Elements of Predictability

Advanced Harmonic Concepts Elements of Predictability There are a number of similar characteristics associated ith the composition and performance of standard jazz With these characteristics come a number of expectations and predictabilities These are usually a result of repetition For example, e expect the primary V chord to resolve don a fifth to the tonic I chord That the melody ill be in to or four bar phrases and that the form ill be some variation of ABA Traditional performance practices include playing the melody, everyone solos on the melody changes, trade fours ith the drummer, play the melody again and then end the tune This regiment is repeated for the entire concert Although the formula for riting a standard jazz tune ill never go out of style, predictability and expectation is in fact a characteristic of the standard jazz style On the other hand, contemporary jazz composition and performance lack many of the predictabilities and expectations characteristic of the standard jazz repertoire With many contemporary tunes it is the surprise factor that makes the tune interesting For example, incorporating interludes and development sections to break aay from the standard AABA form Creating different chord changes for the solo section breaks the predictability of the same changes as the melody section In comparison ith the standard jazz style of riting, you might say that a characteristic of the contemporary music, is a lack of predictability and expectation I ould encourage students interested in composing in a contemporary jazz style, to be aare of the common predictabilities and expectations associated ith the standard jazz repertoire By avoiding them it should help to produce a more contemporary sounding composition or at least one ith a fe more surprises 14

CHAPTER 1 Key Areas The folloing graph represents the various ays in hich all harmonic progression can be categorized Once it is determined hether the progression is functional or non-functional, it can then be determined hich type of key area the progression falls into Bsp 000 a Harmonic Progression Functional Non-Functional Established Key Implied Key Ambiguous Key Functional vs Non-Functional Functional Harmony The term functional harmony describes chords in a harmonic progression that derive their function from their relationship to a key or tonal center Harmonic progression in the style of standard jazz is most often that of functional harmony Chords in a functional harmonic context are usually diatonic (of or belonging to the key) or key related (non-diatonic) chords Key related chords are often referred to as modal interchange chords and borroed from parallel modes These to chord categories, diatonic and diatonically related chords, certainly do not account for every possible chord type, but are the most common chord types in a functional harmonic progression In addition, there are numerous harmonic, melodic and rhythmic characteristics associated ith functional harmony These include common chord patterns, common cadential patterns, diatonic melody, diatonic and diatonically related chords, standard principles relating to harmonic rhythm and cycle-5 root motion 1

Advanced Harmonic Concepts Here are three exact melodies each harmonized ith a different type of key area Each example is played tice in succession Established Key Area (Functional) Bsp 001 Track 1 4 CMA II - V D - G CMA V sus V G sus4 G Track 1 (continuation) Implied Key Area (Functional) Bsp 002 IV - b VII VI - A - III - V / V E - F - B b 4 D Track 1 (continuation) Ambiguous Key Area (Non-Functional) Bsp 00 B - ( b 5) 4 b E( 9) F - B b A - D b 20

Key Areas Follo Up Exercise Add chords to the folloing melodies to create these key areas Refer to the criteria used in the above examples to create your chords Established Key Area Create Chords (Analyze) Bsp 004 4 b j Implied Key Area Create Chords (Analyze) Bsp 005 4 b j 21

Melody Driven Chord Progression Consider various synth patches for various elements of the tune One of the elements that make a tune sound contemporary is the combined synth sounds used throughout the piece The hardest part of this process is deciding beteen the hundreds of sounds no available Step 6 Complete the entire tune Combine the various sections and let the tune take shape be creative think outside the box! See Chapter 8, As Far As You Can See, p 48ff Step Follo Up Exercise Folloing the seven steps from above, create your on composition Use the same form layout from Chapter 6, p 44f Your composition should reflect the techniques outlined in this text Don t be disappointed if your first attempt is not exactly hat you hoped for Remember, if this is your first attempt at riting in a non-functional style, you may not be hearing everything you are trying to rite Success in developing a ne style involves a process of trial and error ust because you rite it don, doesn t mean you can t erase it and try something else This style of riting is about choices In fact, one of the only problems ith this style of riting is that there may be too many choices, especially in the beginning stages Once you have ritten something it is important that it is recorded That is the only ay you ill kno exactly hat you have, the only ay you ill really kno if you like hat you have ritten Once you can step back and hear it, you ill then kno hat to keep or change (An example of this non-functional compositional process can be seen and heard in Chapter 8, As Far As You Can See, p 48ff) 2

