John Scofield,Solo on Decoy. Part One. Glen Halls All Rights Reserved

Transcription

1 John Scofield,Solo on Decoy Part One Glen Halls All Rights Reserved The main thrust of the discussion will be on harmony. However, it must be noted at the outset that harmony, especially in the droned modal context, and in this case also a straight 8ths context, works in concert with rhythm. For those unfamiliar with the tune, the groove is rather close to a 'birdland' feel, except a little slower and a littler heavier. The tempo is about quarter = 130, and pulse is accented every quarter in the high hat. The is the main 'pulse grid' which also defines offbeat 8th notes as weak beats relative to pulse, the conventional place for weak beat chromaticism, for example, in the medium swing context. One notes that John Scofield systematically avoids this particular polyrhythmic layer. Against the high hat, the bass figure defines a two bar phrase, in which the second, vacant measure, and perhaps the latter half of that measure, may be considered the weak part or the trough of the phrase.

2 What 'grids' or polyrhythmic layers remain? In 4/4 time there would naturally be the half note and quarter note grids, in which the 2nd half note and 2nd and 4th quarter notes may also be considered weak beats. Scofield, who is of course a wonderfully intuitive player, senses these available upbeats, and very,very frequently chooses these pockets to initiate his melodic and scalar passages. In other words, he begins his lines on offbeats, but offbeats relative to tacet polyrhythmic layers relative to the rest of the texture. Like a drummer, he hears an available rhythmic seam. By initiating lines on offbeats he creates accent. Accenting offbeats is a self-perpetuating device, forcing the time to 'roll-over', if you will, and thus giving his solo and the entire groove momentum. Obviously, the next question will be, 'what happens harmonically in these contexts and what does it mean'. In all honesty, this is a very deep question which we cannot answer at this time, but we're working on it. ( questions such as- ought one to play a unstable/dissonant chord on the weak beat, or to play a stable/consonant chord on this weak beat, creating another layer of accent- and what if it's a more ambiguous structure such as a suspension or rapid scalar passage. ) It should be noted, and this comes directly from Charlie Parker, Sonny Rollins, Coleman Hawkins, Clifford Brown, etc., that 16th note arpeggiated figures are basically equated with the quarter note. 16th note scalar figures are basically equated with the half note. ( It's actually a contrapuntal norm) One other rhythmic figure predominates; the 3 against 2 polyrhythm. This one is a little easier to call. It is arguable the Scofield intuitively places his strongest 'chordal dissonances' in these types of rhythms. What is meant by chordal dissonance, with apologies, is the other extreme from linear dissonance. It means the basic unit of expressive dissonance is not a note-to-note suspension and resolution, but chordto-chord suspension and resolution ( or multiple linear dissonances), and these chords, though expressed in arpeggiation, may have three to five members. In fact, when we speak of 'pentatonics' we are really describing strong chordal dissonance. Scofield seems to play pentatonic figures in this rhythm, with slippery and slidey pushes and pulls all over. ( rubato) Do you follow? Pianists may render scales as large chords of 5-7 notes, single line players must either play rapid scales ( Ala. John Coltrane- perhaps too much, arpeggiations- perhaps not enough, or pentatonic sets- perhaps just right for the mid 80s ear )

3 Is John Scofield an 'outside player' as a student once asked? Please, never ever use this term in any jazz context, and no, he is not. He's as functional as Chopin. He plays with his ear and is always aware of the relative stresses of each and every figure with respect to the drone, whether resolved or not. In this particular solo we encounter sequences, frequent suggestions of diminished scale resources, and very carefully approached and realized pentatonic groupings. We will now examine features of the solo in the order they were performed. Measure 1. and measures 3-4: In each of these figures we see, clearly outlined, Eb pentatonic. Is Eb functional in Ami? Of course.

