.

-_

,~

>1', ... _.

"1

-~" ,~ '..

-------1
I I
1

MODAL JAZZ COM·POSITION & HARMONY

VOLUME BY RON 1 MILLER

I
1

I I
1

I I
1

I I
1

I I
1

I I
1

I I
1

I I
1

I I
1

I I
1

I I
1

I I
1

WHEN THE MODES Of' MUSIC CHANGE, THE WALLS Of' THE CITY CRUMBLE.

(PLATO)

© 1996 by ADVANCE MUSIC

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by' any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Advance Music. International copyright secured.

Cover Design: 'Traugott Braric Text editor: Lizerte Reyes Cain Published by Advance Music 0-72108 Rorrenburg N., Germany Production: Hans Gruber Printed by TC Druck, Tubingen

TABLE OF CONTENTS

Inrroducrion
A Jazz Composer's Regimen

.,
,

6
7 .8 , 9

How To Use 'Ihis Book Categories of Jazz Comp.ositions

CHAPTER

I - jazz Harmonic

Systems of the Unaltered of the Unaltered Diatonic Modes

11
15 19

CHAPTER II - Construction CHAPTER III - Construcrion

Diatonic Chords

CHAPTER N - Characreristics of [he Unaltered CHAPTER V - The Modes of the Altered Diatonic CHAPTER VI .. Non·lvlodal CHAPTER VII - Chord Chords ,

Diatonic Modes
No. 1 (Melodic Minor) , Devices "

27
31 37 43 49

Connection/Compositional

CHAPTER VIII - Upper Structures CHAPTER IX .. Completing CHAPTER X - Form CHAPTER XI - Harmonic Contour of (he Altered Diatonic No.2

the Chord Connection

Process

57
63, 65

CHAPTER XII - The Modes and Chords

(Harmonic Minor)
CHAPTER XIII - Slash Chord CHAPTER XIV - Three-Part CHAPTER XV - The Chords Harmony Chords No.3 (Harmonic Major) , "

89
95 111

Upper Structure

of [he Altered Diatonic (Melodic Minor #5) for Volume 1

and Altered Diatonic

Conclusionand

No.4

115 124

Final Comments

APPENDIX 1. Acoustics and Modality of the Terrachords Examples 12·6 130 1.31

2. Construction 3. Additional

4. Ear Training
5. Tree of Influential jazz Composers 6. Discography/Bibliography 7. About the Author _

136_
138 139 142

INTRODUCTION

The subject of jazz composition has many meanings. Traditionally, a jazz composition was an arrangement for big band that was composed by the arranger. Most of the earlier jazz composition textbooks (and there were few) took char approach, A jazz composition for universal use was not a practiced consideration at that time: most small group performance was based on playing standards or blues, or runes with new melodies derived from an improvised solo over the original or varied version of the original chords. Even the most forward-looking composers of the time were tied to the song' form and tonal harmonic system. Although they produced classic, beautiful compositions, the dosed quality of their harmonic vocabulary and symmetric form deprived [hem of diverse expression. It wasn't unril the early sixties, when a group of university educated composers hit the scene" that jazz compositions evolved into venues of individual expression for both the- composer and the improvisor. Theseyoung composers, aware of the harmonies ofBarmk, Stravinsky, Ravel and Rachmaninov, and the use of extended and free-form, introduced a new concept of jazz composition to rhe jazz world. Representative of [his new breed were Wayne Shorter and Herbie Hancock. Of course, there were interim composers who advanced the art of jazz composition and influenced subsequent composers with compositions of great strength and beauty. Horace Silver, a perfect example, influenced many jazz composers - chis author included. Although his harmonic vocabulary was based within the tonal system, his use of unusual form and perfect ronal center relaricnships along with great rhythmic ideas and memorable melodies has earned him the respected position of one of "the masters" (see."Tree of Influential Composers" in appendix). It is the freeing of the COmposer from rhesrrucrure (or stricture) of the tonal system and strict form, song form in particular, that has allowed so many composers of inert abilities to "blossom" to artists with individual expressive merit. The goal of Volume I of this book is to show the student the means to develop latent creative abilities by offering the unfettered environment of the chromatic-modal harmonic system and free-asymmetric form. In addition, the freedom of'rhe approach will allow the composer to express himself in any style: Posc-19S0s jazz, classical, ECM, fusion, pop, etc., that is not tied to any harmonic particulars .

• 6·

THE JAZZ COMPOSER'S REGIIHEN

Jazz is basically specialization composition approach patterns, production, include

to.

a performer's

art form. Not unlike

the army

where

in s.pite of individual

is basically an infantryman, everyone . your talents are stronger In t;he wri e wntmg area, beo prepare d" to e. or film scoring. Altho.ugh arraining room a level of artistic with hours solos the bas~c musical competence and de~elopmg writers are the same, once those skills are acquired, of the practice the process

everyone

a la er, If pay d.ues" or get inro pY classical for both players and The the envir~nment licks and of sound
to

in jazz is basically

skills required

of developmenl:chancres:. skills, learning

for the player requires motor and perfecting

and hou~s of a~quiring

learning

transcribed

a concept

The composer,.

in a disimilar
to

fashion, muS[ expand

say." Of course,

his learning

environment

[he world and all it can reach. Once the composer "something

has mastered

the basic musical bur the whose

skills, he has co acquire

this is t,ue

for the player,

required instrumental skills seem ro have precedence at this point. efforts are less ephemeral, the following regimen is suggested. 1. Know theory and nomenclature: category is obvious. composers use written means

For the composer,

of comm,unicarion.

This

2. Evolution of jazz styles: one should be able to write in all jazz styles and knowledge elements of all styles will improve one's personal style. 3. Study and knot() the works of the influential jazz composers: Ellington, Charles Mingus, Horace Silver, and Wayne Shorcer. Charlie Parker,

of the

Duke

4. Improvisation:

if you can't play ir, be able to write it. melody writers and modern Weber,

5. Classical music: study and knot/! the works of the romantic harrnonisrs - Tchaikovsky, Rachmaninov, Chopin, Prokofiev, Copland; and the classical influenced Kenny Wheeler. 6. 'Study the Humanities: sophy and religion. art, literature"

Stravinsky,

Ravel, Rodrigo, Eberhard

ECM compos,ers - Ralph Towner,

drama,

particularly

the romantiCists,

and philo-

7. Study and know world history 8. Travel and diversity: getting outdoors occupations. 9 .. Volunteer

and world music. of your life away from music rock climbing; with world with travel,

spend a portion hiking,

with

canoeing,

get involved

different

for comrnuniry

service, at least: read, read and read.

10. If most of the above is hard to accomplish,

·7 •

HOW TO USE THIS BOOK

This book is organized in a way thar separates the information pertinent to acquiring creative skills, and that 'Of a more esoteric nature: the hews, whys and theoretical foundations, as 'found in the appendix. This means that the srudenr interested in quickly geninggoing with composition doesn't need CO ferret om the "good" stuff from a jungle of dar a, while the student interested in the hows and whys can easily access that information. It will be pointed out within the text of each chapter when additional information is available in the appendix. In general, the procedure is to firsr develop the language of harmony as used in the book, work with exercises to assure mastery of the concepr,analyze how the concept is used by accomplished composers and finally, apply the concepts to create a composition. Each chapter has a tide page with a list of terms that are important to gaining a complete understanding of the conc~pts presented in that chapter. The eerrns, some peculiar [0 this book, are found in italics and are defined within the text. In addiricn to understanding the terms and concepts, of extreme importance is [he "hearing" of the musical aspects of the concept. Any chord, mode, melody, exercise or example should be played on a keyboard regardless of the srudenr's keyboard skills. Only then should the student, if not a keyboardisr, use, his own insrrurnenc or voice. While playing the examples, the student should be listening intently co train his ears to the particulars of each example. Each day the student should uy [Q find time to listen to a selection from the included discography. The ultimate goal is to have all the recordings listed there available for personal listening from memory alone. An important point to remember is rhar noone can successfully compose in the way this book advocates without first being able to "hear' the concepts presented. In a nutshell, the student should: 1. Learn the concept intellecrually. 2. Learn co play it on a keyboard. 3. Learn
to

hear it. in a recorded example.

4. Learn itsapplication

With each chapter, the subject will be illustrated with an example or examples. Study these, and play them. Next will be suggested exercises that will assure that the concepts are mastered, But more importantly, they are designed to develop 'creative skills, in fact, most exercises will be the seed idea for a finished composition. The point is to approach the .exercises as a potential composition rather than an academic exercise and to do as many as, time allows. When all the beginning concepts are mastered, we win begin to analyze how the techniques are used by the master composers on recorded examples. One should have done much listening by this time, Ideally, the book will be used in a classroom situation with an accomplished teacher/composer who can offer informed objective feedback for any student effort. Once the concepts of the book are mastered, this last step is a must for artistic development. When the informacion is assimilated and mastered (or before)"it is hoped that the studenr will realize that the "freedom" advocated by the methods of this book allows him [0 do what he gOt into music co do to begin with: Be creative and have fun!

•a•

I I I

CATEGORIES OF JAZZ COMPOSITION

I I I

The following, Iike the Tree of Composers in clarifying

(found in the appendix,

p. 138), is included

to assist

I I I I I I I I I

a direction of study: an attempt [0 dear some routes through a comprehensive subject and to tie together the. compositional sryles and influences of ehe major jazz composers. Jazz, being an art form that allowed individual expression through improvisation,
would naturally evolve to allow The categories individualiryro categories, be expressed with volume both as composition and of improvisation. comprehensive,. of jazz compositions that will be covered in both volumes

this book will include the following

1 covering the most complex and as well as that which the rest is a subset: free-form modal (modal complex).

TO,NAL
A. SONG FORM Based on the symmetric 32-bar song form typical oftunes oriented composition, over standard from the standard repertoire of the

'30s and '40s, this is improvisation derived from improvisations

many of the tunes being melodies not derived from

I I I I I

and dance runes. Compositions

existing runes were nonetheless based on their formulae. Their harmonic material rarely strayed from totally diatonic key relationships. Representative composers are Bird (Charlie Parker), Duke Ellington, S. FREE-FORM Billy Strayhorn, Tadd Dameron, and Thelonious Monk.

No longer strict song form, these canbe asymmetric

is much use of nondiatonic key centering. Charles Mingus,

or chrough-ccmposed,
composers

In addition, there

I I I I

Representative

are: Duke Ellington,

Billy Strayhorn, Benny Golson, and Horace Silver.

BOP of the eighties, of writing by altering seeking to pay homage to the

C. NEW REHARMONIZATIONS/NEW Many of the younger masters changes,

composer/improvisors concept

I I I I I I

of the past (bebop), returned this method

ro the harmonic

materials

and form of that era (tonal! over a set of standard rhythm, Wymon

song form). Based on the bebop substitucion Margirza, and by attempts and Jerry Bergonzi

a new melody the harmonic

is made contemporary to "rnodalize" are providing

by chromatic
Most of Rick Marsalis,

the tonal quality ofthe this kind of composition:

original

changes.

these young "new boppers"

are representative.

MODA.L
A. MODAL SIMPLE These are the early modal compositions, (linear) or a few different "Impressions," with most ofthe there doesn't and "Maiden compositions modes where the harmonic content is based on one mode Typical are "So What," and his followers,

I I
at different: key centers (plateau).

I I I I I

Voyage." Although of composers

not tonal, the form is still fairly syrnrnetric, with this specialization.

bei:ng MBA song form. Other than Coltrane

seem to be a "school"

B. MODAL COMPLEX (FREE-FORM) Having fast asymmetric harmonic but requires harmonic rhythm and free-form, this is the most complex and

comprehensive expression

category. This kind of harmony

offers the easiest means for creative Wayne Shorter is the main

I I I I I

the most creative "effort" of the composer. for this category.

source of inspiration

I
• 9. ~

PENTATONIC TUNES I BLUES TUNES

This is a composition That melodic source pentatonic in which the melodic source material material is derived fro-m either is the focus of its development. altered, or add note the unaltered,

scales and all their modes. The harmonic

material can be of any category, but the

form is usually derived from that which is found in the world's folk musics.

A VA.NT~GAR DE
A. TONAL/BEBOP Using tonal melodies and song form as a point of departure, rhe father of [his style is Omerte Coleman, who is a major influence on Carla Bley, Albert Ayler, and Pat Metheny. B. MODAL Pushing [he simple-medal

and pencaronic category

to

the edge, John Coltrane and his

the representative

followers at the time - Steve Grossman, composer:s. C. FUSION

David Liebman, Archie Shepp -are

Utilizing dance rhythms,

Laswell, and others.

adding

electric insrruments,

but still maintaining

free improvi-

sations as its basis, this category is represented

by Ornerre Coleman.Tames

'Blood' Ulmer, Bill

D. WORLD/ETHNIC/PROGRAMMATIC The last category of avant-garde to list the truly represencative. is very diverse in style and offers venue for the composer who There: are too many in this and the fusion category Sun Ra.and the Art Ensemble of Chicago. chapters of the appropriate volume, The most famousare

has the desire to make a social comment.

All of the above "will be covered in detail in the appropriate but for now it should suffice as a guide ro comprehension composers create works in many of the listed categories .

of the "big picture" and getting an rhat the better jazz

idea of the overall goal of both volumes of this text. Bear in mind

• 10 .'

I I I I I I I I I I I
I

2:Symfl1etric 3., Asy.mmetric

Division Division

I I

5. Modal P. Non-mOd~1

7.'.Chf6matic'
8, Vertical Modal'?;:
I' ;;

I I

~. Plateau-Modal
'10_,-Linear,Modal

,: 11.

Harmonic

R~y'th~ I I I

1? .,H arm 0 nlc Melodr ~

C H)l.,·PTER

The

harmonic

materials the

emphasized century

in

this

book

can

be applied particulars,

to

any

stylell

of

cornposition.vif

style- is not

defined

by any harmonic

i.e., post-I9:50s

jazz, pop, ECM, late 19th/20th

classical, etc. Wayne Shorter, (non-song Ralph Towner, Joe Henderson,

Typical would be the works of Pat Metheny, diatonically rhythm,

to the tradition

and Kenny Wheeler, to name a few. Most of theircompositions related modal material, free-form and.a diversity of rhythmic style. In addition,

'are similar ill their use ofnonform), asymmetric harmonic reflect a.tie

many of their compositions

of jazz with seceions of tonal harmony and swing feel. Most of their worts are

"playable."

MODALITy2) IS DEFINED BY
1. The octave asa means of stable limits 2. Asymmetric division of the octaveinto:

3. Seven different

pitches produces use. non-modaP) scales [hac have a particular

Note that the octave dividedsymmetrically

sonoric quality that can be of compositional

HA~MONIC GROUPS
The groups ·are defined zation. The harmonic content by the presence or absence of preset rules of srrucrureand organi-

ofa composition

can be in one group or combinations (three are modal, one is nonmodal},

of the groups.

THERE ARE fOUR

'l,

MAIN GROUPS

TONAL (modal specific) A modal system which has specific means of organization (a) root movements (b) specific modal (c) diatonic of a fifth conrourf

(rules):

root relationships rhythm key

(d) symmetric harmonic (e) welldefinedtheme'

I

,!

2.. MODAL (modal arbitrary, free-form) There are no. preset means of organization: (a) rooc movemenr.Earmonicrhyrhm, composer (b) chromatic
root relationships and modal contour

determined by the whim of the

!t

(c) usually there is no clear home key

I) W ~Y in w hidl. the co m poser "PI' 11<5 the elements meIodit:iilly'! harmonic of music haemonicsdly, f:'[c.~ which meansthar devices ~.hJ.t define sryle

3. CHROMATIC horrie key:

(plateau tonal) Same qualities

as tonal, except there

is

no dearly

defined

rn list be: used in tandem \Yich freeform ereaeiviry. 2) A quality of the unequal division of the octave in which each scalesrep

(a) there are many different

(b) the key centers (c) the harmonic

key

centers

(plateaus)

usually are nondiatonic

rhythm is usually sym~~ttic

has its own harmoni'c/mdodic

'dcfini .•ion. ·3} The quality of any scale in which

4. NON-MODAL (symmetric):
(a) unclear (b) chords resolution, and melodies each note has the same harmonic/melodic exist as qualities

the octave, e'quaUy divided, gives

e-ach scale: step or fragmennhe.

same harmonic/melodic d.e:finii:io[1.

