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Scarica teoriae arrangiamento jazz e più Appunti in PDF di Educazione musicale solo su Docsity! THE JAZZ LANGUAGE A Theory Text for Jazz Composition and Improvisation by Dan Haerle yd® 0, get” x £L ei eeÒ Sena, SL SP a, to, AT usò “ay SS “dx vs SI goa, gd °° "boy, ci More, a ° % on °° ° dk, gas got 00, x ss "It ge ee & o 9° don, gorgf*  3. 1. INTERVALS Intervals are found both in horizontal (melodic) and vertical (rarmonic) structures in music. A musician în any idiom of music must be thoroughly grounded in a solid understanding of intervals in the following ways: 1) He must know how to spell (construct) them in any key. 2) He must be able to identify them both visually and aurally when he sees or hears them. 3) He must be able to conceptualize the intervals by singing, either vocally or internally. 4) He must be able to play them anywhere within the range of his instrument. An interval is simply the distance between two notes. This distance is measured by the number of whole and/or half steps between the two notes involved. Sometimes an interval may be defined as a combination of two smaller intervals. An example of both ways of thinking might be the following: A perfect 5th consists of 3% steps or is the combination of a major 3rd and a minor 3rd. Example 1 Perf. 5th © Au Ma3 mi3 NV LI % 1 © LI FA There are pasicallp two kinds of intervals: melodic and harmonic. Melodic intervals are those which involve two a successive tones and harmonic intervals consist of two tones which occur simultaneously. Example 2 Melodie interval Harmonic intervai Another way of conceiving intervals is to relate them to some portion of a major or minor scale. For example, a major 3rd is composed of the Ist and 3rd notes of a major scale. A good knowledge of major and minor scales is essential to many kinds of theoretical activity. Example 3 C major € minor Ma3 mi6 © e 12345678 12345 67 8 The following chart displays the most common major, minor and perfect intervals. They are discribed in three ways: 1) by the number of whole and/or half steps, 2) by combining two smaller intervals, and 3) by locating them in a major or minor scale. INTERVAL NUMBER OF STEPS INTERVAL COMBINATION LOCATION minor 2nd % step {none smaller) closest of all intervals major 2nd 1 whole step 2 half steps 1&2, major minor 3rd 14% steps 3 half steps 1&3, minor maior 3rd 2 whole steps 4 half steps 1&3, major perfect 4th 2% steps maj 3rd and half step, 1& 4, major or minor min 3rd and whole ste, perfect 5th 3% steps maj 3rd and min di 1 & 5, major or minor 1 4th and whole ste; minor 6th 4 whole steps min 3rd and per 4fh, 1 & 6, minor two maj 3rds, per Sth and half step major 6th 4% steps maj 3rd and per 4th, 1& 6, major per 5th and whole step minor 7th 5 whole steps min 3rd and per 5th, 1&7, minor two per 4ths major ?th 5% steps per 3) and maj 3rd 1&7, major octave 6 whole steps per Sth and per 4th 1& 8, major or minor 4 A musician should be able to spell intervals correctly and enharmonically. That is, a 3rd should involve two letters a 3rd apart, a 5th should involve two letters a 5th apart, and so on. However, tor various musical reasons, intervals are often “mis-spelled” enharmonically with letters that produce the correct sound but are not the correct distance apart. The following example shows both the correct and enharmonic spelling of several intervals. Example 4 p_Perf.4 (misspelled) _min.6 {misspelled}] Ma6 (misspelled) Pr 4s De Per K pa fes—vo tg pr Sp TE si XE TE fo Technically speaking, an interval which is mis-spelled enharmonically should really be relabeled as another type of interval. The following example shows the correct relabeling of the intervals from Example 4. Example 5 Perf.4 aug.3 miné aug.5 Ma6 dim.7 Any of the major, minor or perfect intervals may be augmented (increased in size by a half step) or diminished (decreased in size by a half step). For example, an augmented 2nd consists of 1% steps (the same as a minor 3rd) and a diminished ‘th consists of 414 steps ( the same as a major 6th). Perfect intervals may be diminished or augmented but never become major or minor. Major intervals may be augmented but never become perfect. Minor intervals may be diminished but never become perfect. Example 6 Ma2 Aug.2 Perf.4 Aug.4 Perf.5 dim.5 Each interval has a separate and unique expressive quality. Though the specific qualities of various intervals are hard to define exactly, composers have used intervals similarly for centuries. Certain musical effects seem to be universally true. For example, small melodic intervals tend to create a smooth, flowing effect Example 7 Large melodic intervals tend to be stronger and more engaging, thus producing a more dramatic effect. Example 8 Harmonic intervals can be generally arranged on a scale from consonance to dissonance. Thirds and 6ths tend to be more consonant, 2nds and 7ths tend to be more dissonant, while 4ths and Sths are somewhat neutral depending on the context in which they are found. The following example shows one possible order on the scale. Example 9 . Consonant se-____TrT®OTtr'PT_r_r_— Dissonant Ma3 Ma6 mi3 mié P4 PS Aug4 Ma2 mi? mi2 Ma7 mi9 Inversion of Intervals Another aspect of intervals involves their inversion, or turning upside down. Understanding the laws of inversion can also be anaid in conceiving them. Basically, the following rules apply in the inversion of intervals: 1) the size of the interval and its inversion always totals 9. 2) a major interval inverts as a minor and vice versa. _3) an augmented interval inverts as a diminished and vice versa, and 4) perfect intervals remain perfect when inverted. Following are some typical examples of intervals and their inversions. Example 10 mi3 Ma6 Ma3 mi6 Perf4 Perf5 Aug4dim5 Aug2dim7 Ma2 mi7 miz Ma7 Intervals Larger Than An Octave Intervals larger than an octave are simply a combination of an octave and some smaller interval. Usually the qualito of the interval will be consistent with its smaller counterpart. Following is an example of some common intervals whic are larger than an octave. Example 11 mi2mi9 Ma2 Mag mi3 mi10 Ma3 Ma10 STUDY QUESTIONS Define the term interval in music. What are the two general types of intervals? Give three ways of conceiving intervals. What are enharmonic intervals? Which types of intervals can be augmented? Which types of intervals can be diminished? The size of an interval and its inversion always totals what number? What does the quality of a major interval become when it is inverted? © pa saw . What does the quality of an augmented interval become when it is inverted? 10. What intervals remain unchanged in quality when they are inverted? 7th Chords There are five types of 7th chords: major, dominant, minor, half-diminished and diminished. The following chart shows the interval structure and the tones of a major scale (either natural or lowered) that are used to construct each type of chord. The chords are shown in Ex. 7. Type of Seventh Chord Interval Structure Tones of the Major Scale Major ma3, mi3, mas 1,3,5,7 dominant ma$, mi3, mig 1, 3,5, b7 minor mi3, ma3, mi 1, 3, 5, 67 half-diminished mi3, mi3, ma3 1, b3, b5, 07 diminished mi8, mis, mi3 1,53, 55, bb7 Example 7 major 7th dominant 7th — minor 7th haif-dim.7th diminished 7th Normally, chords are built in 3rds, using every other note of the scale. Therefore, chord spellings for 7th chords involve every other letter of the musical alphabet. As a result, there are only seven different spellings for all 7th chords. Each of these spellings is adjusted with accidentals to conform to the correct key or chord type. Example 8 shows several different chords based on the A, C, E, G chord spelling. Example 8 Ami7 Ab Ma7 A7 A97 Aldim7 The seven possible spellings for 7th chords are: ACEG,BDFA CEGBDFACEGBD,FACEGBDF. Several alterations commonly occur in 7th chords. Major and dominant 7th chords may be augmented, that is, the 5th may be raised. Example 9 major 7th aug. maj.7th dominant 7th aug.dom.7th Minor 7ths sometimes have the 7th raised. Example 10 minor 7th minor#7th Major, minor or dominant 7ths may have the 4th suspended. Example 11 . _5us,4 minor 7th min./th sus.4A SUS; major 7th maj.7th dom.7th dorli 9 Nomenclature Nomenclature refers to the labeling and identification of the various chord types. Unfortunately, there is no one chord symbol for each type of chord that is universally agreed upon as the best. The following chart shows a recommended choice of chord symbol for each type of 7th chord plus several variations that are commonly used. The symbols are all in the key of C for comparison. Type of Seventh Chord Recommended Symbol Variations € Major 7th C Maj7 CM7, Cma7, CA, CF C dominant 7th 7 Cb7 C minor 7th C min7 Cm?, Cmi7, C7 C half-diminished 7th C min? b5 cf C diminished 7th C dim 7 C7, Cd7 A letter by itself indicates a major triad. A letter and a number other than 6 indicates a dominant chord. A plus (+) next to the key letter of a chord indicates that it is augmented. Example 12 c C7 C+7 C+Maj.7 STUDY QUESTIONS What are the four basic types of triads? Describe the construction of the four basic triads. What is a sus4 chord? A major or minor 6th chord is a triad with the addition of what scale step? What are the five types of seventh chords? Give the interval structure of each of the types of seventh chords. What tones of the major scale are used to form each type of seventh chord? Give the seven letter spellings for all seventh chords. LAPNAI PEN . Give the recommended chord symbol for each of the five types of seventh chords. 10. What does a plus (+) next to the key-letter of a chord symbol indicate? EXERCISES Written: Write the following triads: D mai, F min, E aug, C$ dim, EP maj, B min, A aug, B? dim, AP mai, F$ min, D' aug, C dim. Write the following sus4 chords: G sus4, Ab sus4, FÉ sus4, D sus4, Bè susd. Write the following 6th chords: C mi6, B”6, A mi6, AP6, F mi6, E6, E? mi6, DP6, B mi, G6. Write the following 7th chords: C$ maj7, D7, E? min7, E min78, F dim7, G! maj7, F#7, G min7, Gtmin7®5, A dim7, Bò maj7, B7, C min7, C3 min?bs, DI dim?, D'maj7, E7, FÉ min7, G dim7, Bb min?b5. Keyboard: 1. Ina given key, play the five types of triads: major, minor, augmented, diminished and sus4. pen 2. Ina given key, play the five types of seventh chords: major, dominant, minor, haif-diminished and diminished. 3. Play each of the types of triads or seventh chords in all keys. Ear-training: Sing each of the four basic triads from the root (1-3-5-3-1), 3rd (3-1-3-5-3), and the Sth (5-3-1-3-1). 2. Singeachof the five types of 7th chords from the root (1-3-5-7-5-3-1), the 3rd (3-1-3-5-7-5-3), the Sth (5-3-1-3-5-7-5), and the 7th (7-5-3-1-3-5-7). 