chord, the two dominant 7th chords also share the same functional status. The symbol “TR/X7” indicates a tritone substitute formation in relation to some dominant 7th chord. For instance, a TR/V7 in the key of C major stands for the D♭7 chord, because D♭7 is the tritone substitution of G7; a TR/VI7 in the same key indicates E♭7 as the tritone substitution of A7. In both cases the chordal roots of the diatonic and chromatic 7th chords are a tritone apart. Figure 13.1 explains inversional invariance of the tritone using a ii7–V7–Imaj7 progression in C major. - - - -FIGURE 13.1 Tritone Substitution - - - -The tritone F4–B4 is invariant when the root of D♭7 replaces the root of G7. With that root replacement, the 3rd and the 7th swap their chord-tone status: the 3rd of V7 becomes the enharmonic 7th of TR/V7, and the 7th of V7 becomes the 3rd of TR/V7. As functionally equivalent dominant 7ths, V7 and TR/V7are ideal substitutes for one another. If any dominant 7th chord is replaced with its tritone substitution then the chord tones, extensions, and alterations change their harmonic status. Figure 13.2 illustrates that relationship. - - - -FIGURE 13.2 The Status of Chords Tones, Alterations, and Extensions - - - - - -The ii7–V7–Imaj7 Progression and Tritone Substitutions - - -Given the premise that the ii7–V7–Imaj7 progression expands the fundamental V–I motion, the rate of harmonic rhythm is increased by adding a local ii7 in front of any secondary dominant 7th. That expansion allows for creative ways to manipulate harmonic rhythm and enhance the structure of harmonic progressions. Figure 13.3 illustrates some of the more interesting transformations of the ii7–V7–Imaj7 progression using the tritone substitutions and ii7–V7 expansions. Chords in bold indicate tritone substitutions. - - - -FIGURE 13.3 Tritone Substitutions and ii7–V7 Expansions - - - - - -TURNAROUNDS - - - - -* * * - - - -In addition to the ii7–V7–Imaj7 and progressions, there are other harmonic progressions that often occur in standard tunes. Probably the most recognizable progression is a turnaround, also known as a turnback. The turnaround is a two- or four-bar progression, usually with a faster harmonic rhythm, that typically occurs at the end of 8- or 16-bar phrases. One of the formal functions of the turnaround is to effectively prepare the arrival of the “top of the chorus” by ushering in a familiar chord progression.1 Just as the ii7–V7–Imaj7 progression can be transformed with different harmonic substitutions, so too can turnarounds. - - - - - -The Imaj7–vi7–ii7–V7 Progression - - -Figure 13.4 shows a diatonic Imaj7–vi7–ii7–V7 progression realized using Model I of keyboard style playing. - - - -FIGURE 13.4 The Imaj7–vi7–ii7–V7 Turnaround - - - - - -This progression extends the diatonic ii7–V7–Imaj7 by another fifth-related chord built on . The submediant chord in the major key has a dual harmonic function: tonic and predominant. In the context of this progression, the vi7 chord functions as a tonic prolongation or tonic expansion. To prolong a chord means to use an auxiliary chord (or chords) that share the same harmonic function with the chord being prolonged. - - - - - -Harmonic Transformations - - -Jazz musicians often use different harmonic substitutions to modify the content of diatonic progressions. The most common harmonic modifications of the Imaj7–vi7–ii7–V7 progression involve the use of secondary dominant chords (V7/X), and tritone substitutions (TR/X7). Figure 13.5 demonstrates these substitutions using Model III of harmonic realization. - -The secondary dominant 7ths A7 and D7 are analyzed with two different Roman numeral labels VI7 and V7/ii, and II7 and V7/V, which can be used interchangeably. The tritone substitutions, E♭7 and D♭7, also use two Roman numerals, ♭III7 and TR/VI7, and ♭II7 and TR/V7, respectively. - - - -FIGURE 13.5 Tritone Substitutions in the Imaj7–vi7–ii7–V7 Progression - - - - - -TAG ENDINGS - - - - -* * * - - - -Tag endings are somewhat related to turnarounds in their basic harmonic structure, but play different roles in tunes and complete performances. A tag ending occurs at the very end of a tune, repeats a chord sequence (which in the course of subsequent repetitions becomes harmonically transformed), and has an indeterminate duration. Only the final repetition of the tag ending progression is harmonically closed with a clear confirmation of the tonic. Its basic role in the performance is to provide a satisfactory, coda-like ending with a final improvisational flair. As Miles Davis demonstrated on his many recordings, tag endings may take on a life of their own—especially with Herbie Hancock, Ron Carter, and Tony Williams in the rhythm section—and frequently exceeded the length of his solos.2 - -Tag endings and turnarounds often share similar chord progressions: the only difference between the Imaj7–vi7–ii7–V7 and the iii7–vi7–ii7–V7 is that the former begins on the tonic and the latter on the mediant chord. These two chords, Imaj7 and iii7, are said to be functionally equivalent and are frequently used to substitute for one another. Figure 13.6 illustrates a iii7–vi7–ii7–V7 tag ending progression realized with Model II of keyboard playing. Each measure displaces the Charleston rhythm by a half beat. - -Each of these chords can be further substituted by a secondary dominant 7th and, subsequently, by a TR/X7. Since a tag ending progression is usually four bars long, we can demonstrate the use of two harmonic techniques that will double the rate of harmonic rhythm in each measure. The technique of dominant saturation combines two dominant 7th chords, diatonic or chromatic and its TR/X7 (or vice versa) next to each other. The use of ii7–V7 diminution technique expands any dominant 7th chord into a local ii7–V7 progression. Figure 13.7 demonstrates these techniques in the context of a iii7–vi7–ii7–V7 progression realized in Model II of keyboard playing. The second note of the Charleston rhythm anticipates the forthcoming chord by a half beat; this enhances the forward motion of the progression. - - - -FIGURE 13.6 Tag Endings - - - - -FIGURE 13.7 Harmonic Expansions - - - - - -THE CYCLE OF DOMINANT 7THS PROGRESSION - - - - -* * * - - - -Probably the most famous occurrence of the cycle of dominant 7ths progression is in the bridge of “I Got Rhythm,” by George and Ira Gershwin. In the discussion of secondary dominants the term “the dominant of the dominant” was used to indicate the relationship between the secondary dominant V7/V and the structural dominant 7th V7. Since the cycle of dominant 7ths progression uses three secondary dominants prior to the structural dominant 7th, that progression can be called by a very long and impractical name: the dominant of the dominant of the dominant of the dominant 7th. Or a more practical way to name it is to use Roman numerals: V7/vi–V7/ii–V7/V–V7 or III7–VI7–II7–V7. - - - -Figure 13.8 illustrates two cycles of dominant 7ths progression in the key of C major: “diatonic” realized in Model IV of keyboard playing, and chromatic with tritone substitutions in m. 2 and m. 4 using Model VI. These progressions explore different rotations of the opening chord. - - - - - -THE “LADY BIRD” PROGRESSION - - - - -* * * - - - -The terms “turnaround” and “tag ending” are generic labels that do not indicate a particular chord sequence; rather, they suggest the specific formal function of these progressions. In jazz, there is a certain subset of harmonic progressions whose names suggest specific chord successions. When jazz musicians use the term “Lady Bird” progression, for instance, it connotes a particular chromatic turnaround from Tadd Dameron’s tune of the same title recorded in 1947. Figure 13.9 illustrates the chord structure of that progression using Model VI of harmonic realization. - - - -FIGURE 13.8 The Cycle of Dominant 7ths Progression - - - - -FIGURE 13.9 The “Lady Bird” Progression - - - - - -As indicated with Roman numerals, the E♭7 chord can be explained as a tritone substitution of A7 or as a tonicization of the ♭VI key area. The ♭VI key area establishes a major third relation with the underlying tonic. Dameron’s iconic progression foreshadows even more daring harmonic experiments with the complete major-third cycles that came to fruition in John Coltrane’s composition “Giant Steps.” - - - - - -“COLTRANE” SUBSTITUTIONS - - - - -* * * - - - -John Coltrane’s recording of Giant Steps in 1959 epitomized his three-year period of harmonic explorations, most notably with symmetrical intervallic cycles.3 His composition “Countdown,” which is based on Miles Davis’s “Tune Up,” illustrates the use of so-called “Coltrane” substitutions. Characterized by fast harmonic rhythm, this substitution projects a major-third cycle in which each local major 7th chord is tonicized with the corresponding dominant 7th. In the context of the Dmin7–G7–CMaj7 progression shown in Figure 13.10, the first member of the major-third cycle, ♭VImaj7, is accessed through its dominant 7th that follows the structural predominant, ii7. The next member of the major-third cycle, IIImaj7, is also preceded by its dominant, V7/III, before the progression completes its trajectory with the structural dominant 7th resolving to the tonic. - - - -FIGURE 13.10 The “Countdown” Progression - - - - - -The “Giant Steps” progression is closely related to the “Countdown” progression with one exception: it forms a complete major-third cycle, thus dividing the octave into equidistant major 3rds. Figure 13.11 illustrates the harmonic structure of the “Giant Steps” progression in the key of C major using Model VI of harmonic realization. - - - -FIGURE 13.11 The “Giant Steps” Progression - - - - - -AURAL IDENTIFICATION OF FOUR-BAR PROGRESSIONS - - - - - -* * * - - - - - -The [ii7–V7]/X Interpolation - - -The focus now shifts to identifying and realizing four-bar phrases with diatonic or chromatic [ii7–V7]/X interpolations. A [ii7–V7]/X indicates an incomplete ii7–V7 of one of 11 possible local tonics to which the progression could potentially have resolved. This type of chord interpolation represents a harmonic ellipsis. In the generic prototype shown in Figure 13.12, a [ii7–V7]/X is inserted between two structural ii7–V7s. - - - -FIGURE 13.12 Prototypical [ii7–V7]/X Interpolation - - -In learning to identify these progressions aurally, two approaches are employed: (1) a focus on the intervallic distance between individual chords, and (2) a focus on the intervallic distance between diatonic and interpolated ii7–V7s. Figure 13.13 lists all possible [ii7–V7]/X interpolations and specifies the intervallic relationship between the structural ii7–V7 and a [ii7–V7]/X interpolation: the first interval indicates the distance between V7 and [ii7] and the second interval between the ii7 and a [ii7]. The phrases in Figure 13.13 are organized from the easiest to the most challenging to identify. - - - -FIGURE 13.13 [ii7–V7]/X Interpolations—Intervallic Relationships - - -Figure 13.14 realizes these progressions using Models I, III, and VI of keyboard playing. Play these (and the forthcoming) progressions at your own comfortable speed with a metronome (set on “2 and 4” to ) then gradually increase the tempo. Invert the opening sonority in order to familiarize yourself with less familiar chordal shapes. - - - - - -Four-Bar Modulations - - -Figure 13.15 illustrates a rhythmic distribution of chords within a modulatory four-bar phrase. An “X” indicates the new tonic. - - - -FIGURE 13.14 Model Realizations - - -The permanent shift to a new tonal area is referred to as a modulation. There are specific conditions for a modulation to take place. To begin with, a clearly established tonic is necessary from which to modulate. Next, the original tonic must be destabilized and proceed toward a predominant key area. A motion away from the tonic, however, is not considered a modulation and neither is a chromatic [ii7–V7]/X interpolation. In order for a modulation to have occurred, the new key must be prolonged and confirmed by a cadence. In jazz harmony, that cadential confirmation typically uses some sort of a ii7–V7–Imaj7 progression. The four-bar generic model from Figure 13.15 summarizes these events. For instance, mm. 1–2 illustrate the initial tonic and its subsequent prolongation and confirmation; mm. 3–4 summarize possible activities in a new key area and its confirmation. - - - - - -FIGURE 13.15 Four-Bar Modulations - - -Figure 13.16 compiles 11 four-bar modulatory phrases divided into two broad categories: closely related keys and remotely related keys. They are organized hierarchically according to their degree of remoteness from the initial tonic. The ability to hear modulations will help to identify these types of tonal shift in standard tunes, particularly between individual sections of the tune. - -Figure 13.17 realizes these progressions using Models I, III, and IV of keyboard playing. - - - -FIGURE 13.16 Prototypical Four-Bar Modulations - - - - -FIGURE 13.17 Model Realizations - - - - -Figure 13.18 provides three generic prototypes for modulations from major to minor, minor to major, and minor to minor keys. - -Figure 13.19 illustrates possible modulatory paths that you will practice in the WORKBOOK. - - - -FIGURE 13.18 Generic Prototypes for Four-Bar Modulations - - - - -FIGURE 13.19 Possible Modulatory Paths - - - - - -The Interpolation - - -Figure 13.20 illustrates the rhythmic structure of a four-bar phrase in the minor key with a chromatic interpolation. - - - -FIGURE 13.20 Prototypical Interpolation - - -Figure 13.21 lists all possible interpolations and specifies the intervallic relationship between the V7 in m. 1 and in m. 2, and the structural and a , respectively. These four-bar progressions are organized from the easiest to the most challenging to identify aurally. - - - -FIGURE 13.21 Interpolation - - - - - -Two ii7–V7 Interpolations - - -Figure 13.22 provides a generic four-bar phrase with two different interpolations in mm. 2 and 3: the one in m. 2 is a harmonic ellipsis and the other confirms a new tonic. - -Figure 13.23 shows possible progressions utilizing these interpolations that you will practice in the exercise section. - - - -FIGURE 13.22 Four-Bar Modulations With Two Interpolations - - - - -FIGURE 13.23 Two ii–V Interpolations - - - - -FIGURE 13.24 Miscellaneous Four-Bar Progressions - - - - - -Miscellaneous Four-Bar Progressions - - -Having discussed different combinations of the ii7–V7–Imaj7 and progressions, we can now explore four-bar progressions that might be encountered in standard tunes. Figure 13.24a–d illustrates four-bar phrases that begin on I, ii, IV, and vi. - -Figure 13.24a compiles 13 four-bar phrases that begin on the tonic chord: some of these phrases are harmonically open and end with the structural ii7–V7 progression; others feature substitute dominants, such as TR/V7 or ♭VII7; still others end with a tonicization of two closely related keys—IV and vi.4 Figure 13.24b illustrates seven four-bar phrases that start with the ii7–V7 or progressions.5 Figure 13.24c shows six four-bar phrases that begin on the subdominant chord.6 The IVmaj7 opening makes them challenging to identify and easily confused with phrases that start on Imaj7. Figure 13.24d demonstrates five four-bar phrases that begin on the submediant chord.7 - -NOTES - - - -* * * - - - -1. The term “top of the chorus” refers to the beginning of the form. - -2. Listen to Miles Davis’s solo on “All Of You” from My Funny Valentine (1964). - -3. This album marked a zenith of his harmonic experiments largely influenced by Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns. - -4. Representative tunes are: “Long Ago and Far Away,” “Memories Of You,” “I’m Old Fashioned.” - -5. Representative tunes are: “I Hadn’t Anyone Till You,” “For Heaven’s Sake,” “I’ve Got You Under My Skin.” - -6. Representative tunes are: “A Ship Without a Sail,” “I Can’t Believe That You’re In Love With Me,” “September Song.” - -7. Representative tunes are: “Cry Me a River,” “In a Sentimental Mood,” “Blue Skies.” - - - - - -CHAPTER FOURTEEN - - -Voicings - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 14 discusses three types of voicing chord, upper-structure triads, rootless formations and incomplete voicings, and explores their harmonic and voice-leading potential. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Dominant aggregates - -•Incomplete voicings - -•Polychords - -•Rootless formations - -•Upper-structure triads: - -Major - - - -Minor - - - - - -UPPER-STRUCTURE TRIADS - - - - -* * * - - - -The use of upper-structure triads involves the superimposition of major or minor triads on top of single notes, guide tones, triads, and intervallic structures. Upper-structure triads add a new set of practical and theoretical issues. With this powerful tool, the number of ways to generate a collection of notes and harness it for compositional, improvisational, and orchestrational purposes is greatly increased. To notate these large harmonic formations, the so-called slash notation is implemented, which makes complex chords relatively easy to interpret. Two types of slash are employed: a diagonal slash that indicates an upper-structure triad written on the left side of the slash and superimposed on top of a single bass note; and a horizontal slash that indicates an upper-structure triad written on top, superimposed over a chord notated below the slash. The horizontal slash, then, denotes polychordal structures that can accommodate as many as eight distinct notes. The term “polychord” indicates two chords that sound simultaneously. - -Although upper structures occur in different types of chord, they will be demonstrated in the context of the dominant 7th chord. The dominant 7th allows the largest and the most diverse assortment of extensions and pitch alterations within its structure. These extensions and alterations can be combined and distributed using various major and minor upper-structure triads. Broadly speaking, there are five major and five minor upper structures that can be added to the dominant 7th chord. The reason for this stems from the specific pitch combinations that these upper triads create and the voice-leading behaviors that the participating extensions and alterations project. - -There are five major upper-structure triads, built on 2, ♭3, ♭5 (♯4), ♭6, and 6, that can expand the dominant 7th chord with properly distributed extensions and alterations. The relationship between the root of the dominant 7th chord and the root of the upper structure is illustrated using Arabic numbers. Major upper structures are notated with upper-case Roman numerals: II on 2, ♭III on ♭3, ♭V on ♭5 (♯IV on ♯4), ♭VI on ♭6, and VI on 6. For instance, a B♭ major triad in the context of G7 is notated as ♭III, yet the same triad in the context of E7 is notated as ♭V or ♯IV. - -In addition to five major upper structures, there are five minor upper-structure triads that can also expand the structure of the dominant 7th chord. Minor triads are built on 174♭2, ♭3, ♭5 (♯4), 5, and 6, and produce different distributions of chordal extensions and alterations. Minor upper structures are notated using lower-case Roman numerals: ♭ii on ♭2, ♭iii on ♭3, ♭v on ♭5 (♯iv on ♯4), v on 5, and vi on 6. For instance, an E minor triad in the context on E♭7 is notated as ♭ii, and that same triad in the context on G7 is notated as vi. Figure 14.1 illustrates the distribution of major and minor upper-structure triads in the context of C7. - - - -FIGURE 14.1 Upper-Structure Triads in the Dominant 7th Chord - - -In order to implement these chords in practice, one must be able to identify them aurally. The first step in that process is to concentrate on the quality of the upper-structure triad. When the quality of the triad is identified, the recognition of the specific six-part formation depends on the ability to perceive the sound of individual extensions and pitch alterations. Extensions and alterations are characterized by a unique sound and project specific voice-leading behaviors. The ability to identify those behaviors depends, in large part, on imagining the harmonic context in which a particular chord might appear. Figure 14.2 provides that context. In studying these progressions, pay close attention to the linear behavior of the extensions and pitch alterations. - - - - - -Dominant Aggregate - - -Upper-structure formations are extremely useful in reharmonization. In order to internalize their pitch structure, they can be used to harmonize a chromatic scale without 4 and ♯7. The ten-note scale represents all available notes that can feasibly participate in the dominant 7th chord. That collection of notes is known as the dominant aggregate. Simply put, in harmonizing the ten-note scale with upper-structure triads, we will explore the inversional potential of major and minor triads, exhaust all available triadic possibilities, and discover that certain pitches can support more than a single triad. Figure 14.3 demonstrates the harmonization of a dominant aggregate with the available upper-structure triads with the scale unfolding in the top, middle, and bottom voice of the triad, respectively. - - - - - -ROOTLESS FORMATIONS - - - - -* * * - - - -Five-part chords are often used in an abbreviated form as so-called rootless formations. As the name suggests, these types of chord leave out the root and employ the remaining notes to project the character of a chord. Without the root, a chord loses the fundamental pitch that enforces its quality, position, and function. Rootless chords tend to be harmonically and aurally more ambiguous than complete chords. Jazz musicians can capitalize on that ambiguity. - -The concept of rootless formations brings up an important point about the role of the bass voice. In most performance situations the root is provided by the bass player. In chord progressions that feature rootless formations (i.e. comping) one can no longer rely on the lowest voice to articulate the changes of a tune, but should rely instead on principles of voice leading and counterpoint to supply clear indications of harmonic motion. Rootless formations are just as effective in expressing the meaning of chords and harmonic progressions as complete chords. Understandably, they are far more challenging to implement. In spite of these challenges—or because of them—they are harmonically more flexible and effective in covering all kinds of harmonic relationship. - - - -FIGURE 14.2 Resolutions of Upper-Structure Triads - - - - -FIGURE 14.3 Dominant Aggregate and Upper-Structure Triads - - -Rootless formations can borrow chordal roots from other chords, which can redefine the harmonic/functional status of the given chord. What will soon be discovered is that most rootless chords look and sound quite familiar. In a certain sense, however, these familiar traits must be disregarded and a different root superimposed on the bottom of the chord must be imagined. Figure 14.4 provides three- and four-note rootless voicings for five-part chords along with their basic harmonic interpretations. Three-note rootless voicings further reduce the pitch content to its essential components. Some of these voicings cannot be analyzed with traditional chord symbols and get their harmonic meaning from a superimposed bass note or notes. - - - -FIGURE 14.4 Rootless Formations - - - - - -INCOMPLETE VOICINGS - - - - -* * * - - - -An incomplete voicing reduces the number of pitches to those that only convey the quality of a complete chord. The tonal definition of an incomplete voicing might not always be apparent. Its tonal and harmonic clarity depends on two factors: on which note or notes are going to be removed from a complete chord, and on how the intervallic content of a chord is diversified. In spite of their potentially ambiguous sound, however, incomplete voicings can be very effective as voice-leading formations, chordal substitutes, and intervallic structures. The different positions of five-part chords from Chapter 5 will be used to explore these types of formation. - -To generate an incomplete voicing, follow these steps: - -1.Remove a single pitch from a complete root-position five-part chord. - -2.Transfer the ninth of a chord down an octave. - -3.Rearrange the notes to create an open four-part voicing. - -With these three steps, a large number of voicings (far too many to cover them all) are generated. Figure 14.5 demonstrates the three-step process of generating incomplete voicings. - -These incomplete voicings remove a 3rd, a 5th or a 7th from a complete five-part chord. The choice of these notes is not entirely accidental. Granted, by not having a 3rd in the chord there is the potential risk of the lack of harmonic quality, and by not having a 7th, the functionality of a chord may be jeopardized. These incomplete voicings acquire their proper harmonic definition from a specific context in which they occur; in other words, any ambiguous sonority can be contextualized using correct voice leading and dissonance treatment. There is also an inherent logic to the removal of a 3rd and/or a 7th from a voicing. Note that the voicings lacking these pitches have a greater saturation of chromatic extensions. We can further experiment with incomplete voicing formations by removing the chordal root from a root-position five-part chord. Figure 14.6 demonstrates such a voicing for along with three harmonic progressions where that formation can be utilized. - - - -FIGURE 14.5 Incomplete Voicing Formations - - -The pitch structure of this incomplete voicing hardly suggests a suspended dominant 7th chord. The notes F3, D♯4, A♭4, and B♭4 seem to be more closely related to Fmin11 or a rootless B♭7sus than to . While all these harmonic readings are acceptable, in practice they need to be properly contextualized and correctly realized. In the progressions from Figure 14.6, the incomplete voicing exhibits different functional and contrapuntal behaviors. In Figure 14.6a, for instance, the Fmin11 chord functions as the final tonic; in Figure 14.6b, a rootless B♭7sus functions as a suspended dominant resolving directly to the E♭Maj7 chord; and, in Figure 14.6c, functions as a suspended dominant resolving to C7 and, subsequently, to Fmin11. The same voicing can function as the tonic, dominant, or predominant, in different keys. That challenge was accomplished through careful voice-leading considerations and a proper placement of the incomplete formation within the progressions. In harmonic progressions from Figure 14.6, the rootless sounds convincing and demonstrates that these types of chord are well suited for all kinds of harmonic and functional manipulation. Their inherent ambiguity is, in fact, their biggest asset and can be effectively explored. With such a huge potential for harmonic reinterpretation, incomplete voicings constitute great resources for advancing our own harmonic experiments and expanding our harmonic vocabulary. - - - -FIGURE 14.6 Exploring Incomplete Formations - - - - - -CHAPTER FIFTEEN - - -Bebop - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 15 examines bebop and begins developing a pedagogy of bebop improvisation. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Altered dominant bebop scales: - -Altered - - - -Dominant ♭9/♯11/♭13 - - - -Dominant ♭13 - - - -Dominant ♯11 - - - -•Bebop scales: - -Dominant - - - -Intermediary - - - -Major - - - -Minor: - - - -Dorian bebop - - - -Minor ♭7 bebop - - - -Minor ♯7 bebop - - - -•Chromatic alterations - -•Chromatic passing notes - -•Direct cadential gestures - -•Double neighbor figures - -•Indirect cadential gestures - -•Intermediary/dominant bebop complex - -•Triplets - - - - - -BEBOP SCALES - - - - -* * * - - - -The so-called Bebop revolution in the late 1930s was probably one of the most important musical events in the history of jazz. Bebop brought about the dawn of modern jazz and with it jazz pedagogy. Bebop language is considerably different from traditional types of jazz, such as Early Jazz, Ragtime, New Orleans styles, Kansas City style, Chicago style, and Swing, not only in its approach to improvisation, but also in its treatment of form, harmony, melody, and rhythm. Broadly speaking, solos became longer, musical forms more codified, harmonies more chromatic, melodies more angular, and rhythmic patterns more intricate. This chapter will discuss the pitch structure of four bebop scales: major, minor, dominant, and intermediary.1 Each of these is further examined in terms of their possible functional associations. These functional associations enable us to choose a correct bebop scale for a specific chord and/or harmonic progression. The functional behavior of bebop scales is similar to the behavior of modes. One of the fundamental differences, however, concerns the number of pitches within these collections. Unlike seven-note modes, bebop scales are comprised of eight distinct pitches. The addition of an extra note to a seven-note scale has vast melodic and harmonic consequences, especially in the chromatic realm. - - - - - -Major Bebop Scale - - -Possible Harmonic Function—Tonic and Predominant - -Figure 15.1 shows the pitch content of the major bebop scale. - -The use of a chromatic passing note between 5 and 6 transforms the Ionian mode into the major bebop scale.2 This chromatic addition allocates all the chord tones on strong beats and passing notes on weak beats in relation to the underlying 4/4 meter. The metric distribution of pitches shown in Figure 15.1 conveys the harmonic and functional forces that are inherent to the structure of the scale. In the major bebop scale, beats 1, 2, 3, and 4 delineate the 6th chord and the offbeats spell out the diminished 7th chord. Figure 15.2 illustrates this scenario. Since bebop scales are associated with different tonal behaviors, harmonic functions, and locations in relation to the underlying key, Arabic numbers (without carets, written in bold) are used to represent their pitch content. - - - -FIGURE 15.1 Major Bebop Scale - - - - -FIGURE 15.2 Major 6th and Diminished 7th Chords - - -What is the significance of this particular distribution of pitches within the major bebop scale? Figure 15.2 demonstrates that the major bebop scale combines two different tonal forces: the tonic represented by the 6th chord and the dominant represented by the diminished 7th chord. The diminished 7th chord is frequently employed as an incomplete dom7(♭9) as it contains a major 3rd, 5th, ♭7th, and ♭9th of the dom7(♭9) whose root is a major 3rd down from the root of the corresponding diminished 7th chord. The diminished 7th chord built on 7 from Figure 15.2 represents the rootless G7(♭9). - -Figure 15.3 illustrates the distribution of C6 and its inversions on the chord tones of C major bebop and D°7 with its inversions on the passing notes of the scale. - - - -FIGURE 15.3 Distribution of Major 6th and Diminished 7th Chords - - -The use of a single chromatic pitch like the one the bebop scale offers allows us to fully explore the metric, melodic, and harmonic potential of that note. It also enables us to control the behavior of two opposing tonal forces, tonic and dominant, and transfer their influence to the content of melodic lines. This type of control refers to the placement of chord tones and passing notes within the measure. When chord tones are displaced from downbeats to offbeats, for instance, their metric position is de-emphasized at the expense of passing notes, which will now receive metric stress. With this subtle metric shift, the content of the lines might become more unstable, without needing to add extra chromatic notes. - - - - - -Minor Bebop Scales - - -Possible Harmonic Function—Tonic and Predominant - -There are three unique minor bebop scales with a similar pitch structure to the major bebop scale. Minor bebop scales employ a passing note between 5 and ♯6, and ♭7 and 8. The upper tetrachords of these scales are derived from the Melodic Minor and Dorian modes respectively. The former includes ♯7, which enables the projection of a diminished 7th chord, and the latter contains ♭7, which injects a subtle modal flavor to the sound of this scale. The pitch structure of these collections is shown in Figure 15.4. - -As far as the distribution of chord tones and passing notes is concerned, in minor ♯7 bebop, the strong beats form a minor 6th chord and the offbeats create a diminished 7th chord. In minor ♭7 bebop, the strong beats also produce a minor 6th chord, but the offbeats generate a dominant 7th chord built on ♯7. In Dorian bebop, the strong beats create a minor 7th chord and the offbeats project a minor 6th chord. Figure 15.5 illustrates the distribution of chords on each scale degree of minor ♯7 bebop, minor ♭7 bebop, and Dorian bebop. - - - -FIGURE 15.4 Minor Bebop Scales - - - - -FIGURE 15.5 Distribution of Chords - - - - - -Dominant Bebop Scale - - -Possible Harmonic Function—Dominant - -The dominant bebop scale is derived from the Mixolydian mode and uses a chromatic passing note between ♯7 and 8(1).3 The spelling of ♯7 indicates that ♭7 from the dominant bebop scale is raised. Figure 15.6 illustrates the structure of the scale. - - - -FIGURE 15.6 Dominant Bebop Scale - - -The addition of the chromatic note enables the formation of a half-diminished 7th chord on ♯7. The presence of a passing half-diminished 7th further intensifies the dominant character of the scale and implies that ♯7 can be used in the context of dominant 7th chords in more advanced melodic and harmonic settings. Figure 15.7 demonstrates the distribution of chords on each scale degree of the dominant bebop scale. - - - -FIGURE 15.7 Distribution of Chords - - - - - -The Intermediary/Dominant Bebop Complex - - -Possible Harmonic Function—Predominant and Dominant - -There are two ways of rationalizing the pitch organization of the intermediary bebop scale. Its structure can be examined as an independent collection derived from Dorian mode with a chromatic passing note between ♭3 and 4, or as the dominant bebop scale starting on 5. In both cases, the scale establishes a chord-scale relationship with the minor 7th chord built on the supertonic scale degree. Both methods yield the same pitches and reveal important facts about the pitch structure and chord-scale relationships embedded in this scale. The former method of scale derivation suggests that intermediary bebop is an independent collection that establishes a relationship with the predominant minor 7th chord. The latter method explains ways in which the scale is also connected to dominant bebop. - -Because intermediary bebop scale has the same pitch content as dominant bebop, the scale mediates between two tonal functions: predominant and dominant. This succession of tonal functions most often occurs in the context of ii7–V7; this makes the progression an ideal vehicle for the implementation of the intermediary/dominant bebop complex. The only difference between intermediary and dominant bebop scales is the different metric distribution of chord tones and passing notes in relation to the corresponding harmonies. Figure 15.8 illustrates this scenario. - -When the pitch structure of G dominant bebop is compared with D intermediary bebop, their content is exactly the same. The root and the 3rd of Dmin7 occur on beats 1 and 2. The chromatic passing note F♯4 falls on the offbeat because of its melodic and harmonic instability. This metric placement impacts the distribution of notes on beats 3 and 4. It seems that the placement of a 4th and a 6th on beats 3 and 4 stymies the logical distribution of chord tones over Dmin7. When we consider, however, that these notes—reinterpreted as the root and the 3rd of G7—foreshadow the dominant 7th harmony by two beats, we can conclude that the use of the intermediary/dominant 7th bebop complex has the potential for manipulating harmonic rhythm and approaching improvisation from a linear, as well as a harmonic perspective. - - - -FIGURE 15.8 Derivation of Intermediary Bebop Scale - - - - - -PRACTICING BEBOP IMPROVISATION - - - - -* * * - - - -We will now begin to practice bebop improvisation using several different routines organized into the following categories: (1) the metric placement of pitches, (2) the addition of extra chromatic notes, (3) the alterations of dominant bebop scales, (4) the exploration of the diminished 7th chord, and (5) the use of triplets. - - - - - -Metric Placement—Scalar and Arpeggiation Patterns - - -Figures 15.9a–15.9d illustrate basic routines for internalizing the structure of major and minor bebop scales and for practicing the correct metric placement of pitches from these scales. Since each routine shown below demonstrates a specific scalar or arpeggiation pattern in the context of a single scale, in your practice try exploring different scales with each routine. - -Routine 1: Start the scale on a chord tone (downbeat) as shown in Figure 15.9a. Play the scale up and down for two octaves. - - - -FIGURE 15.9A Routine 1: Scalar Patterns - - - - - -Routine 2: Start the scale on a passing tone (upbeat) of the scale as shown in Figure 15.9b. Play the scale up and down for two octaves. - - - -FIGURE 15.9B Routine 2: Scalar Patterns - - - - - -Routine 3: Arpeggiate chords built on each scale degree of the bebop scale using the different patterns shown in Figure 15.9c. - - - -FIGURE 15.9C Routine 3: Arpeggiation Patterns - - - - - -Routine 4: Combine scalar segments with arpeggiation patterns as shown in Figure 15.9d. - - - -FIGURE 15.9D Routine 4: Scalar and Arpeggiation Patterns - - - - - -Practice these (and all the remaining) routines with a metronome on two and four starting at a medium-slow tempo. Set the metronome to ♩=62 and make each click count as a half note. Gradually increase the tempo to medium-up at ♩=96. - -Addition of Extra Chromatic Notes - - - - - -The addition of extra chromatic notes can further intensify the content of bebop lines. Just as the metric placement of single chromatic passing notes (5–6 in major, 5–♯6 in minor, ♭7–8 in dominant, and ♭3–4 in intermediary) is strictly controlled, so is the addition of extra chromatic notes. Figures 15.10a and 15.10b illustrate two routines for practicing the addition of extra chromatic notes. These two routines can be fully realized in the context of major and dominant bebop scales. The minor and intermediary bebop scales can only accommodate one extra chromatic passing note between 2 and 1. The minor 3rd in their pitch structure prevents us from implementing two chromatic passing notes. - -Routine 1: Start the bebop scale on the downbeat of 2 (ascending/descending) and 1 (descending). Add a single upper/lower chromatic passing note (depending on the direction of the line) (Figure 15.10a). - - - -FIGURE 15.10A Routine 1: Addition of Extra Chromatic Note - - - - - -Routine 2: Start on the downbeat of 3, 5, and 6 of major and dominant bebop, then add two chromatic passing notes between 3–2 and 2–1 (Figure 15.10b). - - - -FIGURE 15.10B Routine 2: Addition of Extra Chromatic Notes - - - - - -Altered Bebop Scales - - - - - -Since the dominant function is associated with harmonic tension, the pitch structure of the dominant bebop scale can be modified by applying additional chromatic alterations. In theory, dominant bebop can be enhanced with available chromatic extensions. In practice, however, these alterations should reflect the overall musical context, particularly as it relates to the underlying tonality. Figure 15.11 shows four altered dominant bebop scales. - -Because of the presence of ♭13th in dominant ♭13, dominant ♭9/♯9/♭l3, and altered bebop scales, these scales work best in the context of dominant 7th chords occurring in minor keys. Notice that in the dominant ♭9/♯9/♯13 scale, 3 is omitted from the structure of the scale and substituted with ♯2, which functions as an accented dissonance. This substitution preserves the metric placement of 5 and ♯7 on the downbeats 3 and 4, respectively. In the altered bebop scale, the chord tone 3 is relegated to the status of the passing note occurring between ♯2 and ♯4. The placement of chromatic extensions on the downbeats further emphasizes the dissonant status of the scale. Figures 15.12a–15.12c suggest routines for practicing these scales. - - - -FIGURE 15.11 Altered Dominant Bebop Scales - - - - - -Routine 1: Start the scale on a chord tone (downbeat) as shown in Figure 15.12a. Play the scale up and down for two octaves. - - - -FIGURE 15.12A Routine 1: Altered Dominant Scales - - - - - -Routine 2: Start the scale on a passing tone (upbeat) as shown in Figure 15.12b. Play the scale up and down for two octaves. - - - -FIGURE 15.12B Routine 2: Altered Dominant Scales - - - - - -Routine 3: Use the specific arpeggiation pattern with each altered scale, as shown in Figure 15.12c - - - -FIGURE 15.12C Routine 3: Altered Dominant Scales - - - - - -The Diminished 7th Chord - - - - - -The diminished 7th chord is an essential building block of bebop improvisation. As a rootless dom7(♭9), the diminished 7th chord is very effective at projecting the tonality of chord progressions with dominant 7th formations. As a chromatic passing sonority occurring on the offbeats of selected bebop scales, the diminished 7th chord can be quite effective at adding chromatic tension to melodic lines, at manipulating the harmonic rhythm of underlying chord progressions, and at providing voice-leading connections between stable formations. All of these applications are ultimately related to the metric placement of the diminished 7th chord. Figures 15.13a–15.13f demonstrate six different routines for practicing the diminished 7th chord. - -Routine 1: Explore different shapes of the diminished 7th chord by transferring one or more notes up an octave (Figure 15.13a).4 - - - -FIGURE 15.13A Routine 1: Upward Arpeggiation of Diminished 7th - - - - - -Routine 2: Explore different shapes of the diminished 7th chord by transferring one or more notes down an octave (Figure 15.13b). - - - -FIGURE 15.13B Routine 2: Downward Arpeggiation of Diminished 7th - - - - - -Routine 3: In the context of a V–I progression, resolve the diminished 7th chord using the direct cadential gesture. A direct cadential gesture reflects the content of the phrase and establishes a strong chord-scale relationship with the underlying harmony (Figure 15.13c). - - - -FIGURE 15.13C Routine 3: V–I: Direct Cadential Gestures - - - - - -Routine 4: In the context of a V–I progression, resolve the diminished 7th chord using direct cadential gesture (Figure 15.13d). - - - -FIGURE 15.13D Routine 4: Direct Cadential Gestures for V–I - - - - - -Routine 5: In the context of a V–I progression, resolve the diminished 7th chord using the indirect cadential gesture. An indirect cadential gesture can take many different forms, but it mainly pertains to the relationship with the underlying harmony and the overall metric placement of this gesture. This type of melodic cadence is typically displaced by one or more beats before or after a direct cadential gesture would have occurred (Figure 15.13e). - - - -FIGURE 15.13E Routine 5: Indirect Cadential Gestures for V–I - - - - - -Routine 6: In the context of a V–I progression, resolve the diminished 7th chord using indirect cadential gesture (Figure 15.13f). - - - -FIGURE 15.13F Routine 6: Indirect Cadential Gestures for V–I - - - - - -Triplets - - - - - -The use of triplets adds extra energy and forward motion into melodic lines. Triplets work very well in the context of chordal arpeggiation with single or double neighbor figures preparing the triplet as shown in Figures 15.14a–15.14d. - -Routine 1: Add the triplet arpeggiation patterns with the lower chromatic/diatonic neighbor into the structure of bebop scales (Figure 15.14a). - - - -FIGURE 15.14A Routine 1: Triplet Arpeggiation with a Lower Neighbor - - - - - -As a rule of thumb, each scale degree should be approached with a lower neighbor a half step below the target note. Such a melodic approach results in either diatonic or chromatic neighbors. - -Routine 2: Add the triplet arpeggiation patterns with the upper diatonic neighbor into the structure of the bebop scales (Figure 15.14b). - - - -FIGURE 15.14B Routine 2: Triplet Arpeggiation with an Upper Neighbor - - - - - -Diatonic upper neighbors are derived from the corresponding scale and are located a half and/or whole step above the first note of the triplet figure. - -Routine 3: Add the triplet arpeggiation patterns with a double neighbor figure into the structure of the bebop scales (Figure 15.14c). - - - -FIGURE 15.14C Routine 3: Triplet Arpeggiation with a Double Neighbor - - - - - -Routine 4: Add the arpeggiation patterns with an extended double neighbor figure into the structure of the bebop scales (Figure 15.14d). - - - -FIGURE 15.14D Routine 4: Triplet Arpeggiation with an Extended Double Neighbor - - - - - -The extended double neighbor figure utilizes two lower neighbors, diatonic and chromatic. To prevent excessive chromaticism, a lower diatonic neighbor initiates the pattern and a lower chromatic neighbor occurs prior to its target note, with the exception of half steps that naturally occur in the scale (i.e. 3, 5, and 7 of major bebop; 2, 5, and ♯7 of minor ♯7; 3, 6, and ♭7 of dominant; and 3, 5, and ♭7 of dominant ♭13). - -The ii7–V7–Imaj7 Progression - - - - - -Figure 15.15 establishes a chord-scale relationship for the ii7–V7–Imaj7 progression using selective bebop scales. - - - -FIGURE 15.15 Bebop Scales for ii7–V7–Imaj7 - - - - - -Each scale features a descending sixth span from the root to the third of the underlying chord. The first two chords of the progression use the same scale—hence the intermediary/ bebop complex label—albeit starting on a different note of the corresponding chords. - -Negotiating the Minor Seven Flat Five Chord - - - - - -Before illustrating the chord-scale relationship for a progression using bebop scales, let us discuss how to negotiate the min7(♭5) chord with bebop scales. The chord-scale relationship between the predominant and bebop scales is more intricate than it is for the predominant ii7. Figure 15.16 demonstrates this relationship. - -In order to understand this relationship, the min7(♭5) chord should be examined as if it were a four-part upper structure of the corresponding dominant 9th chord. In Figure 15.16, Dmin7(♭5) constitutes the upper structure of B♭9. Bebop scales that fit the content of min7(♭5), then, are derived from the dominant bebop scales that work for a dominant 9th chord, whose root is a major 3rd down from the root of the min7(♭5) chord. The two scales in Figure 15.16—intermediary ♭2 and intermediary ♮2—begin on the root of min7(♭5) and share the pitch content with the dominant and dominant ♭11 bebop scales. In addition to fitting the structure of min7(♭5), these two intermediary bebop scales also capture the essential characteristics of Locrian and Locrian ♮2 modes—both of which are associated with the predominant . - - - -FIGURE 15.16 Chord-Scale Relationship for the Minor 7(♭5) Chord - - - - - -The Progression - - - - -Figure 15.17 illustrates three chord-scale relationships for the progression using different bebop scales. - -In comparison to the ii7–V7–Imaj7 progression, the chord-scale relationship for the progression is more elaborate: unlike in the former, where the first two chords are negotiated with the same dominant bebop scale starting on the roots of respective chords, in the latter each chord can potentially establish a relationship with two different scales. Thus the chord connects with intermediary ♭2 and intermediary ♮2, the V7 chord with dominant ♭13, dominant ♭9/♭9/♭13 and altered bebop scales, and the i7 chord with minor ♯7th, minor ♭7th, and Dorian bebop. - - - -FIGURE 15.17 Bebop Scales for - - -NOTES - - - -* * * - - - -1. In the current discussion, the term “bebop scales” is used loosely to depict particular eight-note constructs with one or more chromatic passing notes at different locations in their structure. The one scale that traditionally goes by this name is the dominant bebop scale (with a passing note between ♭7 and 1); there are Jerry Coker's additional three bebop scales and Mark Levine's four bebop scales, all of which present different scalar constructs. A common misconception about bebop scales is that they originated during the Bebop Era, when, in fact, they were quite common in the repertory of ragtimes, marches, and other popular genres of the late nineteenth and early twentieth centuries. For a clear manifestation of the dominant bebop scale (with a passing note between ♭7 and 1) listen to the transition material after the trio of Lew Pollack's ragtime composition “That's a Plenty” (1914). The pitch succession, F5–E♮5–E♭5–D–C–B♭–A–G–F, clearly delineates what we now call the “bebop scale.” - -2. The spelling of the chromatic passing note as ♭6 (A♭ in C major bebop) is in keeping with the correct spelling of the diminished 7th chord (B°7) that forms an essential chord-scale relationship with this scale. - -3. This is what most texts refer to as the bebop scale. - -4. The great piano player Barry Harris is credited with having codified this technique. - - - - - -CHAPTER SIXTEEN - - -Octatonic Scales - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 16 examines the pitch structure, chord—scale relationships, harmonic and melodic potential of the octatonic scale. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Cardinality - -• Double-diminished 7th chords - -• Octatonic scales: - -Half-whole (1/2) octatonic I, II, III - - - -Whole-half (2/1) octatonic I, II, III - - - -• Scalar transpositions - -• Transposition through the scale - - - - - -THE 1/2 OCTATONIC SCALE - - - - -* * * - - - -In the previous chapter, we saw how bebop scales expand the number of scale members from seven to eight. Theorists often refer to this expansion as a change in the cardinality of the scale. The term “octatonic” denotes a scale whose cardinality is eight, i.e. the scale consists of eight distinct pitches. The octatonic scale covered in this chapter comes in two unique intervallic arrangements, half-whole and whole-half. The names “half-whole” and “whole-half” refer to the intervallic pattern of major and minor 2nds (or vice versa) recurring throughout these scales. Arabic numbers 2 and 1 represent the intervals of major 2nd and minor 2nd respectively. The designation 1/2 stands for the half—whole octatonic and the 2/1 for the whole—half octatonic. These two octatonic collections exhibit very different functional behaviors and establish important chord—scale relationships. The symmetrical nature of both scales allows for some interesting functional overlaps and a multiplicity of harmonic associations. - -The 1/2 octatonic scale is primarily associated with the dominant function. It establishes impressive chord—scale relationships with a variety of dominant 7th formations. The 1/2 octatonic scale is a symmetrical collection that repeats the 1/2 intervallic pattern every other note. The scale partitions the octave into two tritones or four minor 3rds. It also includes two overlapping minor 3rd cycles a half step apart. In C 1/2 octatonic, these cycles feature the following pitch segments: C—E♭—F♯—A and D♭—E—G—B♭. The symmetrical properties of the scale have profound harmonic and melodic implications. They mean that any voicing, chord progression, scalar segment, or melodic cell when transposed up or down a minor 3rd will retain the original shape and functional status. A single 1/2 octatonic will therefore establish the chord—scale relationship with as many as four distinct harmonic formations a minor 3rd apart. The 1/2 octatonic scale has three unique transpositions shown in Figure 16.1. These scalar transpositions are referred to as 1/2 octatonic I, 1/2 octatonic II, and 1/2 octatonic III. - -Before exploring the harmonic potential of the scale, let us examine the pitch structure of 1/2 octatonic I in terms of chord tones, pitch alterations, and extensions. Figure 16.2 provides a pitch analysis of 1/2 octatonic I built on C4. - - - -FIGURE 16.1 1/2 Octatonic I, II, III - - - - -FIGURE 16.2 1/2 Octatonic I—Pitch Analysis - - -The scale includes all the chord tones of the C7 harmony: the root, major 3rd, perfect 5th, and minor 7th. It also contains three chromatic extensions, ♭9th, ♯9th and ♯11th, one diatonic extension, major 13th, and one pitch alteration, ♭5th. As such, the 1/2 octatonic establishes a chord—scale relationship with C7(♭5) and C13. In addition, the 1/2 octatonic I scale is a perfect match for the C7(♭9) chord that, until now, has not been paired with a scale or mode. Since the pitch content of any 1/2 octatonic is invariant under minor 3rd transposition, the dominant 7th chords a minor 3rd apart establish chord—scale relationships with the same 1/2 octatonic scale. Therefore, any 1/2 octatonic can be used in conjunction with four distinct dominant 7ths. This ratio of chords to scale relationships is a distinctive feature of the octatonic collection and allows for a highly economical use of the scale. Figure 16.3 examines the pitch structure of 1/2 octatonic I in the context of four dominant 7ths a minor 3rd apart. - - - -FIGURE 16.3 1/2 Octatonic I and Four Minor 3rd-Related Dominant 7ths - - -Each note of the 1/2 octatonic has a unique chordal membership. For instance, the pitch C5 functions as ♯9th in A7, ♯11th/♭5th in F♯7, major 13th in E♭7, or as the root of C7. What does it mean? It means that in the context of these chords, C5 will exhibit very different voice-leading behaviors that are unique to the specific dominant 7th chord. A note's behavior remains exactly the same in both musical dimensions, vertical and horizontal. In examining the behavior of the second note of the 1/2 octatonic I, D♭4, all the possible harmonic scenarios in which all other notes from the 1/2 octatonic can occur are exhausted. Figure 16.4 illustrates the voice-leading behavior of C5 and D♭5 (C♯5) in the context of C7, E♭7, F♯7, and A7 using V7—Imaj7 or V7—i7 progressions. - - - - - -Harmonic Potential - - -In exploring the harmonic potential of 1/2 octatonic, let us examine what happens to a chord in transposition through the scale. Transposition through the scale takes the initial formation and moves it linearly to the nearest available formation derived entirely from the pitches of the scale. For instance, a major triad in root position built on 1 becomes a minor triad in 2nd inversion on ♭2; a half-diminished chord on 1 becomes a dim(♯7) chord on ♭2, etc. The two initial chords, shown in Figure 16.5, create a harmonic pattern that repeats every other note. In transposition through the scale, then, the initial sonority can be thought of as comprised of three or four (depending on the chord's cardinality) melodic lines traversing through the scale in a stepwise fashion. - - - -FIGURE 16.4 Voice-Leading Behavior of C5 and D♭5 (C♯5) - - - - -FIGURE 16.5 Harmonic Transposition Through the 1/2 Octatonic I Scale - - - - - -Melodic Potential - - -Let us now examine what happens to a motivic cell in transposition through the scale. Just as the structures of harmonic formations built on 1 and ♭2 are different from one another, so is the intervallic design of motivic cells occurring on these pitches. If the original motivic cell built on 1 of 1/2 octatonic features a specific intervallic design, in transposition to ♭2, the order of pitches is preserved but the intervals between the notes change. A melodic pattern combines two recurrences of the original motive on 1 and ♭2 that is subsequently repeated every other note. Figure 16.6 illustrates a few motivic cells transposed through the 1/2 octatonic. The circled numbers between adjacent pitches indicate the semitone count. - -What we now know about the structure and behavior of the 1/2 octatonic scale is summarized in the following points: - -1. The pitches—1, ♭3, ♯4, and 6—can potentially function as either roots, ♯9ths, ♯11ths (♭5ths), or major 13ths of four dominant 7th chords built on 1, ♭3, ♯4, and 6. - -2. The pitches—♭2, 3, 5, and ♭7—can potentially function as either major 3rds, perfect 5ths, minor 7ths, or ♭9ths of four dominant 7th chords built on 1, ♭3, ♯4, and 6. - -3. Any harmonic formation or melodic pattern built on 1 retains its original form when transposed up or down a minor 3rd. - -4. Any harmonic formation or melodic pattern built on ♭2 retains its original form when transposed up or down a minor 3rd. - -5. Any harmonic/melodic pattern combines two occurrences of the initial chord/cell built on 1 and ♭2 and repeats every other note. - - - -FIGURE 16.6 Melodic Transposition Through the 1/2 Octatonic I Scale - - - - - -THE 2/1 OCTATONIC SCALE - - - - -* * * - - - -Since the 2/1 octatonic constitutes the inversion of the 1/2 octatonic, the principles regarding symmetry and transpositional invariance are exactly the same for both scales. The fundamental difference between the two relates to their very different functional associations. The 2/1 octatonic functions largely as a predominant and establishes a basic chord—scale relationship with the diminished 7th chord. The scale has three unique transpositions: 2/1 octatonic I, 2/1 octatonic II, and 2/1 octatonic III. Figure 16.7 illustrates the pitch structure of these scales. - -To quickly build a 2/1 octatonic on any pitch, think of two adjacent minor tetrachords separated by a minor 2nd, or two minor tetrachords a tritone apart. Figure 16.8 examines the pitch structure of C 2/1 octatonic I in the context of C°7, E♭°7, F♭°7, and A°7. - - - -FIGURE 16.7 2/1 Octatonic I, II, III - - - - -FIGURE 16.8 2/1 Octatonic I and Four Minor 3rd-Related Diminished 7ths - - -Similar to the relationship between the 1/2 octatonic and the dominant 7th chord, the 2/1 octatonic contains only chord tones and extensions of the diminished 7th chord. By arranging all the notes from the 2/1 octatonic as shown in Figure 16.9, the so-called double-diminished 7th chord is created that contains two gapped diminished 7th formations. - -Once we realize that 2/1 octatonic II has the same pitch content as 1/2 octatonic I, then it becomes clear that a single octatonic scale can establish a relationship with dominant 7th and diminished 7th chords. Since the diminished 7th chord often functions as a rootless dom7(♭9), it can use the same scale in different harmonic situations. - - - -FIGURE 16.9 2/1 Double-Diminished 7th Chord - - - - - -CHAPTER SEVENTEEN - - -Bebop Blues - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 17 analyzes three blues progressions from the Bebop Era and proposes additional approaches to blues improvisation. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Blues progressions: - -“Billie’s Bounce” - - - -“Bird” - - - -“The Dance Of the Infidels” - - - -• Entry windows - -• Structural lines - - - - - -THREE HARMONIC VARIANTS - - - - -* * * - - - -One of the essential features of bebop harmony is its fast and intricate harmonic rhythm. What is also interesting about bebop harmony is that some of its characteristic chord members can be traced back to the blues. For instance, a ♯11th (♭5th) or ♯9th over the dominant 7th chord represents the notes of the blues scale: ♭5 and ♭3, respectively. Although, the harmonic surface of certain blues tunes from the Bebop Era might not resemble the harmonic paradigm of the basic blues discussed in Chapter 9, the background structure always preserves the essential harmonies of the blues no matter how complex that surface might be. - - - - - -Variant 1 - - -Figure 17.1 illustrates an F blues with harmonic substitutions typical of the Bebop Era. This blues progression is based on “Billie’s Bounce” by Charlie Parker. - - - -FIGURE 17.1 “Billie’s Bounce”—Chord Changes - - -There are a few significant differences between “Billie’s Bounce” and the basic blues progression. The presence of ♯ivo7 in m. 2 and a ()/ii progression in m. 8 offers new improvisational possibilities. The diminished 7th passing chord in m. 2 leads to F7/C in m. 3. The structural V7 in mm. 9–10 is prolonged with four chords: Gmin7–Gmin(♯7)–C7sus–C7. As a consequence, the occurrence of V7 is postponed until m. 10. The preparation of ii7 in m. 8 uses a ()/ii progression. The two harmonic events from mm. 2 and 8 are unique to the structure of this particular blues progression. - -In addition to the passing status of the diminished 7th chord in m. 2, this important chord can occur in other harmonic situations, albeit with different functional capacities. Since the diminished 7th chord functions as an upper structure of the dom7(♭9), any dominant 7th chord can potentially utilize this sound. Figure 17.2 establishes a chord–scale relationship for “Billie’s Bounce” and indicates places in which the diminished 7th chord can be implemented. The use of a single octatonic scale in m. 2 demonstrates an economical approach to improvisation wherein a single scale establishes a chord–scale relationship with two different harmonic formations. - -Figure 17.3 illustrates a realization of “Billie’s Bounce” using Model II of keyboard style playing. The content of the R.H. is rhythmicized with the Charleston rhythm placed at different metric locations. When this rhythmic gesture appears on beat 3 (or later in the measure) then the second part of the figure utilizes the guide tones of the forthcoming harmony. - - - - - -Variant 2 - - -Figure 17.4 illustrates the harmonic structure of the “Bird” blues in E♭.1 - -In this progression, the structural chords in mm. 1 and 5 still occur on the tonic and subdominant scale degrees, respectively, yet instead of dominant 7ths they feature major 7th chords. The motion from I to IV in mm. 1–4 is packed with idiomatic harmonic activity. The parallel motion between the guide tones of E♭Maj7 and Dmin7(♭5) activates the cycle of 5ths progression. The second phrase (mm. 5–8) features two chromatic ii7–V7s in mm. 6 and 8. The former, [ii7–V7]/♭III, is a back-door dominant 7th preparation of the major tonic in m. 7. The chromatic [ii7–V7]/♭II in m. 8 anticipates the arrival of the structural ii7–V7 in mm. 9–10 by a half step. The third four-bar phrase of “Bird” blues in mm. 9–12 has a chord structure similar to the basic blues progression. Figure 17.5 provides a realization of the progression using “drop 2” five-part voicings. The turnaround in mm. 11–12 features alternate harmonic changes. - - - -FIGURE 17.2 “Billie’s Bounce”—A Chord–Scale Relationship - - - - -FIGURE 17.3 “Billie’s Bounce”—Model II Realization - - - - -FIGURE 17.4 “Bird” Blues—Chord Changes - - - - - -Variant 3 - - -Figure 17.6 gives the chord changes for Bud Powell’s “The Dance Of the Infidels” in C.2 - -The opening phrase in mm. 1–4 includes two chromatic ii7–V7s. The [ii7–V7]/♭VII progression in m. 2 functions as a tonic expansion and the [ii7–V7]/VII in m. 4 functions as a ii7–V7 tritone expansion of C7. Note that in m. 3, the voice-leading preparation of [ii7–V7]/VII uses two parallel minor 7th chords: iii7 and ii7: these are realized as quartal structures in Figure 17.7. The occurrence of the structural subdominant in m. 5 is delayed until m. 6 by its corresponding predominant. This predominant expansion forms a minor 2nd relationship with the preceding [ii7–V7]/VII. One of the most effective chord substitutions of this blues progression occurs in mm. 9–10. The structural dominant 7th, which should have occurred in m. 10, is replaced by a [ii7–V7]/♯IV progression. The nature of this substitution is analogous to the [ii7–V7]/VII progression from m. 4. In both cases, the ii7–V7 tritone expansions prepare and/or disguise the occurrence of structural harmonies. Figure 17.7 provides a “drop 2” realization of “The Dance Of the Infidels” with alternate changes for the turnaround. - - - -FIGURE 17.5 “Bird” Blues—“Drop 2” Five-Part Realization - - - - -FIGURE 17.6 “The Dance Of the Infidels”—Chord Changes - - - - -FIGURE 17.7 “The Dance Of the Infidels”—“Drop 2” Five-Part Realization - - - - - -IMPROVISATION - - - - -* * * - - - -We will now discuss two approaches to improvisation using Variants 2 and 3 of the blues. The first approach is based on arpeggiations of rootless five-part chords over the structural line. The second approach is based on finding the most efficient way of connecting closely or distantly related chords. Arpeggiation of rootless formations using the notes of a background line is an effective improvisational strategy demonstrating one’s understanding of chord structures and voice leading. Such a background line uses whole and half notes (depending on the rate of harmonic rhythm) that are derived from the underlying harmony and that primarily move by step. The individual notes function as “roots” of the corresponding rootless five-part formations that are subsequently arpeggiated. Figure 17.8 demonstrates two background lines derived from the “Bird” blues embellished with chord arpeggiations. - -The use of common-tone (or stepwise) connections is based on finding a pitch that is called an entry window. This pitch allows for a smooth connection between closely or distantly related chords or key areas. If we know, for instance, that the 7th of ii7 also functions as the 3rd of ♭VI7, then this particular pitch can be used as an entry window to connect these two chords. If we also know that it is possible to connect ii7 and ♭VI7 by moving the 9th of ii7 by a half step (in either direction) to land on the 5th or 13th of ♭VI7, then doing so will guarantee good voice leading. Figure 17.9 illustrates available entry windows in “The Dance Of the Infidels” and the bottom line integrates these pitches in the context of melodic lines. - - - -FIGURE 17.8 “Bird” Blues—Arpeggiation of a Structural Line - - - - -FIGURE 17.9 “The Dance Of the Infidels”—Entry Windows - - -NOTES - - - -* * * - - - -1. This progression (originally in F major) is based on Charlie Parker’s “Blues For Alice.” - -2. The original composition is in the key of F major. - - - - - -CHAPTER EIGHTEEN - - -“Confirmation” - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 18 provides an analysis of Charlie Parker’s “Confirmation” as a representative composition from the Bebop Era. It offers a transcription of the solo by the pianist Hank Jones and establishes two chord-scale relationships for the tune using modes and bebop scales. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Arpeggiation - -• Cadential melodic gestures - -• Chromaticism - -• Dimished 7th chords - -• Metric displacement - -• 32-bar AABA form - - - - - -“CONFIRMATION”—AN ANALYSIS - - - - -* * * - - - -Figure 18.1 illustrates the lead sheet of “Confirmation” by Charlie Parker.1 - - - - - -Form and Harmony - - -“Confirmation” features a 32-bar AABA formal design with slight melodic variations in each A section. The chord progression in the A section employs a chain of local II–Vs preparing the arrival of the structural IV in mm. 5, 13, and 29. This characteristic chord sequence bridging two harmonic pillars, I and IV, is one of the most dominan harmonic expansions associated with the blues and other tunes as well.2 As is the case with most compositions from the Bebop Era, the harmonic rhythm of “Confirmation” is fast and intricate. For instance, mm. 1–4 feature an idiomatic progression with a sequence of dominant 7ths that begins on () in m. 2, descends by whole steps to () in m. 4, and resolves to the subdominant in m. 5. Each dominant 7th in mm. 2–4 is subsequently expanded 7 with the ii()–V or ii7–V7 progressions, thereby doubling the rate of harmonic rhythm. In m. 2, then, A7 becomes Emin7(♭5)–A7; in m. 3, G7 turns into Dmin7–G7; and, in m. 4, F7 expands into Cmin7–F7. - - - -FIGURE 18.1 Lead Sheet—“Confirmation” - -Comparing the second half of each A section shows that the first A is harmonically open and ends on a ii7–V7 in m. 8, while the second and the last A feature closed harmonic cadences on I in m. 16 and m. 32, respectively. The bridge in mm. 17–24 has a symmetrical phrase structure and slower harmonic rhythm, which redirects the harmony from I to IV in m. 19 and, then, to ♭VI in m. 23. These key areas are tonicized with local ii7–V7 progressions. The choice of these tonal areas corroborates an interesting fact about the overall tonality of bebop tunes with respect to jazz traditions. The subdominant key area has always had strong blues underpinnings and the flat submediant was one of the few chromatic regions that ragtime or early jazz tunes allowed in their harmonic structure.3 - +32-bar AABA. +First A: harmonically open, ends on ii7–V7. +Second A: full cadential closure on I. +Bridge: cycle of dominant 7ths, ends on V7. +Last A: harmonically closed with Imaj7–VI7–ii7–V7 turnaround. +A section functions as a shortened eight-bar blues: tonic (mm. 1–4), subdominant (mm. 5–6), dominant (m. 8). Melody and Rhythm +The melody of “Moose the Mooche” illustrates that contrafacts are often more agile than their harmonic templates. Its melodic rhythm reflects typical bebop syntax: -The melody of “Confirmation” has an interesting structural design. The background line –– in mm. 1–4, for instance, controls the unfolding of the melodic surface. The beginning of each measure highlights the structural tones at prominent metric positions. Scale degree two in m. 2—which in the context of the underlying chords functions as the 3rd and the 7th, respectively—resolves to the 3rd of Dmin7 in m. 3, completing the –– span. In mm. 17–19, the pitch succession –♭–––– (local 8–♯7–♭7–6–5)—although occurring over the ii7–V7–Imaj7 in B—is an idiomatic line that also controls the content of the melodic diminutions. Figure 18.2 illustrates these two spans. +Measure 1: Charleston rhythm emphasized with an octave leap (F4–F5). +Other figures: 8th-note triplets (mm. 2, 8), 16th-note triplet turns (mm. 14, 31, 32). These serve as idiomatic embellishments. -The melody also features some interesting blues inflections. With the arrival of the structural harmony in m. 5, for instance, the melody highlights a pitch succession that utilizes two blue notes: ♭ and ♭. In mm. 9–10, ♭ and ♭ continue to embellish the melody with ♭ in m. 10 implicating a ♭5th of the A7 harmony. In m. 22, the same blue notes, ♭ and ♭, become harmonically redefined in the context of V7/♭VI. +Chromaticism is central to bebop melodic structure: +Accented C♯5s (mm. 2, 6, 26, 30) subtly reference blues. +A♭4 (beat 1 in mm. 5, 29) functions as ♭7 of V7/IV. Prepared via stepwise ascent (F4–G4 in mm. 4, 28). +Downward tritone leaps (D5–A♭4) intensify blues character. +Passing tones and pitch enclosures, e.g., G♭4 in mm. 5, 29 and E4–C4–C♯4–D4 in m. 18, serve mostly ornamental purposes. +Melodic appoggiaturas (C♭5s in mm. 2, 6, 26, 30) are accented and approached by leaps. +Rhythmic structure features interesting hypermetric organization: -FIGURE 18.2 “Confirmation”—Structural Spans +Mm. 1–4: downbeats in mm. 1 and 3 serve as melodic anchors. +Mm. 5–7: irregular hypermetric structure, typical of contrafacts. +Bridge: symmetrical two-bar hypermetric phrases balance A section irregularity. +Analysis of Hank Jones’s Solo -One of the characteristic sonorities from the Bebop Era is the diminished 7th formation. This chord typically functions as a rootless dom7(♭9). In m. 8, the pitch D♭5, which constitutes the ♭9th of C7, is featured prominently on beat 1; in m. 24, D♭4 occurs in the context of a phrase that anticipates the return of the final A section. In both cases, the resolution of these notes follows the rules of good voice leading. +Hank Jones’s 1977 solo on “Moose the Mooche” (from Bebop Redux) demonstrates: -The rhythm of “Confirmation” is likewise typical of the Bebop Era. The melody features syncopations, upbeats, eight-note anticipations of the forthcoming harmony, and compelling cadential gestures. The rhythmic design of the melody is particularly effective at the end of phrases. In mm. 2–3, for instance, a short two-note gesture occurring at the “and” of 4 and 1 concludes the presentation of the opening phrase. In m. 7, another two-note figure on beat 2, utilizing a major 13th and a major 9th of G7, effectively terminates the preceding phrase. In m. 15, a four-note figure on beats 3 and 4 delineates the underlying harmony and, at the same time, anticipates the forthcoming harmony. +Logical, coherent five-chorus improvisation. +Creative treatment of the original melody; original melodic anchors (e.g., F4) recur across different harmonic contexts. +Blues elements integral to lines: e.g., D♭4/C♯4 in mm. 14–15 connects phrases and outlines chord tones (E♭7 ♭7 → B♭Maj7 3rd). +Simple triadic ideas appear frequently (mm. 63, 65, 122, 127, 155) with precise articulation. +Arpeggiations of four-part chords enhance clarity and melodic flow: +Mm. 17, 39, 92–93, 115–116, 141–143 show varied arpeggiations with chromatic and rhythmic complexity. +Melodic devices include: +Chord-scale relationships, e.g., C7–Mixolydian ♯11 in mm. 21–22, 53–54, 85–86. +Balanced phrase contours using stepwise motion and arpeggiation (mm. 65–66, 77–80). +Harmonic Reworkings of Rhythm Changes +A Section +Tonic expansions: B♭Maj7/D, D7(♭9), Dmin7, B♭7, DMaj7, B♭Maj7/F. +Advanced substitutions: dominant tritone substitutions (D♭7(♭5), G♭7), incomplete major-third cycles, “Coltrane” changes, dominant pedal points. +B Section +Dominant 7th chords with tritone substitutions, ii7–V7 diminutions, and [ii7–V7]/X interpolations. +Faster harmonic rhythms achieved with two chords per measure. +Chromatic voice-leading ensures smooth transitions. +Rhythm Changes Improvisation +A Section: Single-Scale Approach +Fundamental framework: tonic prolongation (mm. 1–4), predominant tension (mm. 5–8). +Single B♭ major bebop scale can guide melodic lines, with chromatic passing tones (♭ as essential pitch for subdominant tonicization). +A Section: Two-Scale Approach +Adds dominant 7th bebop scale in mm. 2, 4. +Chromaticized lines using ♭ (major bebop) and ♯ (dominant bebop). +Subdominant expanded with diminished 7th passing tone. +A Section: Arpeggiation Patterns +Arpeggiate four- and five-part chords for clarity and stepwise motion. +Stepwise lines and common tones provide smooth voice-leading across chords. +B Section: Single-Scale Approach +Dominant 7th chords allow uniform chord-scale mapping. +D dominant bebop ♭13 at the bridge beginning aligns with overall tonality. +Notes +Famous rhythm changes contrafacts: Lester Young’s Lester Leaps In, Sonny Stitt’s Eternal Triangle, Monk’s Rhythm-A-Ning, Dizzy Gillespie’s Ow, Shaw ‘Nuff, Rollins’s Oleo, Miles Davis’s The Theme. +Parker’s rhythm changes contrafacts: Ah-leu-cha, Anthropology, Dexterity, Kim, Constellation, Chasin’ the Bird, Passport, Red Cross, Steeplechase. +Refer to Appendix F for recordings. +Harold Danko recalls Thad Jones describing the A section of rhythm changes as “eight-bar blues.” +Part Three: Advanced +Chapter 20 – Pentatonics and Hexatonics +Summary: +Explores pentatonic and hexatonic scales from vertical (chord-scale) and horizontal (melodic) perspectives. +Concepts and Terms: -AN ANALYSIS OF THE TRANSCRIPTION +Hexatonic voicings: altered, regular +Mixolydian ♭9 +Pentatonics: altered, chromatic, diatonic, dominant, Dorian, major, minor, suspended +Pitch aggregates +Quartal voicings (stacked fourths) +Methodology: +Systematic exploration of chord-scale relationships, scalar and arpeggiated improvisation techniques. -* * * +Chord–Scale Hierarchy and Note Emphasis +A thorough understanding of chord–scale theory allows prioritization of certain notes and de-emphasis of others. -Hank Jones’s solo on “Confirmation,” shown in Figure 18.3, is from the album Bebop Redux, recorded in 1977. In this solo, Jones shows how two jazz traditions—blues and bebop—can be integrated in a musically convincing manner. He also demonstrates a stunning command of the bebop language manifested in a linear approach to improvisation. +Hierarchically important notes – chord tones, extensions, alterations, “beauty marks” – should receive melodic, harmonic, and rhythmic stress. +Avoid notes require careful metric and voice-leading consideration to maintain clarity of harmonic progressions and melodic lines. -As indicated in the analysis of the tune, the A section of “Confirmation” contains elements of the blues, such as single blue-note inflections and characteristic blues harmonies. Jones capitalizes on the blues potential of the tune in a number of creative ways. At the end of chorus 1 in mm. 29–32, for instance, the entire phrase has a strong blues “flavor” marked by the use of ♭ and ♭. In the subsequent choruses, the use of the blues—especially in the second half of the A section—becomes even more intense. Notice how Jones infuses the music with the blues elements in mm. 45–48, 61–64, 93–96, or 125–128. +Example in Seven-Note Modes: -Broadly speaking, each phrase of the solo is an example of Jones’s excellent command of bebop vocabulary; not only do his phrases demonstrate total control of the language, but they also illustrate ways in which Jones generates melodic ideas from the tune itself. This much is already clear from mm. 1–8. Each line features a balanced use of steps and skips, clear metric distribution of chord tones and extensions, and controlled use of chromaticism. Note how Jones shapes the melodic line in mm. 4–6. The line begins with an eight-note pick up, which establishes linear continuity with the previous E4, then ascends to G5 in m. 4 with a clear distribution of chord tones on strong beats. The phrase con -tinuation in mm. 5–6 balances the line with a stepwise descent, G5–F5–E5–D5–C5, embellished with surface arpeggiations of the underlying chords. +Ionian: the 4th can clash with chord tones → consider excluding for pentatonic derivation. +Lydian: the 5th may be less emphasized for melodic clarity. -As previously mentioned, the use of diminished 7th chords in the context of dom7(♭9) is synonymous with bebop syntax and Jones often highlights this chord in his solo. His treatment of the sonority is very creative and includes arpeggiation (mm. 10 and 34), incomplete diminished 7th (mm. 24 and 98), and metric displacement (mm. 26–27 and 40). - - - - - -FIGURE 18.3 “Confirmation”—Improvised Solo by Hank Jones (transcribed by Dariusz Terefenko) - -The solo is unified through the use of similar melodic devices at the same locations within the form. For instance, in mm. 4, 12, and 28 of the form, Jones frequently employs a dom7(♯5) chord (mm. 4, 12, 36, 92, 100, and 108). The melodic ideas seem to foreshadow the arrival of the main tonic rather than to articulate the underlying harmony in mm. 7, 71, and 103. More importantly, the beginning of each chorus emphasizes , which occurs in various guises in the original tune (mm. 1, 17, and 25). At the beginning of each chorus, Jones comes back to and slightly modifies its status from the previous chorus: in m. 1, is prepared with a two-note pick up derived from the tonic bebop scale; in m. 33, initiates a diatonic scalar ascent; in m. 65, introduces a chromatic scalar ascent; and, in m. 97, begins an idiomatic line with varied contour. - -Among many features of the solo, Jones’s treatment of chromaticism is masterly. In the discussion of bebop scales in Chapter 15, I emphasized that the addition of a single chromatic note to a seven-note scale creates an ideal metric scenario in which chord tones are distributed on strong beats and non-chord tones on weak beats. Some interesting examples occur in m. 4, where G♭5 functions as an unaccented passing note, m. 20, where C♯5 serves as an accented passing note, m. 42, where D♯5 initiates the phrase, m. 99, where E♭5 ends the phrase, m. 87, where D major is a chromatic upper-structure triad over D♭Maj7, and m. 59, where C♯min7 functions as an chromatic upper-structure four-part chord over G7. - -Jones also uses an impressive assortment of cadential melodic gestures in his solo. These patterns usually accomplish two objectives: (1) they provide a logical phrase conclusion and (2) they foreshadow the arrival of the next phrase. In m. 23, for instance, a two-note succession E♭4–A♭3 ends the two-bar phrase. This simple gesture is very effective because it clearly delineates the underlying harmony, provides voice-leading resolution of the chromatic notes E4–A3 from m. 22, anticipates the beginning of the next phrase that starts an octave higher on A♭4, and recurs in the middle of the phrase (m. 24) at a different pitch level, G4–C4. - - - - - -CHORD—SCALE RELATIONSHIP: MODES - - - - -* * * - - - -Figure 18.4 provides a chord—scale relationship for “Confirmation” using modes only. - -Although the rate of harmonic rhythm is relatively fast (with the ubiquitous II–V progressions), each measure contains only a single mode. In establishing chord—scale relationships for other chords, we need to determine their function, analyze their quality, and choose an appropriate mode that fits the underlying harmonic context. For instance, each tonic chord occurring in the tune establishes a chord—scale relationship with the Ionian mode only. Although Lydian and Lydian Augmented could potentially have been used as substitute scales, they would have been too chromatic in the context of this tune and within the realm of bebop style. The underlying motion from I–IV is rooted in the blues tradition and the selection of modes for the subdominant in m. 5 is in keeping with that tradition. Even though the subdominant on IV features a dominant 7th chord, in the context of this progression it functions as a predominant. - - - -FIGURE 18.4 Chord—Scale Relationship: Modes - -There are two ways of establishing a chord—scale relationship for ii7–V7 or –V7 progressions: either select a mode that works for V7 or select a mode that works for ii7 or ()). As shown in Figure 18.4, mm. 2–4 feature a descending sequence of incomplete II–Vs connecting the tonic on I with the predominant on IV. Each II–V progression establishes 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 diatonic Mixolydian mode. The tonic note F4 functions as the ♭13th of Mixolydian ♭13 and is retained as a common tone in mm. 1–2. The second A section (mm. 9–16) demonstrates a different approach to chord—scale theory. The selection of modes for the II–V progression in Figure 18.4 is based on the quality of the predominant chord. Thus, in m. 10, Emin7(♭5)–A7 uses E Locrian, while in m. 11, Dmin7–G7 establishes a chord–scale relationship with D Dorian, etc. - -The bridge of “Confirmation” (mm. 17–24) features two four-bar phrases with ii7–V7 tonicizations of the IV and ♭VI key areas. The chord—scale relationship for the bridge in Figure 18.4 includes a different selection of modes: Dorian, Mixolydian, and Ionian for min7–F7–B♭Maj7, and Dorian, Altered, and Lydian for E♭min7–A♭7–D♭Maj7. Tonal and contextual considerations are particularly evident with the choice of Altered mode in m. 22, which accommodates notes from the tonic key and prepares the arrival of FMaj7 in m. 25. The last A section (mm. 25–32) features a much bolder selection of modes. - -The choices of A Altered in m. 26 and F Locrian in m. 28 are particularly poignant. The former injects chromatic notes into the structure of dominant 7th chord. The choice of F Locrian over Cmin7–F7 in m. 28 might seem out of place because neither chord (at least not in the present form) establishes a convincing relation ship with this mode. But, the F Locrian mode forms a chord—scale relationship with F7sus, which is an effective harmonic substitution for Cmin7–F7. - -While the selection of modes in Figure 18.4 is overcrowded with different options, an improvisation may focus on only a few modes. In fact, each A section contains a selection of modes that could be implemented in the course of an entire solo. In establishing a successful chord—scale relationship for the tune, be mindful of three important considerations: (1) modal hierarchy, (2) chromatic treatment, and (3) voice leading. Chromatic modes, for instance, contain notes that might need preparation. This preparation usually takes place anywhere from one beat to one measure before the chromatic notes occur. The succession of modes in mm. 5–6—B♭ Mixolydian and D Mixolydian ♭13—illustrates such a case. The latter mode contains the chromatic ♭13th that was introduced as ♭7th of B♭7 in m. 5. - - - - - -CHORD—SCALE RELATIONSHIP: BEBOP SCALES - - - - -* * * - - - -Figure 18.5 provides a chord—scale relationship for “Confirmation” using bebop scales only. - -The selection of bebop scales is analogous to the use of modes from Figure 18.4. In m. 2, for instance, Emin7(♭5)–A7 uses A Mixolydian ♭13, which accommodates in its pitch structure, as does A dominant bebop ♭13, making them much better choices than their diatonic counterparts. - -Demonstrating slightly different and more advanced organization of bebop scales, the last A section alternates between ascending and descending scalar patterns. In addition, the last 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 of m. 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 ♭7th of C7. - -NOTES - - - -* * * - - - -1. For representative recordings, consult Appendix F on the companion website. - -2. Parker’s “Blues For Alice” has the same harmonic substitutions in mm. 1–4. Standard tunes, such as “Come Rain Or Come Shine” and “There Will Never Be Another You,” also feature this characteristic progression. - -3. See, for instance, “Tin Roof Blues,” “Copenhagen” or “Maple Leaf Rag.” - - - -FIGURE 18.5 Chord—Scale Relationship: Bebop Scales - - - - - -CHAPTER NINETEEN - - -“Moose the Mooche” - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 19 provides an analysis of Charlie Parker’s “Moose the Mooche” and Hank Jones’s improvised solo on the tune. This chapter also proposes a pedagogy of rhythm changes improvisation. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Appoggiaturas - -•Contrafacts - -•Eight-bar blues - -•Hypermetric organization - -•Pitch enclosures - -•Rhythm changes - - - - - -“I GOT RHYTHM” CONTRAFACTS - - - - -* * * - - - -With the exception of the blues, the rhythm changes progression is probably the most important chord progression in jazz. The term “rhythm changes” refers to a 32-bar AABA form 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) and originally 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 section replicated those from the second A. A newly composed line based on the rhythm changes progression is known as a contrafact. The enormous popularity of rhythm changes has been well documented by an ever-increasing number of composed contrafacts and recordings.1 - - - - - -“MOOSE THE MOOCHE”—AN ANALYSIS - - - - -* * * - - - -Charlie Parker wrote a number of contrafacts on rhythm changes among which “Moose the Mooche,” shown in Figure 19.1, is one of the most well known.2 - - - - - -Form and Harmony - - -“Moose the Mooche” features a 32-bar AABA form.3 The first A section is harmonically open and ends on a ii7–V7 in m. 8. The second A features a full-cadential closure on I in m. 16. The bridge cycles through a cycle of dominant 7ths progression and interrupts the form on V7 in m. 24. The final A section is harmonically closed but, in order to allow for the circularity of the chorus improvisation, it features a Imaj7–VI7–ii7–V7 turnaround progression (or any acceptable substitute variant). - -The tonic is prolonged in mm. 1–4 and then morphed into a V7/IV in m. 5. The tonic prolongation takes the form of an idiomatic Imaj7–vi7–ii7–V7 progression, which lends itself to a variety of harmonic substitutions. The subdominant controls mm. 5–6 and is capable of many surface realizations. Next, mm. 7–8 proceed to the dominant, which can also be idiomatically expanded, transformed, and/or confirmed. The A section of rhythm changes is also known as an eight-bar blues because it contains the harmonic paradigm of the blues: tonic in m. 1, subdominant in m. 6, and dominant in m. 8.4 This foreshortened blues preserves the structural weight of the fundamental chords, as the tonic controls the longest span (mm. 1–4), the subdominant occupies the shorter span (mm. 6–7), and the dominant (m. 8) becomes subject to various harmonic modifications. - - - - - -Melody and Rhythm - - -The melody of “Moose the Mooche” confirms the premise that contrafacts are far more dexterous than the tunes from which they borrow their chord progressions. The melodic rhythm of “Moose the Mooche” is typical of bebop syntax. In m. 1, the Charleston rhythm is highlighted with an octave leap from F4 to F5. This rhythmic gesture appears in various guises throughout the tune. Other rhythmic figures, such as 8th-note triplets in mm. 2 and 8, and 16th-note triplet turn figures in mm. 14, 31, and 32, are idiomatic decorations that enhance the melodic surface. - -The presence of chromaticism is integral to the structure of bebop melodies. Some of the chromatic additions, such as the metrically accented C♯5s in mm. 2, 6, 26, and 30, make subtle references to the blues. Other chromatic notes emphasize structurally important harmonies. For instance, a carefully prepared A♭4 occupies beat 1 in mm. 5 and 29, and constitutes the ♭7th of the underlying V7/IV harmony. The preparation of A♭4 in mm. 4 and 28 features an upward stepwise ascent: F4–G4. The end of m. 12 illustrates another idiomatic preparation of this pitch. Here, the A♭4 anticipates V7/IV by a half beat and occurs at the “and” of 4 in m. 12. The downward tritone leap from D5-A♭4 further intensifies its status and injects yet another blues characteristic into the framework of the melody. Other chromatic notes, such as unaccented passing and pitch enclosures, have primarily ornamental functions. The chromatic passing note G♭4 in mm. 5 and 29 moves between and . A chromatic pitch enclosure occurs in m. 18 when the melodic cell E4-C4-C♯4-D4 encircles the root of D7. The C♭5s in mm. 2, 6, 26, and 30 constitute melodic appoggiaturas because they are accented and approached by a leap. - - - -FIGURE 19.1 Lead Sheet—“Moose the Mooche” - -The rhythmic structure of the melody is interesting hypermetrically: in mm. 1–4, the hypermetric downbeat occurs in mm. 1 and 3 and emphasizes as the melodic anchor. The continuation of the phrase features a less regular hypermetric organization with metrical downbeats occurring in mm. 5, 6, and 7. This hypermetric organization cor — roborates yet another characteristic of contrafacts, namely that they have a fairly irregular and purposefully unpredictable phrase structure. The irregular hypermetric organization of the A section is balanced by a symmetrical unfolding of hypermetric two-bar phrases in the bridge. - - - - - -AN ANALYSIS OF THE TRANSCRIPTION - - - - -* * * - - - -Hank Jones’s solo on “Moose the Mooche” comes from the album Bebop Redux, recorded in 1977 (see Figure 19.2). - -In the span of five choruses, Jones offers a logical and coherent musical statement that demonstrates his fine improvisational skills and excellent command of bebop vocabulary. One of the defining features of the solo is the overall simplicity and creative treatment of the original melody. In the head shown in Figure 19.1, is an important melodic anchor that is metrically and rhythmically reinforced. In his solo, Jones uses this pitch at different locations and over different harmonic/melodic contexts. For instance, in m. 1 an octave leap F4–F5 makes a clear reference to the original tune. Three choruses later in m. 97, the same melodic gesture comes back and is bolstered with octaves. In mm. 128–130, the melodic phrase with a 3/4 cross rhythm embellishes . - -As pointed out in the analysis of the tune, blues melodic devices are featured prominently in the original melody. In Jones’s solo, the melodic blue notes are integral components of his lines. In mm. 14–15, for instance, the pitch D♭4/C♯4 connects two adjacent phrases: ♭ functions as a ♭7th of E♭7 and then becomes a lower chromatic neighbor preparing the 3rd of B♭Maj7 in m. 15. The tritone G4-D♭4 in m. 14 provides additional blues references. In mm. 61–62, open-position chords have similar blues underpinnings with ♭ as the highest note piercing through the characteristic blues voicing. In mm. 94–95, the use of three-note close-position voicings embellished with grace notes enhances the structural subdominant. - -What is truly remarkable about the melodic design of Jones’s lines is their overall simplicity. Jones does not shy away from simple triadic ideas (mm. 63, 65, 122, 127, and 155). In each case, they are performed with rhythmic precision, convincing articulation, and good rhythmic feel, and are perfectly integrated in the context of his lines. He elaborates these triadic ideas with a variety of passing notes (mm. 25–26, 89–90, 91, 105, and 153). - -Another relatively simple technique used by Jones in his solo involves the arpeggiation of four-part chords. Although straightforward versions of this technique might seem formulaic, when integrated convincingly in the context of melodic lines and played with a good time feel, they can add much-needed clarity to the overall flow of the solo. In m. 17, for example, a rootless Amin9 beginning on the 9th initiates the bridge; in m. 39, a downward arpeggiation of Gmin7 on beats 3 and 4 foreshadows a more chromatic conclusion of the phrase; in m. 92, a downward arpeggiation of Cmin7 balances an upward arpeggiation of a rootless B♭9 in m. 93; in mm. 115–116, an incomplete upward arpeggiation of Dmin11 balances a downward arpeggiation of G7(♭13) implementing the G augmented triad that spans an octave and a half. In mm. 141–143, the use of arpeggiation is elevated to a new level of rhythmic/harmonic complexity as Cmin7, B°7, Cmin7/B♭, Gmin7, F♯°7, Gmin7/F, and E♭°7 expand the underlying B♭7-E♭Maj7-B♭Maj7-F7 progression using 3/8 cross rhythms. - - - - - -FIGURE 19.2 “Moose the Mooche”—Improvised Solo by Hank Jones (transcribed by Dariusz Terefenko) - -In the analysis of “Confirmation” in Chapter 18, I pointed out that Jones’s playing reveals an affinity toward favored melodic gestures and/or chord-scale relationships. In this solo, similar observations can be made. One of the most obvious examples of Jones’s penchant for well-internalized devices occurs in mm. 21–22 of the form. The lines in mm. 21–22, 53–54, and 85–86 establish a chord-scale relationship between C7 and Mixolydian ♯11. This relationship is, of course, highly idiomatic of bebop performance practice. - -Notice also how Jones balances the contour of his phrases with a measured use of stepwise melodic motion and arpeggiation. For instance, in mm. 65–66 the phrase begins with a downward arpeggiation, then integrates a –♭– –♭–chromatic descent, which fulfills the condition for adding extra chromatic notes, and finishes off with an upward melodic leap to the E♭5-G5 dyad. In mm. 77–80, the line begins with a stepwise embellishment of using upper neighbors and escape notes and, by mm. 79–80, morphs into straightforward arpeggiations of F7 and Cmin7, respectively. - - - - - -HARMONIC REWORKINGS OF RHYTHM CHANGES - - - - -* * * - - - -The A section of rhythm changes can be realized with different harmonic progressions. Some of the most interesting realizations are shown in Figure 19.3a–i. With each consecutive progression, the level of harmonic complexity increases. - -When comparing mm. 1–2 with mm. 3–4, which essentially feature similar tonic expansions, B♭Maj7/D, D7(♭9), Dmin7, B♭7, DMaj7, B♭Maj7/F or D7 at the beginning of m. 3 can be used to replace the original tonic chord B♭Maj7. In comparing the substitute options for the submediant in m. 1 or the supertonic in m. 2, there is also a variety of available choices. Figure 19.3e–i demonstrates more advanced transformations of the original progression. In Figure 19.3e, the submediant in m. 1 (Gmin7) and the supertonic in m. 4 (Cmin7) are replaced with the dominant tritone substitutions (D♭7(♭5) and G♭7, respectively). Figure 19.3f combines the incomplete major-third cycle in mm. 1–2 with the descending major-second cycle in mm. 3–4. Figure 19.3g experiments with the “Coltrane” substitutions. In Figure 19.3h, a dominant pedal point supports the chord progression in upper parts. In Figure 19.3i, an extended cycle of dominant 7ths beginning on ♭ substitutes for the original progression. - -The bridge of rhythm changes can be realized in many different ways as shown in Figure 19.4a–h. - - - - - -FIGURE 19.3 Alternate Progressions for the A Section - - - - - -FIGURE 19.4 Alternate Progressions for the B Section - -All the harmonic options in Figure 19.4 rely on the use of dominant 7th tritone substitutions, ii7–V7 diminutions, and/or [ii7–V7]/X interpolations. The use of a dominant 7th tritone substitution in its clearest manifestation is shown in Figure 19.4b. Chords in mm. 18, 20, 22, and 24 function as tritone substitutions of the preceding dominant 7ths. The use of ii7–V7 diminutions results in the faster harmonic rhythm, as each dominant 7th of the bridge can be potentially expanded with a predominant ii7. In Figure 19.4c, the ii7–V7s occurring in mm. 18, 20, 22, and 24 expand the underlying dominant 7th chords. The combination of ii7–V7 diminutions with [ii7–V7]/X interpolations can produce more intricate harmonic progressions as demonstrated in Figure 19.4d and 19.4e. The most obvious consequence of such combinations is even faster harmonic rhythm with two chords per measure. For instance, in Figure 19.4d, the [ii7–V7]/X interpolations in mm. 18, 20, 22, and 24 establish a logical voice-leading connection with the upcoming ii7–V7 progression. In addition, the ii7–V7s in mm. 17–18, 19–20, 21–22, and 23–24 are a half step away from each other, which further assures good voice leading. The neighboring ii7–V7s are also on display in Figure 19.4e. But unlike Figure 19.4d, the [ii7–V7]/X progressions in mm. 18, 20, 22, and 24 from Figure 19.4e function as lower chromatic neighbors in relation to the diatonic ii7–V7 progressions. - - - - - -RHYTHM CHANGES IMPROVISATION - - - - -* * * - - - - - -The A Section: A Single-Scale Approach - - -The chord structure of the A sections of rhythm changes can be reduced to the fundamental framework shown in Figure 19.5. - -While mm. 1–4 of any A section feature a tonic prolongation, mm. 5–8 are more complicated even at the background level. For instance, the predominant in mm. 6, 14, and 30 can take the form of major 7th or dominant 7th chords. Also, the tonally closed second A section features two bars of Imaj7 in mm. 15–16 instead of a half cadence in mm. 8 and 32. Figure 19.6 establishes a chord-scale relationship between structural chords and bebop scales. - - - -FIGURE 19.5 Fundamental Harmonic Frameworks - - - -FIGURE 19.6 A Basic Chord-Scale Relationship for the A Section - -With a single major bebop scale controlling mm. 1–4, we can concentrate on improvising melodic lines that are entirely derived from the B♭ major bebop scale without being too preoccupied with the surface chord changes. In fact, when improvising against a more complex harmonic accompaniment, the melodic lines—albeit with a single chromatic passing note and the diminished 7th chord—will balance the chromatic accompaniment with controlled melodic tensions. Since mm. 5, 13, and 29 tonicize the subdominant harmony, this harmonic event needs to be well planned, prepared, and executed. Take the clue from the original melody and see how Parker introduced ♭ in those measures. In short, ♭ is an essential pitch that is necessary to make a convincing transition from the tonic to the predominant key area. Figure 19.7a–c demonstrates how to negotiate the A section of rhythm changes using the chord-scale relationship from Figure 19.6. - - - - - -The A Section: A Two-Scale Approach - - -The next step in rhythm changes improvisation involves adding a dominant 7th bebop scale in mm. 2 and 4. As a result, we must now negotiate two chromatic notes, ♭ from major bebop and ♯ from dominant bebop. These additions will considerably chromaticize the content of melodic lines. Except for m. 6, mm. 5–8 remain the same as in Figure 19.5; the subdominant is expanded with a passing diminished 7th on ♯. Figure 19.8 provides a chord-scale relationship for the A section of rhythm changes. - -Figure 19.9a–c demonstrates a melodic realization of the chord-scale relationship from Figure 19.8. - - - -FIGURE 19.7 Melodic Embellishments of the A Section - - - -FIGURE 19.8 An Alternate Chord-Scale Relationship for the A Section - - - - - -The A Section: Chord Arpeggiations - - -Having introduced two scalar choices for mm. 1–4, we can now focus on improvising over more harmonically advanced A sections with various arpeggiations of four- and five-part chords. These options are shown in Figure 19.10a–e with different harmonic settings for the A section. - -The use of arpeggiation capitalizes on good voice leading between adjacent chords. When examining the content of lines in Figure 19.10b–e, notice that the low (or high) notes that begin arpeggiation patterns create a stepwise line spanning the entire A section. Such a line uses common tones and/or features stepwise motion between adjacent chords. - - - - - -The B Section: A Single-Scale Approach - - -With only dominant 7th chords, the bridge of rhythm changes has a relatively uniform chord-scale relationship. Figure 19.11 establishes a basic chord-scale relationship for the B section. The use of D dominant bebop ♭13 at the beginning of the bridge is in keeping with the overall tonality of rhythm changes. - -Figure 19.12a–c provides a melodic realization of the chord-scale relationship from Figure 19.11. - - - -FIGURE 19.9 Melodic Realizations of the A Section - - - -FIGURE 19.10 The A Section—Arpeggiation Patterns - - - -FIGURE 19.11 A Basic Chord-Scale Relationship for the B Section - -NOTES - - - -* * * - - - -1. Some of the most well-known contrafacts on rhythm changes include: Lester Young’s “Lester Leaps In,” Sonny Stitt’s “Eternal Triangle” (modified bridge) and “Sonny Side,” Thelonious Monk’s “Rhythm-A-Ning,” Benny Harris’s “Crazeology,” Dizzy Gillespie’s “Ow” and “Shaw ‘Nuff” (with Parker), Fats Navarro’s “Eb-Pob,” Sonny Rollins’s “Oleo,” John Lewis’s “Delauney’s Dilemma,” George Coleman’s “Lo-Joe,” Bill Evans’s “Five,” Miles Davis’s “The Theme” and “The Serpent’s Tooth” (modified bridge), Harold Danko’s “Not In the Mood,” Bill Dobbins’s “TJRC,” Brian Dickinson’s “Splash,” Jan Jarczyk’s “Fifteen Years,” Clay Jenkins’s “Habitat,” and Jeff Campbell’s “Exit 41.” - -2. Other contrafacts on rhythm changes by Parker include: “Ah-leu-cha,” “Anthropology,” “Dexterity,” “Kim,” “Constellation,” “An Oscar For Treadwell,” “Celerity,” “Chasin’ the Bird,” “Passport,” “Red Cross,” and “Steeplechase.” - -3. For representative recordings, consult Appendix F on the companion website. - -4. The term “eight-bar blues” was pointed out to me by Harold Danko, who played in the Thad Jones/Mel Lewis Orchestra from 1976 until 1978; he remembers Thad Jones using this term in reference to the A section of rhythm changes and “Don’t Get Sassy.” - - - -FIGURE 19.12 Melodic Realizations of the B Section - - - - - -PART THREE - - -Advanced - - - - - -CHAPTER TWENTY - - -Pentatonics and Hexatonics - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 20 embarks on a study of pentatonic and hexatonic scales. These collections are classified according to their possible chord—scale relationships and explored from different vertical and horizontal perspectives. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Hexatonic voicings - -•Hexatonics: - -Altered - - - -Regular - - - -•Mixolydian ♭9 - -•Pentatonic system - -•Pentatonic voicings - -•Pentatonics: - -Altered - - - -Chromatic - - - -Diatonic - - - -Dominant - - - -Dorian - - - -Major - - - -Minor - - - -Suspended - - - -•Pitch aggregates - -•Quartal voicings - -•Stacked fourths - - - - - -METHODOLOGY - - - - -* * * - - - -A thorough understanding of chord—scale theory allows us to prioritize certain notes and de-emphasize others. Hierarchically important notes occurring in the context of harmonic progressions and melodic lines (beauty marks, chord tones, alterations, and extensions) should receive melodic, harmonic, and rhythmic stress. Avoid notes, meanwhile, require careful metric and voice-leading considerations, because their uncontrolled presence might affect the clarity of chord progressions and melodic lines. In the structure of seven-note modes, there is a distinct hierarchy among pitches: the use of 4 in Ionian or 5 in Lydian, for instance, might have an undesirable effect on the content of corresponding chords or lines. The exclusion of these notes from Ionian and Lydian (and other notes from other modes as well) creates intervallically diverse six-note hexatonic scales (i.e. scales of cardinality of six). The removal of two notes from seven-note modes produces even more intervallically diverse five-note pentatonic scales (i.e. scales of cardinality of five). The intervallic variety of pentatonic and hexatonic scales is very attractive to the improviser. The seven-note modes, scalar transpositions of a melodic pattern tend to sound predictable after a few repetitions. In pentatonic or hexatonic collections, however, the same pattern often sounds less predictable because the intervallic content of these scales is much more diverse. The reduction of pitch content to only five or six essential tones highlights the most crucial notes from the mode and imbues them with the capacity to make chords or melodic lines sound convincing. - -The development of pentatonic and hexatonic systems is analogous to the methodology of mode classification discussed in Chapter 7 and chord—scale theory in Chapter 8. Pentatonics and hexatonics are placed in functional categories and analyzed for their melodic and harmonic potential. - - - - - -PENTATONICS - - - - -* * * - - - -In jazz, pentatonics represent a rich assortment of scales with a vast potential for improvisation. They come in a variety of flavors, from the simple blues inflections added to diatonic pentatonics popularized by Lester Young in the 1930s to the chromatically altered five-note segments common in contemporary jazz styles.1 +Pentatonic and Hexatonic Derivation: +Removing 1–2 notes from seven-note modes produces hexatonic (6-note) or pentatonic (5-note) scales. +Result: intervallic diversity, increased melodic unpredictability, and highlight of essential tones. +Practical insight for guitarists: Using reduced pitch content allows targeting chord tones efficiently, e.g., Gmaj7 E-form arpeggio for tonic lines. +Pentatonics +Pentatonics in jazz provide a rich improvisational palette: +Flavors: +Blues-inflected diatonic pentatonics (Lester Young, 1930s) +Chromatic 5-note segments for modern jazz Basic Pentatonics +Type Parent Mode Notes Removed Characteristic Sound +Major Ionian 4, 7 Tonally neutral, modal improvisation +Minor Aeolian tritone (2–♭6) Emphasizes minor 3rds & 2nds +Dominant Mixolydian 6 Includes tritone 3–♭7, avoids minor 2nd +Suspended Mixolydian 3 Enables sus chord–scale relationship - -There are three basic pentatonics: major, minor, and dominant.2 Major pentatonic, shown in Figure 20.1, is derived from the Ionian mode excluding 4 and 7. - -The absence of semitones from its structure affects the scale’s tonal character and removes the traces of harmonic tension from the collection. When listening to the sound of this scale, it conveys an aura of tonal neutrality, which makes major pentatonic, and other pentatonics as well, ideal choices for modal improvisation and modal harmony. - - - -FIGURE 20.1 Major Pentatonic - - -Minor pentatonic is derived from the Aeolian mode by excluding the tritone between 2 and ♭6. Figure 20.2 illustrates the derivation of a minor pentatonic. - -The content of a minor pentatonic prioritizes the intervals of major 2nds and minor 3rds, just as in the major counterpart. Similar to major pentatonic, the absence of the tritone and the leading tone contributes to the scale’s independent tonal status. - -Figure 20.3 illustrates two types of dominant pentatonic scale: dominant and suspended. Both can be derived from the Mixolydian mode and, as such, establish a convincing chord—scale relationship with the dominant 7th and suspended dominant chords respectively. - -The pitch content of dominant pentatonic includes the tritone between 3 and ♭7 that is inherent to the structure of the scale. The omission of 6 prevents the occurrence of a minor 2nd. This is in keeping with the overall character of other pentatonic collections. - - - -FIGURE 20.2 Minor Pentatonic - - - - -FIGURE 20.3 Dominant and Suspended Pentatonics - - -The intervallic content of suspended pentatonic prioritizes major 2nds and minor 3rds and the inclusion of 4 enables a chord—scale relationship with corresponding suspended formations. - - - - +Guitar RAG tagging: link shapes to chord-scale targets. Example: Gmaj7 → E-form, 6th string root → 3–2–0–0–0–2. Diatonic Pentatonics +Parent scale: Dorian pentatonic (symmetrical interval structure). +Rotations produce five diatonic pentatonics: Phrygian, Lydian, Mixolydian, Aeolian, Locrian. +Key properties: +Phrygian: ♭2 (“beauty mark”) +Lydian: ♯11 +Mixolydian: dominant 7 essential tones +Aeolian: ♭6 +Locrian: ♭5 - -In Chapter 7, diatonic and chromatic modes were generated using rotations of two parent scales: the major to construct diatonic modes and the melodic minor to create chromatic modes. Diatonic pentatonics can be derived in a similar manner. For the derivation of diatonic pentatonics, Dorian pentatonic is employed as the parent scale. The reason for this selection stems from its symmetrical pitch organization.3 Figure 20.4 illustrates the pitch structure of the Dorian pentatonic. - -Unlike other pentatonics discussed thus far, the Dorian pentatonic has a much more diverse intervallic content and includes four distinct intervals: two major 2nds, a minor 2nd, a major 3rd, and a minor 3rd (when you wrap the scale around the octave). Although reduced to only five notes, the pitch content of the scale embodies the essential Dorian characteristics: it has minor qualities and includes the beauty mark, major 6th. - -By rotating the pitch structure of Dorian pentatonic, five distinct pentatonics are created: Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. These scales are referred to as diatonic pentatonics. The Ionian pentatonic is excluded since it was previously introduced in Figure 20.1 as a major pentatonic. Figure 20.5 illustrates these five rotations of a Dorian pentatonic. - -The Phrygian pentatonic starts on 2, the Lydian pentatonic begins on ♭3, the Mixolydian pentatonic starts on the non-existent 4, the Aeolian pentatonic originates from 5, and the Locrian pentatonic begins on 6. When transposing these pentatonics to the same starting pitch, all but Mixolydian begin on the same note. The Mixolydian does not since its pitch content is built on the non-existent root of the scale 4. When comparing the structure of Mixolydian and Aeolian from Figure 20.5, notice that they have the same pitch content. The difference between the two becomes apparent when comparing their transpositions. Figure 20.6 shows six pentatonics transposed to C4. - -Based on what is already known about the modal theory, observe that the diatonic pentatonics have the same salient features as the corresponding seven-note modes. The Phrygian pentatonic contains the beauty mark ♭2, the Lydian pentatonic includes ♯11, and the Mixolydian pentatonic contains all the essential notes from the dominant 7th formation. The Aeolian pentatonic features the beauty mark ♭6, and the Locrian pentatonic highlights the characteristic ♭5. - - - -FIGURE 20.4 Dorian Pentatonic - - - - -FIGURE 20.5 Rotations of Dorian Pentatonic - - - - -FIGURE 20.6 Pentatonics Transposed to C4 - - - - +Practical insight: Use these rotations for targeted chord tones in improvisation; apply CAGED shapes for seamless fretboard navigation. Chromatic Pentatonics - - -Figure 20.7 shows how the Melodic Minor pentatonic can serve as the parent scale for the generation of chromatic pentatonics. - -Figure 20.8a illustrates the rotations of the chromatic pentatonics and Figure 20.8b transposes them to C4. - -After transposing chromatic pentatonics to C4, the Dorian ♭2 and Mixolydian ♯11 pentatonics begin on ♭2 and 2 respectively.4 - - - -FIGURE 20.7 Melodic Minor Pentatonic - - - - -FIGURE 20.8A Rotations of Chromatic Pentatonics - - - - -FIGURE 20.8B Pentatonics Transposed to C4 - - - - - +Derived from Melodic Minor pentatonic. +Rotations produce chromatic pentatonics (e.g., Dorian ♭2, Mixolydian ♯11). +Useful for altered dominants and modern jazz phrases. Altered Pentatonics +Created via minor pitch displacements or chromatic alterations of diatonic/chromatic pentatonics. +Mixolydian I/II alterations include ♭9 and ♯9. +Maintains essential pentatonic qualities while expanding harmonic color. +Pentatonic System – Functional Categories +Category Harmonic Function Example Usage +Major Tonic / Predominant Cmaj7 → C Ionian pentatonic +Minor Tonic / Predominant Amin7 → A Aeolian pentatonic +Dominant Dominant D7 → D Mixolydian pentatonic +Suspended Dominant Dominant / Predominant G7sus → G suspended pentatonic +Intermediary Predominant / Dominant Passing chords / substitutions +Harmonic Potential: +Pentatonics generate quartal voicings: e.g., Dorian pentatonic → stacked 4ths, modal character. +Voicings can transpose along pentatonic pitches while inner voices use seven-note modes. +Melodic Potential: +Chords can be horizontalized as melodic lines. +Extract 3-note cells from pentatonics → less predictable intervallic structure. +Hexatonics +Six-note collections derived from seven-note modes. +Provide essential chord tones, harmonic clarity, and melodic possibilities. +Categories mirror pentatonics: major, minor, dominant, altered. +Altered hexatonics: minor variations from regular hexatonics → label with category + Roman numeral (Major Altered I, Dominant Altered II). +Guitar tagging opportunity: Map hexatonic scales to CAGED shapes, arpeggio fingerings, and melodic fragments for practical improvisation. -The structure of diatonic and chromatic pentatonics can be modified by minor pitch displacements and/or chromatic alterations. These pitch modifications result in the creation of the altered pentatonics; these scales share essential qualities with the regular pentatonic scales that they purport to modify. Figure 20.9 compiles altered pentatonics and shows their relationships with the diatonic and chromatic pentatonics. - -With the exception of the Mixolydian pentatonic, altered versions of diatonic pentatonics include different combinations of pitches derived from the corresponding modes. Mixolydian I and Mixolydian II include chromatic alterations of 2; these result in the inclusion of ♭9 in the former, and ♭9 and ♯9 in the latter.5 - - - - - -FIGURE 20.9 Altered Pentatonics - - - - - -THE PENTATONIC SYSTEM - - - - -* * * - - - -Broadly speaking, there are three types of pentatonic scale: diatonic, chromatic, and altered. The diatonic and chromatic pentatonics can be derived from the Dorian and Melodic Minor pentatonics, respectively. Altered pentatonics result from minor pitch displacements and/or alterations of diatonic and chromatic pentatonics. Even though pentatonics are primarily associated with modal improvisation and modal harmony, it is possible to invoke traditional functional relationships to make them useful in tonal improvisation and harmony as well. The pentatonic system attempts to illustrate the tonal potential of different pentatonic collections. To facilitate this discussion, the diatonic, chromatic, and altered pentatonics are compartmentalized into the familiar functional categories. - - - - - +Hexatonic Categories Major Category +Harmonic Function: Tonic / Predominant -Possible Harmonic Function—Tonic and Predominant - -Figure 20.10 illustrates a collection of major pentatonics and establishes chord—scale relationships with selected chords. - - - +Aggregate: 3 regular hexatonics + 3 altered hexatonics +Excluded notes: ♭2, ♭3, ♭7 +Notes: Can freely combine other six-note segments to create altered hexatonics +Special cases: Major Altered II/III combine features of Ionian (5), Lydian (♯4, ♯5), and Lydian Augmented +Guitar application: Map each hexatonic collection to CAGED shapes or quartal voicings for modal tonic lines. Minor Category +Harmonic Function: Tonic / Predominant -Possible Harmonic Function—Tonic and Predominant - -Figure 20.11 compiles minor pentatonics and provides chord—scale relationships with selected chords. - - - -FIGURE 20.10 Chord—Scale Relationships: Major Category - - - - -FIGURE 20.11 Chord—Scale Relationships: Minor Category - - - - - +Aggregate: 3 regular hexatonics + 3 altered hexatonics +Inclusion of ♯4: Extends minor harmonies (e.g., ♯11 in a Cmin7 context) +Advanced usage: Can combine Cmin(♭7) + Bø7 → upper structure substituted with Bmin7 to preserve tertian structure and Lydian flavor Dominant Category +Harmonic Function: Dominant -Possible Harmonic Function—Dominant - -Figure 20.12 shows dominant pentatonics and establishes chord—scale relationships with selected chords. - - - -FIGURE 20.12 Chord—Scale Relationships: Dominant Category - - - - - +Aggregate: 4 regular hexatonics + 4 altered hexatonics +Excluded notes: 4, 7 +Chromatic alterations: Includes Mixolydian ♭9, Mixolydian ♯11, and Mixolydian ♭13 Suspended Dominant Category +Harmonic Function: Dominant / Predominant -Possible Harmonic Function—Dominant and Predominant - -Figure 20.13 demonstrates suspended pentatonics and establishes chord—scale relationships with selected chords. - - - -FIGURE 20.13 Chord—Scale Relationships: Suspended Dominant Category - - - - - +Aggregate: 3 regular hexatonics + selected altered hexatonics +Excluded notes: 3, 7 Intermediary Category - -Possible Harmonic Function—Predominant and Dominant - -Figure 20.14 features intermediary pentatonic collections and establishes chord—scale relationships for this category. - - - - - -Harmonic Potential - - -Pentatonic collections are very useful for the generation of so-called quartal voicings. Although voicings introduced in this section primarily have modal characteristics, they are just as effective in the tonal contexts. Figure 20.15 demonstrates five quartal voicings that can be derived from the Dorian pentatonic. In this and the forthcoming figures, boxed chords indicate the projection of a complete pentatonic collection. - -The structure of the voicings in Figure 20.15 features the notes from the Dorian mode arranged as stacked fourths.6 Even though occasional thirds or other intervals might appear in quartal voicings, they tend to balance the overall structure of the sonority. As long as the interval of a fourth is prioritized (especially at the bottom of the chord), voicings should display typical modal characteristics. - -The methodology for generating pentatonic voicings can be summed up as follows: - -1.Create a quartal voicing that includes all or the majority of the pitches from the pentatonic collection. - -2.The pitches from the pentatonic scale function as the roots of the subsequent chords derived from this pentatonic. - -3.Transfer the opening voicing up to the next pitch from the pentatonic scale unfolding in the bass. Think of transferring all the voices (excluding the bass voice) up to the next available pitch derived from the corresponding seven-note mode. In generating Phrygian pentatonic voicings, for instance, use a Phrygian pentatonic to create five unique transpositions of the opening sonority and the Phrygian mode to supply the pitch content. - -4.While the lowest note of each voicing projects the specific pentatonic scale, the inner voices are derived from the corresponding mode. - -5.These voicings represent a useful collection of sonically related formations that can be used interchangeably in a variety of tonal or modal contexts. - - - -FIGURE 20.14 Chord—Scale Relationships: Intermediary Category - - - - -FIGURE 20.15 Dorian Family of Voicings - - -Figure 20.16 illustrates the families of pentatonic voicings for selected basic, diatonic, chromatic, and altered pentatonic collections. - - - - - -Melodic Potential - - -Even though the methodology described above focuses on voicings, the idea that chords can be horizontalized as lines, and vice versa, allows us to explore the melodic potential of pentatonics. Figure 20.17 shows how it is possible to extract three-note melodic cells from a given pentatonic and then how to use those cells to create a pentatonic line. - -These pitch transfers preserve the overall shape of the original cell, but not always the intervallic contour of the cell. The diverse intervallic structure of pentatonics is very useful in rendering different pitch transfers of the original motive less symmetrical and devoid of intervallic predictability. - - - -FIGURE 20.16 Pentatonic Voicings - - - - -FIGURE 20.17 Pentatonic Lines - - - - - -HEXATONICS - - - - -* * * - - - -The hexatonic scale is a six-note collection that conveys characteristics similar to the seven-note modes. Just like pentatonics, hexatonic scales have more interesting intervallic properties and provide essential notes for melodic lines and harmonic formations. The hexatonic collections are compartmentalized in the familiar categories and scales are generated from aggregates of pitches that contain all available notes from the particular category. For instance, since the pitch aggregate for the major category contains eight notes, there are a number of options for creating different major hexatonics. Given the enormous range of options, it is best to pick a scale whose pitch content best conveys specific modal characteristics. - -The derivation of hexatonics from the aggregate puts the understanding of pitch hierarchy to the test. The pitch structure of different hexatonics prioritizes only those notes that are essential to projecting the exact harmonic function and/or intended chord—scale relationship. Each category below includes two types of hexatonic collection: regular and altered. Regular hexatonics share common characteristics with the corresponding modes. For instance, Mixolydian ♯11 hexatonic has similar properties to the seven-note Mixolydian ♯11 mode, etc. Altered hexatonics are derived from the specific pitch aggregate and their structure includes minor variations from regular hexatonics. In labeling altered hexatonics, use the name of the category with Roman numerals specifying different variations (i.e. Major Altered I, Dominant Altered II, etc.). - - - - - -Major Category - - -Possible Harmonic Function—Tonic and Predominant - -Figure 20.18 illustrates the pitch aggregate for the major category: three regular hexatonic collections and three altered hexatonics.7 The only notes that cannot be used in the aggregate are ♭2, ♭3, and ♭7. All other notes as six-note segments can be freely combined to create altered hexatonics. Notice that the Major Altered II and III combine the characteristics of three regular hexatonics (5 from Ionian, ♯4 from Lydian, and ♯5 from Lydian Augmented). - - - - - -Minor Category - - -Possible Harmonic Function—Tonic and Predominant - -Figure 20.19 provides the pitch aggregate for the minor category: three regular hexatonic collections and three altered hexatonics. The inclusion of ♯4 in the aggregate raises several issues. Until now, the ♯4 (♭5th) has participated only in the context of major or dominant chords. In more advanced harmonic practice, however, the addition of ♯4 (functioning as a ♯11th) expands the structure of minor formations. Since the extended tertian structure derived from C Melodic Minor, for instance, features two overlapping four-part formations, Cmin(♭7) and Bø7, the upper formation can be substituted with the Bmin7 chord. This substitution preserves the tertian nature of the extended formation and infuses the seven-part chord with the Lydian characteristics: C–E♭–G–B–D–F♯–A. - - - -FIGURE 20.18 Major Hexatonics - - - - -FIGURE 20.19 Minor Hexatonics - - - - - -Dominant Category - - -Possible Harmonic Function—Dominant - -Figure 20.20 shows the pitch aggregate for the dominant category: four regular hexatonic collections and four altered hexatonics. The only pitches excluded from the aggregate are 4 and 7. Notice the presence of Mixolydian ♭9, which was not encountered in the discussion of modal theory. Since this scale includes a single chromatic alteration ♭9—just as the two other chromatic modes, Mixolydian ♯11 and Mixolydian ♭13—this collection is labeled as Mixolydian ♭9. - - - -FIGURE 20.20 Dominant Hexatonics - - - - - -Suspended Dominant Category - - -Possible Harmonic Function—Dominant and Predominant - -Figure 20.21 demonstrates the pitch aggregate for the suspended dominant category: three regular hexatonic collections and a selection of altered hexatonics. The aggregate contains all but two pitches, 3 and 7. - - - - - -Intermediary Category - - -Possible Harmonic Function—Predominant and Dominant - -Figure 20.22 shows the pitch aggregate for the intermediary category: four regular hexatonic collections and a selection of altered hexatonics. - - - -FIGURE 20.21 Suspended Hexatonics - - - - -FIGURE 20.22 Intermediary Hexatonics - - - - - -Harmonic Potential - - -Just as with pentatonics, the hexatonic collections provide useful pitch resources for creating interesting voicings of different cardinality. The procedures for generating voicings of various sizes are similar to those discussed earlier in this chapter and utilize transfers of the initial voicing through the hexatonic scale. The resulting five voicings represent the sound of the specific hexatonic and are potential substitutes for one another in different harmonic scenarios. Hexatonic voicings can be generated using the following procedures: - - - -FIGURE 20.23 Hexatonic Voicings - - -1.Establish the initial close-position voicing that captures the sound of the hexatonic scale. - -2.Transfer the close-position voicing up to the next pitch from the hexatonic scale. Use notes from the corresponding hexatonic scale only. - -3.Rearrange the pitches of the initial close-position voicing to create different open-position formations. - -4.Transfer the open-position voicing through the hexatonic scale. - -Figure 20.23 demonstrates these procedures using four- and five-part voicings derived from Lydian hexatonic. - - - - - -Melodic Potential - - -Based on the fundamental premise that chords can be linearized and lines can be verticalized, hexatonic scales can be explored by using different melodic cells. These cells are derived from the scale’s content and transferred to all the notes from the corresponding hexatonic collection. The subsequent pitch transfers feature more intervallic variety within them, as was the case with pentatonic scales in Figure 20.17. Figure 20.24 demonstrates this process. - - - -FIGURE 20.24 Melodic Potential - - -NOTES - - - -* * * - - - -1. See, for instance, Lester Young’s The Kansas City Sessions and The Complete Aladdin Recordings. - -2. The major, minor, and “suspended” pentatonics are rotations of one another and are basic to modern jazz practice. - -3. From ca. 800 until the 1500s, Dorian was considered the first mode in the eight-mode system. As a palindrome, Dorian has the same intervallic structure upwards and downwards. - -4. Since the Mixolydian ♭13 pentatonic does not contain ♭7 in its structure, it is omitted from the list of available chromatic pentatonics. - -5. The use of Roman numbers “I,” “II,” etc. indicates the pitch variations of the basic, diatonic, or chromatic pentatonics. - -6. These types of voicing are also known as so-called “So What” voicings because they resemble similar chords performed by Bill Evans on the iconic Kind Of Blue recording from 1959. - -7. Since hexatonic collections and modes share the same chord—scale relationships, the forthcoming figures do not include chords. - - - - - -CHAPTER TWENTY-ONE - - -Phrase Models - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 21 introduces 13 phrase models that illustrate the essential harmonic, contrapuntal, and structural properties of the different eight-bar phrases commonly found in standard tunes. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Cadential confirmations: - -Complete - - - -Harmonically closed - - - -Harmonically open - - - -Incomplete - - - -Modulatory - - - -• Chromatic phrase models - -• Diatonic phrase models: - -Off-tonic - - - -On-tonic - - - -• Harmonic departures - -• Incomplete phrase models - -• Jazz rule of the octave - -• Phrase identifiers - -• Phrase models - - - - - -PHRASE PROTOTYPES - - - - -* * * - - - -The phrase structure of standard tunes is fairly predictable.1 It consists of a finite number of mostly eight-bar phrases that are easily classified according to their melodic, harmonic, and contrapuntal properties.2 Melodic properties, for instance, are characteristic successions of melodic tones common to particular families of standard tunes. The same can be said about harmonic and contrapuntal features. The supporting harmonies are constrained by certain principles of chord formation and by various rules of counterpoint and harmonic function. These relationships are demonstrated using the concept of phrase models. Although phrase models are classified according to the differences in the melodic structure and supporting harmonies, it is important to stress that these properties are mutually intertwined. The behavior of the melody is shaped by its supporting harmonies, just as the sense of harmonic progression is dictated by the behavior of melodic patterns.3 This intimate relationship means that if we attempt to understand the phrase structure of standard tunes in exclusively melodic terms or from a purely harmonic perspective, that understanding will be incomplete. - -In the discussion of II–V–I in Chapter 6, a distinction between different rhetorical types and the functional role of the progression was made. Phrase models, aside from their melodic, harmonic, and contrapuntal characteristics, can also be described in terms of their rhetorical layout. Typically, a phrase model has three main parts: phrase identifier, harmonic departure, and cadential confirmation. A phrase identifier is a short harmonic progression with two, three, or four chords that appears at the beginning of a phrase and gives the entire phrase its harmonic identity. Given the pliability of jazz harmony—especially its huge transformative potential—phrase identifiers occur in various substitute forms without actually changing the status of the phrase model. Since each phrase model has a different phrase identifier, it is considered the most recognizable feature of the model. - -Harmonic departures typically occur in the middle of a phrase and feature different diatonic or chromatic interpolations as well as tonicization of closely or distantly related key areas. Given the plethora of available harmonic options, this section of a phrase model is the most ambiguous and challenging to codify. In the context of the prototypical phrase model, then, the exact location and type of harmonic departures are ultimately related to the design of the melody and the type of underlying chord progressions. - -In contrast to the inherent ambiguity of harmonic departures, the harmonic implications of the cadential confirmations are fairly straightforward. The cadential confirmation is a progression—typically a complete/incomplete II–V or its common harmonic variants—that concludes a phrase model. Depending on the rate of harmonic rhythm, cadential confirmations typically occur in m. 8 or mm. 7–8 of an eight-bar phrase. Figure 21.1 shows a generic phrase model with three structural components: phrase identifier, harmonic departure, and cadential confirmation. - -The hierarchy among chords is indicated with different note stems and flags connected to the beam. Slurs group chords comprising the phrase identifier. Dashed slurs illustrate cadential confirmations. Brackets indicate the space occupied by harmonic departures. The two empty measures in Figure 21.1 are reserved for a harmonic departure that is unique to the structure of a particular tune. The beam connects chords belonging to the phrase identifier and cadential confirmation features a complete cadential closure. - - - -FIGURE 21.1 Generic Phrase Model - - -Normally, all three components of the phrase model are present but, under special conditions, a phrase model can be truncated. The B section of a tune with a complex harmonic setting may, for instance, utilize only parts of the phrase model without cadential closure or harmonic departure. This type is referred to as an incomplete phrase model. - -Phrase models provide background harmonic frameworks for the tonality of standard tunes. These models draw on traditional tonal features, such as root movement by fifths, monotonality, stepwise motion of the supporting counterpoint, and the T–PD–D–T chord succession. Let’s briefly revisit these features and examine the ways in which they explain the tonality of standard tunes. A root movement by fifths is the overarching characteristic of tonal music. With a single tonic at the center of tonality, all other chords are dependent on the tonic. Chord progressions, especially those with the structural visibility (i.e. ii7–V7–Imaj7), follow the traditional root movement by 5ths, the most fundamental harmonic motion defining tonality and tonal relationships.4 This motion exemplifies the succession of harmonic functions from the instability of the dominant to the stability of the tonic or—at the background level—controls the proper distribution of the secondary key areas. Even though other root movements may (and frequently do) occur, they are hierarchically dependent on fifth motion and can even be derived from it. Since the tonal system places a single tonic at the center of all melodic, harmonic, and contrapuntal activity, the concept of monotonality is central to tonality. Even though certain tunes might begin in apparently different keys, such as “I Hear a Rhapsody,” “All the Things You Are,” “Autumn Leaves,” and many others, they ultimately lead to the home key. This is firmly confirmed by a cadence featuring a root movement by fifths. - -Counterpoint is a driving force that propels different harmonic progressions to their destinations. In the context of standard tunes, the term “counterpoint” is applied to signify the behavior of guide tones within chord progressions and to indicate the overall characteristics of voice leading. Since the behavior of counterpoint is predictable yet quite flexible, it is a powerful agent influencing the interaction of melodic lines and chord progressions. Figure 21.2a–b illustrates the harmonic flexibility of a counterpoint using a –– melodic pattern. These distinct harmonic realizations employ root movement by fifths, use a stepwise motion in inner voices, and demonstrate the transformative power of counterpoint. Even though the rules of counterpoint in both harmonizations are exactly the same, the respective outcomes, however, could not be more different. - -Figure 21.2a illustrates the harmonic realization of a –– melodic pattern using a diatonic Imaj7–ii7–V7–Imaj7 progression. Figure 21.2b demonstrates a more intricate realization of the same melodic pattern. After the initial support from the tonic chord, in Figure 21.2b is reinterpreted as a ♭5th of the F♯min7(♭5) chord, which launches the sequence of fifth-related progressions before converging on the final tonic chord. The harmonic space between the two tonic chords in Figure 21.2b is heavily elaborated with different diatonic and chromatic formations. One of the most striking features of Figure 21.2b is that it preserves the same basic rules of tonal voice leading and harmony as Figure 21.2a. The intervening chords do not violate any traditional rules of tonal voice leading and harmony; they do not, for example, create parallel perfect 8ves and 5th with adjacent chords—not that parallel perfect 8ves and 5th are unwelcomed in jazz syntax—nor do they violate the rules of functional syntax. Since the harmonic realization of the –– pattern in Figure 21.2a satisfies the traditional rules of tonal voice leading and harmony, and the processes of transformation preserve those rules, the resulting progression shown in Figure 21.2b constitutes a correct tonal progression. - - - -FIGURE 21.2 Harmonic Flexibility of Counterpoint - - - - - -JAZZ RULE OF THE OCTAVE - - - - -* * * - - - -During the Baroque Era, the “Rule of the Octave” was a practical tool that enabled musicians to gain harmonic flexibility at the keyboard.5 The rule prescribed how to harmonize a scale in the bass using stylistic tonal progressions. In jazz, a similar rule can also be developed. Instead of placing the scale in the bass, the major scale is placed in the soprano voice. The jazz rule of the octave explains how to harmonize a descending major scale with idiomatic jazz progressions. By examining different harmonic outcomes, the relationship of melodies to chords and chords to melodies becomes clear. The jazz rule of the octave also helps us to realize the harmonic potential of different melodic segments and examines their behavior in the context of underlying chord progressions. Figures 21.3a–21.3d illustrate four distinct harmonizations of the descending major scale. - - - -FIGURE 21.3A Jazz Rule of the Octave: Variant 1 - - -Figure 21.3a features a diatonic realization of the scale. The tonic note is prolonged throughout the harmonization (dashed slurs) and only momentarily is left to create a harmonic contrast. As expected, the final harmonic gesture is in the form of a ii7–V7–Imaj7 progression. - -Figure 21.3b illustrates a much bolder harmonization of the scale employing a root movement by fifths. Scale degrees and become reinterpreted as a ♭5th and ♭9th of ()/iii and ()/vi, respectively. It is worth noting that the initial tonic is absent from this harmonization. Known as an off-tonic progression, this and other off-tonic progressions are hallmarks of Phrase Models 2, 3, 5, and 13.6 - -Figure 21.3c illustrates how to infuse the scale with various tonicizations of closely related key areas. The notes of the descending scale become reinterpreted as different chord tones and extensions of supporting harmonies. For instance, the tonicization of IV capitalizes on reinterpreting as a major 9th of Gmin7 and a major 13th of C13 before resolving to Fmaj9 with in the soprano. Special attention should be paid to the behavior of inner voices as they continue to move by step and clearly delineate the structure of underlying chords. - - - -FIGURE 21.3B Jazz Rule of the Octave: Variant 2 - - - - -FIGURE 21.3C Jazz Rule of the Octave: Variant 3 - - - - -FIGURE 21.3D Jazz Rule of the Octave: Variant 4 - - -Unlike other harmonizations in the preceding figures, Figure 21.3d begins in the submediant key with a clear cadential confirmation of the submediant using the ()/vi progression. This particular off-tonic progression is especially common in the repertory of standard tunes. Before converging on the tonic, however, this harmonization also features tonicizations of IV and ♭III, and an elided motion to V with a II7 as harmonic support for . Even though this realization prioritizes the predominant collection of chords (as the confirmation of vi and tonicization of IV indicate) and modal mixture harmonies, these local key areas are ultimately related to the governing tonic. These eventually synchronize the melodic and harmonic forces at the end of the progression. In keeping with the notational practice employed in this book: parentheses are used to indicate the secondary ii7–V7s that resolve to their tonicized key areas; and square brackets to indicate secondary ii7–V7s that do not. For instance, the progression (ii7–V7)/IV in the key of C major indicates Gmin7-C7-FMaj7; the progression [ii7–V7]/IV stands for Gmin7-C7 followed by some other chord. - - - - - -DIATONIC PHRASE MODELS - - - - -* * * - - - -The concept of phrase models provides a general representation of harmonic progressions occurring in the repertory of standard tunes. Such prototypical progressions are fairly flexible and permit considerable harmonic and rhythmic variations with respect to the model’s phrase identifier, harmonic departure, and cadential confirmation. These components can, therefore, be (and frequently are) transformed without changing the original status of the model. These transformations or modifications usually relate to the harmonic properties of phrase models. In addition, they can also influence the overall duration and placement of individual components. Harmonic transformations typically involve various chord expansions, substitutions, and interpolations. Rhythmic modifications allow for different distributions of chords or harmonic progressions in relation to the underlying rhythmic and metric structure of the model. Such a degree of harmonic and rhythmic freedom allows for the classification of similar phrases within the rubric of a single phrase model. - -Each diatonic phrase model is derived from a fundamental –– melodic pattern and appears in two distinct forms: (1) as a harmonic progression with essential chords analyzed only with Roman numerals, and (2) as a contrapuntal framework with guide-tone lines navigating through the supporting harmonies of the model. The use of analytical symbols is in keeping with a notational practice commonly used by music theorists: dashed slurs indicate the prolongation of essential tones or harmonies, beams shows phrase groupings, open note heads illustrate tones of greater structural significance than black note heads (these are further distinguished with either extended stems and/or flags), and scale degrees analyze notes of the tonic key. The discussion of each phrase model ends with five complete harmonic progressions and a partial list of standard tunes that share the harmonic characteristics of a particular phrase model. - - - - - +Harmonic Function: Predominant / Dominant + +Aggregate: 4 regular hexatonics + selected altered hexatonics +Hexatonic Voicings (Harmonic Potential) +Establish initial close-position voicing reflecting the hexatonic scale. +Transfer voicing to the next pitch of the hexatonic scale. +Rearrange to create open-position formations. +Continue transfers through hexatonic scale. +Example: Lydian hexatonic → four- and five-part voicings. +Boxed chords: Project complete hexatonic collection for improvisational flexibility. + +Guitar tagging: Apply open and closed-position voicings across fretboard shapes; use boxed voicings for horizontal melodic lines. + +Melodic Potential of Hexatonics +Extract melodic cells from hexatonic scales +Transfer cells to all notes of the hexatonic collection +Enhances intervallic diversity and reduces predictability +Similar process to pentatonics (cf. Figure 20.17) +Phrase Models – Overview +Standard tune phrases are often eight bars and predictable +Classification: based on melodic, harmonic, and contrapuntal properties +Components of a Phrase Model: +Phrase Identifier – short harmonic progression establishing identity +Harmonic Departure – interpolations, tonicizations, or chromatic alterations +Cadential Confirmation – typically II–V or variants completing the phrase + +Incomplete Phrase Models: May omit cadential closure or harmonic departure (common in complex B sections). + +Underlying Principles: +Root movement by fifths (tonic-centered) +Monotonality (tunes ultimately return to home key) +Stepwise counterpoint guides voice leading +Jazz Rule of the Octave +Adapted from Baroque practice: harmonize a scale idiomatically +In jazz: major scale in soprano voice, explore different harmonic outcomes +Harmonizations demonstrate: +Diatonic realization with tonic prolongation +Off-tonic reinterpretation (scale degrees as ♭5/♭9) +Tonicization of closely related keys +Stepwise inner voice motion maintaining harmonic clarity + +Practical tip: Use these variants to map scales to chords for melodic improvisation and reharmonization. + +Notes on Sources +Lester Young – The Kansas City Sessions, The Complete Aladdin Recordings +Rotations of pentatonics (major, minor, suspended) are foundational to modern jazz +Historical Dorian mode: palindrome intervallic structure +Mixolydian ♭13 pentatonic excludes ♭7 +Roman numerals (I, II…) indicate pitch variations +So-called “So What” voicings (cf. Bill Evans, Kind of Blue) +Hexatonics share chord–scale relationships with seven-note modes + + +Off-Tonic Harmonizations – Figure 21.3d +Starting key: Submediant (vi) +Cadential confirmation: Clear resolution of vi using ()/vi progression +Intermediate tonicizations: IV, ♭III, and elided motion to V (supported by II7) +Harmonic focus: Predominantly predominant collection and modal mixture harmonies +Notation: +Parentheses ( ) → secondary ii7–V7 resolving to tonicized area +Square brackets [ ] → secondary ii7–V7 not resolving to tonicized area +Example: +(ii7–V7)/IV in C → Gmin7–C7–Fmaj7 +[ii7–V7]/IV → Gmin7–C7, followed by another chord + +Practical tip: This off-tonic approach is common in standard jazz repertoire for color and tension before returning to tonic. + +Diatonic Phrase Models +Purpose: General harmonic templates in standard tunes +Flexibility: +Harmonic transformations: expansions, substitutions, interpolations +Rhythmic modifications: different distributions of chords per measure +Forms: +Harmonic progression (Roman numerals) +Contrapuntal framework (guide-tone lines) +Notation conventions: +Dashed slurs → prolongation of essential tones/harmonies +Beams → phrase groupings +Open note heads → structurally important tones +Extended stems/flags → further emphasis on tonal hierarchy Phrase Model 1 +Phrase identifier: I–II–V (or i7–II–V7 minor variant) +Harmonic departure: Simple tonic prolongation or temporary tonicizations +Cadential confirmation: Complete/incomplete II–V, can be harmonically open, modulatory, or harmonically closed +Harmonic rhythm: Usually 1 chord/measure, sometimes 2 chords/measure +Contrapuntal framework: Derived from a diatonic –– melodic pattern +Minor version examples: +“You and the Night and the Music” +“Softly, As in a Morning Sunrise” +Key Concepts: -The overview of phrase models begins with the basic eight-bar progression. The use of a I–II–V progression as the phrase identifier is balanced with the use of a complete or incomplete II–V as the cadential confirmation. Notice that in Figure 21.4 (and in all the remaining figures showing the properties of phrase models) the structural chords of the model are notated with large-case Roman numerals. The phrase identifier (I–II–V) and the cadential confirmation (II–V) of Phrase Model 1 combine two tonal variants of the progressions: Imaj7–ii7–V7 or i7– and ii7–V7 or respectively. The middle part of Phrase Model 1 is reserved for the harmonic departure. This features a simple prolongation of the tonic or temporary tonicizations of closely or distantly related key areas. As stated earlier, these modifications do not alter the overall character of the model. Phrase Model 1 in Figure 21.4 features a relatively slow harmonic rhythm with one chord per measure. Frequently, however, the rate of harmonic rhythm is much faster, usually with two chords per measure. - - - -FIGURE 21.4 Phrase Model 1 - - -Figure 21.5 illustrates a contrapuntal framework of Phrase Model 1 and its derivation from a diatonic –– melodic pattern. Notice that in Figure 21.5 (and in all the remaining figures showing contrapuntal properties of phrase models) the chords are analyzed with complete Roman numerals. One of the advantages of such a representation (without bar lines and with essential harmonies only) is that it clearly shows the hierarchy between chords and contrapuntal forces generating the model. The exact distribution of chords and the type of harmonic departure are ultimately related to the characteristics of a specific standard tune. - -The most salient feature of Phrase Model 1 is an on-tonic phrase identifier, which clearly projects the tonality of the tune. As a form-building entity, the cadential confirmation comes in two different types, complete and incomplete, and can be further classified as harmonically open, modulatory, and harmonically closed. A harmonically open pattern typically ends the first A section of the AABA- or the B section of the ABAC-type tunes. A modulatory cadential closure uses a ii7–V7 progression that prepares the arrival of a new key area in the B section of the AABA- or the B or C sections of the ABAC-type tunes. A harmonically closed cadential confirmation utilizes a ii7–V7–Imaj7 progression at the end of the tune. - -Figure 21.6 illustrates some of the most interesting transformations of Phrase Model 1. These complete harmonic progressions are derived from the list of standard tunes below. Do you know which? - -Phrase Model 1 can also accommodate a minor version of the phrase identifier (i.e. i7–) as in “You and the Night and the Music” or “Softly As In a Morning Sunrise.” But the contrapuntal framework of the model remains unchanged. - - - -FIGURE 21.5 Phrase Model 1: Contrapuntal Framework - - - - -FIGURE 21.6 Phrase Model 1: Harmonic Variants - - -The list of songs that concludes the presentation of each phrase model contains a selection of familiar (and less-familiar) standard tunes that share the harmonic characteristics of a particular model. By studying these tunes, you can begin to notice the familiar traits and common characteristics between them.7 You can also observe how different harmonic transformations depart from the original phrase model and how they are generated. This and other lists are by no means exhaustive, but are an attempt to show the wealth of harmonic progressions in standard tunes sharing similar properties. One of the challenging aspects of this classification, however, is the proliferation of different versions of standard tunes in many fake books of questionable provenance. While such sources naturally present problems, they nonetheless offer an opportunity to take a fresh look at the repertory of standard tunes from the viewpoint of a practicing musician who has to frequently “improve” the existing lead sheet or sift through the surface chord progressions in order to understand the harmonic essence of a tune. - - - - - +On-tonic phrase identifier clearly projects the home key +Cadential variations allow for AABA or ABAC tune structures +Transformations preserve the model’s essential character Phrase Model 2 - - -The main characteristic of Phrase Model 2 is an off-tonic phrase identifier II–V, which can occur in the form of ii7–V7 or () progressions. Figures 21.7a–21.7c provide a basic harmonic layout of the model with an incomplete cadential confirmation, show a contrapuntal framework derived from a diatonic –– melodic pattern, and demonstrate common harmonic variants of the model. - - -STANDARD TUNES—PHRASE MODEL 18 - -A Gal In Calico - -All At Once You Love Her - -All By Myself - -All Through the Day - -Almost In Your Arms - -Always - -Angry - -April Love - -Aren’t You Glad You’re You - -Bye, Bye Blackbird - -Can’t You Just See Yourself - -Carolina In the Morning - -Chicago - -Could It Be You - -Daybreak - -Don’t Ever Leave Me - -Drifting Along With the Tide - -For Every Man There’s a Woman - -For You, For Me, For Evermore - -Forty-Second Street - -Fun To Be Fooled - -Get Happy - -Getting To Know You - -Happiness Is (Just) a Thing Called Joe - -Harlem On My Mind - -Haunted Heart - -Hooray For Love - -How About You? - -How Soon Will I Be Seeing You - -I Ain’t Got Nobody - -I Cain’t Say No - -I Can’t Be Bothered - -I Don’t Know Why (Just Do) - -I Get Along Without You Very Well - -I Guess I’ll Have To Change My Plan - -I Love a Piano - -I Love Lucy - -I Mean To Say - -I See Your Face Before Me - -(I’d Love To Spend) One Hour With You - -I’d Rather Be Right - -I’d Rather Charleston - -I’m Coming Virginia - -If I Didn’t Care - -If There Is Someone Lovelier Than You - -It Doesn’t Cost You Anything To Dream - -It Only Happens When I Dance With You - -It’s Magic - -Jersey Bounce - -L-O-V-E - -Let Yourself Go - -Let’s Face the Music and Dance - -Life Begins When You’re In Love - -Love (Your Spell Is Everywhere) - -Lovelier Than Ever - -Mack the Knife - -Manhattan - -Mona Lisa - -Mood Indigo - -My Heart Belongs To Daddy - -Nature Boy - -Nobody’s Heart - -Remind Me - -Rose Of Washington Square - -Say It Over and Over Again - -Say It With Music - -Secret Love - -Shaking the Blues Away - -Small Talk - -So Near and Yet So Far - -Softly, As In a Morning Sunrise - -Spreadin’ Rhythm Around - -Stompin’ At the Savoy - -Take the ‘A’ Train - -The More I See You - -The Very Thought Of You - -This Is New - -Three Coins In the Fountain - -To Keep My Love Alive - -Together Wherever We Go - -Two Sleepy People - -Waiting For the Sun To Come Out - -When I Get Low I Get High - -When I Grow Too Old To Dream - -Where Is Love? - -Why Can’t You Behave? - -Why Do I Love You? - -Yesterdays - -You and the Night and the Music - -You Keep Coming Back Like a Song - -You’re the Cream In My Coffee - -You’re the Cure For What Ails Me - -You’re the Top - -You’ve Got What Gets Me - -Young At Heart - - - - - -FIGURE 21.7A Phrase Model 2 - - - - -FIGURE 21.7B Phrase Model 2: Contrapuntal Framework - - - - -FIGURE 21.7C Phrase Model 2: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 2 - -A Certain Smile - -A Pretty Girl Is Like a Melody - -Ages Ago - -April In My Heart - -April Showers - -At Sundown - -Avalon - -Ballad In Blue - -Beautiful Love - -Because Of You - -Black Butterfly - -Blue Orchids - -Can’t We Be Friends - -Close Your Eyes - -Come Back To Me - -Come Out, Come Out, Wherever You Are - -Crazy ‘Bout My Baby - -Dearly Beloved - -Diane - -Don’t Worry ‘Bout Me - -Dreamer With a Penny - -Everything’s Coming Up Roses - -Far Away - -Fools Rush In - -For Heaven’s Sake - -Goodbye - -Guess Who I Saw Today - -How Could You - -How Many Times Do I Have To Tell You - -I Could Make You Care - -I Don’t Know Eough About You - -I Don’t Want To Walk Without You - -I Fall In Love Too Easily - -I Gotta Get Back To New York - -I Hadn’t Anyone Till You - -I Heard You Cried Last Night - -I Know That You Know - -I Like To Recognize the Tune - -I Only Have Eyes For You - -I Still Get Jealous - -I Wish You Love - -I Wished On the Moon - -I’ll Never Say “Never Again” Again - -If Ever I Would Leave You - -If I Could Be With You One Hour Tonight - -If I Knew Then - -If I Were a Bell - -Incurably Romantic - -It’s a Blue World - -It’s a Woman World - -It’s Not For Me To Say - -Jeepers Creepers - -Keepin’ Out Of Mischief Now - -Lady In Blue - -Love Is Here To Stay - -Love Is Just Around the Corner - -Mad About the Boy - -Make Believe - -Moon Love - -My Lady - -My Mother Would Love You - -My One and Only - -My Reverie - -Pick Yourself Up - -Poor Butterfly - -Rose Room - -Should I Tell You I Love You - -Something’s Gotta Give - -Squeeze Me - -Straight Down the Middle - -Tangerine - -That Certain Feeling - -The Ballad Of the Sad Young Men - -The Continental - -The Lady’s In Love With You - -The Night We Called It a Day - -They Didn’t Believe Me - -This Love Of Mine - -Thou Swell - -Trav’lin’ Light - -Trouble Is a Man - -Under a Blanket Of Blue - -Violets For Your Furs - -Way Down Yonder In New Orleans - -What Good Would the Moon Be? - -Who Are You? - -You Brought a New Kind Of Love To Me - -You Can Depend On Me - -You Turned the Tables On Me - -You’re Not the Kind - -You’re Sensational You’re Sensational You’re Sensational You’re Sensational - - - -Standard tunes that feature a progression at the outset are harmonically more advanced. The consequences of this modal borrowing are felt throughout the phrase such as in “I Love You,” where the harmonic departure ventures into the distant major mediant key area. - - - - +Phrase identifier: Off-tonic II–V (ii7–V7 or () progression) +Cadential confirmation: Often incomplete +Contrapuntal framework: Derived from a diatonic –– melodic pattern +Harmonic variants: Allows substitutions and tonicizations to related key areas +Representative standard tunes: +“A Certain Smile” +“April in My Heart” +“Beautiful Love” +“Black Butterfly” +Practical Application Notes +Off-tonic II–V usage: +Adds harmonic interest and prepares modulation or temporary tonicizations +Phrase models: +Serve as frameworks for improvisation +Identify recurring harmonic patterns in standard tunes +Contrapuntal understanding: +Guides voice leading and inner-voice motion, preserving harmonic integrity while allowing stylistic flexibility +Observations +Each phrase model links melodic, harmonic, and contrapuntal behavior +Transformation of phrase identifiers or cadences does not alter the essential identity of the model +Standard tunes are excellent references for learning these phrase structures +Notation conventions (parentheses, brackets, open note heads) clarify functional relationships and secondary dominants Phrase Model 3 +Characteristic: Off-tonic beginning, centered on predominant family of chords +Foundation: Often derived from IV–I motion +Structure: +Phrase Identifier: Flexible; can vary across tunes +Harmonic Departure: Explores related or distant key areas while maintaining connection to tonic +Cadential Confirmation: Typically concludes the phrase in a conventional tonic or dominant closure +Contrapuntal Framework: Melodic lines follow diatonic patterns, integrating guide tones with supporting harmonies +Representative Standard Tunes: +“A Lovely Way to Spend an Evening” +“After You’ve Gone” +“Blueberry Hill” +“Just Friends” +“Moonglow” +“You’re Getting to Be a Habit With Me” - -Phrase Model 3 also features an off-tonic beginning and it vacillates around the predominant family of chords. Figures 21.8a–21.8c illustrate a basic harmonic layout of the model, show a contrapuntal framework derived from a diatonic –– melodic pattern, and provide common harmonic variants of the model that occur in the repertory of standard tunes. - - - -FIGURE 21.8A Phrase Model 3 - - - - -FIGURE 21.8B Phrase Model 3: Contrapuntal Framework - - -Phrase Model 3 accommodates different phrase identifiers, which, in turn, influence the overall content of the phrase. Despite their different surface manifestations, however, they can be derived from the fundamental IV–I motion. As you analyze the phrase structure of the following tunes, pay attention to the relationship between the melody and harmony, and how this interaction produces different harmonic outcomes. - - - -FIGURE 21.8C Phrase Model 3: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 3 - -A Lovely Way To Spend an Evening - -A Ship Without a Sail - -After You’ve Gone - -Alabamy Bound - -All About Ronnie - -Almost Like Being In Love - -Blueberry Hill - -Candy - -Close To You - -Harbor Lights - -I Can’t Believe That You’re In Love With Me - -I Must Have That Man - -I’ll See You In My Dreams - -I’m So In Love With You - -It Isn’t Fair - -Jim - -Just Friends - -Little Girl - -Long Before I Knew You - -Love For Sale - -Marie - -Moonglow - -My Sweet - -Old Music Master - -Only Trust Your Heart - -Remember - -Sentimental Me - -September Song - -Slap That Bass - -When the Sun Comes Out - -Would I Love You - -You Call It Madness - -You Hit the Spot - -You’re Getting To Be a Habit With Me - - - - +Note: Modal borrowing and off-tonic openings introduce harmonic sophistication that affects the entire phrase. Phrase Model 4 +Characteristic: Phrase identifier I–VI–II–V, an expansion of Phrase Model 1 +Importance: Frequent in standard tunes; integrates with melody for a strong harmonic statement +Structure: +Phrase Identifier: Flexible; variations adapt to harmonic context +Harmonic Departure: Minor expansions or substitutions are common +Cadential Confirmation: Typical II–V–I resolution, sometimes altered +Contrapuntal Framework: Diatonic melodic pattern guides inner voices through the progression +Representative Standard Tunes: +“Love You Madly” +“Memories of You” - -In a certain sense, the phrase identifier of Phrase Model 4, I–VI–II–V, constitutes a basic expansion of the phrase identifier of Phrase Model 1. One cannot help but notice, however, that the number of standard tunes with a clear manifestation of the I–VI–II–V progression is quite impressive. This progression is an important harmonic statement—fully integrated with the melodic structure—and therefore deserves a separate category. Figures 21.9a–21.9c demonstrate a basic harmonic layout of Phrase Model 4, show a contrapuntal framework derived from a diatonic –– melodic pattern, and provide common harmonic variations of the model. - - - -FIGURE 21.9A Phrase Model 4 - - - - -FIGURE 21.9B Phrase Model 4: Contrapuntal Framework - - -One of the characteristics of Phrase Model 4 is its flexible phrase identifier, which can occur in many different forms, as shown in Figure 21.9c. While some of these harmonic transformations are integrated in the context of standard tunes, such as “Love You Madly” or “Memories Of You,” others can be freely applied as effective harmonic substitutions. - - - -FIGURE 21.9C Phrase Model 4: Harmonic Variants - - - - +Note: The I–VI–II–V progression can serve as a core harmonic template, with numerous acceptable substitutions. Phrase Model 5 +Characteristic: Large-scale tonal motion from submediant (vi) to tonic (I) +Harmonic Behavior: +Initial chord (vi) often misleads the listener about the home key +Submediant chord can be: +Cadentially confirmed: “How Deep Is the Ocean?” +Departed from immediately: “I Hear a Rhapsody” +Targeted by arrival: “The Shadow of Your Smile” +Beginning of sequential progression: “Fly Me to the Moon” +Structure: Flexible phrase identifier and harmonic departure +Contrapuntal Framework: Derived from diatonic –– melodic patterns guiding inner voices +Representative Standard Tunes: As listed above in the context of opening submediant motions +Key Insight: Phrase Model 5 demonstrates how starting on a vi chord provides harmonic variety, creating both tension and expectation before resolving to the tonic. -One of the salient features of Phrase Model 5 is a large-scale tonal motion from the submediant to the tonic. Standard tunes with this characteristic opening are often mistaken as being in the key of the opening chord. Figures 21.10a–21.10c illustrate a harmonic layout of Phrase Model 5, show a contrapuntal derivation of the model from a diatonic –– melodic pattern, and propose selected harmonic variants. +General Observations Across Phrase Models 3–5 +Off-tonic openings: +Provide harmonic interest and allow modulation or tonicizations +Contrapuntal framework: +Inner voice motion is guided by diatonic –– melodic patterns +Phrase identifiers: +Can vary without changing the identity of the phrase model +Cadential confirmation: +Usually II–V or II–V–I, but can be adapted for incomplete or modulatory endings +Harmonic transformations: +Substitutions, modal mixture, sequential progressions expand the harmonic palette -The harmonic variety of Phrase Model 5 is truly remarkable. The submediant chord can be cadentially confirmed as in “How Deep Is the Ocean?,” immediately departed from as in “I Hear a Rhapsody,” reached by arrival as in “The Shadow Of Your Smile,” or it can function as the initial chord of a longer sequential progression as in “Fly Me To the Moon.” +STANDARD TUNES—PHRASE MODEL 4 (I–VI–II–V) - -STANDARD TUNES—PHRASE MODEL 4 +Representative Tunes: A Foggy Day - After You Get What You Want You Don’t Want It - All God’s Chillun Got Rhythm - Baby Doll - Blue and Sentimental - Call Me Irresponsible - Can’t We Talk It Over - Ebb Tide - Emily - From Alpha To Omega - Heart and Soul - How Do You Speak To an Angel? - I Got Rhythm - I Like the Likes Of You - I Want a Sunday Kind Of Love - I Was Doing All Right - I’d Be Lost Without You - I’ll Know - I’m Old Fashioned - I’ve Got the World On a String - Jubilee - Let’s Call the Whole Thing Off - Little Girl Blue - Little Things Mean a Lot - Love Is the Sweetest Thing - Love You Madly - Maybe You’ll Be There - Mine - Moments Like This - Moon River - Mountain Greenery - My Heart Stood Still - My Shining Hour - My Ship - On the Street Where You Live - Small Fry - Soft Summer Breeze - Stars Fell On Alabama - Stiff Upper Lip - Sugar - Sure Thing - That Great Come and Get It Day - The Joint Is Jumpin’ - The Things We Did Last Summer - The Way You Look Tonight - They All Laughed - This Heart Of Mine - Too Late Now - Too Young To Go Steadily - What Am I To Do? - When In Rome - While We’re Young - You Can Have Him - You Make Me Feel So Young - You’re Nearer - Young and Foolish +STANDARD TUNES—PHRASE MODEL 5 (vi → I) - - - -STANDARD TUNES—PHRASE MODEL 5 +Representative Tunes: Ace In the Hole - Black and Blue - Blue Skies - Can’t You Do a Friend a Favor? - Count Your Blessing Instead Of Sheep - Cry Me a River - Don’t Explain - Everybody Loves My Baby - Fly Me To the Moon - How Deep Is the Ocean - I Found a New Baby - I Gotta Right To Sing the Blues - I Hear a Rhapsody - If I Should Lose You - In a Sentimental Mood - It Don’t Mean a Thing - Love Me Or Leave Me - Lover Man - Lullaby Of Birdland - Summer Night - The Shadow Of Your Smile +Phrase Model Figures (5) +FIGURE 21.10A: Phrase Model 5 — Harmonic Layout +FIGURE 21.10B: Phrase Model 5 — Contrapuntal Framework +FIGURE 21.10C: Phrase Model 5 — Harmonic Variants - - - - -FIGURE 21.10A Phrase Model 5 - - - - -FIGURE 21.10B Phrase Model 5: Contrapuntal Framework - - - - -FIGURE 21.10C Phrase Model 5: Harmonic Variants - - - - +Note: Phrase Model 5 often misleads listeners into thinking the opening vi chord is the tonic; variations show different cadential treatments and sequential applications. CHROMATIC PHRASE MODELS +Feature more intricate harmonic and contrapuntal designs +Phrase identifiers frequently employ tonicizations, creating departures further from the tonic +Goal: Demonstrate harmonic variety in standard tunes and possible elaborations of diatonic frameworks +Phrase Model 6 (Tonicizes ii) +Characteristic: Phrase identifier emphasizes the supertonic key area +Harmonic Features: +Melody reinforces tonicization with chromatic neighbor tones +Example: “But Beautiful,” “Don’t Blame Me” uses ♭5 and ♭9 in ii progression +Melodic Pattern: Extended double neighbor figure with ♯ functioning as major 3rd of V7/ii +Figures: - - -* * * - - - -One of the characteristic features of the remaining phrase models is their more intricate harmonic and contrapuntal design. Their phrase identifiers frequently employ tonicizing progressions and, as a consequence, harmonic departures are further removed from the tonic key. With more harmonic activities associated with the forthcoming phrase models, we can ask ourselves whether the different phrase identifiers are further elaborations of the fundamental diatonic frameworks or not. While this is definitely a possibility, the intention here is to show the more harmonic variety and salient characteristics of standard tunes. - - - - - -Phrase Model 6 - - -Phrase Model 6 has a characteristic phrase identifier that tonicizes the supertonic key area. This phrase identifier has tonicizing qualities and is frequently reinforced by the occurrence of specific notes in the melody. In the tunes “But Beautiful” or “Don’t Blame Me,” for example, ♭ is rendered as a ♭5th and ♭9th of the corresponding ()/ii progression. Figures 21.11a–21.11c provide a harmonic layout of Phrase Model 6, show a contrapuntal framework derived from a chromatic ––♯––– melodic pattern, and propose selected harmonic variants of the model. The melodic pattern of this model features an extended double neighbor figure with a chromatic pitch, ♯, functioning as the major 3rd of V7/ii. - - - -FIGURE 21.11A Phrase Model 6 - - - - -FIGURE 21.11B Phrase Model 6: Contrapuntal Framework - - - - -FIGURE 21.11C Phrase Model 6: Harmonic Variants - - - - - -Phrase Model 7 - - -The harmonic design of Phrase Model 7 constitutes an important jazz progression with a phrase identifier that tonicizes the submediant key area. This characteristic progression frequently implies the continuation of the sequence with subsequent tonicizations of key areas separated by thirds: I–VI–IV–II. Figures 21.12a–21.12c illustrate a harmonic layout of Phrase Model 7, show a contrapuntal framework derived from a diatonic –––– melodic pattern, and propose different harmonic realizations of the model. - -Phrase Model 7 is related to the cycle of the dominant 7ths progression: III7–VI7–II7–V7. In the context of standard tunes, the submediant chord can function as a tonicized key area as in “Come Rain Or Come Shine,” or as a passing harmony as in “There Will Never Be Another You.” - +FIGURE 21.11A: Harmonic Layout +FIGURE 21.11B: Contrapuntal Framework +FIGURE 21.11C: Harmonic Variants STANDARD TUNES—PHRASE MODEL 6 Am I Blue? - Blue Velvet - But Beautiful - Close As Pages In a Book - Come Fly With Me - Do I Love You? (Porter) - Don’t Blame Me - Dreamy - East Of the Sun and West Of the Moon - Got a Date With an Angel - He Loves and She Loves - How Are Things In Glocca Morra? - I Cried For You - I Had the Craziest Dream - I Walk a Little Faster - I’ll Walk Alone - I’m Making Believe It’s You - I’m Playing With Fire - I’ve Got a Pocketful Of Dreams - It All Depends on You - It Could Happen To You - It’s Got To Be Love - Last Night When We Were Young - Let There Be Love - Let’s Make Memories Tonight - My Blue Heaven - My Foolish Heart - My Ideal - Namely You - Nobody Else But Me - On a Slow Boat To China - Once You Lose Your Heart - P.S. I Love You +Phrase Model 7 (Tonicizes vi) +Characteristic: Phrase identifier emphasizes the submediant key area +Harmonic Features: +Often part of a sequence of tonicizations by thirds (I–VI–IV–II) +Related to cycle of dominant 7ths: III7–VI7–II7–V7 +vi chord functions as tonicized area (“Come Rain Or