4) The dyno.mic 'l,u.alit;esof chords within a secrion
0. 01:'

a sonority,

a "sound"

g,o,,~ of phrase.

(c) example: diminished,

whole tone, 12-tone, augmented

• 12 •

I I
JAZZ HARMONIC SYSTEMS

I I I I I I I I I I I I

TH£ SUBGROUPS

OF MODAL

ARBITRARY

These are the:harmonic groups thar will be em phasized in this volume and from this point on will generally be referred to as modal harmony, There are three subgroups of modal harmony:vertical THE GROUPS ARE DEFINED BY (a) harmonic rhythm - chord duration, dependent on tempo (b) melodic quality of [he bass line (c) definition of a home key
VERTICAL MODAL

modal, plateau modal, and linear modal.

(a) fast harmonic rhythm (one chord per bear (b) very active, melodic bass line (c) no clearly defined home key

[0

one chord per bar)

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

(d) harmonic melodies are usually chromatic (see p. 61) (e) individual chords tend to be heard as a sonority rather than a modality This harmonic style, being very active, can be overbearing. It:is usually used at cadential areas of a composition, but can be found in complete use in some slower tempo tunes. Examples: "Little One" by Herbie Hancock, "Dance Cadaverous" by Wayne Shorter, "Yellow Bell" by Ralph Towner.
PLATEAU MODAL

(a) harmonic rhythm slow enough

to

establish modality per chord

(b) bass part less active, less melodic (c) mostly non-diatonic root relationships (d) no clearlydefined home key (e) harmonic rhythmtends to be symmetric, two to four bars per chord

Examples: "Gazelle" by Joe Henderson, "Afro-Centric" by Joe Henderson, "Loft Dance" by David Liebman, "Maiden Voyage" by Herbie Hancock
LINEAR MODAL (there are two, kinds - depending on the harmonic rhythm): 1. Slow to no harmonic rhythm:

(a) no bass melody, more of a vamp (b) typically only one mode (root) for entire composition
(e) an overall key and modality can be identified

(d) less symmetric form 2. Faster harmonic rhythm: (a) mostly overall diatonic roots, melody, and spelling (b) more melodic bass part (c) clearly defined home key (d) more symmetric form Examples; Slow - "In a Silent Way" by Joe Zawinul, "Masqualero" by Wayne Shorter, "Sea Joumey" by Chick Corea; Fast - "American Hope" by Ron Miller" most pop runes, Metheny tunes, Brazilian, and new age tunes
·13·

CHAPT£1l

.1

SUGGESTED EXERCISES

Listen

to

[he following of each section.

recordings

and try

to

idemify

[he general

harmonicgroup,
to

If more name the

rhan one group is used in a singlecomposition, modality

label the group by sections. Try

1. The Sorcerer - Miles Davis (Columbia

(a) "Pee Wee" (b) "Masqualero"

CS 9532)

Tony

williams

- Wayne Sherrer

2. in a Silent Way - Miles: Davis (Columbia (a) "InaSilent Way" - Joe Zawinul

CS 9875)

3, Power to the Pepple- Joe Henderson

(Milestone

M 90241))

(i) "Black Narcissus"

(b) "Power

- Joe Henderson

to

the People:" - Joe Henderson

4. American Hope - Ron Miller (Nevus

3058,-2N)

Comparethe Messengers

rhythm
recordings.

secrion.style

of playing on the harmonic

the

above recordings

With that of lIny Charlie Jazz found of compositions

Parker 'recording on Messengers

and compare recordings

rhythm joined

of [he above with any pre-1960s the baud?

Is [here a difference

in the harrnonic.rhyrhm

after Wayne Shorter

, i:

I, I
j'"

1) Reissuedo

n ~he 2"LP

SO t

"F 0

"sign r'

(J.,iile",o~ es M 47058)

·14 •

ConslrU,cti0l7t.
~l
_, I

Of the

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

CHA·PTER

II

METHODS
There are
twO

methods:

1. DIATONIC METHOD

The traditional
notes comparison. 2. CHROMATIC

method:

that of establishing modes

a key center and transposing the adjacent

related, with no, clear color

of the major

scale. The

are diatonically

METHOD method: chis is a nondiaronic method stability and harmonic/melodic a harmonic palette where each mode has the same of rerrachords qualities. for the composer of modal are to be that clarifies

Fixed srarringnore starting the differences

note. The modes are constructed in modality,

by the combination

The main .goal of this section compositions chromatic

is to establish

to use in a rnariner similar method is the best choice.

to that of the visual artist. The "colors"

bright or dark, tense or relaxed, and to have emotional

effects as well. With this in mind the

The six scales from which the harmonic Llonian 2. Ionian mode ~3 (melodic minor) major) minor) minor #5)

material

in this book will be derived are the following:

3. Ionian ~6 (harmonic 4. Ionian 5. Ionian 6. Ionian

~3)~6 (harmonic ~3, ~5 (melodic

TETRACH ORDS1)
There are rwo groups: diatonic and chromatic 1. DIATONIC: Follows an alphabetical Alphabetic sequence sequence, with no enharmonic spellings. spellings,

2. CHROMATIC:

with enharmonic

Lydian Ionian Dorian Phrygian

222 221 212 122

Hungarian Hungarian Harmonic Spanish

major minot

312 213 131

Phrygian

121

Example 2-1:

l
~
• 16 •

Lydian

Ionian

.-

•
major

#.
2

.-

Hungarian

Hungarian

minor

.-

#.

i·

.-

~. ~.#. ..
•
.3

Donian

•
h.

~.
•
2 3

Phrygian

.- b.

~.
•
2

Harmonic

~.

Spanish Phrygian

.- b.

~.h.

II

I) A a-note scale Fragment

having its own modal quality .

CONSTJ;!U'CTION

OF

THE

U'N.AI..TERED

D'IATONIC

MODES

THE DIATONIC MODES (UNALTERED

Using the chromatic tetrachords,

IONIAN)
modes are created by combining merged modality and harmonic/melodic definition. rwo with its own

or fixed starring note method,the resolution tendencies,

each with its own mod ali cy, into a resulting

qualities of brightness/darkness, These results should be met:

1. The sum of the semi cones equals 12.

2. There are seven different scale seeps.

3. They are all contained within an octave.

THE FORMULAS "l;(:~E~:,~ ":"~~:#t -I\~PQE ·\;i~""Lydian Ionian Mixolydian Dorian Aeolian
I

.1."",·-

';TriRACHoiilis"':~irtt~!f._:::_ 'SEMrtdNE:S~"( :'~;";:'f",,,. _~

~H
,',-. ''''e .

I') ~.. "i" I:.fO~~.:.~<:TOR 1 2 2

Lydian &- Ionian Ionian &- Ionian Ionian &- Dorian Dorian & Dorian Dorian &- Phrygian Phrygian Phrygian
& &

222 &- 221 221 & 221 221 & 212 212 & 212 212 122
&. &

2 2 2
1

122 122

Phrygian
Lccrian

Phrygian Lydian

122 & 222

Note the shifting representation

of the minor sec-ond interval from the right to rhe left. This is a visual

of the order of brightest ro darkest of [he modes ..

Example 2-2: The Unaltered Diatonic Modes

t .. •
Lydian
2

•
2

#. •
2

•••
2 2

(1)·

..

Dorian

• • 11. • "
2 (2)
2

~. ..
•
2 II!

.. •
2

Ionian

• •••• "
2

(2)

.. •
2

Mixolydian

• •••
2 (2) 2

~.
•
2

Aeolian

I,. k. • • k• • •
2 (2) 2 2

~" .. ~.
Phrygian
.2 2

• • b.
(2) 2

• ~.
2

t ..
added

Locrian

b. &.
2 2

11.
(1 ) 2

j.,.

11.
2 '2

II

..... Note that in order for ehe semitones ) to (he formula,

'Co

add. up to 121 a no ther in rerval m us Ir be either a sernitone

COne

or a whole tone. This will be called [he mnne,cta,r or connecti.ng and is found between the upper and lower rerrachord.

• 17·

CHAPTER

11

SUGGESTED EXERCISES

1. Construct

the following

modes using the rerrachord

method

(do nor use key signatures):

(a) 0 Ionian
(b) F Aeolian (e) Eb Locrian (d) G Phrygian

(e) B~ Lydian (f) N Mixolydian (g) E Dorian

2. Try

to

construct

a rerrachord

not listed in the text.

3. Try unusual

combinations

of the given terrachords.

4. Play the tetrachords,

learn to identify

them by ear.

5. Do the above for the modes, make note of their emotional

quality.

!\
• 18 •

CHAPTER

III

of the Und'lt,ered
Diatonic Chortl's
," ',I " ,

j;;

,1.

Shorthand

':

Methotf
Meth~d

.z. C9mprehensive
3. Spelling 4. Parent

Scale

5. Priority Order
6. Spacing/Voicing
,

7, Te'rtiary
8. Cluster 9. Quartal

10. Mi?<ed
11. Balance '12. Su pport

1'3-.

Tessitura Series

12. Overtone

- -13. Fundamental '14, Upper S tru ctu re 15. Grip

CHAPTER

III

METi-iODS
There are two methods of modal chord construction:
1. COMPREHENSIVE METHOD

All aspects ofmodalquality spacin~ and balance.

2. SHORTHAND METHOD

and acoustic properties of note groups must be known: spelling,

Uppersrrucrure method: an upper structure with a particular hand shape or grip "isplaced over a root. [Note: The shorthand grip method will be covered in-Chapter VIIL]

THE COMPREHENSIVE

METHOD

SPELLING/COLOR
To determine comparison

TONES
tones) that de [ermine a. scales modality, a direct

the tones (color tones, quality

with its parent scalel) must be made. alterations are the notes that give the mode its quality.

The notes with different

There is an order of priority in the list of color tones that define any mode. TH£ IDIATONIC MODES PRIORITY TA£lL£
11;'-·::;':_.oi :" 1~~I1~f. :,"' :"'"", 11£":< I~?, '. ~~\;;i6 ,"'3",,: ~JrJ xo.",~, I,-~i;;.~,., '!f,;> I,';;c"g
'!:,'" i ,_

Lydian Ionian Ionian (1) (2) (1) (2)

ft4

7 4
3

3 3 9 3 9 1>7 5 4 b7

6 6 6 6 6 9

9.
9 5 9 5

(5) op~

7
7

5 (no 4) 5 (no 4)
4

Mixolydian Mixolydian Dorian

~7 ~7
1(6 ~6

4
3

b3 2 5

5 b7 b3 b3

Aeolian Phrygian
Locrian

b3 b7 ~6

~2
~5

b6
4

b2

[Note: The order has been adjusted to conform to "common practice"]

SPACING2)
has priority order over spelling. [Note: The primary means of chord construction used in this book is thar of stacking of upper scrucrures over roots, The spacing caregories 'refer to the upper srrucrure only.] THE CATEGORIES OF CHORD SPACING
'l , TERTIARY 1) The Ionian mode with th e same root
as the compared appendix), 2). The inrervalic ratio between 'he adjacenr notes of rhe upper structure: of a chord, there are: fomr caregories . mode (see

The adjacent

notes are of a major third or minor third interval.

2.. CLUSTER - The adjacent notes are of a major second or minor second.
3 .. QUARTAI.. - The adjacent notes are of a perfect fourth or #4. 4. MIXED - The adjacent notes are of a combination

of seconds, thirds, and fourths.

• 20 •

CONSlTIlUCTIO,"

OF

THE

U,":II.L..TERED

DI .... ONIC T

CHORDS

BALANC£/SUPPORT1)
This· describes how the. verticalspacing affects the. chord stability. is not always desired; often, an

[Nore: For this kind of harmony, stable chord construction exotic imbalanced construcrion sounds very appropriare.]

Good balance usually is a result of chord construction, which followsa. model of the overtone
series in its vertical arrangement. In. addi [ion, the qllal~ty of the intervals adds to the overall sound - thirds are consonant, 1. TERTIARY - Themost seconds have bite, and fourths have tension. the one which mimics the overtone series but the most

balanced,

bland and uninteresting.

2. CLUSTER - The one which is most unlike the overtone
['bite~jI'

series, blH has an interesting

3. QUARTAl-

An example of displaced

overtones,

it has subtle added tension which gives

it a great sound.
4. MIXED - The best choice, has a good combination of consonance, bite and tension.

SOME GENERAL "RULES"

A. ROOTS

• No less than anoctave between [he root and the upper structure G3 (second G below middle C).
• No less than a ~4 between the roor and the upper structure

if the roor is lower than

if the root is above G3.

• No more than an octave between root and upper structure if the root is above C3 (C below

middle C). B. UPPER STRUCTURES (MIXED.)

• No mere than a fifth between the lowest note of u.pper structure • No mote [han a fourth between any ofthe remaining co its next upper note. notes,

upper structure

Keep in mind that [he upper structure

unusual combinations

by itself is less sensitive to: weak balance, and that are desired in mOST cases.

I)·A resale of the root

<0

upper

S<NetU,"

.ra rio wi thin a certain ressi tuea, Support is effected byrheressirura (he rootand fundamental p. 127) • 21 • its abiliry [0 acras
to the

of

overtone series. (See

CH ....PTER

III

PROCEDURE

FOR CHORD CONSTRUCTION

by the dictates of acoustics. of a primary There are adjusttone or selecting in That is, taking prefer-

The priority order table is nor set up cornplerely ence in the order of notes notes tharconforrn each example that emphasize is made.

menrs made to the [able that are more reflective of t'cornmcn practice." the modal quality or printed to documented use in recordings

music. It will be explained

when an adjustment

Although all spacings

interesting of all spacings, L Select the general

will be represented

in the examples,

it is restated

here that the most and use

are the mixed spacings.

Still, one should be familiar with the construction

tessirura

and roar of the chord,

2. Select the kind of spacing.

3. Place the primary color tone somewhere within the selected ressirura,

4. Fill in, up or down; the remaining spacing

to

color tones within [he specified interval of the selected

the number

of note's desired in the chord (four or five plus roar is typical). and balance if good support chord on assignment. chords first, [hen experiment surprisingly spacing good. (quartal, erc.) you may with and balance are desired.

5. Keep in mind the rules of suppOrt One should 6. If constructing

be able to create a. balanced mixed spacings, spacings.

try to create balanced Some of them sound

exotic (imbalanced) 7_ Erase and adjust

if needed. If constructing table

to

an assigned

need to shift the priority S. Doublings are acceptable within the comments

fulfill the required

spacing. will be made

and even desired in some cases. Recommendations

of each example. out that there is a problem with the standardization that I have received from the many students of modal

At this time it should be pointed

I
Ii
, III
"

chord symbols. Throughout are a compilation

the remainder

of the text, the chord symbols given in the examples I have had from

of suggestions

all parts of the world. These suggested

symbols work, but are open to criticism.

THE £XAMPLES:
T ~ Tertiary

TH£ UNALTERED
Q
=

DIATONIC MODES
=

Quartal

C ~ Cluster

Mixed practice. Specific examples found

I l

The mixed examples

are typical of those found in common will be labeled.

in rhe listed discography Check marks "common

refer to the preferred

examples because

of true modal

sound

or because

of

practice" usage. best; with the third next to the ~4J try to avoid using the fifth, it makes

1. LYDIAN - Sounds the #4 sound Example 3-1:

Like a HI (see Ft.6j9~11).

,
~

FA69~4

F Lydian

(
• 22 •

~
v T

ho .._.
Q

.....
C
M

(1)

(1) found in "Gazelle"

by Joe Henderson

I I
CONSTRUCTION OF TH·e: UN~LTERED DIAl'ONIC CHORDS

I I I I

2. IONIAN - There

are two 'forms

of Ionian, the common

one: 1::,.6/9 which

is lacking

complete Ionian modality, and the L~.Ilwhich has the true modal sound.
Example 3-2: F69

Ebl> 11

D/'.69

AjD

I I

(
1'1

tJ.
it

e_"'"
OJ OJ

'i'-"

11-6
,,0·

I I I n(4)

_...,

J.
I;I-e(1) I;I-e(2)

....
T

OJ

u
(3)

I I I

(1) ~ true modality

(2) ~ exotic

(3) ~ traditional

(4) "" contemporary

I I

3. MIXOLYDIAN - Like Ionian, has two versions, third and the fourth. Example 3-3: G9 G 13

the one with true modality has both the

I I I

Ebll

F7add4

I I

.n

11""

I
..n
OJ

l
p-e-

!..b
(ll

I I

(2l

I I I

(I) ~ true modality

(2) "Monk's Dream"

I I

4. DORIAN - Must have a natural Example 3-4: 0-13 0-69

sixth, note that C-9 is riot a modal chord.