3. Work with a friend and play triads and 7th chords for each other to practice identification. Transcribe the harmony of simple compositions from recordings. Listen to the bass piayer to make sure what the root of the chord is and then sing the chord to test it. Choose pieces in which the harmonies last long enough to give you time to identify them. 10. 3. MODES OF THE MAJOR SCALE The major scale (also called [onian made) is well known to most young musicians since they are usually taught to play several of them early in their development. Though we usually play a major scale from its root tc its root, there are several other modes (manners) in which it may be played. Each time it is played starting on a different note, the scale takes on a different quality. Accordingly, each one of these modes has a name to identify it. Following is a chart showing the order of the modes, their names and their location on the white notes of a piano. By visualizing the modes on the white notes it is very easy to see the location of the half steps since they occur between the notes E and F and B and C. Number of Mode Name Location on White Notes Ist lonian Ctoc 2nd Dorian DtoD 3rd Phrygian E toE 4th Lydian FtoF 5th Mixolydian G ta 6 6th Aeolian Ato A Tih Locrian BtoB Though it is easy to find the modes on the white notes of the piano, unfortunately they do not always occur in that key. Example 1 shows each of the modes built on the note C for comparison. Example 1 € ionian € Dorian C Phrygian € Lydian e C Mixolydian C Aeolian e C Locrian It should be apparent from the previous exampie that, to be able to construct any mode on a given note, a rnusician must have one or more ways of conceiving the structure of each mode. Actually, there are four excellent ways of conceiving the various modes which are as follows: Find the location of the major key signature from which the mode is derived. Locate the two half steps in the mode. Alter a major or pure minor scale to create the mode. pa @Nr Make adjustments to a major or minor key signature by adding or subtracting a sharp or flat. 13. 4. BASIC SUBSTITUTION AND FUNCTION As soon as a musician learns how to build chords he must then gain an understanding of how they are used in progressions. This involves learning how each type of chord may progress (function) and which chords substitute for each other to create slightly different effects. Generally speaking, chords assume a function because of their location in a key. This also affects substitution possibilities since chords that function similarly may often substitute for each other. Example 1 shows the diatonic seventh chords in both major and minor. Notice that chords which are located on every other scale step have three tones in common. This shows the basis for common-tone chord substitution. Example 1 Major I {HW WVUVI VH I HI IV VOOVI $vi VI $vu Notice that in a minor key the diatonic seventh chords are derived mainly from the pure minor scale except for the V, VI and VII chords which often involve the raised 6th or 7th scale step. Since there are obvious differences in the diatonic seventh chords of either a major or minor key, the functions of each group will be discussed separately. Also, basic chord substitutes are summarized Major Key Functions I Maj7 Establishes the key center, doesn't need to progress, but may go anywhere. I min7 Substitute for IV Maj7; progresses to V (down a 5th) or to bll (down a half step). IT min? Substitute for I Maj7; progresses to VI (down a 5th) or to bIIl (down a half step). IV Maj7 Substitute for Il min7; progresses to V; often serves as temporary key center for relief, V dom7 Progresses to l (down a Sth). VI min? Substitute for I Maj7 or IV Maj7; progresses to II (down a 5th) or to bVI (down a half step); also is relative minor key center. VII min7bs Substitute for V7; progresses to I. Minor Key Functions I min7 Establishes the key center, doesn't need to progress, but may go anywhere. II min7bs Substitute for IV min7; progresses to V {down a Sth) or to bll (down a half step). II Maj7 Substitute for I min7; progresses to bVI (down a 5th) or to Il (down a half step); also is the relative major Key center. IV min? Substitute for Il min7Ps; progresses to V or to bVII (down a Sth); often serves as a temporary key center for relief. V dom7 Progresses to I (down a Sth). VI Maj7 Substitute for I min7 or IV min7; progresses to PII (down a Sth) or to V (down a half step). $VI min7ds Substitute for I min7; progresses to Il (down a 5th) or to DVI (down a half step). VI dom7 Transitional chord between IV min7 and I; progresses to I or to Lt (down a Sth). $ VI dim? Substitute for V7b9; progresses to I. Some general conclusions may be drawn from the previous summaries of functions. They are as follow: 1) Major, minor and half-diminished 7th chords (min7 bs) have more then one normal function. 2) Dominant and diminished 7th chords commonly resolve to key center. 3) Many chords commonly progress either down a Sth or down a half step. 14. At this point something should be said about the nature of each family of chords. Major Family Since a major 7th chord is found built on the key center of a maior scale, it can always assume a tonic {1) function regardless of its location in a key. In other words, it is relatively stable and doesn't need to progress to another chord Example 2 Bb7(V) EPMaiZil) DIV) G Maj7(1) Minor Family Since a minor 7th chord is found in five different locations in major or minor keys, it can assume more than one primary function. Its two most common functions are as either a tonic (1) chord in a minor key or a supertonic (ID) chord in a major key. Therefore, a minor 7th can either be relatively stable or feel like it wants to progress down a Sth. Example 3 G7IV) Cminz() fiminzil) B7(V) Dominant Family Since a dominant 7th chord is found built on the 5th scale step in either a major or minor key, it has a strong need to resolve down a Sth to the key center. A common exception is in a blues progression or simple one-chord rock tune where a dominant 7th often serves as the tonic (1) chord. Example da 4b (Blues) F7(V) Bò Maj7 (1) ATIV) Dmin7{1} C7(1) F70IV) C71) Half-diminished Chords Since a half-diminished 7th chord is found built on the 7th scale step of a major key, it may occur in a leading tone (VII) function and progress up a half step to the key center. However, a dominant 7th built on the 5th scale step is more often chosen as a chord to progress to tonic. The most common function for a half-diminished chord is as a supertonic (II) chord in a minor key which progresses to the V chord. It is a fairly dissonant chord with a moderate need to progress, though not as strong as a dominant 7h. Example 5 Bmin7?5(vt1) CMaj7(1} B min2?5{i1) £7°9{v) Diminished Chords Since the only place a diminished 7th chord occurs is as a VII chord in a minor key, its function is that of a chord which may resolve up a half step to either a major or minor chord. The interesting thing about a diminished 7th chord îs that, because of its symmetrical interval structure, it may be respelled as several different chords with several different resolutions. What tends to obscure the function is the fact that very often a diminished 7th chord may be spelled in one key but actually resolves as though it were spelled in a different key. This is done by the composer to create certain kinds of bass melodies in chord progressions. The important thing to remember is that a diminished 7th chord is a VII chord and will normally resolve either to a chord located a half step above any of its chord tones or to substitute for any of those chords. Example 6 shows several resolutions of the same diminished 7th chord sound with different spellings. Example 6 Bdim7 = Cmin7z Ab dim7 —AbMaj7 Abdim7 Gmin7 f dim7 ED Maj7 Gidim7 A Maj7 D dim7 B Maj7 15. The I-V-I Progression The I-V.I progression is one of the strongest and most common combinations of chords in jazz harmony. Many bebop tunes are composed using only chords which can be analyzed as either a II, V, or 1 chord in some major or minor key. Following is an explanation of the usual form of a II-V-I progression in both major and minor keys. Major Key - II min7 to V7 to 1 Maj7 Minor Key - Il min7bS to V7>9 to 1 min7 There are Aybrid combinations that depart from the normal form that may still be considered II-V-I. For example, II min7bS to V759 to I Maj7 is a combination of the minor and major forms. Also, the Il chord in either a major or minor key may sometimes be a dominant chord to produce an even stronger progression. If the entire I1-V.I unit is present in a chord progression, it is fairly easy to recognize. However, often only two of the three chords are present. Therefore, one musi learn to recognize the smaller combinations such as Il min7 to V7, HI min765 to V759, V7 to I Mai7, and V7P9 to I min7. Example 7 shows a progression involving chords which can all be analyzed as II, V, or I chords in major or minor keys. Example 7 b9 fminZ{1l) Bb7(V) EbMaj7(1} D min755{11) G7(V) C min 7(1) BPmin7(11) B7(V) D7IVI G Maj7(1) fiminZ(11) B7(V) E Mai7(1) F7?%VI Bb min7(1) Another common occurrence is a “chain”, or series, or II-V progressions moving downward either in whole steps or halt-steps. Example 8 a) Emin7iH) A7IV) D min7{l}) G7(V) C minZ(11) _F7(V) b) EminZ(It) A7IVI Eb min7(i1) A57(V) D minz(li) G7(V) Some composers use a series of random V-I progressions to create sudden key changes. Example 9 a) BMaj7(i) D7IV) G Maj7(1)__B97(V) Eb Maj7(1) b) E min7(l1) F7(V) Bb Maj7{1) D57(V) Gb Maj7(1) AZIV) D Maj7(1) Turn-around Progressions An extension of the II-V-I progression is used to turn around from a I chord at the end of a phrase to start a new phrase on another I chord, It uses a VI chord to move away from I and move down a Sth to II. It has two basic forms in a major key and two forms in a minor key, Example 10 shows these common turn-arounds. Example 10 C Maj7(1) A min7(VI) D min7{l1) G7(V) C Maj7(1) A7(VI) D7{I) G7IM © min7 (1 A min288 ,D min7}8,679 (v) © min741 AbMaizy,)D min 7,6)6 70%) 18. 