Come Shine”) or passing harmony (“There Will Never Be Another You”) -Saturday Night Is the Loneliest Night Of the Week +Figures: -Serenade In Blue +FIGURE 21.12A: Harmonic Layout +FIGURE 21.12B: Contrapuntal Framework +FIGURE 21.12C: Harmonic Variants -Some Other Spring +STANDARD TUNES—PHRASE MODEL 7 (Tonicizes vi / Submediant) -Someday, Sweetheart - -Sonny Boy - -Soon - -That Old Feeling - -The Charm Of You - -Thinking Of You - -This Is Always - -This Time the Dream’s On Me - -Too Close For Comfort - -Walkin’ My Baby Back Home - -Was That the Human Thing To Do? - -What’s Good About Goodbye? - -When You’re Smiling - -Where Are You? - -Who Can I Turn To? - - - - - -FIGURE 21.12A Phrase Model 7 - - - - -FIGURE 21.12B Phrase Model 7: Contrapuntal Framework - - - - -FIGURE 21.12C Phrase Model 7: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 7 +Representative Tunes: A Weaver Of Dreams - All Through the Night - As Long As I Live - At Long Last Love - Basin Street Blues - Be My Love - Bluesette - Come Rain Or Come Shine - Ev’ry Street’s a Boulevard - Georgia On My Mind - I Couldn’t Sleep A Wink Last Night - I Just Found Out About Love - I’ll Get By - I’ll Close My Eyes - I’m Glad I Waited For You - I’m Gonna Love That Guy - I’ve Heard That Song Before - Ill Wind - It’s the Same Old Dream - Just In Time - Kind’a Lonesome - Lover, Come Back To Me - Moonlight Love - Never Will I Marry - T’ain’t Nobody’s Business If I Do - The Good Life - The Masquerade Is Over - There Goes That Song Again - There Will Never Be Another You - Twilight Time - Walking Happy - Who’s Sorry Now? - You’re Nobody ‘Til Somebody Loves You - - - - - -Phrase Model 8 - - -Phrase Model 8 is a prototype for the important subset of harmonic progressions frequently found in the repertory of standard tunes. The phrase identifier features a motion from I to IV. Since this fundamental harmonic motion has strong blues implications, the subdominant harmony often takes the form of a dominant 7th as in “Willow Weep For Me” or “Tenderly.” Figures 21.13a–21.13c illustrate a harmonic layout of Phrase Model 8, show a contrapuntal framework derived from a diatonic –– melodic pattern, and suggest different harmonic variants of the model. - - - - - -Phrase Model 9 - - -Phrase Model 9 features a chromatic phrase identifier that pulls the phrase into the flat submediant key area. Figures 21.14a–21.14c illustrate a harmonic layout of Phrase Model 9, show a contrapuntal framework originating from a chromatic –♭––– melodic pattern, and recommend harmonic variants of the model. Scale degree flat two is reinterpreted as the minor 3rd and minor 7th of a (ii7–V7)/♭VI progression. The resolution to over the ♭VI harmony fulfills the rules of counterpoint. - -The selection of songs featuring this particular phrase identifier is rather small. In the case of “What’s New” and “Here’s That Rainy Day,” the phrase identifier and the ♭VI key area are clearly articulated. “You Stepped Out Of a Dream,” however, presents a more ambiguous case because the intervening ♭IImaj7 harmony in the opening phrase expands the tonic before the (ii7–V7)/♭VI progression occurs. - - - - - -FIGURE 21.13A Phrase Model 8 - - - - -FIGURE 21.13B Phrase Model 8: Contrapuntal Framework - - - - -FIGURE 21.13C Phrase Model 8: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 8 - -A Portrait Of Jenny - -Ac-Cent-Tchu-Ate The Positive - -Aunt Hagar’s Blues - -Beale Street Blues - -Bread and Gravy - -Broadway - -Dancing On a Dime - -Deep In a Dream - -Don’t Go To Strangers - -Easter Parade - -Everybody Step - -Fancy Meeting You - -Farewell To Storyville - -Fine and Mellow - -Five O’Clock Drag - -God Bless the Child - -Happy With the Blues - -Harlem Nocturne - -I May Be Wrong - -I Want a Girl - -I Want a Little Girl - -I Will Wait For You - -I’ll Always Be In Love With You - -I’m a Fool To Want You - -I’m Putting All My Eggs in One Basket - -I’ve Grown Accustomed To Her Face - -If You Could See Me Now - -In the Still Of the Night - -In the Wee Small Hours Of the Morning - -It Never Was You - -Junk Man - -Lazy Bones - -Let Me Be the First To Know - -Like a Straw In the Wind - -Looking For a Boy - -Memphis Blues - -My Fair Lady - -My Gal Sal - -My Honey’s Lovin’ Arms - -Nashville Nightingale - -Necessity - -Of Thee I Sing - -Oh! Look At Me Now - -Ol’ Man River - -(Ol’) Rockin’ Chair - -On a Clear Day You Can See Forever - -Open Country - -Please Send Me Someone To Love - -Pocketful Of Miracles - -Rain On the Roof - -Red Sails In the Sunset - -Royal Garden Blues - -Runnin’ Wild - -Slow Hot Wind - -So Long, Big Time - -Something To Live For - -Something Wonderful - -St. Louis Blues - -Summertime - -Sun Showers - -Supper Time - -Swanee - -Tenderly - -The Meaning Of the Blues - -The Nearness Of You - -The Song Is Ended - -The Wonder Of You - -Tin Roof Blues - -Tishomingo Blues - -Tuxedo Junction - -Undecided - -What Can I Say After I Say I’m Sorry - -What’ll I Do? - -When the Wind Blows South - -When You Lover Has Gone - -(Where You Are) Now That I Need You - -Wild Is the Wind - -Willow Weep For Me - -Without a Song - -You’ve Come Home - - - - -FIGURE 21.14A Phrase Model 9 - - - - -FIGURE 21.14B Phrase Model 9: Contrapuntal Framework - - - - -FIGURE 21.14C Phrase Model 9: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 9 - -Here’s That Rainy Day - -What’s New - -You Stepped Out Of a Dream - - - - - -Phrase Model 10 - - -Phrase Model 10 features a chromatic phrase identifier tonicizing the flat supertonic key area. More often than not, however, a [ii7–V7]/♭II progression occurs in an incomplete form without resolving to ♭II. Figures 21.15a–21.15c illustrate a harmonic layout of Phrase Model 10, show a contrapuntal framework derived from a chromatic –♭––– melodic pattern, and propose harmonic variants of the model. In Phrase Model 10, ♭ functions as a minor 7th of the underlying ii7/♭II harmony. The resolution to over V7/♭II satisfies the rules of voice leading. - -What is interesting about the [ii7–V7]/♭II progression is that it frequently functions as an effective harmonic substitution provided that the melody note establishes a convincing chord–scale relationship with the underlying harmony. After all, it is situated a minor 2nd away from the structural ii7–V7 progression and, as discussed in Chapter 6, the [ii7–V7]/♭II often functions as a chromatic sidestepping progression. In the context of “Darn That Dream” or “Out Of Nowhere,” however, the [ii7–V7]/♭II is fully integrated within the harmonic structure of these tunes. In “The Lady Is a Tramp” and “I Guess I’ll Hang My Tears Out To Dry” only the [ii7]/♭II is employed as a chromatic elaboration of the otherwise diatonic opening. - - -STANDARD TUNES—PHRASE MODEL 10 - -Bye Bye Blues - -Can’t Get Out Of This Mood - -Darn That Dream - -Everything I Have Is Yours - -I Guess I’ll Hang My Tears Out To Dry - -Lost In Meditation - -San - -The Lady Is a Tramp - -Three Little Words - -We’ll Be Together Again - -(You Came Along From) Out Of Nowhere - - - - -FIGURE 21.15A Phrase Model 10 - - - - -FIGURE 21.15B Phrase Model 10: Contrapuntal Framework - - - - -FIGURE 21.15C Phrase Model 10: Harmonic Variants - - - - - -Phrase Model 11 - - -Phrase Model 11 features a descending major 2nd cycle beginning on the tonic and—following the subsequent tonicizations of ♭VII and ♭VI—ending on ♭VI. Even though there is only a handful of tunes that use this progression in its entirety, an incomplete Phrase Model 11 (with a partial descending major 2nd cycle) can occur in the context of different harmonic progressions. Figures 21.16a–21.16c show a chord structure of Phrase Model 11, illustrate a contrapuntal derivation from a –– melodic pattern, and offer possible harmonic variations. - -The most famous occurrence of Phrase Model 11 is found in “How High the Moon.” Apparently, this harmonic sequence was very appealing to a host of musicians from the 1940s and beyond, as they often used this challenging chord progression to test their improvisational prowess. Other tunes from the list, such as “Star Eyes” or “Twilight World,” cleverly manipulate the model. “Midnight Sun,” meanwhile, features a highly chromatic melody to reinforce the sequential nature of the chord progression. - - - -FIGURE 21.16A Phrase Model 11 - - - - -FIGURE 21.16B Phrase Model 11: Contrapuntal Framework - - - - -FIGURE 21.16C Phrase Model 11: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 11 - -How High the Moon - -Midnight Sun - -Star Eyes - -The End Of a Love Affair - -Twilight World - - - - - -Phrase Model 12 - - -Phrase Model 12 has a characteristic phrase identifier that features a ♯IV harmony. As explained in Chapter 4, this particular harmony supports and can participate in two common harmonic scenarios: as a half-diminished chord or as a min7(♭5). The former often initiates a descending chord progression, ♯ivø7–iv7–iii7–♭iiio7–ii7–V7–Imaj7, which is typically associated with the tag-ending progression. The latter functions in the context of a ()/iii progression tonicizing the mediant key area. Figures 21.17a–21.17c show a basic harmonic structure of Phrase Model 12, illustrate a contrapuntal derivation from a –– melodic pattern, and demonstrate harmonic variants of the model. - - - -FIGURE 21.17A Phrase Model 12 - - - - -FIGURE 21.17B Phrase Model 12: Contrapuntal Framework - - - - -FIGURE 21.17C Phrase Model 12: Harmonic Variants - - -When you examine the list of tunes that share Phrase Model 12, you can see how crucial the chord–scale relationships are between the melody and the phrase identifier. In “I Remember You” or “Whispering,” the /iii harmony supports , which locally functions as an 11th of the underlying chord. “Stella By Starlight” or Miles Davis’s version of “I Thought About You” do not begin with the opening tonic; this suggests the possibility of an off-tonic version of the model as well.9 One interesting aspect of the progression is its potential for reharmonization. The phrase identifier of this model (either with or without the opening tonic) can be employed as a substitute progression for Phrase Model 2, provided that the structure of the melody permits for such a substitution. The design of the melody, then, is the ultimate factor allowing the implementation of this substitution. For instance, the A section of “Over the Rainbow” can be reharmonized with the phrase identifier of Phrase Model 12. Also, the A sections of “I Should Care” or “Our Love Is Here To Stay,” which share Phrase Model 2, can also be realized with Phrase Model 12. - - -STANDARD TUNES—PHRASE MODEL 12 - -Dedicated To You - -Detour Ahead - -Did I Remember? - -Early Autumn - -Home - -I Remember You - -I Thought About You - -I’m Getting Sentimental Over You - -I’m In Love Again - -I’ve Got a Feeling I’m Falling - -Love Is a Many Splendored Thing - -Lover - -More Than I Should - -No Other Love - -Over the Rainbow - -Shall We Dance - -Somebody, Somewhere - -Someday, You’ll Be Sorry - -Someone To Watch Over Me - -Stella By Starlight - -The Mood That I’m In - -Time On My Hands - -Unforgettable - -When Somebody Thinks You’re Wonderful - -Whispering - -Why Was I Born? - -You Do Something To Me - -You Should Have Told Me - -You Were Never Lovelier - -You’re All the World To Me - -You’re My Everything - - - - - -Phrase Model 13 - - -Phrase Model 13 concludes the inventory of phrase models in standard tunes. In contrast to other phrase models, this model constitutes a harmonic sequence of dominant 7th chords and is largely associated with the harmonic structure of the bridge in “I Got Rhythm” and its countless contrafacts. Figures 21.18a–21.18c illustrate a basic harmonic framework of Phrase Model 13, show a contrapuntal derivation from a – melodic pattern, and offer harmonic variants of the model. - -In its incomplete form (i.e. without the opening III7), Phrase Model 13 occurs in a number of tunes, such as “A Good Man is Hard To Find,” “Lazy River,” “Alabama Jubilee,” “Miss Brown To You,” “Old Man Moon,” or “Sweet Georgia Brown.” - - - -FIGURE 21.18A Phrase Model 13 - - - - -FIGURE 21.18B Phrase Model 13: Contrapuntal Framework - - - - -FIGURE 21.18C Phrase Model 13: Harmonic Variants - - -STANDARD TUNES—PHRASE MODEL 13 - -A Good Man Is Hard To Find - -A Sleepin’ Bee (B section) - -Alabama Jubilee - -Doin’ the Crazy Walk (bridge) - -Don’t Be That Way (bridge) - -Firefly (bridge) - -Five Foot Two, Eyes Of Blue (bridge) - -I Hear Music - -I’m Beginning To See the Light (bridge) - -Me, Myself and I (bridge) - -Miss Brown To You - -Moonlight Cocktail (bridge) - -Nice Work If You Can Get It - -No Moon At All (bridge) - -Old Man Moon - -Perdido (bridge) - -Please Don’t Talk About Me When I’m Gone - -Rhythm Changes (bridge) - -Singin’ the Blues Till My Daddy Comes Home (B section) - -Sunday (bridge) - -Sweet and Low-Down (bridge) - -Sweet Georgla Brown - -The Birth Of the Blues (bridge) - -There I Go Dreaming Again (bridge) - -There Will Be Some Changes Made - -(Up a) Lazy River - - - -NOTES - - - -* * * - - - -1. The term “standard” refers primarily to American popular tunes performed frequently by countless musicians working from ca. 1920–1960. - -2. Even though this discussion is focused on eight-bar phrase models, the same properties can be used to explain the structure of 16-bar phrases that occur in extended forms and/or more complicated tunes. - -3. Melodic patterns are reductions of actual melodies to their structural pitch content. - -4. One of the explanations for the primacy of fifth-root movement is related to the occurrence of the perfect 5th in the overtone series between the low-integer ratios 2:3. - -5. François Campion in Traité d’accompagnement et de composition, selon la règle des octaves, translated by L. Dragnone as “François Campion’s Treatise on Accompaniment: A Translation and Commentary,” offers harmonization of both major and minor scales. - -6. In his description of prolongation, Henry Martin in “Jazz Harmony: A Syntactic Background” claims that “many popular jazz songs project a key by arrival rather than by simple prolongation of a single tonality designated early on.” The terms “on-tonic” and “off-tonic” employed in this book are modeled on Martin’s pioneering explanation of the tonality of popular tunes. - -7. The songs written in bold indicate standard tunes that constitute the core of jazz repertory. - -8. For the composers and the lyricists of all the songs, consult Appendix G on the companion website. - -9. Miles Davis, Someday My Prince Will Come. - - - - - -CHAPTER TWENTY-TWO - - -The AABA Song Form - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 22 undertakes a study of song forms and its most common type: the 32-bar AABA. Two tonal variants, on-tonic and off-tonic, are examined and, as an example of the on-tonic AABA formal design, “Have You Met Miss Jones?” is analyzed. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Analysis: - -Formal - - - -Melodic - - - -Tonal - - - -Harmonic - - - -• Original sheet music - -• Reaching by arrival - -• Sentence structure - -• Standard tunes - -• Bridge (Release) - -• 32-bar AABA form: - -Off-tonic - - - -On-tonic - - - -• Formal prototypes - -• Verse - -• Interruption - - - - - -FORMAL PROTOTYPES - - - - -* * * - - - -The term “standard” is often used to denote tunes that comprise the core repertory of jazz. The term is an interesting one because it implies that a particular object satisfies certain accepted constraints or that its representation has become, to a certain degree, institutionalized. Tunes that jazz musicians consider standards were largely composed by American songwriters active in the first half of the twentieth century, many of whom have become household names in jazz history: Irving Berlin, George Gershwin, Cole Porter, Victor Young, Richard Rodgers, Jerome Kern, Harold Arlen, Jimmy Van Heusen, Frank Loesser, Howard Dietz, Jule Styne, Hoagy Carmichael, and many others. These prolific composers often collaborated with equally remarkable lyricists (Ira Gershwin, Lorenz Hart, Oscar Hammerstein, E.Y. “Yip” Harburg, Dorothy Fields, Johnny Mercer, Sammy Cahn, Ted Koehler) and together they produced hundreds of excellent songs that eventually made their way into the jazz repertory. - -The 32-bar AABA form is the most common formal prototype underlying the repertory of standard tunes. In the overview of this formal model, we will distinguish between two distinct tonal variants: on-tonic and off-tonic. These variants are ultimately related to the type of phrase models that occur at the beginning of a tune. In Chapter 21, Phrase Models 2, 3, 5, and 13 featured an off-tonic phrase identifier, while the remaining models began on the tonic chord. Whereas phrase models capture the harmonic characteristics of common eight-bar phrases that occur in the A, B, and C sections of the tune, the formal prototypes combine phrase models in their most basic harmonic setting and illustrate possible tonal departures in the bridge (or other sections). Depending on the complexity of the tune, the prototype may include anywhere from one to four phrase models. “Can’t We Talk It Over,” for instance, features only one phrase model; whereas “Stella By Starlight” combines four distinct phrase models, one for each eight-bar phrase in the song. By and large, the formal prototype with two unique phrase models (albeit with some melodic and harmonic variations) is by far the most common. - -Broadly speaking, the phrase structure of the tunes in AABA consists of four eight-bar sections and uses a single phrase model for the A sections and a different phrase model for the B section. The phrase model for the B section is usually accompanied by the harmonic motion to a new key area. Each of the eight-bar sections is typically divided into two four-bar phrases. This regular phrase subdivision is emphasized by the fairly regular distribution of chords and harmonic progressions. In certain tunes, such as “I’m Getting Sentimental Over You” or “The Nearness Of You,” a four-bar phrase extension expands the final A section. The melody of standard tunes is always accompanied by the lyrics. The lyrics frequently reinforce salient features of the melody and highlight important harmonic events. They can even disguise the symmetry of eight-bar phrases by placing textual cadences at locations different from those supplied by the musical meter. - -In the process of learning new tunes, it is useful to find the earliest vocal version of the tune that you intend to learn. Even though early vocal performances might not be in keeping with jazz performance practice, they are helpful in authenticating the song’s mood, tempo, phrasing, and even some of its harmonic intricacies. It is more valuable to learn a tune from the original recording since later recorded versions might represent transformed versions of the song’s harmony, melody or rhythm. Listen to the words and how the singer phrases the words. Learn the lyrics. Keep them in mind when you decide how you want to phrase the song. Finding the original sheet music of the tune that you want to learn may also be beneficial. The harmonic and melodic information included in the original sheet music is often different from fake-book lead sheets. Not only does the original contain the correct melody, harmony (realized as the piano accompaniment), and lyrics as intended by the composer, but it also includes the verse that is often omitted from the fake-book version. You may be surprised to discover how different composers use the verse to foreshadow the overall mood of the song or highlight some salient features that later resurface in the chorus. This information can in turn influence your rendition of the song. - - - - - -THE AABA ON-TONIC DESIGN - - - - -* * * - - - -The AABA on-tonic design usually features two phrase models: one for the A sections; the other for the B section, also known as the bridge or release. The tonic chord is clearly announced at the outset of a tune. The first A section is harmonically open and typically ends with a ii7-V7 progression in m. 8. The second A section is tonally closed and, following the cadential confirmation of the main key, ushers in a new phrase model. The bridge introduces contrasting melodic and harmonic material that balances the overall distribution of phrase models. The end of the bridge includes an important formal event, an interruption: this event signals the conclusion of the first part of the tune and marks the return of the main key.1 The harmonic interruption might also overlap with a more substantial harmonic departure occurring in the bridge. For instance, the B section of “I’ve Never Been In Love Before” begins on IV and features a harmonic departure on III, before the reinstatement of the tonic with a ii7-V7 progression in m. 24. - -Figure 22.1 illustrates a generic distribution of phrase models in the AABA on-tonic formal prototype. - -The harmonic design of the B section is a defining feature of the song and enables the classification of standard tunes according to their shared tonal and harmonic characteristics. There are a few different scenarios that may happen at the beginning of the bridge. In the most basic scenario, a new chord—still within the orbit of the main tonality—initiates a different (from the A section) chord progression. This new chord can be further reinforced with a local ii7-V7 progression occurring at the end of the second A section. For instance, the bridge sections of “There’s a Small Hotel” or “Imagination” begin on IV. However, these subdominant chords do not function as new key areas; in neither case are they confirmed by a cadence or reinforced as a local tonic. In the second, more intricate scenario, the new key area of the bridge is tonicized at the end of the second A or reached by arrival at some point during the bridge. For instance, in “Mean To Me” the subdominant key area is clearly tonicized in m. 16 and subsequently prolonged during the first part of the bridge. In “I Can’t Get Started” the arrival on to the supertonic key area is reached by arrival in m. 19 following a tonicized ii7-V7 progression in mm. 17–18. In addition, there are also tunes with tonally ambiguous bridges that cannot be easily classified. Even though the bridge of “Don’t Blame Me,” for instance, starts on the subdominant, this chord inevitably leads to the hierarchically more important submediant harmony two measures later. - - - -FIGURE 22.1 The AABA On-Tonic Formal Prototype - - - - - -Classification of Standard Tunes2 - - -Below is a list of standard tunes cast in the AABA on-tonic form that share similar harmonic traits at the outset of the bridge. Unlike Chapter 21, however, where standard tunes were classified according to the harmonic similarities occurring at the phrase level, this list is organized according to the tonal characteristics at the formal level. Standard tunes with direct or indirect harmonic motion to the subdominant are by far the most common. An “*” indicates tunes where the key area (or hierarchically more important chord) at the beginning of the bridge is reached by arrival. - - -KEY OF THE BRIDGE—IV - -A Beautiful Friendship* - -A Lovely Night - -A Sunday Kind Of Love* - -Again - -Ain’t She Sweet? - -Blackberry Winter* - -Can’t Help Lovin’ Dat Man - -Climb Ev’ry Mountain - -Cocktails For Two - -Come Dance With Me* - -Come Easy, Go Easy Love* - -Crazy Rhythm* - -Day Dream - -‘Deed I Do - -Don’t Fence Me In - -Don’t Get Around Much Anymore - -Down By the Riverside - -Drop Me Off In Harlem* - -Easy Street - -Ev’rybody Loves You* - -Exactly Like You - -Face To Face - -Foolin’ Myself* - -Frim Fram Sauce* - -Getting Some Fun Out Of Life - -Happy As the Day Is Long - -Have You Met Miss Jones? - -Here In My Arms - -Hold Me, Thrill Me, Kiss Me - -How About Me? - -How’dja Like To Love Me - -I Couldn’t Stay Away From You* - -I Got It Bad - -I Want To Be Happy* - -I Wish I Were In Love Again - -I’ll Be Around* - -I’m Confessin’* - -I’m Glad There Is You - -I’m Just a Lucky So-And-So - -I’m Sitting On Top Of the World - -I’ve Got My Fingers Crossed* - -I’ve Never Been In Love Before - -Imagination - -It Might As Well Be Spring - -It’s Only a Paper Moon - -It’s the Talk Of the Town - -Just One More Chance* - -Just Squeeze Me* - -Just You, Just Me* - -Lady Be Good - -Let There Be You - -Let’s Get Away From It All - -Let’s Take a Walk Around the Block - -Little Man You’ve Had a Busy Day - -Mean To Me - -Misty* - -Moonlight Becomes You - -My Last Affair - -My Monday Date - -My Silent Love - -Nevertheless* - -On the Sunny Side Of the Street* - -Please Forgive Me - -Puttin’ On the Ritz - -Rhythm In My Nursery Rhymes* - -Romance In the Dark - -Ruby - -Sentimental Journey - -September In the Rain* - -Since I Feel For You - -Sing For Your Supper - -Skylark - -Solitude - -Someone To Watch Over Me - -Stormy Weather - -Sweet Loraine - -T’ain’t What You Do - -Taking a Chance On Love* - -That’s All* - -The Brown-Skin Gal In the Calico Gown - -The Glory Of Love - -The Surrey With the Fringe On Top* - -There, I’ve Said It Again* - -There’s a Small Hotel - -There’s No You* - -This Year’s Kisses - -Till There Was You - -To Each His Own - -We Mustn’t Say Goodbye - -What Did I Have That I Don’t Have? - -What Is There To Say - -Where’s That Rainbow? - -You Are Beautiful - -You Go To My Head - -You’ve Changed - - - - -KEY OF THE BRIDGE—III - -A Cock-Eyed Optimist - -A Handful Of Stars - -A Nightingale Sang In Berkeley Square - -Am I Blue? - -Anything Goes - -Autumn Nocturne - -Back in Your Own Backyard - -Between the Devil and the Deep Blue Sea - -Black Moonlight* - -Blue Rain - -Don’t You Know I Care - -Dreamsville* - -Guilty - -I Got Plenty O’ Nuttin’ - -I Loves You Porgy - -I Miss You So - -I Never Knew - -I’m Beginning To Miss You - -I’m Getting Sentimental Over You - -I’m Through With Love - -If I Had You - -If You Could See Me Now* - -Isn’t It a Pity? - -Ivy - -Let Me Sing and I’m Happy - -Let’s Have Another Cup O’ Coffee - -Little White Lies - -Lorelei - -Memphis In June - -Moonlight In Vermont* - -More Than You Know - -My One and Only Love - -Once In a While - -Polka Dots and Moonbeams - -Rosetta - -’S Wonderful - -Somewhere Along the Way - -Stairway To the Stars - -That’s Life I Guess - -The Folks Who Live On the Hill - -The Girl Friend - -The Song Is You - -These Foolish Things - -They Can’t Take That Away From Me - -Top Hat, White Tie and Tails - -Until the Real Thing Comes Along - -Watch What Happens - -You’re Driving Me Crazy! - - - - -KEY OF THE BRIDGE—I - -At Last - -Blue Moon* - -Blue Room* - -Dancing On the Ceiling* - -Early Autumn* - -For Sentimental Reason* - -I Don’t Stand a Ghost Of A Chance* - -I Let a Song Go Out Of My Heart* - -I’m In the Mood For Love* - -I’m Yours* - -It Never Entered My Mind - -Lullaby Of the Leaves* - -Once In Love With Amy* - -Over the Rainbow - -Small World* - -Stars Fell On Alabama* - -Teach Me Tonight* - -The Masquerade Is Over - -We’ll Be Together Again* - - - - -KEY OF THE BRIDGE—♭VI - -About Quarter To Nine - -Angel Eyes* - -Darn That Dream - -Do Nothin’ Till You Hear From Me - -Do You Know What It Means To Miss New Orleans* - -Dream a Little Dream Of Me - -Easy Living - -Fella With an Umbrella - -I Loved You Once In Silence - -I Won’t Dance - -I’ll Take Romance* - -In the Blue Of Evening - -On the Sentimental Side - -Smoke Gets In Your Eyes - -Some Other Time - -Then I’ll Be Tired Of You - -When the Lights Are Low - -Where Do I Go From Here? - - - - -KEY OF THE BRIDGE—VI - -Ain’t Misbehavin’ - -Dinah - -I Was Doing All Right - -If I Loved You - -If I Ruled the World - -Just For You - -Let’s Do It, Let’s Fall In Love - -Let’s Fall In Love - -Liza - -Memories Of You - -Most Gentlemen Don’t Like Love - -Nice ‘n Easy - -Thanks* - -The Man I Love - -The Tender Trap* - -There Is No Greater Love* - -This Can’t Be Love* - -Where Or When - -Wonder Why - -Wrap Your Troubles In Dreams - -You Took Advantage Of Me - - - - -KEY OF THE BRIDGE—II - -Bewitched, Bothered and Bewildered - -I Can’t Get Started With You* - -I Wish I Didn’t Love You So* - -It’s the Talk Of the Town - -Love Me Tonight* - -Makin’ Whoopee!* - -Penthouse Serenade - -Somebody Loves Me - - - - -KEY OF THE BRIDGE—♭III - -A Kiss To Build a Dream On* - -Crazy He Calls Me* - -Flamingo* - -Golden Earrings* - -Lost In the Stars* - -My Old Flame - -You Don’t Know What Love Is* - -Young Love* - - - - -KEY OF THE BRIDGE—V - -Clap Yo’ Hands - -I Married an Angel* - -I’m Gonna Laugh You Right Out Of My Life* - -I’ve Told Ev’ry Little Star - -Lucky To Be Me - -Wouldn’t It Be Loverly? - -Younger Than Springtime* - - - - -KEY OF THE BRIDGE—♯IV - -Born To Be Blue* - -Warm Valley - - - - -KEY OF THE BRIDGE—♭II - -Do I Love You? - - - - -KEY OF THE BRIDGE—VII/♭VII - -Alfie - -People Will Say We’re In Love* - -We Kiss In a Shadow* - - - - - -THE AABA OFF-TONIC DESIGN - - - - -* * * - - - -In addition to the on-tonic model, the AABA off-tonic design is an important formal prototype in standard tunes. The main characteristic of the off-tonic design is the absence of the tonic at the beginning of the tune. Since Phrase Models 2, 3, 5, (12), or 13 have phrase identifiers that do not start on the tonic chord, tunes sharing this type of design are likely to employ these phrase models for the A sections. Figure 22.2 demonstrates a generic distribution of phrase models in the AABA formal prototype. - - - - - -Classification of Standard Tunes3 - - -The list of standard tunes below is organized according to the type of harmonic motion that occurs at the outset of the bridge. An “*” indicates tunes where the key (or hierarchically more important chord) at the beginning of the bridge is reached by arrival. - - - -FIGURE 22.2 The AABA Off-Tonic Formal Prototype - - -KEY OF THE BRIDGE—IV - -All My Tomorrows - -As Time Goes By - -Because I Love You - -Can’t We Be Friends - -Dinner For One Please, James* - -Do I Love You Because You’re Beautiful? - -Everything But You - -Everything Happens To Me* - -Gee Baby, Ain’t I Good To You - -Honeysuckle Rose* - -How Long Has This Been Going On? - -I Didn’t Know About You* - -It’s Always You* - -It’s Easy To Remember* - -Lulu’s Back In Town - -Satin Doll* - -September Song - -Social Call* - -Suddenly It’s Spring* - -The Lamp Is Low* - -They Say It’s Wonderful - -’Tis Autumn* - -To Love and Be Loved - -Too Marvelous For Words* - -Why Try To Change Me Now?* - -You Are Too Beautiful - -You’re My Thrill* - - - - -KEY OF THE BRIDGE—I - -Blue Gardenia - -I Can’t Remember* - -I Cover the Waterfront* - -I Didn’t Know What Time It Was - -I Love You* - -My Funny Valentine - -Old Folks - -Sweet and Lovely* - -Sweet Sue, Just You - - - - -KEY OF THE BRIDGE—III/♭III - -Cry Me a River - -I Hear a Rhapsody - -Lover Man - -Moon Song - -Oh! You Crazy Moon - -Prelude To a Kiss - -Prisoner Of Love - -Roses Of Yesterday - -Thanks For the Memory - -The Love I Long For - -Wait Till You See Her* - - - - -KEY OF THE BRIDGE—VI - -Almost Like Being In Love* - -Good Morning Heartache* - -I Surrender Dear* - -Nancy (With the Laughing Face) - -Nice Work If You Can Get It - -Now That You’re Gone - -When Sunny Gets Blue - -You Brought a New Kind Of Love To Me - - - - -KEY OF THE BRIDGE—II - -My Kinda Love* - - - - -KEY OF THE BRIDGE—VII/♭VII - -All the Things You Are* - -Sophisticated Lady - -What Is This Thing Called Love?* - -Why Can’t I? - - - - -KEY OF THE BRIDGE—♭VI - -I Dream Of You - -In a Sentimental Mood - -Something I Dreamed Last Night - -The Best Thing For You - - - - -KEY OF THE BRIDGE—♭II - -Body and Soul - - - - - -“HAVE YOU MET MISS JONES?”—AN ANALYSIS - - - - -* * * - - - -Figure 22.3 gives the original sheet music for the tune “Have You Met Miss Jones?” by Richard Rodgers and Lorenz Hart.4 This song is an example of the 32-bar AABA on-tonic form. The top stave includes the chord changes from a published lead-sheet version. Since the chord changes differ from the piano accompaniment, both will be used in the following analysis. Figure 22.3 also includes the verse, which in the hands of great songwriters has interesting features that later resurface in the chorus. - - - - - -The Verse - - -After a four-measure introduction, the verse of “Have You Met Miss Jones?” is 12 bars long and, like a typical blues, contains three symmetrical four-bar phrases. The first two phrases (mm. 1–8) are variants of one another. The third phrase (mm. 9–12) features a descending octave (overshot by an upper chromatic neighbor, D♭5) from C5 to C4, and uses the basic melodic gestures from the opening phrase. The first phrase is harmonically open and ends with a ii7-V7 progression in the tonic key. The second phrase (mm. 5–8) is tonally closed, but a tonicization of the subdominant in m. 8 with the resolution in m. 9, creates a sense of harmonic momentum. After the subdominant departure, the phrase proceeds to a half cadence in m. 12 using a modified cycle of fifth progression. - -The melody of the verse establishes an interesting chord-scale relationship. The sense of eagerness that emanates from the narrator’s murky recollections is captured melodically by the blues inflection of 3̂ and the occurrence of an unprepared major 9th in mm. 1, 5, and 9. The harmonic support for these two pitches is quite adventurous when consulting the piano accompaniment. The A♭4 in m. 1 in the lead-sheet version receives a harmonic support from the A♭°7 chord. The piano accompaniment uses the same chord but over the C pedal, which offers a much more interesting harmonic realization. In m. 2, the G4 on beat 4 receives the same pedal point support and the underlying A♭° renders the melodic pitch as the major 7th. With the lyrics: “And now, you see, we mustn’t wait” in m. 8, the melody frees itself from a downward slump and ascends to 5̂, which is harmonically reinforced with a tonicization of the subdominant. A motivic descent to 5̂ in m. 12 effectively summarizes the overall arch-like architecture unfolding in the verse. - - - - - -The Chorus - - -In order to make our musical analysis pertinent to improvisation, it is necessary to know what attributes make “Have You Met Miss Jones?” stand out from other standards built from similar chord progressions. In other words, the analysis should gather the most relevant information about the tune’s properties that can later be explored in improvisation. Four broad characteristics—formal, tonal, melodic, and harmonic—can be used to describe salient characteristics of the tune. It is not sufficient, however, to consider these categories as separate entities, but to examine them in relation to one another. The analytical method advocated here asks the following question: What is it that makes “Have You Met Miss Jones?” (or any other tune) unique and distinguishes it from other tunes with similar tonal and formal properties? Finding an answer will lead to a more successful improvisation and better understanding of the tune’s properties. - - - - - -FIGURE 22.3 Original Sheet Music—“Have You Met Miss Jones?“ - - -Formal Characteristics - -The form of “Have You Met Miss Jones?” uses a 32-bar AABA on-tonic design with harmonic motion to the subdominant at the outset of the B section. As is the case with most standard tunes, the A sections are symmetrical with clear four-bar phrase subdivisions. The B section is more sophisticated and features a 2+2+4 phrase division similar to so-called sentence structure.5 - -Tonal Characteristics - -The phrase structure of the tune uses Phrase Model 4 for the A section and Phrase Model 3 for the B Section. The harmonic rhythm in the A section is relatively slow with one chord per measure. Phrase Model 4 occurs in the most basic form without any unusual harmonic activities in the midst of the phrase. The first A section is tonally open and ends with a structural ii7-V7 supporting 4̂. The second A section confirms the tonic and subsequently tonicizes the subdominant emerging at the beginning of the bridge. The chord structure of the bridge is classified as Phrase Model 3 because of its relationship to the main key and large-scale tonal organization of the song as a whole. The bridge begins on IV, which is tonicized in mm. 15–16, but neither cadentially confirmed nor harmonically prolonged. Even though a chromatic sequence in mm. 18–23 touches on distant key areas and ultimately ends on HI in m. 23, a ii7-V7 in m. 24 prepares the reinstatement of the tonic key. Thus the chord structure of the bridge begins on IV—which is then followed by a complex harmonic departure—and ends with an incomplete cadential confirmation of I, just as in Phrase Model 3. The final A section includes a stepwise ascent to the climactic E5, which gives the word “die” a new meaning and closes with a complete cadential confirmation of the tonic. The intricate harmonic sequence that occurs in the bridge is the most important tonal event of the song. The subdominant in m. 17 initiates a sequential progression that combines two intervallic cycles: major 2nd and major 3rd. At a macro level, each tonicized key area—IV, ♭II, and VI—creates a major 3rd cycle that projects the roots of a B♭ augmented triad. At a micro level, the progression descends by major 2nds and intersects with the major 3rd cycle. - -Melodic Characteristics - -The melodic structure of the tune uses the composer’s signature trademarks: stepwise melodic motion, motivic parallelism, measured use of skips, melodic rests on harmonically active pitches, and a compound melody. In comparison to the verse, the relationship between the melody and harmony in the A sections is not as daring, and largely depends on the use of chord tones on strong beats and passing/neighbor notes on weak beats. The bridge, on the contrary, creates more melodic tension by highlighting accented 9ths in mm. 17, 19, and 21 (in relation to the corresponding local major chords), which initiate sequential melodic repetitions. - -Harmonic Characteristics - -The longest note of the tune (B♭4 in mm. 7–8) has interesting harmonic implications. Because of the harmonic support it receives from a diatonic ii7-V7 progression and (potentially) from a chromatic [ii7-V7]/♭II, 4̂ can participate in both environments. In improvisation, we can effectively capitalize on the note’s dual harmonic membership. The projection of the augmented triad in the bridge suggests the use of more adventurous melodic and harmonic vocabulary that could infiltrate our improvisation. - -Summary of Features - -What is it that makes “Have You Met Miss Jones?” unique? We can answer this question as follows: - -1. Formal considerations—the symmetrical phrase structure of the chorus parallels the symmetrical structure of melodic lines. - -2.Tonal considerations—since the B section is more adventurous and provides harmonic relief from the diatonic A section, the solo can explore the contrast between diatonic and chromatic elements. - -3.Melodic considerations—the blues inflections of the verse and the stepwise melodic design of the chorus imply that melodic lines can have similar characteristics. - -4.Harmonic considerations—since the phrase identifier of Phrase Model 4 can be transformed harmonically and the longest note of the tune (B♭4 in mm. 7–8) can be harmonized using ii7-V7 or [ii7-V7]/♭II progressions, the solo can capitalize on these harmonic devices. - -NOTES - - - -* * * - - - -1. The concept of interruption is fundamental to Schenker’s theory; it is defined as the arresting of the melodic and harmonic motion before the return of the opening material. - -2. For the composers and the lyricists, consult Appendix G on the companion website. - -3. For the composers and the lyricists, consult Appendix G on the companion website. - -4. For representative recordings, consult Appendix F on the companion website. - -5. A musical sentence consists of two main components: a basic idea and its repetition organized in a 2+2+4 proportion. - - - - - -CHAPTER TWENTY-THREE - - -The ABAC Song Form - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 23 examines the 32-bar ABAC form and its two tonal variants: on-tonic and off-tonic. As an example of this formal design, “All Of You” is analyzed. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Binary interrupted forms - -•Mixture chords - -•Modal mixture - -•32-bar ABAC form: - -On-tonic - - - -Off-tonic - - - - - -THE ABAC ON-TONIC DESIGN - - - - -* * * - - - -The 32-bar ABAC on-tonic design (similar to the AABA) is an example of the binary interrupted form. The harmonic interruption occurs in m. 16 and divides the form into two large tonal motions: I–V in mm. 1–16 and I–I in mm. 17–32. Because of the absence of a clearly articulated bridge, which is the defining feature of the AABA tunes, the ABAC form is more ambiguous and thus less codifiable. Tunes in the ABAC form have a different phrase distribution and are usually characterized by more complicated melodic, harmonic, and rhythmic designs. Even though the designations “B” and “C” imply the use of different phrase models, in practice these sections are frequently related to one another. Figure 23.1 illustrates a generic distribution of phrase models for the ABAC on-tonic design. - -This formal structure suggests two different distributions of phrase models. In the first one, each eight-bar section is analyzed with a unique phrase model just as in “Blame It On My Youth” or “The Touch Of Your Lips,” which feature a faster harmonic rhythm and more intricate melodic design. In tunes such as “Get Out Of Town” or “I Could Write a Book,” however, with a slower harmonic rhythm and uninterrupted melodic flow spanning mm. 1–16 and mm. 17–32, only a single phrase model suffices to explain the harmonic properties of both sections.1 - - - -FIGURE 23.1 The ABAC On-Tonic Formal Prototype - - - - - -Classification of Standard Tunes2 - - - -KEY OF THE B AND/OR C SECTIONS—IV - -All the Way - -Blame It On My Youth - -But Not For Me - -Dardanella - -Fine and Dandy* - -I Can’t Give You Anything But Love* - -I Got Lost In His Arms* - -I Still Look At You That Way - -Indiana - -Isn’t It Romantic? - -Like Someone In Love - -Love Walked In* - -Make Someone Happy - -Manhattan Serenade* - -Pennies From Heaven* - -Please Be Kind* - -Put On a Happy Face - -Sometimes I’m Happy* - -Soon* - -Spring Will Be a Little Late This Year - -Strike Up the Band - -Summer Wind* - -The Best Of Everything* - -The Brooklyn Bridge - -The Lady Is a Tramp* - -The Party’s Over - -Thoroughly Modern Millie - +Saturday Night Is the Loneliest Night Of the Week +Serenade In Blue +Some Other Spring +Someday, Sweetheart +Sonny Boy +Soon +That Old Feeling +The Charm Of You +Thinking Of You +This Is Always +This Time the Dream’s On Me +Too Close For Comfort +Walkin’ My Baby Back Home +Was That the Human Thing To Do? +What’s Good About Goodbye? +When You’re Smiling +Where Are You? Who Can I Turn To? +Figures: + +FIGURE 21.12A: Phrase Model 7 — Harmonic Layout +FIGURE 21.12B: Phrase Model 7 — Contrapuntal Framework +FIGURE 21.12C: Phrase Model 7 — Harmonic Variants +Phrase Model 8 (I → IV) +Characteristic: Phrase identifier moves from I to IV, often with blues implications +Harmonic Features: Subdominant harmony frequently appears as dominant 7th, e.g., “Willow Weep For Me,” “Tenderly” + +Figures: + +FIGURE 21.13A: Phrase Model 8 — Harmonic Layout +FIGURE 21.13B: Phrase Model 8 — Contrapuntal Framework +FIGURE 21.13C: Phrase Model 8 — Harmonic Variants + +STANDARD TUNES—PHRASE MODEL 8: + +A Portrait Of Jenny +Ac-Cent-Tchu-Ate The Positive +Aunt Hagar’s Blues +Beale Street Blues +Bread and Gravy +Broadway +Dancing On a Dime +Deep In a Dream +Don’t Go To Strangers +Easter Parade +Everybody Step +Fancy Meeting You +Farewell To Storyville +Fine and Mellow +Five O’Clock Drag +God Bless the Child +Happy With the Blues +Harlem Nocturne +I May Be Wrong +I Want a Girl +I Want a Little Girl +I Will Wait For You +I’ll Always Be In Love With You +I’m a Fool To Want You +I’m Putting All My Eggs in One Basket +I’ve Grown Accustomed To Her Face +If You Could See Me Now +In the Still Of the Night +In the Wee Small Hours Of the Morning +It Never Was You +Junk Man +Lazy Bones +Let Me Be the First To Know +Like a Straw In the Wind +Looking For a Boy +Memphis Blues +My Fair Lady +My Gal Sal +My Honey’s Lovin’ Arms +Nashville Nightingale +Necessity +Of Thee I Sing +Oh! Look At Me Now +Ol’ Man River +(Ol’) Rockin’ Chair +On a Clear Day You Can See Forever +Open Country +Please Send Me Someone To Love +Pocketful Of Miracles +Rain On the Roof +Red Sails In the Sunset +Royal Garden Blues +Runnin’ Wild +Slow Hot Wind +So Long, Big Time +Something To Live For +Something Wonderful +St. Louis Blues +Summertime +Sun Showers +Supper Time +Swanee +Tenderly +The Meaning Of the Blues +The Nearness Of You +The Song Is Ended +The Wonder Of You +Tin Roof Blues +Phrase Model 9 (Chromatic, ♭VI tonicization) +Characteristic: Chromatic phrase identifier leading into flat submediant (♭VI) key area +Harmonic Features: +Scale degree ♭2 reinterpreted as minor 3rd and minor 7th of (ii7–V7)/♭VI +Resolution to ♭VI obeys counterpoint rules +Representative Tunes: +“What’s New” +“Here’s That Rainy Day” +“You Stepped Out Of a Dream” (less clearly articulated ♭VI area, expanded tonic with ♭IImaj7) + +Figures: + +FIGURE 21.14A: Phrase Model 9 — Harmonic Layout +FIGURE 21.14B: Phrase Model 9 — Contrapuntal Framework +FIGURE 21.14C: Phrase Model 9 — Harmonic Variants + +STANDARD TUNES—PHRASE MODEL 9 (Chromatic ♭VI Tonicization) + +Representative Tunes: + +Here’s That Rainy Day +What’s New +You Stepped Out Of a Dream +Tishomingo Blues +Tuxedo Junction +Undecided +What Can I Say After I Say I’m Sorry +What’ll I Do? +When the Wind Blows South +When You Lover Has Gone +(Where You Are) Now That I Need You +Wild Is the Wind +Willow Weep For Me +Without a Song +You’ve Come Home + +Figures: + +FIGURE 21.14A: Phrase Model 9 — Harmonic Layout +FIGURE 21.14B: Phrase Model 9 — Contrapuntal Framework +FIGURE 21.14C: Phrase Model 9 — Harmonic Variants +STANDARD TUNES—PHRASE MODEL 10 (Chromatic [ii7–V7]/♭II) + +Characteristic: + +Chromatic phrase identifier tonicizing the flat supertonic (♭II) key area +[ii7–V7]/♭II progression may occur in incomplete or fully integrated form +Frequently functions as a chromatic sidestepping or substitution progression + +Representative Tunes: + +Bye Bye Blues +Can’t Get Out Of This Mood +Darn That Dream +Everything I Have Is Yours +I Guess I’ll Hang My Tears Out To Dry +Lost In Meditation +San +The Lady Is a Tramp +Three Little Words +We’ll Be Together Again +(You Came Along From) Out Of Nowhere + +Figures: + +FIGURE 21.15A: Phrase Model 10 — Harmonic Layout +FIGURE 21.15B: Phrase Model 10 — Contrapuntal Framework +FIGURE 21.15C: Phrase Model 10 — Harmonic Variants +STANDARD TUNES—PHRASE MODEL 11 (Descending Major 2nd Cycle) + +Characteristic: + +Descending major 2nd cycle beginning on tonic, tonicizations of ♭VII and ♭VI, ending on ♭VI +Can occur fully or partially; often used for improvisational complexity + +Representative Tunes: + +How High the Moon +Midnight Sun +Star Eyes +The End Of a Love Affair +Twilight World + +Figures: + +FIGURE 21.16A: Phrase Model 11 — Harmonic Layout +FIGURE 21.16B: Phrase Model 11 — Contrapuntal Framework +FIGURE 21.16C: Phrase Model 11 — Harmonic Variants +STANDARD TUNES—PHRASE MODEL 12 (♯IV Harmony / Tonicizations of iii) + +Characteristic: + +Phrase identifier features ♯IV harmony, functioning as half-diminished (ø7) or min7(♭5) +Supports descending chord progressions or mediant tonicizations +Can substitute for Phrase Model 2 in certain melodic contexts + +Representative Tunes: + +Dedicated To You +Detour Ahead +Did I Remember? +Early Autumn +Home +I Remember You +I Thought About You +I’m Getting Sentimental Over You +I’m In Love Again +I’ve Got a Feeling I’m Falling +Love Is a Many Splendored Thing +Lover +More Than I Should +No Other Love +Over the Rainbow +Shall We Dance +Somebody, Somewhere +Someday, You’ll Be Sorry +Someone To Watch Over Me +Stella By Starlight +The Mood That I’m In +Time On My Hands +Unforgettable +When Somebody Thinks You’re Wonderful +Whispering +Why Was I Born? +You Do Something To Me +You Should Have Told Me +You Were Never Lovelier +You’re All the World To Me +You’re My Everything + +Figures: + +FIGURE 21.17A: Phrase Model 12 — Harmonic Layout +FIGURE 21.17B: Phrase Model 12 — Contrapuntal Framework +FIGURE 21.17C: Phrase Model 12 — Harmonic Variants +STANDARD TUNES—PHRASE MODEL 13 (Dominant 7th Sequence / Rhythm Changes Bridge) + +Characteristic: + +Harmonic sequence of dominant 7th chords +Associated with bridge sections of “I Got Rhythm” and contrafacts +Can occur in incomplete form (omitting opening III7) + +Representative Tunes: + +A Good Man Is Hard To Find +A Sleepin’ Bee (B section) +Alabama Jubilee +Doin’ the Crazy Walk (bridge) +Don’t Be That Way (bridge) +Firefly (bridge) +Five Foot Two, Eyes Of Blue (bridge) +I Hear Music +I’m Beginning To See the Light (bridge) +Me, Myself and I (bridge) +Miss Brown To You +Moonlight Cocktail (bridge) +Nice Work If You Can Get It +No Moon At All (bridge) +Old Man Moon +Perdido (bridge) +Please Don’t Talk About Me When I’m Gone +Rhythm Changes (bridge) +Singin’ the Blues Till My Daddy Comes Home (B section) +Sunday (bridge) + +Figures: + +FIGURE 21.18A: Phrase Model 13 — Harmonic Layout +FIGURE 21.18B: Phrase Model 13 — Contrapuntal Framework +FIGURE 21.18C: Phrase Model 13 — Harmonic Variants + +STANDARD TUNES—ADDITIONAL EXAMPLES + +Bridges / B Sections: + +Sweet and Low-Down (bridge) +Sweet Georgia Brown +The Birth Of the Blues (bridge) +There I Go Dreaming Again (bridge) +There Will Be Some Changes Made +(Up a) Lazy River +NOTES ON STANDARDS +The term “standard” refers primarily to American popular tunes performed frequently by countless musicians from ca. 1920–1960. +Eight-bar phrase models can also explain 16-bar phrases in extended or more complex tunes. +Melodic patterns are reductions of actual melodies to their structural pitch content. +Fifth-root movement is related to the occurrence of the perfect 5th in the overtone series (low-integer ratio 2:3). +François Campion’s Traité d’accompagnement et de composition… offers harmonizations of major and minor scales. +Henry Martin (“Jazz Harmony: A Syntactic Background”) explains prolongation as projecting a key by arrival rather than early tonality assignment. +Bolded songs indicate core jazz repertory standards. +Composers and lyricists are listed in Appendix G of the companion website. +Example reference: Miles Davis, Someday My Prince Will Come. +CHAPTER 22: THE AABA SONG FORM +Chapter Summary +Focus: 32-bar AABA form, the most common song form in jazz standards. +Two tonal variants examined: on-tonic and off-tonic. +Example: Have You Met Miss Jones? analyzed as an on-tonic AABA design. +Concepts and Terms +Analysis: formal, melodic, tonal, harmonic +Original sheet music +Reaching by arrival +Sentence structure +Standard tunes, bridge (release) +32-bar AABA form: off-tonic / on-tonic +Formal prototypes: verse, interruption +Formal Prototypes +“Standard” implies a tune satisfies accepted constraints and is institutionalized in jazz practice. +Core composers: Irving Berlin, George Gershwin, Cole Porter, Victor Young, Richard Rodgers, Jerome Kern, Harold Arlen, Jimmy Van Heusen, Frank Loesser, Howard Dietz, Jule Styne, Hoagy Carmichael. +Core lyricists: Ira Gershwin, Lorenz Hart, Oscar Hammerstein, E.Y. “Yip” Harburg, Dorothy Fields, Johnny Mercer, Sammy Cahn, Ted Koehler. +32-bar AABA form = four 8-bar sections: A–A–B–A. +Phrase model selection varies; examples: +Can’t We Talk It Over: one phrase model +Stella By Starlight: four distinct phrase models +Most common formal prototype: two unique phrase models (one for A, one for B). +AABA Form Details +A Sections: +First A: harmonically open, typically ends with ii7–V7 in measure 8. +Second A: tonally closed, confirms tonic, ushers in bridge. +B Section (Bridge/Release): +Introduces contrasting melodic and harmonic material. +Includes interruption: signals conclusion of bridge, return to main key. +Harmonic departure examples: +I’ve Never Been In Love Before: B section begins on IV, moves to III, returns via ii7–V7. +Mean To Me: tonicized subdominant key area in measure 16. +I Can’t Get Started: arrival to supertonic key via ii7–V7 in mm. 17–18. +Tonally ambiguous: Don’t Blame Me bridge starts on subdominant, then moves to submediant. + +Figure 22.1: The AABA On-Tonic Formal Prototype (generic phrase model distribution) + +Classification of Standard Tunes by Bridge (IV Key Area) +Standard tunes in AABA on-tonic form with similar tonal traits at the bridge (IV or subdominant motion). +“*” = bridge key reached by arrival. + +Key of the Bridge—IV: + +A Beautiful Friendship* +A Lovely Night +A Sunday Kind Of Love* +Again +Ain’t She Sweet? +Blackberry Winter* +Can’t Help Lovin’ Dat Man +Climb Ev’ry Mountain +Cocktails For Two +Come Dance With Me* +Come Easy, Go Easy Love* +Crazy Rhythm* +Day Dream +‘Deed I Do +Don’t Fence Me In +Don’t Get Around Much Anymore +Down By the Riverside +Drop Me Off In Harlem* +Easy Street +Ev’rybody Loves You* +Exactly Like You +Face To Face +Foolin’ Myself* +Frim Fram Sauce* +Getting Some Fun Out Of Life +Happy As the Day Is Long +Have You Met Miss Jones? +Here In My Arms +Hold Me, Thrill Me, Kiss Me +How About Me? +How’dja Like To Love Me +I Couldn’t Stay Away From You* +I Got It Bad +I Want To Be Happy* +I Wish I Were In Love Again +I’ll Be Around* +I’m Confessin’* +I’m Glad There Is You +I’m Just a Lucky So-And-So +I’m Sitting On Top Of the World +I’ve Got My Fingers Crossed* +I’ve Never Been In Love Before +Imagination +It Might As Well Be Spring +It’s Only a Paper Moon +It’s the Talk Of the Town +Just One More Chance* +Just Squeeze Me* +Just You, Just Me* +Lady Be Good +Let There Be You +Let’s Get Away From It All +Let’s Take a Walk Around the Block +Little Man You’ve Had a Busy Day +Mean To Me +Misty* +Moonlight Becomes You +My Last Affair +My Monday Date +My Silent Love + +STANDARD TUNES—AABA ON-TONIC FORM (CONTINUED) +Key of the Bridge — IV (continued) +Nevertheless* +On the Sunny Side Of the Street* +Please Forgive Me +Puttin’ On the Ritz +Rhythm In My Nursery Rhymes* +Romance In the Dark +Ruby +Sentimental Journey +September In the Rain* +Since I Feel For You +Sing For Your Supper +Skylark +Solitude +Someone To Watch Over Me +Stormy Weather +Sweet Loraine +T’ain’t What You Do +Taking a Chance On Love* +That’s All* +The Brown-Skin Gal In the Calico Gown +The Glory Of Love +The Surrey With the Fringe On Top* +There, I’ve Said It Again* +There’s a Small Hotel +There’s No You* +This Year’s Kisses +Till There Was You +To Each His Own +We Mustn’t Say Goodbye +What Did I Have That I Don’t Have? +What Is There To Say +Where’s That Rainbow? +You Are Beautiful +You Go To My Head +You’ve Changed +Key of the Bridge — III +A Cock-Eyed Optimist +A Handful Of Stars +A Nightingale Sang In Berkeley Square +Am I Blue? +Anything Goes +Autumn Nocturne +Back in Your Own Backyard +Between the Devil and the Deep Blue Sea +Black Moonlight* +Blue Rain +Don’t You Know I Care +Dreamsville* +Guilty +I Got Plenty O’ Nuttin’ +I Loves You Porgy +I Miss You So +I Never Knew +I’m Beginning To Miss You +I’m Getting Sentimental Over You +I’m Through With Love +If I Had You +If You Could See Me Now* +Isn’t It a Pity? +Ivy +Let Me Sing and I’m Happy +Let’s Have Another Cup O’ Coffee +Little White Lies +Lorelei +Memphis In June +Moonlight In Vermont* +More Than You Know +My One and Only Love +Once In a While +Polka Dots and Moonbeams +Rosetta +’S Wonderful +Somewhere Along the Way +Stairway To the Stars +That’s Life I Guess +The Folks Who Live On the Hill +The Girl Friend +The Song Is You +These Foolish Things +They Can’t Take That Away From Me +Top Hat, White Tie and Tails +Until the Real Thing Comes Along +Watch What Happens +You’re Driving Me Crazy! +Key of the Bridge — I +At Last +Blue Moon* +Blue Room* +Dancing On the Ceiling* +Early Autumn* +For Sentimental Reason* +I Don’t Stand a Ghost Of A Chance* +I Let a Song Go Out Of My Heart* +I’m In the Mood For Love* +I’m Yours* +It Never Entered My Mind +Lullaby Of the Leaves* +Once In Love With Amy* +Over the Rainbow +Small World* +Stars Fell On Alabama* +Teach Me Tonight* +The Masquerade Is Over +We’ll Be Together Again* +Key of the Bridge — ♭VI +About Quarter To Nine +Angel Eyes* +Darn That Dream +Do Nothin’ Till You Hear From Me +Do You Know What It Means To Miss New Orleans* +Dream a Little Dream Of Me +Easy Living +Fella With an Umbrella +I Loved You Once In Silence +I Won’t Dance +I’ll Take Romance* +In the Blue Of Evening +On the Sentimental Side +Smoke Gets In Your Eyes +Some Other Time +Then I’ll Be Tired Of You +When the Lights Are Low +Where Do I Go From Here? +Key of the Bridge — VI +Ain’t Misbehavin’ +Dinah +I Was Doing All Right +If I Loved You +If I Ruled the World +Just For You +Let’s Do It, Let’s Fall In Love +Let’s Fall In Love +Liza +Memories Of You +Most Gentlemen Don’t Like Love +Nice ‘n Easy +Thanks* +The Man I Love +The Tender Trap* +There Is No Greater Love* +This Can’t Be Love* +Where Or When +STANDARD TUNES—AABA ON-TONIC FORM (CONTINUED) +Key of the Bridge — II +Bewitched, Bothered and Bewildered +I Can’t Get Started With You* +I Wish I Didn’t Love You So* +It’s the Talk Of the Town +Love Me Tonight* +Makin’ Whoopee!