I I

r
tJ

B-7~6

o Dorian

I I I I

~ ~
_h~

l'

'OJ

....

OJ

Hn..
u

60
u
M (1)

I -e(2)

uT

nQ

u
(3)

I I I I

(1) from "Touch" by Eberhard Weber (2) "Alice's Wonderland" (3)"50 Whil[" by Miles Davis

by Charles

Mingus

I
I

I
• 23 •

CH1>.PTER

III

S. AEOLIAN - Dark and beautiful, Example 3-5: A-9b6

can sound

like a first inversion

triad.

(
(

A Aeolian

C-9/G

A-9b6

..

~ ~

~
n

"-'"

e' n

e
Q

e-

(1)

(2)

(3)

(1) a Gil Evans voicing (2) "Sea Journey" by Chick Corea (3) "The Lieb" by Ron Miller

6. PHRYGIAN - Dark and exotic, good "colors" Example 3-6:

chord.

E Phrygian

E susb2

D-9/E

F/E

F-l1jG

.-€t-

ti'

,r,

-eT

-€I-

-eM

7. LOCR1AN - Use with caution! Example 3-7:

Can be roo dark and tense.

bs

\
III Ii

Bb-7/G
V
U

Locrian
vu

E suf2

.(

he.
T Q

c
(1) from "Haressa"

-oM

(1 )

by Steve Grossman

notes. If the occasion does come up, try to or choose a color tone that emphasizes the primary color tone as second choice. As an example, doubling the rocr with Phrygian also emphasizes the b2 quality of Phrygian, doubling the root with Aeolian emphasizes the natural second. Usually there will be no need to double any ofrhe the rocr as first choke double Regarding recorded to enhance 'common examples practice' adjustment players of the color voicings An example tone priority [able, many of the are made fifth to

are by piano

so the examples is the inclusion

are derived, from what of the perfect

conforms to hand shape (see Chapter the modality Aeolian to emphasize five (Locrian q;2.).
• 24 •

VIII on the grip method). while clarifying

Other: adjustments

of the chord.

the flat six quality

that the chord is not an Aeolian flat

CONSTRUCTION

OF

THE:

UNALTERED

DIATONIC

CHORDS

SUGGESTED

EXERCISES

1. Construct S-note chords (root (a)F Lydian, mixed

(b) A Phrygian, 'cluster

four) of the following modes:

(c) E~ Mixolydian, add ~4, quarral

(d) B~ Aeolian, mixed (C on top) (e) B~ Dorian, mixed (C on top)

(f) E Phrygian,

cluster

(g) E~ Lydian, quartal (h) A Aeolian, cluster (B on top)

2. Construct

the following chords as specified (include chord symbols and use your best calligraphy- be aware of neat presentation): Ca) G Phrygian, quartal
(b) E Dorian, tertiary (cl E~ Ionian, no third, duster

I I I I I I I I I I I I I I I I I

(d) Db Lydian, tertiary

Two mixed each for the following; (a) C Mixolydian (b) F Aeolian (c) 94

Bb Lydian

(d) Db Ionian ~4

3, (a) Play through all of the above chords, transpose ro all keys.

(b) Listen carefully as you play. Have a friend play them, try

to

identify their modality.

·2.5'

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

CHAPTER

III

• 26 •

I I I I I I

.c::

HAP T E R I V

I I I I
I

Characteristi€s
• z".'

I I I I I I I I I I I I I "I I I I I

of the

1. Order of Brightness to Darkness

2. Momentum

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
I I

"3. Modal Resolution

4.

Stability

;'5; Eiii:otional Generalizations 6. PaJette ,7. Harmonic Cadence

CHAPTER

I:V

The following characteristics of the unaltered diatonic modes. are the seed qualities for all subsequent modes and their chords to be introduced in the book. The later modes/chords have these basic qualities, with subtle enhancements according to their divergence from the source diatonic mode. The goal of the following descriptions is to establish and list a mode's musical/emotional qualities, which can be referred to for compositional and aestherical use.

BRIGHTNESS TO DARKNESS
1. The shifting of the sernitones from right to lefr increases the amount of darkness.

2. The increase of darkness is a realiza don of the effects of alteration by "flatting." THE ORDER OF BRIGHT TO DARK

1. LYDIAN 2. IONIAN 3. MIXOLYDIAN 4. DORIAN 5. AEOLIAN 6. PHRYG!IAN 7. LOCRIAN

brighresr

darkest

RESOLUTION TENDENCIES
1. MOMENTUM- The desire of the root mode with the same diatonic spelling.
to. resolve

to the home key, the roor of the Ionian G Ionian.

Examples: C Phrygian wants to go to A~ Ionian; C Lydian wanes ro go

to

The chords can cycle through chords with less momentum until the home is reached. Example: D Dorian to G Mixolydian
to

C Ionian

As one can see, chis is the foundation for diatonic cadence. 2. MODAL RESOLUTION - The desire of a modal chord to release its tension by becoming the Ionian mode with the same rOOL Examples: C Aeolian co C Ionian,F Mixolydian to F Ionian. This method of chord comparison is used a later chapter.
to

create modal contour and will be covered in

1. STABILITY - The lack of any need of the modal chord to resolve, also could be thought of as lack of tension. Ionian is the only mode without desire to resolve or to relieve tension (see appendix). The order of tension or lack cfsrabiliry is [he same as the darkness order, except That Lydian is less stable than Ionian and wanes to resolve to Ionian .

• 28 •

I
C H A R 11C T E R 1ST I C 5 0F T H.E U N II
t,

T ERE

0, I 11 TON

IC

HOD

E5

EMOTIONAL..

GENERALIZATIONS

I I I I I I I I I I I I I I I I I I I I

The modes can 'and should be used to form an emotional response from the listener. The descriptions are the result of a listener poll upon hearing different modes with different voicings. Being a generalization, the results are accurate in most cases but cannot be totally relied upon. Such inaccuracies come from the diversity of the listener's familiarization with different kinds of music, as well as their life experiences and cultural backgrounds. THE RESULTS
1. Lydian - aggressive, urgent, frantic, urbane, busy

2. Ionian <srable, peaceful; placid, content, hopeful

3. Mixolydian - transient, searching; suspended, floating 4. Dorian - brooding, uncertain, thoughrfuljpensive '5. Aeolian - melancholy, sad, somber, darklyromanric 6. Phrygian - mysterious, exotic, haunting, spacy, psychedelic 7. Locrian - angry, tense, ugly, mean, enraged

Note that the above qualities can be affected. by ethermusical devices like tempo, ressirura, chord spacing, as well as syncopation, harmonic rhythm, and melody. The order of brighrest to darkest should be considered as well. We now have a simple palette of primary colors with which to creare our harmonic scene. We can create a modal landscape by contrasting bright chords with dark ones. We can bring about an emotional response from the listener by our selection of modality and by Gleeful selection of the general key or tessirura of all the chords. In addition, we can enhance the effect by the selection of the appropriate tempo and harmonic rhythm. All of the above will be covered in later chapters, but next we' need to construct modes and their chords that will add secondary l'colors' to our palette. It is important to grasp the concept that the second group of modes is derived from the primary group of simple diatonic modes; that the secondary group .is a form of altereddiatonic, and that all the qualities of the original diatonic modes are maintained but enhanced by the quality of the alteration. As an example, one ofthe modes we will construct is Phrygian, with its sixth naturalized. The sixth of the unaltered diatonic Phrygian is flatted so the new Phrygian natural six has the same qualities of the original but a bit "brighter,"

CHlIPTER

IV

SUGGESTED EXERCISES

1. Play all the previously Try

to

constructed

modal chords,

try

[0

idemify

their emotional

quality.

determine

if different

roots or spacings

affect rhe result.

2. Listen

to

the following

recordings,

make a comment

on your emotional

response. result.

Name

the overall modality,

Note how tempo

and key affect the end emotional "Power To The People"

(a) Power to the People - 10e Henderson,

(MPS 9024)

(b) American Hope - Ron Miller; "Elemenrs," (c) Sleeping GiantHerbie Hancock,

Liberal Arts (NOVllS 3058-2N) (BS 2617) Morning" (ECM 1384)

"Crossings"

(d) The Following Morning - Eberhard

Weber, "The Following

3. Learn the acoustic Examples: C Phrygian: F Aeolian: Ab Lydian: B Mixolydian: _ __ Ab

source of the diatonic

modes, be prepared

[0

answer irnrnediarely.

• :;0 •

CHAPTER

THE MODES OF H-IE ALTERED DIATONIC NO.1

Again, the method used for mode construction With this group cornbinarion, will be the fixed starting note method: that of Phrygian would

combining tei:rachord. produce

terrachords.

there is the introduction

of the Spanish

This is the .darkesr one we use; any furher shifting

of [he right sernirones

a wholly chromatic

THE T£TRACHORD

FORMULAS

~.

Lydian-augmen Mixolydian Mixolydian Dorian Aeolian #4 b6

ted

Lydian & Spanish Lydian & Dorian Ionian

&. Phrygian

222 & 121 222 &212 221 & 122 '~12 & 221 212 &222 122 & 212 121 & 222

1
2 2 1 '2 2

~7

Dorian & Ionian

Dorian Phrygian Spanish & Lydian
& Dorian

bs

Phrygian

q6

Super-Locrian

& Lydian

Nerice darkness

the asymmetric

organization

of the sernirones a quality

due to the alterations.

Although diatonic we think

to

the of the

order is unclear,

we will simply follow the order of the unaltered

modes,

with the alteration

being considered

enhancement, Traditionally,
minor (ascending),
etc,

source of this set of modes as being melodic parent scale for order of darkness, altered Ionian - Ionian 1>3. emotional

but in order

refer to the

characteristic,

try to think of the source as

Example 5-1: The Modes of the Altered Diatonic

b\0-

___

-\,14

No.1

(Melodic

Minor)

llt-I

Lydian-augmented

...
2

-s -

- ~. Ij2 2 (2)

•
.2

a- •

.. • ~. #2
2

Mixolydian ~4 .

••
(1) 2.

~. ... . ~.
Mixolydian ~6

v7

•
2. 2

(2)

.~2

]-7

•
(2)
i~

- q- ~•
2 2

•• ••
2

•
2 (1)2
2

•
2 2

(2)

• 9- b. •
2 2.

l....~ I,.
Altered

~ \l'\\~

11/

&.

&. I..~. •
2 2

I,

(2)

·32 •

THE

1100ES

OF

THE

1IL..TEREO

OIATONI'C

MO.

ME'L..ODIC

MINOR

CONSTRUCTION OF THE CHORDS

Although we are still using the comprehensive method, the chord examples will be of mixed

spacings only, There will be examples of other spacings in subsequent appendix,

chapters and in the

Comparing [he altered diatonic modes wirh the diatonic modes, we derive the following table of color tones, again, adjusted for common usage and modal definition.

TABLE
'. t"

Lydian-augmented

ns

~7 b7 b7
b3

3 3 3 q6

~4
6 9 9 b6

6 9

Mixolydian ~4 Mixolydian ~6 Dorian q7 Aeolian bs Phrygian ~6

Super-Locrian

"4
b6

5
4
I

5 5
9

~7
bS

4 4

~3

b7 4 b6

~6
b4

~2 b7

b7
],3

b3

5
],2

bs

As will be seen, we must use at least two of the tones to get sufficient modal definition.

CHORD EXAMPLES
1. lYDIAN-AUGMENTED - A brighter form of Lydian, it is quite often found without the ~4. Example 5-2:

(
(

,
...,

F~#5

~,
....

D~t. 4

'1~

6~~
'

....

pu

2. M IXOLYDIAN14 - Nor really the 13"11 chord familiar to all, this chord is usually used in tandem with sus chords. It is a brighter form of Mixolydian and is traditionally called Lydian-dominant.
Example 5-3: F7#4 F13#4 A~9sllS4 A~9sus4

( (

1\

o...r-

b..n
'--'

6.0

b.o
* ~----------------------~

....

*) Us< in tamdem with [he !>,'fixalrdian sus 4 chard.

o

33

'0

CHAPTER

3. MIXOLYDIAN 1>6- A darker form of Mixolydian, fused with Aeolian if the third is not generated

it has an Aeolian sound and can be conin the overtone series by the played instru-

ment (see appendix).

Example 5-4: G9b6
f

This chord is highly recommended

for attaining

a fresh sound.

"
~

C-!'J.69jG

'-F

6.0

.c.

4. DORIAN q7 - Usually called minor/major it from traditional Example 5-5;

I

seven, the natural

sixth in this mode separates with sus 4 chords.

use. Like Mixolydian

'4, it is often used in tandem

~ 6 .0
•• 1

5. AEOLIAN I>s - Also known as Locrian 1~2,either name is okay. Although lise this chord as aii chord in minor ii-V cadences, functional Example 5-6: Asu,PS E-9b5 A0~2 use.

we traditionally

the modal use is a "standalone,"

non-

(
<

t.l

OJ"

11...,

......

6....

1,....
-e-

16, PHRYGIAN

~6 .: One of theearliesr chords used in the new-modal type of compositions, it first appeared on Herbie Hancock's album Maiden V6,/,age, in the tune "Little One." This chord .can sound [ike a 6/4 chord with a suspended b2 and was used that way by Ravel
(Daphne
er Chloe).

Example 5-7: D~+/C

I

B~_li/C

C6~2add4
I I

(!

OJ

(!

uo

.fC#J

OJ

-e-e• 34 •

60
-e-

THE

.HDDE·S

or

THE

1IL.TERED

·D.11ITo.l"nC

NO..

MELODIC

HINo.R

7. 5UPER,LQCR!ANI Pomeroy

Also.

known

as altered,

diminished-whole

tone: and

as the Herb

scale. It sounds very dominant ofa natural third.

and functional

but we will use it as a ;'stand

alone" modal chord. If flat fours (i.e., F~.)make you uncomfortable, incorrectspelling Example 5-8: C7alt.
II I (Traditional Spelli ng)

lise the often. found

h....

We now have

tWO

sets of modal chords in our palerte, They 'can now be merged into. an order
As

of bright

to

dark.

mentioned previously, the altered modes are variations of the diatonic

increases the number of left-sided semirones, the mode is darker, If

modes. If thealrerarion

the alteration rnovesthesemitones to the right, the mode is brighter. With this in mind, the following is the collated order of the modes we have constructed so far. THE COLLATED ORDER
EMOTIONAL DESeRlPTION

1. Lydian-augmented 2. Lydian

very frantic

brightest

3.. Ionian
4.. Mixolydian 5. Mixolydian
6.. Mixolydian

~4 ~4
b6

tensely yearning

romantically

hopeful

7. Dorian ~T 8 .. Dorian b7

perturbed

9. Aeolian ~5

10. Aeolian bs
11. Phrygian 12. Phrygian 1>.6

romantically

confused

open, hopeful

13. Locrian ~4 14. Locrian ~4

bluesy; urbane darkest

Having OUf first group of secondary colors addled co rhe palette, we could,at this point, create some interesting groups of chords. There are 'quire a few compositions within the new-modal type. of composition that keep within this limited palette, bur we need more - there are three more sets ofalrered modal chords to investigate and they will be covered in subsequent chapters. Next, we will look at a group of chords rhat ate used primarily for their quality of sound orsonoriry, These are chords that have obscured modality bur imply a modality with their acoustic properties.

·35·

SUGGESTED EXERCISES

L Construct

the following chords, all mixed spacings. Include chord symbols.

(a) G Phrygian ~6 (b) E~ Lydian-augmented (c) G Mixolydian ~6 (d)

A~

Mixolydian ~4

(e) D altered (f) Bb Dorian

q7

(g) F Lydian-augmented (slash chord) (h) G Locrian q2

2. Play them in all keys, doi[][g ear trainingas

usual

3.. Use Y0l.l.[ best calligraphy;

use

a ruler if-needed,

, I.
':·1
,
!

