Baker Eastman School of Music [email protected] I

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

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)

8 8

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

8 8

3 T

E 1 6 II. The ic3/4 Dual Interval Cycle

0 7 5 9 4 E 2 2 T 1b 6

encodes all 12 9

3 diatonic collections 1 1

0 0

4 4

8 8

5 5

3 3 T T

1 1

6 6 II. The ic3/4 Dual Interval Cycle

0 7 0b 5 9 4 E 2 2 T

encodes all 12 9

3 diatonic collections 1 1

0 0

4 4

8 8

5 5

3 3 T T

1 1

6 6 II. The ic3/4 Dual Interval Cycle

1# 0 7 etc. 5 9 4 E 2 2 T

encodes all 12 9

3 diatonic collections 1 1

0 0

4 4

8 8

5 5

3 3 T T

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 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 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. The ic3/4 Dual Interval Cycle

0 Lewin (1982) and others: 7 5 9 4 ic3/4 cycle relates M/m E triads 2 2 T “[seventh chords] may, 6 Waters (2016, 2019):

7 but need not, include the ic3/4 cycle relates M/m standard extensions 9

3 th

th (#) th th 7 chords 1

of 9 , 11 , and 13 …” 1 0

0 + 9th, (#)11th, 13th

4 4

8 8 -Waters (2016)

8 8

5 5

3 3 11

T T

E ex. Dm = D F A C E G 1 1

6 6 II. The ic3/4 Dual Interval Cycle

0 7 5 9 4 Waters (2016, 2019): E ic3/4 cycle relates M/m 2 2 T 7th chords

6 th (#) th th 7 + 9 , 11 , 13 9

1 1

0 0

4 Glasper’s voicings,

8 8 8 8

5 melodies, and

3 3

T T E

1 improvisations

6 6 II. The ic3/4 Dual Interval Cycle

0 7 5 9 4 E 2 2 T

7 9

1 1

0 0

4 4

8 8

5 5

3 3 T T

1 1

6 6 II. The ic3/4 Dual Interval Cycle

1 5 8 0 3 7 T 2 5 Db F Ab C Eb G Bb D F II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ œ œ n œ œ œ œ œ œ ? 4 œ œ ™ œ ™ ¢ bbb4 w ˙ œ bœ w bœ w

Db F Ab C Eb G Bb D F Cm: bII iv VI i (read chords L to R) II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ œ œ n œ œ œ œ œ œ ? 4 œ œ ™ œ ™ ¢ bbb4 w ˙ œ bœ w bœ w

Db F Ab C Eb G Bb D F 3 23 13 43 Cm: bII iv VI i II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ œ œ n œ œ œ œ œ œ ? 4 œ œ ™ œ ™ ¢ bbb4 w ˙ œ bœ w bœ w tritone substitute Db F Ab C Eb G Bb D F dominant 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ œ œ n œ œ œ œ œ œ ? 4 œ œ ™ œ ™ ¢ bbb4 w ˙ œ bœ w bœ w root motion melodic motion Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle Methodology for Upper Extensions

I transcribe I treat Glasper’s Glasper’s chordal upper Glasper’s jazz performance(s) extensions performance (melody, bass line, as flexible networks practice comping, solos) of possibilities

Db F Ab C Eb G Bb D F root motion 3 23 13 43 melodic motion

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle Methodology for Upper Extensions

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < > œ n œ œ œ œ œ œ œ œ œ ™ ? b 4 œ ˙™ œ bœ ™ ¢ b b4 w w possible upper extensions bœ w (cf. Glasper’s melody, comping, solos) Db F Ab C Eb G Bb D F root motions 3 23 13 43 melodic motion

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle Flexible Chord-to-Chord Transformations

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j[+1]™ [+1] [-3] [+1] ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ {f}œ {Aœ b} n{c}œ œ{Db} œ œ œ œ ?{root+quality}4 œ = 7thœ chord with flexible™ combo of upperœ extensions ™ ¢ bbb4 w ˙ œ bœ w bœ w “CURSORs” Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle Flexible Chord-to-Chord Transformations

