2015 Jazzclinic Theory Advanced1

Summer clinics Halewynstichting 2015 classes of Maarten Weyler
Questions? Send a mail to maarten.weyler@gmail.com

Theory advanced group

JAZZ CLINIC

DWORP 2015

This summer also:
Pop clinic 23 28 august

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 1


1. My Romance
In the first class we give you an overview of what you should know to
understand a composition such as My Romance (R. Rodgers & L. Hart). A good
start is always the lyrics:
My Romance doesn't have to have a moon in the sky
My Romance doesn't need a blue lagoon standing by
No month of May, no twinkling stars
No hide away, no soft guitars

My Romance doesn't need a castle rising in Spain
Nor a dance to a constantly surprising refrain
Wide awake I can make my most fantastic dreams come true

My Romance doesn't need a thing but you

We continue with the melody and look at its structure, its organisation. Ask
yourself questions such as:
- What is the motive (smallest melodic cellula)
- What is the first phrase?
- How is this futher developed?
- What is the structure of the first sixteen bars?

Things you should know before the analysis:
What is the tonality? (1)
What are the diatonic chords? (2)
Which chords are diatonic, which arent? (3)
Is the melody diatonic? (4)
What are the related chords to be expected, such as for Secondary
Dominants and what is the added value of these chords? (5)


What are the related tonalities to be expected? What are the expected
parallel chords and what is their added value? (6)

Some answers:
1) The song is written in C major

2) The diatonic chords:

3) Chords which are non-diatonic:

Most of the chords are diatonic, which you can see at their roman numerals.
What is also remarkable is that most of the non-diatonic chords are dominant
chords.

4) The melody is diatonic.



5) What are the related chords to be expected, such as for Secondary
Dominants and what is the added value of these chords?

Herewith you can find all possible secondary dominants1. See how these chords
add chromatic passing tones to the main tonality, with
A7, as being the V/II this chord adds an c# to the tonality, which is the
leading tone onwards d and, by this way, this chord introduces a
chromatic leading tone/passing note in this tonality
B7, being the V/III and adding a d# to the tonality, the leading to unwards
to e, and, by this way, this chord introduces a chromatic leading
tone/passing note in this tonality
C7 or the V/IV gives us a b flat, a tone that leads towards the third of the F
major chord. By this way, this chord introduces a chromatic leading
tone/passing note in this tonality and makes it possible to go to F major
D7 or the V/V gives us a f#, leading tone towards G. By this way, this chord
introduces a chromatic leading tone/passing note in this tonality and
makes it possible to go temporary to G major
E7 or V/VI adds g# to our main tonality, the leading tone of a minor and
by this way, this chord introduces a new chromatic leading tone/passing
tone to the tonality, in this case, to the related minor tonality

A secondary dominant is mostly the alteration of a diatonic chord. For the scale
of secondary dominants you should adapt the notes which where not available in
the original modus. So a D7 gets only the extra f#, which differs this chord from
the diatonic Dm7. So, E7 gets as an adaptation or alteration of the original
diatonic Em7 chord, a major third so a g# must be added. A lot of secondary
dominants will be preceeded by their related IIm7. We show this by adding a
bracket between the II and V. Jazz uses frequently II V sequences and this is often
an II V of a secondary dominant.

6) What are the related tonalities to be expected? What are the expected
parallel chords and what is their added value?
Related tonalities of C major are G-major, F-major, a-minor and c-minor. This is
often indicated by using a cross image:

c

F C G

a

a
1 The logical V/VII is never used since this chord has no perfect fifth. The eventual dominant of
B would be F#7, with a non-diatonic root. But S.D.s always contain a diatonic root


Chords, borrowed from parallel tonalities, which are logical and expected

Some chords, such as Maj7 or m7, are to be found in different diatonic series.
This means that this chord can be found in many tonalities, but with another
function. Lets take Am7: this chord can be a II, III or VI. Or better: it is VI in C-
major, II in G-major and III in F-major. This chord can thus be found in the
principal tonality and both of the related major tonalities. In these sixteen
measures of My Romance it is frequently used as a harmonic tool.