!
'
I

• 36 ,;

CHAPTER

VI
.• Hf

Non"Modc.l Cho~s1)
~ \' . . - -I -

1. Add Note Chords '2. Delete Note 'Chords 3. Suspensions '4. Implied Modality

CtiAPTER

VI

KINDS OF CHORDS
1. ADO NOTE CHORDS - Derived frcm unresolved cadences, the unresolved nore

becoming a suspension.
2 .. DELETE NOTE CHORDS - Chords in which a note is deleted to create a chord spacing which has a particular sonority,

ADD NOTE CHORDS

CHORDS described DERIVED FROM CADENCES: These are chords [hat have a sonority that can be rhe normal

as

having an unresolved

quality.

They are the result of not resolving

voice-leading

in a cadence. Although they do not have a modal definition, they. have an implied modality, which will be pointed cur when the chord is discussed.
SUS 4 CHORD: Derived
[Q

THE MIXOLYDIAN resolution fourth consider ofrhe

from the unresolved

II~V cadence,

the normal chord,

of the seventh its quality

the third is not completed,

leaving the seventh 1:0 becorne rhe

target chord, Although this chord is treated like a Mixolydian

a produce of non-resolution.

try

to

Example 6-';
. 1\

normal

unresolved

THE SUS 2 CHORD:

sonority but acoustically Example 6-2:

Derived from the unresolved V-I cadence, can be .interpreted as Ionian.

this chord! is typically a

unresolved

r
I
I

THE SUS 4, NO SEVENTH CHORD: normally considered resolved Ionian,

This chord

is derived from the IV-I cadence,

with the

1 ra3 suspended and becoming

a 4 of the target chord. The chord can be

Example 6-3:
1\

normal
/

unresolved

{~;~~~@~~~
<J

'-'

IV

iV

I ,.u~4

·38 •

NON-HOO"'L

CHORDS

Example 6-4:

r.

Fsus4

/_

Bb13sus4

C13sus4

F7sus4

MISS:JNGTHE THIRD: This chord could be either a minor 11 or a Mixolydian 11. Because a

major third is usually generated acoustically, it tends

Example 6-5: (a)" Csus?

to

sound like Mixolydian.

(b)Csus4

(~
~

-(2#..J

Example 6-5a: Sus 2 - Do not include a sixth with rhis chord, its quality should be stark root, major second and perfect fifth only. Example 6·5b: Sus 4,.no 7 - Clearly not Mixolydian; include root, perfect fourth and perfect fifth only.

DELETE NOTE CHORDS

These are chords that have notes purposely deleted to create a particular sonority. Because the missing note is usually a primary color [one, its modality, in most cases, is unclear.

The qua1iry tones that are deleted usually are [he primary quality tones. THE MISSING
MINOR:

NOTES

Sixths- no. clearly Dorian, not dearly Aeolian Sevenths - not dearly Mixolydian or Dorian ~7 (min/maj7)
MAJOR:

Sevenths - not dearly Ionian or Lydian Fourths - not clearly Ionian, Lydian or sus 4

THE TWO MAIN GROUPS OFTHESE KINDS OF CHORDS ARE: 1. Chords with a b7, which imply Mixolydian or minor seventh and

2. Chords with a major third, major seventh, or no third or seventh, which imply Ionian.

• 39 •

CHAPTER

VI

THE TABLE OF CHORD TONES FOR BOTH GROUPS L Mixolydian sus 4

~7 ~7 ~7 b7 b7
-

~4

6 6 6

9 9 9

.5

-z, Mixolydian
*3. Ionian ~4
4. Minor 11

11

q3 ~3 ~3
-

q4
~4 ~4

.5
.5 .5

9
9
-

5. Mixolydian 9 (no 3) 6. sus 4 (no 7) 7. sus 2 (no 3) 8., Major 9 (no 3) 9. Major 9 (no 7) 10. Minor 9 (no 7)
I

~4

5 5
5 5 5
I
I

~7
-

2 9 2 2 2 2
I

~3

1 L Mixolydian 13 (no 3) 12 .. Minor 9 (no 5) 13, Mixolydian 9 (no 5)

b7 b7 b7

l>3

5
-

~3 ~3

The following examples 'of both groups are typical. of those found in common practice.

f-9add4

(a)

(b)

(e)

v'_

~'.'

V.

Missing the sixth, the minor i 1 is nor dominant nor is it Aeolian. It does tend to sound Dorian because of the strength of the sixth (13th) in rhe overtone series. The examples (a), (b), and (c) are included here ro show the similarities of sound and construction. Keep in mind that (a) Mixolydian 11, and (b) Ionian 11 are defined enough to be considered modal chords and are included here purely for comparison. These chords are also to be compared with ehe previous Mixolydian sus 4 chords. Notice that these four chords have a 4 or' 11 in common, with the differences being the inclusion of a major or minor rhird and the seventh being natural or flatted. would have all seven notes of the scale included. It could be argued that all chords with less than seven notes are nonmodal. For musical reasons we must compromise, as we are. doing now - so \ve will consider the chord examples given in previous (and later) chapters as complete modalities and the chords constructed in this chapter as nonmodal.
rhara At this point it should be restated chord with a truly definitive modality

0) Definable medalchords com p a rison,

included for

·40 •

Example 6-7: (a
C9rlo7 (b)C-9rJo7
r-.

(c) FLl9no3

(d) F9no3

(e) F-9noS

(f) IF9noS

(g) F13no5

(h) F13n03,5

(
<

@J,

jU"

'-T

'-T

L .....
u u
OJ

I..
OJ

I..
OJ U

Example 6-7a: Compare this with the sus 2j this has a major third andis sweeter, less stark sounding. There is confusion over a suitable chord symbol for this chord. Use root, major second, major third, and perfect fifth only. Example 6-7b: The minor version of Example 6-7a, missing [he seventh; it is unclear but sounds more like minor 7 than minfmaj 7. Example 6-7c: The contemporary voicing of Ionian, a, great sound, used much in slash chord harmony (covered later), usually seen as C/F.; Example 6-7d: The Mixolydian version of Example 6-7c, could be C-/F. This inversion was used ofren by Ravel. Example·6-7e:The minor second and the perfect fifth give this sonority a great "bite;" This is the prototype "new age" chord. Example 6-7f: The Mixolydian version of Example 6-7e. Example 6-7g
& 6·7h:

Implied Mixolydian chords with a good "bite."

There are many more examples in use; to create some of your own.jusrdelere one or rwo notes from a fully constructed chord, p~ynngattention co the resulting spacing: the combination of seconds, rhirds, fourths, and fifths, and then the resulting sound and implied modality. Before creating your own delete note chords, reviewrhe principles of chord spacing in Chapter III. Striving for a particular sonority" use of major or minor rhirds will give you a consonant sound, use of fourths will create starkness; and use of major or minor seconds will add bite, Mixing the intervals will soften the effect of the individual. Review,in the appendix; some of the principles of acoustics and you will see why some of the missing note chords imply a. modality. To experiment: on a grand piano, pound om an M, no 3 chord with the G# on top (E/A), hold the chord and listen intently for rhe major third to Start sounding a few secondslarer. Another demonstration would be to play an Eh9sus4 and while the chord is sounding, with a free finger, play a G~, then try a G natural. Then JUSt play the chord without a third and listen ro hear if a third is generated by the overtone series. Try the chord on other roots, Try other: chords, We now have enough chords in our palette to rake a break from creating chords and to move on to creating some music. The first step is [Q organize these chords into a musical whole ... so chord connection is the next step, as found on the following pages.

• 41 •

CHII.PTER

VI

SUGGESTED EXERCISES

Construct review: F-ll

rhe following

chords,

all mixed

spacings;

some. are from previous

chapters

for

G Mixolydian Dsus2 (no 3)

E~11

~6

F9 (no 3)

Bb

Mixolydian

#4

F4 (no3)

DbM
G Locrian ~2 Ab Lydian-augrnented

C-9 (no7)
C Phrygian
E9 (no7) E~13su.s4

~6

G Phrygian ~6
F Ionian ~4

II

II
II

I'
,I.

/: I

i'

I II

i
,,[

·42 •

<;: ·HA PTE R VI"I

Chord Gonnecti'on

'r

1. Common Tone' 2: Pedal Point 3. Darkness Contour

4. Cadence

5. Harmonic
6. Common

Melody

Uppet Structure

CHAPTER

VII

Most comempora;ry diatonically vertical connection, The approach modal and

modal jazz compositions Depending modal. Linear

have areas where There is a large number rhythm, areas have roo few chords chord connection. into two categories:
to

of nonchord

related chords. or plateau

on the harmonic

the areas could be called require

n.v

or ronal areas have predetermined organization

to harmonic

is divided generally

1. Harmonic/melodic 2. Harmonic/rhythmic

means and means

HARMONIC/MELODIC
There ..arerhree
1. A common

CONNECTION
of connection:

categories focal point contour

2. Contrived 3. Melodic

manipulation

A. COMMON
focal point.

FOCAL POINT
for a group of ncn-diaronicll

Offers a point of unification

y rela red chords. A common

aural

There are four kinds of common 1. Single note upper 2. Single note bass (pedal point) 3. Common inner structures 4. Common upper strucrures

focal points:

B. CONTfHV£D
An attempt
to

CONTOUR
contour of tension and release
10'

give an ordered

a set of modal chords.

1. MODAL CONTRAST: 2. MOMENTUM:

lBt"ight to dark, etc.

Desire to resolve to Ionian

3. CADENCIE: Parody ofU-V-I 4, MELODIC RESOLUTION 5. CHORD SPACING of upper/lower neighbor

C. MELODIC
Applied

MANIPULATION bass melodies:

(symmetric through or asymrnerric) the application of melody-writing concepts

to rap and/or

1. Recognizable 2·, Organization

patterns of contour

II

PROCEDURES
Keep in mind that these nondiatonic where activity or tension is desired; rhythm. vertical modal harmonic areas are usually found at cadences, vamps or any area [here are few compositions char have many areas of

·44 •

I
CHORD CONNECTION

I I

COMMON! FOCAL

POINT
I I I I I
chords at bass melodies until your musical taste is satisfied.

A. SINGLE PITCH. TOP NOTE

1. Select a pitch within the desired ressitura, 2., Create a bass melody (see section on melodic manipulation). (.a) symmetric (b) diatonic pattern motive and development by playing various chords, voiced with the selected pitch (common tone) on

3. Experimenr
top.

4. Tweak: try different

I I I

Example 7-1 :

Db

Lydian

B~ Mixolydian

G ph rygian ~6

F1Jsus4

(
"I:

e-

'~

1~

'''_''

hn
.._.

I I

Finding common or altered Ionian signature).

tones - What one needs

to

know to make [his process faster or less painful

is the acoustic source of any given mode. To review: the acoustic source of any mode is the Ionian with the same flats or sharps used as the given mode (the same key

I I I I I I I I I I

This could be a large,number since a single pitch is not tied toone source.
EXAMPLE: G above middle C has the following It is the fifth of C Ionian the third of E~ Ionian the second of F Ionian acoustic sources:

the seventh of A~ Ionian

the seventh of Ab Ionian ~3 the sixth of Bb Ionian b3 and so on ... In addition, your choice of chord can include any from the seven different the acoustic sources. COMMON TONE MODE ACOUSTIC SOURCE

modes of each of'

G is the ~4th of

Dh

Lydian

Ab Ionian

I I
minor)

G is the 13th of
G is the root of G is the 9th of and so on ...

B~ Mixolydian G Phrygian ~6 F Mixolydian

Eb

Ionian

F Ionian ~3 (melodic

I I

Bb Ionian

As is shown in the above example, the relationship

of the acoustic

sources has an effect on the

I I

overall sound of the group of chords. In this example we find char all the source roots are

diatonically related to E~ Ionian or ro Ab Ionian, In addition,

many of the chord spellings have

• 45 •

CHAPTER

VII

diaronicisrn

in common.

This would imply that the above example should and an effect of "belonging" a group of chords, your chords. at this point, should have acquired together.

sound "good," with and contour have

an overall 'consonance priority when selecting

Keep in mind char [his is not

always the goal when connecting

char modal contrast

\'\>'i[h so many options, the student, spelling: mode. sound voicings knowing In addition, of the chords on a keyboard the-studenr through is a must.

be quite accomplished [he acoustic a working.

to

with chord source of any with [he in many

the order of quality should

rones, as well as knowing The ability

familiarization play the chords

daily ear [raining.

B. SINGLE NOTE BASS PART (PEDAL POINT)

This form of connection student. is a bit. easier
to

use, It is a traditional

technique

and familiar

[0

[he

It also is the technique

which offers (he clearest modal contrast.

1. Select a bass note within

[he desired tessirura,

to

2. Create a melody for the rop nares of the chords

follow.
to

3. Experiment

with various chords that satisfy your musical tastes. You may want
ro assisr in chord selection.

look at

the contour part of this chapter 4.. Tweak, as usual. Example 7-2;

EtA

A Mixolydian

!Ibn

MELODIC MANIPULATION (symmetric Before we go on, it should be obvious tandem: you need ro know modal contour the techniques,

rap melody) techniques are.to be used in bass melodies and

that all of the connecting

you need to know melodic manipulation

to create the top and/or

co assist in mode selection. Once you have worked with all

with upper srructures!'. part of this [ext and will be covered later in a in common connection, we have as uppers, method co take an except that

go back and redo the earlier ones ..

Next we will look at chord connection The lise of upper structures chapter of its own. Since used for' chord introductory rhey aren't connection

is a very important they are used

look at them now. Inner structures have the same definition construction.

They do provide

an exotic

of chord

and. will be of inreresr

to composers

of classical and/or

film score music.

1) A group of notes, rwo to six, perceived as: a. single 50naril_y or sound. It is chis sound <hat hold, a group of chords rogerher as a whole. They are also a key pa.rt of the grip method

of chord

consrrueticrr VlH,

'0 be

covered in Chaprer

I
CHORD CO,"NECTION

I I I I

C. COHMON INNER STRUCTURES

Because these Structures are found within a chord, a simple interval structure of a third" sixth, fourth
to

or fifth is a good choice. Any more than a three-note within a group of chords, but try a variety anyway. 1. Select a structure; 2. Create a repeating

may turn out

be too dense

begin with a simple third interval, simple melody of two to five notes within a desired, tessitura, portion of a chord. ' keeping

in mind chat this will be the middle 3. The top note of the structure 4. Next, create a bass melody. 5. Play through

I I I

is to follow this melody:

the example as it is so far, to gel: an indication tone on top if desired.

of the modality

created.

6. Add a cop melody; use common 7. Fill in the rest of the chords. 8, Tweak.

I I I I I I I I

Examp,le 7-3: (you name the modes)

I'i

~J

r
r

'1r
I

"

lJi
I

hJ
I

r
_b.

b~
I

I I I I I I I I I I I I I I
• 47.

CtlAPTER

VII

SUGGESTED EXERCISES

L Connect with common tone (CT) on mp: F above mid C, Dale, El>tl6/9r E~ 13sus4, Db Lydian.

Ab 13sus4,

A-9b6,

2. Compose a 6-cho.rd set with CT on top.

3. Compose a 6-chord set, CT in bass parr.

4. Compose an 8-chord harmonic set with both CT bass and top.

Use your best calligraphy, use' a ruler if needed, use no key signature.

I I

• 48 •

CH APT E R V I I I

Upper 'Structures

1. Upper Structure

2..The G'rip, 3. Shape 4. 5/6, 6/5 S. Sonority

CH IIPT-ER

VIII

CHORD

CONSTRUCTION
with upper srrucrures is known as the grip or shorthand method of chord The grip is the actual finger positions foundation of the right hand when playing a chord, of chord construction is derived re-form chords.

Chord construction construction.

There are seven baSIC grips used to create all [he chords found in this text. With this method, one does nor need to know the theoretical Hence, this is a quick" "shorthand" method. This method from keyboard

perforparticu-

mance and due chords are typical of those you hear on (on rem pontry jazz recordings, larly by (he younger players: Joey Calderazzo,

Kenny Kirkland,
sound

and Jim Trompeter, to name a found on fusion, ECM, and

few. This kind of chord voicing also is the predominant

new age recordings.