Specific Harmonic Tensions Secondary Dominant Tensions These are the diatonic tensions for each secondary dominant scale The scales are functioning in the key of C Major The tension choice for each scale is the same in any major key Although the chords themselves are not diatonic, the tensions are because diatonic tensions ill help direct the chords resolution don a perfect fifth to a diatonic chord Tension # 9 is available hen it is diatonic to the key All secondary dominant scales except V/IV have tension # 9 available Bsp 010 V / IV C b T 9 T 1 V /IV = T 9, T 1 V / II A # V / III B T 9 T b 1 # # T b 9 T b 1 V / V D # T 9 T 1 V /II = T 9, T b 1 V /III = T b 9, T b 1 V /V = T 9, T 1 V / VI E # V /VI = T b 9, T b 1 T b 9 T b 1 1

Specific Harmonic Tensions Dominant Chord Tension Dominant chord tension choice is based on supporting the melody or resolution to an expected target chord Melody A In the folloing example the B chord takes a tension b 1 hich supports the G melody note The A chord takes a tension 1 supporting the F # melody note Bsp 014 CMA 4 4 B ( b 1) # E - A (1) # DMA Major Target Chord Resolution B The tension supports the dominant chord s resolution to a specific target chord In the folloing example the G chord takes Mixolydian 9, 1, hich supports its resolution to a major target chord Bsp 015 4 CMA FMA ( # 11) G (1) C Minor Target Chord Resolution C In this example the G chord takes a Mixolydian b 9, b 1 tension to support its resolution to a minor target chord It is common to include tension b 9 hen there is a b 1 tension Bsp 016 4 CMA b FMA ( # 11) G ( b 1) C - 5

Specific Harmonic Tensions Follo Up Exercises Chord Scale exercise Analyze/determine chord scale Bsp 019 Track b 4 FMA E ( b 1) A - D n G - 1 b C A - A b G - G b b b 2 A - D ( b 9) b G - G b MA FMA ( 9) U (Anser key provided at end of text, p 85)

Adjacent Chordal Relationships I Bsp 00 Place it in a non-functional context and it has no function, only a relationship beteen the to contiguous chords E and A E -( 9) A b MA ( # 11) 4 # b b 1 ) A -( 9) D ( b 9 b # E - MA /G Follo Up Exercise Based on the above information, make an A chord function in the folloing ays: II, III, IV, VI, b VII, VII These examples can be short four bar examples Analyze all chords (Examples of this exercise can be seen in the follo up anser key in the back of the text, pp 86-8) 4

Development Bsp 02 E 4 4 100 (Development) EMA ( 9) (Same tempo but no time feel) # # 104 # # F # - B - /E # j # 108 G - ( 9) b b N G # - # # # # # CMA 112 116 F # - ( b 5) # # # Π> # 11) 1 B ( 9 b G - G b MA A b - b b 120 125 E - b # # E b MA b G b MA D - ( 9) b b > Π# >EMA 10 4

As Far As You Can See Bsp 0 Track 4 As Far As You Can See Wayne Naus fi (Intro) Rubato 11) B - ( 9 4 # # G - B b - ( 9 11) b b b A b - A - B b - B - G ( 9 # 11) 1 4 G b - b b b E b - b EMA A - MA /G # Fine 9 1 Sing {q = 192} Play four times (Rhythm) % A 15 C - E b - b F - D - j B b - > Π^ > G sus4 > Π^ > 19 2 A - A b - b D - B - j G - > Π^ > D b MA > Π^ > 2 49