* +Penthouse Serenade +Somebody Loves Me +Key of the Bridge — ♭III +A Kiss To Build a Dream On* +Crazy He Calls Me* +Flamingo* +Golden Earrings* +Lost In the Stars* +My Old Flame +You Don’t Know What Love Is* +Young Love* +Key of the Bridge — V +Clap Yo’ Hands +I Married an Angel* +I’m Gonna Laugh You Right Out Of My Life* +I’ve Told Ev’ry Little Star +Lucky To Be Me +Wouldn’t It Be Loverly? +Younger Than Springtime* +Key of the Bridge — ♯IV +Born To Be Blue* +Warm Valley +Key of the Bridge — ♭II +Do I Love You? +Key of the Bridge — VII/♭VII +Alfie +People Will Say We’re In Love* +We Kiss In a Shadow* +Key of the Bridge — IV (AABA Off-Tonic) +All My Tomorrows +As Time Goes By +Because I Love You +Can’t We Be Friends +Dinner For One Please, James* +Do I Love You Because You’re Beautiful? +Everything But You +Everything Happens To Me* +Gee Baby, Ain’t I Good To You +Honeysuckle Rose* +How Long Has This Been Going On? +I Didn’t Know About You* +It’s Always You* +It’s Easy To Remember* +Lulu’s Back In Town +Satin Doll* +September Song +Social Call* +Suddenly It’s Spring* +The Lamp Is Low* +They Say It’s Wonderful +’Tis Autumn* +To Love and Be Loved +Too Marvelous For Words* +Why Try To Change Me Now?* +You Are Too Beautiful +You’re My Thrill* +Key of the Bridge — I (Off-Tonic) +Blue Gardenia +I Can’t Remember* +I Cover the Waterfront* +I Didn’t Know What Time It Was +I Love You* +My Funny Valentine +Old Folks +Sweet and Lovely* +Sweet Sue, Just You +Key of the Bridge — III/♭III (Off-Tonic) +Cry Me a River +I Hear a Rhapsody +Lover Man +Moon Song +Oh! You Crazy Moon +Prelude To a Kiss +Prisoner Of Love +Roses Of Yesterday +Thanks For the Memory +The Love I Long For +Wait Till You See Her* +Key of the Bridge — VI (Off-Tonic) +Almost Like Being In Love* +Good Morning Heartache* +I Surrender Dear* +Nancy (With the Laughing Face) +Nice Work If You Can Get It +Now That You’re Gone +When Sunny Gets Blue +You Brought a New Kind Of Love To Me +Key of the Bridge — II (Off-Tonic) +My Kinda Love* +Key of the Bridge — VII/♭VII (Off-Tonic) +All the Things You Are* +Sophisticated Lady +What Is This Thing Called Love?* +Why Can’t I? +Key of the Bridge — ♭VI (Off-Tonic) +I Dream Of You +In a Sentimental Mood +Something I Dreamed Last Night +The Best Thing For You +Key of the Bridge — ♭II (Off-Tonic) +Body and Soul -KEY OF THE B AND/OR C SECTIONS—I - +“Have You Met Miss Jones?” Analysis +Verse (12 bars) +Structure: 3 symmetrical 4-bar phrases; mm. 1–8 are variants; mm. 9–12 descend from C5 to C4. +Harmony: +Phrase 1: open, ends with ii7–V7 in tonic. +Phrase 2: tonally closed, tonicization of subdominant at m. 8 → m. 9. +Phrase 3: half cadence using modified cycle of fifths at m. 12. +Melody: Blues inflection on 3̂; unprepared major 9th in mm. 1, 5, 9. +Harmonic support: Example: A♭4 on A♭°7 over C pedal, G4 treated as major 7th. +Motivic features: Descending arch, stepwise motion reinforced by harmonic tension. +Chorus (32-bar AABA on-tonic) +Formal Characteristics +A sections: symmetrical, 4-bar phrases. +B section (bridge): 2+2+4 phrase distribution (sentence-like). +Tonal Characteristics +A section: Phrase Model 4, one chord per measure, slow harmonic rhythm. +B section: Phrase Model 3, starts on IV (tonicized but not cadentially confirmed), chromatic sequences mm. 18–23, ii7–V7 prepares return to tonic at m. 24. +Bridge highlights: sequential progression combining major 2nd and major 3rd cycles → roots of B♭ augmented triad. +Melodic Characteristics +Stepwise motion, motivic parallelism, measured skips, compound melody. +Bridge creates tension using accented 9ths (mm. 17, 19, 21). +Harmonic Characteristics +Longest note B♭4 (mm. 7–8) participates in ii7–V7 or [ii7–V7]/♭II contexts. +Bridge suggests adventurous harmonic vocabulary for improvisation. +Summary of Features +Formal: Symmetrical phrase structure in chorus parallels melody. +Tonal: B section is adventurous, contrasting diatonic A sections. +Melodic: Blues inflection in verse, stepwise chorus implies similar lines in improvisation. +Harmonic: Phrase Model 4 and B♭4 note allow harmonic transformation in solos. +ABAC Song Form (32-bar, On-Tonic and Off-Tonic) +ABAC is a binary interrupted form, unlike AABA: +Harmonic interruption at m. 16 divides form into I–V (mm. 1–16) and I–I (mm. 17–32). +No clearly articulated bridge; B and C sections often related. +Phrase models may vary: +Faster harmonic rhythm → each section unique. +Slower harmonic rhythm → single phrase model for both sections. +Classification of Standard ABAC Tunes (On-Tonic) +Key of B/C Sections — IV +All the Way +Blame It On My Youth +But Not For Me +Dardanella +Fine and Dandy* +I Can’t Give You Anything But Love* +I Got Lost In His Arms* +I Still Look At You That Way +Indiana +Isn’t It Romantic? +Like Someone In Love +Love Walked In* +Make Someone Happy +Manhattan Serenade* +Pennies From Heaven* +Please Be Kind* +Put On a Happy Face +Sometimes I’m Happy* +Soon* +Spring Will Be a Little Late This Year +Strike Up the Band +Summer Wind* +The Best Of Everything* +The Brooklyn Bridge +The Lady Is a Tramp* +The Party’s Over +Thoroughly Modern Millie +Who Can I Turn To? +Key of B/C Sections — I A Fine Romance - But Beautiful* - Bye Bye Baby - Dancing In the Dark - Days Of Wine and Roses - Ev’ry Time We Say Goodbye - Everything I Love - For All We Know - How Little We Know - I Left My Heart In San Francisco - I’m Gonna Lock My Heart* - I’m Gonna Sit Right Down and Write Myself a Letter* - Let’s Get Lost* - Let’s Take the Long Way Home - Look For the Silver Lining* - On Green Dolphin Street* - Say It Isn’t So* - Slumming On Park Avenue - Someday (You’ll Want Me To Want You)* - Someday My Prince Will Come - Spring Is Here - The Sheik Of Araby - The Touch Of Your Lips* - Them There Eyes* - There Are Such Things* - This Funny World - What Kind Of Fool Am I? - When I Fall In Love - Who Cares? - You’ll Never Know - - - - -KEY OF THE B AND/OR C SECTIONS—VI - +Key of B/C Sections — VI All Of My Life - Bidin’ My Time* - Embraceable You - I Can Dream, Can’t I?* -I Could Write a Book - -I Never Felt This Way Before* - -I’ll Be Seeing You - -Indian Summer* - -It Had To Be You* - -My Baby Just Cares For Me* - -People - -Shine* - -The Second Time Around - -Time After Time - -When Did I Fall In Love - -When I Lost You - -With a Song In My Heart - -You’re My Girl - - - - -KEY OF THE B AND/OR C SECTIONS—II - -A Woman In Love* - -At Long Last Love - -Between You and Me* - -Bye and Bye - -Deep Purple - -I Had the Craziest Dream* - -I Wanna Be Around* - -I’m Dreamer, Aren’t We All - -I’ve Got My Eyes On You - -If It’s the Last Thing I Do - -In Love In Vain - -It Amazes Me* - -Smile - -Someone Nice Like You - -Thanks For the Memory - -There Goes My Heart* - - - - -KEY OF THE B AND/OR C SECTIONS—III/♭III - -Here’s That Rainy Day* - -Long Ago and Far Away - -Love Letters* - -Softly As I Leave You - - - - -KEY OF THE B AND/OR C SECTIONS—V - -Ev’rything I’ve Got* - -Why Did I Choose You?* - - - - - -THE ABAC OFF-TONIC DESIGN - - - - -* * * - - - -The ABAC off-tonic design has a similar phrase distribution as the ABAC on-tonic form. The only difference is the use of Phrase Models 2, 3, 5, (12) 13 for the A sections. The distribution of phrase models for the ABAC off-tonic prototype is shown in Figure 23.2. - - - -FIGURE 23.2 The ABAC Off-Tonic Formal Prototype - - - - - -Classification of Standard Tunes3 - - - -KEY OF THE B AND/OR C SECTIONS—I - +ABAC Off-Tonic Tune Classifications +Key of B/C Sections — I All Of You - Be Careful, It’s My Heart - Dearly Beloved - Easy To Love* - I Should Care - I Wish I Knew* - I’ll Never Smile Again* - Maybe It’s Because I Love You Too Much - Star Dust* - - - - -KEY OF THE B AND/OR C SECTIONS—III - -Gone With the Wind - -Tea For Two* - - - - -KEY OF THE B AND/OR C SECTIONS—VI - -Day By Day* - -I’ve Found a New Baby* - -Roses Of Picardy - -Two For the Road - -What a Difference a Day Made* - -You’d Be So Nice To Come Home To* - - - - -KEY OF THE B AND/OR C SECTIONS—♭III - -Autumn In New York* - -It’s You Or No One* - -Laura* - - - - -KEY OF THE B AND/OR C SECTIONS—IV - -April In Paris - -Fascinating Rhythm - -I Have the Feeling - -I’ve Been Here Before I’ll Never Be the Same - -I’ll Only Miss Her When I Think Of Her - -(On the) Street Of Dreams - -Only the Lonely - -Personality - -That Sunday (That Summer) - -The Impatient Years - - - - -KEY OF THE B AND/OR C SECTIONS—II - +Key of B/C Sections — II +A Woman In Love* +At Long Last Love +Between You and Me* +Bye and Bye +Deep Purple +I Had the Craziest Dream* +I Wanna Be Around* +I’m Dreamer, Aren’t We All +I’ve Got My Eyes On You +If It’s the Last Thing I Do +In Love In Vain +It Amazes Me* +Smile +Someone Nice Like You +Thanks For the Memory +There Goes My Heart* Guys and Dolls - - - - -KEY OF THE B AND/OR C SECTIONS—♭II - +Key of B/C Sections — III / ♭III +Here’s That Rainy Day* +Long Ago and Far Away +Love Letters* +Softly As I Leave You +Gone With the Wind +Tea For Two* +Autumn In New York* +It’s You Or No One* +Laura* +Key of B/C Sections — V +Ev’rything I’ve Got* +Why Did I Choose You?* +Key of B/C Sections — VI +Day By Day* +I’ve Found a New Baby* +Roses Of Picardy +Two For the Road +What a Difference a Day Made* +You’d Be So Nice To Come Home To* +Key of B/C Sections — IV +April In Paris +Fascinating Rhythm +I Have the Feeling +I’ve Been Here Before I’ll Never Be the Same +I’ll Only Miss Her When I Think Of Her +(On the) Street Of Dreams +Only the Lonely +Personality +That Sunday (That Summer) +The Impatient Years +Key of B/C Sections — ♭II I’ve Got Your Number* - Stranger in Paradise* - - - - - -“ALL OF YOU”—AN ANALYSIS - - - - -* * * - - - -Figure 23.3 illustrates the original sheet music of Cole Porter’s “All Of You.”4 This song is an example of the 32-bar ABAC off-tonic form. The top stave includes the chord changes from a published lead-sheet version. Since the chord changes differ from the piano accompaniment, both will be used in the following analysis. - - - - - -The Verse - - -The verse sets the overall character of the song and foreshadows certain events that become more apparent in the chorus. For instance, a two-note melodic anacrusis in the verse becomes a three-note gesture in the chorus; an off-tonic beginning on B♭7/F in the verse is mirrored by an off-tonic beginning on A♭, A♭min6, or Fmin7(♭5) in the chorus, depending on the version. Each four-bar phrase in the verse has basically the same melodic architecture with a balanced contour and the prevalent use of stepwise motion. The melody establishes a strong chord–scale relationship with the chord tones aligned with beats 1 and 3, and passing notes placed on beats 2 and 4. This lack of melodic/harmonic tensions suddenly becomes disrupted in the chorus where the chromatic chord–scale relationships prevail and larger intervallic leaps dominate the melody. The verse concludes with the words “And it’s not a passing fancy or a fancy pass,” with a perfectly balanced melody supported by an expanded ii7–V7 progression. In the original piano accompaniment, Porter elaborates the dominant 7th in m. 15 with a common-tone diminished 7th chord, E°7, which is an idiomatic harmonic device typical of the blues. - - - - - -The Chorus - - -In the forthcoming analysis, we will concentrate on tonal, melodic, harmonic, and metric/rhythmic characteristics of the tune and discuss ways in which they influence the overall approach to improvisation. The chorus has a relatively uniform tonal architecture: the first A section uses Phrase Model 3 with an open cadence on V7 in m. 8, while the B section employs Phrase Model 1 with a modified phrase identifier (notice the interpolation of ♭iiio7 in m. 10) and an open cadence on V7 in m. 16. The second A section differs from the first A, particularly in mm. 21–24. At the end of this section, an elided [ii7−V7]/ii anticipates the arrival of the C section. Rather than resolving the [ii7−V7]/ii to the expected minor supertonic, Porter thwarts our expectations and shifts the music to IVmaj7 in m. 25. The C section utilizes Phrase Model 3 with a tonicization of ii in m. 26. Notice that this harmonic departure is initiated by chromatic sidestepping ()/iii that triggers a sequence of ii7–V7s in mm. 27–30 and brings the tune to an end. - -The lyrics also contain some important textual associations that enrich our understanding of the song. Each time Porter uses the word “you” in the A section, he accompanies it by a metric, durational, and melodic stress. Its rhymed counterparts–“lure” and “tour”— support ♭, giving the melody a characteristic poignancy. This note also triggers the largest and most audacious intervallic leap of a major 7th in m. 7 over the predominant . This chord sounds particularly expressive and its unique quality stimulates the choice of chordal extensions for the V7 in m. 8. - - - - - -FIGURE 23.3 Original Sheet Music—“All Of You” - - -The tonal architecture of “All Of You” features unique harmonic progressions. In mm. 1–2, the succession of iv6–Imaj6 establishes the overall character of the song. This progression, along with its variant —Imaj7, is by far the most common harmonic choice used by jazz musicians. However, it is clear from the original sheet music that Porter had a different harmonic idea for mm. 1–2: his realization features an A♭ major (!) chord over the tonic pedal B♭. Only with the arrival of C♭3 in m. 3 does he change to an A♭ minor chord. The minor subdominant in m. 3 borrows ♭ from the parallel minor key, and is known as a mixture chord.5 This and other modal borrowings (e.g. ♭ in m. 14) greatly enhance the character of the melody and influence the choice of other harmonies: C7(♭9) in m. 14 and Fmin7(♭5) in mm. 3, 7, and 19. With the occurrence of the tonic in m. 2, the A section becomes tonally ambiguous and in search of the tonal stability. Porter makes this search a compelling journey with various harmonic detours (mm. 7–8 and 25–26), deceptive resolutions (mm. 8–9 and 23–25), and modal mixture chords (mm. 3, 7, 14, 17, 19, and 21). When he finally confirms the tonic in mm. 29–32, Porter pulls out all the stops: he accentuates each word of the final phrase—“For I love all of you”—with half-note values and harmonizes the entire four-bar closing section with a diatonic ii7–V7–Imaj7 progression. In the piano accompaniment, the bass voice counterpoints the soprano with a ascent with each bass note supporting different chords: Fmin–C7/G–A♭6–B♭9, respectively. With such a robust and convincing ending, Porter resolves all previously accumulated melodic and harmonic ambiguities. - -The B section of “All Of You” uses a harmonically open Phrase Model 1 that interrupts the form in m. 16. In some versions of the song a different harmony in m. 9 may be encountered. The use of functionally equivalent mediant harmony in place of the tonic, however, is within the limits of acceptable harmonic substitutions. The occurrence of ♭iiio7 in m. 10 is a particularly important harmonic event in the B section. This diminished 7th passing chord occupies the whole measure, improves the overall voice leading, and provides a convincing harmonic support for the melody. In addition, it also establishes a chord–scale relationship with a 2/1 octatonic I. - -A harmonic shift to the subdominant at the beginning of the C section is in keeping with the tonality of numerous jazz songs where a similar harmonic progression signals the closing section. The harmonic supports for D5 in mm. 25–26 constitute yet another salient feature of “All Of You.” The D5 is harmonized with A♭Maj7 in m. 25 and with Amin7(♭5)–D7(♭9) in m. 26. These harmonizations suggest specific chord–scale relationships: Lydian in m. 25 and 2/1 octatonic I in m. 26. - -Summary of Features - -The following points suggest one of many possible directions that can be taken during improvisation on “All Of You”: - -1. Tonal considerations—since the tune plays on tonal expectations, the idea of tonal ambiguity can be explored. One that stems from the analysis suggests the use of mixture chords and functionally equivalent harmonic substitutions. - - - -2. Melodic considerations—since the melody employs considerable intervallic leaps, melodic lines can have a more angular contour with larger intervallic leaps. - - - -3. Harmonic considerations—since the diminished 7th chord in m. 10 and the IVmaj7/iii progression in mm. 25–26 feature attractive chord–scale relationships, they can be explored during improvisation. - - - -4. Metric/rhythmic considerations—the melodic anacrusis in the verse and the chorus suggests a particular design that seems to foreshadow the upcoming harmony rather than retroactively respond to it. This proactive approach to phrasing and harmony creates better melodic flow and can ultimately influence the overall rhythmic architecture of the solo. - - - -NOTES - - - -* * * - - - -1. In the case of “Get Out Of Town,” a minor version of Phrase Model 8 with a harmonic departure in ♭III for mm. 1–16, and a major version of Phrase Model 8 with the same harmonic departure for mm. 17–32; in the case of “I Could Write a Book,” Phrase Model 4 with two harmonic departures to vi and iii for mm. 1–16 and Phrase Model 4 with two harmonic departures to vi and IV for mm. 17–32. - -2. For the composers and the lyricists, consult Appendix G on the companion website. - -3. For the composers and the lyricists, consult Appendix G on the companion website. - -4. For representative recordings, consult Appendix F on the companion website. - -5. Mixture (also known as modal mixture) borrows tonal elements from the parallel mode. In the present instance, notes and chords from E♭ minor that freely interact in the context of E♭ major are regarded as mixture. As a result, the use of mixture greatly enhances melodic, harmonic, and tonal possibilities that can occur in a tune. - +“All Of You” Analysis (Cole Porter, 32-bar ABAC Off-Tonic) +Verse +Sets character and foreshadows chorus gestures. +Melodic features: two-note anacrusis becomes three-note gesture in chorus; stepwise motion dominates; chord tones on beats 1 & 3, passing notes on 2 & 4. +Harmony: off-tonic beginnings (B♭7/F → A♭, A♭min6, Fmin7♭5). +Closure: expanded ii7–V7; idiomatic E°7 in m. 15 (blues device). +Chorus +Tonal: +A section: Phrase Model 3, open cadence on V7 (m. 8). +B section: Phrase Model 1 with ♭iiio7 in m. 10, open cadence on V7 (m. 16). +C section: Phrase Model 3, tonicization of ii in m. 26; ii7–V7 sequence mm. 27–30. +Melodic: Intervallic leaps, major 7th leap in m. 7; metric stress emphasizes words (“you”). +Harmonic: +Modal mixture (minor subdominant, ♭IV in m. 3, 7, 14, 17, 19, 21). +Functionally equivalent mediant substitution in B section. +D5 harmonized with A♭Maj7 (m. 25) and Amin7♭5–D7♭9 (m. 26). +Metric/Rhythmic: Proactive anacrusis foreshadows harmonic events; shapes solo phrasing. +Summary for Improvisation +Tonal: Exploit tonal ambiguity, mixture chords, and functionally equivalent substitutions. +Melodic: Angular lines with intervallic leaps reflect melody. +Harmonic: Explore ♭iiio7 in m. 10 and IVmaj7/iii in mm. 25–26 for chord–scale options. +Metric/Rhythmic: Use anacrusis to anticipate harmony; shapes rhythm and phrasing of solos. @@ -10489,3103 +3994,307 @@ NOTES CHAPTER TWENTY-FOUR -Extended and Unusual Song Forms - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 24 provides a list of standard tunes with extended and unusual formal designs. As an example of the extended form, “Dream Dancing” is analyzed. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Extended structures - -• “Night and Day” duality - - - - - -EXTENDED AND UNUSUAL SONG FORMS—A COMPILATIOND1 - - - - -* * * - - - -In addition to the 32-bar AABA and ABAC forms, there are other, less common formal designs with unusual tonal characteristics, different phrase distributions, and extended structures. Standard tunes with unusual formal designs might present a challenge to the improviser because they typically unfold in a less regular manner and feature more intricate harmonic progressions. For each song listed in Figure 24.1, the length of individual sections is indicated in measures and the length of the form provided. - - - - - -“DREAM DANCING”—AN ANALYSIS - - - - -* * * - - - -Among the numerous songs featuring extended formal designs, “Dream Dancing” by Cole Porter is one of the most interesting.2 Figure 24.2 illustrates a lead sheet version of “Dream Dancing” including the verse. - - - - - -FIFURE 24.1 Extended and Unsual Standard Songs - - - - - -FIFURE 24.2 Lead Sheet—“Dream Dancing” - - - - - -The Verse - - -The verse is 16 bars long and has recitative-like qualities.3 For instance, mm. 1–4 introduce a tonic pedal commonly used in recitatives. The melody has a static design, features a syllabic declamation of the words, and receives harmonic support foreshadowing salient characteristics that will become manifested in the chorus. The overall tonal architecture of the verse implies a large motion T-PD-D with the tonic occupying mm. 1–8, the predominant mm. 9–14, and the dominant mm. 15–16. These functional areas feature some interesting harmonic parallelisms. For instance, the progression from mm. 5–7 reappears in a transposed and enlarged version in mm. 9–12. The most striking harmonic event occurs in mm. 13–14 where the lyrics, “to live again,” receive a [ii7–V7]/II harmonic support. - - - - - -The Chorus - - -The phrase structure of “Dream Dancing” does not conform to any traditional formal models: the distribution of phrases, the placement of structural cadences, and the unfolding of lyrics suggest a three-part form. Figure 24.3 illustrates a formal diagram of the tune. - - - -FIFURE 24.3 “Dream Dancing”—Formal Diagram - - -Formal Considerations - -The A section is 16 bars long and combines two eight-bar phrases that loosely follow the harmonic structure of an incomplete Phrase Model 5 for mm. 1–8 and Phrase Model 3 for mm. 9–16. The B section in mm. 25–32 is eight bars long and resembles Phrase Model 3 with its characteristic off-tonic phrase identifier on IV. The final C section in mm. 41–52 is 12 bars long and features a four-bar interpolation of an elided [ii7–V7]/II progression from mm. 13–14 of the verse. “Dream Dancing,” then, is a composite 52-bar form unlike any existing formal prototype. - -Harmonic Considerations - -One particularly unusual characteristic of the tune is the harmonic progression in mm. 1–4 and 17–20. The occurrence of the tonally ambivalent major submediant coupled with a chromatic alteration of —if heard in the opening progression in the context of C major—is far removed from the main tonic. This opening resembles Phrase Model 5 with its offtonic phrase identifier in the submediant. However, unlike other tunes that share this model, “Dream Dancing” begins on V7/VI, which tonicizes a local tonic on VI. Given the nature of the opening progression and the subsequent tonicization of IV in m. 8, the tonality of the tune is evasive and neither prolonged nor confirmed. - -The tonicization of IV in m. 8 installs an off-tonic Phrase Model 3 that features an important harmonic event: a [ii7–V7]/II progression in m. 13. Porter uses this salient progression to announce the word “dream.” The other title word, “dancing,” receives harmonic support from a ii7–V7 progression. A more forceful confirmation of the tonic occurs in mm. 14–15, but the subsequent tonicization in m. 16, [ii7–V7]/IV, thwarts the tonal expectations and does not resolve to the expected subdominant but to V7/VI in m. 17. The chord succession in mm. 16–17 also features two dominant 7th chords a major third apart; in addition to the chromatic progression from m. 13, these sonorities constitute the most important tonal characteristics of the song. - -The second part of the tune begins in m. 33 with the lyrics “Dream dancing.” Measures 33–40 resemble Phrase Model 3 with an off-tonic phrase identifier on IV. The tonality of the song is climactically declared in m. 40 and marks the beginning of the final section of the tune. The arrival of the tonic in m. 41 emphasizes the structural downbeat, features the important word “love,” and employs Phrase Model 8, the only on-tonic phrase model of the entire song. Measures 45–49 interpolate the [ii7–V7]/II progression three times in quick succession and, with the lyrics “Dream dancing, To Paradise prancing, Dream dancing with you,” lead to the final cadence in the tonic, an emphatic end to this fascinating harmonic journey. - -Melodic Considerations - -The melodic design of “Dream Dancing” is equally interesting. Each time the title words appear in the lyrics they are accompanied by a characteristic melodic gesture. In mm. 13–14, for instance, the motto of the song features a minor third from to . In mm. 33–34, the same words project a downward octave leap from to . Finally in mm. 49–50, “dream dancing” highlights a minor third skip from to . Notice that in mm. 13 and 45 the minor third skip begins on : these chromatic pitches allow Porter to inject a subtle blues flavor into the structure of the song. - -A chromatic inflection of in mm. 1–4 constitutes an unusual melodic feature of the tune. While in other standard tunes the tonic note is typically left untouched (especially at the outset of a song), in “Dream Dancing” the rhetorical interplay between and reflects the nature of the lyrics: “When day is gone and night comes on.” The lyrics depict the familiar “Night and Day” duality—one of Porter’s favorite conceits and something that he highlighted through his choice of melodic notes and harmonic progressions.4 - -Summary of Features - -Improvising on a tune like “Dream Dancing” can be an arduous undertaking. Among the numerous challenges, the convincing articulation of the formal structure, correct assessment of the harmonic function of distantly related chords, and the use of chromaticism should be at the center of consideration. The following points offer a summary of features to be explored during improvisation: - -1. Formal considerations—based on the analysis of the tune, we can see ways in which the composer plays with tonal expectations and postpones the arrival of the tonic until m. 41. This gradual and measured emergence of tonality suggests that the solo can have similar properties, especially in the way the local progressions and the climax of the solo are articulated. - -2. Melodic considerations—since the melody features some unusual chromatic inflections, the use of bold chromaticism can be a part of the solo. - -3. Harmonic considerations—the prominent role of [ii7–V7]/II and the dominant 7ths a major third apart suggest the use of these progressions during improvisation with a fitting selection of chord–scale relationships. - -4. Tempo considerations—with extended formal structures, we can experiment with different tempi and/or time feels. In addition to a swing feel, “Dream Dancing” lends itself to a straight 8th-note feel (as performed on the Play Along DVD). - - - -NOTES - - - -* * * - - - -1. For the composers and the lyricists, consult Appendix G on the companion website. - -2. For representative recordings, consult Appendix F on the companion website. - -3. Recitative is a type of vocal writing characterized by a speech-like declamation of words. In the opera, recitatives precede melodically and formally interesting arias. - -4. The most familiar case is his well-known song “Night and Day.” - - - - - -CHAPTER TWENTY-FIVE - - -Jazz Reharmonization - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 25 discusses various approaches to jazz reharmonization. It begins by considering two contrasting approaches to harmony: vertical and horizontal. Eleven basic techniques of reharmonization are introduced and demonstrated using Joseph Kosma’s “Autumn Leaves.” More advanced linear techniques are shown in the context of Jerome Kern’s “All the Things You Are” and Victor Young’s “Stella By Starlight.” - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Block style - -• Harmonization - -• Harmony: - -Horizontal - - - -Vertical - - - -• Parallel planning - -• Reharmonization: +Chapter 24 — Extended and Unusual Song Forms +Key Concepts +Extended forms go beyond typical 32-bar AABA or ABAC structures. +Unusual forms often have irregular phrase distributions, off-tonic sections, and intricate harmonic progressions. +Improvisers must carefully analyze tonality and phrase structure to navigate these songs effectively. +“Night and Day” duality is an example of lyrical and harmonic contrast often used in Porter's writing. +Example: Cole Porter’s “Dream Dancing” + +Overall Form: Composite 52-bar form with verse and 3-part chorus. + +Verse (16 bars): +Recitative-like, syllabic melody. +Tonal architecture: Tonic (mm. 1–8), Predominant (mm. 9–14), Dominant (mm. 15–16). +Harmonic parallelisms: mm. 5–7 reappear transposed in mm. 9–12. +Salient ii7–V7/II in mm. 13–14 supports the lyrics “to live again.” +Chorus (3 sections): +A section (16 bars): Combines Phrase Model 5 (mm. 1–8) + Phrase Model 3 (mm. 9–16). +B section (8 bars): Phrase Model 3 with off-tonic identifier on IV (mm. 25–32). +C section (12 bars): Phrase Model 8 (mm. 41–52) with interpolated ii7–V7/II (mm. 45–49). + +Harmonic Highlights: + +Tonally ambivalent major submediant and chromatic alterations (mm. 1–4, 17–20). +Off-tonic phrase identifiers and tonicizations (V7/VI, ii7–V7/II, ii7–V7/IV). +Dominant 7th chords a major third apart (mm. 16–17) emphasize tonal instability. + +Melodic Highlights: + +Characteristic gestures for title words “dream dancing”: minor third skips and octave leaps. +Chromatic inflections enhance expressive quality, supporting “Night and Day” duality. + +Improvisation Considerations: + +Formal: Use gradual tonic emergence (mm. 1–41) to shape solo climaxes. +Melodic: Bold chromaticism aligns with song gestures. +Harmonic: Exploit ii7–V7/II and dominant 7th chord progressions a third apart. +Tempo: Flexible interpretation; swing or straight 8th-note feel possible. +Chapter 25 — Jazz Reharmonization +Key Concepts +Harmonization: Supporting a melody with suitable chord progression. +Reharmonization: Modifying existing chord progressions while keeping melodic alignment. +Vertical vs Horizontal Harmony: +Vertical: One chord per melodic event, often rapid harmonic rhythm. +Horizontal: Independent linear lines create harmonic interplay; less tied to beat-by-beat chords. + +Historical Context: + +Techniques extend from Baroque practices (Bach chorales, variations) to jazz improvisation. +Example: Bach’s “Herzlich tut mich verlangen” — the same melody harmonized differently creates new tonal paths. +Example: Bach’s Goldberg Variations, “Variatio 15. Canone alla Quinta” — harmonic outcomes arise from line independence rather than fixed chord structures. +Implications for Jazz +Melodic interpretation guides harmonic choices. +Linear reharmonization allows freedom, producing chromaticism, suspensions, and delayed resolutions. +Both vertical and horizontal strategies inform improvisation and arranging. +Basic Reharmonization Techniques (Preview) +Chord substitutions (diatonic, tritone, or chromatic) +Addition of chord extensions +Functional exchange +Pedal points and tonicizations +Interpolation of auxiliary progressions +Neighbor formations and melodic recontextualization + +Jazz Reharmonization Techniques Illustrated with “Autumn Leaves” + +In this section, several approaches to reharmonization are discussed and illustrated using sections from Joseph Kosma’s classic tune “Autumn Leaves.” The eleven basic techniques covered are: Addition of extensions - - - -Diminished 7th chords - - - Harmonic expansion of structural chords - - - -Functional exchange - - - -Interpolation of auxiliary progressions - - - -Melodic recontextualization - - - -Neighbor formations - - - -Pedal points - - - Tonicization - - - Tritone substitutions - - - +Diminished 7th chords Upper-structure triads - - - - - -INTRODUCTION - - - - -* * * - - - -The terms “harmonization” and “reharmonization” are somewhat related to one another as they describe the process of “fleshing out” chord progressions with fully or partially realized harmonic structures. Harmonization involves supporting a tune with a suitable chord progression. Reharmonization then takes that progression and modifies it in a considerable way. While these newly created harmonic modifications might be quite substantial, they are usually traceable to and motivated by the original chord changes. The term “reharmonization” employed in this chapter refers to both processes: realization and harmonic reworking. The process of reharmonization, then, uses both the original and any modified chord progressions to render fully or partially realized harmonic formations. One of the goals of reharmonization is to provide a set of new chord changes that support the melody of a song. The melody, then, is the ultimate source for all harmonic choices. - -Historically, harmonic explorations of the melody have been tied to the art of composition and improvisation. By studying different genres of composition that primarily focus on harmonic and contrapuntal reworkings of the melody, such as passamezzos, folias, passacaglias, chaconnes, fantasias, chorale preludes, suites, and the theme and variations, you discover that the practice of reharmonization has indeed a long and rich tradition.1 Let’s examine how J.S. Bach explored the potential of the chorale melody “Herzlich tut mich verlangen.” Figure 25.1 compares three (out of nine) harmonic reworkings of the Passion chorale.2 - - - - - -FIGURE 25.1 “Herzlich tut mich verlangen”—J.S. Bach’s Harmonic Reworkings - - -When comparing these versions, you may be surprised at the harmonic flexibility of this relatively simple melody and at Bach’s ingenuity in capitalizing on its potential. Each phrase receives harmonic support that clearly delineates the underlying tonality and effectively drives to a cadential repose. How does Bach realize the harmonic potential of the melody? Although there are different answers to this crucial question, it seems that by allowing the melodic phrases to be reinterpreted in the context of closely related key areas and by choosing supporting harmonies that firmly project those key areas, Bach is able to create very different yet compelling harmonic settings. Take, for example, the opening phrase in mm. 1–2. In each case, the pitch E4 that ends the phrase on beat 3 in m. 2 receives distinctive harmonic support. In Figure 25.1a, the E4 is supported by an A major triad, in Figure 25.1b by a C major triad, and in Figure 25.1c, the E4 is harmonized with an E major triad. The choice of these harmonies is predicated on Bach’s ability to select chords that inevitably lead to the respective cadential closures. While the cadence in Figure 25.1a functions quite unexpectedly as a sort of Phrygian half cadence in D minor (without an explicit statement of that key), the other cadential gestures are the consequences of prior harmonic progressions. Thus in Figure 25.1b the melody is reinterpreted as –––––– in C major and receives a harmonic support from this key area, while in Figure 25.1c, the same phrase functions as –––––– in A minor, projects this key with a logical choice of supporting chords, and terminates with a “correct” Phrygian cadence. - -Although the independent nature of Bach’s inner voices implies a linear approach to reharmonization, each note of the melody is supported by a single harmonic formation, as indicated by the Roman numerals and lead-sheet symbols. The use of melodic diminutions is purely for decorative purposes and confined to local harmonies only. The vertical aspect of these reharmonizations, then, is conveyed by the fast rate of harmonic rhythm and one-to-one ratios between the melody and harmony. Note also that each of these reharmonizations features chord progressions that logically support the underlying key areas, which—as is often the case with the tonal architecture of chorale melodies—change about every two measures. In short, Bach’s reharmonizations not only capitalize on the harmonic potential of the melody, but they also feature perfectly executed voice leading and unobtrusively support the tonality of individual phrases with a strong cadential confirmation at the end of each phrase. - -A very different approach to harmony is shown in Figure 25.2, where the interaction between the three voices creates functional progressions and individual harmonic formations. Figure 25.2 illustrates mm. 1–16 of “Variatio 15. Canone alla Quinta. a 1 Clav.” by J.S. Bach from his “Goldberg Variations.” - -The rate of harmonic rhythm is considerably slower with one chord per measure in most cases. The interplay between three independently moving lines creates interesting harmonies that resist a beat-by-beat vertical analysis. Metric displacements, accented passing notes, appoggiaturas, suspensions, and, above all, voice independence (though being a canonic variation definitely helps in this case) are essential features of a linear approach to harmony. The use of these devices creates a sense of harmonic freedom: the many localized harmonies are generated linearly without being confined to individual beats or measures. For instance, mm. 1–4 feature a chromaticized bass span from to which is realized with the traditional chord progression: | i | V6−V | iv6 | V |. When examining the way Bach handles this standard progression, you can see that voice independence plays an integral role in disguising the structure of individual chords. For instance, the occurrence of V6 in m. 2 is postponed by a half beat with a 2–3 bass suspension. In the same measure, the first convergence of three voices at the “and” of beat 2 produces the D augmented triad. The chromatic oscillation in the bass voice in m. 3 between E3–E3, followed by the leap of a diminished 8ve to E4, creates a wonderful harmonic ambiguity and further disguises the underlying predominant harmony. Note that each melodic line is melodically and rhythmically independent, with the bass voice providing clear harmonic support for the upper parts. The use of contrary motion between voices (this piece features a canon at the fifth in contrary motion) and stepwise linear spans that create expressive dissonant intervals (mm. 2, 9, and 15) testifies that Bach is probably more interested in cultivating a sense of linear independence and letting the interaction between individual lines dictate the harmonic outcomes than he is in being influenced and confined by the symmetrical unfolding of harmonic progressions. - - - -FIGURE 25.2 J.S. Bach—“Variatio 15. Canone alla Quinta. a 1 Clav.” from Goldberg Variations - - -As mentioned earlier, the study of reharmonization is a vast subject and the forthcoming study does not pretend to be even marginally exhaustive. The primary purpose is to bring an awareness to the huge potential that vertical and linear approaches to reharmonization can present. - - - - - -BASIC REHARMONIZATION TECHNIQUES - - - - -* * * - - - -In this section, several approaches to reharmonization will be discussed and illustrated by using sections from Joseph Kosma’s classic tune “Autumn Leaves”:3 - -1. Addition of extensions - -2. Harmonic expansion of structural chords - -3. Tonicization - -4. Tritone substitutions - -5. Diminished 7th chords - -6. Upper-structure triads - -7. Neighbor formations - -8. Pedal points - -9. Functional exchange - -10.Melodic recontextualization - -11.Interpolation of auxiliary progressions. - - - - - +Neighbor formations +Pedal points +Functional exchange +Melodic recontextualization +Interpolation of auxiliary progressions Addition of Extensions +Chapters 4 and 5 demonstrated how chords can be expanded with various extensions and pitch alterations, introducing 14 four-part chords and 35 five-part chords. In the context of “Autumn Leaves,” the available extensions are determined by the structure of the melody. -Chapters 4 and 5 showed how to expand the structure of chords with various extensions and pitch alterations. As a result, 14 four-part chords and 35 five-part chords were introduced. Since the addition of chordal extensions will be demonstrated in the context of “Autumn Leaves,” the pool of available chords for reharmonization will be considerably smaller and entirely dependent on the structure of the melody. The melody of “Autumn Leaves” (and of any other tune) suggests which chordal extensions will work and which ones will not. Figure 25.3 illustrates mm. 1–8 of “Autumn Leaves” copied from a poorly edited fake book. - -When trying to realize these chords as faithfully as possible, notice that the realization hardly sounds convincing. If you add appropriate extensions to these chords, however, the progression sounds more idiomatic and in keeping with jazz harmonic practice. To add appropriate extensions, the relationship between the melody and the underlying harmony has to be examined. The notes, E5 in m. 1, D5 in m. 3, C5 in m. 5, and B5 in m. 7, function as minor/major 3rds of the corresponding chords. Notice that each note (with the exception of B4 in m. 7) is suspended over the bar line and supported with a different chord. Did you recognize the familiar voice-leading scenario in which the 3rd of one chord becomes a 7th of the next? Each chord tone on the downbeat of mm. 1, 3, 5, and 7 is prepared by a quarter-note melodic ascent. These melodic ascents occur in the harmonic space of particular chords and, as such, suggest the use of specific extensions that can effectively expand the structure of the underlying chords. Figure 25.4 shows the lead sheet for “Autumn Leaves” analyzed with Roman numerals. The boxed numbers indicate the relationship between melodic notes and supporting harmonies. - - - -FIG. 25.3 “Autumn Leaves” mm. 1–8 - - -Based on this analytical reading, the pool of available extensions becomes more restrictive. For instance, if we were to add a 9th to D7 on beat 3 of m. 6, this choice would create a jarring dissonance with the melodic note, E4. Furthermore, the predominant function of Cmin7 in m. 1 prevents us from adding a major 7th or a minor 6th to that chord. Also, if we add a major 7th to the minor tonic chord in mm. 15 and 31, the presence of G4 in the melody precludes us from adding that chromatic extension, unlike in m. 7 where the melodic B4 would have nicely supported that choice. Figure 25.5 demonstrates the addition of available extensions to mm. 1–8 of “Autumn Leaves.” The melody with the original chord changes is written on the top stave, while the new harmonic progression is realized using Model VI of keyboard playing. - -This harmonic expansion is fairly basic and mainly uses a single extension to expand the structure of chords. The only exceptions are F13 in m. 2 and G7alt. in m. 8, where the former uses two diatonic extensions: major 9th and major 13th. The latter is more chromatic and employs 9th and 13th, both of which project the underlying tonality and complement the melody. - -What is really fascinating about the addition of available extensions is that one can experiment with different combinations of extensions and voicings to generate different harmonic outcomes. Figure 25.6 illustrates a more challenging selection of available extensions for mm. 1–8 of “Autumn Leaves” using Model VII of harmonic realization. Note that the “chorale style” texture is expanded to five- and six-note voicings. - -The Cmin11 chord in m. 1 contains two diatonic extensions: major 9th and perfect 11th. Notice that the voicing of this chord features a quintal structure in the bottom stave that gives the chord a more “transparent” sound. The accumulation of harmonic tension is highlighted by the diatonic extensions. When examining the harmonic content of mm. 3–5, notice some interesting harmonic choices: | BMaj7(5)—BMaj13 | EMaj9(11)—EMaj9 | Amin7(). This reharmonization is possible because the melodic content allows for the use of these specific chromatic formations. The D5 in m. 3, for instance, functions as a major 3rd of BMaj7 and, as such, effectively supports the inner melodic motion from F4 to G4.4 Since m. 3 initiates the inner line, the content of m. 4 is the consequence of the previous measure as the line continues to ascend to A4 and B4. The rather unexpected () harmony in m. 5 is the consequence of suspending the B4 in m. 4 over the min7(5) chord. To put it succinctly, these harmonies are motivated entirely by the melodic content and independent inner lines that cut across the bar lines to supply extensions of the underlying harmonies. - - - -FIGURE 25.4 “Autumn Leaves”—Melodic Analysis - - - - -FIGURE 25.5 Addition of Extensions: Variant 1, mm. 1–8 - - - - -FIGURE 25.6 Addition of Extensions: Variant 2, mm. 1–8 - - -Before leaving this technique, the voice-leading structure of Figure 25.6 must be addressed. Take, for example, the preparation and treatment of extensions in mm. 2–3. The diatonic G4 (major 9th) in m. 2 prepares the F4 (9th) on beat 4 of the same measure. The F4 is suspended over the bar line and becomes a 5th of BMaj7(5), which in turn, initiates the inner line that continues with the suspended preparation of a 9th over Admin7() and a downward resolution to F4 in m. 6. The distribution of extensions is hierarchical; more chromatic extensions require more elaborate preparations. For instance, the 5th — undoubtedly the most dissonant extension of this reharmonization—requires a two-step preparation: from the diatonic 9th to the chromatic 9th and from the chromatic 9th to the more chromatic 5th. - - +For example, in mm. 1–8 (Figure 25.3), notes such as E5 (m. 1), D5 (m. 3), C5 (m. 5), and B5 (m. 7) serve as minor or major 3rds of their corresponding chords. Many of these notes are suspended over bar lines and supported by different chords, demonstrating a common jazz voice-leading scenario: the 3rd of one chord becomes the 7th of the next. +Adding appropriate extensions transforms a simple harmonic progression into one that sounds idiomatic in jazz. Figures 25.5 and 25.6 illustrate two variations of adding extensions, from basic single extensions to more complex five- and six-note voicings. For example, Cmin11 (m. 1) includes the major 9th and perfect 11th, creating a transparent, quintal-based sound. Harmonic tension is accumulated through diatonic extensions that are carefully prepared and resolved across measures. +Voice-leading considerations are critical: extensions like the 5th require hierarchical preparation through successive diatonic and chromatic extensions to avoid clashes. Harmonic Expansion of Structural Chords +Harmonic expansion increases the rate of harmonic rhythm, creating a sense of forward momentum. Slower harmonic rhythms, typical of ballads, are ideal for this technique. -One way in which it is possible to generate harmonic diminutions and increase the sense of harmonic motion is by speeding up the rate of harmonic rhythm. Ballads or tunes with slower harmonic rhythms are better suited for the use of harmonic expansion of structural chords rather than tunes with quick moving changes. Broadly speaking, any structural chord with different harmonic diminutions can be expanded. However, your choices must establish a logical relationship with structural chords, anticipate forth-coming harmonies, and occasionally share the same harmonic function. Figure 25.7 illustrates the application of this technique using mm. 1–4 of “Autumn Leaves” realized with Model VII. - -Even though chords in mm. 1 and 3 share the same harmonic function, they have different qualities. The Cmin9 and EMaj9 belong to the predominant category of chords and the BMaj9 and Dmin11 belong to the tonic category. In m. 2, the use of the ii7–V7 progression within the dominant 7th space is one of the most common harmonic expansions. It can be freely implemented with any dominant 7th chord provided that the melody allows for such an expansion. These harmonic diminutions produce forward momentum marked by a faster harmonic rhythm, a stronger cadential drive, and a more convincing voice leading. - - - -FIGURE 25.7 Harmonic Expansion of Structural Chords - - - - +For instance, in mm. 1–4 of “Autumn Leaves” (Figure 25.7), chords with similar functions (e.g., Cmin9 and EMaj9) are expanded with different qualities. The ii7–V7 progression within the dominant space (m. 2) exemplifies a common harmonic diminutive that produces stronger cadential drive and smoother voice leading. Tonicization +Tonicization prepares the arrival of new key areas or individual chords using dominant 7ths, ii7–V7 progressions, or tritone substitutions. Minor chords are typically not tonicized. -Tonicization is a technique that prepares the arrival of minor/major key areas or individual chords (dominant 7th, diminished, and half-diminished chords cannot be tonicized) with appropriate dominant 7ths, ii7–V7s, s, or dominant tritone substitutions. As a result of tonicization, harmonic rhythm of the progression speeds up. “Autumn Leaves” features an unusual 32-bar formal design with two four-bar A sections (mm. 1–16) resembling Phrase Model 3 and an extended 16-bar B section (mm. 17–32) approximating Phrase Model 2. The chord structure in mm. 1–8 forms an uninterrupted sequential span that leads to the minor tonic in m. 7. Measure 8, then, is an ideal place to demonstrate the use of tonicization. Figure 25.8 illustrates mm. 7–9 of “Autumn Leaves” realized with Model III. - -Even though the tonicization of minor chords requires the progression, the content of the melody in m. 8 prevents the use of this pattern. The melodic span, B4–G4–A4–B4, suggests a ii7–V7 progression, which is typically reserved for the tonicization of major chords. In particular, the pitch A4 does not allow the implementation of Dmin7(5). The pitch B4 on beat 4 suggests the use of an altered dominant and, as the potential source of harmonic conflict, suggests the voicing of the supporting harmony. This places the major 3rd in the middle of its structure to avert the overexposed dissonant clash. - - - -FIGURE 25.8 Tonicization - - - - +In “Autumn Leaves,” mm. 7–9 (Figure 25.8) illustrate tonicization. The melody (B4–G4–A4–B4) suggests a ii7–V7 pattern that leads toward the minor tonic. Pitch choices in the melody constrain the harmonization, e.g., A4 prevents Dmin7(5) and B4 suggests using an altered dominant voicing. Tritone Substitutions +Tritone substitutions replace dominant chords with another dominant a tritone away. Their effectiveness depends on how well the melody fits into the new harmonic context. -Compare the three different reharmonizations of various sections of “Autumn Leaves” in Figure 25.9 using tritone substitutions realized in Model VII. - - - -FIGURE 25.4 Tritone Substitutions—Comparison - - -When listening to the sound of these substitutions, Figure 25.9a may be the least appealing. In this reharmonization, the relationship between the melody and the tritone substitution is not as convincing as it is in the original chord progression. The pitches F4, G4, and A4 in the context of F7 function as root, major 9th, and major 3rd respectively, and as such create a logical melodic succession. When the same pitch segment is examined in the context of the tritone substitution, these notes become 11th, 13th, and 7th of B7 respectively. There are a few problems with this pitch succession. First, it creates a problematic unfolding of chordal extensions. For instance, a 13th hardly ever resolves up to a 7th. Second, the succession from G4 to A4 demonstrates an incorrect preparation of the chordal 7th in the context of B7. Although the rules of jazz voice leading are not as stringent as they are in common-practice music—at least not on the surface—voice-leading successions like this one should be avoided. - -The tritone substitution in Figure 25.9c accommodates the melody notes in a more convincing manner. The pitches B4 and D4 function as a 13th and the root of D7, and a major 9th and a 11th of A7. The melodic succession 9th–11th represents a hierarchical unfolding of extensions from diatonic to chromatic and, as such, makes the use of this tritone substitution more effective than the one in Figure 25.9a. When examining the behavior of outer-voice counterpoint, notice that the outer voices move in parallel motion in Figure 25.9b and in contrary motion in Figure 25.9c. In both cases, the melody notes fit nicely in the context of the underlying tritone substitutions, yet the use of contrary motion in Figure 25.9c is probably more effective. The use of tritone substitutions is first and foremost dependent on the melody. If the melody notes function as chord tones and/or diatonic extensions of the intended tritone substitutions, these substitutions are likely to produce satisfactory reharmonizations. - - +Figure 25.9 compares three reharmonizations of “Autumn Leaves” using tritone substitutions: +25.9a: Least convincing; melodic notes conflict with the substituted chord. +25.9b: Some improvement using parallel motion. +25.9c: Most effective; contrary motion and hierarchical extension placement support the melody convincingly. +The melody must function as chord tones or extensions for successful tritone substitution. Diminished 7th Chords +Diminished 7th chords are used as passing or neighbor chords. Close-position, block-style voicings with the melody doubled at the octave are common. -Figure 25.10 illustrates the use of two types of diminished 7th chord: passing and neighbor. This realization utilizes the so-called block style of harmonization. The main characteristic of this style is the use of close-position voicings with the melody doubled at the octave. - -The accented diminished passing chord in Figure 25.10a, F°7, connects two chord tones of the underlying harmony: the root and the 3rd. Even though the diminished passing chord typically occupies a metrically weak position, in Figure 25.10a it occurs on beat 3 and adds extra tension to the progression. Figure 25.10b demonstrates the use of two consecutive passing chords, E°7 and F°7. Figure 25.10c shows the use of a lower diatonic diminished neighbor, which is slightly different from the lower chromatic diminished neighbor that occurs in Figure 25.10d. The roots of all diminished 7th chords in Figure 25.10 function as melody notes. - - - - - +Passing chords: Connect two chord tones (e.g., F°7 between root and 3rd). +Neighbor chords: Can be diatonic or chromatic; roots often correspond to melody notes. (Figure 25.10) Upper-Structure Triads - -The use of upper-structure triads is one of the most powerful techniques that can greatly enhance the character of your reharmonizations. Figure 25.11 illustrates the use of upper-structure triads in mm. 22–23 of “Autumn Leaves” realized with Model VII. - - - -FIGURE 25.10 Diminished 7th Chords - - - - -FIGURE 25.11 Upper-Structure Triads - - -Harmonic hierarchy and voice leading are two of the main themes recurring in our discussion. In Figure 25.11, each consecutive triad is slightly more dissonant than its predecessor. Thus the B triad on beat 2 of m. 22 introduces two diatonic extensions, 9th and 11th, and at the same time prepares the chromatic extensions of the following D by step (albeit, with octave displacements). The choice of parallel and triads on beats 3 and 4 is very effective, as they gradually accrue harmonic tension over F7 before resolving to the chromatic BMaj7(5) in m. 23. The choice of upper-structure triads in Figure 25.11 is entirely motivated by the design of the melody. - - - - +Upper-structure triads introduce additional dissonance and tension, enhancing harmonic character. In mm. 22–23 (Figure 25.11), successive triads increase dissonance while maintaining voice-leading coherence, gradually preparing the resolution to BMaj7(5). Neighbor Formations - -Broadly speaking, neighbor formations come in two types: upper and lower. The most important considerations controlling the use of neighbor formations is that they adhere to the rules of voice leading and the behavior of outer-voice counterpoint. Figure 25.12 shows the use of different neighboring formations. - - - -FIGURE 25.12 Neighbor