5. THIRTEENTH CHORDS Seventh chords are built by using the odd-numbered scale tones (1, 3, 5 and 7). If one continues to count on up through the scale, still using the odd-numbered scale tones, the 9h, 11th and 13th of a chord may be found. The 15th scale step is a repetition of the root (lst scale step) so, normally, chords larger than 13th chords cannot be constructed. The three types of thirteenth chords with which jazz musicians are usually involved are major, dominant and minor. Half-diminished chords larger than 9th chords are rare and diminished chords cannot be larger than 7th chords because of their symmetrical structure. Example 1 shows the three types of 13th chords built on the root C. Example 1 C Maj13 c13 C min13 +13 +11 In Example 1, notice that the 11th scale degree has been raised in the major and dominant 13th chords. This is generally understood to be necessary to avoid a clash of the natural 11th and the 3rd of the chord. The only reason that the 11th would not be raised in those two types of 13th chords is if the 3rd was omitted from them. In fact, ifa chord symbol specifies a natural 11th in a dominant chord, this generally implies that the 3rd is omitted. Example 2 Ca - The minor 13th chord requires no alteration of the 11th since the 3rd is lowered and no clash occurs between those two chord tones. Thirteenth chords are generally considered to be complex chords, both in their sound and in their construction. However, a closer look reveals that 13th chords can be constructed by combining the appropriate type of 7th chord with either a major or minor triad. Example 3 shows the three types of 13th chords again. However, this time each is described as a combination of two separate chords. Example 3 C Maj13 c13 C minî3 triadi d minor. C Maj7 C min7 This leads to the development.of formulas for building 13th chords easily. To construct a 13th chord, one begins with the appropriate type of 7th chord (major for major 13th, dominant for dominant 13th, minor for minor 13th). Then a triad, whose root is located a whole step above that of the seventh chord, is added to complete the chord. For a major or dominant 13th chord, the triad is major; for a minor 13th chord, the triad is minor. Following is a summary of the formulas for 13th chords: Major 13th chord = Major triad............... Major 7th chord Dominant 13th chord Maijor.triad................. Dominant 7th chord Minor 13th chord " Minor.triad........... Minor 7th chord Specifically, the equations for the 13th chords in Example 3 would be as follows: C Maj 13 = D/C Maj7 C13 D/C7 C min 13 = D min/C min7 19. Once it is understood how to construct a 13th chord, the musician must decide whether he wants to select only certain tones for a particular musical effect. For example, in voicing a 13th chord, a pianist may choose to play only the 3rd, 7th, 9th and 13th of the chord and omit the root, 5th and 11th chord tones. However, there are certain considerations of which a player or writer should be aware in making these choices. The following is a summary of the status of the various chord members of a 13th chord: Root - May be included for strength or may be omitted. 3rd - Important color tone, normally present except in sus4 chord. Sth - Maybeomitted unless it is altered. ?th - Important color tone, normally present except in 9 chord. 9th - Optional color tone unless specifically called for. 1lth - Optional color tone (same as 9th). 13th - Optionai color tone (same as 9th). It should be apparent that the 9th, 11th and 13th chord tones are all optional and may be included or omitted in any combination. For example, a chord may have an 11th but no 4th or 13th or it may have a 13fh but not include the 9th or 11th. This is purely a matter of personal taste unless the composer specifies a particular extension of the harmony. The 3rd and 7th continue to be the most important color tones which define the quality of the chord and the upper extensions are only an elaboration of the sound, In using 13th chords, it is important to remember that the size of a chord has no effect on the way that it functions. For example, a dominant 13th functions the same way that a dominant 7th chord built on the same root would. A minor 11th Chord can occur in the same harmonic situation that a minor 7th could. Chords are grouped in related families (major, minor, etc.) because they sound basically the same and function the same. Increasing the size of a chord tends to add fullness and often makes the harmony more dissonant. However, the basic quality of the chord is still heard (felt) as being the same, so the overall musical effect is not drastically changed. In choosing the size of chord to be used (triad, 7th, 9th, 11th or 13th), the musician must always try to determine what is the most appropriate sound for the style of music with which he is involved. In a pop-rock style, the triad may be the best choice whereas, in a complex jazz idiom, 11th and 13th chords may be the most appropriate. Ultimately, the only way to develop those instincts is by playing, writing and listening to a great deal of music. STUDY QUESTIONS 1. Howare 13th chords normally constructed using scale tones? 2. What are the three types of 13th chords normally used? 3. Why iîs the 11th scale step usually raised in major and dominant 13th chords? Why does it not have to be raised ina minor 13th chord? 4. What are the formulas for constructing 13th chords by combining two smaller chords? 5. What is the status of each of the chord members of a 13th chord as far as its inclusion or omission? 6. Does the size of a chord affect the way it functions in harmony? ?. What are chord families? EXERCISES Written: 1. On staff paper, write out the following 13th chords in root position: D Maj13, AP 13, F# mi13, G Maj13, E 13, BP mil3, E» Maj13, Ab mil3, Db 13, B Maj13. 2. Identify the following 13th chords: a) b) 3. Convert the following chord symbols to polychord symbols which represent the same chords: D 13, A Maj13, G mi19, BP 13, Db Maj13, E mi13, F 13, F Maj13, C$ mi13, A 13. 20. Keyboard: 1. Play 13th chords in all keys. Play the root, 3rd, Sth and 7th (basic 7th chord) in the left hand and play the 9th, 11th and 13th (major or minor triad) in the right hand. This will help you to visualize the two separate parts of each polychord. 2. Try playing voicings which include only certain tones of 13th chords such as 3-7-9-11 or 7-3-6(13)-9. Build these voicings from the first number upwards on major, minor and dominant 13ths. Ear-Training: 1. Sing major, minor and dominant 13th chords upwards from the root and back down again (1-3-5-7-9-11-13-11-9-7-5.:3-1). 2. Working with a friend, learn to identify major, minor and dominant 13th chords in root position when you hear them. 3. Listen for the presence of 9ths, 1iths and 13ths in the voicings which piano, quitar and vibes players use on recordings. Transcribe your favorites and analyze them for future use. 23. EXERCISES Written: 1. Ina given key, write out all seven modes of the harmonic minor scale. Do not use a key signature but rather locate the sharps or flats of the scale in front of the appropriate notes. 2. Write all seven modes of the harmonic minor built on the same note. Write the “parent” key above each mode. 3. Write the following modes: 3rd mode of A harmonic; 5th mode of G harmonic; 2nd mode of D harmonic; 7th mode of E? harmonic; 4th mode of F$ harmonic; 6th mode of F harmonic; 2nd mode of B harmonic; 5th mode of E harmonic; 3rd mode of B? harmonic; and 7th mode of Ab harmonie. 4. Write an eight measure melody in each mode. Be sure to stress scale tones that are unique to each mode and be carefui of the handling of dissonant tones. Keyboard: 1. Play a harmonic scale in a given key. Then play all seven modes of it using the same fingering throughout. 2. Playallof the diatonic 7th chords of a given harmonic minor scale. Put your thumb on the root of each chord regardiess of whether it is a white note or a black note. Ear-Training: 1. Sing each of the modes of the harmonic minor from the root, up an octave and back again. 2. Sing each of the diatonic 7th chords of the harmonic minor scale. 3. Working with another person, practice identification of the modes. 4, Listen for the use of harmonic minor in improvised solos on recordings. Transcribe and check by playing with the record. 24. 7. VOICING AND CONNECTING CHORDS So far, the structure of 7th chords and 13th chords has been studied. The primary concern has been to ascertain the correct chord tones for the various types of chords. But, once this has been done, the musician must decide which chord fones to include or omit and how to make the harmony flow smoothly. Voicing chords is simply the process of selecting certain chord tones and arranging them in a particular order from top to bottom. An understanding of principles of voicing and connecting chords is important not only to writers and keyboard players but to improvisers as well. All musicians must have a good understanding of the structural framework of music. This chapter will deal primarily with four three-note voicings which have shown themselves to be extremely flexible and useful in the majority of harmonic situations. By limiting the number of choices to only four voicings, it will simplify learning the basic principle of chord connection. Also, it will be seen that these voicings concentrate on the most important color tones and resultin a strong sounding of the harmony with a minimum of tones. Example 1 shows the four voicings with which you will e concerned. Example 1 D min 67 C Maj A I pn 7° 1° 30 30 79 70 Notice that the Category A voicings in Example 1 are built on the 3rd of the chord (lowest tone) and the Category B voicings are built on the 7th. Voicings other than these two types may certainly be used but are really not necessary for some time. Also, as soon as one leams to use these simple “shells” of the harmony correctly, it is a simple matter to fill in any of the three-note voicings with a fourth chord tone to fill it out more or to account for some other needed chord member. However, for the present, only these four three-note voicings will be used exclusively! Generally speaking, any of the four voicings in Example 1 can be used with major, minor or dominant family chords. However, there are a few considerations and the following chart is a summary of those: MAJOR FAMILY DOMINANT FAMILY MINOR FAMILY 9 7 Good Good Good 3 9 $ Good Avoid! Good except for Il Chord 6 3 Good Good Good except for II chord, 5 3 Good Good Good For the present, only one of the voicings can be used with a half-diminished chord: 7, 3, 5. This is because a half-diminished chord is really the same thing as a minor 7th chord with a lowered Sth, Therefore, the 5th becomes an important distinguishing color tone which should be present to acheive the proper chord quality. Later, the Sth may be added into a 3, 7,9 voicing to complete the sound. Since diminished 7th chords are symmetrical chords which seem to have no one root, any three of the four chord tones generally may be chosen. The context in which it is found will have some effect on this choice. However, since diminished chords occur less frequently, we will be concerned primarily with major, dominant, minor and half-diminished chords ar first. Naturally, the first priority if to learn to spell the four voicings as they relate to various chord families in any key. This can be practiced in several ways: 1) Spell all four voicings as they relate to major, dominant and minor chords in one given key. 2) Spell one type of-voicing as it relates to major, dominant or minor chords in every key. 3) Combine methods 1 and 2. For example: spell a 3, 7, 9 voicing as it relates to a major chord in every key, then a dominant chord in every key and finally a minor chord. 