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j[+1]™ [+1] [-3] [+1] ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ {f, œ6} {Aœb, 5} {c,n œ 6} {Dœ b,7} œ œ œ œ ? 4 œ œ th ™ œ ™ ¢{root+quality,bbb4 “height”}w = 7 chord with˙ fixed rangeœ bofœ upper extensions w bœ w

Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle Flexible Chord-to-Chord Transformations

1 2 3 4 [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ [+1,j -1]™ [+1, +1] [-3, +1] [+1, -1] ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ {f, œ6} {Aœb, 5} {c,n œ 6} {Dœ b, 7} œ œ œ œ ? 4 œ œ th ™ œ ™ ¢{root+quality,bbb4 “height”}w = 7 chord with˙ fixed rangeœ bofœ upper extensions w bœ w

Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

1 [+1, -1] 2 [+1, +1] 3 [-3, +1] 4 [+1, -1] [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ œ œ n œ œ œ œ œ œ ? 4 œ œ ™ œ ™ ¢ bbb4 w ˙ œ bœ w bœ w root motions melodies Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i II. The ic3/4 Dual Interval Cycle “No Worries” (Double-Booked, 2009)

1 [+1, -1] 2 [+1, +1] 3 [-3, +1] 4 [+1, -1] [0:45] F‹11 A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) ° ™ j ™ ™ bbb4 œ œ œ j ™ j j ™ j j ™ ™ j ™ & 4 œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ < >œ œ œ n œ œ œ œ œ œ ? 4 œ œ ™ œ ™ ¢ bbb4 w ˙ œ bœ w bœ w root motions common tones Db F Ab C Eb G Bb D F 3 23 13 43

bbII Cm: V’maj7II iv VI i — 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 III. Cyclic SLIDEs (cSLIDEs) “No Worries” (Double-Booked, 2009)

↓cSLIDE ↑cSLIDE

[1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11) ° b 4 œ œ ™ ™ &b b4 œ œ w ˙ œ œ œw ˙ œ œ œ œ n œ bœ n œ bœ ? 4 nœ b œ nœ b œ ™ ¢ bb œ bœ n œ bœ ™ b4 ‰< > Œ ™ ‰< > Œ ™ n Jœ œ bJœ w n Jœ œ bJœ w III. Cyclic SLIDEs (cSLIDEs) “No Worries” (Double-Booked, 2009)

↓cSLIDE ↑cSLIDE

[1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11) ° b 4 œ œ ™ ™ &b b4 œ œ w ˙ œ œ œw ˙ œ œ œ œ n œ bœ n œ bœ ? 4 nœ b œ nœ b œ ™ ¢ bb œ bœ n œ bœ ™ b4 ‰< > Œ ™ ‰< > Œ ™ n Jœ œ bJœ w n Jœ œ bJœ w

D F A C E G B cSLIDE Db F Ab C Eb G Bb

bbII Cm: V’maj7II III. Cyclic SLIDEs (cSLIDEs) “No Worries” (Double-Booked, 2009)

5 6 5 6 [1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11) ° b 4 œ œ ™ ™ &b b4 œ œ w ˙ œ œ œw ˙ œ œ œ œ n œ bœ n œ bœ ? 4 nœ b œ nœ b œ ™ ¢ bb œ bœ n œ bœ ™ b4 ‰< > Œ ™ ‰< > Œ ™ n Jœ œ bJœ w n Jœ œ bJœ w C: ii 53 D F A C E G B cSLIDE Db F Ab C Eb G Bb 63 bbII Cm: V’maj7II III. Cyclic SLIDEs (cSLIDEs)

0 7 5 9 4 E 2 2 T

[±7] 6 7 9

1 1

0 0

4 4

8 8

5 5

3 3

T T E

1 D F A C E G B

6 6 cSLIDE Db F Ab C Eb G Bb III. Cyclic SLIDEs (cSLIDEs)

