Beruflich Dokumente
Kultur Dokumente
-
I
CONTENTS
CHAPTER I: MELODY
Melody Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 c
-I ne Elcrncnrs o i s Meloby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
A . Sourze Materrals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ;z
6. Thernr ani- Dewiopmen: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .i 6
C . Melodic Contour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
. .
D.Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
E. Poinr of Ciimax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I?
F.MelodicForm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
G . Melodic Rnythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1_a .
K . Pzrformance D ~ e c i o n s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
I .Tess~turdKey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -22
Stvle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Meiaaic S y l Analus15
~ ........................................... 24
Nan-Romanric Melod! . samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2E
k . Idramatic Angular . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -16
3.Idioma~icReferenda1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
C . IdiomaU: Proyammacic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?-
.-f
~omanric~vlebodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -30
Examples of ~kteUse of Romanxic Melody Wriring . . . . . . . . . . . . . . . . . . . . .
f i e PratorypicaT Romanric/ldeal Meiody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -34
Examples ofRarnan.cic:'Melodic Jarz Composic~ons . . . . . . . . . . . . . . . . . . . . -35
Conclusion n i Cnap:er I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Sugg~stedkxtrc~ses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -38
Special Pro-ieci: Folk MUSIC Sunley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Meioa~cAfialwis Refemnce Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -40
Recordings an2 Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -42
G e m n g S ~ a ~ e .d. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
. .
Harmonlz~ng
Gwen Meludies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Rehamonirar~on. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
The JZ Composer's Preoicamenr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4E
TheTechniaues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Substitux Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -51
A . Diatonic Substrru~ions. . . . . . . . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . 51
Pentatonic Composrrlons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
De~crr?tionand Deiln~rion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SS
K~ndsof Fpntacan~cCorn3osi:rons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
~ c n a r o n i ct+4.-lodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Crear~ngPen~atonicSource Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . X9
Symrnemc Penxconic Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .?I
FormandStylr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Harmonizarion and ilarmonic Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . - 9 6
. Cnord Selection!Harmonic Rhychm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -96
Carnpos~tronExarnnles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 01
Extan1 Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Folt Influenced Composiaons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Miscellaneous Pert:aronic Compos~tioss . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Concius~onof Cnaoter 11 I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Recordings and Readlngs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Concluston and Flral Cornmencs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -108
WORDS O R CONCEPTS TO K N O W
I Folk/Ar: Specrrum
Melodic Elernenrs
~rlronic:~e;rato??ic/penratoniC
Earmanic Reference
poini
Guide~oies!P~vo~
Mocrfic Deveioamen;
Me\odic Contour
tompress~on/~smansion
Melod~cGalance
Melodrc Rhyrhm
Melod~cCadence
Syncop--
,ton
5i.zremen~lResponse
F.ntecedcnt/Consequenr~ai
ISI 0 rnaric A b s ~ r a ~
ldiorntt~cPrngrammar~t
Rornan~lrrI d ~ a l
Meiod~c
Fiornan:~~
binary blelody Co:m
C Y W7CR I. M E L ~ D Y
MELODY WRITING
7.
rrom a ? e d a p _ ~ i c a?ornt
l or'vlew. meiady utrrtxng 1s thr mosr :orn;liec of fn? bz51: skilis of
cmposet - there are man); rex5ow why this 15 SO
h4douy searlor. 1:. rhe mosr ?ersona] of composit~ona?acrivitics md shows t h e icasr degree
--
o'.iuccess b11 rhe implemenm;anonof p e d z n t ~ cmeti~a&.Although there arc "rules" given in
.,k1rional
Pl tex: 3 o o h for uaa.zysof crca;ing melo6ies. the!, in thc ions run end to inhib~t
person;! expressron rather h a g prornow free crtativq. However. h e r e are man!. merhocis
for dcvelop~n,na meiod~c,cia [ha: when crafthdi~~rnplernenred,c n develop caps, the mosr
e 2 m u s d end product The rnosr: usable pechgopcal systems -ake
uninspired F e r n ~ d into
in:^ ap?i+oachConstdenng h e tnomou5 varittq- of rndahc expression, ~t:s undersrandable
rhtr mosr theorisr/awrhors OFslpificance tend LO for90 2 cornprehe3siw presentation or'
mdody alrltin? procedures. As a point of r-ferencc. one of the sugzested wzs In \;olume 1
of rhls book is T13e Crafi of Mimca! Cote?onhor: by Pau! Hmdemirh. Of the 233 pzrcs of h e
boak. 26 are 9 v e n io rhe discussion crfmelody rr.nong n x h Lie ~ernaining2c75 pzges dcvor-
ed rro concepts OF harmony and a c o ~ ~ tThii ~ u .one exampie is q ~ p r danti un6ersmdabie.
S r ~ c he e ernphzsls ol'rhis baolc is or;j n composltior., :he problem L\ n a ~ n ~ v i
ends:1 SCO??
2nd worl;able ~fiidrlincsfor melody a r i ~ n gcan be e s r ~ b ~ i s h e.knother
d rons~derador!
u - h c h 1s certainly open to crmclsrn s: the 5el1eFrhar of the crcanw acuvlties of tfif corn-
p i e r , mclc>dyw r i t l n ~IS ihe o n e mos: dependent upon Innart musical rdm:
Qances." "This is My Beloved" and "Bangles, Baubles and Beads,' borh based on themes
from the "Srring Quarter In D,'' ayain by Borodsn. "Full Moon and Empy Arms," is dmost
a direct extracrion of a main theme from Rachmaninoff s Piano Concerto N o . 2. There are
many more warnples rhat can be cited based o n the works of Tchaiko\psky, Chopin and
orhers The point is that the expressions of rhe Romantic composers are ve?. much a part of
the jazz composer's lexicon zs a result ofjazz music's ries to the popular music of rhe 1930s
t h r o u ~ hthe 1950s.
THE SPECTRUM
The essence of the above is that che rnelod~esof the world's culmres and for our interest. iazz
melodies fall somervhere ~virhina speccnrrn described by the peripheral limits of Art Music
w ~ t hrornmuc. Iyncal melodies ar one end painr and single-pitched dancc. oriented melodies
at the opposite. In addirion. d~fferentphrases or secdons of a melody tan be described as
being at opposite paints of the spectrum, providing a clear sense of conmast and develop-,
m e n t This concept 4 1 be discussed and illustrated in more d e ~ a i later
l In the chapter.
STYLE
Referring particularly to jazz rnelod)?wnnng, rhe composer, when defining h ~ melodic
s goals
needs to clarifi. <he general style of the intended melody. Sryle refers 10 the implementation
of the d e r n e n ~ sof a melody to conform ra an historic, frhnic or idiomaric description. In
addirion, the 5q3e of a melody \\ill pred~ctIIS placement within the artifolk specmum- TO
state dl of the above conciszIy, the composer, whether crearing a melody or analyzing an
excanr melody niusr cons~derin randern che s+e ofa melod!. as defined by an historic refer-
ence. an ethnic/folk reference, an idiomat~creference as to che me'lodic perfomancc, and ar
what point in chc art/foIk spectrum [he melody can be $aced.
An hisronc xferencc sefets ro rhe creation of a melody that shouls an application of the ele-
ments of rnciody rwiung in a rvay chat confoims co the srandard practice ofa particular musi-
cal e n Conaasrin~examples would be the styles of contemporary pop ballads and hardbop
melodies. An ethnic reference is to r h e creaclon of a melndy following rhe s d a r , phrsm_c and
statement/rrsponse formulas peculiar to an crhnic sourcc: basing a meld!? on a model of
Japanese or Bulpian folk- melodies is typical. And tardy. devising a melody that 1s abstrax,
well as one that takes advanrage of the performance characteristics of a pardcular Instrument.
is an idiomaric approach to melociy writing.
CHAPTER I: HELODY
The elements of a melody are cornpr~scdof the following groups: source rna~erials.a m m s
of crea~onand development. phrase oryanizat~on,rcssirura, contour and expressive devices.
In adddon, a zoaI and point of climax should be dwlsed for cach section at phrase of a
melody.
A. SOURCE MATERIALS
Melodies may be based on any of Ehe follouin,0 sources:
1. Single notes
2. Tritonic scale f r a p c n t s
3. Tetraronic scale fragments (terrachords - see Vol. I )
4. Pentatonic scales
(a) diatonic
(b) alrrred
(c) add note (sextaronlc)
(d) blues scales
5- Diatonic and altered hatonic modes (septaronic)
6. Symmetric scales
7. H m o n i c references
(a) qaeggiations/piderones
(b) common tones/pivor pdnts
, (c) leadng ronesfnei~hbortones
8. Quotes
9. Non-western scales (ocratonic and more)
A rneldic source is h e pird? orgmizadon of a motif, phrase, section. or any area ofa melody
that shows musical u n i ~A. group of qmmemcally orpnizcd pitches numbering four or
more in a scalar format can impIy a modality and its perceived emotional quality (see VoL 1,
Chaprer I!?).
I f an example is nor scalar - having consecutive skips - in mast cases it will have notes in
common W I ~ aI particular modatin. Jt is possible that if the phrase is long enough, more
than one scalar source can be detected. In addition, the modal quality of rhe motif or phrase
can be enhanced or obscured by its relarionship to the harmonic foundation of that partic-
ular area
1. SINGLE N O I T
T h e starcing poinc o f t h e categories of melodic sourcc materials, havlng no pitch cornpari-
son it is a melodic device in which the rhythmic deveIopmenr of the motif or phrase creaces
musical cohesion. VCF effective in jazz melodies, it 1s a demce that Horace Silver and Joe
Henderson use cxtcnsivcIy.
Fi /A 7
- > w
-
n I L I I L
2
I I I > I
1 I
IWI* 1 L I I U
I L I ! I., [ I
I/
4'' * - -em i, ?-m---'c'
I
I
I/.
-4 3-noce scale fragment, it is the basic strvcture of chc pentatonic scale. Prirnwal and pure,
1~ use is found rnosdy in primluixe and children's s o n g or in rhe more rhyrhmic sections of
jazz compositions.
Example 1 . 2 ~
"Caribbean fire Dance" (A section) by Joe Henderson
3. TETRATONIC ORTETRACHORDIC
A 4-note scale fragment long enough to imply a m o d d i y ifthe pitches are scalar (see VoL I,
Chapter U).
4. PENTATONIC
A 5-note scde consrructed by the cornbinatron of nvo mconic s c d c Fragmenw. These
scales ndl be covered in derail rn Chaprer LU.
6. SYMMETRIC 5 C A B
Scales whose tone/semitone Formulas show a pattern of s y m r n e ~These
. are used pri~nariIy
for effect or colorariion due to their hasrnon~cand melodic obscuriry. Included 13 this group
are the chromatic scale and materials derived by 12-cone techniques.
F A ? Z ~(F+~ Scale)
7. H A R M O N Y REFERENCED MELODIES
Arpeggiatians
This is an arm ofa melody char simply outlines parr if nor a11 ofa parricular chord wr chords
of a section of a composition. Only the most gifted of composers can use this dcvlcc musi-
cally. Pianisrs and other chord oriented composers are ar nsk of averusing arpeggiarion as a
means of melody creation.
Guide tones
This m e l d c somcc, based on rhe voice-leading ofa particular harmonic rnwrrnenz is useful
for o b l i ~ mmelodies bu: Iilce arpegpanon, should bf used nich discretion for main melodltu.
Common tones
Cornmon-tone melodies collsist of a single pitch found In common over a numher of chord
changes. C a d e n d in nature. the!. can be eirhcr sustained or haile rhyrhmic de\relopment
(sec Val. I. p. 45).
THE ftEM€MTS OF A MEtODY
Pivot Point
Pjvor poinr refers to a common pitch t b x the melod?- r e t u r n ro every fen, ilotes in a motif
or phrase. A pivot polnt could be wi~ithinor without thc marific shape or phrase. Pivot poinr
d s e afiects a melody's shape or conrour as a d be described later.
N.C. P D7sus
P P
0 - w-0
I I
C
h r g r pitch C a marked "P.p
This rders to rhe use of extant material usually in the form of a motif or short phrase.
Quotes show a § extraction from a documenred source and are usually personalized by
che subsecluent cornposet-
CIichPs can be quotes but are generally recognized as common melodic figures that are
found in many melodies by many composers usually contained within a syle carepry. Due
m their reference to a syIc period and ~ h c i roveruse, they are considered clichis. Examples
would include melodic figures that are found in abundance by many different composers sf
bebop melodies, fusion and pop melodies of a particular era, or of the melodic figures found
in common to many hard bop runes.
It will be pointed out in examples found Iarer when quotes or clichks are found in the
melody.
Example 1 . 7 Scherzo
~ No. 1 (ms. 16-1 7) by Frederic Chopin
b r n p l e 7.7~:
"JC in the Cit)?' by Ron Miller
The pra<ous terms will be $ven Fur&cr definition by their u s e in specific cxampies found
later in all chapters of t h e book. For those %.he desire a re~liewor a clarificarion of the res-
minolog, there are definirions and examples on page 110 of the appendix. And for those
\r.hosc backgrounds requlre a more complete study, there are suggesred books ar the end of
this chzpcer
IKshould bc pointed o m nowrhat for all melodic anal!zarions found in sh~sbook. rhe main
point of inrercst is in what the composer did to create the beautiful and classlc melody rhar
m i l l bc included in h e foUou.ing examples. Being overly demiled and scientific in an analy-
sis is of less impormnce than gecEing to the core of rhe composer's creauve and develop-
mental effom with sufficient understanding of EEle process to successfully affect our OR^
efforts.
C. MELODIC CONTOUR
Contour refers ro the "shape" of a melody whether describing ~ t direcnon,
s irs intervdic
mend or I Unote values. Melodic contour is of particular importance KO chis chapter because
of its clear definirion of the emononal contenr of a melody. As wilI be shown later, a
melody's shape will show changes that were derived either by a s t a r k or dynamic means.
The follou~ingare the dements of a melody thar refer to irs contour:
1. Direction
2. Incervd
(a) diatonic
Ib) chromacir
(c) sktps
3. Nore Value
(a) augmenrauon
(h) d~minution
(c) c~rnpression
(d) expansion
fc) articulations
4. Balance
"411of the above affect t h e emotional qwlq of a melody in tandem. Keep in mind that for
the follou~lngdescnpdons. any melod!. has a number of the elements listed. As an example,
the direction of a melody ha5 certain qualities char arc enhanced or sofrened depending on
whether the melody is larzely skips or steps in addiuan to its modal source, ressitura,
rhythm and other elements.
1. DIRECTIONAL CONTOUR
In general, a phrase or section of a melody thar has an upward movement wi1I show an
ernphzsis of rhe emotional descriprions of lrs elements: increased modaI definition. increx-
ed tension, and enthusiasm.
In general. a phrase or se&on of a melody h a t has a downward movemenc will tend toward
relaxation and f i n a l i ~or rcsolurlon Altbourh the modal qualiv of thr melody is not affect-
ed significantly: rhe remaining ehments tend to be de-emphasized.
THE ELEMENTS O F A MELODY
- -
2. lNTERVALlC CONTOUR
En general, a phrase Q r secnon of a melo* that is diatonic is the most defined by in modal-
iy and is relaovely neutral in affecting the other elements of a melody. The ather elernenrs
also have a less dramatic effect on diaronic melobes.
A phrase or sechion ofa melody that is chromatic has increased tension and is darker wirh
obscured modaliy.
A phrase ar section of a meIody that has skips of a P4 or more u d I mongly emphasize the
will
osher dements, will be very active, will induce tension and be veqr dramanc. 11s m o d a l i ~
be somm?hat obscured depending on iu cadenti4 pitches.
3. NOEVALLJECONTOUR
A change in note valurs of a secnon or phrase has subrle emotional effects as well as a being
a means ofmelodic and motific dwelopmenr. The note value change can be by either a smr-
ic or a dynamic ratio. Of irnporcance is the change in rnelohc rhythm relauve to h e pulse
af the harmen~crh,ythrn.
A sraric rario is one in which all note values are c h a n ~ e dby the same amount; a dynamic
ratio has changing note values by increasing or decreasing amounts. T h e fallouring, probably
Familiar ro all is given purely as a farm of review and KO mainrain a continuity of presenta-
cion.
A u g m m b o n and dimmutian are examples of changing nore values by a sratic rario. Alrhough
h e y are rradirionall!, I~stedunder examples of motific developmenr. they are included here
became of their abiliy to affect an mational change in the melody and as a point of com-
parison with compression and expansion.
Augmenarion is the changing of the note values of a motif or phrase by increasing t h e
amount uniformly. The emotional effect, alrhough subtle, is ofrelaxation.
Dimination is rhe opposite. with h e note values uniformly de-ed causing a subtle
increase in tension
@
motif incrcmen; by 1/8 motif decrement by 118
Comjwmi'on and expansion arc Iikc the above but with the note value mxeased or decreased
by a progressively changing amount. Both show a dear emotional effecr and can also be a
Corm oimetific development.
Com,msion is the dynamic decrease of the note values of a phrase and shorvs an Increase of
tension wlth an emphasis of t h e effefecrs of the other elements of a melody.
+
n Y,.
a m
A
'n
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I
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5
- +?
8 Y : r, I
.L --G-,,' 0 r Y ' u
t:
Bears; 3 2 2 3 :/2
* $
+
'+
,3
Expansion is rhe opposite of rhe above, it i s the increase of che note values of a phrase by a
dvnamlc amount. LE cfftct LS t h x of relaxation and repose.
' 17
CHAPTEG I' MELODY
1; -------------------
@ Copyright 1997 Ronjam MUSIC.
BMI
Arriculacions have &cbe effecc of changing note values althou$ the nore's placement in the
melodic rhychm dms nor change. For instance. rhc dceration of a p u p of legato marked
nores to s r a c c w has an effect similar 10 diminution.
LxampIes m d definitions of a r d d a t i o n s are indudedl in che appendix for further review-.
D. BALANCE
Balance in a melody refers to rhe aesthenc sequlrement thac a c h a n y take place arhecher in
hreccion, intenlalic quaLy, rneloclic r h y ~ h mor any of the elements of a melody char have
becn implemented for a Iengh of nme.
There are a number of rules given in madition4 text books for balancing a melody - an
example is thac one should cl~angedrection d t e r three consemrive skips. The problem with
rules is char h e y aren'~always applicable to a specific aestheric requiremcnr. I t 1s better to
look ar melodies thaz stand the test of dme and see how the composer solved any musical
problems that mayhave occurred in rhar parucuIar example
Essenudly, balance can be thought of as a means otworking with tension and release. As
stated above. most of the melodic devices are emotion affeccine and there is a point where a
melody as motif, phrase or section musr change irs direcrion, its rhythm, its modaliy or a n y
of the remaining elements rhat have been m use for a time in order t~ allott. a cathartic
response from the listener. Libran in concepr, b a l a n c ~exemplifies complimentary proce-
dures - the 1-w and Fang of mdody writins.