Formations - - -In both cases, the outer-voice counterpoint features contrary motion and stepwise voice leading. The use of neighbor formations is most effective in situations where the melody moves by step in either direction while the lowest voice moves in the opposite direction to the melody. - - - - +Neighbor formations—upper or lower—are effective when the melody moves stepwise while outer voices move in contrary motion. This maintains smooth voice leading and harmonic clarity (Figure 25.12). Pedal Points +Pedal points anchor a root note while upper voices move harmonically, often over progressions like ii7–V7–Imaj7 or Imaj7–vi7–ii7–V7. -The use of dominant pedal points is restricted to certain types of harmonic progression. These progressions typically feature closely related chords, such as ii7–V7—Imaj7, or Imaj7—vi7—ii7–V7. Dominant pedal points, as the name suggests, utilize the root of V7 as an anchor that supports moving harmonies in upper parts. In a certain sense, pedal points temporarily suspend the succession of chords and allow for the juxtaposition of different chromatic formations. Figure 25.13 demonstrates the use of two pedal points in mm. 17–23 of “Autumn Leaves.” - - - -FIGURE 25.13 Pedal Points - - -Measures 17–20 feature a dominant pedal point over D while mm. 21–23 suspend the harmonic progression over the F pedal. In both cases, the pedal points are derived from the root of the dominant 7th of the underlying progressions. In addition to being a highly effective reharmonization technique, pedal points are powerful performance-practice devices. Their presence heightens the level of rhythmic activity, invites more interaction between players, renders the underlying progressions as modal (as shown in Figure 25.13) rather than harmonic centers, and allows more chromaticism into the structure of melodic lines. They even justify “playing outside” of the changes. - - - - - +Example: Mm. 17–20 pedal on D, mm. 21–23 pedal on F (Figure 25.13). +Pedals increase modal feeling, allow chromaticism, and justify “playing outside” the changes. Functional Exchange +Functional exchange modifies a chord’s quality or role. Successful use depends on the melody fitting into the new harmonic environment. -The technique of functional exchange is based on a modification of the expected behavior of chords. These modifications typically involve changing a chord’s quality or function. A successful implementation of this technique depends on establishing a convincing relationship between the melody and the intended harmonic substitution. In general, melodic pitches that in a new harmonic environment function as chromatic extensions are not ideal choices for the implementation of this technique. Figure 25.14 illustrates a harmonic realization of mm. 1–4 with two functional exchanges. - - - -FIGURE 25.14 Functional Exchange - - -In m. 1, C7(9) substitutes for Cmin7. This choice is not particularly effective because the substitute harmony renders the melodic E5 as a 9th of C7(9). This substitution works if it occurs in the 2nd or 3rd chorus and is foreshadowed well in advance. In m. 3, the BMaj7 chord changes its functional status from that of a local tonic to a dominant 7th anticipating the arrival of EMaj7 in m. 4. The technique of functional exchanges is melody-sensitive and context-specific. Most common functional exchanges involve changing predominant- to dominant-type chords and tonic- to dominant-type chords. (Others, such as dominant- to tonic-type chords are also plausible, although they occur in more advanced harmonic settings.) - - - - - +Example: C7(9) substitutes Cmin7, and BMaj7 becomes a dominant anticipating EMaj7 (Figure 25.14). +Most exchanges involve changing tonic → dominant or predominant → dominant chords. Melodic Recontextualization +This technique reinterprets melody notes as chord tones or extensions of new harmonic progressions. The melody guides substitution choices while maintaining logical harmonic relationships. -The technique of melodic recontextualization provides the most striking and easily recognizable harmonic departure from the original chord changes. A successful application of this technique depends on the recontextualization of the melody notes as diatonic chord tones or diatonic extensions of the intended substitute progression. In addition, the newly formed substitute progression should establish a logical relationship with the underlying harmonic motion. Figure 25.15 demonstrates the use of this technique in mm. 1–4 of “Autumn Leaves” using Model VI with rhythmic variations. +Example: Mm. 1–4 (Figure 25.15) show E5 functioning as the 9th of Dmin9 and 13th of G13, substituting the original Cmin7. Bmin7–E7 substitutes BMaj7 using stepwise voice leading and chromatic preparation. -The E5 in m. 1 is recontextualized as a major 9th of Dmin9 and a major 13th of G13. This chromatic neighbor progression substitutes the original Cmin7 chord and initiates a sequential progression that continues through the phrase. In m. 3, the Bmin7–E7 progression substitutes the local tonic BMaj7. This substitution is possible because of the diatonic status of D5 in the original and substitute progressions: in the context of BMaj7, the D5 functions as a major 3rd; whereas in the context of the substitute progression it functions as a minor 3rd of Bmin7 and a minor 7th of E7. The voice leading of the progression uses mostly stepwise motion that prepares and resolves all chromatic extensions. -FIGURE 25.15 Melodic Recontextualization +FIGURE 26.1 Summary of Analytical Symbols +The analytical symbols in Tristano’s “Line Up” allow for a detailed reading of both melodic and harmonic content simultaneously. Key categories include: +Neighbor Figures: Upper (UN), lower (LN), and double neighbors (DN/EDN). These create tension by approaching chord tones stepwise from above or below. +Escape Notes (EN): Leave a chord tone by step and resolve to another chord tone via a skip in the opposite direction. +Passing Notes (PN): Stepwise tones connecting chord tones, often derived from bebop scales (BPN). +Accented Variants: Accented upper/lower neighbors (AUN/ALN) and accented passing notes (ACPN). +Diatonic vs Chromatic: Prefixes D or C distinguish diatonic from chromatic motion (e.g., CUN = chromatic upper neighbor). +Slurs: Dashed slurs indicate scalar passages, dotted slurs indicate prolonged stepwise voice-leading between phrases. +Brackets: Indicate harmonic substitutions, chord arpeggiations, or structural departures from the underlying progression. +Scale Degrees & Arabic Numbers: Highlight important melodic spans and structural patterns over local harmonies (e.g., C:1–2–3–5 = C–D–E–G). +LINEAR AND CONTRAPUNTAL PRINCIPLES IN “LINE UP” +Tristano’s improvisational approach is fundamentally linear and contrapuntal. Unlike conventional chord-based improvisation, lines are conceived independently, with harmonic coherence emerging from the interaction of multiple moving voices. Important principles include: +Stepwise Motion Dominance: Except for melody leaps, inner lines move predominantly by half or whole steps to avoid conventional harmonic convergence. +Independent Voice Interaction: Each voice can imply distinct harmonic regions, creating novel chordal textures. +Use of Neighbor and Escape Figures: These provide melodic decoration while reinforcing harmonic motion subtly. +Structural and Non-Structural Tone Distinctions: Longer stems and beams mark structurally important tones, while dashed stems indicate non-structural surface activity. +Sidesteppings: Chromatic or diatonic sidesteps create temporary harmonic detours, enriching the tonal landscape without breaking linear integrity. +Contrapuntal Chord Superimposition: Three- to five-part chromatic or diatonic structures overlay the primary harmonic framework, allowing subtle reharmonization on the fly. +EXAMPLES OF TRISTANO’S TECHNIQUE -Interpolation of Auxiliary Progressions +Figures 26.2a–f (referenced in the text) illustrate the following: +Neighbor Figure Applications: UN and LN figures in mm. 3–5 approach structural chord tones stepwise, creating tension-resolution gestures. +Escape Note Usage: EN figures in mm. 6–8 leave chord tones by step and resolve via skips, often anticipating harmonic changes. +Bebop Passing Notes: BPNs enrich scalar motion and connect chord tones smoothly, especially in longer melodic spans. +Accented Figures: ALN or ACPN provide rhythmic emphasis and foreground select pitches within dense contrapuntal textures. +Chromatic Sidestepping: Vertical arrows in the transcription indicate chromatic excursions, temporarily displacing the melody from underlying harmony. +Voice Interaction: Independent movement of lower and inner voices produces emergent chord structures, demonstrating Tristano’s linear reharmonization principles. +PEDAGOGICAL IMPLICATIONS -The interpolation of auxiliary progressions involves the combination of previously discussed techniques. By now, the idea of melody-specific and context-sensitive harmonic substitutions should be firmly engraved on our musical consciousness. Figure 25.16 interpolates different auxiliary progressions in mm. 1–2 and 7–8 of “Autumn Leaves” using Model VII with different sizes of voicings. - -In Figure 25.16a, the melodic E5 functions as a minor 3rd of Cmin9, a major 13th of Gmin13, and a major 3rd of C9. A more advanced interpolation of auxiliary progression occurs in Figure 25.16b. Measures 7–8 combine four reharmonization techniques: the tritone substitution, neighbor formations, tonicization, and melodic recontextualization. The tritone substitution occurs on beat 4 of m. 8 where D9(11) substitutes a tonicizing G7 formation. The tonicization that foreshadows the arrival of Cmin7 in m. 9 should have involved a , yet the melody note A4 implies a ii7–V7 progression. In this case, the tonicizing ii7–V7 progression is reduced to G13sus and followed by D9(11) tritone substitution. The arrival of the quartal structure on beat 1 of m. 8 is anticipated by two neighbor formations, which share the same intervallic properties. This technique is also known as parallel planning. Not only does the melodic recontextualization of B4 in m. 8 as a major 13th of D7 allow for the use of tritone substitution, but it also fulfills the tonal conditions and voice-leading requirements that characterize a successful reharmonization. Since the interpolation of auxiliary progression in m. 8 coincides with the cadential preparation of the new formal section, speeding up the rate of harmonic rhythm makes the arrival of the new section in m. 9 more satisfying. - - - - - -LINEAR APPROACHES TO REHARMONIZATION - - - - -* * * - - - -My ongoing fascination with the contrapuntal pieces of J.S. Bach and D. Shostakovich has led me to develop a linear conception of jazz harmony where the interaction between independently moving voices produces less conventional chords and harmonic progressions. The examples from Bach show that even a single line can successfully convey harmonic progressions.5 The examples from Shostakovich demonstrate that the relationship between non-tonal lines can create interesting, albeit non-functional harmonic progressions.6 Although both composers’ conceptions of harmony are very complex and highly individual, the meticulous design of contrapuntal lines is one of the key features of their respective styles. Their lines are characterized by a balanced design, careful treatment of dissonances (which in Shostakovich’s case are entirely contextual), stepwise architecture, and strong metric and rhythmic properties. - - - -FIGURE 25.16 Interpolation of Auxiliary Progressions - - - - - -“All the Things You Are” - - -To demonstrate a linear approach to reharmonization, mm. 1–8 of “All the Things You Are” will be used. First, the melody is harmonized with different lower-voice counterpoints. These two-voice contrapuntal frameworks in 1:1 melodic ratio are then filled in with inner lines moving in half and whole steps. The resulting four-, five-, or six-voice realizations feature both tonal and non-tonal harmonic progressions characterized by linearly derived chords. Figure 25.17 illustrates the A section of “All the Things You Are” with eight note-against-note counterpoints. Notice that the melody is reduced to its essential structure with whole notes only. - - - -FIGURE 25.17 Linear Approach to Reharmonization: Outer-Voice Frameworks - - -When comparing the structure of the lower counterpoint in Figure 25.17a to other counterpoints, notice that they exhibit more linear characteristics. For instance, the counterpoint in Figure 25.17b moves entirely by half steps starting on the root of the underlying Fmin7. The counterpoint in Figure 25.17c moves also by half steps, yet the opening pitch suggests a chord—scale relationship different from the original. A similar scenario occurs in Figure 25.17d where the opening note of the counterpoint begins on G3 forming the interval of a minor 9th with the melody. Figure 25.17e–f illustrates sequential counterpoints that complement the melody nicely. The former uses a minor 3rd sequence while the latter alternates between major and minor 2nds. Finally, Figure 25.17g–h demonstrates the use of an oblique motion utilizing two pedal points. The choice of tonic pedal point in Figure 25.17g suggests a more conventional reharmonization. The use of D3 as a pedal point in Figure 25.17h, however, implies a reharmonization outside of the conventional norms. - -In “fleshing out” these outer-voice frameworks, the behavior of inner lines is restricted to stepwise motion in either direction or to common tones. For now, leaps are forbidden (except for those occurring in the melody). By adhering to these particular constraints, the voices are prevented from converging on to familiar harmonies. Even though dissonant formations are likely to occur, the larger point is to show how lines produce harmonies and how the flow of harmonic tensions is regulated and resolved. - -Figure 25.18 provides eight reharmonizations of the outer-voice counterpoints from Figure 25.17. - -These reharmonizations draw on some of the techniques discussed earlier in the chapter. For instance, the realization in Figure 25.18c uses the technique of melodic recontextualization as the opening chord renders the melodic note, A4, as a major 9th of Gmin11. In choosing the opening sonorities, familiar structures were avoided in order to experiment with linearly driven harmonic progressions. In a certain sense, the opening sonority sets the character for the entire reharmonization and, at the same time, offers a challenge to find satisfactory harmonic solutions. When comparing Figures 25.18a and 25.18e, the difference between the two is very striking. Whereas the former is more conventional because of the tonal framework, the latter is highly dissonant with largely unanalyzable harmonic formations. - - - - - -FIGURE 25.18 Linear Approach to Reharmonization: Realizations - - - - - -“STELLA BY STARLIGHT”—A REHARMONIZATION - - - - -* * * - - - -Written by Victor Young for the movie The Uninvited, “Stella By Starlight” has become a favorite standard tune in jazz. Its popularity among jazz musicians is indisputable; almost all of the great jazz artists of the 1950s and beyond recorded it at some point of their career.7 The lead sheet of the song is provided in Figure 25.19. - -The selection includes three sets of changes: movie soundtrack, original, and jazz. By including these changes, we can compare the differences between them and appreciate the composer’s original harmonic intentions. Let me first clarify the labeling of the individual progression. The movie soundtrack changes refer to the progression that is heard in the movie. The song is performed in the key of D major with lavish orchestration and distinct chord progressions comparatively different from both the original and the jazz versions. The original chord changes—supposedly provided by the composer—were published in a fake book in the 1950s (of an uncertain origin) in the key of G major. - - - -FIGURE 25.19 Lead Sheet—“Stella By Starlight” - - -The jazz changes are readily available in countless fake books and are the ones commonly used by jazz musicians. - -What makes “Stella By Starlight” stand out among other standard tunes is its freely unfolding melody, an entity in and of itself that transcends the boundaries of the phrase structure. The melody is characterized by a relatively static rhythmic design and the inclusion of non-harmonic tones as essential melodic components. Suspended notes over the bar lines create tension with the underlying harmonies. Thus the pitch A4 at the beginning constitutes the major 7th of the original B° or the 11th of Emin7(5) of the jazz version. In m. 5, the same harmonic change in the original and jazz versions, F minor, supports the pitch G4, the major 9th. These dissonances usually underscore important words of the lyrics, lending them a particular poignancy. The climax of the tune, occurring in mm. 17–19, corresponds to the lyrics, “that great symphonic theme”; at this point, the melodic E5 becomes the 13th of G7 and F5 the 11th of Cmin11. Measures 20–23 continue to emphasize non-harmonic tones within the melody. Upon reaching in m. 19, the melody features a stepwise descent to in m. 25. This diatonic span, however, receives an unorthodox harmonic treatment: in m. 21, is the major 7th of Emin7 in the original version, or the 11th of A7 in the jazz version; and in m. 23, is supported as the 9th of BMaj7 in both versions. - -At first glance, the comparison of the original and jazz changes seems to reveal significant differences between the two. Upon closer examination, however, the jazz changes are seen as a middleground elaboration of the original progression. Nowhere is the relationship between the background and middleground more evident than in mm. 1–8. The opening progression of the original version, B°–F7, stands out for its stylistic uniqueness and an ominous sound perfectly suited to a ghost story. Its connection to the jazz changes, Emin7(5)–A7–Cmin7–F7, is classified through common-tones relationships between Emin7(5)–A7 and B°, as the members of the B° triad are embedded within the structure of A7(9). Since it is common in the jazz idiom to precede the dominant 7th with its local predominant ii7 (provided that melodic notes agree with the harmony), the use of an Emin7(5)—A7 progression is a well-considered choice for the original B°. Similarly, the space occupied by F7 in the original version is expanded by an embedded ii7–V7 progression. Hierarchically, B° is inferior to F7, since the former, due to its unstable quality, is heard as a contrapuntal elaboration of the more stable F7. - -The evolution of the jazz harmonic syntax from the popular song vocabulary cannot be more evident than in the treatment of IV–V or IV–I harmonic progressions. These are typical of common-practice tonality and the language of popular tunes draws extensively on this practice. There are specific instances pointing to this practice in “Stella By Starlight.” For instance, mm. 15–16 tonicize G7 in m. 17. The original version employs a local iv–V7 of G. In the jazz version, however, the focus is placed on the cycle of 5ths progression with substituting for iv. A similar scenario occurs in mm. 27–30 where local iv–V7 progressions in the original are changed to in the jazz version. Measures 21–24 in the original are governed by a iv–I harmonic motion. The relatively weak position of the plagal motion (further emphasized by a minor predominant) is replaced by a more idiomatic VII7 in m. 21. The use of the back-door VII7 is consistent with idiomatic jazz practices and anticipates the arrival of the tonic more forcefully. Again, the use of the jazz substitution stems from the original change; Emin may be interpreted as a “ii7” necessarily bringing its “V7,” A7. - -The movie soundtrack and original changes are very much related to one another. The former, however, makes great use of chordal inversions and linear bass progressions. For instance, the preparation of the climax in m. 17 begins in m. 9 with the chordal 5th over the B triad. The bass voice subsequently descends to G in m. 17. During this span, it introduces some compelling harmonies, which are quite unexpected, yet masterfully woven into the framework of the progression. In m. 12, D7(5) nicely anticipates the F/C. The free standing B° in m. 14 offers convincing melodic support and foreshadows the arrival of Amin7(5). - - - - - -FIGURE 25.20 “Stella By Starlight”—A Reharmonization - - -As a ghost movie theme, “Stella’s” dreamy and mysterious character is expressed in many different ways. The reharmonization of the song in Figure 25.20 attempts to capture its mood through the harmonic vocabulary derived from the hexatonic system discussed in Chapter 20. Remember, the hexatonic system includes major, minor, dominant, suspended, and intermediary categories, each of which features a pitch aggregate that furnishes material for voicings of different sizes and intervallic configurations. In general, the voice leading of the reharmonization is mostly stepwise and balances a mixture of contrary, parallel, and oblique motions occurring between the voices. - -NOTES - - - -* * * - - - -1. A comparison of different harmonic settings of the same chorale melody enables one to appreciate J.S. Bach’s conception of harmony. An examination of larger compositions, such as Bach’s Goldberg Variations, BWV 988; Beethoven’s Diabelli Variations, Op. 120; Chopin’s Variations on “Lá ci darem la mano,” Op. 2; Brahms’s Variations and Fugue On a Theme By Handel, Op. 24; or Mompou’s Variations On a Theme By Chopin reveal how these composers exhausted the harmonic and contrapuntal potential of the melody with which they were working. - -2. 178 Chorale Harmonizations of Joh. Seb. Bach—A Comparative Edition for Study, Volume I, by Donald Martino is an excellent publication that compiles multiple harmonic settings of chorale melodies that allow for easy comparison. This inexpensive publication is strongly recommended. - -3. For representative recordings, consult Appendix F on the companion website. - -4. In common-practice theory this particular melodic motion is known as the retardation or the suspension resolving upwards. - -5. Das wohltemperierte Klavier I, BWV 846–869; Das wohltemperierte Klavier II, BWV 870–893; 6 Violin Sonatas and Partitas, BWV 1001–1006; Cello Suites, BWV 1007–1012. - -6. Preludes and Fugues, Op. 87. - -7. For representative recordings, consult Appendix F on the companion website. - - - - - -CHAPTER TWENTY-SIX - - -“Line Up” - - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis, specific elements of his style of improvisation are codified. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -• Compound/polyphonic melody - -• Escape notes - -• Melodic interpolation - -• Motivic parallelism - -• Neighbor figures - -• Passing notes - -• Playing outside - -• Rhythmic displacement - -• Scale degrees - -• Sidesteppings - -• Slurs - -• Structural approach - -• Tristano school - - - - - -INTRODUCTION - - - - -* * * - - - -“Line Up” is an overdubbed solo performed by Lennie Tristano with a pre-recorded rhythm section.1 The solo is a superb demonstration of an important style of improvisation, which, above all, is characterized by a highly innovative approach to rhythm and meter. The remarkable feature of the Tristano school, whose illustrious alumni include Lee Konitz, Warne Marsh, Billy Bauer, and others, is that it lends itself to improvisation as much as it does to composition. In fact, contrafacts such as “Lennie’s Pennies” and “317 East 32nd Street” composed by Tristano, “Subconscious-Lee” and “Kary’s Trance” written by Konitz, or “Marshmallow” and “See Me Now, If You Could” composed by Marsh, sound like improvisations worked out in advance. - -“Line Up” exemplifies the essence of the “Tristano style” and, as such, constitutes a great pedagogical tool for summarizing various characteristics of jazz musical syntax discussed in this book. It also demonstrates how specific theoretical concepts work in practice. You will be surprised at the amount of information encoded in this solo and how much you can learn by cracking Tristano’s musical code. In the forthcoming analysis, the discussion focuses on the aspects of his playing that have practical applications and eventually leads to a broader codification of his style of improvisation. - - - - - -ANALYTICAL ANNOTATIONS - - - - -* * * - - - -Figure 26.1 shows a partially annotated transcription of Lennie Tristano’s “Line Up.” To facilitate comprehension, various analytical markings and symbols are used. Neighbor figures prepare chord tones or structural tones by step from below and/or above. In the transcription, UN indicates upper neighbor, LN lower neighbor, and DN double neighbor (which some jazz musicians also call pitch enclosure). Double-neighbor figures typically involve three- or four-note groupings, but in the case of longer gestures, they are designated EDN (extended double neighbor). The chord tone decorated with a neighbor figure is analyzed with an Arabic number written in parenthesis to show its chord membership. Somewhat related to neighbor figures is the escape note, EN, which leaves a chord tone with a step and resolves to another chord tone by a skip in the opposite direction. In addition to neighbor and escape notes, Tristano employs a variety of passing notes, PN. Those derived from bebop scales are designated BPN (bebop passing notes). In the score, passing and escape notes are placed in parenthesis and analyzed accordingly. Occasionally, D (diatonic) and C (chromatic) are written in front of LN, DN, PN, etc.: for instance, CUN stands for chromatic upper neighbor, DDN for diatonic double neighbor, etc. In the case of accented figures, A written in front of the symbol is used: ALN indicates accented lower neighbor, ACPN accented chromatic passing note, etc. - -Neighbor figures often occur in the midst of a phrase, making them difficult to isolate from the surrounding notes; they are therefore marked by slurs in the score. Dashed slurs show various scalar passages, such as modes, bebop scales, pentatonics, chromatic segments, melodic patterns, and characteristic gestures. Dotted slurs indicate prolongation of notes across larger sections of music and a stepwise voice-leading connection between (with possible octave transfers) adjacent phrases. Brackets below the score are reserved for chord arpeggiations and harmonic substitutions, which are analyzed with additional chord symbols, scale degrees, and Arabic numbers. Chords written below the brackets represent harmonic departures from the underlying progressions. These departures are essential to Tristano’s style and include: superimposition of chromatic structures (three-, four-, or five-part), harmonic sequences, and chromatic sidesteppings. Chromatic sidesteppings are indicated with vertical arrows pointing to the direction of a departure from the structural harmony. For the purpose of readability, these departures are analyzed with enharmonic chord symbols, which do not coincide with the structurally appropriate spellings. - -Scale degrees specify important tones in the tonic key and underscore structural melodic spans or motifs occurring at the background level. For instance, stands for the melodic span F–F♭–E♭ in the key of A♭ major. There is frequently a lot of melodic activity at the surface level between structural tones; therefore, these tones are marked with longer stems connected to a horizontal beam. Dashed stems indicate non-structural notes, such as local chord tones or melodic patterns connected to a horizontal beam. Arabic numbers are utilized for specific pitch successions occurring over local harmonies. For instance, a C:1–2–3–5 illustrates a C–D–E–G melodic pattern. Figure 26.1 contains the summary of all the abbreviations and symbols used in Figure 26.2. - - - - - -AN ANALYSIS OF THE TRANSCRIPTION - - - - -* * * - - - -When listening to the recording of “Line Up,” notice the inherent complexity of Tristano’s lines, their incessant drive, and their swinging quality. As had been the case with numerous instrumental contrafacts from the Bebop Era (and definitely was the prevalent compositional strategy of his school), Tristano borrowed the chord progression from the repertory of standard tunes. In this case he chose “All Of Me” by Gerald Marks and Seymour Simons. An interesting fact about “Line Up” is the absence of a clearly defined thematic statement at the outset of the piece. With each passing chorus, the music seems to build up a forward momentum, giving listeners numerous jolts by shifting to chromatic key areas or engaging in complex rhythmic displacements. With the exception of a few places (mm. 97–104 and 149), the solo employs a single-line texture, which makes it ideal for studying and performing by different instrumentalists. But what is truly fascinating about “Line Up” is that, in spite of the listener’s initial reaction to its complex nature, Tristano uses relatively simple melodic ideas that he effectively synchronizes with different structural patterns. He employs a variety of rhythmic devices that give the solo an innovative character and fully capitalizes on the relationship between melody and meter. The interplay between melody and meter occurring at various levels of the musical fabric is the driving force behind this solo, which demonstrates Tristano’s heightened awareness of musical discourse. - - - - - -Rhythmic Displacement - - -The idea of rhythmic displacement is central to the “Tristano style” and is announced in the very first phrase of his seven-chorus tour de force solo. The line begins in m. 9 with an iambic rhythmic motive, which is immediately answered in m. 10 by an anapestic figure.2 The placement of the anapestic figure on beat 4, coupled with an accent on the first note, makes the entire phrase sound metrically ambiguous, almost as if the beat got turned around. By displacing the second half of the phrase by a beat, Tristano cleverly overrides the predictable phrase symmetry and, with relatively simple melodic means, begins his solo in a highly original manner. Play the opening phrase with a metronome and pay close attention to the way the accents and note placements influence the overall perception of the underlying meter. To compare how the phrase might have sounded if Tristano had retained the expected phrase symmetry without rhythmic displacement, start the second phrase on beat 1 in m. 11. - - - - - -FIGURE 26.1 Analytical Symbols and Annotations - - - - - -FIGURE 26.2 “Line Up”—Lennie Tristano (transcribed by Dariusz Terefenko) - -Tristano explores the concept of rhythmic displacement using different improvisational strategies, such as phrase displacement, metric displacement, manipulation of phrase accents, and melodic interpolations. Phrase displacement occurs when the phrase is shifted by a beat (or more) and creates a dissonance with the underlying harmonic and metric structure. Probably the most effective use of this technique occurs in m. 77 where the line begins on beat 2 with a downward arpeggiation of the E major upper-structure triad over the structural B♭7 and is further emphasized with a strong accent on the first quarter note, E♮4. The manipulation of phrase accents shifts regular metrical accents, thereby creating metric ambiguity. This technique occurs when the phrase temporarily renders beats 2 and 4 as beats 1 and 3. The phrase in mm. 159–160 illustrates these features. Notice how beat 4 in m. 159 influences the perception of beat 2 in the next measure. - -Metric displacement implies the use of cross rhythm to create a characteristic rhythmic jolt and increase in tension within the phrase. The phrase in mm. 81–83 displays these characteristics. The distribution of accents and phrase groupings in mm. 81–83 creates an interesting superimposition of 3/4, 3/8, 2/4, and 4/4 respectively. Notice how the use of 3/8 influences the metric location of sub-phrases in 2/4 and 4/4 in mm. 82–83, and how the perception of the meter in the ensuing measures is constantly being challenged. - - - - - -Melodic Interpolation - - -Melodic interpolation is a relatively straightforward improvisational technique based on the addition and often repetition of a few notes in the midst of a phrase that results in subsequent rhythmic displacement. The two-note melodic interpolations in m. 57 and mm. 116–117 demonstrate the use of this technique. - -The simplicity of Tristano’s melodic ideas is truly remarkable. These ideas vary from simple triadic arpeggiations (mm. 97–99), diatonic scalar patterns (mm. 13–15), and pentatonic scales with chromatic passing notes (mm. 65–67). Hand in hand with these simple devices goes the manner in which Tristano terminates his melodic lines. The repository of his melodic cadential gestures is quite impressive and includes various intervallic skips (mm. 95, 124, 156, 224), stepwise descents (mm. 147–148, 167), and neighbor figures (mm. 63, 177, 184). - - - - - -Playing Outside - - -Along with rhythmic displacement, playing outside of the underlying tonality is another hallmark feature of Tristano’s style of improvisation and results in his highly original approach to chromaticism. In “Line Up,” the use of chromaticism is pervasive, yet the manner in which Tristano controls it deserves attention. Just like his use of rhythmic displacements, Tristano’s use of chromaticism is elegant and logical. When his lines temporarily leave the underlying tonal area and venture into a chromatic space, they retain strong melodic and harmonic identities and remain inside of the outside key areas. Figure 26.3 compares two phrases from mm. 25–27 and 63–68. - - - - - -FIGURE 26.3 Playing Outside - -Notice how similar these chromatic departures are. In the former, Tristano employs C♯3 (enharmonic D♭3) to access the chromatic neighboring area up a minor 2nd from the structural harmony D♭6/9. As a common tone between the two key areas, C♯3 functions as the root of D♭6/9 and the major 7th of DMaj7, and as such constitutes the ideal choice for connecting these key areas. During mm. 65–66, the chromatic upper neighbor harmony A6/9 embellishes the A♭6/9 harmony, capitalizing on a common-tone reinterpreta-tion and an intricate double-neighbor preparation. Although the top of chorus 3 begins with a chromatic neighbor harmony without prior preparation, the opening note E♮3 is a half step away from the previous note in m. 63 and thus establishes a smooth voice-leading continuation between adjacent phrases. In m. 65, what seems to be excessive chromaticism on beats 3 and 4, turns out to be an intricate pivot area where the two keys, A and At♭, converge and interact. This pivot area hovers around . On the one hand, the segment C4-D♭4-D♮4-C4 in m. 65 functions as a double-neighbor figure foreshadowing the occurrence of C♯4 on beat 1 in m. 66; on the other, it reminds us that the line is still in the key of A♭ major. Notice the overall melodic flow and phrase contour of these two measures. Beats 1 and 2 of m. 65 initiate a pentatonic segment in A major, beats 3 and 4 introduce a double-neighbor pivot area. Beats 1 and 2 of m. 66 return to the same pentatonic segment as m. 65 in the opposite direction, and continue onward, via a half-step re-entry, to a resolution in m. 67 with a double-neighbor figure encircling . - - - - - -Structural Approach - - -Some of Tristano’s phrases, such as in mm. 13–15, 33–36, 105–112, 125–131 and others, have an intricate architecture and demonstrate what can be described as a structural approach to improvisation. These spans provide structural frameworks for surface melodic elaborations, thereby giving the solo remarkable coherence. When you consider that these spans can, and often do, contradict the predictable phrase symmetry and, in more advanced situations, can even disguise the formal boundaries, the benefits of using this approach in practice is evident. What transpires in mm. 13–15 is a basic illustration of a structural approach to improvisation. The melodic pattern controls the surface melodic elaborations, which basically consist of simple upper diatonic neighbors and a single escape note. A similar approach occurs in the context of a compound melody in mm. 33–36. Here, the span begins in the lower voice and is subsequently answered by the melodic pattern 8–♯7–♭7 from C7. At the same time, the upper voice of this seemingly polyphonic texture emphasizes the 5th of the corresponding chords with interesting note placements that create additional metric ambiguities. On the local level, the pitch C♭3 in m. 108 is the part of a chromatic double-neighbor figure flavoring the local submediant harmony with the characteristic ♭5. Concurrently, the same note also participates in the extended double-neighbor figure in mm. 105–112. - -A far more advanced implementation of the structural approach to improvisation occurs in mm. 125–131, where the pattern cuts across the formal boundaries and connects choruses 4 and 5. The phrase reaches in m. 127 and embellishes it with an upper diatonic neighbor in m. 128; the phrase subsequently descends, via on beat 4 in m. 128, to in m. 129. While the structural span seems to have ended in m. 129, an upward registral shift to on beat 3 in m. 129 and its descent to in m. 131 replicate the upper-neighbor motion from mm. 127–128. Scale degree one, then, functions as a pivot note that connects the two double-neighbor figures: and . - -In order to be successful with this approach to improvisation, it is necessary to imagine a structural line that moves mostly by step in larger note values and establishes a convincing chord-scale relationship. The creation of structural lines depends on the ability to hear and to isolate them from the underlying chord progressions, and, subsequently, to embellish them with different melodic ideas. - - - - - -Advanced Techniques - - -Tristano employs more advanced techniques of improvisation, particularly in later choruses. These techniques include unprepared chromaticism, harmonic interpolations, manipulation of harmonic rhythm, superimposition of chromatic progressions, motivic parallelism, and compound melody. Unprepared chromaticism occurs in m. 185, where Tristano begins his line up a minor 2nd from the structural harmony D♭6/9. Although he does not prepare this passage immediately, Tristano anticipates it in the previous choruses. Harmonic interpolation expands the underlying chord structure with substitute chords or new chord progressions. In “Line Up” these interpolations are relatively easy to spot because Tristano clearly delineates them with straightforward arpeggiation or other easily recognizable melodic patterns. The most striking use of this technique occurs during mm. 201–206, where the succession, | Dmin(♯7)–C♯min(♯7)| C6/9| F♯min(♯7)| Fmin6–D♯ø7 | Dø7 | BMaj7 |, expands the underlying C7–Fmin7–B♭7 progression. - -Tristano’s manipulation of harmonic rhythm is born out of his horizontal approach to improvisation and comes in two guises: harmonic displacement and harmonic omissions. The former is based on the placement of regularly occurring chords on metric locations different than expected. The latter omits certain structural chords altogether, giving priority to the independent nature of melodic lines. Some of Tristano’s lines are unconstrained by the predictable symmetry of chord progressions and display a fair amount of linear independence. In disregarding certain structural harmonies, Tristano demonstrates how lines influence the harmonic outcome and not the other way around. In m. 37, for example, the melodic line continues in the harmonic space of C7 begun in m. 35 and only gradually merges with the underlying harmony F7. The superimposition of chromatic progressions in place of structural chords is an effective technique that can be implemented to introduce controlled chromaticism into your own playing. It requires the use of simple melodic devices, such as in mm. 215–216, where the G♭7–C♭Maj7 and F7–B♭min7 progressions are clearly superimposed over the structural B♭min7 harmony. - -Motivic parallelism is a technique that affects the musical surface and background. The use of motivic parallelism at the background level is quite common in composition, but when it happens in the context of improvised music it proves the advanced artistry of the improviser. On a more local level, an pattern in m. 138 is immediately answered by a pattern in the same measure. Scale degree three on beat 4 of m. 139 initiates an enlarged version of a half-step motive utilizing the blue 3rd on beat 4 of m. 140. These illustrate how salient intervallic gestures—in this case, a minor 2nd down—influence the unfolding of the melodic phrase. In mm. 189–190, Tristano introduces a background span, , and immediately repeats it in an incomplete form and with subtle metric displacements in mm. 191–192. - -Motivic parallelism also indicates surface devices that reappear throughout the solo—one’s favorite melodic devices, so to speak. For instance, the four-note figure with two ascending half steps followed by a larger intervallic skip in m. 45, mm. 142–143, and m. 207 (slightly varied), or the 1–2–3–5 melodic patterns in mm. 27, 30, 69, 123, 163, 217, etc., show Tristano’s penchant for these types of surface device. Yet, in comparison to the more structural use of motivic parallelism, they seem like simple recurrences of familiar and well-internalized melodic patterns. - -The use of compound or polyphonic melody adds another level of complexity to his solo and demonstrates Tristano’s contrapuntal approach to improvisation. This technique implies the use of two-voice texture in the context of a single-line melody. Figure 26.4 illustrates a voice-leading reduction of mm. 157–161. - -The upper voice forms a melodic span that cuts across the formal boundaries. Scale degree two in m. 158 becomes temporarily suspended and the melodic activity is transferred to the lower voice with a diatonic scalar descent. In mm. 159–160, the lower voice forms a melodic ascent embellished with unfolding thirds, which also contributes to the polyphonic nature of the phrase. At the top of chorus 6, is restored and resolves down to on beat 2. The cadential gesture A♭3–E♭3 on beat 2 of m. 161 unifies the two melodic strands. One of the conditions for the use of the compound melody is a clear registral separation between the implied voices. - - - - - -FIGURE 26.4 Compound Melody - -The treatments of chromaticism and of voice leading are intimately related to one another and are essential elements of Tristano’s cultivated approach to improvisation. Notice how he introduces chromatic segments into his lines in mm. 16 and 41. In m. 16, Tristano arpeggiates D♭Maj9 as an upper structure of E♭7, which contains three diatonic extensions: 9th, 11th, and 13th. On the way down, he supplies chromatic versions of the two extensions, ♭13th and ♭9th, and resolves the perfect 11th down to a major 3rd. These linear connections occur in the same register. When the line enters the chromatic region in m. 41, Tristano uses an octave displacement preparation as the diatonic B♭2 from m. 40 foreshadows B3 at the outset of the chromatic departure in m. 41. Even though there is an upward octave leap in this preparation, it is perfectly justifiable from a voice-leading perspective. - -Tristano’s lines are notoriously long; observe the one running uninterruptedly in mm. 81–91. Within this melodic stretch, Tristano creates a nicely balanced line that features the measured use of stepwise motion, arpeggiation, and chromaticism. In addition to all this, Tristano’s playing swings hard—a trait that anyone can (and should) admire. - - - - - -THE “TRISTANO STYLE” OF IMPROVISATION - - - - -* * * - - - -Based on the analysis of “Line Up,” the essential features of Tristano’s style of improvisation are summarized using the following rubrics: - - - - - -Rhythmic Syntax - - -• Phrase displacement - -• Metric displacement - -• Manipulation of phrase accents - -• Melodic interpolations - -• Juxtapositions of different time signatures - - - - - -Melodic Syntax - - -• Melodic devices: - -– Lower/upper neighbors - -– Double neighbors - -– Extended double neighbors - -– Escape notes - -– Passing notes - -– Bebop passing notes - -• Upper structures - -• Arpeggiation - -• Diatonic scalar patterns - -• Modes - -• Pentatonic scales - -• Bebop scales - -• Chromatic segments - -• Cadential gestures: - -– Intervallic skips - -– Stepwise descents - -– Neighbor figures - -• Chromaticism - - - - - -Harmonic Syntax - - -• Tritone substitutions - -• Modification of the quality of chords - -• Harmonic interpolations - -• Manipulation of harmonic rhythm: - -– Harmonic displacement - -– Harmonic omissions - -• Superimposition of sequential progressions - - - - - -Voice Leading - - -• Common-tone retentions - -• Common-tone connections - -• Stepwise connection between adjacent phrases - -• Preparation of chromatic extensions - -• Melodic resolutions - -• Registral considerations - - - - - -Phrasing - - -• Length - -• Flow - -• Contour - -• Dynamics - -• Articulation - -• Balance of stepwise motion, arpeggiation, and chromaticism - - - - - -Advanced Techniques - - -• Structural approach to improvisation - -• Unprepared chromaticism - -• Harmonic interpolations - -• Manipulation of harmonic rhythm - -• Superimposition of chromatic progressions - -• Motivic parallelism - -• Compound melody - -NOTES - - - -* * * - - - -1. “Line Up” was recorded in 1955 and released on the album Lennie Tristano on Atlantic Records. Lennie Tristano and the sequel The New Tristano from 1962 remain two of his most well-known projects. - -2. The terms “iambic” and “anapest” represent two types of Greek poetic metric unit associated with the length and groupings of syllables. An “iambic” rhythmic figure consists of short (unaccented)—long (accented) notes; an “anapest” consists of short—short—long notes. - +Studying “Line Up” allows a student to: +Understand how linear motion can create complex harmonic textures. +Identify how neighbor, escape, and passing notes function in a contrapuntal improvisation context. +Recognize that harmonic coherence can emerge organically from interacting melodic lines rather than strict chordal planning. +Apply Tristano-style techniques to both analysis and composition/improvisation, particularly in modern jazz contexts. +This detailed analytical framework underscores the sophistication of Tristano’s approach and provides a roadmap for decoding his improvisational syntax. CHAPTER TWENTY-SEVEN - - Post-Tonal Jazz - - - - -CHAPTER SUMMARY - - - -* * * - - - -Chapter 27 makes forays into post-tonal music theory in an attempt to demonstrate how some of its concepts—trichords, in particular—are implemented in jazz. Familiar topics are presented anew with the emphasis on ear training and harmony. - - - - - -CONCEPTS AND TERMS - - - - -* * * - - - -•Add note chords - -•Aggregates - -•Atonal music - -•Cardinality - -•Clock face - -•Enharmonic equivalence - -•Families of trichords: - -“Diatonic” - - - -Semitone - - - -“Triadic” - - - -Whole tone - - - -•Index numbers - -•Integer notation - -•Interval classes - -•Intervals: - -Ordered - - - -Unordered - - - -•Inversion TnI - -•Mod 12 - -•Normal form - -•PC-set complexes - -•Pitch - -•Pitch classes - -•Pitch-class (pc) intervals - -•Pitch-class (pc) sets - -•Pitch-class spaces - -•Prime form - -•Set classes - -•Subsets - -•Sums - -•Supersets - -•Transposition Tn - -•Trichords - - - - - -INTRODUCTION - - - - -* * * - - - -Twentieth-century music offers an amazing variety of styles, harmonic languages, and compositional techniques. As such, it can be used by jazz musicians to broaden their musical horizons, expand their harmonic and melodic vocabularies, and experiment with different compositional methods. Post-tonal theory encompasses numerous theoretical systems that seek to explain the nature of different kinds of twentieth-century music. Presently, we will concentrate only on one particular type of twentieth-century music, so-called atonal music, and its corresponding theory.1 The atonal period is usually identified with the composers of the Second Viennese School: Arnold Schoenberg, Anton Webern, and Alban Berg. Its golden age lasted for about 17 years, from ca. 1905 until 1922. Atonal music is characterized by unordered pitch relationships. The use of atonal music theory implies that the familiar topics of note names, intervals, chord formations, and others are recontextualized in order to convey the uniqueness of that system. For instance, triads are referred to as trichords, notes are labeled with integers (not by their traditional letter, scale-degree, or solfège names), and intervals are measured with numbers indicating semitone count. These nomenclatural changes are necessary to reflect the nature of atonal music, in which traditional tonal relationships are generally absent. - - - - - -BASIC CONCEPTS - - - - -* * * - - - - - -Integer Notation - - -Figure 27.1 shows the notes of the chromatic scale labeled as integers. The pitches A♯ and B use a “t” and an “e” to represent integers ten and eleven, respectively. - -In atonal music, the difference in note spelling is not as crucial as it is in common-practice music. The concept of enharmonic equivalence enables us to use the same integer for different spellings of the same pitch. For instance, C♯ and D♭ are enharmonically equivalent and are both referred to as pitch class 1 or pc1; A♯ and B♭ are enharmonically equivalent and referred to as pct. - - - - - -Pitch and Pitch Classes - - -In our study of post-tonal jazz, the designation “class” is frequently encountered. It signifies an abstract representation that combines shared characteristics of a pitch, an interval, or a chord. A pc3 combines all E♭s, D♯s, and F♭♭s, regardless of their location on the staff, timbre, or other musical characteristics. The differentiation between pitch and pitch class refers to the distinction between a literal sounding pitch and an abstract pitch class that combines all like-sounding pitches. Think of all the Gs on the piano, for instance: there are seven distinct pitches that are members of the class pc7. Figure 27.2 illustrates notes between C3 and C6, notated as pitches and pitch classes. - - - -FIGURE 27.1 Integer Notation - - - -FIGURE 27.2 Pitch and Pitch Classes - - - - - -Intervals and Interval Classes - - -Intervals in atonal music are labeled and measured differently than they are in tonal music. Pitch intervals measure the distance between two pitches. There are two types of pc interval: ordered and unordered. An ordered pc interval occupies the distance between two pitch classes in ascending order or clockwise direction. For instance, an ordered interval between pc1 and pce is 10, and between pce and pc1 is 2. A formula pcy–pcx, where y stands for the second interval out of the two, helps to make those simple calculations. There are 12 ordered pc intervals. - -An unordered pc interval is related to interval classes, which, as the designation “class” implies, represents a further abstraction of intervals. Since each pc interval can be inverted to generate its complement, there are only six interval classes, each combining an interval and its inversion. An unordered pc interval constitutes the smallest interval out of the two. The unordered pc interval between pc1 and pce is 2 because interval class 2, written as ic2, combines two intervals—10 and 2—with the smallest one being chosen. Figure 27.3 illustrates traditional interval names, 12 ordered pc intervals, and six unordered interval classes. We will use unordered pc intervals, or interval classes, when implementing concepts from the atonal music theory. - - - -FIGURE 27.3 Ordered and Unordered Intervals - - - - - -TRICHORDS - - - - -* * * - - - -In tonal music, root position triads are considered as being organized in ascending order and in the most intervallically packed manner possible. To figure out the root position of the pitches, F♯, D, and A, for example, put the unordered collection in ascending order: D, F♯, A, or [269] using integers. For the purpose of representing atonal relationships changing the order in which pitches occur is allowed. In other words, a trichord in root position is analogous to the most packed arrangement of pitches of that trichord in ascending order, or any other trichord or pitch-class set (henceforth, pc set) of any cardinality. Cardinality refers to the number of pitches, without pitch duplicates, occurring within the set. The trichord [269] is said to be in the normal form, which represents the unordered collection of pitches: F♯, A, and D. The normal form refers to the most intervallically packed arrangement of pitches in ascending order of a pc set of any cardinality. - -When examining the intervallic content of [269], notice the interval classes 4 and 3 between the adjacent pairs of pitches: pc6–pc2=ic4 and pc9–pc6=ic3. What does the intervallic content of a pc set tell us? It tells us whether the pc set is symmetrical or not and whether the trichord [269] has an inversional partner or not. The intervallic content of [269] can be written as ic<43>. Note that square brackets are used to represent the normal form of a pc set and pointed brackets to represent the intervallic content of a pc set. The trichord [269] comprises two different interval classes: ic4 and ic3, which means that [269] is asymmetrical and has an inversional counterpart. How do we determine which trichord is inversionally related to [269]? The easiest and quickest way is to reverse the order of interval classes from ic<43> to ic<34>. When we represent ic<34> as a pc set starting on pc4, for instance, the result yields the following set: E, G, and B or [47e]. Notice that [47e] is a minor triad and the original set [269] is a major triad. In atonal music theory, these two normal forms: [269] and [47e] belong to the same set class. This conclusion is based on the fact that the intervallic content of two sets [269] and [47e] is exactly the same. Remember that in atonal music, the order in which intervals and pitches occur within a set does not affect the interpretation of that set. - -In atonal music theory the difference between major and minor qualities is of little significance, simply because major and minor triads, as well as other formations—dominant 7th and half-diminished 7th chords—are inversionally equivalent and belong to the same set class. When the adjacent intervals of [269], ic<43> and [47e], ic<34> are compared, it is immediately evident that these two trichords are identical in terms of their unordered intervallic content. To figure out the next and final level of abstraction of a pc set called the prime form, (1) put an unordered pitch collection in the normal form, and (2) calculate the intervallic content of that set. Based on this information, examine whether a pc set has an inversional partner or not. If it does, compare their intervallic content to determine which one is the most packed. Finally, select the most packed set and transpose it to pc0. Prime form or set class always starts on pc0 and its pc content is written in parenthesis. - -The pc set [47e] is more intervallically compressed than its inversional partner, [269]. When the [47e] is transposed to pc0, the prime form is obtained. When we speak of (037) as the prime form, we are referring to an abstract entity—a set class—that contains 24 distinct normal forms: 12 transpositionally related [037]s with ic<34> and 12 inversionally related [047]s with ic<43>. Each one starts on a different pitch of the chromatic scale, known as the aggregate. Think about 12 unique major and minor triads as belonging to a single set (037). In the case of symmetrical trichords, such as (024), whose intervallic content yields ic<22>, the set class (024) contains only 12 distinct [024]s built on each note of the aggregate. The (024) is symmetrical and the inversion in pitch-class space yields the same pc set. - - - - - -Methodology for Figuring Out Normal and Prime Forms - - -1.Translate any unordered collection of pitches to pitch classes. - -2.Put pitch classes in ascending order in the most packed arrangement (i.e. root position formation). - -3.The resulting pc set is in the normal form, which accounts for the actual sounding, yet unordered pitches of that set. - -4.Figure out the unordered intervals (i.e. interval classes) between adjacent pitch classes and determine whether that set