What can we conclude for these first 16 bars of My Romance?

Measure 5: here you can see a movement towards the related a-minor tonality
Measure 9: light deviation towards F-major
Measure13: deviation towards G-major but this time more in relationship
towards e-minor (so called secondary relationship). If you see a F#m7(b5), which
only can be found on the VIInd degree of a diatonic series, you can say that its
origin is G-major. Which is a related tonality of C-major. An m7(b5) chord is
mainly an indication of a II V in minor, what is confirmed in the next measure.
Such a borrowing is used frequently, we call the F#m7(b5) chord a #IVm7(b5),
as related II of the V/III.
Measure 15: D7 is a S.D. and therefor Am7 is both the VI in C-major and both the
related II of the D7 chord.

What is possible?

a) Related major-tonalities

The related major tonalities of C are F major and G major, thus C7 can be
possible as V/IV and D7 as V/V. And every secondary dominant may be by its
related IIm7. So this makes:
Gm7 C7 as II V/IV Am7 D7 as II V/V

Am7 D7 will be less striking since Am7 exists in C-major.
Gm7 is clearly non-diatonic since bb is a non-diatonic third of the chord.

What do we have by now?


b) Related minor tonalities

The related minor tonalities of C are a minor and c minor. For a minor, you
will see an E7 chord, with g# as the third of this chord. The third of a dominant is
mostly the leading tone towards the root, which is the case in this situation. The
chords which will be borrowed from c minor will mainly posess an ab. More
about this later.

c) Related minor tonalities of F and G major

Frequently a song in C major moves also towards the related minor tonalities of
F- and G-major, which means Dm and Em. Both chords exist also in C-major. This
is possible by using the secondary dominants A7 and B7, sometimes again
preceded by their related IIm7b5. So we obtain:

d) What is the sum of all this?

Be aware: some notes can be derived from different chords, such as the f# from
F#m7b5 or B7 etc.

What conclusion is possible? Almost all chromatic tones can be obtained by
using secondary dominants or borrowings from Cm.

What note is missing? The b2



A global overview:



Reharmonisation of My Romance

As you know, standards are mostly themes from musicals. This tune was also
originally composed for a musical, namely Jumbo (1935) and was first
performed by the Paul Whiteman orchestra. The lead sheet is thus an
adaptation or reduction of the original score for full orchestra. That is the reason
why it is always difficult to state which were the original chords. Above, I gave a
simplified version. Let us now add chords to this original, using the known
theory. Adding, skipping or changing chords in a standard is called
reharmonisation.

Measures 1 4

Added:
- FMaj7, a diatonic chord, with sub-dominant function (cadential), its root
being a fourth from the previous chord and resolving chromatically to the
IIIrd graad
- Eb dim7, a non-diatonic deminished chord which links chromatically two
consecutive diatonic chords2
- E7(#5), a non-diatonic dominant seventh chord which precedes the
resolution towards Am of measure 5 (= secondary dominant or S.D.)

Measures 5 8

Added:
- E7, same dominant as in measure 4. But here it provides a hidden line
clich such as in Am E7/G# Am/G
- A7, a S.D. which links the Dm7 of measure 7
- C7, S.D. of IVMaj7 in bar 9

2 This is the only chord which is kind of difficult since it does not have many notes in common
with the major tonality


Measures 9 12:

Added:
- Bb7, a so-called Subdominant minor and thus borrowed from c minor
cfr. plagal cadence and its variations
- C7, S.D. to IVMaj7 of bar 11

Measures 13 16:

Added:
- Bb7, but this time not borrowed from c minor, but its the substitute
dominant of VImin7. It is a dominant, and it substitutes the expected E7
chord, the S.D. of Am7. E7 was certainly possible but then you would have
twice the same root and then the Bb7, which possesses the same triton
between its 3rd and 7th E7, gives more tension. Already because its non-
diatonic root does resolve chromatically.