The best way to creare a balanced melody is by relying upon ones inruirive skills when
making she decisions that dererrninc the acsrhcric result Also, how 2 meIody is balanced, at
t h e basic rnatific Iwel, to the overall form, is the most imponant concept t o consider and
understand u~henanalpzing a given rndody.
Sutement and rrspunse i s an example ofthe use of balance rvirh the response being the release
of the staremenr Tne same can be said of antecedent and consequenrial p h m i n ~The
. con-
. cept of balance IS essential ro dl she aestherir aspccrs of composition: harmonic rhythm,
modal contour:rh~-chmicderrelupment and of course. melodic materials.
Thc levels of mclodic balance are from the smallest, the rnonf, to the tomi form. It is with
mclodic rhyrhm thar well chought-out balance is mast critical As we will see in subsequent
examples. if 2 motifbegins with fasr melodic rh!~hrn, ir should be balanced wich a concrasr-
ing slow response co its cadence polnt - phrases should be treated the same way.
W E ELEMENTS OF A MELODY
E. POINT OF CLIMAX
There is a point in t h e melodic contour where the ernotionaI intensity is w its peak, usually
&our 4/5 through the composition. There are mathemadcal formulae to plot where h i s
point shouId be but ir is recommended thar rhc composer derermlne rhe poinr of climax by
relying on Iistcning experience and inruitive skills. The point of climax and its subsequent
release could be cons~deredrhe grand statement and response of rhe composirion and r h e
ultimate balancing of the compositional form. Point of climax will be dtscussed more in h e
analysis of melodies to cornc later in rhe chapter.
f: MELODIC fO&M
I. V A E M E N T AND RESPONSE
,410ng uirh h e phrase qudiq. of a j a u melody. r h e most imporranr aspect is its use of srate-
ment and response. With wolutionq ties to African folk music, phrarin~a melody by a call
and response formula, whether in a jazz cornposlnon o r an improvisation, indicates a clear
sense of melodic development uhilc rnaintainlng a placernenr of che melody at a point
ro\vards FoIk area of the folk/art spectrum. Additlond15 it prorides an efFecuve means of
balancing a motif.
Of course, this technique is not important only for jazz compositions: its use will show clear
development in any melody wherher pure foIk or pure art In its descriprion. Sraternenr and
response will be further defined by ~ r exrensive
s use in rhe many examples thar niIl follorr. in
all chapters of the book.
2. PHRASE Q U A L m
T h e m a n inwrest in the phrase qualities of the melodies i n this book wdl include t h e
descriptions of their sysnmetr).: whether the composition or a section of it shows a phrase
organbation that is symmetric or asymmerriq and if there is phrase balance by rhe use of
antecedenr/consequenrial organization. Usuall!~there is a carrelanon between a cornposi-
[Ion's harmonic style, its harmonic r h j ~ h mand i s melodic phrasing. Song form and p h d u
modal compositions rend ra have symmetric phrasing. wirh ~ ~ m ' cmau& l!, lznedr modal and
throughc~mposedforms having asymmetric phrasing (see VoL 1,Chapcer If.
y may find exceptions t o chis, and the mixing and contrasuns of melodic and
C e r ~ d one
harmonic styles may be a method of a e a u n ~uniqueness in a composirion. Overall, a
melody's phrase quality wiU be relative to its posinon in rhe folk/arc spectrum 14th the har-
monic content having a q u a l i of
~ izs o m .
Most of the melodies chat uilI be a n a l y d in chis book will show a symmetry of phrasing
because of the kinds of compositions and their harmonic macerials rhat are the emphasis of
this volume. More will be said regarding symmetric phrasing at rhat time.
Melodies with asymmetric p h r a s ~ nusually
~ do nor show a usc of antecedens/consequenriaI
organizarion and in general are vocal, melismatic, and have a through composed qualiv -
all descrlpticlns of a linear melodic sty1e.
G. MELODIC RHTTHM
1. TEMPO
Melodic rempo refers to how fast or slow rhe p~tchcsof a melody change relative ro the har-
monic rhythm. Melodic tempo is one ofthe syle defining elements ulhcrhcr historic or har-
monic. As an examp]?, many bluegrass, countq and Irish folk melodies have extended 8th
nore phrases over relatively slo~r-harmonic rhythm or a sinslc chord (hornpipe), dernon-
straung thejr common des.
As with prcklous descriptions, there can be a h v e r s l y of mclo&c rempi wirhin a composir-
ion wrh perhaps a fast rnonng rnclod!. far the A secdons and contrasting slow melodic
rhyrhm in chc B section I t all comes down to c l ~ rimportance of rhe concept of balance,
varicy, and contour in all aspem of rhe compositional process. Due to I= musical impor-
cance. balance will be refwred to repearedl!? in this tcxr.
CHAPTER I: HELODY
2. CADENCE
Meloclic cadence is defined as the point where the mdodic movement comes to a srop:
etther by sustaining the last note or b r ~simply ending the mouf or phrase and fillins che rest
of h e secdon with a rest. Working in accordance with melodic and harmonic tension and
release+melodic cadence is rhe puncmarion point of motific and phrase organization.
The chosen pirch For the cadence point can affect t h e overall syle of rhe phrase or s e m o n
a?well as t h e modal definition and resolution qualit?.. The following order of cadence note
cholces is from rhe most relaxed to mosr tense. Orders of modal dcfinrrion c a n bc found an
various pasts of Volume 1.
Relaxed Root
P5 (perfect fifrh)
, M3 (major third}
b3 (minor rhird)
1
M6 (majorsixth)
M2 (malor second)
m2 (minor second)
M i (majot seventh)
b7 (minor swmrh)
P4 (perfecr fourth)
Tense $4 (65)
As an example, if rhc r n o d a l i ~of rhe phrase were Ionian, the most relaxcd note choices
wauId include the root, 5th and 3rd with rhe M7 or P4 having the most modd dehition.
Were the p h m e in chc Phrygian mode: b2 would have the most modal definiuon with the
met or the fifth being the most cadential. There is much to mns~derwbcn selecdng a
cadence note pitch and the best _guide is probably to let thc melodicvoice-leading take precc-
dence in note selec&n.
4. SYNCOPATION
Melodies that cadence often en weak (up) bears are aggressive and acdve. and if rhe m o d s
are constructed so drat most of h e i r pitches fall on weak beats, the eEecr is enhanced.
Syncopa~~on is rhe term to describe rhar qualiy. Melodies char cadence on or have monfic
constructions that start on strong (doum) beau, conversely are relaxed and passive. With
char in mind, chere i s more to consider when working on the emotional sods of a melody.
In addinon, the use or nan-use of syncopation is anorher gle description.
Definitions a d examples of rhe above rerrns are included an page 113 in the appendh for
review and clmficarion.
CHAPYEU t: MELODY
--
I. TESS ITURNKEY
Onc last subject ro be men~ionedbefore going on co style and melodic analysis is the qual-
i n a melody has due to ics cessitura and its key cencer. Due to rhe laus of acousncs, rnelo-
dres whose general range ffa low in chc grand staff tend ro sound "darker.' "heavier." and
marc ambiguous than those found in a median or high area. The opposite, those melodies
with tessimrae found high in grand stafF~cndto sound "brigh~"clear and &in. In addi-
tion. here are chose who believe meIo&es that are centered in the "sharp" keys sound
brighter chan chose found in the "flar"ke).s. This is a good subiecc to drscuss over a fen beers
as it is subjecrive and probably has no documenred proofof its reallty. One can possibi!) find
some examples rhat may work on stringed instruments u.hosc s m n p are tuned to "sharp"
pitches tE. A, D, G) as t h e opcn s t r i n g uritl respond to "sharp" keyed pitches by resonance
(qmpatheric vibrarions). The sharp/fla~ke\.conrrovessy wiII be found again in Chapter D.
The styles of jazz melodies can be categorized inro trvo main groups:
ROMANTIC
Jazz ballads: bossa novas, boleros and some medium and Fast tempo songs have rndo&es
thar are consmcred following the dcveloprnend procedures rhat have come from the melo-
dic syle of Tchaiko~~sky and Rachmaninoff by way of the pop~iarmusic composers of r h e
20s to the 50s. Included are rhe efforn of expert film composers from thc earliest co con-
remporar). times. Kirh this in mind i t is v r v Imporcant that che jazz composer as well a s
those apiring to compose- for the popular marker. CDs, radio, television and films, be able
to compose a romantic melody.
These j~;!melohes are construmd to canform to particular qnali ties that are defined by an
historic era: bebop, swing, Dixieland, hardbop: a Folk/ethnic reFerence: blues, Caribbean,
pentatonic, pop; or by rhe performance peculiarities of an instrument or voice. Melodies can
also be described by any noteworthy w e of rhe elements: angular. lyrical, progrmmatic,
s)mmecric, temarhordlc, or any of zhe others.
Example I .I ?a:' T h e Girl from Ipanema" (excerpts from A and 5 secrions) by Antonio Carlos Jobim
CHAPTER 1: M L O D Y
Example 1.12b: "Passion Dance" (excerprs from A and B sections) by McCoy Tyner
Example 1 .I 2c: "Hoe Down" (excerpts from A and B sections) by Oliver Nelson
Add LO t h a t the fact thac many jazz melodies have contrasung harmonic styles and form, ir
should become dezr why the study of melody writing is as difficulr as it seems and requires
many years of studv. lisrening and playing experience. Ir is A e diversity and overu~hclrningly
comprehensive vaiiery of melodic combinarions that makes r h e r x k seem formidable.
The approach to be d e n for the remainder of r h e chap~eris chat: of forming a mehod or a
guide to follo~vthac wilt establish a rncms forresearch and analysis of existing melodies that
can serve as models fnl- one's own meIo&c goals. along with the actual analysis of existing
melodies. Additional m e I o d i c analysis will be found in each subsequent chapter of this book
dons with harmonic and formd analysis. T h e covert premise for all of \?olume 7 of this
book is in fact melody writing.
Typical Song:
"On rhe Ginza" by W ' a p e Shorter and "Nineteen Ban'' by Horace Silver
Both cornposidons show use of the foIlowing:
A. FOLK REFERENCES
1. A h c a n
{a) szaternent and response
(b)blues riffs and ppcnratonic scales
(c) aggresslvcr f i a / L a u n rhyrhrnic concepts
(d) riff motifs and figures
2. II~fscerrtEuropean Reference
(a) rnodaliry (mdodlc and harmonic)
@) diaronic harmony
(c) d~versiqand concrasr of harmonic rhvthm
(e) drama - exuemcs of ressirura and dynamics
B. HISTORIC REFERENCE
1. Bebop roots
(a)s w i n ~rhprhmic concepuon
(b) "front line" horn sound
(c) some melodic sqde reference
2. Big band
(a) form and dwelopment
@) predomnanr "brass" sound
(c) arrangernenrs: backgrounds, "shouts," tuai sections
hrrrnsicalIy bebop in reference, hardbop differs by t h e conscious striving For high drama
and excirement by extreme contrasts of dynamics, harmonic rhythm and rhyrhrnic styles
within the composiuon: shifts from swing to Afro/Laun to shuMe and back. Additionally,
There is cxtens~veuse of TIES,"kicks,"breaks, and rhythmic motifs and figures played mtri.
Hardbop shoivs evolutionary significance by rhe extensive use of rnodalrn and con.crasm of
harmon~crhythm.
(See "Repose,Transiriqn" in 1'01. 1and lasc question on p. 14.)
Like bebop, hardbop shows a deparmre from jazz performance as dance music o r as a music
whose purpose IS to "serve" rhe cusrorncr. Hardbop is jazz wirh aspirations toward "an" It
is sdll entemning, but under the composer/performer's scc of rules rather than the
mstorn~r's.
Of parricular interest i s hardbop's use of rh!.thrnic and rnclodic materids arid approaches
associated w i t h t h e folk area of the art/folk spectrum while referring to European art music
uirh i t s harmonic materials.
For the remainder of rhe chapter. ive will look at a number of melodies in their entire^.
$ r a n 4 off with three mamples of idiomadc {non-romantic)melodies of varying degrees of
divcrslq; and because of their importance, che procedures for twitins romantic melodies rvill
be emphasized for rhc later part of t h e chapter with more specific non-romantic q l c s covcr-
ed in Iarer chapters.
CHAPTER I: MELODY
Of the fol2ou.ing examples, as with pre\l~ousexcerprs, only che most salient poinrs will be
listed. It is suggested chat t h e student. using the analysis guide found on page 421 do a sub-
sequent comprehensive analysis as ume al1ou.s.
A. IDIOMATIC ANGULAR
Example 1-13a:"One Up and Down" (ms. 1-2) by Eric Dolphy, from Out to Lunch, Blue Note 841 63
This melody is clearly anyular and non-romantic. Ir s t a m off with a blues based motif
defined by che downward s k ~ pfrom the b3 to the PS,balvlccd by an upnwd Ilrap ofz rri~o-
ne to the b2 of the key. The accent on the second beat (che backbeat) addsdondly is blues
oriented.
Example 1. .13x 'Qne Up and Down" (ms. 3-5)by bic Dolphy, from Out to L~tnch,Blue Note 847 63
The next three measures. in~en-alicallyangular and rhythmically quirlcv, set h e general tanc
of rhe melody. Very chromatic, tense incervdic skips and disjointed melodic rhyrhrn suggest
thal: Ericu-as rnflucnced by a 22-cane technique shaped by a bIues scale when organizing rh~s
melody.
The Iast measure, v e q ~rense by intenpalic skips and cadential note choices IS finally balanced
out bj- the final caden tial resolution to t h e tonic; the k
t chree pitches being an arpeggiauon
of a G7P4 chord. -
%. IDIOMATIC REFEREldTlAC
Example 1 .I 4a: "Caribbean Fire Dance" (ms. 7-41 by Joe Henderson
The first four measures provldc a Freat example of [he primirive qualirics 2 melody can have
when based on a criron~csource. Having oniy thrcc picches. the melody must he developed
rhyhmicaIIy - as this one does. There is clear sntement and response, wlrh much use ofsyn-
copanon. Relative to the roocs, the cadence pirches definc EL Lvdian rnodall~.
NOHdOMhNTlC MELODY €XAHPL€S
Nonce the effecr af merric compressi~nby the eighth note shifi re t h e left o f t h e response.
Ofnote also 1s the inclusion of the C @non-harmonic cone (nonmodal ro Eb Lyd~m). Joe uses
this rension inducing device often and rc is found in most of hu melodies.
Example 1 .I 4br "Caribbean Fire Dance" (ms. 5-81 by Joe Henderson
The remainins four measures of rhe firs^ secdon balance our rhc first four as a consequen-
tiaJ phrase. Or'note is rhe cornpress~onof the phrase by the shifting of chc cadence points in
rhe form of herniala The occurrence of che lasr; cadence point on the fourth bcar: of che
seventh measure followed by silencc (a break} induces a great deal of tension which is re-
solved by the pickup on beat four of the last measure of chis secrion. Compare rhis u i h che
7rh md 8th bars of "Speak No Evil" and many other melodies by Wame Shorter.
: aribbcan Fire Dance" (ms.9-12) by Joe Henderson
Example 1 . 1 4 ~ "f
Most significant in rhe-4-bar bridge IS the use of a single prtch as a mclaciic source developed
rhythmically for the first threc measures. T h e balanc~ngof the section wmrh a compressed
Phrygian terrachord in the last measure is pm~cularlyeKecrive.The scaternenr!rcsponse
organiza~ionof chis section is slmilar to many blues tunes with a scaternent, a response, a
repeat of the first statement and then a new second response. (S1, R1, Sl,R2)
T h e combinanon of the simplicity of tritonic and single-now melodic source as well as rhc
irnpIied pentzawnlc q u a l i ~of rrironrcs organized rhyrhmicdy produces a dance-like quali-
ty thar defines r h ~ melody
s as idiomatic folk.
C. IDIOMATIC PROGRAMMATIC
T h e p r o ~ a r n m a t i cintent of the next melody (Example 1 15) is so crcace a relaxed pascord
setting. Influenced by Aussrian folk music, this Ionian linear modal cemposinon accorn-
plishes its god by:
* The overall melody mccpting one pitch is based on E lonian.
Most motifs and phrases s m and cadence o n pitches rhar eirher clearly define lonian
or are cadentially complete due EO rheir consonance (see p. 20).
* Relaxed melodic rhyrhrn and relaxed linear modal harmonic rh!.rhm. (see p 13, Val. 1)
Use of statement and response along with ~ y r n m e c r i crnelismatic
, phrasing.
The melody l ~ a sa relwed median ressitura.
Balanced conrrascs m h r e c r i o n
CHAPTER 1: MELODY
-
- ficlear find cadence includes: dmmward d~reccion,expansion of intervals by slaps, start-
ing on t h e E, a m 3 down to CtI, a M3 down to A, a P4 darrn co E. and finaIIy, a P5 down
ro the cadence pitch of B. Notim thar: an A triad is oudlned for funher consonance.
rubalo E tonian R
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NOH-ROMANTIC MELODY EXAMPLES 1I
I
This compos~rion,like zhe previous one, is proprnrnatic and influenced h*rhe quaIides of
folk musrc, In this case, the influence is American folk/pop as rhe follo~vingpoints will
attempt to reveal. In addinon, the composiion is an another example of lonian h e a r
modal. providing a poinr of comparison.
Commenrs and salient poinrs indude:
A non-harmonic pickup (Ctl) ro bar 1 is found also rn bar 9.Compare it to rhe u s e of Nfl
mnes by Joe Henderson (ex.1.14) and Tchaikovsky (Ex. 1.20). In addi~ion? rhe motif is a
ROMANTIC MELODIES
One usuaIly associates ramantiasm in music with the general era known as rhe Romantic
Pcriod (ca 1800-3900)and i t s associared composers. ~ I r h o u g hchar. era and i a composers
epitomize our perceprioa of romannclsm in music, ir should be pointed out that roman-
uclsrn s described i n chis book refers to a s ~ l uf
e melody writing rhac can be found in
the works of Bach. Mozart, Ellington, Jarretr and Shorter as xvc11 zs Tchaikovsky and
Rachmaninoff. for run at el!^, the quditles &at define a romantic melodic syle are easy to
implem~ntinto a pedantic formula.
In order to better clarify the 2 4 s of a r-mandc melody wriung project. a brief description
of romandcism is in order. Romanufism i s not merely a musical s y l e period bur I S an
aesthetic "point ofvien;"a m e a u r e of the d e ~ ofe expressiveness found in any of che forms
of human endeavor including rbe arrs as well as day-to-day uuscence. As an expression,
Romanticism is easily rewgnized in the works of writers, visual artisrs, dramatists, philoso-
phers and composers having thzr "point of view" or of being of rhc Romzndc period. To
fully grasp the general definitions of romanticism, it i s susgesred chat the student, if n o t
already having done so. srudy and experience h e worlrs of the Romanticists in all areas of
endeavor. Listed n o t by time period but by similarides In incensiries of fxpression, a partial
Eiscin~1ncludc.s the writers Poe, Twain, Hawthorne, Goethe. Shelley, Melville, Coleridge, and
Byron and the painters Kokoschka, C.D. Friedrich, Derain, I7an Gozh, Eelacro~xand
Marisse. Nor including drama and dance, it is still qmtc an undertaking - buc is a strongly
recommended regimen of study for the aspiring composer.