4 - which acts as a mixed dominant function. The Bb suggests subdominant resolution. The Eb, however, may in the equal tempered context be considered a D#, which suggest a dominant resolution to the E. ( Again, we try to resolve to 1 and 5, or 1-3, or -3 and 5 in the minor ) The F as well would suggest a subdominant resolution, and this is an important point- we're no longer talking about stacks ( third-based chords) in which only the 1, 3, 5, and maybe the 7th are the important functional tones, upper extension only for 'color'. ( i.e. to effect intervallic dissonances on a lower tone ). Through rhythmic placement, continuity, and familiarity the ear accepts ANY of the pentatonic tones as functional. Good jazz musicians of course know this intuitively to be the case, otherwise they would not employ them in tonal contexts. (Note: Eb, or rather this mixed D#-Bb functioning, pentatonic is derivable from the C# diminished scale - kind of like playing a dominant of Dmi while over an Ami pedal.) Actual musicians however will always describe things, if at all, in the simplest, least intellectual terms- otherwise subconscious flow is impeded. It is entirely reasonable to assume he was thinking about Eb pentatonic, also because guitarists like easily transposable shapes and intervals. ) The trouble alluded to is that he is not playing exclusively Eb pentatonic. We notice that it begins with an A, and that relative to Ami the Eb pentatonic contains the prominent G commontone. Perhaps I'm stretching the point, but I believe he is deliberately 'merging' the two... what to call them.. tonalities? no, harmonic regions? no,.. how about colours. I think so. Colours loosely corresponding to function. He is deliberately ambiguous, an extension of the concepts of suspension and functional complexity. Looking at the scale in measure 4:

5 What we see here are two scales combined within the same shape, a technique which he gets from Miles, who gets it from Dizzy. The first half of the figure is really a D# diminished scale: which is of course the dominant/partial dominant diminished scale discussed in previous papers. ( D# need upward resolution to E, G# needs upward resolution to A, B needs upward resolution to C ) This scale, in other words, is a dominant suspension. He then runs this scale into a kind of Eb7 scale. which aside from the C natural ( which might be the resolution point) is an Eb whole tone scale.

6 This is precisely the kind of merged/suspended scale mentioned earlier. Enharmonically expressed, the F and Db carry subdominant function, the D# and B dominant function- the A is common, the G also common, and arguably a resting element. This is a resting-moving scale, which as an aside is really what George Russell was arguing in the Lydian Chromatic Concept. Then the figure as measure 5 which completes the passage: This figure could represent an E(9), perhaps in 3rd inversion. Relative to Ami, E(7) and more emphatically E(9) is a dominant functioning chord.

7 So, it seems Scofield went played the following progression over Ami ( expressed as scales, pentatonics, and one arpeggio) Ebpent D#dim Eb wholetone E(7) The effect is one of dominant suspension, held together also by LINE, the commontone Eb connecting and grounding all four scales. Yep- deep. John Scofield Solo on Decoy part 2. Glen Halls All Rights Reserved In this continuing analysis of Scofield's solo on Decoy, we are reminded that the context is one of a pedalled Ami in a straight 8ths feel. Unlike motion to and from key areas, creating harmonic interest over a drone requires a different approach. Harmonic interest is created through more remote dissonancesthough still functional, through short patterns, groupings, sequences, and through harmonic illusions within scales, i.e. surface interest through the suggestion of alternate tonalities within a scale useful in the original, droned key, or through enharmonic corrections - remote scales in which select subdominants are