25. GUIDELINES FOR THE CONNECTION OF VOICINGS As soon as some fluency in spelling voicings is gained, the next step is to learn how to connect one voicing to another. Example 2 shows a number of short chord progressions with typical uses of the four voicings presented in this chapter. Example 2 5th 5th Sth Sth 2nd 2nd 9 A min9 D13 G Maj9 Dmin7 G9 € Maj7 € min7 Db7 AH G Maj6 (A) (B) {A} (B) (A) (B) {B) (B) {A) {A) 7° so 709 10 7 sa © so 3rd 3rd A A GMGB E mino G Mat E vinz C Maj7 A Maj7 C Maj7 A Ùaig (A) {A} (A) __(B) (B) _{B} {(B}__{A) go 7 o 3 o 30 go In Example 2, notice that there is as little vertical motion as possible in moving fram one voicing to another. A minimum amount of motion in connecting chord voicings has several important advantages: 1) It eliminates unnecessary motion for a keyboard player. 2) In arrangements for horns, it helps avoid awkward angular melodic motion in inner parts. 3) It creates the smoothest possible flow in the music. Though there are no rules as such, it will be helpfui to follow certain steps in selecting voicings for a series of chords in a progression. They are as follows: 1) Analyze the type of progression. What is the actual distance between the roots of the chords? All progressions can be summarized as either a progression of a 5th (inversion of a 4th), progression af a 2nd (inversion of a 7th}, or progression of a 3rd (inversion of a éth). Always reduce the interval to its simplest terms, i.e., a minor 8rd rather than an augmented 2nd, or a major 3rd rather than a diminished 4th. 2) Choose the proper category of voicing (A or B). Keep in mind the following factors: a) Progression of a 5th (4th} - Change category (A to B, B to A) b) Progression of a 2nd (7th) - Keep the same category. ©) Progression of a 3rd (6th) - Either change category or keep the same category. It may be desirable to move to a higher register or to a particular voicing. 3) Write the specific voicing. Keep in mind the function, register, and a smooth flow from voicing to voicing. Generally speaking, it would be a good idea to keep the voicing as close to middle C on the piano as possible. This will insure that the voicing is neither muddy nor thin and has good clarity and fullness. Other notes may be added to fill out these shelis later. Now go back and look at Example 2 again and observe how the guidelines have been followed. Notice that the distance between the roots is indicated above each pair of chords. Also, notice that the proper category of voicing has been chosen according to the type of progression. Finally, you should realize that none of the minor Il chords use a voicing with a 6th in it and that all of the dominant 7th chords include a 7th in the voicing. STUDY QUESTIONS What is meant by the term “voicing chords”? What are the four voicings introduced in this chapter? What are Category A and Category B voicings? What considerations affect the use of certain voicings? For the present, what voicing is the only choice for a half-diminished chord? Why does one try to use as little vertical motion as possible in moving from one voicing to another? What are the three guidelines for the connection of voicings? What are the three types of root progressions and how do they affect the choice of category of a voicing? PIOTTA ONT 28. Another way to conceive modes of the melodic minor scale is to relate their construction to similar modes of the major scale. The following chart lists the modes of the melodic minor and shows what alteration is necessary in some major mode to construct it. Mode of ascending Melodie Minor Alteration to a Major Mode 1. Melodic Minor Major with lowered 3rd 2. Dorian, b2 Dorian with lowered 2nd 3. Lydian-Augmented Lydian with raised 5th 4. Lydian, b7 Lydian with lowered 7th 5. Mioxlydian, 6 Mixolydian with lowered 6th 6. Locrian, $2 Locrian with raised 2nd 7. Super Locrian Locrian with lowered 4th Chord-Scale Relationships Just as with modes of the major and harmonic minor scales, each mode of the ascending melodic minor scale has a corresponding diatonic 7th chord. Example 3 shows the diatonic 7th chords of a C ascending melodic minor scale. Example 3 ab . 365 C min#7 = Dmin7 EbMaj7+5 F7 G7 A min7 B min7 Notice in Example 3 that these chords are similar to the diatonic chords of a harmonic minor scale but differ slightly because of the raised 6th scale step in melodic minor. The Il chord is minor instead of half-diminished, the IV chord is dominant instead of minor, the VI chord is half-diminished instead of major, and the VII chord is half-diminished instead of diminished. The following chart is a summary of the chord-scale relationships of modes of the melodic minor. Notice that, though the diatonic VII chord of a melodic minor scale is half-diminished, the 7th mode (Super Locrian) is usually used with altered dominant chords. Mode of Ascending Melodic Minor Related 7th chord 1. Melodic Minor Minor, #7 2. Dorian, P2 Minor 3. Lydian-Augmented Major, #5 4. Lydian, >7 Dominant, $11 5. Mixolydian, 96 Dominant, b13 6. Locrian, #2 Half-diminished 7. Super Locrian Dominant, altered 5th and %h Like modes of the harmonic minor scale, this group of modes is also very useful in dealing with certain colorations not satisfied by modes of the major scale, An interesting aspect of this group of scalesis that there are very few intolerably dissonant tones that require resolution. The modes that do need some attention to dissonant tones are: II Dorian, 2 The 2nd scale step is dissonant and should resolve to the lst. m Lydian-Augmented The 6th scale step is dissonant and should resolve to the 5th. Vv Mixolydian, P6 The Sth or 6th scale steps may be dissonant depending on whether the b13 is present or not. Resolve up or down by alf-step. The modes of melodic minor become very useful in dealing with compositions written since the mid-sixties. Composers such as Chick Corea, Wayne Shorter and Keith Jarrett have made extensive use of harmonies requiring the use of these modes. Analyze many compositions and look for situations that call for some of these specialized colorations! 29. STUDY QUESTIONS 1. Name the modes of the ascending melodic minor scale. 2. What is the structure of an ascending melodic minor scale? 3. Can a melodic minor scale be represented by a conventional key signature? 4. What are prabably the two best ways to conceive modes of the melodic minor scale? 5. Give the related 7th chord (with alterations) for each mode of the ascending melodic minor scale. 6. Which one of the 7th chords in question 5 differs from the actual diatonic 7th chord of the particular mode? 7. How do the diatonic 7th chords of a melodic minor scale compare with those of a harmonic minor scale? 8. Discuss dissonant tones in the modes and iheir usual resolutions. EXERCISES Written: 1. Ina given key, write out all seven modes of the ascending melodic minor scale. Do not use a key signature but raiher locate the sharps or flats in front of the appropriate notes. 2. Write all seven modes of the melodic minor built on the same note. Write the “parent” key above each mode. 3. Write the following modes: Fi melodic minor; E Dorian, #2; G Lydian-Augmented; EP Lydian, 27; D Mixolydian, 76; E Locrian, #2; G Super Locrian; Bb Lydian-Augmented; C# Locrian, #2; F Super Locrian. 4. Write an eight measure melody in each mode. Be sure to stress important color tones and be careful of the handling of dissonant tones. Keyboard: 1. Play an ascending melodic minor scale in a given key. Then play all seven modes of it using the same fingering throughout. 2. Play allof the diatonic 7th chords of a given melodic minor scale. Put your thumb on the root of each chord regardless of whether it is a white note or a black note. Ear-Training: 1. Sing each of the modes of the ascending melodic minor from the root, up an octave and back again. 2. Sing each of the diatonic 7th chords of the melodic minor scale. 3. Working with a friend, practice identification of the modes. 4. Listen for the use of modes of melodic minor in improvised solos on recordings. Transcribe and check by playing with the record. 30. 9. POLYCHORD NOMENCLATURE The term polychord literally means many (poly) chords. in actual practice, a poluchord is usually a combination of only 1wo chords which creates a more complex sound. This method of conceiving 13th chords was presented in Chapter 5. But it will be seen in this chapter that chord symbols that icok like polychords are commonly used to represent several differeni things. Example 1 shows four polychord symbols each of which represents a different type of sound. Example 1 C7/B>bass = AbMaj7/Bsbass C/BoMaj7 A/B3 In the previous example, each chord can be explained in the following manner: a) C7/B? bass - AC? chord with the 7th (B ) in the bass to create a certain musical effect. This chord might be found in the progression C7/Bb bass to F/A bass where the composer wants to create a particular bass line by the use of inversions. b) A?Maj7/BP bass - Another way of indicating a Bh13sus4 since the chords tones of the AbMaj7 represent the 7th, 9h sus4th and 13th of a Bò chord. c) C/B?Maj7 - Another way of indicating a complete Bb Maj13. This insures that 9th, +11th and 13th (optional extensions) will all be present. d) A/B? - A true polychord representing a complex sound of an unconventional nature. This chord could be called a BbMaj7+9+11 but, since it is a somewhat uncommon chord, it is probably better labeled as a polychord. A great deal of confusion about polychord nomenclature exists and seems to be due to two main reasons: 1) A polychord symbol sometimes represents two chords and at other times indicates a chord over a particular bass note. Though, in the latter case, the symbol should include the word “bass” or “pedal” (abbreviated ped.), it often does not. However, as will be shown later, this should not cause any confusion as common sense will reveal whether the bottom letter of the symbol is a triad or a single bass note. 2) Some people suggest that a diagonal line in a polychord fraction indicates one thing and a horizontal line indicates another. However, this is not universal and it is the author's opinion that this differentiation only adds to the confusion and is really unnecessary. Again, common sense should make it obvious what the nature of the symbol really is. In the paragraphs to follow, each aspect of polychord nomenciature will be examined and explained. An attempt will be made to show the logic of interpreting each type of symbol. A Polychord Symbol Indicating an Inversion Composers often use inversions to create bass melodies that compliment the actual melody of the song. To be really correci, the word “bass” or “pedal” should follow the bottom letter of the chord symbol ifit is a single bass note. To expedite the copying of music in manuscript, these words are often omitted. However, ifthe bottom letter of the polychord symbol represents a note that is the 3rd, 5th or 7th of the upper chord, it is fairly safe to assume that it is a single bass note used to create an inversion, To be certain, allyou have to do is to play the two letters as complete chords on the piano and your ear should tell you if the sound makes sense or not. Example 2 shows a typical use of polychord nomenclature to indicate a seriès of inversions. The word “bass” has been intentionally omitted but the stepwise motion of the lower letters of the chord symbols should reveal the reason for the inversions. Example 2 FF Maj7/E B}/D Bbmin/Db F/C G/B C7/Bb F/A Notice in Example 2 that a typical voicing of the progression has been supplied to show at least one possible realization of the chord symbols. Now go back and play all of the chord symbols in Example 2 as two complete triads and you should discover how unlikely that possibility is. Remember that only a letter is required to indicate a major triad and that is probably the main reason for confusion. If the bottom chord symbol includes an extension such as a 7 or 9, then it should be pretty obvious that it is representing a complete chord. Another strong clue as to the nature of any polychord symbol will come from an analysis of all the chord tones suggested by both letters of the symbol. If the total sound includes two tones in definite conflict with each other, then the bottom letter is probably not representing a chord but rather a single bass note. EXERCISES 383. Written: 1. Convert the polychord symbols in Examples 3 and 4 to conventional chords symbols. For example, Bb/c bass=C9sus4or D/C Ma7 = € Ma13. 