Descriptions of the works of the romanticists and romanticism in ecneral indude:
A conrrived intent of drama {melodrama}
A degree of preten~ousness
E x a g p t e d a-pressiveness
Seriousness
* OverIy emotiand/sentimen:al/persond
A striving, yearning qualimy
Enraptured. heaunful, progammatic
A quest for the ~ d e dt:h e infimte
Depending on rhe Iistemer's background and musical tastes, rhe rraits of romantic music
could bc interpreted as beautiful, l?+cd,ideal and perfecr or contrarily could be thought of
as simpIiscic. pedestsian. overdone, mre or "corny." Unfirmarel!-, due co rhe cancacuriza-
aon of the elements of rornandc music in film scores, man?*agree with rhe later descriptions.
The author has had both points of vim and at rhe time of this rvriring is convinced char:
romannc melodies a r e the most beaudfd and mosr sorely needed in today's music.
The folloaing is a listing ob~ainedby a careful cornpanson of a number of romantic melo-
dies from all el-as as ro how rhe elements of a melody are worked ro creare a me!ody whose
main gods are r:o drarnauze, to overly express and co create a sense of striving for the ideal.
Found in tomantic rneIodies are the use OF:
I. Many upward skips (some downward) of a major or minor sixth. These skips arc v e y
drarnauc and arc traditionally known as rhe "herotc leap" or the "romantic sixth." Keep
in mrnd t h a t they are consomnt intervds and singable.
2. Orher intervdic skips borh up or down for various degrees o f tension and dramatic
efkctr
3. Final cadence pitches usually are consonant, che general mtcn.ahc qual~tyis Iyricd.
4. Use ofmelod~cchroma~idsmas a ccnsion inducing device, or as non-harmonrc tones to
emphasize emonnnal expression or ro enhance cadcnud resolut~onjsec No. 7 ) .
5. Balanced three part rnotlfs with smtemenrs h a v i n ~slounmelodic rhythm conrrasred by
a response with f a t melodic rhyrhrn which chen becomes slou~again at the cadence.
Also, them arc many examples of rruncaced versions of rhe above: fast smcemenrs fo!-
lowed by a slom~,or delaved cadence.
In general, many rcpeared notes.
-6.
I. r , repeaced notes that become n o n - h m o n ~ tones
In ~ a ~ c u l amany c that are sustained
and rhen resoIvcd at the appropriate emotional " m ~ ~ m c"nTheir
t direcuon of resolur~on
is dependent on the dil-ecrional concour of t h e melody prior to the non-harmonic tone
ROHANTIC MELODlES
or on chc radential qualiry of the rone. Usually, but nor always, n o n - h m o n i c tones
found in cadential resolutions go downward and nan-harmonic tOnFS found in moufic
statements go upward
S. Simple binary form:
Part 1 - an expos~tionsection showing predorninanr use of simple diatonic rnotific
statement and development with themes clearly presented.
Pan 2 - extensive use of repeated phrases or sequences usually deveioping upward to
attain a sense of longing for rhe deal. T h is the mast drarnanc, ernoriondly fervent
pomon ofrhe melody; a11 the expresswe effecrs are used co the maximum.
Note char romanric melodies a d cornposirions can range frarn being l i ~ h arid
r happy in
tone to dark and rneiancholic. Other romantic definin~devices include the use of 3/4 m e w
and the often found b6 pitch ar key cadential p o i n ~ ,
The following exarnpIes are short exccrprs of melodies from diverse sources and dispare eras
which srill have many romantic melody writing conccprs in common. In addicicn, most of
the examples have a number of f i e above listed descriptions of romanor melody wiring
~echniquesirnplemenrcd in randcrn.
Measure 3 has a n upward ski^ of a m6, in addinon, there are three repeared notes. Note the
balanced melodic rhythm.
G-9
Example 1.18a: ATheme from "Samson and Delilah" by Camille Saint-Sens (Melodic Chromaticism)
As inrroduced in example 1.lSd of rhc previous examples. the use of chromaticism in meas-
ures 1-3 creates a n emotionalism desired in romantic melodies.
Example 1.I 9a:"May Breezes" by Felix Mendelssohn-Bartholdy from "Songs Without Words"
2
n
(balanced melodrc *dmn)
t*
k
D 7!Ff:
-
- m
I
I
C
I
1
r
- ,
I I
-. "
I
I I
:
; m i - . #
G
-
A
- 3 4
-3-1
slav fast slow (delayed cadence)
From a conlrrasdng source, balanced melodic rh!r&rn with the cadence rcsolvin~downward
IlIustradng the diversiv of romantic melody sources and chat h e y are not tied to a specific
time penod, &is excerpt is clearl!. romanuc as is the whole piece. Compare ir direcrly LO rhe
Mendelssohn and Sainc SaEns melodies then C Q T L S U ~a~ music histo71 text for the work~ng
rime periods of these composers. In addition m balanced and conrrascingmeIodic rhythm,
there are repeared news chat become nen-harmonic rones nrhlch resolve downu,ard - overt
romantic melody wrinng technrques.
!&rd
- -- fast
~ m h a arc
slow -
b rugr&ns, nor+h??cndIn rile orrplrrplmI
-
compsitaon.)
fast - 5 1 0 W -
The theme from Tchatkovsky's Symphony No. 6 YPathttlquc") is another m p l e which
demonstrates the use of a number of the previous1y lis~edrornanuc melody concepts.
CHAPTER I: MELODY
Example 7 -20: The Main Theme from "Romeo and Juliet" by Peter I. Tchaikovsky
The melodic form is modified Gina?. ( t w o part irith a repticion): an c~posiuon,rhc dra-
matic "!>earnin$ for rhe ~nfinite"second part and a repetldon of the first part.
4. ZntenraEic skips:
(a) MG downward, ms. 1-2
(b) P4 In ms. 3. relaxed harmonic/mdodic resoiudon
(c) M6 upward. the classic romancic leap in ms. 5 and ms.27
Id) 05 downward ms. 6-7, tense interval to set up cadence
(c) P5 in ms.21-22 I zi
sr dramacic skip of pan 11, rhr "yearning portion of t h e melody
5 . Chsornaricisrn For emotional tCnSlQtI is found in ms. 6 and 7 and ms. 9, 21,13,1; and
21.
6. Repeared nares a r e found in ms. 9,11.19,13and repeated notes thar become a non-har-
rnonic tom in ms.22-23
7 . Note the ~essimraof parr II. from a low G below middle C, the melody dramancally
builds tension and drama w c h extensive rnorific reperinon by che use of sequence until
r h e climax point of the s ~ c o n dD above middle C is reached This is a clear and classic
example of how parc I1 of a rornannc rnelodj~should work
The remaining two compositions can be categorized as romanticjmelodic, or compositions
c hat have romantic melodies bur differing harmanlc, and emotional qualides. h parricular,
the Iast composition, by Keith Jarrett is a good model for a contemporary rornaTr1c com-
position. It has romantic elements in its melody which are balanced by h e inclusioa o f q m -
metric rnelo&c material, and a rather stark seundlng slash-chord modal harmonic scheme.
Final End G ~ ~ S U S
A ~ + / G F9sus D T ? E ~C/D~
n I
I b e
I Q Eopw~ghr1973 Ronjank MUSIC.
BMI
f,
( d
I
fine
CHAPTER t: MELODY
.4nd so on... Quire a blr: could be poinred out. but the main idea is ro ident16 thc elements
of romanticism and srrong rnelod~cconstrumion.
Example 1 . 2 2 "Solstice"
~ (ms.1-4) by Keichdarrett
-
,
'
n
-
+Ayr=. - Lo
!
-
F/G
- - I
I
h-
I
I
!.
A/G
7
- -,-,
w I
I
I
.,
+
C
E IC
.
I
I
0
Y
D/E
*-
-
A~/E
I
I
I
,
1
I
S E I
The previous finall!. resolves to thc Ct! in measure 4; a pickup at the end of the measure
initiates a rruncated version of she material Found in measures 1 and 2 in measures 5-7.
Measures S and 9 offer a relief from romanudsm by the peculiar qualin of the symmet-
,c patrrrn of an augmented scale.
All winds down wirh a return TO romantic materid in bars 10 rhrough 12, with bar I1
conranmy a beautiful cllchi. and 12 a final sequence of it.
Example 1 . 2 2 ~ "5olstice"
: (ms.9-12) by Keith Jarrert
The ver? dark and smrk harmonic foundarion of chis cornposiuon is balanced by i t s beaun-
ful romantic melody givinz this composi~ionan in-puacing quality wonh inves~igatin~.
Note the harmon~canal!.sis OF chis cornpositron is mcluded on page 106 of Volume 1 for rhose rnterested m fur-
ther refcrrnce.
CONCLUSION .
SUGGESTED EXERCISES
EXAMPLES:
"Badia"byJoe Zawinul, Weather Report, from Tail Spinwm'
"One By One" by 7X;a:me Shorrer, T h e J a u Messengers, from upfir
The Adagio from che Piano Cancerto in A by K".. Mozart
'cEllossom''by Kcirh jarrett, from BeIonpg
"Hoe Dourn" by Oliver Nelson from Blue? and the Ahstrab Tmth
"Look t o the Sl+' by Anmnio Carlos Jobim fi-om Wave
"Rufus" by Archie Shepp from New Thng d Newpm
"Work Song" by Nac Addcrley, from Cannonbdli In New I'm-lz
3. List ten mclodies from the "srandard,"jazz. Latin, or pop repertoire that can be Iabeled
romantic.
5 . Refer to the "Adagio" by Tomaso Abinoni included here. Cornpletei!. analyze it using
the analysis guide, include a labclin~of rhe romantic d w ~ c e ~vhlch
s are u s e d
THE PROTOTYPICAL ROMAFmCIIDEJL H E W D Y
SeIecr a number of the melodies thac you particularly liked, co be used later as a modd for
your om7nmelodies. M a k e a note about the peculiarities that endeared you co any mdody.
Make note of any quaIiry chat is found in common with most melodies of all caeegories -
that may prove ro be a universal "mu&" of affec~ivemelody wrinng.
It is suggested char rhe reader start uith the foIk sources closelj-related to jazz compositions
~ h a ncontinue o n to personal or nationalistic interests. S m with the Eolbwing folk musics:
African
Japanese
Brazilian
- Indian
American
- Britrsh/Insb
Of che "nm*worIdsources, tv ro d e t e m ~ n thec percentage ofnarive EO Etlropcan influence:
for instance- what is the real influence o r source of the (Cuban) Ctave?
B. MOTIRC DEVELOPMENT
I. Repcurion
2. Sequence
3. Inversion
4. Retrograde
5. Retrograde Inversion
6. Isorhythm
7. Isoarticillation
8. Truncauon/exrension
9. Displaccrncm
10. Muration
C. CONTOUR
1. Direcrional
2. Intervalic
(a) diatonic
@) chromatic
(c) skips
3. Note d u e
{a)augmenration
(b) diminut~on
(c) campression
{d)decompression
(e) art~culations
4. Point of dinlax
5. Balance
13. FORM
1. Statcmenr and response
2 Phrasing
(a)antecedent/consequence
@) syrnm~ncd/asymmetrical
(c) sectional
(d) rhrough camposed
F. EXPRESSION
1. ArcicuEations '
2 . Dynamics
3. Effecv
3 Sound supporn phrasing
5 . Tempo markin~s
CHAPTER I: MELODY
- .-.
A. R E C O R D I N G S
A t the tighrhouse Joe Henderson Milestone 9028
SiEver7sSerenade Horace Silver Blue Note 841 31
wove Antonio Carlos Jobim A&M 3002
Rhopsady Gpagnole Maunce Ravel misc. recordings available
The firebird Igor Stravinsky m:sc. recordings available
Bjack Market Weather Report Columbia 34099
Zalvlnul JosefZawinul Atlantic 1579
Ballads John Cofcrane GRP156
The Mlcsic of Ron Miller Ron Miller CPP/Belwin
The Sorcerer MiEes Davis Cojumbta 52974
Samson and Delihh Carnil le Saint-Saens mlsc. recordings available
Brooklvn Biues Danny Goalieb Brg World 2005
The Real McCoy McCoy Tyner Blue Note 356
JUJU Wayne Shorter Blue Note 3764A
Schizophrenia Wayne Shorter Blue Note 32096
Out to Lunch Eric Dolphy Blue Note 841 63
Death and the Flower Keith Jarrerc Impulse 9301
Get H a p 0 Tony Bennett- Columbia 30954
Cinemo LeGrand Michel Legrand MGM A 4 9 1
50np IWtthout Words FeEix Mendelssohn-Bartholdy misc. record~ngsavailable
Symphonies No. 5 6 6 Peter I. Tchaikovsky rnisc. recordings available
Romeo andjuhet Peter I. Tchai kovsky misc. recordings available
B longing Keith Jarrett ECM T 050
Conceflo M. 2 Se%e~ Rachrnaninoff misc. recordings available
Liberal Am Elements Novus 3058-N
Native Dancer Wayne Shorrer Blue Note 541 73
Speok No Evi! Wayne Shorter Blue Note 32096
StlverS Serenade Horace Silver Blue Note 41 31
Adogio Charhe Mariano LIP 8924-2
B.READINGS
Rumantrc MUSIC Leon Plantinga W. W. Norton, 1985
Contemoray Harmony: Romanticism Through the 72-Tone Row
Ludm~laUlehla Advance MUSIC,1994
Changes Over Time: The Evobtron o f j o z Arranging
Fred Sturm A d ~ x n c eMusic, 1995
Music Idioms G. Welron Marquis Prentice-Hall, 1964
Eric Dolphy Simoko Sc Tepperman Qa Capo Press, 1979
Chapter 2
;. .I
---::I , .
/::.. -1.- ..
I Standard Repettoire
2 Altered Modalit),
3 Substitution
4 D~atonic
5 Chromatic
6 Function
7 Harmonic R h ~ h r n
8 Cadence
9 Cycle
10 Turnaround
11 Approach Chord
72 Added Chord
13 Target Chord
14 Pedal Poinr:
15 Stock
16 Original
-
CHAPTER 2 REHARHONIZAYION
HARMONIZATION
E v q so of%, a student mas inquire, 5 n the compesidonal process, is it berter to write the
m d d y firs: or to corm up with a set of chords first? The answer of course, depends on the
individual composer; mosc: like rile author. probably work with melody, harmony, and
rhyrhm simulraneousl~,each influenung the outcome of the others. Often. a composition
may develop out ofa seed idea in che form nf rhree or four chords in a vamp, or from z pecu-
liar ba5s figure. Other times, a pardmlarIy satisfying morif or melodic frapent may
mspire the complctron of 2 scction, or a complete composition. The poinr is that the Inicld
inspiration. in whatever form ic ernanaces, is what really prcnlides chc basis of a composidon
ofworth.
For rhase ~ ~ h e melody
se writing skilIs are more developed &an their harmonic abilincs -
usually ~tis the smdcnt ~ . h ohas had extensive craining m tradrtional theory/composition,
bur is relanvely new re jazz composition and harmony - the FoIlowrng are some polnu to
consider when attempting to create a harmonic progression co a 9;ir~enmelody. Alrfiouph the
l the composer, t h y could be appiicd
techniques are rneanr for use lvirh a rneIody o n ~ i n a to
to an extant melody of any em
There are nvo u.a!r of accomplishing the goal: t h e preplanned and the inmidl~e.T h e inrui-
tive merhod seems Iess efeccive in <rearing harmonies though, probably due m :he density
of and the diffjmlyin "hemng' many notes simultanmusly.
THE PROCEDURES
A. MELODrC ANALYSIS
Using the analysis p ~ d found
e on p. 40 of rhis volume, nere any peculiarities rhar may pre-
dict a harmonic definition, paying pardcnlar attention to:
Imporcmr source materids - mchords, terrachords, overall consonant,slcrps. symrncrry
and so forth.
The emotional contour, cadence points. balancing rechniques, and rhe point of dimax.
T h e general svle descrrption: Folk. hardbop, ECM.
3. ahychm:
(a) slow/fast, sustained notes
(b) repose and rransinon, cadence and pedd point
(c) speed relative to the given melody
(d) the use of vamps
I C. CHORD SELECTION
1. Determrne rhe general harmonic sryIe god:
( a ) bebop, hardbop, E C U , pop!Larin. free form modal,
(b) analyze a number of compositions in the selected style (see p. 24).
TO R13TE\KJ,THIS IS THE MELODY DERIVED FROM ALL TKE TOP PITCHES WHEN
SPELLING 0LT THE CHORDS.
Use of common tones and structures.
Use of counrerpoimt, intervaIic and directional contour.
This i s h e hard part - unless a lot of prepIannjng has been done and t h e goals are pretvl
dear. There arc so many possibilides, thar unIess one has composed a lot and developed she
dec~sionmaking pmcess to r h c point of being confident in the musical worth of one's
initlal selections, the whoIc process can be ovenvhelrning ro r h e point of " g j v i n ~up.''
Scarr by composing a bass melody thac foUows the contour you fee1 besr suits the harmonic
god. Tn a number of chords of varied modal qualiues for the first chord chat trill set the
tenor for the development of the remaining chords. The neat step is ta add chords ar r h e
cadential point., rhen filIin~in wi& the remaining chords between h o s e points according
ro a preplanned harmonic contour.
Unless you are evolvini to the intuitive approach by chis rime, much experimentahion nil1
probably be needed Trylng many different chords and harmon~cconcours will require
pasience and perseverance Being accomplished with rhc " p p " method of chord conscruc-
tion will be of great assistance in h i s process.
In a nutshell, rhis 3s r h e order of steps ro follow to help organize your rheugh~sfor the har-
monization process:
Crearc a bass melody, following the prepIanned harmonic conrour and being a x w e of
bass melodic cadence.
Select a "first chord" per section.
Experimenl- various chords &ar saris@ both she preselecrcd modal contour and
cadence resoludons.
Re-voice h c chords to create a chord melody that conforms 1-0a preplanncd melodic
contour and cadenuaI requiremenrs.
Conunue experirnenring and nve&ing until both the aesthetic and style defining
requirements are met.
The follow~ngexamples may offer some clariy and/or insighm intc rhe process. T h e corn-
rnents address the above steps in the order given, if applicable. The melodies of rhc examples
were composed for illusrranve purposes aithotlt any concern for acsrhetics.
CHAPTER II: REHhRMONtZATION
MELODY l
Thc sourcc of chis melod!~can be rdentificd as being a diatonic G minor or Bb major scale.
Its directronal conrour is genedl!? dorjmu.ard to rhc cadence pitch, wich the cadence pitch
not being balanced by an addiriond pitch in concray direction. It has a final q u a l i ~
due to
its melodic rhythm.