For this more extended version of the first 16 bars, I used the version as notated
in The New Real Book, edited by C. Sher (1988). This is only 1 of many possible
variations, but certainly the most common.

Since My Romance has a ABAC structure, we only need to do the last 8 bars:

Explanation:
- A7 is the S.D. of Dmin7 (and provides more relationship towards F or d
minor)
- Bm7b5 E7 is a II V in a minor which is smoothly introduced by the
descending bass part in the Dm7 chord
- CMaj/G provides a beautiful variation of a chord pattern, repeated in
measure 31



Which related tonalities are by now represented in this song??
- a minor
- F major
- G major (als as e minor)
- c minor

As we had expected

CONCLUSION :

Most standards, written before 1960, are using

1) The diatonic series of the principal tonality

2) Will use the secondary dominants of all diatonic chords (except for VII)
and will be often preceded by their IIm7

3) Chords borrowed from related tonalities, mostly as dominant seventh
chords or subdominant minor chordsn, as is the case with borrowing
from the parallel minor.

And dont forget that secondary dominants introduce these notes:

Which chords provide these chromatic passing tones?
c# comes with A7 or the V/II
d# comes with B7 or the V/III
f# comes with D7 or the V/V
g# comes with E7 or the V/VI
bb comes with C7 or the V/IV

eb and ab are derived from the parallel minor


Speak No Evil


The A-part mainly consists of a Phrygian cadence in which the Ist degree is
followed by the bII..
Phrygian scale
The Phrygian scale takes its timbre from the characteristic minor second
between its root and second.
Triads:

Seventh chords:

Cm and Cm7 are tonic chords (T)
Db, DbMaj7, Eb7, Bbm and Bbm7 are characteristic chords (K) since they possess
the characteristic note
G dim and Gm7b5 are chords to be avoided (A)
Remark: bIII7 sounds as the V7 in Ab major, this can be altered by changing the
dominant chord in a suspended chord such as bIIIsus7.
Phrygian cadences are amongst others:


Cadence to be avoided: bIIMaj7 followed by its bVIMaj7
bVIIm7 followed by its bIII7
Applications of Phrygian modal harmony can be found in Sudden Samba (N.

Larsen), Ana Maria, Deluge and Speak No Evil (W. Shorter), April Joy, a
composition by P. Metheny and Search for Peace (McCoy Tyner). Be aware:
sometimes it is difficult to concluede if the cadence is Phrygian or Lydian (ut
infra).
Another example:

Spanish Phrygian
There is also a Spanish Phrygian Scale usually to be found in Spanish
compositions (sic!) and in compositions of Chick Corea (La Fiesta), Al DiMeola,
Paco De Lucia e.a.


Back to Speak No Evil. The phrygian cadence of the first measures is interrupted
by a couple of minor chords. If you listen carefully to these chords, then you will
notice that the first chord, Ebm11, functions as a pivot chord to the following
series3: Em11/Cm11 and Dm11/Bbm11, whereby the last chord is a pivot to a
variation of the Phrygian cadence. The Bbm chord alternates the A7 dominant
seventh chord and also this half tone relationship sounds Phrygian. The scales
of both chords have a lot of notes in common. A7alt is the same scale as Bb
melodic minor. If your choice for the Bbm7 chord is a dorian scale, then there will
only be one note of difference (the seventh).
The middle part continues first in the main tonality, Eb major with a #IVm7b5,
Ab7 being the substitute dominant of the next Gm7, which initiates a chord
pattern on the IIIrd degree in Eb, the relative major of c minor. The DbMaj7 chord
is thus both bVIIMaj7 in Eb and also the bII of Cm.
The title of the song, Speak No Evil, fits perfectly in the so-called PostBop style. In
this particular period of the jazz history, Miles Davis is both lord and master
(Prince of Darkness) and mythological themes are frequently used as titles
Fee Fi Fo Fum, Tom Thumb, Ju Ju, and Speak No Evil. The title is part of a
saying or proverb: Hear No Evil, Speak No Evil and Say No Evil. This saying refers
to someone who should be not interfering, dont mind someones business. The
oldest presentation is three monkeys at the Niko Toshogo shrine in Japan, dated
in the 17th century. In Japans this sounds like: mizaru, kikazaru, iwazaru.4
Maar nog meer karakteristiek aan de composities van de PostBop stijl is dat een
symbiose wordt verwezenlijkt tussen enerzijds modale en anderzijds
diatonische harmonie. Dit komt het duidelijkst naar voor in de composities van
Wayne Shorter. Waar Miles Davis voor Kind of Blue composities creerde die
haast louter modaal waren (So What, All Blues), streeft Wayne Shorter een
vermenging tussen modale karakteristieken (cfr. eerste acht maten van Speak
No Evil) en diatonische eigenschappen (cfr. de beide chord patterns op III in
hetzelfde nummer) na.