Special Function Altered Diatonic Chords b VI This chord is most commonly found as a related II When it is juxtaposed beteen to I tonic chords, its recognizable aural event reflects a b VI function An example of this chord can be found in a tune titled, The Imperial March (Darth Vader Theme) by ohn Williams and Winelight by Grover Washington Bsp 09 Track Example I - G - b VI - E b - b b 4 I - U G - 4 b III This chord is most commonly found as a related II When it is preceded by a III chord and chromatically descends to a II chord, its recognizable aural event reflects a b III function An example of this chord can be found in a tune titled Rene s Song by Rene Luis Toledo Bsp 040 Track 8 B b MA III - b III - D - D b - b b 4 Example 4 b # II - C - Sub V/I B 5 # II This chord is most commonly found as a related II When it is preceded by a II chord and ascends chromatically to a III chord, its recognizable aural event represents a # II function An example of this chord can be found in a tune titled Rene s Song by Rene Luis Toledo Bsp 041 Track 9 B b MA II - # II - C - C # - b b 4 Example 5 # b # III - D - Sub V/II D b II - Sub V/I C - B 55

Advanced Harmonic Concepts Example is a combination of pivot and direct modulation This modulation incorporates the interaction beteen melody, harmony and adjacent keys, making it more complex than the to previous examples Due to a deceptive resolution of the G chord in bar 2, the A b Major chord in bar has a dual function in both keys The melody note C in bar is 1 in C, and in A b Bsp 04 Example Track 1 4 b b b b 1 CMA 2 II - V D - G C : b V A b : VI - A b MA F - 4 II - V B b - E b( b 9) n b 5 A b MA A Example 4 is a direct modulation, hich incorporates the melody note C in bar and 4 The melody note C has different functions relating to both the chords and adjacent keys In the key of C it is 1 In the key of D b it is On the A b chord it is and on the D b chord it is This change of melodic function elevates the complexity of the modulation s affect on the listener Bsp 048 Track 14 Example 4 4 4 1 CMA II - V D - G D b : V A b 2 b b b b b D b MA II - V E b - A b( b 9) n D b MA A 4 5 6 60

Advanced Harmonic Concepts Polychord/Inversion/Hybrid Mix Example 5? b # Bsp 060, Bsp 061 Hybrid Polychord Inversion Each structure can be increased or decreased depending on the desired sound By experimenting ith various combinations of modal structures, it becomes possible to create modal superstructures Modal Superstructures Bsp 062, Bsp 06 # Example 6a? MA = C Lydian Bsp 064, Bsp 065 # Example 6b? b = C Lydian 66

Advanced Harmonic Concepts Track 21 Bsp 09 It Was You, Me, And the Moon Wayne Naus (Intro) A b MA A b - 4 b # # B - BMA % A A b MA ( # 11) b A b - ( 9) b b b F - MA BMA # 5 9 1 EMA ( 9) # # A - ( 9) C # DMA # # # 11) 1 D b( 9 b E - ( 9) E F+ MA B b # ( A 1) b 9 # # A - F # - ( 11) A - C - ( 9) 1 21 25 29 E b /A b D ( # 9) fi D - ( 9) DMA ( # 11) ( b G # 1 9 ) # B D - ( b 5) b B - # # # D b( 9) E - ( 9) D b - MA b B b( # 9) b b # # F ( # 9 # 11 ) b 82

Advanced Harmonic Concepts Yellojackets Final Project 1 Write an original composition in the style of the Yellojackets Include a score ith melody, bass, chords and any other musical devices used in the composition 2 Consider the rhythmic groove and voicings Consider a Yellojackets rhythmic groove Introduction: Use any one or more harmonic devices listed on form sheet 4 (A) Section: Melody ith non-functional harmony Use eight-note or harmony derived from melody techniques This section should repeat ith a second melodic idea added on repeat 5 (B) Section: This is the solo section Create an interesting rhythmic/harmonic turnaround 6 (C) Section: Development section Create a development hich contains elements of the (A) section; then D S al Coda Outro Section: A repeated section ith a solo instrument over a melodic motif Fade out or create ending 8 Project should be recorded live or sequenced Bsp 109 90