Example 3.1: Harmonization of a Diatonic Melody (1) and a Chromatic Melody (11)
Aeo Mixo 11
att I
COMMENTS:
HARMONtZATION (a)
T h e Bass Melody - scans wirh the same pitch as bo& chc main and chord melody. m a r -
ing a clear "harmonic staremcnt.' It chen goes upward in a d~se&onconnary to the
m a n and chord melodies: with inren~dsthat ~ epropessiveh~
t smaller, providing at
increase af r ~ n s i o nh a t is resolved with the find cad~nccpitch a rrltonc away. Its
general source. othcr than chc cadence ~ i r c hi.s d ~ a r o n ~
rocthe m a n melod~csource.
The Chord Melody - stzrdng on the same pitch rrhr main rnelod?. there is rhrn a P5
skip downward to a cadence pitch. chen another slcip to a repose-cadence. defined by
t h e use of commnn tones.
HARMONIZATION
-
- -
The Chord Selection - rhe harmonic rhythm i s slow and symmetric, with the chord selec-
tion based on 3-no~egroupings (miconrcs)of the main melody. T h e firs1 tritonic - D,
C, Bb - implies Bb major nr G minor and thc "first chord' choice of G minorJD is diz-
conically relarive to the melody.
The second chord choice, hatonic ra rhe A-G-F mitonic, gives an effect oFbeing brighter
after he first dark Aeolian chord, providin~a sense of harmonic cansour. T h e nexr chord,
the tonic. prnvrdes a resolurion of h e drama creared by rhc previous one.
The last chord, connected to the previous by common cone, has a subtlc dominanr qualiy
due co the melodic q d l q . of the bass picch. Norice the dternatrng modal qualin. of the
selected chock: dark/bright/dark,/br~ght,this provides harmonic contaur as well as a variety
oFmodal description. Other considerations made in the selection process were the v a r i e ~of
"grips,"and voice-leasling.
HARMONIZATION (b)
The Bass Melody - starts wirh the use oi pedal pornr on the main melodv pitch, showing
a repose~transicionconmur. The ovcrall source is a chrornat~cfragrnenr which implies
Phr?xjan uith the EL. Its direcrional conrour is up\mrd in c o n r r q norion ro che
main and chord melodies.
The Chord Melody - 1s the same as the main melody due to t h e use oFparallel "gnps"to
harmonize che m el ody.
T h e Chord Selection - s t a r r i n ~wirh a tonic Bh {Gm)/D. y i p selecdon was made to
increase the modaIJspacing tension ro the E minor chord wh~ckresolves to the
F13sus4 in the form of a parody cadence.
HARMONIZATION (c)
The &ass Melody - a simple chromatic scale, downward to the targer F, starts on a Ron-
dia~onicAb.
The Chord Melody - starting on a diatonic pitch, alchoush irs melodic shape shows
obscured direction, ir does move in contrast to the bass melody by groups of IWO.
Ending on a nondatonic pitch, the source of this mdody is Bb major.
The Chord Selection - alsernat-ing non-dominant (major 7) chords and dominant (b7)
chordq implies a modal cycle resolving to a dominanr of the tonic Bb.
MELODY ll
This melody is purposely chromaric to introduce h e problems peculiar to that sourcc: that
of selening chords whose rnodaliv allor17 nvo or more pirches that are chromaric. In a
general dnwnward confour. the melody 1s resolved b?tbalancing irs direcrion with an upward
skip ofa P4. A general m o d d i y of che melody cannot be derermined, but the cadence point
implies f or Bb major and their relarive miner tonal centers.
h general, notice rhc nondiatonic q u a i i ~of the bass meladies rrp to the cadence poinrs. The
chord selection and spelling, needing to include one the main melody pirches, is more &a-
tonic, at Icasc m onr pitch at a rime. O ~ h ethan
r example (c), most of rhe selected modalities
are homogeneous. These traits am descriptive o f the means taken to harmonize a melody
&at is harmonically obscured by having a chromauc source.
By n m ~ furrher
; cornrnenrs may become redundant. It is suggesred that a more detailed
anal!?sis and cornmenrs be completed by t h e reader. The subject of harmonization will be
continued in Chapccr 111 on page 96 under the subject of "Harmonization and Harmonic
fipchm."
Having created an initial set of chords far a given mcIod!?,one can funher develop the skele-
harmonic material by rhe use of reharmonization techniques. Alrhough the reharmon-
izacion process can be used ro develop h e harmony of one's own cornpositsons, it is mosr
often applied to the chords of the "standard" jazz reperzoir~
CHAPTER It: REHARMOt4lZAT1ON
REHARMONEZATION
modal compositions. Haring invested so much effort into t h e learning of the srandard
repertoire wrh i t s ties co tonal harmony and the syrnrnealc AABA song form, it i s undet-
standable rhat many resist the sdecdon of compositions with unconirenrlond harmonic
materia! and unusual f o m for h e p r o ~ m m i n gof concern and recordings. Add LO this rhc
fact rhat once the voice-leading of the diatonic n-V-J cadence and tonal harmegg is learned:
Ir can be applied ro all tunes thar are b a e d on cha: ststern. Consider also. that most of the
hippest "licks" and melodic f i p r e s having been k a n e d from t h e recording of one's hero-
of-rhe-day can be used as ont's own in any tune having rhe s a m e harmonic foundation.
What it all means is thas newTmusic: with harmonic anci meIodic marerial unique t o its crea-
ror requires chat the performer, if orher &an the composer, must learn the new composidon
and its improwsationa1 materials with Fitdc reference to aIready worked-our materials. Many
of the more consenwive performers resist this.
Anorher consideration is that of rhis ~rmting,h e r e is the perception rhatjau is in danger of
bccomlng Iike classical music, char of a re-creative music; char: the thrus: of jazz recordings
and performances IS rhat of re-creating the music of the pasr tonal song form composirions
with ~ e tso bebop and hardbop.
,411 this presenrs a predicament for t h e serious jazz composer desiring an expression of origi-
nality and c r e a u v i ~How
. does one get g e a r players KO play his runes ~irhoutcoercion, and
how does one address the mend [award jazz as a rc-creative music?
One uvay is to havc recorded examples of his or her works distribured widely enough chat
players hear them and learn to enjoy them to the poinr chat they r r m t to learn ro play &ern.
Of course, one needs to be in an environment where if one's compositional~performance
skills ate knorvn and apprecrated. and h e r e is the possibi1iy of armining financial backing
for the production of a recording.
A more flexible approach is work within the sandard repertoire and rework the given mate-
rials in a way that the resulting product reflecm rhe composer's personal aesthenc and crea-
t ~ v eabiIiries while allowing the improviser an access to his iearned imprmdsational skills.
That is chc goal of this porcion of the chapcer, t o look at some techniques thar allow t h e
composer or mrnposer/improrriser to pcrsonalizf a composicion from thc standard rcper-
torre; from a mere "freshening up" of t h e changes to t h e crearion of a r o d y new composi-
tion which is a pasdchc of che orignd. In addidon, thc techniques can be used along with
t h e previously given techniques, to h m o n i z c a p e n melody for those composers u ~ h opre-
r"erto ~irricemelodies and then Iarcr add the harmony. .4nd Iucly, the techniques can be of
use to che b ~ gband arranger who 1s desirous of creating an innovative version of an over-
worked standard.
The ~nformariongiven presupposes thar the student has a warkrn? knoulledge of ronal har-
mony and the diatonic system and is aware of cadences. cycles. turnarounds and tricone
srrbsricunon. If not. consuit rhc books listed at the end of this chapcer.
In addi~ionto chc techniques oripnal rc~&fie author, many were derived from an analysis of
the recordings of Gil Evans, the '.smndard'' harmonic approach of Herbie Hancoclc (parti-
cularly from the Miles Dal~isrecording Ah Fr~nnj~ Valcnhne), and from r h e merhods of t h e
many unknown arrangers of "eas!. l i s t c n ~ n ~music.
"
Airhaugh chc techniques can be applied ro established jam compositions, j: is recomrnendcd
that studenrs limir rhc firsr attempts to "standard" 11-V-I songs as they arc chc cornposinons
thar most h a w a need to be personalized
The ~echniquesgenerally fall i n ~ othe FoHowin~categotles:
A reworking oE
the chords
rhc harmonic sh?~hrn
the key, tempo and rhythmic style
the form
the melody
A. CHORDS
The chords $wen pamcular attention are chords that begin secrions, target chords. and the
chords of cadences, ~ c l e and
s rurnarclunds.
The chords can have:
chanyed modalin. (alteration)
changcd chord root (substitunon)
Kormally the rnodaliy of a chord is changed when the root is changed.
ALTERED CHORDS
.4 chord alteration is simply a change in rhe modalig of rhe original chord iiithout char.1~-
ing the origlnai rooc Usudly the new- modally maintains the Funcuondiq. OF che original,
bur it is nor a smcr require men^. I f chere is a number of notes nirhin a phrase of rhe origi-
nal melody, ny ro detect a nerrachord or modal fragment to assist in determination of the
new chord's modalit).. If there is one melody note for h e chord, using commonrone tech-
nique (see Chapter ZrII in 1:ol. 1) m i l l allow a wide vancy of possible alterations.
CHORD FUNCTION
T h e finchon of a chord refas to itr property of being ar rest or desiring resoludon. Chards
defined as non-dorninanshaw l i d e or no desire ro resolve, chords labeled dominant do have
a desire m resohe or are in association tvith chords rhar need co resolve (sec "Mornencum" in
\ b l . I). To maintain a funcuon similar to che original chord. select an alreration with a rcsulr-
ing rnodaliy wirhin one to maochords above or beiou, in rhe order of modal resolution.
Lydian $5
Lydian b7
Lvdian 12
Lvdian 45
Lydian b3
Ionian #5
Ionian b5
Ionian b6
Ionian b3
sus4 no 7
sus 2 no 3
maj 9 no 7
min 9 no 7
Mixolydian $2. $4
M~xolyd~an $2, $4
Mixolydian b6
Mixolydian Q2
Mixolydian 42,4
Mixolydian b?: 4
Phrysian h6, 84
Phygian b6,4
Phrvgian 6 . 6 6
P h ~ g i a nb3, b6
Laman ty6
Lomian 66
Loman bb5
Locrian b 4
Locrian p4
Alrered h6
Altered bb7
Almed bb6, bb7
Mixolydian sus4
Mixolydran no 4
Keep ir! mind that it is not really necessan KO sdecr a modality that has the same function
as the original, thar the overall style of :he reharmonization rrpill dicrare the mode choice.
(see t h e pamon on "sq4c")
COMMENTS:
A subsncu~echord will shoxl, a change in r h e root of r h e orignal chord: the chord's mod&-
vf is usually altered as well.
The substirure root can be:
a diatonic substitunon rvlrh diatonic chord spellmngs
a diatonic subsntution with chromatic chord spellings
a chromaric substitution
a "special case" subsnmtion based on the arpegpadon of a diminished seventh chord
from the original roor iirhich includes the chrclrnatically subsntuted minor third and the
tsitonc as well as h e diatonic substinrdon OF the M6 (b57).
A. DIATONIC SUBSTITUTIONS
These reharmonnanon techniques have been desi-wed to be applied to rhe diatonlc tonal
svscem. since mush of t h e harmonic material of the orieinal version mill shou-clear lliaronic
key centers.
A diatonic subsritucion refers ro a change of root char will be diatonrcdly rdaced to the
Jonran mode of the key center of a p a r u d a r secdon if n o t the endre composition.
As an example. if t h e chord being substituted i s an Fmaj7,9 and rhe key signature shows che
key of C, a possible substitute root could be selecred from any of the notes of che C Ionian
mode.
When the rnelod!, norc of the original chord is not diatonically related to t h e composition's
key, the chord speihng of the new7chord also w i l l be nondiatonic 10 the cornpos~rion'skey.
In this czse, the nerr chord will be selected from one of c l ~ egroup of aitered-diatonic modes
uhich h x both the melody note and one of its pitches in common.
Referrins 70 volume 1. the chords found in hech volumes art from the following sources:
unaltered parenr Ionian h3 $7 (Ionian)
altcrcd no 1 Ianian h3.46 {melodic minor) k7
altered no. 2 Ionian b3, b6 (hamonlc minor) 47
altered no. 3 Ionian 9,bG (harmonicmaim) $7
alrered no. 4 Ienian b3, :5,9 (melohc mrnor $ 5 ) LtT
CHAPTER 11: RE+IARHONIZP;TION
AS an cxarnple: lf the an+d melody nore i s .4b, and the arig~nalchord is D Locnan t 2 (half-
diminished).and the key o i t h e rune or secdon 1s in C major (Iontan), any ofthe altered &a-
tonic source scales and their modes &ar have &c pitches of C Ion~anand Ah in common mill
be workable s~b~ticurions.
There are quite a number of selections that will work
C harmonic major C I3 E$ F G (AE) B
C harmonic minor C D EL F G (Ab)B
f melodic minor C D Eb F G (AE)B
F harmonic minor C Db Eh F G (Ab)B
Bb Ionian C Db EL F G6 ( ~ b )Bb
Eb Ioman C D? Eb F G (Ab) Bb
A harmon~cminor C I3 E F (G#)A\ B
And so on...
As ~$11 be covered in more detail later, the harmonic s y l e and its bas rndod~crequire men^
will help determine which source scale ro select
As an example, some d~atonicsubsritunons for D Locrran 42 include:
G Phrygian 46, F Dorian if. E altered and C Mixolydian b6, having toots in common u l t h C
Ionian as well as an Ah in their chord spelIing, arc selectable substitutions for he original
D Locnan k2.
FROM Eb IONlAN
C lonian: C D E F G A B
Eb lonian: C D (Eb)F G (Ab)(Bb)
C Aeolian, F Dorian, and G P h n ~ s a nb6, haring room in common arirh C Ionian.as well as
the .4b melody now in their spclllngs. are workable subsdmrions.
C Lydian 85: D Mixolydim $4,E Mixol~dianb6, IS Phrygian h6, and of course A Dorian k7 are
subsrimcable.
COMMENTS:
by s y l e and function
.4s wivlrh previous examples, choice of modaliv wilI be determined
requirements. Note thar the diminished 7th chord s~mrncmcallydivides rhe ocmvc.
Example 2.5a:The Roots ofthe Diminished Seventh Chord from the 4th (Key of Bb)
C1
I I
rncone
COHHENTS:
Example 2 . 5 ~T:h e Roors oft h e Diminished Seventh Chord from the 5th Including Tri tone Substitution (see page 116 )
trirone
v - III bl I bv~l
COMMENTS:
C.STYLE
The first cansideration when startins a reharmonization project is co establish a svlistic
goal. The style of thc rehmanlzanon uill dectmine the choice of chord qualin and!or
function of dceianons and subsututions, the amounr of change in chr harmonic rhythm,
the serecnon ofkey, rhyrhmic concepc, fern and any other of t h e previously cited arsan9ng
conccprs. S ~ l ise most clearly defined by ~vhacreharmonhtion processes xcused at caden-
rial areas: cycles. cadences and mmarounds.
Generally speaking,these are five ba5ic styles:
1. Standard - as the composer intended, usually h m i n ~ :
(a) traditimal dorninanctnon-dorn~nantresoiurions
(b) symmetric harmonic rhythm
(c) similar modality and key "qualiq'
(d) limrted reharmonizadon - s~rnplem e d u n g
(e) limited chan2e in form
4. Pop/Diatonic:
(a) mrensive use of haronic subsricucions
(b) use of dominant sus4 chords at all cadenrial arm
(c)seiection ofbrighrer kcy censers
(d) relwed symmetric harmonic rhyrhrn
(e) use of diatonic sLash/chord consmction (see Table of Diatonic Substitutions, p.51)
{F) use ofrelaxed, 8th-note subdivided rhythms
5. Modal:
(a) u s e of reposejnansitioll harmonic rhythm
(b) extensive use of pedal point
(c) extensive use of the exonc modal chords
Id) use of nondiatonic slash chords
These general descriprions will be further illuscrated and explained in subsequent examples.
CHAPTER If: REHARMONIZATION
D. HARMONIC RHYTHM
This rer'ers to the speed of rhe occurrence of he original chord5 - where and hoir ofren
chords occur relative to [he pulse of the composition The harmonic rhythm of composi-
dons of the "standard" r~pcnoircbased on the song form usuaIly is doiv and qmmetrlc
The pal of h e reworking of the harmonic rhychrn is ro give l c a more dynamic q u a l i ~hv
offcriny 2 conrrasr of s10\1- and quick movement and by offering a contrasr of o~enncssand
denary In addinon, t h e resolu~onqualiq. of tadenrial areas can be cnhanced by rhe judi-
cious use of ~ncrcasedharmonic rhythm immediately prior to rheii- resolution. The speed of
the i i m o n i c rhythm is increased by rhe addidon of chords and is decreased by che delecion
of chords or by the use of pedal point Refer to chc concepts of Repsc and Tranrrbion given in
Irolume I of this book.
Mutarions of a compos~rion'sharmonic rhythm are found ar nvo area?:
C A E N T I A L AREAS
Cadenrid areas are sections of a mnal harmonic scheme which show an active movement
toward a resolution god. Cadenrial a r e s are comprised of cycles. turnarounds and cadenc-
related and move bj. four~hs
es. In addirion to having roor rnotrrments thar are &a~:anEcall?~
or fifths, their defin~tionis determined by rhe funmion and/or modalin. of the individual
chords. The harmonic marerial of cadential areas can be of additional use in rags and
endinss - alulaysa problem area for both the composer and performer.
7 . Cadences: Chords follouring rhc function formula of dominant t a non-dommmt. Thc
formula is that of the \'-I, R'-\r-l and the ubiqtumus 11-\7-I w i t h i t s implied rnodaliq of
Dor~an-MkolyCiian-Ionian.
2. Cycles: A group of chords havlng Ehe same function andjor modality. or shou5ng a syn-
metry of funcnon andjor modality
3. Turnarounds: A group OF chords of mixed function/modJig thar are organized ro
resolve LO a raryet starring point: usually ro the start of a section lf nor the bcgnning of
the composlnon.
N O N CADENTIAL AREAS
Those areas in a set of chords ~vhercthe harmonic rhythm is slo~vesr.usually by having only
one chord for a measure or nvo, or where chew is found a fen. passing chords thar havlc a
non-functional role.
REHARMONIZATION OF CADENTEAL A M A S
Mosr of the harmonic content of a mnal based ccompsidon i s made up ofcadencid forrnu-
las. In addition, mosr of this matenal is directly interchangeable uvrh alI compositions based
on that system. W;I& this in m i n d it is advantageous ro have a number ofvariations (rehar-
rnonizations) of cadenrial materials at r h e disposal of the jaw composer~improvisor.The
foUouing is a pardd hsuns of exampIes of cadential reharmonizarions with explanations of
the process. In addicion to chansed harmonic rhythm, the cechnlques used will include alrer-
ations. swbstirurions, and permutarions of the chree. By no{\. the smdent should be able to
recognize thar trimne substlcurion and some of the special case "7 subsdcurions are chro-
matic and only rhose which zse not ofthose groups wlIl be pointed out in the commenrs.