3 These progressions are called constant structure, a technique which will be
frequently used by Chick Corea amongst others (70s 80s)

4 You can find all information and much more on the internet, including three
dragons, frogs, monkeys and much more.


Another application:

Composed in the same year as Speak No Evil, namely in 1964, 5 years after the release of Kind of
Blue.

In the previous composition we notated the mixture between diatonic and
modal, but this one is a step beyond. It uses all kind of modal interchanges. When
using an open mind, a composition in F-major, as is the case for Beatrice, can
borrow from:
- F Lydian as from C Major
- F Mixolydian as from Bb Major
- F Dorian from Eb
- F Aeolian first relationship, i.e. f pure minor
- F Phrygian coming from Db
- F Locrian (but never happens although, never say never)



Analysis of Beatrice
Measure 1: F is the main tonality
Measure 2: GbMaj7 is derived or coming from F Phrygian principally this could
also be F Locrian but you always choose the tonality as close as possible to the
major tonality.
Maat 4: EbMaj7 derived from F Mixolydian could also be F Dorian, But see the
rule above.
Measure 5: Dm7 is the related VI-minor of F-Major, and is kind of a Im7

Measure 6: EbMaj7 provides a Phrygian cadence with Dm
Measure 8: Bbm7 takes no part in Dm but is a pivot (sounds Phrygian) toward
Am7
Measure 9: Am7 is the IIIrd degree and a Phrygian chord, followed by its bII in
the next measure
Measure 10: BbMaj7 is the bII of Am7
Measure 11 12: II-V in dm
Measure 13: Gm7 is IIm7

Measure 14: variation of a substitute dominant chord, since GbMaj7 is the
bIIMaj7 in F-Phrygian and resolves nicely into the final Fm7 chord.


At last we examined the lead sheet of Song for Bilbao (P. Metheny) consisting of a
further harmonic evolution and we enjoyed a live recording on
www.youtube.com/watch?v=RCPfKzIK6Wo

Notice the constant structure starting from the third measure of the Bridge or B-
part Questions? Write an email to maarten.weyler@gmail.com

2015 Jazzclinic Theory Advanced1

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2015 Jazzclinic Theory Advanced1

Hochgeladen von

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Verfügbare Formate

Summer clinics Halewynstichting 2015 classes of Maarten Weyler

Questions? Send a mail to maarten.weyler@gmail.com

Theory advanced group

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 1

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 2

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 3

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 4

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 5

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 6

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 7

with the major tonality

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 8

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 9

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 10

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 11

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 12

Cadence to be avoided: bIIMaj7 followed by its bVIMaj7

bVIIm7 followed by its bIII7

Applications of Phrygian modal harmony can be found in Sudden Samba (N.

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 13

frequently used by Chick Corea amongst others (70s 80s)

dragons, frogs, monkeys and much more.

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 14

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 15

Measure 5: Dm7 is the related VI-minor of F-Major, and is kind of a Im7

Measure 13: Gm7 is IIm7

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 16

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 17

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