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Baker Eastman School of Music Benjamin.Baker@Rochester.Edu I A Cyclic Approach to Harmony in Robert Glasper’s Music Society for Music Theory Columbus, OH November 7, 2019 Ben Baker Eastman School of Music [email protected] I. Introduction Robert Glasper hip-hop R&B jazz neo-soul gospel I. Introduction Robert Glasper Blue Note releases: Canvas (2005) piano trio In My Element (2007) piano trio + R.G. Experiment Double-Booked (2009) Black Radio (2012) R.G. Experiment Black Radio 2 (2013) piano trio Covered (2015) R.G. Experiment ArtScience (2016) I. Introduction Robert Glasper “…probably the most prominent jazz musician of his generation. He’s gotten there by playing within and without jazz, and pushing the music to reconsider its boundaries.” -Russonello (NYT, 2018) I. Introduction Glasper’s Harmonic Language diatonic collections clear tonal centers tertian harmonies root motion by: 3rd (ex. Imaj7 - vi7 - IVmaj7 - ii7) descending 5th (ii7 - V7 - Imaj7) two primary chord qualities: major 7th chords + upper extensions minor 7th chords I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ &b∑ ∑ ∑ ∑ ∑ ∑ ∑ I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ &b∑ ∑ ∑ ∑ ∑ ∑ ∑ I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ 11 11 maj9 b∑Gm ∑ ∑ ∑Dm ∑F ∑ ∑ & F: ii B b m 9 D bmaj9 I I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ 11 11 maj9 b∑Gm ∑ ∑ ∑Dm ∑F ∑ ∑ & Bbm9 Dbmaj9 I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ Dmaj9 11 11 maj9 b∑Gm ∑ ∑ ∑Dm ∑F ∑ ∑ & Bbm9 Dbmaj9 I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ Dmaj9 11 11 maj9 b∑Gm ∑ ∑ ∑Dm ∑F ∑ ∑ & Gbmaj9 Bbm9 Dbmaj9 I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ Dmaj9 11 11 maj9 b∑Gm ∑ ∑ ∑Dm ∑F ∑ ∑ & Gbmaj9 Bbm9 Dbmaj9 I. Introduction Glasper’s Harmonic Language patterns of root and upper-voice motion within and between diatonic collections II: the ic3/4 dual interval cycle — Outline — I. Introduction II. The ic3/4 Dual Interval Cycle III. Cyclic SLIDEs (cSLIDEs) IV. cSLIDEs in Glasper’s Music: Three Contexts V. Broader Connections II. The ic3/4 Dual Interval Cycle +4 +3 +4 +3 +4 (pcs) 0 4 7 E 2 6 II. The ic3/4 Dual Interval Cycle 0 7 5 9 4 E 2 2 T 24-pc 6 7 “multi-aggregate 9 3 cycle” 1 0 (Gollin 2007) 4 8 8 5 3 T E 1 6 II. The ic3/4 Dual Interval Cycle circle 0 of 5ths 7 5 9 4 E 2 2 T 6 7 circle ths 9 3 of 5 1 0 4 8 8 5 3 T E 1 6 II. The ic3/4 Dual Interval Cycle 0 7 5 9 4 E 2 2 T 1b 6 7 encodes all 12 9 3 diatonic collections 1 1 0 0 4 4 8 8 8 8 5 5 3 3 T T E 1 1 6 6 II. The ic3/4 Dual Interval Cycle 0 7 0b 5 9 4 E 2 2 T 6 7 encodes all 12 9 3 diatonic collections 1 1 0 0 4 4 8 8 8 8 5 5 3 3 T T E 1 1 6 6 II. The ic3/4 Dual Interval Cycle 1# 0 7 etc. 5 9 4 E 2 2 T 6 7 encodes all 12 9 3 diatonic collections 1 1 0 0 4 4 8 8 8 8 5 5 3 3 T T E 1 1 6 6 CX GX DX AX EX BX F###CX C###GX DX AX EX BX F### C### A# E# B# FX CX GX DXA# AXE# EX B# FX CX GX DX AX EX C# G# D# A# E# B# FXC# CXG# D# A# E# B# FX CX A E B F# C# G# D# A A# E E# B F# C# G# D# A# E# C G D A E B F# C C# G D A E B F# C# II. The ic3/4 Dual IntervalAb Eb CycleBb F C G D Ab A Eb E Bb F C G D A E Cb Gb Db Ab Eb Bb F Cb C Gb Db Ab Eb Bb F C 0 LewinEbb (1982)Bbb andFb others:Cb Gb Db Ab Ebb Eb Bbb Fb Cb Gb Db Ab Eb 7 5 9 4 icCbb3/4 cycleGbb relatesDbb M/mAbb Ebb Bbb Fb Cbb CbGbb Dbb Abb Ebb Bbb Fb Cb C G D A E B F###C C###G D A E B F### C### E X bbb Xtriadsbbb X bb X bb X bb X bb AXbb bbb Xbb bbb X bb X bb X bb X bb Abb bb 2 2 E B F C G D E E B F C G D E T A E B F C G D A A E E B F C G D A E # Cbbb # Gbbb # Dbbb X Abbb X Ebbb X Bbbb X F#bbCbbbX C# bbGbbbX # Dbbb X Abbb X Ebbb X Bbbb X Fbb X Cbb X 6 C G D A E B F C C G D A E B F C 7 # # # # # # X # X # # # # # X X 9 3 A E B F# C# G# D# A A# E E# B F# C# G# D# A# E# 1 1 0 0 C G D A E B F# C C# G D A E B F# C# 4 4 Ab Eb Bb F etc.C G D Ab A Eb E Bb F C G D A E 8 8 8 8 5 5 Cb Gb Db Ab Eb Bb F Cb C Gb Db Ab Eb Bb F C 3 3 T T E 1 1 Ebb Bbb Fb Cb Gb Db Ab Ebb Eb Bbb Fb Cb Gb Db Ab Eb 6 6 Cbb Gbb Dbb Abb Ebb Bbb Fb Cbb CbGbb Dbb Abb Ebb Bbb Fb Cb Ebbb Bbbb Fbb Cbb Gbb Dbb Abb Ebbb Ebb Bbbb Fbb Cbb Gbb Dbb Abb Ebb Cbbb Gbbb Dbbb Abbb Ebbb Bbbb FbbCbbb CbbGbbb Dbbb Abbb Ebbb Bbbb Fbb Cbb II.
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