Note that in many cases rhe melody note o r notes may need ro be change6 ro conform to a
cadendal reharmonization. There is no harm in doing so and usually the end result is aesrhe-
rically liable.
A "target chord" is usually rhe fissr chard of2 section or of a phrase. l r usually IS identified
by ics being rhe release point of a rensronfrclease cadence or irs being the object of a - p u p
of chords in a modal refision contour.
1. CADENCES
T h e most bxlc cadence is the V-1 or the more defined n7-!,'-I. Takinz the IV-1'-I as a skclctal
starting point. the followins example i l l ~ l s r r a ~ some
es of h e above :wen techniques.
SUBSTITUTE CHORDS
Bb IV
1 v 1j I
I
/ / ; / / , / / ' / /
1 : Eb I t! BB
I
1 2 , c-7 n 'I sba
I I
i 3 Ao , Dalt I G-9 !
l4 Gb7 I Fi Bbd9 1
5 1 ~ b - Gb7 I C- n i BbA9 I
1 6 ) Db- Gh7 Ff- 87 1 BbA
I
-
8 c- n 1 F#- 87 13613
9 Eb-9 I ~7b9
I, I O ~ co
F7P9 i Bbd
-
I
I I
1111 Gb13 1 v
fr9 I BLA
COMMENTS:
y u t e rhe aimmished 7th chord outline of [he roots of the firsr chord ofthe first fotlr caclcnc-
es - t h ~ illusnates
s the use of that previously glven concept
The above Iiscing could be increased significantly as could the Following examples The SCU-
denr, having understood rhe concept shouid continue the process-
CHAPTER 14: REHARMON1ZP;TION
2. CYCLES
Cycles arc a form of rumaround; the skeleral form has roots motqng In a series of fifih with
chomls o E d the same modality. Thc reharmomzation process is purposely simple to man-
rain a cycle's modal defmition.
10 ! A/B B/E 1 DbiEb Eb,'Ah 1 GiA AfD I BjCC C!i3 F/G G!C ' A.'B B/E ,
I
11 D/E I Eb/E
I
1 c!" 1 DL/D j B~JC I B!C I
12
!
B/E Db/Eh A!O BICt 1 GIC A: I3
3. TURNAROUNDS
The selection of [he skeletal rurnaround depends on che carger stan5ng chord's roc^ place-
ment relar~veto the kg. of the section of the composldon. Most composi~ionsof the "sran-
dard" repertoire start on a 1chord, a 111 chord (diatonic substlrution o f t h e I), a \4 chord or
a I1 chord. Of course. rhwe is the possibility oFIinding a tune wich a chord's root smnng on
a nondiatonic now but upon closer investigation it udl likely br Found that it had been
reharmonized at some point before documentation. See che appendix. for a partial listing of
runes and heir starting chord roocs
Example 2.8~:
Reharmonization oFTurnamunds (From a 1 Chord to a I Target Chord)
C I i YI 1 II Iv I farpet)
I
/ I ; J / I/ J / I
A- i D- i
I G7
r
2 E-7 A-9 1 D-9 1 G13 CA9
h
15 IF-9 Bb13 ; E - 9 A13 IEb-9 Ab13 I D - 9 GI3 CA9
I
7
!
8-9 El3 j E-9 A13
I
I
I A-9 0 7 3 Ab-9 Dblf CA9
8 ' A-9 813 Bb-9 EL13 / EL-9 A13 1 Ah-9 Dbl3 C19
19 1 F-3 Bb7 A13 EL7 3 3 3 Dbi GI9
COMMENTS:
1 The b s ~ skeletal
c I-\'I-TI-\? turnaround.
2 Diaronic suhsnrurion of a In for the 1 chord - dl roo^ in 5&s-
3 Altered modality of No. 7 above in a blues/urbane svle.
4 Tri tone subsrimcion OF the 1II and Tl chords.
CHAPTER 11: REHARMONI~TION
5 Encrease of the harmonic rhy~11mofthe above IT the use of JI-Vs - this and rhc nmr ( 6 )
are in a bebop s ~ l e .
6 Tricanc s u b s t i t u t m ~of rhc U-17s of measures 2 and 4 above.
7 Use of 11-Vs and mitone substicudon.
8 A variation o f t h e previotrs example.
9 T h e F chord ha5 dominant fun&on to the Bb7 nitone substimr~onapproach chord to
rhc A13: h e rema~ningbars continue the process.
10 Another variation of 85 wich the use of 11-lls and nitone substirution.
11 One more varianon.
12 Slower harmonic rh?rhm in a modal syle: chromatic substtturions.
COMMENTS:
1 Stock turnaround, cargrc 111 chord approached by a n upper n e ~ ~ h b otriton?
r
subsrrmcion.
2 Arerarions in a bIuesiurbane style.
3 Increased harmonic rhyshrn by rhe addition of 11-17s.
4 Parallel II-\'s - Sehoppish in style.
SUETITUTE CHORDS
-
Example 2.8~:From a I Chord t o aTarget 11 Chord
COMMENTS n % L € 2 . 8 ~ ) :
4 Alrered modalin'.
5 Tritonr subsutut~onand dcerauon of the nI and 17 chords.
6 More substitutions and alterauons - ~ i n ~ s l b ~ u e s / p o p -
7 Another mriatton of %.
S Incrca5cd harmonic shyrhm by he use of H-\k, ~ h Gb7 c is an upper neighbor approach
chord to the target F minor.
9 .4 11-\1and altered version of 53.
10 U s e of peda1 point 10 slow t h e harmonic rhyrhm.
F-
I / VI I II
/ / I/ I / / / I
1 F-9 1 D0 GI3 I Calt
2 E F-9 Ab13 Galt 1 ~alr
3 :f-9 ! ,4673 Dbb Gb13
I I
14 F-9 I Datt ~042 I Calt
5 b 9 !~ b ~ 9 1~ h ~ 9 C7V9 4
6 F-9 1 Eb- Ah7 I Ab- Db7 Db- Gb7
7 F-9 1 AblBi I Bb13 I A9rur
8 i~ - 7 C-9
~ ~ CSS5 I Bb13sud
COMMENTS:
Turnarounds and cycles are of Eylrerne irnpomance for both che composer and che improvi-
sor: a thorough undersmding of their construction, voice-leading and funcoon is a top
priorit?. in the learning process. It has been sraced (by Kennp Werner) thar knowledge of.and
thc a5iliq. to improvise over turnarounds wil! assure rhc aspiring jazr arcisr " 3 ~ galarc."
s
SUBSTITUTE SYMMETRIC PATTERNS
The fewer tonal cenrers ~nvolvcd,h e less dense rhe harmonic rhythm and number of mca-
sures. and the more similar the new maceria1 udI be in funcdon to che origina1. Selecdon of
the octave division will depend on che number of measures so be reharmvnized and rhc
number of chord5 to be included In the skeled harmonic r h ~ h r nHaving
. es~ablishedthc
skeleral material, the next step is to add material to change h e h a m o n ~ crhythm, change
modalirjes, or to reharmonize as in previous examples to meer 2 sryle goal.
For a more comprehensive approach to creatrng symrnersic patterns, refer ro Chapter XXB,
p. 9s of Volume 1 of t6is book.
COMMENTS:
1 T h e skeletal turnaround with its two t o n a l genter5 and basic dominanc chords.
2 An increae of ha~monicrhythm by addrng the PT chords of the \?7s.
CHAPTER li. REtlARMONIZhTION
The three-par: division of the octave (augmented), The use of chis divis~onof r h e octave is
found in man), reharmonizations due ro its ex-tensiive use by, and subsequent influence of
John Coltrarre
COMMf NTS:
1 Key centers established by rhe skeletal partem.
2 Added 11-17 cadences.
Example 2 . 9 ~Augmented
: Downward
COMMENTS:
1 li? centers esrablished by the skeIetal panern.
2 Added Il-V cadences.
COMMENTS:
COMMENTS:
Thc four-part division (diminished) can get quite active wish che increase OF harmonic
rhyrhm.
-4s mentioned before, o m should be careful when working with spmmetr).. as i t can sound
conrrivial arrh over-use.
The above examples being skeletal could be f u d e r reharmonized by changed modally, cri-
rone subsrimtion, or b~ increasing rhe harmonic rhythm with the addition of more II-\k or
by slowing it dortm ixi-rrth the use of pedal poinr. or use of any OF rhe cechniqucs that were
ciemonsmced in previous examples.
CHANGING THE HARMONIC RHYTHM OF NON-
CADENTIAC AREAS
As stared earlier, ths i s the chanSing o'rhe harmonic rhythm by t h e addicion or ciclction of
chords i n he areas of a cnnd-based composition that are not defined as cadenrial. These
WEaS can be one or two measures of same chord or areas where there is p a r d e l chord
movement toward a target chord or secclon. Depending on she tempo of the camposition,
the technique for increasing rhe harmonic rh~.thrncan include the simple addition of a
chord irnrnediaceIy pnor to a target chord to rhc adding of as many as eight chords TO a
measure (in 4!4 time). &o of use is the addition of cycles and cadences. T h e slow~ngof the
harmonic rhythm is accornpIished by either deledng chords 01-by rhe use of pedal-point.
Arran~er/cornposerGil E n i - ~ sused &cse techniques txtensively, as a bit of listening LO (11s
works wilI reveal. The rh\.thm section team of Herb~eWancock and Ron Carter w h ~ l ewith
Miles Davis also used this rechnique eften when performing "smndards" alrhough to a les-
ser degree than Gil.
THE TECf-lNlOUfS:
Tne sirnpIest change in harmonic rh,ythm is to add a chord immed~atelyprim to a target
chord. These target-seekins chords are called approach chords.
Approach chords mn number more than one and are often used in groups of w o or three
depenhng on rhc temps of the compwition. Thc me of mow than chrce chords found pnor
to the target chord produces r h c perceived eff'ecr of being parallel "added chords."
In addirion, approach and added h e r d s usually are of rhe duration of a half note or less
dependunr upon tempo. The roar selecrion of rhe added chord(s) is detrrrnined by thc
melodic qudity of t h e bass lrne; the desire to adhere to the moddiry (&/diatonicism)of the
phrase or section or rhe desire ro use free-form chremadcism. If one chooses to Insen 2 #cIe
or cadence, rhc root rnovemenr. is predetermined a s skips of a fifth or fourth.
harnple 2.1 Oa: Added Harmonic Rhythm ("I'm Getting Sentimental Over You," ms. 7 -5)
I ~b ~ h ? 3~ 7 ~ ~ '
/.13 C-9 ski3 A-9 Dalr Galr Calt FI 3
:
4
CHRNGIMG THE HARMONIC .RHYTHM OF N O H - C A M m A L
WJith the above in mind, one could approach the taqer chord by eithcl- a half or whole step
above che t a F e t (upper neighbor). or a half or whole step below rhe carget {lowerneighbor).
The seiectlon of rhe approach chord's rnodaIiv depends on rhe need ro define chord h n c -
tion, mainmin a homogeneous modal contour or just to saris@ one's personal preference. In
mosr cases an approach chord's rnodaliv will be the same as h a t of h e r q e t chord.
For subsequent examples t h e term original will be used to refer to che chords that are pre-
sumed m be the composer's; rhe term stock will be used to mean the chords that are found
in "fake books" and common practice performances.
1 The original D6 and C7 made into a 11-V.tritone subscimcion of the DbG with a modd
alteran'un.
2 Two added approach chords of the s a m e modaliy just prior to t h e first urger chord
A-11: an added upper neighbor (tri~onesubsritudon)chord prior to rhe G half-dimin-
ished target chord
3 One more added chord. D Ahered, completing the y o u p of approach chords ro mea-
sure 2; the use of t h e D. G Altered, the add& upper neighbor DL13 and Gk13 put this
version in a '%lucsJurbane"styIe.
4 Starung ~ ~ the r diat-onic
h subsntunon of a C minor for the previous A o chord the
approach chords now have a new targer. The A67 acrs as an upper neizhbor t o the G7
in addirion to beins a tritone of the .4h chord of the previous version the 67 to Db13 is
an added cycle to the targct C-9; the Bb7 is an upper neighbor to rhe A-9 wirh rhe
remaining chords a d o m ~ n a ncycle
t cn the primav target F chord in a bop,'bIues syle.
5 The f i n d version is In a quasi-modal style with the alteration of the C-9 to a C9sus4 and
che addition of t h e B-11. Measures 3 and 4 show the use of parallel KT-Vs in a bebop
sr;vle. Note the otleralI diatonic relationship of the bass melodies of each version ro Eb
Ionian,the songs key. Also, the b a s melody moving in generally contrary motion &a-
maritally increases the wnsion until resolved by the targer c h o r d
Example 2.1 Ob: Spelled-Out Examples of Versions No. 4 and No. 5 of Exampbe 2.f 0.a
Original: D- G 6e I E7
COMMENTS:
'I & 2: Paralle! chords of rhe samc modally as rhe firsc in the bsrs rnelnd?' in c o n n a y
motion co the main melody. The B dr acts as a dominant chord to rhe target Bb-9.
3 & 4:The P4sus4 is a trirone subsrirudon of the Bo,-4th a change in m 0 d 2 h ~ .it also is
an upper nci~hbordominant chord ta rhe E9sns4 tatgec.
COMMENTS:
In Ex-a,inplt 2 1la (nexc page), notice chat the selected subscicurions for t h e original BA are
from t h e previously mentioned "special case" O 7 chord: 3-D-F-~b. The seIected subsnmces
are then put over rhc dominant Bb pedal poinr producing an increasin~tension that udl
ultimately be resolved when the Bh becomes an Eb. Part n is o f slower harmonic rhythm -
although rherr is no melodic movement in the bass part, the upper stru~auresdo aifec: the
overaU harmon~ctension,j'rhythm.
In Example 2.11E (I) the selected pedal poin: is thc ronic and has a lesser need for a bass
rntlo&c resolurion and rcnds to be sIishrly more relaxed than pan 11. Nodce that the oripi-
nal m d the substituted chords In the last measure are d~aronicallyin common with ~b
melodic minor (.Ab Dorian 7 ) .The chord in measure 2 of 11 is derived from harmonic myor
(Ionian h6j for those nor having stuclied Vol. 1 of rh'15 text.
Recore yoins an ro rhe final p u p of reharrnonizac~ontcchnzques, we ufiU look ac an
example which includes rVanomversions of 2 complete composluon thar utilizes a11 of the
methods d~scussedprciqnmly.
CHANGING THE HARMONIC RHYTHM OF NONC&D€NTIAL
barnple 2.17: Slowed Harmonic Rhythm, Excerpt from "Night and Day" by Cole Porter
(b) 0b Phtygian
Slowed h o n i r rbthm 6;1. the MP ofpedalpoinr (sce pg. 120 and pg. SO).
Example 2.1 2: Excerpt from "Dancing In The Dark" by Dien and Schwam
- - I
I
I
I
I
CI A
i
t I
!
,
I
urn - I
m m
-
I
r.
I
I
-
I
t
e
1 ,
-
I
1
CHbPTER H: REHARHONIZATION
''Autumn Leaves" is an apprnpnate first u;ampfe in rhat its harmomc consrrucrion includes
arensive use of cycles and turnarounds. Adhcionally, it i s a very popular harmon~cformu-
la among improvisors, composers and the Itstening pubric. There are many recorded vet-
sions of rhe tune; the most sophkticare$ 1s b!~M i l a Dattis. The harmonic materia1
seems to have ties to folk music: probably of South Wesrern European source. Refer ro rhe
"Theme From M.A.S.H." and "Europam (Gar0 Babieri) for orher songs based on rhe chords
of ".4ummn Leaves."
hample 2.73a: "Autumn Leaves," by Kosrna/Pr6vert (Reharmonizaion Table)
~b A sections
1
2 Modal D Phrygian % DAalian I % (F9sur I % E95115 %
1
3 Modal 1 Rh Z 5 G Dvrli Dalr 1 D~rvs [ Ealc Ebsus Dsur
I
1~ a l ? ~
1 C sections
1
1
Srock
pop
110
!
, EI~YI
I ~ o d a lEb9-
D7
D~III 1
1
G-
C~SWS.
C7
Eb9ws
iibl3"' I
D7
j Wsvs
AB Oalr
G-
(31"s
G-9
G-
Gait
x
I - i e comments for the above a d subsequenr examples will include only h e mosr saIienr as
by now rhe reader will have become quirt familiar ~ i c hthe techniques.
COMMENTS:
Bridge sedtons:
1. Version three provides an affective balance to 2 "busy" bop V M S ~ Dsuch
~ as version 3
above, ~ i r hrhe LL~Cof pedal point and modal chords.
2. Version 4 is of interest due to the use of chords from the unusual source, melodic minor
$5 (Dorian #5 k altered bG).
k m p l e 2.1 3b: "Aurumn Leaves" (Illustrating a Combination of Many af the Above Given Reharmonization techniques)
e-64
d - Dalt Ealr ~b9sus ,
6 C o p ~ l p h 1947
r by f no& & CIC., Par15
OCopgh~ 195P by Edwon Marbar GmbH, H a m b v fL.r
~ Deucschland
Ir 1s suggested to the pla).crs rex&g chis book thac for chis and other mulci-versioned rehar-
monizations rhat a pcrfo-ancc lndude a different version i n z each choms. As an example,
rhe author uses rhe f o l l o u ~ nFormat
~ when performing rhe mnc:
[PI11 vcrs~an2. I.U]version 3, [El version 3 andlo; version 4, [C] version 2 and/or ver-
sion 3
COM HENTS:
T H E BRIDGE
Bars 17-20:SpeIled-our a m p l e ofversion 3 & w e
Bars 21-24: Continuation of verslon 3 above.
C SECnON
Bars 25-28: Like version 5 from Exarnple 2.13a
Bars 29-32: Continuadon of version 5.
ARRANGING TECHNIQUES
In addidon 10 changng chc chords, harmonic rhythm and melody of a preexisnng corn-
pos~rionre meet our creative goals: a number of mechock can be applied chat faIl a i t h i n the
c a r c p n afatrang~ngrechniques.
Alllchough open to ciiscussion. man!* respond to rhe the sharp keys a s bclng bright-sounding
with rhe flat keys soundins dark. There may be some va1id1ty to this perception with
strinsed instruments but ir best EO make your own judgment by experimentation.
"Tessimra" denotes che genera1 placcm~ntof &e ranye of the song wirhln t h e grand sraff,
thrs has a clearer cffecc on the brighr to dark quality of a mne due to the laws of acoustics.
If rhe selected new key places rhc overall range of the mnc much lower or higher than it was,
i c affeccs how rhc fundamental of each chord is perceived which subsequently affects the
sonariq of each chord. (see VoI. 1appendix)
STYLE
Select a key chat enhances the stylistic qualiues of the reharmonization: a lighter, higher,
brighrer key for 2 pop style; a lower, darker key far thc Minps,/urbane s q l c . You will find
rhat the kej- choices thar work well for rhe Minguslurbanc are Bb, Db, Eb and Gb with C. D,
E, F, G and A for a lighter style.