2. Convert the following normal chord symbols to polychord symbols: Dmin11, Bma9+11, G1329, Emin13, E Ma13, F7.5-9, E?Ma7+5, Ami987, D7+5+9, B7+9, G9susd, B?7gus4. $. Analyze the Polychords in Examples 3 and 4 and create general formulas for building them in any key. Use the following format: a) B?/C bass = C9sus4 = a major triad a whole step below over bass note. b)D/CMa7 = C Mal3 = a major triad a whole step above a major 7th. 4. Transpose various polychord formulas to all keys and write both the chord symbols and the correct notes on the staff. Keyboard: 1. Play the polychords in Examples 3, 4 and 5 at the piano. Keep the upper chord in the right hand and the lower chordor bass note in the left hand. Try inverting either or both of the chords to acheive different voicings of the same chord. Example 7 shows several different voicings of an Eb/C chord. Example 7 Eb/C ig > 2. Using the formulas developed in written Exercise 3, play various types of polychords and transpose to all keys. Ear-Training: 1. Working with another person, practice identification of typical polychords including suspended chords and inversions. Always test by singing up through the chord. 2 Listen for the use of polychordal voicings by writers or keyboard players on recordings. Transcribe specific voicings and analyze. 3. Listen for improvisers on recordings to play melodic ideas based on the upper chord of a polychord. Transcribe and test by playing along with the record. 4. Practice singing the individual chords of various types of polychords as you play them at the piano. 34. 10. SYMMETRICAL ALTERED SCALES Symmetrical scales are those which have a regular, recurring structure of intervals. Other scales studied in previous chapters all include 2 or 3 half steps which occur at certain points inthe scales. Symimetrical scales may be composed entirely of whole steps or hall steps or else an equal number of certain intervals. Also, this group of scales relates to chords which have altered chord tones so the label symmetrical altered scales seems appropriate. The scales to be studied in this chapter are listed below with a description of their structure. 1. Chromatie ACER CE RS CRCR ECEO 2. Whole Tone WWWWWW 3. w-36 Diminished WLwkbw5w 4. %-w Diminshed uwbwkbwlbw 5. Auamented +2nd 3 +2nd 4 +2nd 4 The previous chart should make apparent the symmetrical nature of these scales. Example 1 shows each of the scales built on the note C. Example Î Chromatic Scale Whole Tone Scale w - % Diminished Scale % - w Diminished Scale Augmented Scale e © > Since each of the scales in this chapter (with the excention of the two diminished scales) is fairly unique, they will be discussed separately as to their structure, diatonic chords, and chord-scale relationships. The Chromatic Scale This scale is constructed exclusively of half steps. As a result, there is only one chromatic scale (sound) which may begin on any tone. Example 2 shows the chromatic scale as it would be typically notated in ascending or descending forms Example 2 Chromatic Scale > The chromatic scale may be used with any chord type with any combination of alterations. Naturally, some scale tones will always be dissonant to the harmony and have a strong tendency to resolve. This resolution will probably be either up or down by a half step to the nearest chord tone. Chromatic motion can create excitement if used sparingly. If more than 4 or 5 successive chromatic scale steps are used, the musical style may become rather “cocktailish” în character. This is because of the proliferation of‘rippling” chromatic runs found in much commercial music. However, short chromatic groups of notes can generate melodic energy and certainly should not be avoided. Because of its nature, the chromatic scale contains all of the conventional triads and seventh chords in all keys. Thus, it would be tedious and unnecessary to list them all. The Whole Tone Scale The Whole Tone Scale is constructed exclusively of whole steps, six in all. As a result, there are only two different sounding whole tone scales which are located a half step away from each other. Each of the two scales may be reinterpreted as six different scales enharmonically. Example 3 shows the two whole tone scales built on C and CÀ. Example 3 C Whole Tone Scale C$ Whole Tone Scale > Notice in the previous example that a whole tone scale omits one letter of the musical alphabet in its spelling. This is because it is a six-tone scale. Therefore, a diminished 3rd must occur somewhere in the structure, This results in a rather strange looking scale which always appears to have a skip in it even though it is built entirely of whole steps! 35. The whole tone scale includes six augmented triads and six dominant seventh chords which have altered Sths. Thus, each of the two whole tone scales accommodates six of the twelve keys. Normally, the whole tone scale is used with a dominant 7th chord which has either a raised or lowered Sth or both. It can also be used with an augmented triad that has a dominant function (one which resolves upward by half-step or down a 5th). It is important to remember that this scale includes a natural 2nd (9h) scale step and so it is not a good choice if an altered 9h is present in the harmony. Diminished Scales Diminished scales are constructed of 4 whole steps and 4 half steps in regular alternation. A scale may begin either with a half step or a whole step depending on its application. There are only three different sounding scales each of which serves four keys. Essentially, a diminished scale is an eight tone scale whichstarts over again on every other note. Example 4 shows the three different sounding diminished scales. Example 4 Diminished Scales ° Notice in the previous example that one letter of the musical alphabet must be repeated to construct a diminished scale. The repeated letter may occur at any convenient point in the scale. A diminished scale includes 4 minor triads, 4 major triads, 8 diminished triads, 4 minor 7th chords, 4 dominant 7th chords, and 8 diminished 7th chords. The scale is not usually a good choice for minor chords even though they appear in the scale. There are other scales that are more appropriate to a true minor sound. Normally, diminished scales are used with diminished 7th chords or dominant 7th chords with altered 9ths. Example 5 shows a diminished scale which begins with a half step. Notice that all of the scale tones can be accounted for as either a chord tone or altered chord tone in the accompanying dominant 7th. Example 5 C ‘4-w Diminished = C7 °> 1 -9 49 3 +0 5 87 I the diminished scale which begins with a whole step were used with a dominant 7th, it would be very dissonant since it includes the tone a major 7th above the root. Example 6 shows a diminished scale which begins with a whole step used with a diminished 7th chord. Notice the scale includes all the tones of the diminished 7th plus a note which is a whole step above each chord tone. Example 6 C w-% Diminished = c07 e o bs bb7 ba Normally, when tones are added to a diminished 7th chord, they are tones which are a whole step above any chord tone since these are more consonant than tones a half step above. Therefore, the whole step-half step scale is usually chosen for a diminished 7th chord. In some instances, the half step-whole step scale may be used for a diminished chord in a descending melodic passage. The augmented scale is constructed of alternating augmented 2nds (minor 3rds) and half steps. There are only four different sounding augmented scales each of which relates to three keys. Example 7 shows the four augmented scales. Example 7 Augmented Scales Notice in the previous example that, like the whole tone scale, the augmented scale is a six tone scale which omits one letter of the musical alphabet. The letter may be omitted at any convenient point in the scale. 38. Dual Functions It has been seen that each chord type (with the exception of the diminished 7th) has more than one common function. This ability of a chord to function in more than one way allows the composer to make subtle, smooth changes of key rather than an abrupt, sudden jump into another key. In traditional harmony, a chord which could function in both of two adjacent keys was called a pivot chord for the change of key. This created what was called a common chord modulation as opposed to a direct modulation. In Chapter 4, it was shown how many jazz progressions are based on a series of direct modulations from key to key with no common chord found between keys. In this chapter, we will see some interesting uses of dual functions {pivot chords) in moving from key to key. The following example shows a progression that moves from the key of E? to the key of Dmi. The modulation is performed smoothly through the use of Gmi7 as a dual function since it is a HImi7 in È? and a IVmi7 in Dmi. Example 1 Eb: 1 VU vil Eb Maj7 C min7 F min7 Bb7)Gminzle minz-8 4779 D min7 Dmin: IV I v i Notice in the previous example that, by bracketing the keys above and below, the dual function of the Gmi7 becomes very obvious. The following example shows a series of rapid key changes always using a dual function (pivot chord) to move from key to key. Example 2 Eb: HIV HI Amin: vi I v 1 TF min7 Bb7)Gminz1c7!F Majz; 8 min7-> 779, Amin Ft minz-5 87-9 Emin7 FI VI Emin: IV TI Vv I Another factor which adds to the subtlety of key changes is the use of borrowed chords or secondary dominants in a dual function. The following example moves from key to key by meansofa pivot chord which functions as either a borrowed chord or a secondary dominant in one of the two adjacent keys. Example 3 Dmin: N Vv I ch: WI v I bvIl Fi: Vv I TEmin775 A7-9 | minzlE7!A Maj7; Gt7 Ct Maj7, 87! E Maj7 [C47, FÎ Majz] A: Wmin V| EVO 1 VI Basically, the procedure to follow in analyzing modulations is as follows: 1) Look for common functions which suggest a certain key. These will usuaily be chords which could be analyzed as, Il, Vor V in either a major or minor key. 2) Bracket as many chords as can be accounted for in the key. These might include borrowed or secondary chords. 