The upper Structures definition are a basic three-note

group, but

a fourth

note can be added for further The followused abreviarion

if desired. Keep in mind that the structure

is a "shape" and a sonority.

ing is an example of'rhe structures and their derivation. [Note.The to mean upper strucrure.] Example 8"1: Upper Structures 6/5 5/6

us will be

augmented

~.
L L
6/5 added nate 5/6 added note

1\

..,I

5/6 altered

major 74

minor 7+

minor/major

V·

L-'

,...
L

1;)".
L

t;1"'_

l
{_

The most used of these structures there is a group of Phrygian upper

are the sus 2, quarral structures

(inversion

of the sus 2), the major

triad, and what I have termed the 5/6 and the 6/5, named from their inrervalic formulae. which are derived from inversions

Also,

of the ~/5.

1. THIE SUS 2 UPPIERSTRUcrURE This structure construction within is the one found in fusion in earliest recorded use. There are many chords

formed

using rhisstrucrure,

as already found in this text. This was a very popular

choice of chord and a fourth

music of the '60s and '70s. Made up of a second

a fifth, it has a. great combination examples,

of bite and starkness.

and most used.

Of the following Example 8-2: Modal Chords Created

the chords with the checks are the preferred

With the sus 2 US

..,

Ii

(
iIi')

,/

,/

,/

./

•
6/9
Derivarion
0

I!'.
Locrian
of che srrucrure

(4)
name,

Lydian

minor 11

6/9

Phrygian

sus2'

Lccrian q? Mixolydian

Aeolian

oSO

UPPER

STRUCTURES

[Note: Triadic US will be covered in Chapter XIII "Slash Chords"]

Tbe 6/5 and 5/6 upper structures are the ones found most often on contemporary recordings, particularly on ECM, fusion, and pop-jazz recordings. These l..J!Srequire the knowledge of their root acoustic source Ionian mode. This is found by locating the tritone in the US - the
upper note being the leading tone (7th degree) of the roar Ionian. You can also create some interesting structure chords by experimenting with the chromatic scale as.roo rs. The 6/5 US. is the basic in that chapter. found in the chords of harmonic major and will be reintroduced

2. THE 5/6 US A combination Example 8-3: of five sernirones (perfect fourth) and six sernitones (rritone)

·r
..

Ionian

Dorian

Phrygian

Lydian Mixolydian Aeolian

Locrian

Ionian

~u

_j

Trirone

L
Ab Ionian

,/

,/

.I

3. THE 6/5 US A combined Example 8-4;

Ionian Dorian Phcrygian Lydian Mixo'lydian Aeolian
Locrian

trircne and perfect fourth (six and Eve semirones)

ionian

~""'
L

1 Triton:

.I

(~".~~.~~~~
Eb Ionian

Note that in the above two examples, the US was not a good choice for the 'construction Lydian. Because Lydian implies another

of

acoustic source, one primary color tone is missing.

4. THE PHRYGIAN US This is actually an inversion of the 6/5; it is so used in its Phrygian inversion that ir must be considered Example 8-5: as a separate

us.

(
(
~) The; named- structure

,
@)

Aeolian

Mixolydian

Phl)'gian

Ly&an

~£P

Tritone

A~ ..,... ,."., .. ,.......

,/

·C H /l. PTE

V III

5. THE MELODIC MINOR GRIP Used ofren in constructing chords from the altered Ionian hJ, melodic chord.Jr minor mode. The

grip by itself is a Lydian-augmented source. Le., E~ forC Example 8-6: melodic minor.

is a tertiary upper structure which contains

the very definitive augmented triad, The grip is placed on [he minor third of the acoustic

Dorian V

Phrygia.n~6

Lydian IS

Mixolydiall.~4

Mj.;;olydian ~6

Aeolian ~S

altered

Hopefully, examples foundon

[he student ofmixed

has recognized in previous

many of these constructions

chapters. Using this method chord, as is evidenced

as being found tn
of chord construction by how often they are

spacings

creases the easiest, as 'well as the best sounding the latest recordings.

This subject will be covered more in the chapter chapter on harmonic major and melodic minor

on three-part

upper structures

(XIV) and the

bs (XV).

CHORD CONNECTION
Chord connection with upper structures section 'on diatonic chord connection. 1. Common focal point 2. Modal contour The principle notes,

follows some ofthe same principles as given in the

difference is that where. we worked with a single note or a. melodic line of single the aural focal point in this case is the structure itself. The .sound of rhe vertical arrangemem: will be the point of focus.
Because-of remain in rhe selected inversion the sound

this, the student should remember rhar whatever US is selected for use should throughout [he phrase of use'. Changing the inversion would
of the US and negate the common connection. the sus 2, tria cis, and Triad US use age types of and
Dew

change

Normally, Phrygian.

only three upper structures in pop music and

are used for chord connection: has some Use. in pop/jan

to

The sus 2 US is easily [he most used in jazz and fusion compositions. All forms of US use are found in all [he musics,

is predominant compositions.

some degree.

METHODS OF COMMON UPPER STRUCTURE CONNECTION

1. Common upper structure, bass melody 2. Common roots, upper structure following

a. given melody
a given melody

.3. Upper structure following a given melody, with roots following

4. All of-the above wirh modal contour 5. All of the above: with final cadence .

• 52 •

UP-PER

STRUCTURES

EXample 8-7: Common

US With Bass Melody

Lydian

(2)

6/9

(2)

Example 8-8: Common

Tone Bass, Top Melody

(2)

Aeolian

Mixolydian

L~..

1.,.

Example 8-9: Top and Bass Follow Given Mel.ody

Miwlydian

6/9

Aeolian

Aeolian

EXample 8-10: CommohUS,

Bass Meliody, Added Harmonic

Rhythm, Cadence

i\

Phrygian

Lydian

Mixolydian

altered

Locn.an

\
t

-.

."

no

u-

~F'

I'

POIN,TS TO R£M£MB£R:
1. The vertical arrangement .of the US should-nor sonority,

losing the Common

change (invert); this would change the quality which binds the group cogecher. - try it.

2. The common

link of the US is hot lost by arpeggiarion

3. As with common tone connection, knowing the acousric source of the implied modality
will assist in reaching the harmonic goal.

CHJ>.P'T!,11

VIII

Example 8-11: Common

Tone on Top, Bass Symmetric

Melody

Ionian

Lydian ~5

Mixolydian

.0

-J-

1#

..

SlJS

Phrygian

q6

1 •

i
II

Example 8·12: Common

Bass, Pedal Point

sus

Ionian

Phrygian

'i ....

Example 8~13: Common

Inner Voice, Structure,

Common

Top

I· i I
Exam pie 8-14: Co rnrrio n Ton e Top
"

minor

9'

Mixolydian

11

,.

.~.
•

".
l
t;>•

'. 54, •

UPP£R

STRUCTURES

Example 8-15: Pedal Point With Contour

You name the modes

Cadence

I I

..
Example 8.16: Common Tone Top, Symmetric Melody Bass
You name the modes

I I I I I I I

~~'

,tJ

~~~~~~~~~~~~

V -F

q 1-,

pI-

,.
6.

I I

(:'~

~~~~~~~~~~,

.. ~~~

I I I I I

Example 8-17:, Melodic Patterns,

Top: Ionian Mode; Bass: Chromatic

Scale, Contrary

Motion

I I
C9sus

fI

G13sus

Ab69

A 13sus

Bb.6.J4

18-9

tJ

.,

'_'

71.

,....

..
~.

6.

I I I I I I I I I I I I I I I
• 55 •

I I I I I I I

SUGGESTED EXERCISES

Construct the following chords by the grip method only; label the grip tmder the chord (5/6, sus 2 erc.); include chord symbols over [he chord.

1. Eb Ionian 2. F~ minor 3. F Aeolian

q4 ._
ll

615 sus 2 516

4. g~ Dorian
5. Db Aeolian bS .6. E altered _

S/6
melodic minor grip

_.Phrygian grip Phrygian ---._ . 615 sus. 2 b6 melodic minor

7. F Aeolian ..__

grip

8. F Ionian 9. C Aeolian
10. G Mixolydian

t·

• 56 •

CHAPTER

IX

Chord Connection Process ~. .

.

..

1. Clave':

9. Contrived

Contour

4. Parody Cadence

CHAPTER

IX

1
I

Although

playing the previous

examples

are harmonically

satisfying

and the chords

sound

good, they are not examples

of music.
to

In order to make the examples musical we need

skeletal. harmonic ons of development, scheme: harmonic

apply all of the elements harmonic and development.

of music

[Q

the

rhythm 1), tempo,

contour, with its implicati-

and some form of melodic statement

These win an be covered eventually, As mentioned earlier the given

bur the first step is to give the examples harmonic

examples of common connection

rhythm. at

are used primarily

cadential areas, which would be found at the ends of sections of a composition or at other areas that require.an increase in tension or activity. They are also found in introductory areas
where a statement of the premise of the composition is desired. These areas are usually repeared unril the effect is dear. The name for this event is avamp2). The first seep in our creative

effort is (0 compose a number starring points in the creation of a whole composition.

Recall that the primary emphasis of this book-is on

of these vamps to be used as

jazz.

composition

techniques.

PROCEDURE
1. Select your favorite set of common connected chords. a two bar rhythmic pattern - the Bossa Nova

2. Compose

Of

select from the public domain,

is a good first selection.

Example 9-1: Bossa.Clave

2:e

>.

>-

:::>-

:>

:>

3. Determine

where you want the chords to change on the clave pattern;

tWO

it could be a change

with every clave change or a change every rwo, orwith variations other words, the first chord for the first ric, etc. 4. Compose a bass rhythm based on the clave pattern.

of the dave partem.

In

dave tics, the second chord for the next dave

5. Play and tweak as usual.

1) The sy~"matj" relationship

chords

of rhe ""d
figure,

duration of each in a grQUP of

which shows

COhCQUf

devejopmenr. 2) Repeated, harmonic/rhythmic usually 2

<0

4 bars in ieng(h which

follows a pre.set rhythmic pat.t~rn called a clav~. There is a melodic motif in the bas. parr and 'a recurring ser of harmonically related areas

chords, Vamps are found at

cadential areas, turnaround and th e introductory areas of a composition, and dosing or anyv..herc

that rhythmic emphasis is desired .

• 58 •

COHPLETING,

THE

CHORD

CONNECTION

PROCESS

Example 9·2: Common

Lydian

Tone, Top Note

Mixolydia.n
Phrygian \6

I
Mixolydia.n

( (

fL

~ :

•• •• •
I
I

bOt:

J:,

~ 'j:

,
'"

J:

:j

v-v:

-v:

I I I I

>-

... ...
>-

EX'ample 9·3: Common

Tone Bass (Vamp)

I I I I I

e)

l>Jl~
~

'~

~:g:
>-

'~.r
I

b~

~:
r

Jl~
:>

:
r ~ ~ ~

I I

Example 9·4: Common

US on Top

I I

..
:

,:

, ,.,-p

-fP

,:

..

,-OJ

I
<5P

,: '4' ,
I.

.£P

ff." :

I I

:
I

I I

Example '9-5: Common

,I

US on Top, Arpeggiated

I I

••

..

.
u

••

I I I
I

I
Example 9~6:Common Bass, Phrygian US

I
I

I
.,J

'.

. .,
.,-'

~..9'-':

~tJ .... :

b~:

I
I

y.

71·

....

T·

-,T'

-,I,
• 59 •

I I I I I
I

CtJI!.PTEIl

IX

CONTf<IVED CONTOUR
MODAL CONTRAST
This is where we use the order of darkness/brightness
a sense of contour
to

of the modes. It is an attempt

to

give

the chord-to-chord

relationship.

If you recall the modal contour

of the traditional
[0

Ionian. That is a.n order of dark, brighter

stable. And being in the diatonic

chord roots
to

diatonic cadence, it is Dorian-MixolydianIt is also an order ofless stable [0 most system, it is asarisfacrionof momen cum: the desire of the
brightest. of this book is mostly contained in a chromatic harmonic contour. otherthan bur with that the environ-

cycle

to

the tonic root.

Although the barmonicvocabulary

ment, we can use the diatonic The options include root movement formula; root following
to

cadence as a model for obtaining

of a fifth but with a modal relationship modal formula and .nondiatoriic use, with chromatic modal selection

found in the diatonic and. both. chromatic darkness/brightness

the diatonic

root relationships

relationships;

that of the diatonic

The most used process is a 'sense of contour Example 9-7: Modal Contour

simply contrast without

rhe brightness/darkness any reference

to

of the modes roobrain

and development,

the diatonic

system.

(b)

~l'eco

'~~

U'

·U·

DeI ~o

~'-G

p"-G

~o
u

160
~u

xr
bright

u:

......

========~-da.rk

-<::::

release

====fifth or rritone
to the release

(a) Typical melodies

use: increase enhance

of tension

to

a release. Contrary

directions of the tOP and bass

chords is

the effect. A skip of a third,

recommended.

Lastly, notice the change

of chord spacing. downward. Use of rriconesktp

(b) Use of pedal point: .overall melodic release chord, Example 9-8: Parody of Diatonic Cadence (II-V-I)
Lydian #5

direction

to

final

(a) Mixolydian

ss

Phrygian

c~
r.
[b) Dorian

Ab

ft/~
A

r.
il
U

(~

(a) Root movement

like diatonic

cadence, free-form

modality.

(b) Diatonic cadenrial modal formula,

free-form bass melody.

(OMPLE'TING

THE

CHORD

CONNECTION

PI'l'OCESS

MELODIC MANIPULATION
1. TOP MELODY Not the actual melodyofa in [he opposite 2. BASS MELODY The actual melodic quality of the bass part if played by itself. Because in is not tied
to

composition,

but (he melodic shape or corirour

that all the top

to

notes of a group of chords, ifspelled

our, would create. Of course, we are going

work

way: spell out our chords to follow a preset melody.

the nondiaronic

modal system we are working

rootrnovemenrs

of a fifth, we need ro.work

with our bass melody JUSt as if it were the actual melody ofa composition. 3. RECOGN IZA:BLE PATIERNS Creating a set of chords that follows a melody which iseasily recognized by the listener

is a quick and easy way to gain musical accessibility. Symmetry But you must use it conservatively, Another

just plain "sounds-good."

as it can quickly become contriviality. source which is familiar to the listener: a mode fragment.

approach is to use an asymmetric

or any known

or terrachord

melody or melodic

4. MELODIC EFFECTS

Lastly, following the concepts of melody writing (as found in Volume 2), you can create
a contour direction by manipulation of the inrervalic relationships and by working with the overall of [he melody by phrases (the top and bass melodies).

• 61 •

CHAPTER

IX

SUGG£STED EXERCISES

1. Compose four 2-bar claves, 2. Compose a 4-chord vamp, using sus 2 US with a composed bass melody.

3. Compose a 4 ro 6-chord vamp using compound

meter, with your choice of US; have the

US follow a given melody and the bass be pedal point.

4.

Compose an 8-bar harmonic chords:

scheme, starting with a 2-har vamp, with the remaining tone, pedal point, and modal contour,

six

bars showing use of common

Use at least six

Try to be musical; approach

this exercise as an artistic assignment

'rather than an academic

one. Create a result you like so much you want to play it for someone.

• 62 •

CHAPTER

1. SO!1g Form
2. Through Composed 3..Sectional

a\eU5tiall~ in the use of varying the bar numbers of the

by modal/emotional

end without a concern for development by repetition""

contour.

dear sections, some of which can be although not direct repetitions, are obvious

CH"'PTER

SUGGESTED EXERCISES

Listen

CO

eight of the compositions the form is.

listed in the discography,

plor their form as AABC,

ABCCDA, or whatever

List [he name; source and the form. Example: "Pee We!!''' by Tony Williams from The Sor;cerer, Miles Davis - through composed, bars "Masqualero" by Wayne Shorter from The Sorcerer, Miles DaVIS - ABC, A ~ 8, B ~ 6, C
=

21

[mal

18

• 64 •

I I I I CHAPTER XI I I I I I I I I I 1. Harmonic Rhythm I I I I 4 ..Climax 5; Cyclic Resolution I I I I I I I I I I I I I I I I I I I I I I I I I

2. Repose '3'. Transition

ri
_I
CHAPTER XI

METHODS OF ORG~NIZATION
1. Common tone connection

2. Common upper structure 3. Harmonic rhythm of the chords 4. Melodic rhythm of bass line 5. Darkness and momentum cadences (see P: 60) 6. Overall harmonic rhythm - vertical, plateau, etc. 7_ Point of climax 8. Relationship of first to last chord

CONTOUR BY Ha.RMONIC RHYTHM

L Repose/Transition - Gives shape by contrasting fast and slow harmonic rhythm. 2. Repose - An area.within the chord scheme in which there are !:WO or-more chords with rhe same root (pedal poim) or only one chord for a bar or more. Like linear modal, these are areas of inactivity and rest. 3. Transition - Areas with two or more chords with different roots, or chords of short duration, usually changing one. bar Or bess. depending on tempo. These are the areas of activity and are usually vertical modal. Tonal harmony is also found .in these areas. 4. If repose areas are long, a bass part vamp may be needed
to

add rhythmic interest.