If you are reharmonivng for a specific instrument, conslder chz sound charactenstics of chat
instrument by register and select t h e key char best satisfies char goal. Thar rhe I~eysof Bb and
Db tend to sound dark and warm on tcnor s a x may be a garrial explananon for the use of
chose kevs with the urlmne sryle.
-41OF the above being subjective, t h e best approach is again - cxpcrirnentarion. Play rhc
already reharmonized chords in various keys keeptng the styiistlc god in mind. If there is n o
s t r a n ~ s y d i s d goal,
c start b!' sclecnng 2 key thar 1s opposite in quallry from rhc reference key.
If rhe reference kes is dark a n d low as rn Bb minor, cry E or E$ minor. If the original key 1s
Eb or F major, r y A or I3 major. .& an example. thc aurhor. tired of playing "The Girl From
Impmema'' in F malor at as rhe usual medium paced bossa nova pur i t in B major ro be per-
formed very fkic in 2 swing scylc, the rcsdt was a renewed and excising sound. The new chord
voicin~stook on a refreshins brizh~nessdue to the change oftessimrz. pamcularl~.the A6!9
and sus4 chords. The bndge. now in C major also took on a nvholc new qualq.
CHAPTER II: REHARHONIZRTION
MODULATION
This Lerm denotes che &angins of the key of a section or aU of a cornposioon wichin its
arrangemenr. hdodulation can provide a dramatic effecr if the new k q ( s j are br~ghterand/or
h r ~ h e than
r the startlng key. It- is common to find a modulation up a whole KOnC oi a shird
for the last cnorus of an arrangement. s o t as common, bur recommended is the changing
of the key by section: r h firsr
~ key AAB. wit11 a hisher key last A. Or put the bridse (E)m a
dlfferenr key: first key AA, new key B,firsr key 4.There are so many possible variations of
t h e use of modulation you must again - experiment.
Thcse two are the Iasr irems to investigate ro complete t h e prqiect to a finished end-product.
Whacmer the form of the original source material (most ~ 3 bc1 sons form AABA), the
add~ngof cxtra sections uiIl allow the composer to exyrcss his/her mosr personal creac~ve
abilities as the neu-material will be most onginal to the composer. Consider adding w tbe
basic form an introduction: a coda, interim linking secaons within the arrangement and
rocally new unrelated secnons if desired The new sections can he based on r h e original
source material or completely new.
Timbre refers to instmmmc selection for he ultimate performance. Scoring, orchesrrauon
or instrumentauon should be ctmsidrreci in tandem wit11 style,tempo and key selections: all
combined rogrher coward an end-produc~.Orchestranon 1s beyond the scope of this hook
and ir 1s assumed thar t h e general reader has some background study in instrumenration. If
not consulr the recommended readings at the end of che chapter.
Ar this point, much informanon has been prescnred which can be applied LO the task of a
reharmonization projecr. Realize thar not all the techniques Nil1 be used at one nme but all
cenainly should be considered.
T h e last subject of ths chapcer is t h e reworking of the melody of the ori_@nalsource song.
Melodic dseration could include the simple tweaking of a few nnres to match a change in a
chord ro the composing of a whole nen- melody as in bebop compositions. Bur firsr wc tvJ1
Imk at a number of rehatmonization examples which uill include comments resarding
their most salient features.
I ARRANGING TfetlNlQu~s
~b l/ / / / ! I / / / / / / /I/ / / /
'7.
LUrbane ICvnrk I EL-9 ~ b 7 ' ~ 'I EL-9 Ab7 D~A Eb-9 I F9 EO
Urbane
Modal
-
1. Stock
I
IDb E-9 A7
IDA
E-7 A7 Db 6-6 IDA E-7 A7 1
2. Urbane at,a/c
- 1 8 9 ~ DbiA ligsur ~ ~ h t - y gm t A lirvr
l l .Stock IDA
4
r
12-Urbane
I
I DAj.4 &US F/G E/G;CAtG BtG F/G E!G ~ l 3 ~ 1 3 ~ 1 3 s v s ~ b ~
I
3. 1Modal / DA Asus Ahus Gws EIG ICb Bb-7 Ef.7 A ~ oBsus EA G7 C13 873 &95us
COMMENTS:
VERSION f ?: ( T O C K )
T h e reference set of chords and key for h i s tune u the generic "fake book" changes. T h e
original key is C but performers preFer DL which 1s great for tenor saxophone a well as
for the dark qualiry rhat rhe key implies.
The overall svle. showing the influence of Monk and M i n p s , is the urban? sryle. This 1s a
reharmonlzation by rhe author and is rhe harmonic basis of the composirion "Sou1 Bod"
Found later in the chapter among the cxamplcs ~Creharmonizations~ 1 1 tah nerv melody.
The amount ofnandiaconic subscic~tionrequires thar a new melody be included. Note rlic
degree ~Fchroma~icisrn m thr bass melody. Thc use of a tritonc substitution for the Bk7?5
in bars 7 and 2 wouid have made the bass melody zlmosr cornplerely chromatic. The pedal
poinr bridge ofirs a clear contrast co rhe bass melody of rhc A section boch rnclociicaljy and
w ~ r hits harmonic rhythm. The extmnve use of altered, 7#5 and 7t.9 chorcis is t y i c a l of the
blucs/urbane srylc.
CHAPTER 11: EHi%UHONIZATION
In cur dme, John Colrrane's version has extended use of a pedal pornr vamp in the A
secdms: rhe use of whole tone harmony at the turnarounds. (noce the augmented triadic
upper structures movmg in whole tones) and of course the use of the s y r n e r r i c
subscirution pattern in the bridge area O n she recording, there is an opening vamp figure
and an out-of-rcmpo reading of rhc find turnaround before going inro an in-rempo coda
(shown belo~vj.
Example 2.1 4b: Absus Vamp
Note h e oiltline of the ausrnented triad for the first three roocs.
3. ""--
-
i
Eo 1
I
Aalt C-9 (Db-9)
t
; F9sur B13sus
I
Bbf35u5
- 1B L ~ ' ~ 1 d,b9
?
f G E ~ E ~6; ~ 3 1 BA~ ~
Eb-6
&lfrur
l Z ( A ) l F 0b/F
! BIBbA-9G-9 F9
Eo
Em ~7~'
15bA 1
I
ED FVbS
I I 1 13bh i Em Aalr
I
; Dalr
-- -. -
I. Original x i Q - 7 ~ ~ [Db-6i1415 1 z
2. Generic EbA6 j D7" G-9 f 9 iE-71 / 4-13~~s
-
3. Miles % lEdl 1 SIJ'~/F I E-11 E A13svs
4. Merbie Gbb Gk-4 E-A 6 1 Bb61F I E-13 I A Phwian
I
I
1.Generic
I
~bllsur - / ~ l h u s Gh13sus / vP9 BLA A-9 G-11 F11 1
3. Miles 1 akus ALalr G P h Gal: Cat Fatt 1 Bh13 EL73 BLll F-11 ,
I
4.Herbie /~hl3rus Galt
COMMf NTS:
VERSION +I
The original chords as heard on the movie sound track. transposed to Bb for referentid pur-
poses. The original key is D major.
VERSION ?2:
A slight enhancement of rhe smck "fake book'- source changes, put more Into an open
modal style - important points are:
1. Use of rhe ll min;maj7 to V9sus4 in bar 3 to 4
1.Use oFuppcr n e i g h b ~approach
t chords In bars 4 and 7, and increased harmon~cs h ~ h m
by added chords in bars 11.20,24,31 and 32
3. An example of a rrirone subsriruted sus4 chord far a half-diminished in bar 29.
A generalized compilation of u+iac occurs on the Milcs Davis recording "My Funny
\?alentinc." There are so many variations by each chorus that he whole performance would
have to be represented ro be compiete. For instance, when the band goes into double h e
the harmonic material shifts into more of a bebop style 1~1ththe use of side-slipping 11-IJs
and less use of modal chords.
1. The use of approach sm4 chords and/or added chords - bars 4.7, 11.12 and 14
7. The use of bluesy altered chord cycles - bars 13, 16-7.29-32.
3. Use of modal chords (sus-4, Aeolian, Phrygian.) rn bars 4,s and 56-25.
4. In essence, t h e r~harrnonizauonshonrs the influence of Herhe Hancock,
VERSION #4:
This is Herbie Wancock's solo and c1earEy reveals the deprh of his harmonic sophissicanon
due ro hts musical education as it has oven ties to classical rnu~icas well as jau.
1. Extensiv~use of modal chords - the use of a an diminished chord alrered m s o m d
modal in bar 13 and 23; Aeolian chords in bars 14. 15, 19 and 20;P h ~ g i a nin bars 19.
20 and 26, sus4s in 17. 18,21, a Lydian augmented in bar ?? and a Lydian C2 in bar 31.
2.Suli some reference to thc bIues In bars I1 and 12: and 30.
3. Use of pedal point in bars 17 to 21.
The remainder of the solo,going into doublc time, changes harmonic sryIe with qwallties of
both bluesJurbane m d bebop. It is suggesred the interested student study rhe transcrip~ion
as found in the book Herbfa Hancock CIassic Compontinn~fr Piano Solo: by BiIl Dobbins.
Advance Music.
REWORKING THE MELODY
Having: complered rhe reworking of the harmonic material and any changes and additions
regardtins key: form, rempo and meter, it is time to consider the mearment of ~ h melodic
e
marerial. Of course, it is assumed thac some melodic s o d u7asestablished when the project
was first initiated. Depending on the projecr goal, the chanses sa the original melody could
include basic tweaking chores, parrial neu7melodic material or a complete new melody
havlng a variable degree of reference ro the orisnal.
Basic meaking includes:
1. A reali~nmentof rhe melody to conform to any shifu in che harmonic rhyrhm.
2. T h e changing ofa feu1 pitches to match any chord substitutions or alresarions.
3. Changing the melody to conform ro a s y l e change. For example, changing what was
originally an 8th note subd~rrldedbossa nova into a swing mne ~ o u l rtrqrnte
d the use of
spcopanon and trlpler: subdidsion.
4. Partial deletion of the melody. Deledon of some sections of h e melody is a common
pracuce particularly where chere is ex-rensiveuse of substituted syrnrnerric patterns. The
bridge to Coltrane's "Body and S o d " is a q.pical example.
5. Parcia1 new melodic marerid. Mosr commonly found is the addition of nmv meIadic
material in a Fmr. phrases or sections. This partial melodic restructuring maintains a
close alliance with the orignal version while demonstranng the melody a~rinngskills of
the reharmomzing composer. This melodic treatment 1s typical of the hardbop style
6. Complete new melody. FlnalIy, there are reharmonizations that have completely new
melodies w i t h their only ries ro rrhe orisnil being the skelcral harmonic reference. There
is variarian in the degree of departure from t h e original as well. with r h c mosc extreme
havlng no ~dendfiablereference to h e original except 111th the harmonic structure of
the "blowing" changes. Any further deparmre would put the final product beyond t h e
defini~ivelimits of a reharmonlzarion project
TWEAKING T H E MELODY
Example 2.16a: "Body and Soul" (ms. 5-8]]ohn Coltrane's Version
Example 2.1 6b: "Without a Song" (ms.I -7) Joe Henderson's Version
2.7 6c: "Nighr and Day" (rns. 7 -8) Jerry Bergonzi's Version
CHAPTER I I: E1-1ARHObllZATION
NEW TITLES
Dalt
MELODIC FEATURES
Eased on the show tune "Dancing In The Dark," rhe melody is partidly renrntten with alter-
nating sections of nm. meIody and very slighrly altered original melody In addrnon, the new
rnel~d!-falls in the rnwhere the rehamoniza~iionshouvs the most d e p a m r e from the ori-
ginal.
The sections of new melody are typical of the melodies of t h e hardbop style of reharmon-
ization melodies: dramaric skips. rhythmic rnorifs, tension inducing c ~ d e n c e sand covert
bebop ornamentation. Note rhe usr of chrornaricism where ornamentanon is used
Harmonic fearures include: (see Ex.2.11, p 69)
Use of pedal poinr {sion. harmonic r h ~ h mms.
) 143, 17-24 lnrhrch enhances the conaasc
of the fast harmonic rhythm of the swing sections - ms. 9-16, 75-33.This is typ~cdof
the hardbop style.
More of a bebop syle ofreharmonization at the swing sections-
* Subsritution of the final target I chord wirh a b11 - E Lydian.
MELODIC FEATURES
This example has a complcrely new melody in a diatonic. relax-ed and I + d sylr. Based on
rhe Jazz smdard "Giant Sreps" by John Colcrane: rhe cornpes~GonIS che result of rhe
author's need t o provide an cxamp]e of the use efmtcnsive draronic subsriruDons for t h e
jazz composition class at the Universi~of Mi-i The resuIring reharmonization sounded
SO good: the process was completed by ~ h inclusion
c of a nmpmelody. The lenphened har-
monic rhythm allowed the creation o f a more &xed and lyrical melody as compared t~ the
o r i ~ n a which
l is essentially a chordal-outline qmmetric pacrem as found in Slonirnsky's
Thesmtnts ofSca1es and Melodic Prsmmr. The most salient feature of dlis melody which is a
rcsulc of h e diatonic q u a l i ~of chc reharmonization is the extensive u s e oFtriadic motifs.
Tnad: Cb Bh Eb G ID G Cb D G GP- FP B- C- Rb Eb
Measure:2 5 6 7 9 10 14 21 22 2 3 24 25 27 79 30
REHARMONIZATION FEATURES
The prominenr technique used is diatonic substitution There is a shorn area of pedaI point,
but rnosdy rhe reharmonization follows rhe s\mrnecrical harmonic rhythm of the ori$nal.
T h e bigpest direrence is in che doubling of the harmonic rhythm u h c h allows 50th a more
Iyrical mcIody and an easier timwf-it during improvisation.Of note is a series ofreharrnon-
ized 11-V-1s based on diaronic subsricurions where [he II is repIaced bp a V9sus4. the 1' by a
I\? minor/major 7 , and the 1 by a n3 minor or a XLI atrered (ms. 45,8-9, 10-1l and 14-15).
Both the nn$nal and the new version's cadential areas move toward target roots based on
an augmented triad The irnporranr point is not co depart too much from the original's
srrong target cadential a r m ; it is t h e means ofkceping the harmonic intenr of rhe ori$nal.
New: EV- 9
L J I I
c 73 1~ 5 36
A I 3sus ~b7sus ~b33sus A~-* G-9 C-9 D;- s ~1.13
REWORKlNG Tft-E MELODY
Q bv MRC-MUSIC INC.
Fur Deutschland, GUS und osteumpa~scheLander CHAPELF & CO CMBH. Hamburg
ME MELODY
This melody, like "Soul Bod's.' has a qualinn h a t dcfines it as an obligarn melod!. or perhaps
a bass Iine. T h e melody o f "Soul B o d was in fzcc writrcn to be a rener saxo?hone councer-
melody in a nvo horn arrangement. One can speculare that the melody to "Termini's
Corner" possibly has irs geneas in a slmi'lar manner. Whatever t h e composer's motifs, the
melody has licrlc resemblance to the original which is "On Green Dolphin S t r e c ~ "Norice
that the last tlvo bars outline a turnaround t o rhe key of Bb.
RWDRKtNG THE MELODY
PIAN 0 ARRANGEMENTS
A recommended reharmonization project to underrake is that of an arrangemen? for solo
piano. Ir has che added merit of being a condensed score ro be used for possible expansion
by orchestration.
CONCLUSION OF CHAPTER II
Much information has been presented on the previous pages, hopefully nos so much as to
be overbearing or roo lirtlc ro be unclear. Bear in mind thar not all the techniques xiiU be
uscd in any one project and that h e r e should be same perceived reference to original
song by the astute hsrener. The following suggestions wlll help to accomplish h c desired
result.
Have a sylistic goal in mind beforc starting the project. Somerimes you may change
sryles within rhe projecr by section.
Having esrablished a srylisric goal, select a key and tessitusa thar is appropria~efor &c
syle selection.
Reharmonize the mmarounds and cadences.
Add only a few chords prior to targer chords at firsr. Extenstve playing of r h e project at
h i s point will help determine how many more chords can!should be added.
Try to keep the original cadence points and chord funcrion at thaw points. Keep the
reharrnonizadon simple at these areas.
Don't overlook r h e srrengths of modulation and added sections.
* If keeping rhe original melody, don't be airaid to make slighr djusrments KO match any
change in chords.
Don't let rhe project become roo absrracr - get too removed from h e oripnd. The
zrcsrheric problems chat have been revealed in a number of studenc teharmonizat~on
efforts have been zraced to the use of too many techniques and nor: follow~ngrhe caden-
rid and modal contour of the original. So e a r t h e project and keep ir simple.
Man). of rhe songs that have become parc of d ~ jazz e repertoire were inn-oduced .to the
lisrening public by vocalists. I t h a been writcen that much of the Miles Daiis repermire
came from rhe Frank Sinarra song book. It is recommended that those seeking ''goodsonzs
ro add ta their Eist listen to che recordings of Frank Sinarra and Tony Bennecr, an added
benefit is that the arrangements are of the highest qualiq. including h e reharmon~za~ons.
CHAPTER II: REHARMONIZATtON
...-. ..
SUGGESTED fXERCISES /
I. List at least rwenqr tunes by heir starring chords: I major, I minor, II minor, 11 domi-
nant, IrI minor and so forth.
2. Referring t o the tables of reharmonized cadences, c~clesand turnarounds, conrlnue by
adding ar least 10 marc exampies to the table of rurnamunds, a J co a 1 and a I to a 11.
REHARMONIZATION PROJECTS
Listen to the J e r y Bergonzi version of "just Fnendsn from t h e CD Standard GORZ- what
Coltrane rune provided rhe model for rhis reharmonization? Lisc she sirnilariuer
A. RECORDINGS
Alone Together Clare fischer Advance 9709003
Setting The Standard D+ve Liebman RED 235
Standard Conz Jerry Sergonzi BN 935
My Funny Valentine Mries Davis CK 48821
Quiet Nights Miles Davis/Gil Evans COL
Miles Ahead MileslGi! Evans CK 53225
Coltrane's Sound john Coltrane A n 1419
Portwits From The Pasr Frank Sinacra BRM 101
Jan Tony Bennea CBS 40424
Balhds john Coltrane GRP 156
Standards L~ve Keith Jarrett ECM 731 7
Danang In The Ddrk Fred Hersch ChesjD90
Domino Roland K~rk MG 20748
Ctnema LeCrand MicheI Legrand MGM 4491
Something Tony Bennett COU0260
The Kicker Joe Henderson OJC 465
8. READINGS
PENTATONIC COMPOSITIONS
This catego7 is quite extensive and includes all rhe composidons thar a r e norrndly &ought
of when referring co a pentatonic composition. They ~ n c l u d cman). runes that arc found on
the Blue Note label of the 60s era, many pop runes, and many mnes that are associated with
john Colmane and McCoy Tyner.