8 resolved as if they are dominants. Generally speaking, there are two ways to play against a drone, both artistically valid from different perspectives. The first, perhaps the older, more serene model, is to find interest within the confines of the original key, or to phrase it differently, within a specific scale which is most readily identified with the basic character of the drone. Interest could be generated rhythmically, by the isolation of smaller units of the mode, by highlighting greater details of the scale, i.e. through portamento and expressive effects in the transition between tones, and perhaps symmetrical or other relationships between groups of notesrelated to rhythm as well. The other way, the 'jazz' way so to speak, is to constantly generate harmonic freshness through dissonance- to create cadences in other words., ( largely incomplete, i.e., one doesn't have to resolve- simply by stopping playing the ear finds the resolution with the drone.' footnote Miles Davis instructions to Trane' ) This is a very interesting perceptual question, to be dealt with elsewhere, but for now it will suffice to point out that when engaging this second approach- imposing cadences within a drone context, the chord choices tend to be more extreme, (yet absolutely functional.) ( see Halls Modal Theory) The weakest cadences are modal, i.e. by whole step. The next weakest are the conventional subdominants, for example, IV, iv, bvi, and bii. These cadences are useful when attempting to 'blend in' with the drone, i.e., to keep the linear flow going without standing out- without creating an accent ( useful for accompanists in this context, for example.) Mixed dominants, for example V7 bii+6 bvi+6, viio7. are strong, but tend not to be used is this idiom. It could be that they are too strong- resolution or expected too emphatic for an ongoing droned context. Perhaps a better explanation is that they are simply too familiar, too boring. What we do tend to find in the modern modal context are the pure dominant, such as VII and V+(7), and what might be termed the emphatic subdominants- perhaps the subdominants capable of producing dissonance for modern ears. These include biv, bbvii, and bv. Another category of cadence is the use of enharmonic corrections. A correction is a term for a subdominant which rises by 1/2 step, and to the ear sounds like a kind of deceptive dominant. One example of this relative to A minor, is F minor, or bvi. For example, the ab and eb in an Fmi7 chord by heard to resolve 'up' to A and E respectively. It is a kind of deceptive cadence, except it is the penultimate chord which is deceptive, not the resolution. In measure 4 Scofield plays the following phrase:

9 which may be roughly interpreted as ( an realizing that the accidentals are added by me ) Allowing for enharmonics, an unresolved Fmi ( or possibly Fmi7) contains in addition to the subdominant F the 'false leading tone' or false dominant G#. ( and if the chord is Fmi7 the Eb will be the false dominant D#- i.e. which suggest resolution to E, A, and E respectively. ) In a sense, this is a mixed dominant suspension and a fresh and striking sound. But what makes it fit so well? Not to overintellectualize things as we are talking about natural musicianship here, but it is the C, the turn of the phrase. The articulated C is COMMON to the drone, Ami, and helps 'gel' the two chords. Secondly, the C is yet another commontone, the third of the next linear harmony, the Ab. Masterful, but this is how talent works. The Ab and then the Ab minor may be interpreted as a G# and then G#mi, both strong dominant functioning harmonies. ( i.e. the G# resolves up to the A, the B ( Cb?) resolves up to the C. ) The next phrase: Two elements of interest here. The harmony might be interpreted as

10 Blues works over minor, right? Not quite. A blues from the tonic is really a branch of the diminished family, actually #2 dim, and behaves as a dominant over tonic suspension. ( sometimes we call this a partial dominant, a chord with one or two functional dominants as well as the common tonic tone. So really device is best suited to major tonics- why use it here? Well, note that the next harmony is in fact A major, or better A7. ( Note, the G in A7 is important in the linear commontone flow to the Ab pentatonic. - call it a pivot tone. ) OK. Can we play A major in A minor? l speaking, no. It helps if the harmony is not being spelled out by some other instrument, but we would have to call it 'modal mixture'- a coloristic or 'surprise' effect. Do you buy this? Usually it is the other way around, i.e. classical modal mixture usually means the use of diatonic harmonics found in the minor scale of a root in a major key. Why does the C# sound so great? Answer- because it is a functional suspension. Literally, the chord is Amisus. ( mode 9) not A (c) D E, but A (c)db Fb ( common) (Mode 9? If the locrian is mode 7 and brings in the b5, keep the cycle going. Mode 8 brings in the b8, mode 9 brings in the b4. )