5.. Transition areas should be devised to increase tension just prior to a repose area.

CADENTI~L AREAS
1. Should be placed just prior to repose areas or at the ends of phrases or sections.

2. Use darkness/brightness for longer areas. 3. Use momentum, II-V, II-V-I parody cadences where strong' "finality" is desired. 4. Use melodic manipulation
to

enhance the above or where subtle contour is desired.

'POI NT OF CLIMAX
I

Ii

II
I

It should be mentioned, now, that a main goal of the harmonic contour is to provide the improvisor with a "map" to assist in creative development of the improvisation. The harmonic and rhythmic contour should be designed with that in mind. A poim of climax, a place where:[he emotional intensity is at its peak, should be plotted. Refer to the fallowing examples for.an indication of general area of placement ..Ideally, the decision will be;made by mature musical judgment. Usually, the climax is found at the end of the most intense transition area just prior to the most relaxed repose area.

CYCLIC FORM
Again, with the improvisor in mind (who most likely will be you!), in order to make it easy to punctuate ,1 chorus of improvisation and allow the setting up of a new chorus, it is recommended that [he first chord and the lase chord of repeated sections relate in a way that assures an easy access to melodic voice-leading. The clearest means is for the lase chord of a section have a dominant function to [he target chord (first chord of [he repeated section). The last chord should be built on a root char is a fifth away, a rritone, away or of an upper or a lower neighboring tone with a modality chat is darker or has less stability than the targ~[ chord. For example, if the first chord of a section is F Lydian-augmented, the lase chord could be C
• 66·

H:>'RHOI'IIC

CONTOUR

Mixolydian sus 4, C Phrygian, E altered, or Gb-ll, to name a few possibilities. There are many techniques for doing this and more will be given in later chapters and in following.examples. Creating a harmonic contour is the process of organizing the chords, connected with devices from the preceeding chapter inro a complete musical whole. Nor all the techniques will or should be used. The goal is TO create a set ofchords chat are both musical and "playable." Attaining beaur:y with simplicity is an attribute that is acquired with maturity. Before you are to create your own complete set of chords for a composition, we will analyze a number of compositions to see how the composer accomplished the above procedures.

~N~LYSIS OF EXISTING COMPOSITIONS

Analysis of the harrnonichows and whys ofa composition requiresa comprehensive mastery of all the concepts that have been covered so far. In addition, speed of recognition will keep the process from becoming overbearing. Occasionally, the student can become distressed, overcome by an apparem ambiguity created by rhe availability of 50 many ways of explaining how the harmonic contour is derived. Try to remember that there is no absolute explanation for any compositional method. THE PROCEDURE Start by spellingout all the chords. Try to determine if US technique for chord construction was used. A listening to the recording" if available, would be helpful but not necessary. Look for a general melodic contour of the top nares of the chords. You may need to invert some chords or change the construction method ro give smoother voice-leading. \Vhen satisfied, write down only [he top and bass melodies and any pertinent harmonic data: common US, important color [ones, ere, Analyze [he bass, then the rap melodies. Make note of melodic devices thar may be of importance:
1. Motific development: sequence, repetition, 2. Symmetric patterns 3. Tessitura 4,. General directional contour etc.

5_ Active and tense or relaxed Arrange the chords in a way that the harmonic rhythm can be visualized: long values as whole notes, short as a quarrer. The chords do not need ro be spelled with the original note values, but if there is an important vamp figure, do write our the note values. If there is a long area with one chord only, label the duration by measures. And lastly, number each chord for reference. Once the melodic analysis is complete, refer to all the methods presented in the previous few chapters .and label: common tone, repose/transition, common upper srruceure, etc. Hopefully, studying the following examples will dear up any confusion. The first four examples are compositions similar in harmonic style and emotional content. Their harmonic rhythm comes dose to the prototypical vertical modal in areas, if not the whole Tune. They can generally be described as having a generally darkly romantic mood, varying according to tempo and key. They are all free-form, chromatic, with no dear key center, although one could pick a pivotal key area from rheir beginning and ending chords. They all contain a good variety of modes. The second group of cornposi tions has a more "open" harmonic rhythm, with the first twoof

rI

CHI>.PTER

XI

them

dearly

plateau

modal. and

the third

almost

within

the linear

modal

category.

In

addirion,

the first three of this group are more "traight that are typical of bebop runes.

ahead" player's runes, each wirh subrle

ties co qualities

The last rune of this group is representative sition, with a few subtle references lyzed will have an example rhythmic not direct transcriptions
to

of the European-influenced folk harmony. for reference. out wirh harmonic

ECM style of compoto be anaare rhythm but not all the

American

Each composition

of the chords spelled

figures. The example should be sufficienr

Also, the chord spellings

bur quite close in most cases. using the harmonic synopsis as reference material, to all the esoteric Concept," one

In the actual analysis with comments, could get very derailed methods of the following In addition, composers [his textbook.

with compositional
to

analysis, with references

theory

at one's disposal: Shenker analysis, the "Lydian Chromatic is to "get the poinr" and keep it simple. the goal of harmonic contour

ere. The thrust

keep in mindrhar of rhesegrear

analysis

is co discover how the

tunes used the methods

that have been given in previous chap rers of

t, RUn .. l1)- RON MILL£R, 1969

This composition recording composed shows an influence of the Herbie Hancock sections. tune "Little One," found on the It is a throughfairly symmetric rhythm, Maiden Voyage .. Its predominant theme is char of gentle romanticism. Its harmonic

waltz, 36 bars with no repeated as vertical modal,

and fast, can be described Example 11 ..1:

1\

Mixolydian

._)

..
(J

Aeolian

'vljxolydian

Dorian

Locrian

q2

Dorian

~7

Phrygian

~6

~6

Mixolydian

............

v,
u 2

..
P4
0

v,

~,

...
T
5

pV,

~u

,
M3

l'

"
T

.L
6
"7

-:
10

<,
12

11

R
. Lydian ~5 Mixolydian ..

Mixolydian

?rfg1an ~
V·

M3

(~~T~~~~~~~~~ p-eT ..
13 14

<.
& 21

P4

p-6'17

p-e18

IJ~
19

f,....
20

\U} 22

15

16

R COMMENTS
A. BASS MELODY:
CHORDS:

(8 bars)

1-3
1) CCP/Belwln • 68 '. SBI66

repose (pedal point), ...transition

skip of a fourth chromatic

to ... melody, relaxes

to ...

area, downward

HARMONIC

CO).lTO'UR

7-9 10-12 13-15 15-16 16-18 19-20 21 22

...repose, slightly higher center, preparation very active transition sequence inversion melodic of9-10 area, dominant of tension cycle of 10-12,. increase

for activity

very relaxed repose area with low tessitura figure, Occurs always, acts as signpost
[0 ...

or "hoqk,"also

short

transition

to ...

long repose area, root has desire i:o resolve ...[he first chord of the tune

B_TOP MELODY
CHORDS:

1-6 7-9 10-12 13-15 14-15 16-18 19-20 21

common upward continued sequence common downward recurring doubling

tone connection melody, increased upward of 10-12 rene connection flow, relaxing, melodic 16-21 Ab Ionian or "hook" sense of finality idea, signpost tension tension, 11-12 common tones trend, increased

of bass emphasizes

C. HARMONIC MATERIAL
CHORDS,

1-6 1-4 5-6 7-9 10-1S 15 16-18 19-20

common common darkest

inner structure diatonic source - Bb Ionian, source; E~ Ionian up the ...

Ak Ionian

chords voice-led area, diatonic quasi-dominant cycle, very active, setting trirone pattern - DbjEb,

... cinr of climax p

upper structure

G/Eb, Db/Eb;: diatonic

source: Ab Ionian

no chord - "hook"

melody, point of reference

21.

final chord, exotic yet dominant sound, desire to resolve to first chord

D. GEN!ERALQUALITIES, EMOTIONAL CONTOUR 1. Symmetric repose/transition areas contour or "map" cycle

2. Diverse modality,

dear emotional
j

3.. Three main diatonic

CHORDS:

areas - Bb Eb and Ab, implied

1-6 7-9 10-15 16-18 19-20 21

gentle, romantic dark and mysterious increase point activity and tension, almost swinglike quite romantic

of reference
area provides a clear "map" for the improvisor as well as the listener. out the diatonic contour

exotic, "colors"

The above emotional Keep this in mind acoustic sources

when creating

your own set of chords .. By mapping

onecan both gain an insight into the harmonic contour and determine a source of substitute chords. As an example, the first chord, F13sus4 implies F Mixolydian with the source ofBb Ionian, so the first chord could be Eb Lydian, D Phrygian or any of Bb Ionian's modes. The second chord, F Aeolian's source is Ab Ionian, so the substitution of an Eb Mixolydian 13 for that chord does work well, in fact it is used
I} Benny Golson compcsiricn

of all.the chords,

occasionally

to get a "Killer Joe"l) sound.

• 69 •

CH~PT£R

XI

Example 11-2: "Ruth"

by Ron Miller

(
(

o · ·

F9sus.
>-

FAeolian ;

F9sus

B.b Dorian

t.l

lJ''- :

::::::±::7J :
..,

1.19-':

lJ"~:

1.19-' :

.,.

.,'

....
~ G Phrygian

...

..,

V'

t.l

~"-W : :

rl.lQ'-':

~.~~

~~~

b'~:

~:;J9::

(bt;;)

[iJ B7.sus
::;~:
,

qsus

E9sus

(
(

~ :

b~~:

~:

~"#-:
.1

~"~:
I

A'if"':
_'1'.T •

0'

D7sus

E7sIls
I

G13sus
_l_
I

[QJ
,
:.y :

E~9sus
_I _1_

(
t.l

i!9": :

A ~'I:P:

~:

IJ

..P:"

:~:

'd.

q'

IJq'

_6'

Eb lydian ~5
1\

E~9sus

[!]C Phrygian
V"
.(f)

96

\ (

~:

.0 •

bV4:

v .,
(hold for 7 more)

· ·

twO

,0'

D6I·'

...

IJ"

b"

u'

• 70 •

I
H"'RHON~C CONTOUR

2. MIK£L,L'Sll - JO£Y CALD£RAZZO.

Having symmetric harmonic "player's tune," the harmonic Example 11-3: rhythm rhythm

ca.

1989
this is a nice

I I I

and overall positive emotional stance, is fast enough co imply vertical modal.

(
(

Phrygian

q6

~6

Lydian

Phrygian 1;6 Lccrian

~2 Mixolydian

14 minor

1'1

Ionian

Mixolydian

sus

~
V

,
pv
2 3
4 5

I I I ..eII

10

I I I

[i]

loman

Lydian

b3

Ionian

Lydian

~3

Ionian

(
(

1\

L
u

l
l'..e14 15 16

l'~
13

P?7
18 19

b?7
20

12

17

I I I

COMMENTS:
A. BASS MELODY
CHORDS:

1-5

repose, with pedal point, the Db is diatonically

to

related to the C pedals, both are related

Bb

melodic minor transition

to

I I I I color tones
Spanish terrachord

6-7
8 - 11

a. short

area, downward flow, heading-for ...

...an ending

the first emotional area

12- IS four note motif, new area, new mood 16- 19 repeat of 12-15 20 extension of 19 for cadential Pl,lrposes

B. TOP MELODY
CHORDS;

1-9

diatonic

melody derived from primary cones contour, positive building

I I I

10- 11 common 12- 15 upward 19- 20 common

of intensity,

16- 19 repeat of H-15

tone by repetition

C. HARMONIC MATERIAL
CHORDS;

I
modes are all diatonically related to BI> melodic minor to A minor

1-5
6-7

voice-led with some common parallel movement resolution

7-8
8-9
I} from In

inner connection B!> Mixolydian ~4 acts as rritone substitute resolution

to the relative major

Tv. Dc,,"

CDP 95738

10

I
·71 •

CHlI.PT£R

XI

11

the dominant parent

V chord of (he next section implied plateau modal major (see Chapen

12- 13 parallel chords, 14 16- 19 repeat of 12-15

source is harmonic

XV)

19
20

closest there is to a point of climax, rather subtle cadence through repose, as last chord, resolves to first chord as upper neighbor and diatonic relation

I
!I

D. GENERAL QUALITIES I. There are similarities between chis rune, "Ruth," "Pee \Vee," and "Hello Goodbye": relationships, determine emotional root
to

effect, and similar

key centers.

Looking

them

over, try

the common source of inspiration. mapping is simple with two areas: the first, chords and because 1-11 a little dark and rhythm Chords with 12-28

2. Theemorional subdued

because of its general modality

of its slow harmonic

repose by pedal point and because of its having little bass melodic contour. are more active both modally and by bass melodic 3. Another through-composed contour

with faster harmonicrhyrhm, with two sections: A- 14 bars

rune, the form is symmetric

and B- lObar".
Example 11-4: "Mikell's"

by Joey Calderazzo
Phrygian
I

Phrygian ~6
II
I
I

Phrygian b6

q6

Lydian
.L

Phrygian

~6

locrian

92

Mixolydian #4

) ) )
(

t.l

[I

&:

1[1&:

11&:

II

&:

IIb-t :
L

'I

:
1

L If.:
·1

minor 11
I ,

minor

11

Ionian

(Lydian)

..
..

l"j:..I:

&:

!IV"

,u"

17' ~ :

....

...

..

Inf.
~ Ionian
Ionian

~-u.
Ionian

Mixolydian sus

Lydian ~3

,
t.l

b4:r:_
:

I,,~:
,

~:
v'

~
; 174·
Ionian

q ~:6t:T:
c/ :

b' tp: :q.

4'
Ionian

-~.
Ionian

Int.

Lydian ~3
I

t..l

. .

~:
V·

~f-":
1:J.(j-'

b'~:
u'

·b~~:• 15

_",e-:
_15

i;t9-:
4'

b?:f·

_-d.

.-d-

·72 •

HARMONIC

CONTOUR

3. PEE WEE1) - TONY WILLIAMS

This gende waltz has symmetric chord movement, chromatic. Example 11-5:
IOO1ian Lydian

harmonic

rhythm

and has a few areas of-quasi-functional that is transitional from tonal to modal

which is typical-of a composition

Lydian ~S

min 9

l.ocrian

qL __________
I

Ionian

~4

sus

Locrian

bb7 (~9)

Mixolydian

sus

...,

$:
CUS

$'

v~~

'~~~

+I#~
H""
7
"1

-f!}-

?7 CUS

-p

?7

CUS p-e5

bel

P?7 2

b77
3

~v
4

~-e6

9""
8
9

,0

Pedal

CHORDS:

1·3 4·7

repose area (pedal paine) chromaric,

faitly slow transition

area, increase of tension

8-10
11-12 13·14 IS-17

repose area
transition with cycle of fifths

repose area
transition withsignposr "hook," occurs at all times, including improvisation (see "Ruth'; and "Teru")

18·19 19

last repose area resolves to first chord by modal shift with pedal point

B. TOP MELODY
CHORDS:

1·2 3·4 5-7 ,g.1O 11·13

common

tone connection

common tone chromatic melody upward inversion of 5-7

sequence of8-10

13-14

15-17srrongleap
1) The Sorcerer Mile, Davis Columbia CS ~532

common torte downward, contrary motion to bass melody, a "hook" motif, as found in
many cornposirions
[0

17-19 form of inversion of 15-17, a rerum

starring place

• 73 •

C. HARMONIC
CHORDS,

MATERIAL

1-3 3-4 5-7 8-10

increase common common

in tension US, bright US to darker

COmmon US, cryptic cadence, (see Chapter cycle of Lydian chords

XIII) quasi II-V (D-7

to G71>9 to C-7)

11-12 13-14 15-16 17-19

[epear of 8-9
common inner structure,

trirone related common

point of climax US (F/Gb to B/Db)

D. GENERAL QUALITIES

L In spite of its symmetric difficult 2. The3-bar rhythm 4. It seems

Example 11-6: "Pee Wee" by Tony Williams tum to play.

harmonic

rhythm

and its ties to functional

harmony,

[his is a form.

phrase at the end is unusual.giving conrour is~not extreme, a boost.

[0

the rune a 21-bar through-composed

3. The emotional

but the inserted

cycles do give the harmonic

have been composed

purely by inruirion,

without much pre-planning.

E~/D~
II

F/Db

D-ll

,
t.l

b' ~:
:

b,oB:

~:

i
gOO'
E/G

~vb~D":
,
p4'

b~~~r:;-:

bu'
1\

bef·

lnf·
G13sus I ,

94'
Db Lydian

(
I

tJ

gTl~~b:~

L~b':

.(;>:

.:0. ,

bil·

e.

! I.
:!,
I

(
{
~

It"'"
G13sus FIG E/G
E69
>-

U·

b-d·
Ob13sus

FAeolian
>-

F/G~

,...--- 4----,

~v~:

(,

·
, Db lydian~S
~

#g~

~~~: ~'V::

~~:

btJb-?:
b-d·

,...----4 ----,

,
, ,

.. ..
'

~v$'::

I::~:

·
·74·

:$':

bd·

x)·

77'

HARMONIC

CONTOUR

4. TERU1) - WAYNE SHORTER

This is a very slow ballad, based on the traditional bridge has only seven bars. Example 11-7: song form; it has an AABA form but: the

Lydian
-

Aeolian

Mixo~ydiain

Phrygian

Mi;;oiydian

Ionian

minor

altered >-

MixOlydian

Ionian

(
,

,t,J

6-

"
L

...