3) When you come to a chord that cannot be explained in the previous key, repeat the procedure in No. 1, 4) Once the new.key is determined, look back at the last chord within the previous key bracket to figure out its dual function in the new key. If there is no explanation for that chord in the new key, then a direct modulation has taken place. Chord Quality Changes In addition to using borrowed or secondary chords, it is also possible to change the quality of certain chords to create a different musical effect. For example, the Ill chordin a major key is normally aminor 7th chord. But by changing the quality of the chord, other key feelings and stronger or weaker progressions can be suggested. The following chart shows an Emi7 which is a Ill chord in C major and indicates other keys that might be hinted at by changing the quality of the chord. Chord Function Emi7 IN in C major Ema7 I in E Major E7 V in A Major or PI in Eb Major Emi7b5 Ul in D minor Edim7 VII in F minor Changing the quality of chords is especially useful in somewhat free harmonizations of melodies to create unexpected modulations ‘and cadences. Actuaily, quality changes can be another formof direct modulation in that no dual function has been employed. . sisi 39. Tri-tone Substitutions The basic principle of tri-tone substitutions is very simple. Two dominant 7th chords whose roots are a tri-tone (3 whole steps) apart substitute for each other. One of the reasons for this is that the two 7th chords have the same color tones (3rd and Th) in common. The 3rd of one of the chords is the 7th of the other and vice versa. Example 4 shows a pair of tri-tone substitutes. Example 4 c7 FÉ7 7th of C7 or 3rd of F' th th > grd rd 3rd of C7 or 7th of FÉ7 Three whole steps apart. This is a specialized form of common tone substitution which only applies to dominant 7th chords. Other types of chords whose roots are located a tri-tone apart do not share the same color tones. In some cases, however, quality changes are combined with tri-tone substitutions to create interesting effects. Another reason that tri-tone substitutions of dominant 7ths are possible is because of the resolution of the two color tones which themselves form the interval of a tri-tone. Traditionally, the tri-tone found between the 3rd and 7th of a dominant chord may resolve one of two ways. If it appears as an augmented 4th, it expands (augments) in its resolution. I it appears asa diminished 5th, it contracts (diminishes) in its resolution. The following example shows the 3rd and 7th of a C7in both normal resolutions to an F major chord. Example 5 C7 F Cc? F aug, 4th dim. 5th Now, if the B? is respelled enharmonically as AF, both normal resolutions of the 3rd and 7th of an F#7 can be shown as they would move to a B major chord. Example 6 FÉ B FÉ B aug. 4th dim. Sth It should be apparent by now that, since the same tri-tone respelled enharmonically can resolve to either an F or B chord, the C7 and the F$7 can both resolve to either key. The example below shows this flexibility: C7 F (any type of 7th) Tri-tone apart L Fi? B (any type of 7th) There are only 6 pairs of dominant 7ths which are tri-tone substitutes for each other: C7 and F#7(G?7), C#7(Db7) and G7, D? and A?7, E27 and A7, E7 and BP7, and F7 and B7. Learn to think ofeach ofthese pairs as a single chord since they are, in fact, the same basic sound with a choice af two different bass notes. Any time a dominant 7th occurs in a chord progression, there is a good chance that a tri-tone substitution could be made depending on the musical effect desired. Often, the exact same voicing of the original dominant chord can be retained with only the root being changed. This is useful information to a writer or keyboard player (including guitar and vibes). There are many formulas that apply to tri-tone substitutions in situations where the root is the only tone changed. Example 7 shows some of these formulas. Example 7 C7:33= Gb 7-93 = Gio c779 = 66779 c19-9 = GI7%9 Finally, a tri-tone substitution in analysis only makes an effective dual function in a modulation. For example, a G7 which is V in C major is redefined as a bIl in Gb Major and resolves accordingly. No actual tri-tone substitution has taken place, but it has been reassigned a function a tri-tone away from its original one. In traditional harmony, the German 6th chord was used similarly. 40. Melody Harmonization Once a solid understanding of chord function and substitution is gained, melody harmonization can become an extremely entertaining pastime. A melody can be harmonized using only diatonic chords which function completely normally within a single key. Or the same melody can be harmonized using frequent modulations, borrowed chords, secondary dominants, dual functions, quality changes and tri-tone substitutions. Sometimes substitutions may be made which involve chords that have only the original melody note in common. If it is based on a strong function, even a very unlikely progression can sound very convincing. Sometimes a melody written in one key may be harmonized in an entirely different key with good results. The following examples show a traditional melody harmonized freely with few chord roots in common with the original harmony. Example 8 Example 9 . Notice in the previous examples that this type of free harmonization can add a lot of interest to melodies that are otherwise simple and lacking in harmonic complexity. Folk tunes or humn tunes that can be harmonized with only the 1, IV and V chords are especially good resources for practice exercises. Regular experimentation will lead to the discovery of many interesting possibilities. In the beginning, melodies that move mainly in a stepwise motion and which are comprised of mostly quarter notes and half notes are the best choice. 43. Another way to conceive the minor pentatonic scale is by its interval structure which is: mi8. ma2, ma2, mi3, ma2. Example 4 shows this interval structure on an E? minor pentatonic scale. Example 4 b Di © Tin alla; 24bma;. 23 Like the major form, the minor pentatonic can be superimposed in various positions on different chord types. Instead of creating another chart of minor pentatonic root locations, suffice to say that the minor pentatonic would be found on the chord tone a minor 3rd below the location of a major pentatonic on any cherd. A logical, simplified summary of pentatonic scale superimpositions is presented later in the chapter. Synthetic Pentatonics At the beginning of the chaprer, the black notes of the piano were described as a “pure” pentatonic scale. Whether “pure” or not, the major or minor pentatonic scale is the form one normally thinks of as being a pentatonic scale. However, neither the major nor the minor pentatonic structure is applicable to certain chord types or altered situations. In such cases, either the major or minor form may be adjusted slightly to accommodate the proper sound. Example 5 shows a synthetic pentatonic used in relation to a Cmaj7+5. This is actually an E major pentatonic with the 5th scale tone (C*) lowered a half step. Example 5 C Maj7*5 Altered E Major Pentatonic Example 6 shows the same synthetic pentatonic used in relation to an Amint7 chord. Example 6 A min #7 Altered E Major Pentatonic A minor 6th chord can be satisfied with one of two synthetic scales: a major pentatonic with the 3rd scale tone lowered, ora minor pentatonic with the Sth scale tone lowered. These are shown in Example 7. Example 7 0 C min8 Altered C Major Pentatonic Altered C Minor Pentatonic fn 7 a - a d_459 k _ b TE U SS eo °°" As seen in Example 8, a half-diminished chord can be handled with a minor pentatonic with the 4th scale tone lowered. Example 8 © minz 5 —Altered C Minor Pentatonic - Example 9 shows the same structure used in Examples 5 and 6 related to a complete D13 chord. As before, this is an E major pentatonic with the Sth scale tone lowered. Example 9 D13 Altered E Major Pentatonic In Example 10, the scale used in relation to the B7+5+9 is a C major pentatonic with the 3rd scale tone lowered. Example 10 8718 Altered C Major Pentatonic > Of course, the possibilities for the creation of synthetic pentatonic scales are endless. It is hoped that these few models will stimulate experimentation and lead to the discovery of many others. 44. Blues Scales The two most commonly used blues scales are what might be called modified pentatonics, that is, pentatonic scales withthe addition of a sixth scale tone. Both scales include the traditional “blue note”, the lowered 3rd of the key. One also includes the lowered Sth. Notice in the following example that the first scale is a C major pentatonic with Eb added and the second scale isa C minor pentatonic with F# added. Example 11 C Blues Scales > - Both of these scales can be used with dominant 7th chords. The second one can be used with minor chords as well. Summary of Pentatonic Scale Superimpositions * Chord Type Pentatonic Form Location of Root Chord Tones Stressed Major Major Root of chord 1,9, 3, 5, 6(13) Major Major 5th of chord 5,6,7,9,3 Major Major 9th of chord 9, 3, +11, 13,7 Minor Minor Root of chord 1,3, 11,5,7 Minor Minor 5th of chord 5,7,1,9,11 Minor Minor 9th of chord 9, 11,5, 13,1 Dominant Major Root of chord 1,9, 3, 5, 13 Dom. sus4 Major 4th of chord 4,5,6,1,9 Dom. sus4 Major 7th of chord 7,1,9,4, Dom. +9 Minor Root of chord 1, 49,4,5,7 Dom. +5+9 Major Tri-tone away -5,+5,7,9,49 * Synthetic pentatonics are not included. STUDY QUESTIONS What is a pentatonic scale and where is it found on the piano? Define the structure of a major pentatonic scale. Define the structure of a minor pentatonic scale. What is the relationship of the major and minor pentatonic forms? What are synthetic pentatonic scales? What are blues scales and how do they compare with pentatonics? Summarize the common applications of pentatonic scales to various chord types. NgapaoNnet EXERCISES Written: 1. Write out the following pentatonic scales: D major, C$ minor, E major, F minor, F# minor, A major, G minor, A minor, BP minor, and B major. 