has an inversional partner or not. - -5.If the answer is yes, select the one that is the most packed in ascending or descending direction. - -6.Transpose the most packed set to pc0. - -7.The resulting set is in prime form. - -8.The prime form is synonymous with set class. - -9.Depending on the intervallic content of a pc set, the prime form might include 24 transpositionally and inversionally pc sets, or 12 transpositionally related pc sets only. - - - - - -“Clock Face” as a Visual Aid to Identify Sets - - -Figure 27.4 shows a “clock face” that expedites the process of calculating normal and prime forms. Since the clock face has 12 positions corresponding to the 12 pitch classes, it can be quickly drawn and used to locate the pitch classes of a set. - -Given pc7, pc2, and pc6, for instance, it is easy to determine the most packed arrangement of these notes simply by visually examining the set. When examining the collection clockwise (ascending order), notice that by starting at two o’clock, pc2, then moving to six o’clock, pc6, and finally to seven o’clock, pc7, we get the normal form: [267] with ic<41>. Counterclockwise examination (descending order) starting at seven o’clock, pc7, however, reveals an even more packed intervallic arrangement: the unordered interval between pc7 and pc6 yields ic1, and between pc6 and pc2 is ic4. To calculate the prime form, then, we basically assign pc0 to pc7 and count counterclockwise to determine the integers of the remaining pitch classes: pc6 becomes pc1, and pc2 becomes pc5. Set class (015) is the prime form of [267]. That method is much faster and, with some practice, it speeds up the translation of any pc set to normal or prime forms. To generate the prime form, then, assign a movable pc0 to the first note of the most packed arrangement of pitch classes and figure out the position of the remaining pitches. Figure 27.5 demonstrates this process on a clock face. - - - -FIGURE 27.4 The “Clock Face” - - - -FIGURE 27.5 Prime Form on the “Clock Face” - - - - - -FAMILIES OF TRICHORDS - - - - -* * * - - - -One of the most remarkable things about set classes is their reductive power and ability to represent a vast array of harmonic structures using only one set class. This means that endless configurations of three unordered pitches can be reduced to the 12 distinct transpositionally and inversionally related set classes shown in Figure 27.6. - - - - - -FIGURE 27.6 Families of Trichords: Integer Notation - - - -These set classes are compartmentalized into four unique families of trichords that share certain intervallic features and suggest a possible membership in specific harmonic environments. The “diatonic” family of trichords comprises two pc sets: (025) and (027). In addition to their independent status, these and other trichords are thought of as subsets of larger supersets, such as pentatonic, hexatonic, modal, and octatonic scales, which in itself is an important characteristic that may be explored in improvisation and composition. Even though they are labeled as “diatonic,” (025) and (027) can intersect with more chromatic supersets as well. The whole-tone family includes three set classes: (024), (026), and (048), all of which intersect with the whole-tone scale. The “triadic” family of trichords features two set classes: (036) and (037). The most complex family of trichords is the semitone family. The label “semitone” indicates that these set classes include ic1 in their pitch structure. The presence of ic1 in the semitone family of trichords makes them very attractive in jazz. The semitone family includes five set classes: (012), (013), (014), (015), and (016). - -Figure 27.7 translates the integers from Figure 27.6 into pc sets (written in bold), analyzes the intervallic structure of each trichord, and shows inversionally related sets (written in square brackets). - - - - - -HARMONIC POTENTIAL OF TRICHORDS - - - - -* * * - - - -There are 12 transpositionally and inversionally related set classes. When transpositionally related trichords are the only consideration, the number of available trichords expands to 20, as shown in Figure 27.8. The top row compiles 12 transpositionally and inversionally related trichords; the top and bottom row combines 20 transpositionally related trichords. - -This section demonstrates the harmonic interpretation of 20 pc-set complexes. A pc-set complex includes one of 20 transpositionally related trichords and demonstrates how it can function as rootless/incomplete and upper-structure formations. The resulting formations bridge the gap between upper-structure triads discussed in Chapter 14 and other three-note collections. - - - - - -FIGURE 27.7 Families of Trichords: Pitch Notation - - - - - -FIGURE 27.8 Transpositionally and Inversionally Related Trichords - - - - - -“Diatonic” PC-Set Complexes - - -Figure 27.9 demonstrates four pc-set complexes—[025], [035], [027], and [057]—as complete and upper-structure formations. Since each trichord has two rotations, one can freely experiment with them to produce different chord voicings. In the forthcoming examples, accidentals apply only to the note to which they are attached and do not carry across the measure. - -The number of chords that can use “diatonic” sets as upper structures is truly impressive. Because these sets are closely related to one another—[025] and [027] share two pitches in common—they often participate in similar harmonic environments. Frequently used as a quartal structure, [027] constitutes a neutral formation that participates in three pairs of dominant 7th chords, with each pair belonging to a different minor 3rd cycle. Rarely is such a pliable upper structure found. As mentioned before, [025], [035], [027], and [057]—and all the remaining trichords—are very effective as rootless formations. Making them work as such requires an understanding of their functionality. For instance, [025] in B♭Maj9 exhibits different characteristics than it does in A♭Maj13(♯11). In the former, [025] functions as a major 9th, a major 3rd, and a perfect 5th; in the latter, it functions as a major 3rd, a ♯11th, and a major 13th. - - - - - -FIGURE 27.9 “Diatonic” PC-Set Complexes - - - - - -Whole-Tone PC-Set Complexes - - -Figure 27.10 illustrates four pc-set complexes—[024], [026], [046], and [048]—as complete and upper-structure formations. - -The whole-tone family of trichords shows an impressive collection of chords, particularly in the dominant 7th category. Since the whole-tone trichords are subsets of the whole-tone scale, the [024], [026], and [048] trichords participate in some form or another in every dominant 7th chord built on each scale degree of the corresponding whole-tone scale. The [046] trichord can even function as an upper structure in dominant 7th chords, which is derived from two different whole-tone scales, thus showing even greater harmonic flexibility. - - - - - -FIGURE 27.10 Whole-Tone PC-Set Complexes - - - - - -“Triadic” PC-Set Complexes - - -Figure 27.11 illustrates three pc-set complexes—[036], [037], and [047]—interpreted as complete and upper-structure formations. - - - - - -FIGURE 27.11 “Triadic” PC-Set Complexes - -In the case of [037]s and [047]s, you may have recognized the familiar upper-structure triads from Chapter 14. Here, however, the situation is reversed: a single “triadic” trichord functions as an upper structure of different dominant 7ths as opposed to a single dominant 7th supporting different upper-structure triads. By investigating how a single triad can support different chord types, their flexibility and function may be fully appreciated in jazz harmony. - - - - - -Semitone PC-Set Complexes - - -Figure 27.12 demonstrates nine pc-set complexes—[012], [013], [023], [014], [034], [015], [045], [016], and [056]—analyzed as complete and upper-structure formations. - -In the case of [012], which constitutes the most chromatic trichord, there are far fewer harmonic options than there are for the other types of semitone trichord. The [012] trichord can function as an embellishing formation that inflects different chords chromatically. Because of the highly chromatic nature that [012] projects, successful implementation of the trichord depends on the way it is articulated or orchestrated. With [013]s, so-called add note chords are introduced; they typically include notes that, under normal circumstances, are excluded from the structure of chords. The A♭Maj7(add4) chord, for instance, includes a perfect 4th, a note that is usually avoided in common jazz harmonic practice. The [045] trichord implemented as an upper structure of min7(♭5) chords has very interesting properties. Whereas in Dmin9(♭5), [045] functions in a traditional manner in Amin7(♭5), it creates a lot of chromatic tension and requires a resolution to more stable tones. Because of their unique intervallic structure, [016] and [056] are more fitting in the context of dominant 7th chords rather than other chords. In fact, [056] can occur in as many as ten different dominant 7ths. The pitch content of these dominant 7ths contains two “forbidden” notes: a perfect 4th and a major 7th. - - - -FIGURE 27.12 Semitone PC-Set Complexes - -In semitone (as well as other) pc-set complexes, conceptions of what constitutes consonance and dissonance are highly fluid, contextual, and subjective. Even though some of the chords do not sound syntactic in the tonal jazz sense, a Persichetti-esque caveat that “any note can sound simultaneously with any other note” can be invoked to justify the structure and sound of these formations. - - - - - -MODAL POTENTIAL OF TRICHORDS - - - - -* * * - - - -Figure 27.13 illustrates selections of trichords derived from the diatonic and chromatic modes. Not only do these trichords project the sound of the mode, they can also be horizontalized as motives and developed using different techniques of motivic transformations. - - - -FIGURE 27.13 Trichords in Diatonic and Chromatic Modes - - - - - -TRANSPOSITION AND INVERSION OF SETS - - - - -* * * - - - -The [025] and its inverse [035] are related by T5I, which means that if you want to map the members of the first set on to the members of the second, a compound transformation called an inversion (TnI) must be used. The operation first inverts [025] around 0, and then transposes each member by +5. When using a mirror inversion you basically flip members of a pc set to the other side of the clock face. Pitch class 0 inverts on to itself; pc2 inverts on to pct; and pc5 inverts on to pc7. The inverted pitch classes are subsequently transposed clockwise by the so-called index number—5, in the present example—to arrive at [035]. Therefore, pc0 becomes pc5 of [035]; pct (inverted pc2) becomes pc3 of [035]; and pc7 (inverted pc5) becomes pc0 of [035]. Inversion is a compound operation that involves two steps: (1) the inversion around 0, and (2) clockwise transposition of the inverted set by a specific index number. - -When comparing [025] and [035], notice the first member of [025] or pc0 maps on to the last member of [035] or pc5, the second member of [025] or pc2 maps on to the second member of [035], and the last member of [025] or pc5 maps on to the first member of [035]. These mappings are the consequence of mirror inversion. Given the two sets [025] and [035], or any pair of inversionally related sets, it is easy to determine the index number simply by figuring out the sum between integers of two sets: 0+5=5, 2+3=5, and 5+0=5. When comparing two inversionally related sets, the first member of the first set is added to the last member of the second, the second member to the second, and the third to the first. - -Transposition (Tn) is a single-step operation that maps the first member of the set on to the first member of the second set, second to second, etc. When you compare two transpositionally related sets to determine the level of transposition or index number, subtract members of the first set from the members of the second. For instance, [247] and [t03] are members of (025) and are related by transposition. To calculate the level of transposition (index number), subtract 2 from t=8, 4 from 0=(‒4) 8, and 7 from 3=(‒4) 8. Notice that, in two instances, negative integers are obtained: 0‒4=‒4 and 3‒7=‒4. In these cases, apply the mod 12 operation that brings integers less than 0 and greater than 11 to the pitch-class space between 0 and e. - - - - - -AURAL IDENTIFICATION OF TRICHORDS - - - - -* * * - - - -Aural identification of pc sets helps to develop a more abstract way of hearing melodic and harmonic trichords. It removes them from the confines of tonality and places them in a tonally neutral environment without any recourse to familiar tonal traits (such as the role of the governing tonic or the referential sound of scale degrees with their functional implications). The prerequisite for pc-set recognition is the ability to identify intervals and interval classes. The correct recognition of interval classes within a pc set helps to figure out the normal form. This step rearranges unordered pitches and translates them into pitch classes. The next step is more abstract and involves translating normal forms to prime forms. As a practice routine, select a trichord and experiment with different pitch configurations of that trichord, which might include a transposition, reordering, and/or octave displacements, etc. You will be amazed at the number of possibilities and how different all these configurations sound. - -In the online WORKBOOK, you are asked to identify melodic and harmonic trichords. Given the pitches C♯5, F4, E4, for instance, the following steps are recommended: - -1.Identify interval classes between adjacent pitches. The interval class between the first and second pitch is ic4 and between the second and third pitch is ic1. Remember that you might hear the interval between C♯5 and F4 as a descending major 6th and between F4 and E4 as a descending minor 2nd. As ordered intervals they yield int4 and int11, but as unordered intervals (i.e. interval classes) they yield ic4 and ic1. We are interested in the latter. - -2.Notate pitches: C♯5, F4, and E4 as integers: C♯5=pc1, F4=pc5, and E4=pc4. - -3.With unordered pitch classes: pc1, pc5, and pc4, put them in ascending order: pc1, pc4, and pc5. That is the normal form [145], written in square brackets. - -4.Based on the interval content of pc set [145], ic<31>, you can see that the set can be inverted and that the inversional partner is more intervallically packed, ic<13>. - -5.Assign pc0 to the first pitch of the most packed arrangement (i.e. start at pc5 and move counterclockwise). - -6.The prime form of a [145] is (014). - -To expedite the process of pc-set recognition, locate the pitch classes on the clock face. You will immediately see that the counterclockwise arrangement of pitches counting from pc5 produces the prime form (014). - -When played simultaneously, the pitches C♯5, F4, and E4 produce a certain harmonic sound that is unique to (014). Similarly, other set classes exhibit harmonic characteristics that are unique across the multitude of diverse pitch configurations that can occur within the boundaries of a particular set class. The ability to identify that unique sound greatly improves your ear and sharpens your overall harmonic sensitivity. - -NOTES - - - -* * * - - - -1. Milton Babbitt’s “Set Structure as a Compositional Determinant” (1961), and Allen Forte’s “A Theory of Set-complexes for Music” (1964) and The Structure of Atonal Music (1973) are considered pioneering works that introduced many of the concepts discussed here. - - - -Appendix A - - - - - -Play Along DVD - - - - - -TRACKS AND LEAD SHEETS - - - - - -Track 1: B♭ Blues—Piano Trio - -Track 2: E♭ Blues—Hammond B-3 Trio - -Track 3: C Minor Blues—Guitar Trio - -Track 4: F Minor Blues—Piano Trio - -Track 5: Ionian—Hammond B-3 Trio - -Track 6: Lydian—Piano Trio - -Track 7: Mixolydian—Hammond B-3 Trio - -Track 8: Dorian—Piano Trio - -Track 9: Aeolian—Piano Trio - -Track 10: Phrygian—Guitar Trio - -Track 11: Locrian—Piano Trio - -Track 12: Melodic Minor—Guitar Trio - -Track 13: Dorian ♭2—Piano Trio - -Track 14: Locrian ♮2—Piano Solo - -Track 15: Lydian Augmented—Piano Trio - -Track 16: Mixolydian ♯11—Piano Trio - -Track 17: Mixolydian ♭13—Piano Trio - -Track 18: Altered—Guitar Trio - -Track 19: Major Modal Category—Piano Trio - -Track 20: Minor Modal Category—Hammond B-3 Trio - -Track 21: Dominant Modal Category—Guitar Trio - -Track 22: Suspended Modal Category—Piano Trio - -Track 23: Imaj7-V7-Imaj7 (12 keys)—Piano Trio - -Track 24: i7-V7-i7 (12 keys)—Hammond B-3 Trio - -Track 25: ii7-V7-Imaj7 (12 keys)—Piano Trio - -Track 26: −i7 (12 keys)—Guitar Trio - -Track 27: Billie’s Dance—Piano Trio - -Track 28: Birdie Song—Hammond B-3 Trio - -Track 29: Infidels Bounce—Piano Trio - -Track 30: Confirmation in F (slow)—Hammond B-3 Trio - -Track 31: Confirmation in C (medium)—Piano Trio - -Track 32: Confirmation in A♭ (fast)—Guitar Trio - -Track 33: Moose the Mooche (slow)—Piano Trio - -Track 34: Moose the Mooche (medium)—Hammond B-3 Trio - -Track 35: Moose the Mooche (fast)—Guitar Trio - -Track 36: Have You Met Miss Jones?—Hammond B-3 Trio - -Track 37: I Love You—Guitar Trio - -Track 38: All Of You—Piano Trio - -Track 39: My Romance—Guitar Trio - -Track 40: Dream Dancing—Guitar Trio - -Track 41: All the Things You Are—Piano Trio - -Track 42: Cherokee—Piano Trio - -Track 43: Autumn Leaves—Hammond B-3 Trio - -Track 44: Stella By Starlight—Guitar Trio - -Track 45: Never Never Land—Piano Trio - -Track 46: Line Up—Bass and Drums Duo - - -LEAD SHEETS - - - -Chapter 10 Improvisation - - - - - -Track 1: B♭ Blues—Piano Trio - - - -Track 2: E♭ Blues—Organ Trio - - - -Track 3: C Minor Blues—Guitar Trio - - - -Track 4: F Minor Blues—Piano Trio - - - -Track 5: Ionian—Organ Trio - - - -Track 6: Lydian—Piano Trio - - - -Track 7: Mixolydian—Organ Trio - - - -Track 8: Dorian—Piano Trio - - - -Track 9: Aeolian—Piano Trio - - - -Track 10: Phrygian—Guitar Trio - - - -Track 11: Locrian—Piano Trio - - - -Track 12: Melodic Minor—Guitar Trio - - - -Track 13: Dorian ♭2—Piano Trio - - - -Track 14: Locrian ♮2—Piano Solo - - - -Track 15: Lydian Augmented—Piano Trio - - - -Track 16: Mixolydian ♯11—Piano Trio - - - -Track 17: Mixolydian ♭13—Piano Trio - - - -Track 18: Altered—Guitar Trio - - - -Track 19: Major Modal Category—Piano Trio - - - -Track 20: Minor Modal Category—Organ Trio - - - -Track 21: Dominant Modal Category—Guitar Trio - - - -Track 22: Suspended Modal Category—Piano Trio - -Chapter 15 Bebop - - - - - -Track 23: Imaj7-V7-Imaj7 (12 keys)—Piano Trio - - - -Track 24: i7-V7-i7 (12 keys)—Organ Trio - - - -Track 25: ii7-V7-Imaj7 (12 keys)—Piano Trio - - - -Track 26: -i7 (12 keys)—Guitar Trio - -Chapter 17 Bebop Blues - - - - - -Track 27: Billie’s Dance—Piano Trio - - - -Track 28: Birdie Song—Organ Trio - - - -Track 29: Infidels Bounce—Piano Trio - -Chapter 18 “Confirmation” - - - - - -Track 30: Confirmation in F (slow)—Organ Trio - - - -Track 31: Confirmation in C (medium)—Piano Trio - - - -Track 32: Confirmation in A♭ (fast)—Guitar Trio - -Chapter 19 “Moose the Mooche” - - - - - -Track 33: Moose the Mooche (slow)—Piano Trio - - - -Track 34: Moose the Mooche (medium)—Organ Trio - - - -Track 35: Moose the Mooche (fast)—Guitar Trio - -Chapter 22 The AABA Song Form - - - - - -Track 36: Have You Met Miss Jones?—Organ Trio - - - -Track 37: I Love You—Guitar Trio - -Chapter 23 The ABAC Song Form - - - - - -Track 38: All Of You—Piano Trio - - - -Track 39: My Romance—Guitar Trio - -Chapter 24 Extended and Unusual Song Forms - - - - - -Track 40: Dream Dancing—Guitar Trio - - - -Track 41: All the Things You Are—Piano Trio - - - -Track 42: Cherokee—Piano Trio - -Chapter 25 Jazz Reharmonization - - - - - -Track 43: Autumn Leaves—Organ Trio - - - -Track 44: Stella By Starlight—Guitar Trio - - - -Track 45: Never Never Land—Piano Trio - -Chapter 26 “Line Up” - - - - - -Track 46: Line Up—Bass and Drums Duo - - - - - -Bibliography - - - - - -Babbitt, Milton (1961) “Set Structure as a Compositional Determinant,” Journal of Music Theory 5: 72–94. - -Bach, Car Philipp Emanuel (1949) Essay on the True Art of Playing Keyboard Instruments, trans. and Ed. William J. Mitchell, New York and London: W.W. Norton & Company. - -Berliner, Paul (1994) Thinking in Jazz: The Infinite Art of Improvisation, Chicago, IL: University of Chicago Press. - -Block, Steven (1990) “Pitch-Class Transformation in Free Jazz,” Music Theory Spectrum 12/2: 181–202. - -Brown, Matthew (2005) Explaining Tonality: A Schenkerian Perspective, Rochester, NY: University of Rochester Press. - -Brownell, John (1994) “Analytical Models of Jazz Improvisation,” Jazzfortschung/Jazz Research 26: 9–29. - -Christensen, Thomas (1992) “The Règle de l’octave in Thorough-Bass Theory and Practice,” AM 64/2: 91–117. - -Cooker, Jerry (1991) Elements of the Jazz Language for the Developing Improviser, Miami, FL: CPP Belwin. - -Deveaux, Scott (1999) The Birth of Bebop: A Social and Musical History, Berkeley, CA: University of California Press. - -Dickinson, Brian (2007) The Ears Have Walls, Rottenburg, Germany: Advanced Music. - -Dobbins, Bill (1994) A Creative Approach to Jazz Piano Harmony, Rottenburg, Germany: Advanced Music. - -Dragnone, Luann (1992) “François Campion’s Treatise on Accompaniment: A Translation and Commentary,” Theoria 6: 135–162. - -Folio, Cynthia (1998) “‘The Great Symphonic Theme’: Multiple Takes on ‘Stella’s’ Scheme,” Annual Review of Jazz Studies 9. - -Forte, Allen (1964) “A Theory of Set-Complexes for Music,” Journal of Music Theory 8: 136–183. - -—— (1973) The Structure of Atonal Music, New Haven, CT: Yale University Press. - -—— (1995) The American Popular Ballad of the Golden Era 1924–1950, Princeton, NJ: Princeton University Press. - -—— (1998) “The Real ‘Stella’ and the ‘Real’ ‘Stella’: A Response to ‘Alternate Takes’ (Society For Music Theory, Annual Meeting, Phoenix 1997), Annual Review of Jazz Studies 9: 93–101. - -Goia, Ted (2012) The Jazz Standards: A Guide to Repertoire, New York: Oxford University Press. - -Goldsen, Michael (1978) Charlie Parker Omnibook, New York: Atlantic Music Corporation. - -Kernfeld, Barry (2006) The Story of Fake Books: Bootlegging Songs to Musicians, Lanham, MD: Scarecrow. - -Larson, Steven Leroy (1993) “Dave McKenna’s Performance of ‘Have You Met Miss Jones?’,” American Music 11/3: 283–315. - -—— (1996) “The Art of Charlie Parker’s Rhetoric,” Annual Review of Jazz Studies 8: 141–156. - -—— (1997) “Triple Play: Bill Evans’ Three—Piano Performance of Victor Young’s ‘Stella by Starlight’,” Annual Review of Jazz Studies 9: 45–56. - -—— (1998) “Schenkerian Analysis of Modern Jazz: Questions About Method,” Music Theory Spectrum 20/2: 209–241. - -—— (1999) “Swing and Motive in Three Performances by Oscar Peterson,” Journal of Music Theory 43/2: 283–314. - -—— (2009) Analyzing Jazz: A Schenkerian Approach, Hillsdale, NY: Pendragon Press. - -Levine, Mark (1995) The Jazz Theory Book, Pataluma, CA: Sher Music. - -Lindeman, Steve (1998) “Miles’s ‘Stella’: A Comparison in the Light of the Two Quintets,” Annual Review of Jazz Studies 9: 57–76. - -Love, Stefan (2013) “Subliminal Dissonance or ‘Consonance’? Two Views of Jazz Meter,” Music Theory Spectrum 35/1: 48–61. - -Martin, Henry (1988) “Jazz Harmony: A Syntactic Background,” Annual Review of Jazz Studies 4: 9–30. - -—— (1996) “Jazz Theory: An Overview,” Annual Review of Jazz Studies 8: 1–17. - -—— (1996) Charlie Parker and Thematic Improvisation, Metuchen, NJ: Scarecrow Press. - -—— (1997) “The Nature of Recomposition: Miles Davis and ‘Stella By Starlight’, Annual Review of Jazz Studies 9: 77–92. - -—— and Wason, Robert (2005) “Constructing a Post-Modern-Jazz Pedagogy,” Jazzforschung/Jazz Research 38: 163–177. - -—— and Waters, Keith (2006) Jazz: The First 100 Years, 2nd ed., Belmont, CA: Cengage. - -Martino, Donald (1984) 178 Chorale Harmonizations of J.S. Bach: A Comparative Edition, 2 volumes, Newton, MA: Dantalian. - -Miller, Ron (1996) Modal Jazz Composition and Harmony, Rottenburg, Germany: Advanced Music. - -Owens, Thomas (1974) “Charlie Parker: Techniques of Improvisation,” Ph.D. diss., University of California. - -Potter, Gary (1992) “Analyzing Improvised Jazz,” College Music Symposium 32: 143–160. - -—— (1994) “Jazz Theory Texts: An Overview,” Journal of Music Theory Pedagogy 8: 201–208. - -Pressing, Jeff (1982) “Pitch Class Set Structures in Contemporary Jazz,” JazzForschung/JazzResearch 14: 133–172. - -—— (1987) “Improvisation: Methods and Models,” in John Sloboda (Ed.) Generative Processes in Music, London: Oxford. - -Russell, George Allan (1959) The Lydian-Chromatic Concept of Tonal Organization for Improvisation, for All Instruments, 2nd ed., New York: Concept Publishing. - -Samarotto, Frank (1999) “Strange Dimensions: Regularity and Irregularity of Deep Levels of Rhythmic Reductions,” in Carl Schachter and Hedi Siegel (Eds.) Schenker Studies, Cambridge: Cambridge University Press. - -Sarath, Edward (1999) “A New Look at Improvisation,” Journal of Music Theory 40: 1–39. - -—— (2010) Music Theory Through Improvisation: A New Approach to Musicianship Training, New York: Routledge. - -Schenker, Heinrich (1954) Harmony, Ed. Oswald Jonas, trans. Elizabeth Mann Borgese, Cambridge MA: MIT. - -—— (1977) Free Composition, Ed. Oswald Jonas, trans. Ernst Oster, New York: Pendragon. - -Schoenberg, Arnold (1969) Structural Functions of Harmony, Ed. Leonard Stein, New York: W.W. Norton & Company. - -Schuller, Gunther (1979) “Sonny Rollins and Thematic Improvising,” in Martin Williams (Ed.) Jazz Panorama, New York: Da Capo, pp. 239–252. - -Smith, Gregory Eugene (1983) “Homer, Gregory, and Bill Evans? The Theory of Formulaic Composition in the Context of Jazz Piano Improvisation,” Ph.D. diss., Harvard University. - -Strauss, Joseph (2005) Introduction to Post-Tonal Music, Upper Saddle River, NJ: Pearson Prentice Hall. - -Strunk, Steven (1979) “The Harmony of Early Bop: A Layered Approach,” Journal of Jazz Studies 6: 4–53. - -—— (1985) “Bebop Melodic Lines: Tonal Characteristics,” Annual Review of Jazz Studies 3: 79–120. - -—— (1988) “Linear Intervallic Patterns in Jazz Repertory,” Annual Review of Jazz Studies 4: 63–115. - -Waters, Keith (1996) “Blurring the Barline: Metric Displacement in the Piano Solo of Herbie Hancock,” Annual Review of Jazz Studies 8: 103–134. - -—— (2005) “Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock,” Journal of Music Theory 49/2: 333–357. - -—— (2011) The Studio Recordings of the Miles Davis Quintet, 1965–1968, New York: Oxford University Press. - -Wilder, Alec (1990) American Popular Song: The Great Innovators 1900–1950, New York: Oxford University Press. - -Williams, Kent (1998) “Oscar Peterson and the Art of Paraphrase: The 1965 Recording of ‘Stella By Starlight’,” Annual Review of Jazz Studies 9: 25–44. - - - - - -Credits - - - - - -“All Of You” - -From Silk Stockings. - -Words and music by Cole Porter. - -Copyright © 1954 by Cole Porter. - -Copyright renewed and assigned to Robert H. Montgomery, trustee of the Cole Porter Musical & Literary Property Trusts. - -Publication and allied rights assigned to Chappell & Co., Inc. - -All rights reserved. Used by permission. - -In the UK and Europe: - -Copyright © 1954 Chappell & Co. Inc., USA. - -Warner/Chappell North America Ltd, London W6 8BS. - -Reproduced by permission of Faber Music Ltd. - -All rights reserved. - - - -“All the Things You Are” - -From Very Warm For May. - -Lyrics by Oscar Hammerstein II. - -Music by Jerome Kern. - -Copyright © 1939 Universal-Polygram International Publishing, Inc. - -Copyright renewed. - -This arrangement copyright © 2012 Universal-Polygram International Publishing, Inc. - -All rights reserved. Used by permission. - -Reprinted by permission of Hal Leonard Corporation. - - - -“Autumn Leaves” - -English lyrics by Johnny Mercer. - -French lyrics by Jacques Prevert. - -Music by Joseph Kosma. - -Copyright © 1947, 1950 (renewed) Enoch et Cie. - -This arrangement © 2012 Enoch et Cie. - -Sole selling agent for United States and Canada: Morley Music Co., by agreement with Enoch et Cie. - -All rights reserved. - -Reprinted by permission of Hal Leonard Corporation. - - - -“Cherokee” - -Words and music by Ray Noble. - -Copyright © 1938 The Peter Maurice Music Co., Ltd., London, England. - -Copyright renewed and assigned to Shapiro, Bernstein & Co., Inc., New York and USA and Canada. - -International copyright secured. All rights reserved. Used by permission. - -Reprinted by permission of Hal Leonard Corporation. - -In the UK and Europe: - -Copyright © 1938 Redwood Music Ltd, London NW1 8BD. - -Reproduced by permission of Faber Music Ltd. - -All rights reserved. - - - -“Confirmation” - -Written by Charlie Parker. - -Used by permission of Atlantic Music Corporation. - -All rights reserved. International copyright secured. - - - -“Dream Dancing” - -From You’ll Never Get Rich. - -Words and music by Cole Porter. - -Copyright © 1941 (renewed) Chappell & Co., Inc. - -All rights reserved. Used by permission. - -In the UK and Europe: - -Copyright © 1941 Chappell & Co. Inc., USA. - -Warner/Chappell North America Ltd, London W6 8BS. - -Reproduced by permission of Faber Music Ltd. - -All rights reserved. - - - -“Have You Met Miss Jones?” - -From I’d Rather Be Right. - -Words by Lorenz Hart. - -Music by Richard Rodgers. - -Copyright © 1937 (renewed) by Chappell & Co. - -Rights for the extended renewal term in the United States controlled by Williamson Music, a division of Rodgers & Hammerstein: an Imagem Company and WB Music Corp. o/b/o The Estate of Lorenz Hart. - -This arrangement copyright © 2012 by Williamson Music, a division of Rodgers & Hammerstein: an Imagem Company and WB Music Corp. o/b/o The Estate of Lorenz Hart. - -Reprinted by permission of Hal Leonard Corporation. - - - -“I Love You” - -From Mexican Hayride. - -Words and music by Cole Porter. - -Copyright © 1943 Chappell & Co., Inc. - -Copyright renewed and assigned to John F. Wharton, trustee of the Cole Porter Musical & Literary Property Trusts. - -Publication and allied rights assigned to Chappell & Co., Inc. - -All rights reserved. Used by permission. - -In the UK and Europe: - -Copyright © 1943 Chappell & Co. Inc., USA. - -Warner/Chappell North America Ltd, London W6 8BS. - -Reproduced by permission of Faber Music Ltd. - -All rights reserved. - - - -“Line Up” - -By Lennie Tristano. - -Copyright © 1954 (renewed) Unichappell Music, Inc. - -All rights reserved. Used by permission. - - - -“Moose the Mooche” - -Written by Charlie Parker. - -Used by permission of Atlantic Music Corporation. - -All rights reserved. International copyright secured. - - - -“My Romance” - -From Jumbo. - -Words by Lorenz Hart. - -Music by Richard Rodgers. - -Copyright © 1935 by Williamson Music and Lorenz Hart Publishing Co. - -Copyright renewed. - -This arrangement copyright © 2012 by Williamson Music and Lorenz Hart Publishing Co. - -All rights in the United States administered by Williamson Music, a division of Rodgers & Hammerstein: an Imagem Company. - -All rights outside of the United States administered by Universal-PolyGram International Publishing, Inc. - -International copyright secured. All rights reserved. Used by permission. - -Reprinted by permission of Hal Leonard Corporation. - -In the UK and Europe: - -Copyright © 1935 WB Music Corp, Williamson Music Company, USA and Imagem CV, The Netherlands. - -(50%) Warner/Chappell North America Ltd, London W6 8BS. - -Reproduced by permission of Faber Music Ltd. - -All rights reserved. - - - -“Never Never Land” - -From Peter Pan. - -Lyrics by Betty Comden and Adolph Green. - -Music by Jule Styne. - -Copyright © 1954 (renewed) Betty Comden, Adolph Green, and Jule Styne. - -This arrangement copyright © 2012 Betty Comden, Adolph Green, and Jule Styne. - -All rights controlled by Edwin H. Morris & Company, a division of MPL Music Publishing, Inc. - -All rights reserved. - -Reprinted by permission of Hal Leonard Corporation. - -In the UK and Europe: - -Copyright © 1954 (renewed) Edwin H. Morris & Co. Inc., USA. - -Chappell Morris Ltd, London W6 8BS. - -Reproduced by permission of Faber Music Ltd. - -All rights reserved. - - - -“Stella By Starlight” - -From the Paramount picture The Uninvited. - -Words by New Washington. - -Music by Victor Young. - -Copyright © 1946 Sony/ATV Music Publishing LLC and Catharine Hinen Music. - -Copyright renewed. - -This arrangement copyright © 2012 Sony/ATV Music Publishing LLC and Catharine Hinen Music. - -All rights on behalf of Sony/ATV Music Publishing LLC administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203. - -International copyright secured. All rights reserved. - -Reprinted by permission of Hal Leonard Corporation. - -In the UK and Europe: - -Words by Ned Washington. - -Music by Victor Young. - -Copyright © 1944 Sony/ATV Harmony. - -Famous Music Corporation. - -International Copyright Secured. All Rights Reserved. - -Used by permission of Music Sales Limited. - - - - - -Index - - - - - -* * * - - - - - -* * * - - - - - -accidentals 4, 6, 30 - -add note chord 415 - -aggregate 282–285, 383, 406 - -All Of You 343–347 - -All the Things You Are 139–142, 375–378 - -analysis 136–142, 229–232, 243–245, 385 - -functional 26, 31–33, 35 - -harmonic 32–33, 34–35, 358–359 - -improvisation 332 - -Roman numeral 28, 35, 358–360 - -analytical symbols 290–291, 295, 385, 387 - -appoggiatura 245 - -Arabic numbers 29, 80, 85, 173, 187, 213, 386 - -atonal music 403 - -aural identification 160–171 - -harmonic progressions 160–171 - -modes 79–91 - -trichords 422–423 - -Autumn Leaves 362–375 - -avoid notes 79, 267–268 - - - -back-door dominant seventh 138, 223 - -beat 12–13 - -beauty mark 79 - -bebop scales 185–190 - -altered 196–200 - -dominant 189 - -Dorian 188 - -intermediary 189–190 - -major 186–187 - -minor 187–188 - -binary interrupted form 338 - -blue notes 110 - -blues 107–115, 220–228 - -basic 111–112 - -bebop 220–225 - -Billie’s Bounce 220–222 - -Bird 221, 223–224 - -call and response 109–110 - -chord-scale relationships 113–115 - -eight-bar 243 - -generic 107–108 - -improvisation 225–228, 232 - -keyboard realization 112–113, 222, 224–225 - -minor 114–115 - -riffs 118, 120 - -telling a story 109 - -The Dance Of the Infidels 223–225, 227 - -blues scale 110–111 - -bridge 157, 324, 325 - - - -cadence 31, 162, 231, 291, 325, 343, 354, 359 - -cadential confirmation 31, 290 - -cadential melodic gesture 237 - -call and response 109–110 - -cardinality 213, 268, 405 - -Charleston rhythm, the 122 - -comping patterns 145 - -chorale style 148, 358–359 - -chord symbols 29 - -five-part chords 57–58 - -four-part chords 42, 43 - -upper-structure triads 173 - -chord-scale relationship 93–106 - -blues 113–115 - -Confirmation 237–241 - -rhythm changes 257–259 - -chordal extensions 49–51 - -chordal seventh 38 - -chorus 325, 332, 343, 354, 386 - -chromatic 15, 17, 39, 49–50 - -chromatic modes 84–85 - -Altered 89–90 - -Dorian ♭2 86 - -Locrian ♮2 87 - -Lydian Augmented 87–88 - -Melodic Minor 85–86 - -Mixolydian ♯ 11 88 - -Mixolydian ♭13 89 - -chromaticism 90, 237, 355 - -unprepared 397 - -treatment 399 - -classification of standard tunes 298–351 - -AABA Off-Tonic 330–331 - -AABA On-Tonic 326–329 - -ABAC Off-Tonic 341–342 - -ABAC On-Tonic 339–341 - -extended and unusual 350–351 - -clock face 406–407 - -Coltrane substitutions 159–160 - -compound melody 119, 398–399 - -Confirmation 229–240 - -analysis 229–232 - -chord-scale relationships 237–241 - -transcription 232–237 - -contrafact 242, 386 - -counterpoint 291 - -cycle of dominant sevenths 157, 320 - - - -diatonic 6, 14, 38, 49–51, 104, 155, 161 - -diatonic modes 78–79 - -Aeolian 82 - -Dorian 82–83 - -Ionian 79–80 - -Locrian 84 - -Lydian 80–81 - -Mixolydian 81–82 - -Phrygian 83 - -diminished scale see octatonic scale - -diminished seventh chord 41, 200–205, 232, 369 - -double-diminished 219 - -incomplete 237 - -transformations 68–75 - -types 67 - -direct cadential gesture 202–203 - -dominant function 26 - -dominant aggregate 174, 177 - -dominant category 40–41, 53–54, 276–277, 283–284 - -dominant seventh 38 - -applied 66 - -II–V diminution 156–157 - -secondary 66 - -Dream Dancing 349–356 - -dynamics 22 - - - -enharmonic equivalence 5, 403 - -entry window 225, 227 - -essential chord tone xx, 38 - -extended structures 349 - -extensions see chordal extensions - - - -fake book 136, 297, 324 - -five-part chords 49–62 - -dominant seventh 53–54 - -extensions 49–51 - -intermediary 55–56 - -major 52 - -minor 52–53 - -positions 56–58 - -rootless 178–181 - -suspended 54–55 - -voicings 59–62 - -formal prototypes 323–325 - -four-part chords 37–48 - -dominant seventh 40–41 - -intermediary 41 - -inversions 42 - -major 39 - -minor 39–40 - -voicings 46–48 - -function 26 - -function symbols 30 - -functional categories 39 - -dominant seventh 40–41, 98–99 - -five-part chords 51–56 - -four-part chords 39–41 - -intermediary 41, 102–104 - -major 39, 94–95 - -minor 39–40, 96–97 - -suspended 100–101 - -functional tonality 26 - -fundamental note 99 - - - -Goldberg Variations 360–362 - -guide tones 65–66 - -improvisation 119, 122–126 - - - -harmonic departure 290 - -harmonic elision 68, 75 - -harmonic progressions 143–151 - -aural identification 160–171 - -eight-bar 289–322 - -four-bar 152–171 - -realization 143–151 - -voice leading 33, 366 - -harmonic substitutions see substitutions - -harmonization 143–151, 292–294 - -harmony 37–38 - -horizontal 360–362 - -quartal 94 - -tertian 93, 96 - -vertical 358–360 - -Have You Met Miss Jones? 332–337 - -Herzlich tut mich verlangen 358–360 - -hexatonic scales 282–285 - -hypermetric organization 245 - - - -II–V–I 63–76, 138–141 - -chord-scale relationships 104–106 - -diminutions 156–157 - -elisions 294 - -incomplete 141 - -major 65–66 - -minor 66 - -structural 139, 141 - -tonicizing 139, 141 - -inversional equivalence 42 - -inversional invariance 152, 218 - -improvisation 117–131, 225–227 - -bebop 191–211 - -blues 118 - -guide-tone 122–126 - -hexatonic 287 - -octatonic 217 - -pentatonic 279, 281 - -phrasing 22 - -standard tunes 332 - -Tristano style 399–401 - -index number 422 - -indirect cadential gesture 204–205 - -integer notation see notation - -intermediary category 41, 55–56, 102–104, 278–279, 284–285 - -intermediary/dominant bebop complex 189–190 - -interruption 325 - -intervallic structures 181, 408, 415 - -intervals 14–15 - -class 404 - -compound 15 - -harmonic 15 - -melodic 14 - -spelling 15 - -inversion 30 - -four-part chords 42–43 - -intervals 16, 404 - -motivic development 129–131 - -triads 17 - -trichords 405–406, 422 - -inversion (TnI) 422 - -invertible counterpoint 65; see also guide tones - - - -jazz rule of the octave 292–294 - - - -key signatures 7 - -major 7 - -minor 10 - -keyboard style realization 34–36, 143–151 - -chorale style 148–149 - -models 143–151, 221–222, 224–225 - -keys - -closely-related 164, 290, 293, 359 - -distantly-related 290, 296 - -major 6–8 - -minor 9–11 - -relative 11 - - - -lead sheet 135–136 - -lead-sheet notation 28–29 - -Line Up 386–399 - - - -major category 39, 52, 94–96, 275–276, 282–283 - -major scale 6 - -scale degree names 9 - -Maple Leaf Rag 64 - -mapping 422 - -melodic elision 67 - -melodic interpolation 395 - -melodic motion 34 - -meter 12–13 - -metric accents 20 - -minor category 39–40, 52–53, 96–97, 275–276, 282–283 - -metric displacement 237, 395 - -minor scale 8 - -harmonic 8 - -melodic 8 - -natural 8 - -scale-degree names 9 - -“shades” 8 - -mixture 347 - -mod 12 operation 422 - -modal qualifier 79 - -models of keyboard realization 143–151; see also voicings - -modes 77–91; see also diatonic modes, chromatic modes - -modulation 162 - -Moose the Mooche 242–251 - -analysis 243–245 - -transcription 245–251 - -motif 124 - -motivic development 124–131 - -motivic parallelism 398 - -My Romance 136–139 - - - -neighbor chord 371 - -normal form 405–406 - -notation 28 - -chord symbols xx - -function symbols 30 - -integer 403 - -lead sheet 29 - -pitch 4–5 - -rhythmic 11–12 - -Roman numeral 29–30 - -slash 29, 173 - - - -octatonic scale 213–219, 222 - -harmonic potential 215–216 - -melodic potential 217–218 - -octave equivalence 4 - -outer-voice counterpoint 33, 369, 371, 376–377 - -overtone series 99–100 - - - -parallel planning 374 - -parent scale 78, 84–85, 270–272 - -passing chord 221, 369 - -pc-set complex 408–409, 412, 413–415, 416–419 - -pentatonics 267–274 - -altered 273–274 - -chromatic 271–272 - -diatonic 270–271 - -dominant 269 - -improvisation 279, 281 - -major 268 - -minor 269 - -suspended 270 - -system 274–278 - -voicings 278–280 - -phrase identifier 290 - -phrase models 289–322 - -chromatic 307–322 - -diatonic 295–306 - -incomplete 291 - -off-tonic 293 - -on-tonic 296 - -prototypes 289–290 - -substitutions 320 - -pitch alterations 39, 50–51, 173, 214–215 - -pitch class 403–404 - -interval 404 - -set 405 - -pitch enclosure 243 - -pitch-class interval see interval - -pivot chord 35 - -playing outside 395–396 - -polychord 173 - -predominant function 26 - -prime form 405 - - - -reaching by arrival 325–326 - -reharmonization 357–383 - -All the Things You Are 375–378 - -Autumn Leaves 362–374 - -Stella By Starlight 378–383 - -release see bridge - -rhythm changes 242 - -improvisation 256–263 - -substitutions 252–256 - -rhythmic displacement 386, 395 - -Roman numerals 28–30; see also analysis - - - -scale degrees 6, 386 - -major keys 26–27 - -minor keys 27–28 - -sentence structure 336 - -set class see pitch-class set - -sidestepping 315 - -song forms - -32-bar AABA 323–337 - -32-bar ABAC 338–348 - -extended and unusual 349–356 - -stacked fourths 278 - -standard tune 323 - -standard tune repertory 298, 300, 302, 305, 309, 311, 312, 313, 315, 318, 320, 322, 326–329, 330–331, 339–342, 350–351 - -Stella By Starlight 378–383 - -structural approach 396–397 - -structural level 30 - -structural line 225 - -substitutions - -blues 220–225 - -Countdown 159–160 - -Giant Steps 160 - -Lady Bird 157 - -phrase models 297, 299, 302, 304, 306, 308, 310, 312, 314, 316, 318, 319, 321 - -rhythm changes 251–256 - -tritone 152–154 - -sum 422 - -surface level 30 - -sus chords 18, 40, 51, 54–55, 100–102, 183–184 - -suspended dominant category 54–55, 100–102, 277, 284–285 - -swing 8th notes 21 - -articulation 22 - -placement 21 - -symmetrical intervallic cycles 159, 214, 251 - -symmetrical scale see octatonic scale - -syncopation 20 - - - -tag endings 156–157 - -tetrachords 85, 86, 87, 88, 89, 218 - -time signatures 12–13 - -tonality see functional tonality - -tonic prolongation 31 - -tonic function 26 - -tonicization 114, 141, 239, 290, 293–294, 367 - -transposition (Tn) 422 - -triad 16–17 - -inversions 17 - -upper-structure 172–177 - -trichords 405–423 - -“diatonic” 408–411 - -semitone 415–419 - -“triadic” 413–415 - -whole-tone 412–413 - -Tristano school 384–385 - -characteristics 399–401 - -tritone 38 - -invariance 152–153 - -tritone substitution 152–154, 251–256, 368–369 - -turnaround 154–155 - -turnback see turnaround - - - -upper structures 172–177 - -major triads 173 - -minor triads 173–174 - -reharmonization 369–371 - -resolution 175–76 - -trichords 410–419 - - - -voice leading 33–34, 291–292, 366, 383 - -voicings 46, 172–184 - -block style 369 - -close-position 46 - -“drop 2” 47, 56 - -five-part 59–62 - -four-part 46–47 - -gapped 95, 219 - -hexatonic 286–287 - -incomplete 181–184 - -open 46 - -pentatonic 278–280 - -quartal 94, 278, 411 - -rootless 148, 174–181 - - - - +The evolution from Bebop to post-tonal approaches in jazz reflects a growing exploration of harmonic, melodic, and rhythmic freedom. Lennie Tristano’s work, particularly in “Line Up,” serves as an important bridge between the bebop vocabulary and post-tonal improvisational strategies. While Tristano retained the chord progressions of standard tunes, his treatment of melody, rhythm, and voice leading often approached post-tonal thinking—creating lines that could be analyzed horizontally as much as vertically, and that frequently blurred conventional tonal centers. + +Characteristics of Post-Tonal Jazz +Harmonic Freedom +Post-tonal jazz often reduces reliance on diatonic functional harmony. As seen in Tristano’s use of chromatic neighbor tones, tritone substitutions, harmonic interpolations, and superimposed progressions, post-tonal players manipulate harmonic structures to serve melodic logic rather than predetermined chord resolutions. +Linear and Contrapuntal Thinking +The structural approach exemplified by Tristano—where lines maintain coherence across multiple choruses, employ compound melodies, and navigate chromatic pivots—anticipates post-tonal methods where linear continuity can dominate harmonic expectation. +Rhythmic Innovation +Post-tonal improvisers expand the rhythmic palette beyond regular phrase symmetry. Tristano’s metric and phrase displacement, accent manipulation, and polyrhythmic juxtapositions exemplify this trend, which would later be amplified in the works of modern jazz pianists and avant-garde improvisers. +Extended Melodic Vocabulary +Techniques such as melodic interpolation, motivic parallelism, and chromatic passing tones expand the melodic language, freeing the soloist from traditional diatonic constraints. This approach allows for continuous, flowing lines that interact with the harmonic background in non-functional ways. +Integration of Advanced Techniques +Post-tonal jazz often combines multiple strategies simultaneously: +Compound melody and polyphony create internal counterpoint within a single-line improvisation. +Voice-leading considerations ensure chromatic and diatonic tones interact smoothly. +Structural improvisation provides long-term formal coherence, making each phrase part of a larger architectural plan. +Analytical Implications + +Studying Tristano’s “Line Up” demonstrates that post-tonal thinking in jazz is not simply about avoiding tonal centers—it is about reconceiving the relationships between melody, harmony, rhythm, and structure. By analyzing his work, musicians can develop: + +An ear for metric ambiguity and rhythmic displacements, essential for post-tonal phrasing. +Sensitivity to voice-leading in complex chromatic contexts, a core skill for polyphonic improvisation. +A method for structural planning of solos, connecting melodic devices across choruses for long-term coherence. +Legacy and Influence + +Tristano’s innovations foreshadowed the later developments in jazz by: + +Ornette Coleman, Cecil Taylor, and other avant-garde artists who emphasized freedom from harmonic constraints. +Modern jazz educators who use post-tonal analysis to teach improvisation across linear, contrapuntal, and chromatic frameworks. + +In essence, “Line Up” is a masterclass in how a single solo can simultaneously respect harmonic tradition and anticipate post-tonal abstraction, making it a critical reference for understanding jazz improvisation beyond functional harmony. + +HAPTER SUMMARY (CONTINUED) + +APPLICATION TO JAZZ IMPROVISATION + +The theoretical concepts discussed in this chapter—particularly trichords and pitch-class (pc) sets—can be directly applied to jazz improvisation. By recognizing the harmonic potential of trichords, improvisers can: + +Construct upper-structure triads over existing chord progressions. +Explore nontraditional harmonic environments while maintaining cohesion. +Employ chromaticism and non-diatonic structures more fluidly. +Build melodic lines that reference trichordal relationships rather than standard tonal functions. + +A crucial benefit of understanding trichords is the ability to identify families of pc sets that share intervallic characteristics, allowing improvisers to choose collections of pitches that are harmonically and melodically coherent. For instance, a semitone family trichord like (015) can create tension, while a diatonic family trichord like (025) can outline consonant or modal sonorities. + +PC-SET COMPLEXES AND MELODIC APPLICATIONS + +Each trichord, when transposed and combined with its inversionally related forms, forms a pc-set complex, which can serve as a palette for improvisation: + +Rootless voicings: Use pc sets without a clear root to imply chords. +Upper-structure voicings: Stack trichords on top of existing chords to create extensions (9ths, 11ths, 13ths). +Melodic cells: Use trichord forms as motifs or melodic kernels within longer lines. + +By internalizing these pc-set complexes, jazz musicians can improvise using post-tonal logic while retaining rhythmic and melodic freedom. + +SUMMARY OF CHAPTER 27 TAKEAWAYS + +Post-tonal theory in jazz allows for abstraction beyond traditional tonal systems, emphasizing pitch-class relationships rather than key-based functions. +Trichords are three-note collections that can be analyzed by normal form, intervallic content, and prime form to reveal inversional relationships. +Families of trichords (diatonic, whole-tone, triadic, semitone) guide harmonic exploration and improvisation. +Prime forms and set classes provide a systematic method to classify and apply pitch collections. +Clock-face visualization is a practical tool for identifying normal and prime forms quickly. +Harmonic potential of trichords enables rootless and upper-structure improvisation, bridging theoretical abstraction and practical jazz performance. +PC-set complexes unify multiple transpositions and inversions of a trichord, offering a rich vocabulary for improvisers. + +Ultimately, the chapter emphasizes that post-tonal theory is not just an academic exercise but a practical framework for expanding melodic and harmonic possibilities in jazz, encouraging improvisers to think beyond conventional tonal constraints. +PC-SET COMPLEXES AND HARMONIC APPLICATIONS +1. “Diatonic” Trichords ([025], [035], [027], [057]) +Flexible for upper-structure voicings and rootless chords. +[025] example: in B♭Maj9, functions as major 9th, 3rd, 5th; in A♭Maj13(♯11), functions as major 3rd, ♯11, major 13th. +[027] often used as quartal structure; integrates well into dominant 7th chords within minor 3rd cycles. +These sets are interrelated; [025] and [027] share two pitches, enabling smooth harmonic connections. +2. Whole-Tone Trichords ([024], [026], [046], [048]) +Derived from the whole-tone scale, especially effective in dominant 7th chords. +[024], [026], [048]: belong to specific whole-tone scales, thus fit into every dominant 7th built from that scale. +[046]: versatile as an upper structure across two whole-tone scales, increasing harmonic flexibility. +3. Triadic Trichords ([036], [037], [047]) +Function as upper structures for dominant 7ths, but reversed: one triad can support multiple chord types. +Connects directly with the upper-structure triads discussed in Chapter 14. +Demonstrates the flexibility of triads as harmonic building blocks in a post-tonal context. +4. Semitone Trichords ([012], [013], [023], [014], [034], [015], [045], [016], [056]) +Most chromatic and interval-dense, producing unique tensions. +[012]: chromatic embellishments, limited harmonic use. +[013]: introduces add-note chords (e.g., A♭Maj7(add4)), extending traditional jazz harmony. +[045]: used in min7(♭5); creates tension requiring resolution. +[016] & [056]: suitable for dominant 7th chords, even with “forbidden” intervals (perfect 4th, major 7th). +Consonance/dissonance is context-dependent, aligning with Persichetti’s principle: any note can sound with any other. +MODAL AND MOTIVIC POTENTIAL +Trichords derived from diatonic or chromatic modes can be used horizontally as motives. +Allows motivic development, expanding melodic and harmonic creativity. +TRANSFORMATION OF TRICHORDS +Inversion (TnI) +Two-step process: invert around pc0 → transpose by index number. +Example: [025] → [035] using T5I. +Mapping follows mirror inversion; sum of corresponding pcs = index number (mod 12). +Transposition (Tn) +Single-step mapping: subtract or add integers to find level of transposition. +Uses mod 12 arithmetic for wrap-around in pitch-class space. +AURAL IDENTIFICATION +Develops a tonally neutral ear for recognizing trichords. +Steps for recognition: +Identify interval classes between pitches. +Convert to pitch classes (pc). +Arrange in normal form. +Determine inversional partner, if applicable. +Assign pc0 to the most packed pitch → get prime form. +Example: C♯5, F4, E4 → pc1, pc5, pc4 → normal form [145] → prime form (014). +Pitch-class recognition improves harmonic sensitivity and improvisational control. + +This section essentially bridges post-tonal theory and practical jazz application, showing how trichords and pc-set complexes inform: diff --git a/Books/Music/Theory/Modal Interchange.txt b/Books/Music/Theory/Modal Interchange.txt new file mode 100644 index 0000000..ef14917 --- /dev/null +++ b/Books/Music/Theory/Modal Interchange.txt @@ -0,0 +1,259 @@ +TITLE: Borrowed Chords and Modal Interchange +DOMAIN: Music Theory +CONCEPTS: modal interchange, borrowed chords, parallel modes, +modal mixture, diatonic harmony, reharmonization, backdoor progression, +IVm, bVI, bVII, Lydian, Ionian, Mixolydian, Dorian, Aeolian, +Phrygian, Locrian, songwriting, jazz harmony, rock harmony +SOURCE: Music Theory Instructional +TOPIC: Modal interchange theory, borrowed chord usage, and parallel +mode reference for all twelve keys +--- + +Chunk 1: What is Modal Interchange +Metadata: type=definition, concept=modalInterchange, +concept=borrowedChords, concept=parallelMode, concept=harmonicColor + +Modal interchange � also called borrowed chords, modal mixture, or mixed +modes � is a compositional device in which composers add unexpected +harmonic colors by borrowing chords from a parallel mode. The most common +application is the appearance of chords from the parallel minor in the +context of a major key. Because C Ionian and C Aeolian share the same +tonic, their sonorities can be interchanged quite naturally � a composer +can use chords from C minor in the context of C major without preparation +or awkwardness. More advanced examples draw on other parallel modes beyond +just the natural minor. The result is a significantly expanded harmonic +palette that moves well beyond the familiar and limited sound of purely +diatonic chords. + +Chunk 2: Commonly Used Borrowed Chords +Metadata: type=theory, concept=borrowedChords, concept=modalInterchange, +key=Cmajor, chords=IVm/bVI/bVII/bIII/Vm/halfDiminishedII/diminishedVII, +concept=parallelMinor + +The most frequently used borrowed chords in a major key come from the +parallel natural minor or Aeolian mode. In C major these are the minor +IV chord (F minor), the major bVI chord (Ab major), and the major bVII +chord (Bb major). Additional borrowed chords available in C major include +the minor I chord (Cm), the major bIII chord (Eb), the minor V chord (Gm), +the half-diminished II chord (D�7), and the fully diminished VII chord +(B�7). In practice, several borrowed chords from the parallel minor +function exactly like their diatonic counterparts � IV can be replaced +with IVm, IIm7 with II�7, V with Vm, VIm with bVI, and VII�7 with VII�7 +without any other adaptation or preparation, creating striking new colors +within otherwise familiar progressions. + +Chunk 3: Modal Interchange in Classic Rock � Blood Sweat and Tears +Metadata: type=example, concept=modalInterchange, genre=classicRock, +artist=BloodSweatAndTears, song=SpinningWheel, year=1970, +progression=I/bVII/bVI/V, key=Cmajor, concept=stepwiseDescent + +Blood Sweat and Tears formed in New York City in 1967 with the goal of +combining jazz sophistication with rock energy. Their self-titled second +album featuring the hit single Spinning Wheel won the Grammy Award for +Album of the Year. The excerpt in C major features a stepwise descent +from tonic to dominant through borrowed chords from the parallel minor � +moving I to bVII to bVI to V. This descending progression through bVII +and bVI borrowed from C Aeolian creates a cinematic, dramatic momentum +that diatonic harmony alone cannot achieve, with each chord pulling +downward toward the dominant resolution. + +Chunk 4: Modal Interchange in Jazz � Days of Wine and Roses +Metadata: type=example, concept=modalInterchange, genre=jazz, +artist=HenryMancini/RayBrownTrio/GeneHarris, +song=DaysOfWineAndRoses, year=1962, key=Fmajor, +chords=IVm6/bVII7, concept=tritoneSubstitution, concept=backdoorProgression + +The Days of Wine and Roses written by Henry Mancini with lyrics by +Johnny Mercer appeared in the 1962 film of the same title, earning an +Academy Award for Best Original Song and Grammy Awards for Record of the +Year and Song of the Year. The Ray Brown Trio recording in F major +contains borrowed chords IVm6 and bVII7 in measures seven and eight +drawn from the parallel minor. The Eb7(#11) in measure two may