0 7 5 9 4 cSLIDE: E voice-leading manifests 2 2 T on musical surface [±7] 6 7 highlights 7-cycle 9

3 common tones

1 1 0

0 captures how it feels

4 4

8 8

8 8 to play the transformation

5 5

3 3

T T E

1 D F A C E G B

6 6 cSLIDE Db F Ab C Eb G Bb III. Cyclic SLIDEs (cSLIDEs) “No Worries” (Double-Booked, 2009)

5 [↓0, +1] 6 [↑0, -1] 5 [↓0, +1] 6 [1:02] D‹11 D¨Œ„Š13(#11) D‹11 D¨Œ„Š13(#11) ° b 4 œ œ ™ ™ &b b4 œ œ w ˙ œ œ œw ˙ œ œ œ œ n œ bœ n œ bœ ? 4 nœ b œ nœ b œ ™ ¢ bb œ bœ n œ bœ ™ b4 ‰< > Œ ™ ‰< > Œ ™ n Jœ œ bJœ w n Jœ œ bJœ w C: ii 53 D F A C E G B cSLIDE Db F Ab C Eb G Bb 63 bbII Cm: V’maj7II — 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 IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps successively 2) (Extensive) traversal of parallel modes longer progressions 3) Joining three cSLIDE-related subsets IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

major: ii IV vi I 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

b2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂ minor: bII iv VI i IV. cSLIDEs in Glasper’s Music: Single-Chord Modal Mixture in Vamps “Of Dreams to Come” (In My Element, 2007)

1 2 [↑] 3 [↓] 4 [0:00] B¨‹11 G¨Œ„Š9(#11) G‹11 E¨‹11 ° ™ bbbb 3 ˙™ ˙™ œ ™ & b4 ‰ œ œ™ œ œ™ ™ < > œ œ œ nœ nœ™ b œ œ œ œ œ œ 3 œ œ nœ bœ ™ ¢? b b œ™ œ n œ b œ ™ b b b4 ˙ ˙œ™ n˙œ™ b˙œ™

Bb: vi 33 Eb G Bb D F A C E cSLIDE Eb Gb Bb Db F Ab C Eb 13 23 43 Bbm: iv VI i IV. cSLIDEs in Glasper’s Music: Single-Chord Modal Mixture in Vamps “F.T.B.” (In My Element, 2007)