11 The second part of the phrase, the Eb pentatonic, may be interpreted as a D# pentatonic, a kind of enharmonic mixed dominant in A minor. The Eb is heard enharmonically as a D#, dominant; resolution to E. ( So we could say the Eb corrects ) C is common. G is arguably common if the modal character is now Ami7 ( or else it is a harmless modal or whole step resolution ',etc. ) ( Please refer to Halls, some thoughts on Pentatonics) In pentatonics, by virtue either by their rapid sequential movement through inversion OR by their unconventional rhythmic delivery, in this case a 3:2 polyrhythm, all tones are functional. The next phrase: my be interpreted as : Fmi 7 or Ab major pentatonic moving to Db pentatonic at the end. The Ab to Db is something else, but

12 the Fmi-Ab itself is another examples of these correcting suspensions- suspensions both in the sense that the A tonic is ever present in the bass registers, AND within this particular chord/pentatonic, the prominent commontone C. A and C, ( Ami) are always there, and working against are the Ab, the Eb, and the F. F is of course a conventional minor subdominant, but the Ab and Eb will be enharmonically understood as G# and D#, or dominants. The overall function then is one of mixed dominant over tonic suspension. The arrival at Db, or perhaps Bb minor, suggests a linear logic of sequential root motion by descending 5th, always strong. Db or Bbmi would both be function as the strong or perhaps 'extreme' mode 9 subdominant mentioned earlier, biv or biimi. The next group of phrases evidence his familiarity with the various suspensions afforded by the diminished 7th. ( See Halls some Thoughts on Diminished Sevenths ) Briefly, relative to a given tonic there are three diminshed sevenths. a) the 'mixed dominant' diminshed seventh- the one we are familiar with as viio7 in minor keys. b) the Partial dominant/dominant diminished seventh. ( two choices given as it depends upon which degree is taken as root ). Generally, the best instance of this chord is the diminished seventh from #2. It is often used over a pedal to delay tonic arrival by one or two beats.( Also very common in the last bar of ballads- Bill Evans)

13 Note. In minor keys I would tend to call it a #IV dim. This is weaker than for the major key as it contains the common root and third of the minor tonic. This is really what we are hearing when we encounter a 'blues', pseudo , on a minor tonic. The are really -5, and 1 of a #Ivo7. In A minor this equates to D# F# A C, played in third inversion A C D#. Hence the partial dominant effect, D# resolves up to E while the A and C are in common. c) the subdominant diminished seventh. Basically, this is the diminished 7th from b2. We don't often find it resolving to tonic, but we do often encounter it in show tunes as an approach to IImi ( say when setting up a IImi V7 I cadence.) For example, the progression C/E D#o7 or Ebo7 Dmi7 G7 C. As an approach or even a mild tonicization of IImi, the correct spelling is definitely Ebo7. In other words, imagine that for those two beats the KEY is Dmi. The Ebo7 is then considered a biio7 in Dmi. Briefly recall some of the classic 'pedal' sections of larger Bach keyboard works. Usually around the 4/5 point in the piece we have a big arrival on a V pedal, perhaps followed by a codetta on the Tonic pedal. Frequently we find sequential diminshed sevenths in these contexts, usually by descending 1/2 step. That is basically what Scofield is doing here.

14 Note the A major triad on beat two of the second bar above. This is one of the tonal illusions alluded to, an upper structure of the Bb diminished scale. ( with enharmonic reinterpretation ) His voicing is also worth noting. He approximates an open voicing by leaving out one note each time, but he doesn't leave out the seventh. For example,

15 Looking at the whole sequence we have basically a whole step descent. Am ( C major) to Bb to Ab to Gb. Or functionally speaking relative major, or tonic, to bii/imi which is subdominant/tonic suspension, VII/I which is a dominant/tonic suspension, and VI/Imi which is a....? wait a minute now, what is this? In my opinion this is another one of those extreme subdominants, in this case resolving as it should and not by correction.