~ ...

.,;
»>:
T

.. •

R .----,

..
2

... -~ ...
3
4
IZI

17*
5 6 7

-I 8

9 10

V
'-' 11 12

"-"

13

Mixolydian"

....

Lydian ~5

mi n.1l.. ....

Phrygiarn. ... ....

Lydian #S

,~
LT

.._.
14

.._.
15

.._.
16 17
18 19

20

21

22

COMMENTS
A. BASS MELODY
CHORDS:

1 2-3 4-9 10-11

a 'full bar of Gl> Lydian at the slow tempo an importanr downward, effect) "hook" relaxation or signpost toward an active transition

shows repose

of the composition repose area cone (leading-rene

area with an active bass melody the cadential

12-13

pedal point bass repose area, cycles to first chord by lower neighbor

14 -16 pedal point repose area 17-19 increase of tension

to

with upward the result:

and active transition

area, the staccato

on chord 19

effectively sets up the release of ehe rension.at bar 20; the downward minor third skip chord 20 enhances 20-21 the final repose cadence, the last chord cycles to the first by upper neighbor tone

B. TOP MELODY
CHORDS:

primary color tone;

2-.3
4-9 10-11 12-13 14-16 17- 9

contrary motion
definition common common downward color tones [Ones

to

bass is effective in increasing tension

tone connection tone connection resolution of melody clarifies modal cadence

1) Adam', Apple Wayne Shorter Blue No," m.p 4232

20-22

sequence ofl4-i6
• 75 •

C. HARMONIC
CHORDS:

MATERIAL

1 2-3 4-9

b-right but tense a form of II-V cadence, derived from a voice-leading a good example of modal contour Mixolydian (4-5) is a diaronicallyrelared method

10·12 11·12 12-13 14·16 17-19 20-22 20·21

parody, rhe Phrygian to cadence, with the acoustic source being C Ionian. The Phrygian could be thought at as D Dorian over E, so it is a typical II-V with subsrituted root for the II chord. The Mixolydian co Ionian, (5-6) follows the normal modal contour of a diatonic cadence but with free-form roots parallel Mixolydian chords moving a minor third is typical
and II-V cadential a dominant another cycle

of Mixolydian

chords

parody cadence parody cadence V-I closest we have

to

modal contour, parallel chords,

a climax at bar 19, effective for setting

up the

following dark area like 14-1.6 but more extreme in modalresolution the darkest pare of composition

D. GENERAL QUALITIES 1. Good variety and .contrast 2. With a quite chromatic this is vertical modal. 3. Good use of "hook," signpost Example 1 i·8: "Teru" by Wayne Shorter Ph Mixolydian . . loman ryglan 3------,_.-...

of the modes.
definition,

bass melody and short or no. dear areas of emotional

areas.

[A]

Gb Lydian

F Aeolian

E13no3rd

(
(:

.-

minor11
I

._,)

r-r

l j)

~J )

Lb.J.·
j.

I
>-

r
Mixolydian sus

~.~~---~ pr
.__..

~.

p .~---:: ....

..--....

~~,
P"!,

..
b"tf

,-----=-3-

C13sus

F13sus

Ionian
,

(;
._,)

II'

· ·

I~#~
.<.

b"~

f,I~::_

AP

b!p"

'~
,
'-"

>-

"'!

=d
sus

b~

t7*__

-QLocrian ~2 minor 11
,--3-0

'V

[ij Mixolydian
{
'~ b'·u

Lydian ~5

Phrygian

Lydian ~5 rt-. DC

.u

~Roe-

I I

~ . {1"

t;>vb~
,,

~~

b~

-~ ,""-

~'tt
f.\

·
• 76 •

,--3---'

.'V

....

H)l.IlHOl'lIC

CONTOUR

5. THE LIESl)
plateau American Example 11-9:
Aeolian

RON HILLER.
written category

1'984
David Liebman.is The emphasized represenrarive modality of the as modal bridge. is Aeolian,

This composition, modal ECM. with a medium

for saxcphonisr/composer with a vertical

tempo; the overall mood is dark romanticism.

This tune could be described

Mixolydian Locrian ~2 sus

Locrian ~2 Mixolydian

(
@

,
IT
TT
L

.. ..
10

Aeolian

vv 3rd

3rd

bu
2

qu
4

-.5 6 7
8

..
11

12

13 (8 bars)

(8 bars each)

COMMENTS
This being a plateau modal composition, the only significant harmonic movement is in the bridge, which is vertical modal. A. BASS MELODY
CHORD:'

1-2
4-5 3-8 7-8

two plateaus

of Aeolian, a whole [one aparr, the downward of2-3

change creates more dark-

ness" a rrirone skip down co next chord. creates tension rrirone skip, inversion a general upward sequence chord 12-13 the normal expected B. TOP MELODY
CHORD:

trend, preparing

co set up a point of climax is faster, upward, following

9-12

of5-6 a definite transition area, the movement

resolution

a Dorian

tetra-

here is for the melody to resolve up a sernitone,

the skip is un-

1~2
3-4

primary same common common upward highest

color tones mne tone movement, Ionian retachord, setting up climax point in the harmonic
MATERIAL

4-6 7-8 9-12 13

melody, dramatic

C. HARMONIC
CHORD:

1-2 3-4 4-6 7-8

plateau DbjD
to

Aeolian, dark, soft bright, tense, hard cadence Db to Gb

to

strong contrast,

Gb/ A~, cryprical

G~ V~I US,

chords 5 and 6, common resolution

US except

for one note of voice-leading: sequence of 5-6, up a minor

third, overall positive

9-12
12
1') The M",ii: of Ron Mil!.r.CCP/ Belwin SB265

fast moving

chords, all sus, positive; sets up climax

point of climax

··77 •

CHAPTER

XI

12-13

a kind of cryptic cadence (see chapter lucian with the upper structure of5-6

on slash chords),

with a lower neighbor

reso-

and a minor

third up in rhe bass, a kind of sequence

0_ GENERAL QUALITIES 1. Dark, ECMish 2. As is all plateau 3. Fairly symmetric 4. Emotional

CHORD:

feel, New York on a drizzle filled autumn modal tunes, rather simple, in form, 8, 8, 16, 8, sectional

day

bur nice to "blow" over through-composed

"map"

1-2 3-5 5-12 13

darkly "hip" to darker slightly "wrinkled," dramatic change of key from the opening it. A Aeolian ro the ending Bb Aeolian, getting hopeful daub rful love becoming full of hope

5. The rncdularion, contributes

to

the overall dramatic

effect of this tune and was a strong

factor in the plan

of arrack when composing

Example 11-10: "The Lieb" by Ron Miller
A Aeolian

GAeolian

~
f

01> Lydian ~2

D Lydian ~2

A~ Mixolydian sus

G Locrian ~2

-e-

-(:l>

'rI'H-0-

lT~

-&
'l

v'U

.'U

17~

·
•

u.

,B Mixolydian

sus

Bh Locrian q2

[QJ Dsus
I

Esus

Fsus

Gsus

)
III 1'
I

~I

v~

"i'P'

'!i~g.>'

"1lJ"'"'

~
I

·
W sb
Aeolian
_l

~n_

(
(

.J
VI'
OJ

..
.. .
,

.. ..

.. ..

..
..

.. .

.. ..

.. ..

)
III I,

• 78 .'

H1>.RHONIC

CONTOUR

6. JC ON THE LAND - RON MILLER

This is a plateau Coker. Its overall compositions overall emotional modal modal composition quality being written for -saxophonisr/auchor/jazz it is one of the many "Maiden educator plateau Jerry modal Mixolydian,

that can be compared

to Herbie Hancock's

Voyage." This is only in the

quality associated with rhe Mixolydian

mode as [he following will show.

Example 11-11:
Mixolydian q4 .. Mixolydian #4 Mixolydian 1;4 .

6,

s
Mixolydian .

Mixolydian

( (

M'"XO IY di Ian q4

is

min.11

Mixoiyd'ian

..
I

Mixolydian
>-

b6 Mixolydian

q4 min.11

. t.l
y II
V

.
I

:>

,--...
I I

:
10

>-

....
11

...
12 13 14

I
-------

I
1S

....
18

..
II
19

;>

16

17

20

21

22

23

24

COMMENTS
A. BASS MELODY
CHORDS:

1-4 4-6

outline common

of a diminished
thirds

triad, or a skip down a tritone,

cycling back to the starting

note by minor

tone bass 7-9 passing tones to the cadenrial B root, noi:icethat 'the entire bass melody of the A section could be. derived from the diminished scale 10-.12 relaxed, downward contour, setting up an active area
12-14 15-16 21 22-24 a II-V cyde,12-13 is a signpost referring resolve
[Q

ro a substitute

I chord
10

(parody

cadence) and sets up the turnaround

to

"hook" 13-14, the resolution the C is dramatic

to

AP

derived from 15-17, this is set up to resolve to the first chord of the tune

B: TOP' MELODY
CHORDS:

1-6 7-9 10-12 12-14 15-17 17-20

derived from color tones or voice-leading

contrary motion
chromatic contrary voice-leading same as 10-13

to bass melody, enhances cadenrial

quality

down, 10-11 a form of voice-leading a II-V to parody V-I motion

22-24setring

up first chord of the composition

• 79 •

CHAPTER

XI

C. HARMONIC MATERIAL
CHORDS:

1-4

parallel Mixolydian the common a minor taking cadence positive emotional

chords,

4 bars each, this is plateau

modal
to

4-6

use of Mixolydian

~4 to Mixolydian

Mixolydian ~4, it creates a of Mixolydian sus chords rhe

effect due ro the brightening

of the fourth

7-9
10-11 12-13 14 15-16 17-20
I'

third up is a velY positive "Maider! Voyage"?) the G Mixolydian being C- to Fsus

and rypical resolution

(remember

b6 to be a C-t,. over G! this is a cryptic

II-V cadence,

a diatonic
a substitute

nov, this part is in fact a swing style section showing a tie

targer chord for the II-V

to a traditional

hard bop aesthetic

a turnaround

w...
14, creates drama are setup to create tension which

...a repeat of 10-13

a higher tonal center of chord a turn down eo rop of tune, the note durations

21 22-24

resolves with the first chord of the tune D. GENERAL QUALITIES 1. Having symmetric mode.
to

plateaus

of essentially because

the same mode, this is an example each plateau

of plateau

I, I,

modal.isame similar

In addition,

has the same mode, the tune is effect. So this tune, like so qualities as "Maiden Voyage"

linear modal in that there is erie overall emotional Refer to "Why Waie" by Stanley Your Heart"

many inspired by "Maiden Voyage," has [he same emotional

with subtle differences.

Wayne Sherrer, 2. The tempo, rune, in

Clarke, "Twelve More Bars" by

andi'Follow

by John Mcl.aughlin.

me hard

rhythm section style: of playing, and the II-V sections make this a "blowing"
bop tradition .

• ao •

H II R Ii 0 N I C

CO

in

0 U fl

Example 11-12: ''JC On The Land" by Ron Miller

A~ Mixolydian sus

D Mixolydian sus

IV .... '

,..,

F Mixolydian sus

( (

t.I

"

._,..

.. ..

.. ..

.. ..

A~ Mixolydian

~4Ab

Mixolydian M A~ Mixolydian ~4Ab

M;xcilydian#4

.v .....

~~

VOJ

b~~

:
u

B Mixolydian sus

( (

..

..
!Ii,

..
..

[ilG

Mixolydian b6

F Mixolydian sus

t.

~"~

l.7':::

~Ia
....
b6
;....,.,

.
.

E-ll

An

Bb

sus

Dsus

Csus

II. ]!p II.

II.

[gG Mixolydiari
,""'"

t.I

"#
:
-€I-

~"IP"

b,':tt

b~

1\
Bb

sus

Asus

F Mixolydian

E-ll

A13

Csus

I
,

1\

t.!

._,.. :

..

:'-'" ..

,.~

ilr

r'dJ
/\

1'.

.....

- ....

-e-

• 8f'O

II
CH,IIPTER XI

7. PUMPKINII - ANDREW HILL

This very hip and dark composition almost falls in the linear modal category. It is basically song form, but the A section has 10 bars. Additionally,

it has a functional

harmony

(n-V-I)

bridge and is a great example 'of a modal tune with ties ro the traditional Example 11-13:

bebop aesthetic.

[;]

Aeolian

altered

Phrygian

l.ocrian
:>

13

(
(

>-

1\

:>

:>

1\

._;

••
I
u
1

. If.·
:>

R*
1\
:>

It··
:>

.a<2 3

~.
4

"I".
5 6

(6 bars]

T' 7

---t

..
8

i\

[iJ

,.,

~
117

,,'
A7
II V II V

iJ-e10
11

-,
1'2
13

~U 14

...
15 16

COMMENTS
A. BASS MELODY
CHORD;

1-3 4-6 7-9 10-16

simply a root with a II-V turnaround a rrirone figure, the signpost a repeat of 4-6 being tonal harmony, the melody is diatonically related, defining [he cycle of keys: E~ to A~ ro D~ with the resolution
[0

"hook" of chis tune

D~ made with rritone substitution

B_ TOP

MELODY

,I

CHORD:

1-3 4-9 10-16

correct voice-leading

of functional harmony

harmony

active motive of the "hook:' again, voice-led functional

C. HARMONIC MATERIAl..
CHORD,

.6 bars of 0 Aeolian, dearly perceived, this is linear modal, the emotional Aeolian: dark arid melancholy, tune is additionally tense due
to

quality of

the ve.ry fast tempo of this

2-3 4-9
1) Black F;,-, Blue Not. IlST·84151

a turnaround common

cycle

upper structures

,1

• 82·

HJ.RHOMIC

CONTOUR

10-11 12-13 14 15-16

cycle of Ionian chords tritons substituted completed II-V to

Db

(sub for

cycle of the key centers: Eb

[Q

Eb- to Ab13) Ab to D~

a "stand alone" II-V, resolved. melodically, not functionally

D. GENERAL QUALITIES 1. Because of general modality, a very sophisticated tempo, and rhythm section style of accompaniment, while still being fairly simple in construction.
to

this is in

composition

This tune

could be described by purists as the "real thing." Referring rhe appendix, you can see that ofrhae. 2. Because of its ties
to to

the "Tree Of Composers"

Andrew Hill is influenced

by Monk. This tune is evidence

traditional

bebop, this is a good "player'S tune," but it is very difficult

play. map is simple with three parts, the dark Aeolian section, of the II-V section. the quirky

3. The emotional

"hook" vamp and the energetic exuberance Example 11-14: "Pumpkin" by Andrew Hill

o Aeolian

PU

-G

bd-

bu

(· ·
Phrygian Locrian Mixolydian
>:>

E altered

1\

A
I I I

~~

~ht,.