2. Write out a synthetic pentatonic scale for each of the following: E?ma7+5, Dmi#7, Bb mi6, Emi6, Gmi7-5, F13(+11), G7+5+9, E7+5+9, Bmi7-5, E?mi$7. 3. Write out the two common blues scale forms in the following keys: D, F, A”, Bf and B. 4. Write out a pentatonic scale for these chords: Fma13, Gma6, B?ma9, Bmil1, Ami9, E?mi18, Db7, G7sus4, A7+9, E7+549. 45. Keyboard: 1. Play major and/or minor pentatonic scales in several keys. Notice that, unlike other scales, the thumb must often be used on a black note and that some scales have more than one good fingering. After playing all the tones of a particular scale in order, play it in broken fashion (Ist and 3rd tones, 2nd and 4th tones. etc.). Notice that this produces many intervals of a perfect 4th. 4thy melodic patterns are characteristic of the pentatonic idiom. 2. Playaparticular pentatonic scale to familiarize yourself with it. Now select at random any combination ot 4 or 5 scale tones to form a chord voicing. Transpose certain scale tones up or down an octave and use both hands to play the chords you create As you experiment, you will find some combinations that appeal to you more than others. Analyze the interval structure of these voicings and observe what chord tones are being stressed. Write your favorites down in a notebook and save them until they are thoroughly memorized. Ear-training: 1. Sing major and minor pentatonic scales up from the root and back down again. Try singine some synthetic forms as well 2. Working with a friend, learn to identify the specific pentatonic scale being played over a particular chord. Refer to the Summary of Pentaionic Scale Superimpositions. 3. Listen for the use of pentatonie scales on recordings. Major pentatonic on the root was used extensively during the dixieland and swing eras. Major or minor pentatonic on the 9th was used to create iydian or dorian feelings inthe modalera. Inthe 70°, musicians superimpose major or minor pentatonics many places over the harmony and make extensive use of syithetic scales. Listen particularly to the use of pentatonics by players such as Woody Shaw, Dave Liebman, McCoy Tyner and Chick Corea 4. Transcribe solos and analyze the use of various pentatonics. Check by playing with the recording 48. The next example shows a minor chord which has been assigned a dorian sound. As before, the characteristic tone of the mode (the raised 6th) has been included in each voicing. Example 6 € min7 £ Dorian The same concept can be applied to any scale whether it is actually called a mode or not. For example, in the following example, a half step-whole step diminished scale has been assigned to a dominant 7th chord. in this case, the characteristic tones are the altered 9ths and the natural 13th. Example 7 C7 Diminished Taking this idea a step further, one could create synthetic scales (to be studied in the last chapter) and let them in turn generate their own series of chords. Through trial and error, one eventually becomes very selective about modal voicings just as he has favorite conventional voicings. The interval structure of the voicing and the particular chord tones included both have a big effect on the final result. But at first, a certain amount of random expenmentation will lead to the discovery of some interesting possibilities! Polychord Voicings In Chapter 9, polychord nomenclature was shown to be an easy way io quickly arrive at complex sounds. However, nothing was said about voicing chords at that time. Basically, Lo voice chords so that they really sound like a polvchord, one has only to keep the iwo parts of the polychord separate from each ciher. Example 8 shows iwo arrangements of the sarne six tones: the first does not sound like a polychord because the tones of the two triads have heen interm Example 8 In the second of the two voicings above, the two triads have been kept separate from each other so it is possible to actually hear them as two chords or a polychord! 49. In voicing polychords in 5 parts, it is obvious that some choices have to be made as to which 5 tones to include or omit. Remember that important color tones such as 3rds, 7ths and altered tones should probably be included. The root of the bottom chord, which may be sounded elsewhere, and an unaltered Sth may be left out. Also, if the upper triadof the polychord includes one af the essential color tones of the bottom chord, then it need not be included in the bottom chord. Example 9 shows some 5 part polychord voicings that relate to all 5 types of 7th chords. Example 9 C Major C minor € Dominant GhA Half-Dim. C Diminished Dic E/C £/C min D min/C min C__Ab/CI /co Cc Bb/CA_Ab/CE DICO Bi PA Pal o -— - Notice in the previous example that the half-diminished chord voicing includes the 5th which is an importani color tone. The fully diminished 7th chord only requires the interval of the diminished 7th between the root and 7th to identify itself. One overall principle of voicing should de mentioned. There should generally always be an interval of a minor rd or larger between the top two tones of any voicing to avoid a pessible conflict between the 2nd part and the melody. STUDY QUESTIONS How do you expand a 3 note voicing into a 5 part chord? What is required to create a voicing which has a 4thy sound? What factors seem to affect the quality of 4thy voicings? What is the principle behind a modal approach to voicing chords? What insures that a polychord sounds like a polychord? What considerations should be kept in mind when selecting chord tones for a 5 part polychord voicing? What overall principle of voicing should be kept in mind? sNanpgwonr EXERCISES Written: 1. Expand the following progression into 5 part harmony by adding the root of each chord .nthe bass anda 5th part in between the original 3 parts. D min? 6749 cMajz BbÎ3 Eb Bb13 A Ma;!3 Baz co F7-9 Bbmaj!3 be Ss 2. Voice the following progressions in 5 parts by following these 3 steps: 1) Choose three note voicings for each chord bein sure to connect them smoothly, 2) Add the root as a bass note for each chord, and 3) Add the 5th part to each chor making sure that it connects smoothly as well, a) EPma7 Cmi7 Fmi7 B?7 Bmi7 E7 Fmi? B?7 Gmi7 G?ma7 Emi? A7 Dma7 b) Cmi7 APma7 Dmi75 G7-9 E?ma7 Fmi7 G749 Cmi7 Dmi7.5 G79 Cmi7. c)Gma7 Cma7 Ami? D7 E°ma7 A°7 Gma7 Bmi7 Cmi7 F7 Gma7 E749 Ami7 D7 D?ma7. 3. Voice the following progression in 5 parts using voicings that are mainly composed of perfect 4ths. Use only inversions that do not have the root on the bottom: Fma7 Gmi7 A?ma7 D?ma7 Dmi7 G7 Cmi7 F7 B?ma7 Ami7 Gmi7 C7 Fma7 50. 4. Harmonize the following modal melociies using only scale tones suggested by the modal key signature. C Lydian € Dorian C Lydian,b7 5. Voice the following polychords in 5 parts: D/C, G/B?7, AP /F, G/E? bass, Ami7/D bass, B?/D7, F/Cmi, C/Fmi A/EP, Ami/Gmi. Keyboard: 1. Working from lead sheets which include only chord symbols, try to play 5 part harmony at sight. Play only roots of chordsin the feti hand and 4 parts in the right hand. Be sure that the right hand has either the 3rd or 7th of each chord as the bottom part of the 4. 2. Pick a particular type of chord in a certain key and play alt of the 4thy voicings that vou can find for that one chord. Keep repeating this process with different types of chords in other keys. Write down favorites in a note book to be memorized iater. 3. Pick a particular mode (or any type of scale) in a given key. Try to visualize that scale all the way up and down the keyboard so strongly that the other keys seem to disappear from the piano. Now begin to randomly select tones from the scale to create 5 note voicings. Play 2 tones in one hand and 3 in the other. Repeat this procedure with other scales in other keys. 4. Play polychord voicings in 5 parts, again playing 2 notes in one hand and 3 in the other. Work with 1 chord type in a given key and try to find all'of the polychord voicings that could relate to that basic family. Itmay be helpful to review Chapter 9 for the various formulas. Ear-Training: L. Working with another person, try to learn to identify specific kinds of voicings that relate to the various chord types. Listen for the clusterish sound of 3 note voicings that have been filled in, 4thy structures, modal sounds and polychords. 2. Transcribe 5 part harmony played by saxes, trumpets or trombones on jazz band recordings. Listen for each part separately if necessary. Try to compare your “record copy” with a score if there is one available. 3. Try to singaall of the tones in various kinds of voicings from the bottom note up and back down again. This may require the use of falsetto to cover the range of the voicing. Play the voicing on the piano to help you leam to hear it. 10. 53. APPENDIX I DEVELOPING IMPROVISATIONAL SKILLS How to Practice Practice with a metronome. A. Use it as record of progress by keeping track of the most recent tempos at which you practice various problems. B. Useitto determine the evenness of running notes by setting it to “click” at the speed of various subdivisions of the beat such as triplets or sixteenth notes, C. Use it as an aid to gradually increasing the speed of technical passages. D. Use it to improve your time by having it “click” on various beats of the measure; for example, in 4/4 time, try settingitto beni all four beats, or just 1 and 3, or 2 and 4, or only the first beat of the bar, or in 3/4 set it for2 against 3 (1 and the end of 2). E. Use it in all of your practice session: literature, technique, scales and arpeggios, improvisation, etc. Practice slowly! Only play something as fast as you can play it perfectly every time even if that means 1/4 tempo or 1/10 tempo. Then after satisfying yourself that you can play the problem, move the metronome up one notch at a time until you reach a particular tempo-goal. Be patient! Practice over the entire range of your instrument. Practice scales, patterns, motives, etc., in all keys! Budget your practice time to include all of the following: technical etudes, scales and arpeggios, patterns, melodic fragments, keyboard harmony, tune learning, etc. Practice regularly! Develop a practice routine and don't ever break it. That means practicing at the same time and place every day. Practicing 1 hour a day, every day, is far superior to practicing 7 hours once a week. Practice as much as you can but it may be necessary to pace yourself. For example, you can rest your lip while practicing keyboard harmony or singing intervals. Or you may want to spread your practice over 2 or 3 sessions during different periods of the day or night. Practice at least 2 hours a day but spend as much time as you need to on various parts of your practice session. For instance, you may require 20 minutes for warm-up, 30 minutes for scales, 45 minutes for etudes, 45 minutes for patterns, etc. Tape record your practice sessions occasionally. This will help you see your progress as