16 The only sticking point is the Gb/F#. The role of this tone in these chords is debatable ( Halls Modal Theory) The question is, is it a 'pseudo modal resolution' ( a modal resolution is by whole step. Here the subdominant Gb resolves by diminished third to E, or else call it F# to E ) or are we ready to consider 'second order functions'. What this basically asserts is that given enough familiarity and saturation by a drone and basic modal character, even the subdominant suspensions are considered as basically resting in character. If this were the case then one could consider a subdominant progression from bbvii/ I to bvi/i. Something to think about. As tonality evolves we consider more and more former dissonances as consonant. What this means for functional harmony as that we consider more and more chords as tonic. ) The next phrase is characterized by a pentatonic pattern. Allowing for enharmonic reinterpretation, this is either B major pentatonic or G# minor pentatonic As in the previous phrase, this is a fresh sound. I.e. it has not be used to this point in the solo. We would likely define this as a dominant/tonic suspension. Consider it in one of two ways: either VII in C major ( the relative major and of course also tonic) or VIImi in A min. Both interpretations feature strong dominants, G# (to A), B ( to C) and D# ( to E ). The final figure in this group shows another new resource.

17 This is a curious G+(7)11 or basically G quasi wholetone. We've hinted at this concept throughout, but we must now confront the possibility, a kind of evolution or synthesis of functional and commontone progression/relation, that a given figure or sonority may be functionally complex, that it may be resting and moving at the same time, kind or like a suspension, but less structured. I like to refer to this as a 'tonal space'. Basically, and this is largely a function of speed Ala. John Coltrane/Joe Henderson ( sure, Luciano Berio Witold Lutoslawski) in which a given number of resting tones and a given number of moving tones are simply combined in a kind of synthetic scale/pattern/stream,smudge, mush, chord, whatever. This complex may or may not correspond to some logical scalar, tertian, or 4th based( e.g. pentatonic ) structure. Space is a psychological term perhaps not describing exactly what something is, but how it might relate to another. It is 'this space' at the exclusion of all other spaces. This group of choices and this composite effect at the exclusion of all other choices and all other composite effects. Now, as it turns out the G quasi whole tone is not that weird, but it still serves as a good example of the concept. The wholetone scale, as Schoenberg pointed out in 1911 ( Harmonilehre) is functionally benevolent. Having no 1/2 steps and being of symmetrical structure, it does not set up expectation for any particular following chord, nor does it have the same sense of lower to upper partial hierarchies of tertian chords. The listener is then forced to take his or her best collective guess ( you might call it a 'functional gestalt' if you wanted to sound smart and well read) as to its meaning. The A and G are common to Ami ( well Ami dorian which basically the case in Decoy) The Db wants a proper subdominant resolution to C, the Ab and Eb want false dominant resolutions, or what we term corrections to A and E. (The Gb, I don't know. Gb to E is a modal resolution, neither helps or hurts. Perhaps, to bring up the ïsecond order ï concept mentioned earlier which maintains in prolonged modal contexts some of the upper partials may be perceived as resting, the G is a resting tone and the Gb or F# wants a dominant resolution to G.) A little further on he plays a Bb7+11

18 In the context of Ami we would hear this as a mixed dominant resolution, in other words Bb+6 or bii+6. Is it an Ab or a G#. It probably doesn't matter anymore given the concept above, but strictly speaking one couldn't have a diatonic scale with a G# and an A and a Bb, so it would be termed an altered scale. ( i.e. does not contain the tonic) In the context of the present solo, this is its first occurrence. So we begin to see how important harmonic freshness is to modern jazz players in the modal context. Eventually, this search for freshness will exhaust itself and cease to be fresh in the same way that G7 to C or E7 to Ami or not longer fresh. Eventually this second type of modal improvisation, the 'jazz way' will have to evolve into the older, serene way. I hope we all have the courage and vision to let this happen and not cling to and cite ïthe traditioní for the wrong reasons. So, for all you bebop purists out there, remember that bebop really means improvising in the tonal context by personal reinterpretation and substitution of and with functional harmony, which is all Scofield is doing. There is no 'outside' or some ridiculous notion. This is bebop, and addresses and continues the greatest strength and contribution of the mainstream tradition, its harmony.