(
(
<

:: ~~l ':
:> ;;;-

..
-d:!..

·
,
~ :

.e-

b1.

9'"

..
p.e. .e.

A-9

D13

G7
.(=)..

IP US"

T:P

p-oe-

.~

T'i§.

-9

~"~

~-d

.' 83 •

CHAPTER

XI

8. TOUCHSTON£t)
This is another composers. vertical. Example 11-15: (2)
Mixolydian (2) Lydia" !5

,_ RALPH TOWNER
short, compact,. gem of a composition out as plateau modal

by One of the contemporary

the harmonic rhythm

"master" to become

It starts

and compresses

Ionian ~6

Lydian ~S

Lydian ~5

Phrygian

(2)

CT

COMMENTS
A. BASS MELODY
CHORDS;

1-2
3-4 4-S 6-7 8-9

a short 2·nore motif, downward a sequence outline of 1-2 down

a relaxed resolution

a major third
of tension and resolution with the skips

of a C major triad, increase

pedal point, clear modal contrast

B. TOP MELODY
CHQRDS:

1-3 4 -, 6 6-8
I,

common general common

tone connection upward tones for cadence trend co increase tension

8-9
I

a step downward

C. HARMONIC MATERIAL
CHORDS;

1-3 3-4 S 6-8 8-9

common abrupt

inner structures increase in tension of tension (index # 1 to # 8)

use of exotic chord, Ionian good example cadence

~6,harmonic
index contour, resolving

major (see Chapter

XV) setting up the final

the increase in tension

cryptic cadence, upper structure

down, index # 9 to # 1

D. GENERAL COMMENTS L The overall tension contour is derived from an increasing compression of the harmonic

rhythm. 2. Good combination oftense, stark modes and clear open nonmodal chords. It sounds like it was composed on the gui tar.

I) Oregon, {'.fUJii; u[ Another ?relent

Er a , Vanguard VSl) 79326

• 84·

HJ\RHONIC

CONTOUR

Example 11-1 6 : "Touchstone" by Ralph Town er

Gadd2

(
(

eo:

..

..
.. .

..
..

..
..

F13sLlS

..
..

..
..

..
...

~"tT

..

..

OJ

(
,(

f\

Gadd2

...
..

E Lydian ~5 C Lydian ~5

~ :

at
.._,.

~tt

~r-t

~.
, ,

G Phrygian

Gadd2

i::)-

~u-

HARMONIC CONTOUR - CONCLUSION

One of the best methods for learning composition is [Q transcribe compositions with harmonic material "above" one's level of abilities. It is difficult because it requires going that "extra mile," but the gains are well worth the pain. A very beneficial project would be [Q transcribe asecrion of a Stravinsky piece or a section of a Gil Evans arrangement. Of lesser difficulty, bur of great benefit, is to analyze a number of better compositions, rhosecornposirions that have that special quality that attracts a listener and becomes a. classic, which is what has been done in the last few previous pages. When creatingyour own compositions, try to organize the harmonic materials with the following:
1. Through-composed,

with symmerric sections, but not necessarily even numbered bars.

2. Modal chord movement that is easily voice-led.

3. A chordal or melodic figure rhar improvisor. 4. Adear point of climax, note any similarities offers a signpost, or "hook" for rhe listener and

of climax location in the previous examples.

to

5. A rounded harmonic form - last chord resolves played without coercion.

the first chord.

6. Keep rhe harmonic material simple enough for ochers to play or your runes will nor be

7. Have a dear emotional or programmatic "goal" in mind when creating your composition. Review the previous compositions with the above in mind, ask if, in fact, [he compositions satisfied the proposed guidelines.

• 85 •

CHJ',PTEfl

XI

SUGGESTED

EXERCISES

1. Using the includedser the recording

of chords for the composition "Hello Goodbye;" analyze as in the previous examples. "Hello Goodbye" is composed by bassist Ron McClure and found on
The .Sun arid Moan Have Come Together; (Harvest
ROn

SKAO-4'Z3) by a group

called The Fourth Way, with Mike Neck, piano; violin; and Eddie Marshall,drums.

McClure, bass; Michael White,

2. Look at the irrcluded harmonic synopsis of rhe composition "Little One" by Herbie Hancock. Compare this wii:h "Ruth," "Mikell's," and "Hello Goodbye." Make as many comments about similarities and differences as you can. The tune is found on Herbie Hancock's Maiden Vrryage 'recording if you want [0 hear it for reference. 3. Analyze any composition
At this point it is time

'Of your choice, one that you find really inspirational.

1:0 create the firstcornposirion based on the concepts of the previous' chapters. In addition, you should analyze the finished.cornposirion.ras rhisis of great benefit in pointing out borhscrengths and weaknessesas well as helping, to clarify a,developing style.

• 86 •

H"'RMO~IC

CONTOUR

Example 11-17: "Hello Goodbye"

by Ron McClure locrian

Phrygian ~6

(
<

~ :

If

ll~.-.

.. ..
altered b6

.. ..
Phrygian 96

'. . ..

.' ·

..

92

~ytf

"'UP

(
r
~

.. .. .. .2.
..
Lydian ~2

altered

96

I
(

.
v

·.
·.

.. ..

IHt ~
~o

ho

..
..
2

I~
fI

Aeolian

Mixolydian

(
,~

.. ..

'~

'IT

I·

*v
altered ~6

..
~u

~~

I
I
I
@)

altered b6

Lydian

'6

,0

~g

he.

[g Phrygian ~6

fI

tJ

~,tt

..
..

.. ..

.'. ..

..

..
...

minor 11

W'~ ~nG'
[;I~

.. ..

..
-.

·. ·.

(·

hn

..

• 87·

CHAPTER

XI

Example 11" t 8: "Little One" by Herbie Hancock

us
Sus 2
phrygian sus 2

brightens

CT

brightens

F Phrygian

EJ"

Phrygian

q6 Phrygian

~6

F Phrygian/G

4th

eM

8669 IF

II F Phrygian F Aeolian F Phrygian

Fj"

B Phrygian

Bb"

D!B~

B~-9

F(4)

Solos
sus 2 IPnrygi3'n

US
sus 2
Pi1rygiM E/E~

F(4)

F Aeolian

F(4)

FAeolia:n

Phrygiim

E!.~11

Phrygian

q6 Phrygian ~6

Gb9sus

F-l1

G~11!F

.1\

C Phrygian/F

Aeolian

bs

.J
II V Il Phrygian

f Aeolian

F~f)

8-9/66

86-9

(~ .. ~~~~~~ ~t::::::::=:::; __
u

----,~~OJ~

<::»
LT (Transition)

• 8S •.

C.HA'PTER

XII

9fAltered Diatonic

No: 2.

CH1\.PT~R

XII

Using the rerrachord construction process:

method

of construction, Hungarian

the remaining

three retrachords minor.

are used in the

harmonic,

major, and Hungarian

THE TETRACHORD FORMULAS

MODE Aeolian ~7 Locrian ~6
:

TETRACHORDS

.'

'SEI\IIITONES

CONNECTOR' _::
,

Dorian Phrygian

& Harmonic & Hungarian

Minor Major

212 & 131 122 & 312 221 & 121

2 1 3

Ionianaf
Dorian Phrygian

1011:ian & Spanish Hungarian Harmonic Hungarian Spanish Minor

& Ionian

#4
1j3

213 &212 131 & 122 312 &221 121&213

1
2 1 2

& Phrygian Major & Ionian

& Hungarian

Lydian #2

Altered ~~7

Minor

Because of the amount rerrachord sharped, formulas, and determine

of alteration,

cheorder

of darkness

is not obvious
to

by

looking

at the

The best process is ro compare by the alteration.

each mode

its immediate

predecessor

As an example, Aeolian q7, having the seventh than Aeolian. In addition, the number and placement of rritones in chemode will affect irs stability. Notice char Aeolian ~7 has tWO tritones: D ro A~ and F [0 B. This would make it more active than unaltered Aeolian. its quality would be brighter Toresrate: or Ionian Learn to hear these modes and their chords as a form of altered Ionian (Ionian b3, b6). - Harmonic Minor (Ionian ~5

Example 12·1: The Modes of the Altered Diatonic No.2

!>3, p6)

Aeolian

97

••
2

~. h. ~. . •
2 (2) 3

Locrian ~6
I

IIJ.
2

, -. &. b.
(1) 3

~. ~.3· 9Ionian ~5

••
2.

• §• •
2

.2

(3)

#• • ~.
Dorian ~4
2 3

•
2

9-

(1 )

~. .. ~..*•
Phrygian ~3

122

2.

(2)

~. .. #•
2 3.

Lydian ft2

•
2

#(1 )

•
2

-§.
2

.. .b. f,. ~.M).

altered.l-b? :~

f,.

,3

II

2'

(2)

• 90 •

THE

HODES

AND

CHORDS

O.F

HII.RHONIC

MINOR

COMSTRUCTION
(Altered Diatonic

OF THE CHORDS
No.2, Ionian ~S, Ionian

OF HARMONIC
b3, b6, Harmonic Minor)

MU~OR

These are mixed spacings following

which include

use of the grip rnerhod

of chord construcrion.The Ionian mode.

table of color [Ones is derived again, by camparison

with che parent

THE TABLE
Aeolian Ij7 Locrian ~6 Ionian. #5 Dorian Phrygian Lydian ~2 Altered ~4 ~3

Ib6
b5 ,~4

~7 6

2 b2

b3 b7 3 9

4 4 6
5

b3
9 b7

#5 H
~3 ~2

q7 b3
5

1~6

b2 #4
b4

b7
3

b6
6

4 9

~7
b2

~b7

bb7

bS

~6

b3

At least the first three of the tones are needed to define the mode. The order of-the last three' is not strict.

CHORD EXAMPLES
1. AEOLIAN group. Example 12-2:

q7 -

A brighter

form of Aeolian, but. less stable. One of the most used of this

C -ll~6

II

,/

A Aeolian ~7

t.l

OJ

L6

-.CO

~,h

60

2. LOCRIAN ~6 - Brighter substitute Example 12-3: for auxiliary

than

Locrian

b6, not

seen roo much,

it could

be used as a

diminished.

~5 C l.ocrian q6

I
I

G6b2

t.l

~OJ

P;eo l

~,~
l

h....

• '91 •

C HA PTE R

X II

3. IONliA'N #5 - Tends augmented augmented EXample 12-4:

[0

sound like Lydian-augmenred

~4, so it is a softer sounding as a 'substitute

Lydian-

cr a less stable. Ionian

~.4. It

can be used

for a Lydian-

chord in more romantic compositions.

Ebll~1

~5 Abb.11

D Ionian ~S

( (

tJ

~.... L,b
..0

Vi~

R1'i:ii

60

4, DORIAN "4 - A brighter form of Dorian, it had use in pre-modal compositions. The first chord is found in the Horace Silver rune "Sweet Sweery Dee"'from Silver's Serenade.
Example 12-5:

B Dorian!4

C-69~4

.;

II

5. PHRYGIAN ~3 - A br~ghte["Phrygian., it can be used with the auxiliary diminished

Occasionally used on dub dates. Example 12-6:

scale.

6. LYDIAN #2 - Most often used as a slash chord {VIljI).Nore theopriona] a dimished diminished Example 12-7: scale over a Mixolydian major 7. "9 chord (chord

substitution

for

2). This chord is also known as

(
,I

11

o Lydian ~2
,ti-

D°_t,.

ElF

ELJi
it
'U

tJ

~Q"

(
• 92 •

e-

II

-e-

SUGGESTED

EXERCISES

1.

Construct a number of chords with all spacings; include a number of grip method cons [ructions.

2. Play all the chords with an ear training goal in mind and [ry to identify their use on recordings.

• 94 •

THE

HODE.S

!\_ND

CHO·RDS

OF

l-OIRH.ONIC

HINOR

7. ALTERED ~.~7 - Its best use is as a slash chord (VI/I). It also is closely related Mixolydian b9 chord and can be used that way.

CO

the

Example 12-8:

(
~

"
~

D/F

C altered ~~7

I' ....

1/

OJ

u.,
u

This group of chords is (he first of the groups of esoteric modes and chords. Harmonic major and melodic minor ~5are rhe Iasr [WOo Thr theorist experimentalist among you might Want to work with the modes/chords of Ionian #2 as well. Although rhe modes of harmonic minor have been used in improvisation the chords are not found that often in compositional use. The chords of harmonic major and melodic minor #S (Ionian ~3,n3) are used by only the most adventuresome of rcday's composers. David Liebman, Richie Beirach, Ralph Towner, Keith jarrert, and Joey Calderazzo occasionally use these chords. Check am their recordings. The emotional description of these modes can be determined in the same way as with all the altered modes: that of raking the descriptions of the parent unaltered modes and considering [he alteration as an enhancement. As an example, Phrygian ~3 is brighter chan Phrygian ~6, both brigluer chan Phrygian b6. The brighter the alteration, the higher the degree of tension. Phrygian b6 is considered dark and mysterious, Phrygian~3 is not asmysterious due to its more "open," bright quality, bur is still exotic. Since there are multiple alterations in the last three Sets of chords, clear caregorizarion is not so easy. It is best [0 group the chords by ear. Before we construct the modes and chords of the remaining two groups we will look at one more harmonic connection/composition technique: slash chord harmony.

• 93 •

CHAPTER

,Slash ChQrd Harm-ony

1. Slash Chords 2. Polychords 3. Cryptic Cadence.

~f~ymmel:ric Patterns

5. Tension ',Contour

CHJlPTEI<

XIII

Slash chord harmony overall development

refers to the harmonic can be applied separately-to

style in which

the chordal

relationships

and

the upper structure

and bass parts of a grol.lp over a bass note. a

of chords. A slash chord is a two-part letter representing separated the upper chord's

chord made up of an upper structure rorialiry and a letter representing

The "slash" in the name refers to the-standard by the slash character.

chord symbol for this kind of construction:

a single bass pitch,

EXAMPLE: E/C, A7/F, Db/e,erc.

Slash chords differ from polychords zontalline. EXAMPLE: D C7 0-9 CLl GAb in that polychords are rwo- or three-pan chords in which by a horieach part can be a whole chord. The notation for a polychord is a letter separated

pIt is the slash chord chat is used most often in modal harmony triad that is irs upper structure. The emphasis of this chapter and, in addition, it is the major

is on slash chord usage with

rriadi c US.

CHORD CONSTRUCTION
The construction method. of slash chords follows the same process as found in the chapter on the grip you will find thar the basic major triad in first inversion has predominan r use compositions. If you refer to that chapter of pop and pop-jazz

is one of the listed grips. An entry level grip> the triad as upper structure in the harmony root is stark and sometimes creates missing note, non-modal because of irs transparency. To construct slash chords, it is suggested that the srudenr

Thesonoriryof a consonant

triad over a

chords, but has a desired beauty

learns the ratio of upper structure is a IIIjI,or major triad

to root and its implied modality.

As an example, a Lydian-augmented

a major third above the root: E/C. The following offering is a construction ofmajor triads over all of the notes of the chromatic scale,

all possibilities

of construction. tension as determined by subjective

In addition,

the chords are placed in an order of increased and sonoric tension/relaxation. order has priority.

class poll. Because all of the upper structures have the same sonority, their order is affected by both modal contour is obscure,

And because the modality, in.most cases,

index number.

the tension

Learn the ratios and the tension

Example 13-1: Slash Chords

2
IV

5
~II

6 ~III

7
bVI

8 III

9
bll

10
VI

11

12 WII

WII

bV

OJ

l' ....

+I" ....

bo
Ionian Mixolydian . Lydi.an Aeolian Lydian fiS Phrygian altered 1>1>7 t.ocrian

bo
Lydian ~2

1/1

IV/I

etc

.. 96·