well as allowing you to be obiectively critical of things that still need work. Don't do it too often or the small amount of progress may be discouraging. dust remember that, if you practice correctly and patientiy, improvement is taking place! What to Practice Devote serious attention to classical literature on your instrument. Every new piece you play presents technical problems which, when conquered, will help you gain more control of your instrument, thus more ease in improvising. Practice technical etudes which focus attention on a limited number of special problems. Practice scales: all types, all keys, in different rhythmic values and groupings, over the full range of your instrument. Pianists practice hands separately at first and then hands together. Work for good, correct tone production {in the classical sense) so that you can. play in tune, with a good sound and clean articulation. Practice stylistic devices peculiar to jazz such as vibrato, tone effects, note-bending, jazz phrasing, etc. Practice various types of melodic patterns in all keys. Work out original ideas on certain chord progressions and learn them in all keys. Devote some time to learning tunes. Set goals for yourself and try to learn so many tunes each week. This means being able to play the melody and improvise on the chord progression without the music. Play the chord progression at the keyboard. “Woodshed” tunes by really zeroing in on any chords of the progression which may be troublesome to you. Make sure you have carefully analyzed chord-scale relationships and can play all of the pertinent scales smoothly and effortlessly. Piay the chords at the keyboard. Practice improvising with the metronome as your rhythm section. As in dealing with technical problems, start with slower tempos on difficult tunes and gradually increase them. Though it isn't officially part of your practice session, you should listen to as much music of all kinds as possible and apply the insights you gain during your practice session. 54. APPENDIX II MELODY HARMONIZATION CHECK-LIST When choosing each successive chord in the harmonization of a melody, consider the following points: Will the bass note (root?) of that chord contribute to a melodic flow in the bass line? Can the melody tone be accounted for as a chord tone or an alteration in the chord chosen for it? Is the quality (Maj., min., dom.) of the chord appropriate to follow the previous chord? Is the progression desired strong (down a half step, down a 5th), moderate (down a whole step, down a 3rd, up a 5th), or weak (up a half step, up a whole step, up a 3rd)? 5. When writing for particular instruments (baritone sax, bass trombone, bass clarinet, tuba), is the bass note chosen within the range of the instrument? pENH 6. Is there too much repetition of certain chord roots which produces harmonic monotony? CHORD VOICING CHECK-LIST After a particular chord has been selected for a harmonic progression, observe the following points: 1. Chord should be spelled correctly with all necessary chromatic alterations present. 2. The spacing between chord tones should be relatively even with the exception of the bottom two tones. 3. Unless omitted for a special reason, the root, 3rd and 7th should be present in the chord. 4 In 5-part harmony, five different chord tones should be used unless a 7th chord is desired, inwhich case the 3rd, Sthor7this usually doubled. 5. In connecting two chords, the voice-leading of each individual inner part (melody and bass excepted) should be a smooth melodic motion, preferably a perfect 4th or less. 6. In handling relationships such as the root to Maj. 7th, 3rd to (+)9th, 5thto+11th, min. 7thto 13th, the lower chord tone of the two should normaliy be below the other or else a half step away from it. 7. The bottom interval of the chord should outline the fundamental quality (M. or m. 3rd, p. Sth, M. or m. 7th, M.orm. 10th). 8. Avoid placing the 2nd part either a half or whole step from melody. 55. APPENDIX II HINTS ON TRANSCRIBING SOLOS USE A TAPE RECORDER. A. reel-to-reel recorder - dub the solo from the original recording using the high speed of the recorder. Then you have the option of listening to the solo at its true speed or, switching to the slow speed of the recorder, at half speed to facilitate hearing fast passages. At the slow speed, allthe notes will sound an octave lower than the original so don'î forget to write them an octave higher. . cassette recorder - cassette decks or portable players are more convenient to carry to the piano orto a practice roomto work on the solo. However, they only play at one speed so, in dubbing the solo to cassette, a reei-to-reel recorder or a phonograph with a 16 rpm speed will be needed to produce the half-speed version of the solo. Both the original speed and half-speed version of the solo should be recorded on the cassette as both serve different purposes in transcribing a solo. SECURE AN ACCURATE SET OF CHORD CHANGES FOR THE SOLO. A. lead sheet available - the tune may be a standard or popular jazz tune that is already known to you or is readily foundin fake books or anthologies. However, it is still a good idea to double check the progression to make sure there are no unusual substitutions or that the lead sheet is accurate. transcribing the chord progression - very often it will be necessary to transcribe the chord progression because it is not known to you and is not available in any books. First, ascertain the form of the tune and sketch the large sections outon manuscript paper, placing double bars at the beginning of each section. Then, listening to bass for roots and the piano or guitar for chord quality, write in the chords. The bass may not always play roots of chords but most of the time the root will be sounded at or near the beginning of each new chord change. Also, listen for common functions like ILV-I. PROCEDURE FOR TRANSCRIBING THE SOLO. E. F. A B. c. D analyze chord-scale relationships to narrow down the choices to listen for when scale motion is involved. work in pencil to make correction easier. A number 2 lead is easy to read and erase. The final copy may be in ink. pegin by listening only for pitches. Write them down on the staff as quarter notes {heads only, no stems) and omit bar hnes. locate bar lines - after all pitches have been transcribed, go through and locate which notes fall onor right after the first beats of measures. Place bar lines in front of them. locate other beats in the measure - same process as step D. analyze rhythmie patterns - examine each group of notes within any given beat. Add stems and beams, any rests required. ALTERNATE BETWEEN ORIGINAL AND HALF-SPEED VERSIONS A. B. original speed - usually better for checking rhythms, articulation and even pitches if range is low and muddy at slow speed. half-speed - usually necessary for fast passages. Listen for one additional note on each hearing in some cases. USE BOTH PLAYING AND SINGING TO TEST WHAT YOU ARE HEARING. 58. WEEK 10 1 12 13 14 15 MUSIC 137, JAZZ FUNDAMENTALS - SEMESTER OUTLINE 1ST CLASS PERIOD Lecture: Orientation and review of Music 136 Drill: Mode spelling and ear-training Lecture: Polychord nomenclature Homework: Ch. 9, Exercises 1-3 Drill: Polychords, ear-training Dictation quiz: Polychords Lecture: Sym. Altered Scales Homework: Ch. 10, Exercises 1-4 Drill: Spelling and ear-training Dictation quiz: Altered scales Drill: Function, substitution Homework: Ch. 11, Exercises lb & c Drill: Function, substitution Lecture: Pentatonic scales Homework: Ch. 12, Exercises 1 & 2 Drill: Spelling and ear-training Lecture: Five part harmony Homework: Ch. 13, Exercises 1 & 2 Drill: Five part harmony Homework: Ch. 13, Exercise 3 Drill: Five part harmony Lecture: Synthetic scales Homework: Ch. 14, Exercises 1 & 2 Drill: Synthetic scales 2ND CLASS PERIOD Lecture: Melodic minor modes Homework: Ch. 8, Exercises 1-3 Drill: Spelling and ear-training Dictation quiz: Melodic minor modes Drill: Polychords, ear-training lst Quarter Examination (50 minutes) Covers material in Chapters 8 & 9 Drill: Sym. Altered scales, spelling and ear-training Lecture: Advanced function and substitution Homework: Ch. 11, Exercise la Drill: Function, substitution Mid-term Examination (50 minutes) Covers material in Chapters 8-11 Drill: Pentatonic scales, spelling and ear-training Homework: Ch. 12, Exercises 3 & 4 Dictation Quiz: Pentatonic scales Drill: Five part harmony 3rd Quarter Examination (50 minutes} Covers material in Chapters 12 & 13 Homework: Ch. 13, Exercise 5 Drill: Five part harmony Drill: Harmonic major modes, spelling and ear-training Review: Chapters 8-14 Final Examination (120 minutes): Scheduled during final exam week. Covers material in Chapters 8-14  8|9 STUDIO Î maine mcr STUDIO P/R JAZZ BOOKS FOR ALL INSTRUMENTS PATTERNS FOR JAZZ by Jerry Coker, James Casale, Gary Campbell, and Jerry Greene SCALES FOR JAZZ IMPROVISATION by Dan Haerle PENTATONIC SCALES FOR JAZZ IMPROVISATION by Ramon Ricker TECHNIQUE DEVELOPMENT IN FOURTHS FOR JAZZ IMPROVISATION by Ramon Ricker NEW CONCEPTS IN LINEAR IMPROVISATION by Ramon Ricker: 1) Textbuok 2) Cassette and Workbook CIRCULAR BREATHING by Trent Kynaston i A NEW APPROACH TO EAR TRAINING FOR JAZZ MUSICIANS by David Baker ADVANCED EAR TRAINING FOR THE JAZZ MUSICIAN by David Baker. Cassette included. SONGWRITERS' COOKBOOK by Shad Diamond STUDIO P/R JAZZ BOOKS FOR TRUMPET 28 MODERN JAZZ TRUMPET SOLOS by Ken Slone, edited by Jamey Aebersold JAZZ TRUMPET TECHNIQUES for Developing Articulation and Fast Fingers by John McNeil STUDIO P/R JAZZ BOOKS FOR BASS THE EVOLVING BASSIST by Rufus Reid EVOLVING UPWARD - Bass Book 2 by Rufus Reid NO NONSENSE ELECTRIC BASS by Joe Cacibauda. Three volumes: Book 1, Book 2, and Buok 3. THE MONK MONTGOMERY ELECTRIC BASS METHOD by Monk Montgomery, edited and compiled by David Baker BIG BAND BASS by John Clayton, Jr. STUDIO P/R JAZZ BOOKS FOR KEYBOARD JAZZ/ROCK VOICINGS FOR THE CONTEMPORARY KEYBOARD PLAYER by Dan Haerle JAZZ IMPROVISATION FOR KEYBOARD PLAYERS - Book 1: Basic Concepts; Book 2: Intermediate Concepts; Book 3: Advanced Concepts; Complete Edition: Includes all three books. BEGINNING JAZZ IMPROVISER’S ILLUSTRATED KEYBOARD SERIES by Harold Danko. Two volumes: Book 1 and Book 2. INTERPRETING POPULAR MUSIC AT THE KEYBOARD by Jeri Southern TECHNIQUES AND THEORY FOR POP KEYBOARD PLAYERS by Preston Keys STUDIO P/R JAZZ BOOKS FOR GUITAR JAZZ IMPROVISING FOR THE ROCK/BLUES GUITARIST by Paul Lucas JAZZ CHORDING FOR THE ROCK/BLUES GUITARIST by Paul Lucas È STUDIO P/R JAZZ BOOKS FOR DRUM COMPREHENSIVE DRUM SET by Jim Ganduglia TEXTBOOK OF DRUM SET EXERCISES by Richard Baccaro COMPI.ETE INSTRUCTION !N JAZZ ENSEMBLE DRUMMING by Jake Jerger (formerly titled ‘Complete Instruction in Dance Drumming”) BASIC BEATS FOR THE WORKING DRUMMER by Mike Davis SB75 | Columbia Pictures Publicatione Auntol Ar “SOGNA ih Avene. Marri FL nà