T h e main distinction berween these compositions and the prwiously lisred i s rhat the has-
mon~zacionis usually quite simple or "common pramice," and the pentatonic source scales
are usually chat of the unaltered diatonic p u p : the simple minor penmronic or sornerimcs
the major pentaromc.
Rcpresentacivc comp~sitionsinclude:
"Scarch For che New Land," by Lee Morgan. Search For The A-CUJ
Ldnd
"Pursuance," by john Coltrane. A h u e Srtpremc
" S m l m ' s Place.'' by McCoy Tyner: Exp~msions
To meet the goals of &is chapter. hat of creaung a work char h a a balanced conmast
benveen chc p u r i y and sirnpliciq of a folk-modeled rnelod!. wirh the arc qualiry descnprron
of advanced modal harmony, the two composers nrhosc recorded works deserve ~ n v e s r i p -
tion are Josef Laivinul and W'a!*ne Shorter - pardcularly with their contributions ro the
Chapter I l l
8 Palindrome
9 S/R Formula
10 Linear Pentatonic
PENTITONIC COMPOStTlONS
Repon: Joe,
~ O U ~7.r:eacher
F ~ folk-based
in parncular and at present time shows an a f i n i for
and "world music,"and should be a first choice For scud!..
this point in the chapcer, h e reader should revim~rhe concepts of the placement of music
in general, and melodies in partjcdw, within the folk/arr specrmrn. (see p. 1 I). h addition.
the reader should have completed the special assignment found on page 40.
PENTATONIC MELODIES
Definition:
As the name implies, a pentatonic scale is a youping of five different pitches within an
c a m e : a 5-note scale fraDmenr.Because there are missing pi~ches,modaliy is obscure or
implied or more than one parent rnodaliq is represented.
There are some melodies char drhough based on a pcnratonic source, wiZl he seen to have
added pirches at key cadenrial polnrs. They wil1 be referred to as adaed-note penraconics in
subsequent examples.
Pentatonic source scales and subsequentI!; a cornpasicion's description, f a t into trw groups
- those based on an unaltered source pentatonic and rhese based on an under-used altered
pencaconic. I t is recommended that an emphasis be placed on a considerarion ofusing one
of rhe altered pentatonics for arraining a deslred "fresh" sound Most we11 known pentatonic
cornposinons are based on the common-practice minor pentatonic, as the examples given
Iater mill reveal. An unaltered pentaronic source ulill be referred to as a common-pracnce
source scale.
Trichord (tritonic, seep. 73): pure, primeval, natural and singable, 2 trichord is a
three-note scale fragment and i s che simplest o f melodic shapes; it is the basic
melodic structure o i c h e pentatonic scale.
If rhe reader wew ro construcr a simple two srringed lute-like instrument our of a box and
spare ~vood,i hen by plucking an open string and chen smpping rhe srring ~ i t one h finger
then plucking the suing again followed by plucking t h e next open suing, che result would
bc a rrlchord This event, were lr to have happened in early hisror;v, sugggests r h e process for
the advenr and woluuon of scales. Noricc &at many michords are the h e a r represenrarian
of srrucmrcs. the sus2, sus4,Phygian. and more. We u<lI rerurn co this when covenng har-
monization tcchniq ues.
The EoIlorving is a lisnng of dl the trichords thar when combined will produce a set of
usable pentatonic scales.
The table below is organized by interra! formula. it could be reorsanized by order of increas-
brighmess LO darkness ~FdeslrcdT h e checked ($1 items are ajchords rhar are sbrrtchre_r.
- PENTATONIC COMPOSITIONS
1 ) 3 semicones ( r r 1 3 ~ )
3 ) 5 semirones (P4)
A
5) 7 semitones (P5) I
The creation of penmtonics b!* rhe combination merhod requires hat there be five different
p~cches,and including the connector pitch, the sum of the l n t ~ r ~ d
equal
s twelve. The pro-
cess is ra place a rrichord going upward on the conic picch and a michord going downward
from the p~rchrhat is Found an octave above the tonic pitch. T h e connenor interval is found
bemreen the two. Care must be taken thar the sum of the two selected trichords does not
exceed eleven; there needs ro be room for at Jeasta single semitone "connector" pitch.
Kote. A complete lisnng orall usable mod- and pcnraconic =ales ts found m rhe appendix on p a p 112 These
Itsrings werc c r e k by 2 compure: propam - rhe C progrmrnxng lang~ta~c l r s u n ~8s lncIuded on page 134 as
rvell for tihe inrerested computer-literatema&.
DELETED NOTE
Example 3.4a: Source Symrnevic Scale - Dominant Dimin~shed
used by M a u r i c e Raw!
n
Deleted: 3 2 6
It may be rhar &ere is only one usable penratonic whlch Is found in this carego?.: perhaps
the asturc reader may find more. The one Iissed is also a palindrome. Of course, if we were
allmved to break the bounds of the octave, the Iisc would ~ncreasesignificantly.
PALINDROMES
Thesr are symmetric patcerns in which the paaern i s a mlrror imase from the center pitch
to both the left and righr outer Iirnia. Or it 1s a pattern thar -111 read the same from left ro
right, ar from right ro left
-
PEN'GAToNICCOMWSTTIONS
Trichord ( c ) Trichord
Note that like the previous examples of construcdon by che cornbina~onmerhad, h e tones
and semicones add up ro 13.
Example 3.5: Palindromes (listed in the same order as in the above cable)
By having coven: symmetry, palindromes offer an organizational model rhar can create an
interesting and musical result - they should be considered when organizing any or dl rhe
elements of muslc: harmonic rhythm or made selection, counrcrpoint, and form. as well as
scale creation.
This process actually duplicates the previous two but differs by its goal and procedure. One
of h e amibutes of a pentatonic melody is irs clarity of contour.The idea hcre is to visually
draw-out a contour, or shape and manipulate the pitches to conform ro i t This is another
example of working \vt.j& rhe concept of balancG it is also a technique that is inm~tiveand
requires chat the composer be confident in decision-makingabifines.
h o k i n g at the sf~upeoFa pentatonic scale created by one of the previously given techniques
is a recommended ediring act-ivq.The cornour of a created penra~onicscale should not be
so aqyrnrnctric or jagged thar ir loses irs folk-like simplic~y.More w i11 be said about this
larer
Another form of shape-baqcd scale cons~uctianprocess i s to take the unaltered major
pentatonic, and add a number ~f sharps andjar flats co create a dts~redshape.
Note rhat the three means of creating pentaromcs overlap - each merhod creares pentz-
tonlcs ~ h w c a n be created by thc osher. Mrer creating a number of pentatonlcs with the
merhods g l ~ mon these pages, turn to the lfsnng in the append= 10 vverifi chat the creared
scales are indeed listed there - all usable penraconlc scales should be included.
CHAPTER Ilt: PENTATON'ltS
Major Pentatonic: C D EG A C
SlmpIy. che major scale \vivhout the tritone ~ n t e ~ a(lFs and B).
Minor Pentatonic: C Eb F G B b C
A transposition of a major -pentatonic - not TO he confused with t h e following minor
pentatonic.
Dorian Pentatonic: C D EL G A C
T h ~ sis deiived b r n the Dorian b7 (melodic minor) mode. Note that a rntone ( ~ and
b
A) is still presenr - the deleted trlronc 1s F and B. The Eb and A are defining pitches
of a Dorian rnoddiry!.;the A being the 46. T h ~ sis often called the minor pentatonic -
but for compositional purposes, wc will refer to this one as che Donan penraronic,
and h e previocs one as the minor penratonic.
Blues Pentatonic: C Eb F Gb Bb C
This pentatonic is derived from the Eb melodic minor scale. the b5 gives it a biucs-like
sound, it also has many p~tchesrhar belong to a Ca (Locrian h2) chord, he 6th mode
oSEb melod~cminor.
MELODIC ORGANIZATION
Kwp in mind rhar the main goal of penratonic melodies is ro mainrain the puriry and sim-
pliclq that is the endearing charactenstic offolk m u s i c The best way to meec thar goal 1s to
organize your melody based o n pai-ticulariy effective mtant folk melodies.
This is onc of the rfzions behind the suggesred assignment found in Chaprer I on page 40.
The m m t irnportan~means of organizarion is morific and phrase buhnce.
Having compIered a srudy o f folk musical examples it uill be found in mosr cases that rhe
balancing of phrases and motifs is clear and symmcnlc. Ar rhe rnocific level, of rmporrance
to us is the bdancing of an opening rtistcmrnfwith a complimcnmry response- We will refer to
rhis as an SIR f o r m d a Within and wirhour this rext, this melodic device d l also be refer-
red to as &I and response and statement and answer. Thc imporcant concepr is h a t many
of the more accessible folk melodies have the same or similar combinations o f S/R relacion-
ships. One of the mosr used is: S/R!R - a statement, a response, and a repeat o f the same
response.
Phrase organizanon is the same bur on a larger scale: longer ir! lengh by measures rather
&an by pitches. Mosr phrase organization follows a simple anrccedent ro consequence for-
mula, which is a larger version o f a statement and response. The poinc i s to strive for clarity
and acccssibiliq' ro assure thar the aesrheric go& of penraronic melody creation are to be
mee.
Another poinc EO consider is how the directional conrour (shape) o f rnotific material affects
the desrrcd percrpuon of simpliciv. I r is suggmted thar for either the statemenr or the
answer pornon of the motif, char he basic tritonic structure be clearly presented. In ocher
wo& - do nor change direction within a morific shape until the tichord is defined.
There are a few meEodies in which that is not che a<@ - they are grear rndodies, but are less
simple and folk-like. A short Iisting of tunes in which t h e tricon~crs nor dearly ptts~nted
include; (1) "Ponre Areia," and (2) " B o o ~ i eWaogie \XTaltz."These compositions will be
induded in the analyses Found later in rhc chapter.
Another means of phrase or motific organizat~on- dthough a bit esoteric - is to follexv the
spoken rhythms a<sugzesred by the poetic memc forms: rambic. trochaic. anapesric and
ochers.
And l a d y , as presemcd in rhe chapter on rnclod!. wrrung. a bzlance in melodic r'hvthm is
hi& recommended - conrractmg a slow statement \rich a fasc answer. or h e converse. a
sloix- ssatemenr responded with a fas: ansrver is musicdly effecrive.
The tlolloaing examples u~illdemonscrace rhe o r p o i z a n o n of WQ altered source scales w r h
rhc nlell-used Sl/R1/R1 forma=.In addicion. mainrainins a clear exposit-ion of the rntonlc
and a balance of dircccional contour and melodic rhythm ~ l l be l shown.
Example 3 . 6 ~
Altered Na. 1, No. 93
F Melodic Minor
Bb Melodic Mmor
I 61 -
1 4
2 2 3
Additional examples of rhe use of rhe previousl~given wchniques 11411 be poinred our later
when a number of penratonic compositions will be analyzed
FORM AND STYLE
The only defining factor chat musr be me: w ~ t ha pcnraconrc composidon is chat the melo-
dy be, and clearly show the atuiburcs of a pentatonic source scale. Other than that. any har-
monlc, rhyhrnic and formal presentation is possible. Considering the precepts of bulunce,
conrrasrs of harmonic, rhythmic and orhcr musical elements are recommended
There are penmtonic cornposiu*onsthat are based on only one source scale and one chord
to compositions chat have w o or more source scales wirh as Fen WO melody pitches per
chord. h adhdon, the composidon can be of any svle category ECM,hardbop. srving, A h -
Latin, rockjpop - you name it?
T h e following is a brief description of some of the groups:
Homogeneous: Tfic EntlX composinon IS in one sfle - harmonic, rhythmic, or any of
the descrip~onsof pop, hardbop and the others.
Mixed: The most inreresting, one finds combinations of h d n scctions and snrng.
Contrasung hannon~zarions,or any Contrast one can imagine. Often, a general style
goal rvilI diccate the combination. As an a m p l e , many hardbop pencatonlr runes N ~ I I
s m with an Afro-Latin syle and contrast that with a suing, U-1' type brid~e.
MELODIC DESCRIPTIONS
1. Linear penmronlc refers to there being one source scaIe for the encire section or the
entire cornpos~tion
2. Plateau pentatonic refers t o there being different source scales found in s)mmcmc
organizarion regarding measures - usually one scale per nvo or four measure division.
In rnosr: cases, the change in key center rather than a change in source scale.
There is no description for melodrc verrical pentatonic since c h a n g i n ~the melodic source at
too fast a pace would negate the premise and goals of the projecc.
LINEAR MODAL
When rhere is one source scale for h e ensire composi~unor snctian, she key center of a
seIened chord could be etrhcr diatonic to the pentatonic parent source or non-d~atonic,and
due to thetr missing pitches, pentaronic scales can have more rhan one parent source. Usinp
the ubiqui~ousand simple F minor pentaronic as an example, the following is a parrial
lisnng of parental source modes or chords.
Diatonic Roo&
S t a r t b!. sclectin~room that have the same pisches as the source pen~atonic.Comparing all
pitches of the scale with each root pirch. che accumulated intervals define 2 set of color
tones. O+ he most definitive are listed.
T h e Pentatonic: F Ab Bb C Eb F
Roots Color Tones Modes/Chords
F b3, 4. b7 min I 1, Dorian, Aeolian, Phry$an
Ab 6 , 9,3 A6:9, mix SUS, AF4, A85
FORM AND STYLE
There are a number of roo= &at although noe diaronic to the source penmtonic, are diato-
nic by chord implication o r b being a member of a set of modes rhat are uansposidons of
one of the diatonically relared modes!cho&.
As an example, if the root is Ab (see above). one of h e modes is Ab Mixolydian, which is the
fifth mode of Db loniam - so: any of rhe modes (ranspositions) of Db IonIan will be diato-
nically related to the source F minor pentatonic and be avaiIable to harmonize any of t h e
five s o m e penmtonic. Usable examples include: DbA6/'9, Gbb6:/9,and Ab 9sus4.
As has been seen in pretlous chapters, the acanon of a smnng roar melody helps to narrow
down the selection process a bit. The common pracricc rootjchord selccnon for F miner
penracatonic weuId indude: F-11, DbAGj9. Ebb619 and Bb Mixo sus, with D drered and Ab
Mixolydian sus having a s e c o n d a ~usage.
F Minor Pcnraronic
To redlze the musical value of this example, have someone sing or play the scale while you
pIay the given chords - you may "hear" a tune in r h e works
PLATEAU MODAL
Tfiis refers tn the harmonrzatinn proceks in which there is a new chord for every nvo or three
melody notes - depending on thc tempo of the performance Because there arc feiver melody
pitches ro harrnon~ze,there can be many chords that are non-diatonic m rhe source penra-
ronic. Because of t h e i m p o m c e of the rnconic shape in penmconic melod~es,mosc chard
changes cakc piacc ar 2 threc pitch grouping. And as long as the trimnic 1s present In the
melody, m T O pitch chord changes are quire affective, and actually tend to create a dearer
. harmonization process is the same as previously @en, but with more
cadential q u a l i ~The
importance assigned to the rneIodic q u a l i ~of rhc root-melady. And because h e r e are fewer
pitches to find chat are in common with the melodic f r a p e n t , there ulill be many more
chord spellings thar arc accessible for selection.
To lisc all possible chords thatwiIl "tvork for a three pirch fragment, iris s ~ ~ g z e x eshar
d you
segmenr r h e pentaronic source into three-pirch scrumres. These are the strucrures chat were
inrroduced in VoI. I and wcre referred co as ~ppermschrw( s e ~Vo!. I).Having rhe s r m ~ t u r e s
listed. comparing each with all roors of t h e chromatic scale will reveal all possible
modes/chords available for selection. The process is the same for two-pirch melody frag-
rnenrs, with rhe resul~ngIisc being much larger, making the musical choicm thar much
more d~fficult.To restare, the rnelod~cq u a l i of
~ rhe root selections will focus the resulrs.
F Minor Pentatonic
t.' I
C. I
b. e.
Occasionally, one may want to have a new chord for every different pirch ofh e melody -
usually to klcsease tension Just pnot to a cadence - this chord selecrion process is most
dependent on 2 stfeng reat rnelod!-. Note the use of c o n r r q morion and rounnerpoinr ~0
h e melody in the following bass melodies.
CHaPTER Ill: FENTATONICS
The foIlo\rxing guide is meanr to assist in organizing the harmonization procedure, also refer
to the harmonization process inrrodnced on page 44. There are additional examples of
single pirch hamonizarion in rhc appen dk.
HARMONlZAf!ON PROCEDURE
I. Identif?.:
(a) The parent source modalir). and chords of rhe penratonic meIod!r.
(b) T h e implied and seconday diatonic chords and modes.
(c) The tricherds, structures and "glps" found in the melody.
5 . Tweak:
Flay through the project, noting an!. chord selecdon. bass melody or harmonic rhythm
hat orends your musical mires. adjust and again.
Note: There is a hanmonizauon example Found in the appenk: as we11 as In chc follorving
composi cional analyses.
COMPOSITION EXAMPLES
T h c cornmen- for che following wiU refer to the melodic source, monfic and phrase oryani-
zation, and harmonization. Only salienr and pe~iinentpoints will be made, aliouring the
inceresced reader to delve deeper if desired.
EXTANT HELODIES
h m p t e 3.72a: "Oriental Folk Sang" (TradirionaI, Reharmonized by Wayne Shorter)
source scale
COMMENTS
Melody
Based on a Chinese folk meIody, rhe source scale is a common-pracdce G minor penta-
conic.
Mosr significant i s rhe SJR organizadon - S(s-r)/R/R, the often-found and accessible
S/K formula.
* T h e motif is well balanced uith the opening statement (s) In an ~ p ~ l l rdirecdon,
d re-
leased by che reversal of drrecsion with &e response (r). The larser SIR is balanced by a
contrast of fast melo&c rhyrhm OFthe sratemenr (S),and slow melodic rhythm of the
nvo responses {R).Of ~rnporcanceis the clear audine ofthe trironic (sus2)shapes found
In ms. 1 , 3 , 5 , and 7.
Harmony
Without referring to a rnode/chord hsting. it is clear rhac mast of thc chords are &a-
tonically related to the G minor sourcc scde - or I= csransposition - a l3b major penta-
ronic
The harmonic rhythm is mostly s!mmerric, with a harmonization by nvo melody
pitches. except where an increase of tension is desired far cadenrial definition.
T h e Ab13 is a mtone subsrimred domlnanr chord t o the G minor tonic, w7lch the .47
being an upper netghbor dominant ro the ~b chord.
CHAPTER Ilt: PENlXToNtCS
Orher points
As alilrvays. ITTaynechooses t o reharmonize by sccrian, adding a Few new chords to the
scmnd part. thereby e n I q i n g the form beyond a mere repetition.