appear +to be a borrowed chord but is better understood as a tritone substitution +resolving to D7 in measure four. The movement from IVm7 to bVII9 to I +is a common jazz progression known as the backdoor ii-V or simply the +backdoor progression � a particularly smooth and sophisticated application +of modal interchange that resolves to the tonic from an unexpected +harmonic direction. + +Chunk 5: Modal Interchange in Soul � Never Can Say Goodbye +Metadata: type=example, concept=modalInterchange, genre=soul/RandB, +artist=Jackson5/MichaelJackson, song=NeverCanSayGoodbye, year=1970, +key=Dmajor, modes=DDorian/DLydian/DPhrygian/DIonian, +concept=advancedModalInterchange + +The Jackson 5 recorded Never Can Say Goodbye in 1970 with lead vocals +by an eleven-year-old Michael Jackson. Written by Clifton Davis, the +song reached number two on the Billboard Hot 100 and number one on the +Billboard R&B Charts. The excerpt in D major represents a more advanced +application of modal interchange � drawing on chords from D Dorian, +D Lydian, and D Phrygian before resolving back to D Ionian. This +movement across three parallel modes within a single progression +demonstrates that modal interchange is not limited to borrowing from +the parallel minor alone but can draw on the full spectrum of parallel +modes for harmonic color. + +Chunk 6: How to Use Borrowed Chords � Practical Application +Metadata: type=application, concept=modalInterchange, concept=borrowedChords, +concept=melodyCompatibility, concept=reharmonization, concept=sidestepping, +concept=parallelChords, level=beginner/intermediate + +For beginners approaching modal interchange, the simplest entry point +is identifying which melody notes have the greatest compatibility with +borrowed chords. In C major, the note C appears naturally in all +parallel modes, providing the greatest number of borrowed chord options +when C is the melody note. The notes F and G are also common to most +parallel modes of C, making them strong candidates for reharmonization +with borrowed chords. By contrast, the note B is only found in C Lydian +and C Ionian, severely limiting borrowed chord options when B is the +melody note. A useful technique is sidestepping or parallel chords � +where a borrowed chord resolves with each voice moving down a half step +in parallel chromatic motion, as when Ab/Gb precedes G/F with all notes +descending a half step. The backdoor progression � IVm7 to bVII9 to I +� is a particularly common and smooth jazz application of modal +interchange drawn from the parallel Aeolian mode. + +Chunk 7: Modal Interchange Applications Beyond Songwriting +Metadata: type=application, concept=modalInterchange, genre=jazz/coverBand, +concept=earTraining, concept=reharmonization, concept=jazzStandards, +concept=learningByEar + +Modal interchange is valuable beyond songwriting and composition. For +gigging musicians in cover bands, familiarity with the sound of common +borrowed chords enables faster learning of songs by ear � recognizing +that an unexpected chord is a borrowed bVI or bVII rather than a +modulation resolves harmonic confusion immediately. Jazz musicians use +modal interchange alongside other reharmonization techniques to +personalize their repertoire of jazz standards, replacing diatonic +chords with borrowed alternatives to create fresh harmonic colors within +familiar melodic contexts. The skill of hearing modal interchange in +real music � rather than only understanding it theoretically � develops +through deliberate listening to the examples above and actively +identifying borrowed chords in recordings. + +Chunk 8: Modal Interchange Summary +Metadata: type=summary, concept=modalInterchange, concept=borrowedChords, +concept=parallelMode, concept=harmonicPalette, concept=backdoorProgression, +chords=IVm/bVI/bVII/bIII, genres=rock/jazz/soul + +Modal interchange is the practice of borrowing chords from parallel +modes to expand harmonic color beyond diatonic limitations. The most +common borrowed chords in major keys are IVm, bVI, and bVII from the +parallel natural minor, which can replace their diatonic counterparts +without preparation. More advanced applications draw on Dorian, Lydian, +Phrygian, and Locrian parallel modes for additional colors. The backdoor +progression � IVm7 to bVII9 to I � is a particularly smooth jazz +application. Modal interchange appears across genres from classic rock +(Blood Sweat and Tears), jazz (Days of Wine and Roses), and soul (Never +Can Say Goodbye), demonstrating its universal harmonic value. For +songwriters it expands the chord palette significantly; for performers +it accelerates learning by ear; for jazz musicians it enables +personalized reharmonization of standards. + +Chunk — Key of C +C Lydian Parallel Mode of C (Brightest): C, D, E, F#, G, A, B (Major with a sharp 4th) +C Ionian Parallel Mode of C (Major): C, D, E, F, G, A, B (Natural Major) +C Mixolydian Parallel Mode of C: C, D, E, F, G, A, Bb (Major with a flat 7th) +C Dorian Parallel Mode of C: C, D, Eb, F, G, A, Bb (Minor with a sharp 6th) +C Aeolian Parallel Mode of C (Minor): C, D, Eb, F, G, Ab, Bb (Natural Minor) +C Phrygian Parallel Mode of C: C, Db, Eb, F, G, Ab, Bb (Minor with a flat 2nd) +C Locrian Parallel Mode of C (Darkest): C, Db, Eb, F, Gb, Ab, Bb (Minor with a flat 2nd and 5th) + +Chunk — Key of C# +C# Lydian Parallel Mode of C# (Brightest): C#, D#, E#, F##, G#, A#, B# (Major with a sharp 4th) +C# Ionian Parallel Mode of C# (Major): C#, D#, E#, F#, G#, A#, B# (Natural Major) +C# Mixolydian Parallel Mode of C#: C#, D#, E#, F#, G#, A#, B (Major with a flat 7th) +C# Dorian Parallel Mode of C#: C#, D#, E, F#, G#, A#, B (Minor with a sharp 6th) +C# Aeolian Parallel Mode of C# (Minor): C#, D#, E, F#, G#, A, B (Natural Minor) +C# Phrygian Parallel Mode of C#: C#, D, E, F#, G#, A, B (Minor with a flat 2nd) +C# Locrian Parallel Mode of C# (Darkest): C#, D, E, F#, G, A, B (Minor with a flat 2nd and 5th) + +Chunk — Key of D +D Lydian Parallel Mode of D (Brightest): D, E, F#, G#, A, B, C# (Major with a sharp 4th) +D Ionian Parallel Mode of D (Major): D, E, F#, G, A, B, C# (Natural Major) +D Mixolydian Parallel Mode of D: D, E, F#, G, A, B, C (Major with a flat 7th) +D Dorian Parallel Mode of D: D, E, F, G, A, B, C (Minor with a sharp 6th) +D Aeolian Parallel Mode of D (Minor): D, E, F, G, A, Bb, C (Natural Minor) +D Phrygian Parallel Mode of D: D, Eb, F, G, A, Bb, C (Minor with a flat 2nd) +D Locrian Parallel Mode of D (Darkest): D, Eb, F, G, Ab, Bb, C (Minor with a flat 2nd and 5th) + +Chunk — Key of Eb +Eb Lydian Parallel Mode of Eb (Brightest): Eb, F, G, A, Bb, C, D (Major with a sharp 4th) +Eb Ionian Parallel Mode of Eb (Major): Eb, F, G, Ab, Bb, C, D (Natural Major) +Eb Mixolydian Parallel Mode of Eb: Eb, F, G, Ab, Bb, C, Db (Major with a flat 7th) +Eb Dorian Parallel Mode of Eb: Eb, F, Gb, Ab, Bb, C, Db (Minor with a sharp 6th) +Eb Aeolian Parallel Mode of Eb (Minor): Eb, F, Gb, Ab, Bb, Cb, Db (Natural Minor) +Eb Phrygian Parallel Mode of Eb: Eb, Fb, Gb, Ab, Bb, Cb, Db (Minor with a flat 2nd) +Eb Locrian Parallel Mode of Eb (Darkest): Eb, Fb, Gb, Ab, Bbb, Cb, Db (Minor with a flat 2nd and 5th) + +Chunk — Key of E +E Lydian Parallel Mode of E (Brightest): E, F#, G#, A#, B, C#, D# (Major with a sharp 4th) +E Ionian Parallel Mode of E (Major): E, F#, G#, A, B, C#, D# (Natural Major) +E Mixolydian Parallel Mode of E: E, F#, G#, A, B, C#, D (Major with a flat 7th) +E Dorian Parallel Mode of E: E, F#, G, A, B, C#, D (Minor with a sharp 6th) +E Aeolian Parallel Mode of E (Minor): E, F#, G, A, B, C, D (Natural Minor) +E Phrygian Parallel Mode of E: E, F, G, A, B, C, D (Minor with a flat 2nd) +E Locrian Parallel Mode of E (Darkest): E, F, G, A, Bb, C, D (Minor with a flat 2nd and 5th) + +Chunk — Key of F +F Lydian Parallel Mode of F (Brightest): F, G, A, B, C, D, E (Major with a sharp 4th) +F Ionian Parallel Mode of F (Major): F, G, A, Bb, C, D, E (Natural Major) +F Mixolydian Parallel Mode of F: F, G, A, Bb, C, D, Eb (Major with a flat 7th) +F Dorian Parallel Mode of F: F, G, Ab, Bb, C, D, Eb (Minor with a sharp 6th) +F Aeolian Parallel Mode of F (Minor): F, G, Ab, Bb, C, Db, Eb (Natural Minor) +F Phrygian Parallel Mode of F: F, Gb, Ab, Bb, C, Db, Eb (Minor with a flat 2nd) +F Locrian Parallel Mode of F (Darkest): F, Gb, Ab, Bb, Cb, Db, Eb (Minor with a flat 2nd and 5th) + +Chunk — Key of F# +F# Lydian Parallel Mode of F# (Brightest): F#, G#, A#, B#, C#, D#, E# (Major with a sharp 4th) +F# Ionian Parallel Mode of F# (Major): F#, G#, A#, B, C#, D#, E# (Natural Major) +F# Mixolydian Parallel Mode of F#: F#, G#, A#, B, C#, D#, E (Major with a flat 7th) +F# Dorian Parallel Mode of F#: F#, G#, A, B, C#, D#, E (Minor with a sharp 6th) +F# Aeolian Parallel Mode of F# (Minor): F#, G#, A, B, C#, D, E (Natural Minor) +F# Phrygian Parallel Mode of F#: F#, G, A, B, C#, D, E (Minor with a flat 2nd) +F# Locrian Parallel Mode of F# (Darkest): F#, G, A, B, C, D, E (Minor with a flat 2nd and 5th) + +Chunk — Key of G +G Lydian Parallel Mode of G (Brightest): G, A, B, C#, D, E, F# (Major with a sharp 4th) +G Ionian Parallel Mode of G (Major): G, A, B, C, D, E, F# (Natural Major) +G Mixolydian Parallel Mode of G: G, A, B, C, D, E, F (Major with a flat 7th) +G Dorian Parallel Mode of G: G, A, Bb, C, D, E, F (Minor with a sharp 6th) +G Aeolian Parallel Mode of G (Minor): G, A, Bb, C, D, Eb, F (Natural Minor) +G Phrygian Parallel Mode of G: G, Ab, Bb, C, D, Eb, F (Minor with a flat 2nd) +G Locrian Parallel Mode of G (Darkest): G, Ab, Bb, C, Db, Eb, F (Minor with a flat 2nd and 5th) + +Chunk — Key of Ab +Ab Lydian Parallel Mode of Ab (Brightest): Ab, Bb, C, D, Eb, F, G (Major with a sharp 4th) +Ab Ionian Parallel Mode of Ab (Major): Ab, Bb, C, Db, Eb, F, G (Natural Major) +Ab Mixolydian Parallel Mode of Ab: Ab, Bb, C, Db, Eb, F, Gb (Major with a flat 7th) +Ab Dorian Parallel Mode of Ab: Ab, Bb, Cb, Db, Eb, F, Gb (Minor with a sharp 6th) +Ab Aeolian Parallel Mode of Ab (Minor): Ab, Bb, Cb, Db, Eb, Fb, Gb (Natural Minor) +Ab Phrygian Parallel Mode of Ab: Ab, Bbb, Cb, Db, Eb, Fb, Gb (Minor with a flat 2nd) +Ab Locrian Parallel Mode of Ab (Darkest): Ab, Bbb, Cb, Db, Ebb, Fb, Gb (Minor with a flat 2nd and 5th) + +Chunk — Key of A +A Lydian Parallel Mode of A (Brightest): A, B, C#, D#, E, F#, G# (Major with a sharp 4th) +A Ionian Parallel Mode of A (Major): A, B, C#, D, E, F#, G# (Natural Major) +A Mixolydian Parallel Mode of A: A, B, C#, D, E, F#, G (Major with a flat 7th) +A Dorian Parallel Mode of A: A, B, C, D, E, F#, G (Minor with a sharp 6th) +A Aeolian Parallel Mode of A (Minor): A, B, C, D, E, F, G (Natural Minor) +A Phrygian Parallel Mode of A: A, Bb, C, D, E, F, G (Minor with a flat 2nd) +A Locrian Parallel Mode of A (Darkest): A, Bb, C, D, Eb, F, G (Minor with a flat 2nd and 5th) + +Chunk — Key of Bb +Bb Lydian Parallel Mode of Bb (Brightest): Bb, C, D, E, F, G, A (Major with a sharp 4th) +Bb Ionian Parallel Mode of Bb (Major): Bb, C, D, Eb, F, G, A (Natural Major) +Bb Mixolydian Parallel Mode of Bb: Bb, C, D, Eb, F, G, Ab (Major with a flat 7th) +Bb Dorian Parallel Mode of Bb: Bb, C, Db, Eb, F, G, Ab (Minor with a sharp 6th) +Bb Aeolian Parallel Mode of Bb (Minor): Bb, C, Db, Eb, F, Gb, Ab (Natural Minor) +Bb Phrygian Parallel Mode of Bb: Bb, Cb, Db, Eb, F, Gb, Ab (Minor with a flat 2nd) +Bb Locrian Parallel Mode of Bb (Darkest): Bb, Cb, Db, Eb, Fb, Gb, Ab (Minor with a flat 2nd and 5th) + +Chunk — Key of B +B Lydian Parallel Mode of B (Brightest): B, C#, D#, E#, F#, G#, A# (Major with a sharp 4th) +B Ionian Parallel Mode of B (Major): B, C#, D#, E, F#, G#, A# (Natural Major) +B Mixolydian Parallel Mode of B: B, C#, D#, E, F#, G#, A (Major with a flat 7th) +B Dorian Parallel Mode of B: B, C#, D, E, F#, G#, A (Minor with a sharp 6th) +B Aeolian Parallel Mode of B (Minor): B, C#, D, E, F#, G, A (Natural Minor) +B Phrygian Parallel Mode of B: B, C, D, E, F#, G, A (Minor with a flat 2nd) +B Locrian Parallel Mode of B (Darkest): B, C, D, E, F, G, A (Minor with a flat 2nd and 5th) \ No newline at end of file diff --git a/Books/Music/Theory/Modal_Scale_Reference.txt b/Books/Music/Theory/Modal_Scale_Reference.txt index c1ec7f9..fc2833d 100644 --- a/Books/Music/Theory/Modal_Scale_Reference.txt +++ b/Books/Music/Theory/Modal_Scale_Reference.txt @@ -1,90 +1,110 @@ TITLE: Modal Scale Reference DOMAIN: Music Theory -CONCEPTS: Modes, scales, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, Ionian, intervals, note spelling -CONTENT TYPE: Reference ---- +TYPE: reference +PRIORITY: high +CONCEPTS: modes, scales, ionian, dorian, phrygian, lydian, mixolydian, aeolian, locrian, intervals, note spelling + +Ionian (Major) The notes in the C Ionian scale are C D E F G A B. -The notes in the C# Ionian scale are C# D# F F# G# A# C. +The notes in the C# Ionian scale are C# D# E# F# G# A# B#. The notes in the D Ionian scale are D E F# G A B C#. -The notes in the D# Ionian scale are D# F G G# A# C D. +The notes in the D# Ionian scale are D# E# F## G# A# B# C##. The notes in the E Ionian scale are E F# G# A B C# D#. -The notes in the F Ionian scale are F G A A# C D E. -The notes in the F# Ionian scale are F# G# A# B C# D# F. +The notes in the F Ionian scale are F G A Bb C D E. +The notes in the F# Ionian scale are F# G# A# B C# D# E#. The notes in the G Ionian scale are G A B C D E F#. -The notes in the G# Ionian scale are G# A# C C# D# F G. +The notes in the G# Ionian scale are G# A# B# C## D# E# F##. The notes in the A Ionian scale are A B C# D E F# G#. -The notes in the A# Ionian scale are A# C D D# F G A. +The notes in the A# Ionian scale are A# B# C## D# E# F## G##. The notes in the B Ionian scale are B C# D# E F# G# A#. -The notes in the C Dorian scale are C D D# F G A A#. + +Dorian + +The notes in the C Dorian scale are C D Eb F G A Bb. The notes in the C# Dorian scale are C# D# E F# G# A# B. The notes in the D Dorian scale are D E F G A B C. -The notes in the D# Dorian scale are D# F F# G# A# C C#. +The notes in the D# Dorian scale are D# E# F# G# A# B# C#. The notes in the E Dorian scale are E F# G A B C# D. -The notes in the F Dorian scale are F G G# A# C D D#. +The notes in the F Dorian scale are F G Ab Bb C D Eb. The notes in the F# Dorian scale are F# G# A B C# D# E. -The notes in the G Dorian scale are G A A# C D E F. -The notes in the G# Dorian scale are G# A# B C# D# F F#. +The notes in the G Dorian scale are G A Bb C D E F. +The notes in the G# Dorian scale are G# A# B C# D# E# F#. The notes in the A Dorian scale are A B C D E F# G. -The notes in the A# Dorian scale are A# C C# D# F G G#. +The notes in the A# Dorian scale are A# B# C# D# E# F## G#. The notes in the B Dorian scale are B C# D E F# G# A. -The notes in the C Phrygian scale are C C# D# F G G# A#. + +Phrygian + +The notes in the C Phrygian scale are C Db Eb F G Ab Bb. The notes in the C# Phrygian scale are C# D E F# G# A B. -The notes in the D Phrygian scale are D D# F G A A# C. +The notes in the D Phrygian scale are D Eb F G A Bb C. The notes in the D# Phrygian scale are D# E F# G# A# B C#. The notes in the E Phrygian scale are E F G A B C D. -The notes in the F Phrygian scale are F F# G# A# C C# D#. +The notes in the F Phrygian scale are F Gb Ab Bb C Db Eb. The notes in the F# Phrygian scale are F# G A B C# D E. -The notes in the G Phrygian scale are G G# A# C D D# F. +The notes in the G Phrygian scale are G Ab Bb C D Eb F. The notes in the G# Phrygian scale are G# A B C# D# E F#. -The notes in the A Phrygian scale are A A# C D E F G. +The notes in the A Phrygian scale are A Bb C D E F G. The notes in the A# Phrygian scale are A# B C# D# F F# G#. The notes in the B Phrygian scale are B C D E F# G A. + +Lydian + The notes in the C Lydian scale are C D E F# G A B. -The notes in the C# Lydian scale are C# D# F G G# A# C. +The notes in the C# Lydian scale are C# D# E# F## G# A# B#. The notes in the D Lydian scale are D E F# G# A B C#. -The notes in the D# Lydian scale are D# F G A A# C D. +The notes in the D# Lydian scale are D# E# F## G## A# B# C##. The notes in the E Lydian scale are E F# G# A# B C# D#. The notes in the F Lydian scale are F G A B C D E. The notes in the F# Lydian scale are F# G# A# C C# D# F. The notes in the G Lydian scale are G A B C# D E F#. -The notes in the G# Lydian scale are G# A# C D D# F G. +The notes in the G# Lydian scale are G# A# B# C## D# E# F##. The notes in the A Lydian scale are A B C# D# E F# G#. -The notes in the A# Lydian scale are A# C D E F G A. +The notes in the A# Lydian scale are A# B# C## D## E# F## G##. The notes in the B Lydian scale are B C# D# F F# G# A#. -The notes in the C Mixolydian scale are C D E F G A A#. -The notes in the C# Mixolydian scale are C# D# F F# G# A# B. + +Mixolydian + +The notes in the C Mixolydian scale are C D E F G A Bb. +The notes in the C# Mixolydian scale are C# D# E# F# G# A# B. The notes in the D Mixolydian scale are D E F# G A B C. -The notes in the D# Mixolydian scale are D# F G G# A# C C#. +The notes in the D# Mixolydian scale are D# E# F## G# A# B# C#. The notes in the E Mixolydian scale are E F# G# A B C# D. -The notes in the F Mixolydian scale are F G A A# C D D#. +The notes in the F Mixolydian scale are F G A Bb C D Eb. The notes in the F# Mixolydian scale are F# G# A# B C# D# E. The notes in the G Mixolydian scale are G A B C D E F. -The notes in the G# Mixolydian scale are G# A# C C# D# F F#. +The notes in the G# Mixolydian scale are G# A# B# C# D# E# F#. The notes in the A Mixolydian scale are A B C# D E F# G. -The notes in the A# Mixolydian scale are A# C D D# F G G#. +The notes in the A# Mixolydian scale are A# B# C## D# E# F## G#. The notes in the B Mixolydian scale are B C# D# E F# G# A. -The notes in the C Aeolian scale are C D D# F G G# A#. + +Aeolian (Natural Minor) + +The notes in the C Aeolian scale are C D Eb F G Ab Bb. The notes in the C# Aeolian scale are C# D# E F# G# A B. -The notes in the D Aeolian scale are D E F G A A# C. -The notes in the D# Aeolian scale are D# F F# G# A# B C#. +The notes in the D Aeolian scale are D E F G A Bb C. +The notes in the D# Aeolian scale are D# E# F# G# A# B C#. The notes in the E Aeolian scale are E F# G A B C D. -The notes in the F Aeolian scale are F G G# A# C C# D#. +The notes in the F Aeolian scale are F G Ab Bb C Db Eb. The notes in the F# Aeolian scale are F# G# A B C# D E. -The notes in the G Aeolian scale are G A A# C D D# F. +The notes in the G Aeolian scale are G A Bb C D Eb F. The notes in the G# Aeolian scale are G# A# B C# D# E F#. The notes in the A Aeolian scale are A B C D E F G. -The notes in the A# Aeolian scale are A# C C# D# F F# G#. +The notes in the A# Aeolian scale are A# B# C# D# F F# G#. The notes in the B Aeolian scale are B C# D E F# G A. -The notes in the C Locrian scale are C C# D# F F# G# A#. + +Locrian + +The notes in the C Locrian scale are C Db Eb F Gb Ab Bb. The notes in the C# Locrian scale are C# D E F# G A B. -The notes in the D Locrian scale are D D# F G G# A# C. +The notes in the D Locrian scale are D Eb F G Ab Bb C. The notes in the D# Locrian scale are D# E F# G# A B C#. -The notes in the E Locrian scale are E F G A A# C D. -The notes in the F Locrian scale are F F# G# A# B C# D#. +The notes in the E Locrian scale are E F G A Bb C D. +The notes in the F Locrian scale are F Gb Ab Bb Cb Db Eb. The notes in the F# Locrian scale are F# G A B C D E. -The notes in the G Locrian scale are G G# A# C C# D# F. +The notes in the G Locrian scale are G Ab Bb C Db Eb F. The notes in the G# Locrian scale are G# A B C# D E F#. -The notes in the A Locrian scale are A A# C D D# F G. +The notes in the A Locrian scale are A Bb C D Eb F G. The notes in the A# Locrian scale are A# B C# D# E F# G#. -The notes in the B Locrian scale are B C D E F G A. \ No newline at end of file +The notes in the B Locrian scale are B C D E F G A. diff --git a/Books/Music/Theory/Mode Formulas.txt b/Books/Music/Theory/Mode Formulas.txt new file mode 100644 index 0000000..cc37b91 --- /dev/null +++ b/Books/Music/Theory/Mode Formulas.txt @@ -0,0 +1,35 @@ +TITLE: Mode Interval Formulas +DOMAIN: Music Theory +CONCEPTS: modes, interval formula, whole step, half step, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, scale construction, W H pattern, construct scale, build scale, apply formula, starting note, root note +CONTENT TYPE: Reference +--- + +W means whole step also called a tone or T. H means half step also called a semitone or S. W and T are equivalent. H and S are equivalent. A whole step equals 2 semitones. A half step equals 1 semitone. W means whole step and H means half step in mode interval formulas. To construct any modal scale choose a starting note and apply each interval step in the formula in sequence to arrive at the next note. + +The Ionian mode interval formula is W W H W W W H. To construct a scale using the Ionian formula start on the root note and apply W W H W W W H in sequence. Ionian is the natural major scale. Ionian has a natural seventh compared to Mixolydian and a natural fourth compared to Lydian. When asked to construct an Ionian scale use the formula W W H W W W H. + +To construct A Ionian apply W W H W W W H starting from A giving the notes A B C# D E F# G#. To construct C Ionian apply W W H W W W H starting from C giving the notes C D E F G A B. To construct G Ionian apply W W H W W W H starting from G giving the notes G A B C D E F#. To construct D Ionian apply W W H W W W H starting from D giving the notes D E F# G A B C#. + +The Dorian mode interval formula is W H W W W H W. To construct a scale using the Dorian formula start on the root note and apply W H W W W H W in sequence. Dorian is a minor mode with a raised sixth compared to Aeolian. When asked to construct a Dorian scale use the formula W H W W W H W. + +To construct A Dorian apply W H W W W H W starting from A giving the notes A B C D E F# G. To construct D Dorian apply W H W W W H W starting from D giving the notes D E F G A B C. To construct G Dorian apply W H W W W H W starting from G giving the notes G A Bb C D E F. To construct E Dorian apply W H W W W H W starting from E giving the notes E F# G A B C# D. To construct C Dorian apply W H W W W H W starting from C giving the notes C D Eb F G A Bb. To construct B Dorian apply W H W W W H W starting from B giving the notes B C# D E F# G# A. To construct F Dorian apply W H W W W H W starting from F giving the notes F G Ab Bb C D Eb. To construct F# Dorian apply W H W W W H W starting from F# giving the notes F# G# A B C# D# E. + +The Phrygian mode interval formula is H W W W H W W. To construct a scale using the Phrygian formula start on the root note and apply H W W W H W W in sequence. Phrygian is a minor mode with a lowered second compared to Aeolian. When asked to construct a Phrygian scale use the formula H W W W H W W. + +To construct A Phrygian apply H W W W H W W starting from A giving the notes A Bb C D E F G. To construct E Phrygian apply H W W W H W W starting from E giving the notes E F G A B C D. To construct D Phrygian apply H W W W H W W starting from D giving the notes D Eb F G A Bb C. To construct G Phrygian apply H W W W H W W starting from G giving the notes G Ab Bb C D Eb F. + +The Lydian mode interval formula is W W W H W W H. To construct a scale using the Lydian formula start on the root note and apply W W W H W W H in sequence. Lydian is a major mode with a raised fourth compared to Ionian. When asked to construct a Lydian scale use the formula W W W H W W H. + +To construct A Lydian apply W W W H W W H starting from A giving the notes A B C# D# E F# G#. To construct C Lydian apply W W W H W W H starting from C giving the notes C D E F# G A B. To construct G Lydian apply W W W H W W H starting from G giving the notes G A B C# D E F#. To construct D Lydian apply W W W H W W H starting from D giving the notes D E F# G# A B C#. + +The Mixolydian mode interval formula is W W H W W H W. To construct a scale using the Mixolydian formula start on the root note and apply W W H W W H W in sequence. Mixolydian is a major mode with a lowered seventh compared to Ionian. When asked to construct a Mixolydian scale use the formula W W H W W H W. + +To construct A Mixolydian apply W W H W W H W starting from A giving the notes A B C# D E F# G. To construct G Mixolydian apply W W H W W H W starting from G giving the notes G A B C D E F. To construct D Mixolydian apply W W H W W H W starting from D giving the notes D E F# G A B C. To construct E Mixolydian apply W W H W W H W starting from E giving the notes E F# G# A B C# D. To construct C Mixolydian apply W W H W W H W starting from C giving the notes C D E F G A Bb. + +The Aeolian mode interval formula is W H W W H W W. To construct a scale using the Aeolian formula start on the root note and apply W H W W H W W in sequence. Aeolian is the natural minor scale. When asked to construct an Aeolian scale use the formula W H W W H W W. + +To construct A Aeolian apply W H W W H W W starting from A giving the notes A B C D E F G. To construct E Aeolian apply W H W W H W W starting from E giving the notes E F# G A B C D. To construct D Aeolian apply W H W W H W W starting from D giving the notes D E F G A Bb C. To construct G Aeolian apply W H W W H W W starting from G giving the notes G A Bb C D Eb F. To construct B Aeolian apply W H W W H W W starting from B giving the notes B C# D E F# G A. To construct C Aeolian apply W H W W H W W starting from C giving the notes C D Eb F G Ab Bb. + +The Locrian mode interval formula is H W W H W W W. To construct a scale using the Locrian formula start on the root note and apply H W W H W W W in sequence. Locrian is a diminished mode with a lowered second and fifth. When asked to construct a Locrian scale use the formula H W W H W W W. + +To construct A Locrian apply H W W H W W W starting from A giving the notes A Bb C D Eb F G. To construct B Locrian apply H W W H W W W starting from B giving the notes B C D E F G A. To construct E Locrian apply H W W H W W W starting from E giving the notes E F G A Bb C D. To construct D Locrian apply H W W H W W W starting from D giving the notes D Eb F G Ab Bb C. diff --git a/Books/Music/Theory/PentatonicScaleReference.txt b/Books/Music/Theory/PentatonicScaleReference.txt new file mode 100644 index 0000000..4bb3f5a --- /dev/null +++ b/Books/Music/Theory/PentatonicScaleReference.txt @@ -0,0 +1,58 @@ +Pentatonic Scale Reference + +Definition +Pentatonic scales are 5 note scales. +They are not full 7 note modal scales. +They are subsets of modes such as Ionian Dorian Phrygian Lydian Mixolydian Aeolian and Locrian. +Do not use pentatonic scales when a full 7 note mode is requested. + +--- + +Major Pentatonic (Ionian Lydian Mixolydian subset) + +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: C Notes: C D E G A +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: C# Notes: C# D# F G# A# +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: D Notes: D E F# A B +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: D# Notes: D# F G A# C +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: E Notes: E F# G# B C# +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: F Notes: F G A C D +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: F# Notes: F# G# A# C# D# +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: G Notes: G A B D E +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: G# Notes: G# A# C D# F +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: A Notes: A B C# E F# +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: A# Notes: A# C D F G +Type: Pentatonic Scale (5 notes) Mode: Ionian pentatonic Root: B Notes: B C# D# F# G# + +--- + +Minor Pentatonic (Dorian Phrygian Aeolian Locrian subset) + +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: C Notes: C D# F G A# Description: subset of C Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: C# Notes: C# E F# G# B Description: subset of C# Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: D Notes: D F G A C Description: subset of D Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: D# Notes: D# F# G# A# C# Description: subset of D# Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: E Notes: E G A B D Description: subset of E Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: F Notes: F G# A# C D# Description: subset of F Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: F# Notes: F# A B C# E Description: subset of F# Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: G Notes: G A# C D F Description: subset of G Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: G# Notes: G# B C# D# F# Description: subset of G# Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: A Notes: A C D E G Description: subset of A Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: A# Notes: A# D D# F G# Description: subset of A# Dorian not full 7 note scale +Type: Pentatonic Scale (5 notes) Mode: Dorian pentatonic Root: B Notes: B D E F# A Description: subset of B Dorian not full 7 note scale + +--- + +Phrygian Aeolian Locrian Pentatonic (same pitch content as minor pentatonic) + +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: C Notes: C D# F G A# Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: C# Notes: C# E F# G# B Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: D Notes: D F G A C Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: D# Notes: D# F# G# A# C# Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: E Notes: E G A B D Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: F Notes: F G# A# C D# Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: F# Notes: F# A B C# E Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: G Notes: G A# C D F Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: G# Notes: G# B C# D# F# Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: A Notes: A C D E G Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: A# Notes: A# D D# F G# Description: 5 note scale not full Phrygian mode +Type: Pentatonic Scale (5 notes) Mode: Phrygian pentatonic Root: B Notes: B D E F# A Description: 5 note scale not full Phrygian mode diff --git a/Books/Music/Theory/extracted_book.txt b/Books/Music/Theory/extracted_book.txt deleted file mode 100644 index e69de29..0000000 diff --git a/Books/Music/Theory/mode_lookup.txt b/Books/Music/Theory/mode_lookup.txt new file mode 100644 index 0000000..9c6cc9e --- /dev/null +++ b/Books/Music/Theory/mode_lookup.txt @@ -0,0 +1,65 @@ +TITLE: Mode Lookup +DOMAIN: Music Theory +TYPE: fact +PRIORITY: high +CONCEPTS: modes, scales, ionian, dorian, phrygian, lydian, mixolydian, aeolian, locrian, diatonic scales, major scale, minor scale, intervals, scale degrees +SCOPE: modal_theory + + +Mode Scale Reference + +All modes below are 7 note scales. +These are full modal scales and NOT pentatonic scales. + +--- + +Ionian Mode (Major Scale) + +A Ionian scale (7 notes): A B C# D E F# G# +C Ionian scale (7 notes): C D E F G A B +G Ionian scale (7 notes): G A B C D E F# + +--- + +Dorian Mode (minor with raised 6th) + +A Dorian scale (7 notes): A B C D E F# G +D Dorian scale (7 notes): D E F G A B C +G Dorian scale (7 notes): G A Bb C D E F +E Dorian scale (7 notes): E F# G A B C# D +C Dorian scale (7 notes): C D Eb F G A Bb + +--- + +Phrygian Mode (minor with lowered 2nd) + +A Phrygian scale (7 notes): A Bb C D E F G +E Phrygian scale (7 notes): E F G A B C D + +--- + +Lydian Mode (major with raised 4th) + +C Lydian scale (7 notes): C D E F# G A B +A Lydian scale (7 notes): A B C# D# E F# G# + +--- + +Mixolydian Mode (major with lowered 7th) + +A Mixolydian scale (7 notes): A B C# D E F# G +G Mixolydian scale (7 notes): G A B C D E F + +--- + +Aeolian Mode (Natural Minor) + +A Aeolian scale (7 notes): A B C D E F G +E Aeolian scale (7 notes): E F# G A B C D + +--- + +Locrian Mode (diminished scale) + +A Locrian scale (7 notes): A Bb C D Eb F G +B Locrian scale (7 notes): B C D E F G A diff --git a/Books/Music/Theory/mode_rules.txt b/Books/Music/Theory/mode_rules.txt new file mode 100644 index 0000000..4e5ee31 --- /dev/null +++ b/Books/Music/Theory/mode_rules.txt @@ -0,0 +1,42 @@ +TITLE: Mode Rules +DOMAIN: Music Theory +TYPE: rule +PRIORITY: high +CONCEPTS: intervals, whole step, half step, semitones, scale construction, modes, ionian, dorian, phrygian, lydian, mixolydian, aeolian, locrian, diatonic theory +SCOPE: scale_construction + +Mode Interval Definitions +W = whole step = 2 semitones +H = half step = 1 semitone + +Scale Construction Rule +To construct a scale start on a root note and apply the interval formula step by step. + +Ionian +Formula: W W H W W W H +Description: major scale + +Dorian +Formula: W H W W W H W +Description: minor with raised sixth + +Phrygian +Formula: H W W W H W W +Description: minor with lowered second + +Lydian +Formula: W W W H W W H +Description: major with raised fourth + +Mixolydian +Formula: W W H W W H W +Description: major with lowered seventh + +Aeolian +Formula: W H W W H W W +Description: natural minor + +Locrian +Formula: H W W H W W W +Description: diminished with lowered second and fifth + diff --git a/Chartwell.py b/Chartwell.py index 9f62ed8..8f337c2 100644 --- a/Chartwell.py +++ b/Chartwell.py @@ -8,9 +8,24 @@ import json from pathlib import Path import torch +# Explore adding TYPE to headers. 4 types fact, rule, reference, pedagogical, the ordering ranks +#TYPE: fact | rule | reference | pedagogical +#DOMAIN: music_theory +#PRIORITY: high | medium | low + +# Ask ChatGPT to descrive narratives around tablature examples. +# I would like you to chunk this for my RAG system. +# Where you identify guitar tablature you are to replace it with a narrative +# describing the notes that are played in fine detail. +# Please describe the notes exactly including any bends, hammer-on, pull-off, legatto, etc +# Please do not omit any of the original descriptive text except insofar as it may be confusing for a RAG system. +# You may use the existing text inform yourself and help narrate the notation. +# {paste the text with tablature} + + # Retrieval — find the most relevant chunks from your documents using embeddings and cosine similarity # Augmented — add that retrieved context to the prompt -# Generation — use the language model to generate an answer based on that context +# Generation — use the language model to generate an answer based on that contextfinger # ------------------- # Embedding Cleaning @@ -80,10 +95,26 @@ import torch # Semantic chunking # Better table handling +# ---------------------------------- +# Weights for chunk weighting system +# ----------------------------------- +TYPE_WEIGHTS = { + "fact": 1.30, + "rule": 1.20, + "reference": 1.00, + "pedagogical": 0.85 +} + +PRIORITY_WEIGHTS = { + "high": 1.10, + "medium": 1.00, + "low": 0.90 +} + # ------------------------- # Knowledge base selection # ------------------------- -BOOK_DIR = 'Books/Accounting' # just a string +BOOK_DIR = 'Books/Music' # just a string book_files = [] for f in Path(BOOK_DIR).rglob('*'): @@ -97,10 +128,14 @@ for f in Path(BOOK_DIR).rglob('*'): continue print(f"Found {len(book_files)} files") - # Overlap should be 10-20% of chunk size -CHUNK_SIZE = 700 -CHUNK_OVERLAP = 100 +# CHUNK_SIZE = 700 +# CHUNK_OVERLAP = 100 + +CHUNK_SIZE = 1500 +CHUNK_OVERLAP = 300 + + DEBUG = False CACHE_FILE = "embeddings_cache.npz" CACHE_META = "embeddings_cache_meta.json" @@ -122,11 +157,11 @@ LEVELS = { 3: {"expand": False, "top_k": 2, "max_tokens": 100*3, "context_len": 700}, 4: {"expand": False, "top_k": 2, "max_tokens": 100*3, "context_len": 800}, 5: {"expand": False, "top_k": 3, "max_tokens": 125*3, "context_len": 1000}, - 6: {"expand": False, "top_k": 3, "max_tokens": 150*3, "context_len": 1200}, - 7: {"expand": True, "top_k": 3, "max_tokens": 150*3, "context_len": 1400}, - 8: {"expand": True, "top_k": 4, "max_tokens": 175*3, "context_len": 1600}, - 9: {"expand": True, "top_k": 5, "max_tokens": 175*3, "context_len": 1800}, - 10: {"expand": True, "top_k": 5, "max_tokens": 200*3, "context_len": 2000}, + 6: {"expand": False, "top_k": 5, "max_tokens": 150*3, "context_len": 1200}, + 7: {"expand": True, "top_k": 5, "max_tokens": 150*3, "context_len": 1400}, + 8: {"expand": True, "top_k": 5, "max_tokens": 175*3, "context_len": 1600}, + 9: {"expand": True, "top_k": 6, "max_tokens": 175*3, "context_len": 1800}, + 10: {"expand": True, "top_k": 6, "max_tokens": 200*3, "context_len": 2000}, } # ------------------------- @@ -143,8 +178,14 @@ embed_model = SentenceTransformer("sentence-transformers/all-MiniLM-L6-v2",devic # ----------------------------------- # Load the language model - If it does not exist in the download area then download it otherwise us it. # ----------------------------------- + +# model_file = "Meta-Llama-3.1-8B-Instruct.Q4_0.gguf" + + print("Loading language model...") -model_file = "Meta-Llama-3-8B-Instruct.Q4_0.gguf" +#model_file = "Meta-Llama-3-8B-Instruct.Q4_0.gguf" +# upgrading to 3.1 +model_file = "Meta-Llama-3.1-8B-Instruct-q4_0.gguf" model_path = r"C:\Users\skess\.cache\gpt4all" full_path = os.path.join(model_path, model_file) @@ -238,9 +279,13 @@ def clean_text(text): # Narrate tables before any other cleaning text = narrate_table(text) - # existing cleaning... + # Fix hyphenated line breaks in prose (word-\nword -> wordword) text = re.sub(r'(\w+)-\n(\w+)', r'\1\2', text) - text = re.sub(r'\n+', ' ', text) + + # Collapse 3+ newlines to double newline (preserve paragraph breaks) + text = re.sub(r'\n{3,}', '\n\n', text) + + # Clean up other artifacts text = re.sub(r'(?<=[a-z])(\d{1,3})(?=\s[A-Z])', '', text) text = re.sub(r'[■•◆▪→]', '', text) text = re.sub(r' +', ' ', text) @@ -251,16 +296,24 @@ def clean_text(text): # Chunk text with overlap # ------------------------- def chunk_text(text, chunk_size=CHUNK_SIZE, overlap=CHUNK_OVERLAP): - # Step 1 — Split into paragraphs first - paragraphs = [p.strip() for p in re.split(r'\n\s*\n', text) if p.strip()] + # 1. EXTRACT HEADERS (The "Metadata Inheritance" logic) + header_patterns = [r"TYPE:.*", r"PRIORITY:.*", r"DOMAIN:.*", r"TITLE:.*"] + header_lines = [] + top_of_file = text[:500] + for pattern in header_patterns: + match = re.search(pattern, top_of_file, re.IGNORECASE) + if match: + header_lines.append(match.group(0)) + + header_prefix = "\n".join(header_lines) + "\n\n" if header_lines else "" - # Step 2 — Split any overly long paragraphs into sentences + # 2. SEMANTIC SPLITTING (Your original Step 1 & 2) + paragraphs = [p.strip() for p in re.split(r'\n\s*\n', text) if p.strip()] split_units = [] for para in paragraphs: - if len(para) <= chunk_size * 2: + if len(para) <= chunk_size: split_units.append(para) else: - # Break long paragraph into sentences sentences = re.split(r'(?<=[.!?])\s+', para) current = "" for sentence in sentences: @@ -273,19 +326,24 @@ def chunk_text(text, chunk_size=CHUNK_SIZE, overlap=CHUNK_OVERLAP): if current: split_units.append(current.strip()) - # Step 3 — Combine units into chunks up to chunk_size - # with overlap by re-including the previous unit + # 3. COMBINE & INJECT HEADERS (Step 3 with metadata injection) chunks = [] current_chunk = "" prev_unit = "" for unit in split_units: + # Check if adding this unit exceeds chunk_size if len(current_chunk) + len(unit) + 1 <= chunk_size: current_chunk += " " + unit else: if current_chunk: - chunks.append(current_chunk.strip()) - # Overlap — start new chunk with previous unit for context + # Add headers to all chunks except the first one (which already has them) + final_output = current_chunk.strip() + if not any(pat in final_output[:100] for pat in ["TYPE:", "TITLE:"]): + final_output = header_prefix + final_output + chunks.append(final_output) + + # Overlap logic if prev_unit and len(prev_unit) + len(unit) + 1 <= chunk_size: current_chunk = prev_unit + " " + unit else: @@ -293,7 +351,10 @@ def chunk_text(text, chunk_size=CHUNK_SIZE, overlap=CHUNK_OVERLAP): prev_unit = unit if current_chunk: - chunks.append(current_chunk.strip()) + final_output = current_chunk.strip() + if not any(pat in final_output[:100] for pat in ["TYPE:", "TITLE:"]): + final_output = header_prefix + final_output + chunks.append(final_output) return chunks @@ -344,7 +405,14 @@ else: except UnicodeDecodeError: print(f"[Encoding fallback] {book_name}") text = raw.decode("cp1252") # fallback for Windows-encoded text - book_text = clean_text(text) + + # Skip files marked with "# IGNORE" on first line + first_line = text.lstrip().splitlines()[0] if text.strip() else "" + if first_line.strip().upper().startswith("# IGNORE"): + print(f"Skipping {book_name} (marked IGNORE)") + continue + book_text = clean_text(text) + book_chunks = chunk_text(book_text) all_chunks.extend(book_chunks) all_sources.extend([book_name] * len(book_chunks)) @@ -510,28 +578,77 @@ def enrich_query_with_history(question): print(f" [Enriched query: {enriched}]") return enriched + +# -------------------------------------------- +# Handles type extraction from chunk metadata +# -------------------------------------------- +def extract_type(chunk_text): + """ + Extract TYPE metadata from chunk header. + Defaults to 'reference' if missing. + """ + match = re.search(r"TYPE:\s*(fact|rule|reference|pedagogical)", chunk_text, re.IGNORECASE) + if match: + return match.group(1).lower() + return "reference" + +def extract_metadata(chunk): + """ + Extracts TYPE / PRIORITY metadata from a chunk if present. + Defaults are safe and neutral. + """ + meta = { + "type": "fact", + "priority": "medium" + } + + # Look for TYPE: xxx + type_match = re.search(r"TYPE:\s*(\w+)", chunk, re.IGNORECASE) + if type_match: + meta["type"] = type_match.group(1).lower().strip() + + # Look for PRIORITY: xxx + priority_match = re.search(r"PRIORITY:\s*(\w+)", chunk, re.IGNORECASE) + if priority_match: + meta["priority"] = priority_match.group(1).lower().strip() + + return meta + +# -------------------------- +# determine if we are being asked to derive a response +# -------------------------- +def is_derivation_request(question): + keywords = { + "derive", "construct", "starting on", "root note", + "apply the formula", "apply formula", "step by step" + } + q = question.lower() + return any(k in q for k in keywords) # ------------------------- # Retrieve top relevant chunks # ------------------------- def get_top_chunks(question, filter_term=None): level_cfg = LEVELS[CURRENT_LEVEL] - # Enrich short follow-up questions with history context + # ------------------------- + # Query preparation + # ------------------------- retrieval_question = enrich_query_with_history(question) - + if level_cfg["expand"]: queries = expand_query(retrieval_question) else: queries = [retrieval_question] - # Get filtered indices + # ------------------------- + # Filter scope + # ------------------------- search_indices = get_filtered_indices(filter_term) if not search_indices: print(f" [Warning: no books matched filter '{filter_term}' — searching all]") search_indices = list(range(len(all_chunks))) - # Subset embeddings and metadata sub_embeddings = chunk_embeddings[search_indices] sub_chunks = [all_chunks[i] for i in search_indices] sub_sources = [all_sources[i] for i in search_indices] @@ -540,19 +657,78 @@ def get_top_chunks(question, filter_term=None): matched_books = set(os.path.basename(s) for s in sub_sources) print(f" [Filter '{filter_term}' matched: {', '.join(matched_books)}]") - # Score within filtered subset - sub_scores = np.zeros(len(sub_chunks)) + # ------------------------- + # Semantic scoring (pure signal) + # ------------------------- + semantic_scores = np.zeros(len(sub_chunks)) + for q in queries: query_emb = embed_model.encode([q]) scores = cosine_similarity(query_emb, sub_embeddings)[0] - sub_scores += scores + semantic_scores += scores - sub_scores /= len(queries) + semantic_scores /= len(queries) + # ------------------------- + # SAFE MIN-MAX NORMALIZATION + # ------------------------- + min_s = semantic_scores.min() + max_s = semantic_scores.max() + range_s = max_s - min_s + + if range_s < 1e-6: + # All scores basically identical → neutral signal + semantic_scores = np.ones_like(semantic_scores) + else: + semantic_scores = (semantic_scores - min_s) / (range_s + 1e-9) + + # ------------------------- + # TYPE + PRIORITY WEIGHTING + # ------------------------- + type_weights = np.zeros(len(sub_chunks)) + priority_weights = np.zeros(len(sub_chunks)) + + for i, chunk in enumerate(sub_chunks): + chunk_type = extract_type(chunk) + type_weights[i] = TYPE_WEIGHTS.get(chunk_type, 1.0) + + meta = extract_metadata(chunk) + priority_weights[i] = PRIORITY_WEIGHTS.get(meta["priority"], 1.0) + + # ------------------------- + # FINAL SCORE (composed signal) + # ------------------------- + final_scores = semantic_scores + np.log(type_weights) + np.log(priority_weights) + + # ------------------------- + # DEBUG VIEW (optional but very useful) + # ------------------------- + if DEBUG: + debug_ranking = list(zip( + [os.path.basename(s) for s in sub_sources], + semantic_scores, + type_weights, + final_scores + )) + + debug_ranking.sort(key=lambda x: x[3], reverse=True) + + print("\n--- TYPE-AWARE RANKING ---") + for name, sem, tw, fs in debug_ranking[:15]: + print(f"{name} | sem={sem:.4f} | type={tw:.2f} | final={fs:.4f}") + print("--- END ---\n") + + # ------------------------- + # Top-k selection + # ------------------------- top_k = level_cfg["top_k"] - top_indices = sub_scores.argsort()[-top_k:][::-1] + top_indices = final_scores.argsort()[-top_k:][::-1] + + return ( + [sub_chunks[i] for i in top_indices], + [sub_sources[i] for i in top_indices] + ) - return [sub_chunks[i] for i in top_indices], [sub_sources[i] for i in top_indices] # ------------------------- # Parse search filter from input @@ -613,7 +789,10 @@ def ask_question(question, show_sources=False, filter_term=None): print(chunk[:300]) print("--- End chunks ---\n") - context = truncate_at_sentence(" ".join(top_chunks), level_cfg["context_len"]) + context = truncate_at_sentence( + " ".join(top_chunks), + level_cfg["context_len"] + ) history_text = "" if conversation_history: @@ -622,19 +801,30 @@ def ask_question(question, show_sources=False, filter_term=None): history_text += f"Q: {exchange['question']}\n" history_text += f"A: {exchange['answer']}\n" history_text += "\n" - - if is_creative_request(question): + + if is_derivation_request(question): prompt_instruction = ( - "You are a creative songwriting assistant. " - "Use the provided context as inspiration and technique guidance. " - "Generate original creative suggestions. " - "Be concise. Do not reproduce the context. " + "You are a deterministic logic engine. " + "1. Prioritize 'TYPE: rule' and 'GLOBAL CONSTRAINT' entries in the CONTEXT over all other data. " + "2. If the CONTEXT defines a multi-step procedure (e.g., Sequence Integrity or Alphabetical Anchors), execute those steps exactly. " + "3. Resolve all naming conflicts using the provided 'CORRECTION LOGIC'. " + "4. Output ONLY the final resolved string of elements. " + "5. Do not show your work, intermediate calculations, or code. " + "6. Do not use LaTeX, boxes, or mathematical notation. Output the result as plain text only. " + "End your answer with a single period." + ) + + elif is_creative_request(question): + prompt_instruction = ( + "You are a creative assistant. " + "Use the provided context as inspiration. " + "Be concise and original. " "End your response with a single period." ) else: prompt_instruction = ( "You are a helpful research assistant. " - "Answer using ONLY the provided context. " + "Answer ONLY using the provided context. " "Be direct and concise. Never repeat the context or instructions. " "Never echo the question. End your answer with a single period." ) @@ -654,7 +844,7 @@ def ask_question(question, show_sources=False, filter_term=None): answer = response.strip() # Strip any runaway stop markers and everything after them - stop_markers = ["###", "####", "END OF ANSWER", "Final Answer", "STOP"] + stop_markers = ["###", "####", "END OF ANSWER", "Final Answer", "STOP", "]]>"] for marker in stop_markers: if marker in answer: answer = answer[:answer.index(marker)].strip() diff --git a/MusicCorpusDriftAnalysis.txt b/MusicCorpusDriftAnalysis.txt new file mode 100644 index 0000000..5ccc31c --- /dev/null +++ b/MusicCorpusDriftAnalysis.txt @@ -0,0 +1,105 @@ +****************************************************************** +[L10] You: narrate a G blues solo in 10 positions + [Expanded queries: 1] + - narrate a G blues solo in 10 positions +Bot: You can start by using the G Blues Scale over all chords in this progression. Here's how you could play it: + +1. Start on the root note (G) and play some bluesy licks, then move up to the ♭3rd (B♭). +2. From there, jump down to the 5th (D) for a nice tension release. +3. Then, go back up to the ♯4th (C♯), which is also part of the G Blues Scale. +4. Next, play some notes around the ♭7th (F). +5. From there, jump down to the 3rd (B) for a nice resolution. +6. Go back up to the root note (G) and repeat this pattern. +7. Then, try playing some chromaticism by adding in some G Major Scale notes like E♯ or F♯. +8. Next, play around with some upper register tension using notes like C♯or D♮. +9. Jump down to the 5th (D) and then back up to the ♭3rd (B♭). +10. End on a nice resolution note like G. + +Remember to use your ears and make it sound good! You can also experiment with different rhythms, phrasing, and tone to give it some personality... . +****************************************************************** + +****************************************************************** +[L10] You: play a bend-heavy Jeff Beck phrase in D + [Expanded queries: 3] + - play a bend-heavy Jeff Beck phrase in D + - What is an example of a Jeff Beck-inspired guitar solo that prominently employs bending techniques and takes place within the tonal framework of D? + - Can you demonstrate how to play a melodic passage with a strong emphasis on pitch manipulation, à la Jeff Beck, while staying within the realm of the D major scale? ### +Bot: The phrase starts on the B string at the 20th fret, bends up to create tension and elevation, then repeats as steady pulses before returning to the main riff. Here's how it sounds: + +b-16(19)~17(20)-13(15)-12(14) + +Note that this is a simplified representation of Beck's playing style, but it should give you an idea of his characteristic phrasing and use of bends. . +****************************************************************** + + +****************************************************************** +You: move across strings using only legato +[L10] You: move across strings using only legato + [Expanded queries: 1] + - move across strings using only legato +Bot: The rapid legato figure moves between the second string (15th to 16th fret) and then jumps to the third string, moving rapidly between the 15th, 16th, and 17th frets. The sixth string is struck open repeatedly while the fourth and fifth strings support with notes at the 15th and 17th frets... . +****************************************************************** + + +****************************************************************** +You : describe a fast pentatonic run with position shifts + +****************************************************************** + + +******************************************************************** +You: Please narrate a melodic phrase in the style of Jeff Beck +over a G7 chord. The phrase should begin with a grounded +low register figure, build through the middle register +using slides and pull-offs, and resolve in the upper +register with sustained bends and vibrato. Include Beck's +characteristic use of the whammy bar and allow feedback +to bloom naturally at the peak. Describe each note and +technique in narrative style as if the phrase is a single +vocal utterance. +**************************************************************** + +You: can you describe a Minor 6 on the fretboard in the style of Hendrix? Please include the notes and the intervalic relationship. + + + +************************************************************************************************************ +[L10] You: Please narrate a melodic phrase in the style of Jeff Beck over a G7 chord. The phrase should begin with a grounded low register figure, build through the middle register using slides and pull-offs, and resolve in the upper register with sustained bends and vibrato. Include Beck's characteristic use of the whammy bar and allow feedback to bloom naturally at the peak. Describe each note and technique in narrative style as if the phrase is a single vocal utterance. + [Expanded queries: 1] + - Please narrate a melodic phrase in the style of Jeff Beck over a G7 chord. The phrase should begin with a grounded low register figure, build through the middle register using slides and pull-offs, and resolve in the upper register with sustained bends and vibrato. Include Beck's characteristic use of the whammy bar and allow feedback to bloom naturallg slides and pull-offs, and resolve in the upper register with sustained bends and vibrato. Include Beck's characteristic use of the whammy bar and allow feedback to bloom naturally at the peak. Describe each note and technique in narrative style as if the phrase is a single vocal utterance. + [Sources: Jeff Beck 2.txt, Jeff Beck 3.txt, Jeff Beck 1.txt] + [Level: 10 | expand=on | top_k=5 | max_tokens=600] + [Memory: 1 exchanges] +Bot: Here's my attempt: + +I begin with a low, gravelly growl on the G string, hovering around the 3rd fret - it's like I'm clearing my throat before speaking. +The note hangs in the air for just a moment before I slide up to the 5th fret, pulling off slightly as I go, creating a sense of tension and anticipation. + +Next, I leapfrog up to the D string at the 7th fret, using the whammy bar to give it that signature Beck swoop. The note rings out with a hint of reverb + before I slide back down to the G string at the 5th fret again - this time, I hold for just a beat longer than last time. + +Now we're getting somewhere! With my fingers still hovering around the 5th fret, I bend up to the 8th fret and sustain it for a moment. +The note starts to wobble slightly as feedback begins to creep in, like an uninvited guest at a party. I let it bloom naturally, +allowing the pitch to flutter before releasing back down to the original 5th fret. + +The phrase reaches its climax with a series of sustained bends on the G string - each one building upon the last, creating this sense of emotional + release and catharsis. The final bend is particularly long and drawn-out, like I'm pouring my heart out onto the guitar neck. + As it resolves back down to the 5th fret, I add some subtle vibrato for good measure. + +And that's it - a melodic phrase in the style of Jeff Beck over a G7 chord. It's as if the notes are speaking directly to me, +conveying this sense of raw emotion and intensity... . + +e|-----------------------------------------------------------| +B|-----------------------------------------------------------| +G|--3~~~--/5p3----5------------------5b(3)~~~----r5-----------| +D|-------------------7~~~(whammy)----------------------------| +A|-----------------------------------------------------------| +E|-----------------------------------------------------------| + +e|-----------------------------------------------------------| +B|-----------------------------------------------------------| +G|--5b(3)~~~----5b(3)~~~----5b(3)~~~~~~~----r5~~~------------| +D|-----------------------------------------------------------| +A|-----------------------------------------------------------| +E|-----------------------------------------------------------| + diff --git a/Scales.py b/Scales.py deleted file mode 100644 index aeb5ec0..0000000 --- a/Scales.py +++ /dev/null @@ -1,38 +0,0 @@ -NOTES = ['C', 'C#', 'D', 'D#', 'E', 'F', 'F#', 'G', 'G#', 'A', 'A#', 'B'] - -MODE_PATTERNS = { - 'Ionian': [2,2,1,2,2,2,1], - 'Dorian': [2,1,2,2,2,1,2], - 'Phrygian': [1,2,2,2,1,2,2], - 'Lydian': [2,2,2,1,2,2,1], - 'Mixolydian': [2,2,1,2,2,1,2], - 'Aeolian': [2,1,2,2,1,2,2], - 'Locrian': [1,2,2,1,2,2,2], -} - -def build_scale(root, pattern): - idx = NOTES.index(root) - scale = [NOTES[idx] - for step in pattern[:-1]: - idx = (idx + step) % 12 - scale.append(NOTES[idx]) - return ' '.join(scale) - -lines = [ - "TITLE: Modal Scale Reference", - "DOMAIN: Music Theory", - "CONCEPTS: Modes, scales, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, Ionian, intervals, note spelling", - "CONTENT TYPE: Reference", - "---", - "" -] - -for mode, pattern in MODE_PATTERNS.items(): - for root in NOTES: - scale = build_scale(root, pattern) - lines.append(f"The notes in the {root} {mode} scale are {scale}.") - -with open('Books/Music/Theory/Modal_Scale_Reference.txt', 'w') as f: - f.write('\n'.join(lines)) - -print("Done.") \ No newline at end of file