-
The orchesaarion of this and all tunes found on the recording is veql asristlc and
thoughtful - make now OF how the two horns relate regarding unison, inrcnlal and
ocmvc assignments.
source-scale
This beautiful melody i s from an American lndian source:the Pascua Yaqui rribe ofArizona
- descendants ofthe ancienc Toltecs OEMPXICO. This melody is found as a main theme in &c
"India Symphony" by Carlos Ch5vez. The example is kom the Keith Jarrett CD Tr-emare
IsIcznd.
COMMEWS
Melody
.The source scdc: major pentaronic with a passing add-pitch (dq.
* T h e SJR is symmetrically organized
=Clearrrichord shapes arc found in ms.2 and 4.
Harmonization
*Simple diatonic harmony is most affectively u s e d
Other points
=The consequence phrase (ms 5-81, shows a nice balmce by an increase of melodic
rh~hm.
source scale
h 0 8
I'
C1
a3 I
I- COMPOSITION EXAMPLES
Although not menrioned on h e CD, rhls melody has a qualiq. that suggests an Tn&an inffu-
ence - possibly S m i in orign.
COMMENTS
Melody
Like "Caribbean Fire Dance" introduced in Chapter I, rhis is a primitive but peaceful
melody based on a mronic tcssitura There is a sus2 srructure outlined in t h e response
portion (ms. 7-10]. And mosc impormndy, there is use of &c S/&IR formula
Hamonizarion
The main theme is very simple in ~ t harmonic
s marerid, merely a ronic open fifrh inter-
val which goes to a GC open fifth as indicated on t h e mns~caIexample. There :s ad&-
cional harmonization in larer melodic statements - a spopsis i s also provided on the
example.
source scale
source scale I
Ah :vl ixo ~ U S
source K a l e
source scale
This beautiful melody is pencaronic, but because of irs organization and shape, IS not sea&-
ly identifiable as such. Compare this melody to orhers of a Brazilian source. Are there sirni-
larjues?
--
COMPOSlTlON EXAMPLE5
Source scale
lncro
ELII
Main theme
r?-
Joe was with Milcs ar the rime of An recording and Miles' influence shows: there is much
use of space - a lot of transparenq: but our intwesr is in the pemaromc quality.
The first marerial is ofa simple diamnic source, in a clear exposiuon - the mitonic is evident,
rhe direction is clear.
T h e main theme can almost be described as angular, but its rhyrhmic organization is almost
hypnotic. The author includes this rune in his repertoire and can amest that one can play
thrs theme over and over again wirhour its losing its hypnotic effecc - uy it, you'll likc it!
It should be pointed out, there are conrrasting secnons to balance the penraronic melodies,
but the! are rnosrly in the form of harmonic, rh!~hmic and texmral rnweriats.
CHAPTER Ill: PENTATONICS
-
CONCLUSION O f CHAPTER 111
T h e use ofa pentatonic source or the organizarion o f a melody based on a folk model is nor
n m t o the composirional process - most classical composers of note show the use of the
aforemen~onedinfluences in addition LO aaccullp using =.rant marerid An additional perk
is char i c is a means of establishing a nanonalisdc qrraliy ro composition.
T o name a feu. examples:
Peter I. Tchaikomky - the penraronic theme in the 1st movement of t h e S-mphony No. 6
(see p. 33).
f R t ~
Txample 3.1%: The "Shaker Hymn" from "Appalachian Spring" by Aaron Coptand
I S 1 l
A l r h o u ~ hrhem are nor many jazz recordings wirh rhe kind ef pentaromc compositions
referred ro in rhe text, there is an cxeensive number ofb r h record in^ and books thar refer
to the urorld's folk musics - only a feu. are lisred - b u t it is easy t o find more.
B. READINGS
BraziIion Music Workshop Antonio ~ d o l p h o Advance Music
Pentatonics Jerry Bergonri Advance Music
Folk Music of Chino Stephan Jones OxFord University Press
Konkoma h p p L3ist;a Robert Pehrson Norsk
The Afr~cunRoots ofJaa Kaufman & Guckl n Alfred Publishing
Merengue Paul Austerlin Temple Press
CONCLUS!DN A N D FINAL COMMf NTS
MOTIFlC DfdfLOPHENT
(a) Sequence - this seemngly simple device of repeating a rnorif starcjcg from another
pitch has proved cffectirre for cenmries. Usually, rhe inrend strucmre of the sequenced
motif is altered to fit scale and harmony.
(b) Inversion - the original semitone formula stays the same, but the directions are rever-
sed: what went up now goes down,and u~harwenr down now goes up.
Original Inversion
lntewat:
Direction:
(E) Retrograde - both the direction and h e inrcrvalic formula are reversad
Original Retrogade
Interval: - m2 MZ P4
Direction: : 1 i
-
(d) Retrograde Inversion this is like a palindrome, rhe c h a n ~ ereflects a "mirror-imase" ~f
the onglnal: not merely a change in ciirecdon.
Interval :
Direcuon:
ADDltlONAL MATERIALS
(e) lsorhythm - an impomnr techmque in jau orienced mdody writing, the &veloped
motif shows a de to rhe original by hatling t h e same nore values (mcladic rhythm), but
with dlffererenr pitches or direction.
(f3 I s ~ a ~ i c u l a t i o-n like rhe above, but the cie to the original in rhis case i s by common
articulations.
(g) Truncation - as the name implies, this shows a delec~onof some aE the pitches of the
original monf, usually ar the end of the motif. bur not necessarily. .4lrhoogh other qud-
ides of the original also can be changed, it is best to keep h e original shape to cIari@
rht musical development-.
Cur s h o q inverted
C/G
I
I
I
-
I I
M2 m3 m2 M2(rn3) rn2
.
I :
,
1: i ! i
(missing)
(h) Extension - the opposire of above, the developed motif is lengrhened by additional
melodic material. As Ions as a clear nc ro the original IS evident, other development tcch-
niques can be used as well.
(i) Displacement - this refers to a shiftins of the melodic rhyrhm re!ative to t h e harmonic
r h ~ ~ h ranshift
; of uphere r h e new motif occurs in t h e measure compared to the ongind.
(j) Mutation - chis term is used m describe any anomalous change shown in t h e nmrmotif
which still can be identified as being relatrvc ro the original.
There are many more desmipuons of techniques for developing an miginal moriF. but in the
inrerest of clarity and simpliciy, h e abovc is sufficient Keep in mind that when analyzing
melodies, our interest is in identiwng whac he composer did t o dmreiop t h e melody musi-
cally, nor in petting overly scientific or pedandc
&DDITIONhL MATERIALS
--
Ir has been smred that for a jazz performance, only nvo amcdations are needed: staccato
and tenuco - there is no need to be so spanan.
Swccato and t m t o refer to note length - how long the pitch is held - with no change in vol-
ume or emphasis.
staccato
written interpretation vocalization
bit
- 1
I I I I I I
bah
Tmuto/rtlccat~is a combincd articulation found often in big band and hardbop tunes. it
creates a aery dramatic effem
renucoj smzcaro
wntten interpretation vocalization
- - - -
n
-
- -
II
-
-- .- -.-
-
- 41
-
--
- - -
e * w F 1 -
- F --*
C
/ * i
A
I
m: I I I I I'I
Accents direct rhe performer ro emphasize or increase the voiurne of the selecred pitch or
pitches with a slighc variation of pitch durat~on.
horizontal accent
wrimn interpretation vocalitadon
bah?
vertical accent
writre n interpretxion vocalization
bop!
113
EEects arc idiomatic expressive devices peculiar to individual instrumenml groups. Many are
general to a11 ins~urnenrsand voices. Again. beyond the scope of this book. keep their use
in mind when composing a melody. Consult an orchesmion book for an in-depth review.
Know hour ro include them in your scores: some you should use indude:
triIls glissandos
tremolos slurs
scoops slaps
bends falls
There arc many more. rhe impomnr point is to keep rhem in mind mrhile nlriting out your
melody. Ir is recommcndcd rhal-you consult fellow performers to demonscrate dl the effects
thac are possib'lc on his or her instrument or voice - it may give you ideas for your melody
ifnot for a whole composition.
1. Breath marks - a simple single quore (') specifies thar the player is to take a breakh, or
resmrc the sound production at thar p o i n t It has rhe effect of ending a phrase and
should be considcred for use as a phrasing directive.
COMMENT:
The placement of the breath mark has rhe effect of a slighr pause bemeen the consentnve
quarccr notes, creating a second phrase.
2. Sound support phrasing - these are phrase rnarkin~st h a ~are in addition to melodic
phrasin~s- they are meant ta direcr sound bur because of h e pause that
occurs when che perfomcr &es a breach or in any way restarts a sound, rhe effect is
that of melodic phrasing and!os punctuation, and has a similar cffecr as breath marks.
COMHENT
The player, whether or nor taking a brcarh, 11ql1 restart the sound production, creating a newT
phrase.
Be aware of dl rhe aForemendoned directive and melody interpresive devices in your
I~srcningsessions and take note of rhosc that are particularly m u s ~ d effect~ve.
y
APPENDIX II
Example:
E. Non-Diatonic or Miscellaneous
A. A reharrnonizarion of "Pm Getting Scntimenral Over You" ~ ' i c ha partial new rnelociy,
chew is a return to the original melody at the second bar of the B seccron and the last
three measures of Ehe third ending - ,oi\mg impetus so a partial nerv r~tle.
new bop F7
A
I
2'
solos: "Sweet Georgia Brown"
Q C o p ~ n 1983
r Roolam Musac, BMI
APPENDIX l l
C. Another reharrnonizar~onand new melody of ".Nisht and Dajr - chis rime by David
Licbrnan. Compare i t to versions found in Chapter 11.
Q . A new-bop modal reharmonization of?and new melody for "What L This Thing
Called Love."
vamp
C Phrygian C Aeolian
C Aeolian F-11 J C
APPENDIX 111
The foliowing materials are induded for further smdy, reference, and chrificrttion.
-- -- c ) --- C>
I1
I1 XI
t'
t
C . 8 .
e
- "
or, Y-'
I
#
A
a>
11
e -
A ~1
h-
r -
OEI
I
8 -
A c1
109. ria. 111. 112.
APPENDIX Ill
n I .
I
I I , . I . .
I .
.
I
> P I .
-
I
I ' I ' I
P. I
I& ,
I
c r * - rn - * ,'
I
4
.
8
I
* p = b r
I
I '
I
I C
, I -; ;
- 8 1
1 II
I
m
I,
I'
11
I,
I .
,pew,
I.
I u
4-
,
I
I
" I
p
I
is
.
) nr
I
1
-
, I
I,,
I ,
I 1
- m r b
I
m
'
A P P W D I X 111
LANGUAGE LISTING
T h e actual C language Iisting of rhe program that created the lisr of usable modes. this is
included for any programmers char may want m modify it to crcace orhcr sraIc lisunp. The
program is purposely ineleganr to provide more pombilig to other platforms - this 11% on-
pnally uritren For the A h 1040 ST (Motorola 68K) and compiled u ~ r hche laser C devel-
opment package - the version presented here is fully .WSI compliant and should compile on
just about any system. A more dwcIopcd prosram would include graphic represenration of
the scale dam by notes on a sraff, savin~the scales data or MIDI data to h s c . b c ~ n pable ro
demonstrate any selected scales either by MIDI ourpur or by monitor speaker, being able to
pnnr the grxphic notes/smffscreen and allowing user input ofdara ro create all possible sca-
les with no particular limincions - dl wirh mouse, windows and menu interfacc of course.
This does exlsr:- contact h e aurhor for more infurrnauon.
J C * * * ~ i C * 4 * * * * C + ~ * * * * * i * * * ~ 3 * f + * ~ * t * f * + * + * ~ + * * ~ ~ * * * ~ ~ * + + * * ~ * * * * + * ~ ~ t * * + +
f include <stdio.h>
+include <stdlib.h>
Finclude <scring.h,
int m d :
/* ternchorddata */
inr may[L][Kl=
i
{32,1,3-12, 3,1.I, 0,0,0, 0.0,0,O.Q,O, 0.0.0},
{2,3.1, 22.7, 22.1, 2,1,3,2.1,2,1,1.1, CiJ.O},
{ 13.2, lJ.1, 12.3, 1-22>1.2*lV 1,1,3,1.1.2 }
1;
void write-ta-disk{void);
void m;iin(vaid)
I
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APPENDlX Ill
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1
ADDITIONAL HATERIALS
MISCELLANEOUS MATERIALS
1. Computer generared hamonizarions of alrered pentatonic scales, one chord per each
scale pitch.
Ex. 1
Ex. 3 Ex. 4
Ex. 7 Ex. 8
n I -
EK. 9 Ex. 10
C-ll GC Lydian
F Phrygian I EL-ll
a) $56: b4, Cj - Altered (Modes of: Db Me1 Minor) b) *713: M, b7 - hRixoC4, Doriana
(Modes of: G Me!M~nor,G Harm Minor)
k) Altered
APPENDIX Ill
PALM X
comp./arr. Ron Miller
ED- 1 l
ADDITIONAL M&TERIAtS
Ron Miller. Professor (Snzdio Music andlazz). received a B.F.A, degree from Ronda Adancic
Universiy and a M.M. degree from the Universiql oF Miami. His compositions have been
performed arorldwide, including rhe Jamcy Acbersold Camps. and have been recorded
and/or performed by notables he likes of Red Rodney, Hal Galper,Joe b v a n o , Billy Hart,
Kennp Werner, Ira Sullivan, Stan Getz, Mark Egan and Danny Goctlieb of E~ernenrs.
Ron's composition srudents have included, among others, Pat Meheny, Bobby \Trar;son, "T"
Lavitz, Bruce Hornsby. Mark ED-, Jon Secada and Gil Goldstein. He has given iazz piano
performances with Ira Sullivan. Allen Eager, Rick Margiu6 Mark Egan, and Pat Metheny,
and has backed up many show busmess personalities as u.cll.
M q of his students, under his direction, have been granted the prestigious Down Bear
award either as individuals or in a group effort The Best S d l Ensemble award wenc to t h c
Fusion Ensemble in 1979, Prioiiqp in 1988, and the MonEcjMing~Ensemble in 1997.
Indnldual awards of Besr Soloist went to Reed Arvin in 1979, and Rick Margitza in 1984. Of
the Down Bear Ouucanding Performance awards, d i e Avant-Gardc ~nscmblewon in 1980,
1981 and 1982, the Fusion Ensemble won in 1951 and 1982. and the MankjMingus
Ensemble received the awatd in 1984.
Ron's composlnons can be found on t h e following recordings: Broo&n Bhes, Danny
Gordicb; Freadasn Tawe~;Mike O w D~dogs,Hd Galper; S m t b Sign, the U M Concert Jazz
Band: fiberdl Arts, Elements; B b ~ s j 5 rthe OId New Age, Gary K d l q Loneb In a Crowd, Barry
Ries; and G l d n g Sran Samole wirh EIemenrs.
In addirion to r e d i n g jazz comgosisjon, advanced improvisation, and jazz piano, Miller
direccs the Monk/Mingus ensemble, t h e Avant-Garde ensemble, and t h e Horace Silver
ensemble.
Air.
:
a r r a n g i n g / composing / harmony / theory
This book is a primer in jau fheory, infended to prepare the student for t h e serious 5~udyof jaa impwsation.
arrangement and composition.
Included are many musical examples and written assignments for practice in the theoreticat skills. Appropriate
exercises are prov~dedt o reinforce theoretical concepts by immedrate application to the instrilment.
BILL D O B B I N S
JazzArranging and Composing.: a Linear Approach
-Many different mssibilities for hamonizlng the same mefody are illustrated and analysed, using techniques bv such
influentla1 arrangers and composer5 as Duke Ellington, Billy Strayhorn, Ollver Nelson, Gil Evans and Ctare fisther.
-Techniques of melodv harmonisation, [inear writing and counterpoint tor 2, 3. 4 and 5 horns.
-A chapter on wr~tingFor the rhythm sectron clearly illustrates the techniques commonly used by jazz anangers and
composers.
-SIX complete scores rn concert keu are ideal for analysrs, for playing the horn parts on the niano or for following the
performances on the CD.
-4n extensive chapter on form and devetonment deals with extended composit~onalform5 and the use of cornposit~onal
techn~ouesIn writin5 for the small jazz ensemble,
-A cseful discogranhlf is induded at the end of each chapter.
"jazz Amging and Composing rs h e Jirst book to p m v i d ~a dear and logtca! bridge Jrom the mmo bodc techniques of
a m g i n g and meloay homonisotion to the more advanced Iineor methods employed by some of the most interesting
and tnfluential jaz arrangers ond composers. I have long known Bill's unique nabities m o _oiffedpianist and rorn~bset.
und I hrghly recommend this book to jazz writers or all levels of experience." (Clare Fiwhed
G ~ G
L OLOSTE~N
jazz Composefs Companion
ORDER N O . 1 1 3 0 4 ( Z T ~ - P A L ! BOOK!
The book is divided into three main sections: Melody, Rhythm, and Harmony. Dozens of musical examples 2s well as
cumpositi~nsby Bill Euans {pianist), taco Pzstor~ous.Iim Hall Ralph Towner. Steve Swallon~,Pitt Methenp: Michael
t techniaves. An extensive chapter on the cornwsi-
Gibbs, a.0. are inctuded in order t o illustrate specific c~rnpositiona
tional process features intew~ewswith jazz composers Bill Evans, Carla Bley. George Russell. Horace Silver, Pat
Metheny, Chlck Coma. Lvte Mays, Anthony Davts, Herbie Hancock, Rlcn~eBeirach, Ralph Towner. a.0.
'GiE does o servirf I~ereon rr high /eve/. The concrpts he offers impwse no sfvle ond thus, con be t.sed and extended tu
enrich any musicions vocobrrlay The rest is up to you. " (Bill Evans)
AHDY IAFFE
jazz Harmony
2nd edition, completely rwised and enlarged. tq chapters rncludinp ex~rcisesand assignments: Intenak, Chords.
Invers~ons.Modes: D~atonicAnd Modal Chord Propssions: Tne Blues: Song Forms and Melodic Variations; Secondav
Dominanl Chords: Substituie Dorn~nant7th Chords and Tritone SUDS: Minor Kev Harmony; Modal Interchange and Mlno:
Blues; Common Chord Progressions and Vo~ce-Leading;Modulat~on;Pentatonic5 and Other Svmmetrlc Scales: Blues
Varietions: Rhythm Chanvs: Coltrane's 3-Tonic System: Slash Chords and Hybrid Chord Voicinss.
"]ozz Harmony is c brilliant addthan to the Feld o r j o u theory It is wtl-writren and beautiJulty organized. and rhe infor-
motion d contoins is tnoroughlv reswrched and authenticollv presented. I recommend rt hichly" (Dovid 8 ~ k e d
"Whether wu ow o teacher: o student, a pioyer or lrstener who wan5 to know w h f to fisten [or in o i ~ r performance.
z
Andrlafle's Jczz Hamronv will help you to do whit? you do bener: Cherk it our!" (Bilfy Taylor)
"Everyone in lozz Studies should own jazz Horrnon~by AndylaFe. * lBill Rrn-1