1 2 3a 4 [0:00] B¨Œ„Š9 G‹9 E¨Œ„Š9 D‹11 A9(“4) ° B¨Œ„™Š9 G‹9j E¨Œ„Š9 D‹11 A9(“4) b4 œ œ ˙ œ™ j ™ œ œ œ œ °& 4 œ ˙ œ œ œ œ œ ˙™ 4 œ™ j ™ j ™ œ œ œ œ œ &b4 œ œ ˙ œ œ ˙ < >œ œ œ ™nœ œ œ œ œ n œ œ œ œ ˙ œ ? 4 œ œ bœ < >œ ‰ nœ ‰ ¢ b4 œ™ œ ˙ œ™ œ n œ œ œ œ ˙ ? 4 œ œJ bbœJ ˙ œ˙ œ œJ J ¢ b4 œ™ œ ˙ œ™ œ œ ‰ œ ‰ œ ˙ J bJœ ˙ ˙ œ J J B¨Œ„1 Š9 G‹92 E‹93b D‹114 A9(“4) ° j bB¨Œ„œ™Š9 G‹9 ™ E‹9j D‹11™ A9(“4) ™ & œ ˙ œ #œ ˙ œ œ œ œ œw ° œ™ j œ nœ ™ &b œ œ ˙ œ™ #œj œ™ œ œwœ ™ œ œ n #œ ˙ < >œ œ œ œ œ ? œ™ œ ™ œ n œ ‰ nœ ‰ ™ ¢ b œ œ ˙ œ < #>œ œ œ œ œ ˙ ? œ œJ nœJ ˙ œ˙ œ œJ J ™ ¢ b œ™ œ ˙ œ™ < > œ œ ‰ œ ‰ œ ˙ J n Jœ ˙ ˙ œ J J B¨Œ„Š9 G‹9 E¨Œ„Š9 D‹11 A9(“4) ° 4 ™ j j œ &b4 œ œ ˙ œ™ œ™ œ œ œ œ IV. cSLIDEs in Glasper’sœ Music:˙ Single-Chordœ œModalœ Mixtureœ ˙™ in Vamps œ œ < > nœ œ œ œ n œ œ ?“Gonna4 œ œ Be Alrightbœ (F.T.B.)”œ (Black Radioœ , 2012) ¢ b4 œ™ œ ˙ œ™ œ œ ‰ œ ‰ œ ˙ J bJœ ˙ ˙ œ J J 1 2 [↑] 3b [↓] 4 B¨Œ„Š9 G‹9 E‹9 D‹11 A9(“4) ° ™ j ™ b œ œ ˙ œ™ j ™ œw ™ & #œ ˙ œ œ œ œ œ œ œ œ nœ œ œ #œ œ œ ? œ œ nœ œ œ ™ ¢ b œ™ œ ˙ œ™ < > œ œ ‰ œ ‰ œ ˙ J n Jœ ˙ ˙ œ J J …no matter if when you call I’ll be okay… the rain falls; melody 3b E G B D F# A C# E cSLIDE Eb G Bb D F A C E G 4 1 2 3a bbII Dm: VII’maj7 iv VI i IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

major: ii IV vi I 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

b2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂ minor: bII iv VI i IV. cSLIDEs in Glasper’s Music: (Extensive) Traversal of Parallel Modes “Always Shine” (Black Radio, 2012)

1 [↓] 2 [↑] 3 4 [↓] 5 6 [0:00] FŒ„Š9 D¨Œ„Š9 D‹11 G‹11 B¨‹13 G¨Œ„Š9(#11) ° œ œ œœ bœ œ œ bœ œ œ &b bœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ n œ œ bœ œ ? wœ bnœ œ œ b œ b œ ¢ b bw n w wœ bw bbwœ F: ii IV vi I 4 3 1 G Bb D F A C E G cSLIDE Gb Bb Db F Ab C Eb G 2 5 6 bbII Fm: V’maj7II iv VI i IV. cSLIDEs in Glasper’s Music: (Extensive) Traversal of Parallel Modes “Always Shine” (Black Radio, 2012)

1 [↑] 2 [↓] 3 [↑] 4 [↓] 1 5 3 [0:54] B¨‹11 D‹11 G¨Œ„Š9(#11) G‹11 B¨‹13 F‹9 G¨Œ„Š9(#11) ° œ ™™ b4 ≈bœ œ œ œ œnœ œ œ œ œ œbœ œ œ œ œ™ œ œ œbœ œ bœ œ ˙™ & 4 ≈ œ R œ n œ œ bœ n œ œ œ bœ œ œ ? 4bnbœ n ˙œ bnbœ nbœ b œ ˙œ bbœ ¢ b4 ˙ b ˙œ n˙œ ˙ b wœ F: ii IV vi I 4 2 G Bb D F A C E G cSLIDE Gb Bb Db F Ab C Eb G 5 1 3 bbII Fm: V’maj7II iv VI i IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

T-3(maj.) 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

major 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

minor b2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂ IV. cSLIDEs in Glasper’s Music: Three Contexts

1) Single-chord modal mixture in vamps

2) (Extensive) traversal of parallel modes

3) Joining three cSLIDE-related subsets

??? 1̂ 3̂ 5̂ 7̂ 2̂

major 2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂

minor b2̂ 4̂ 6̂ 1̂ 3̂ 5̂ 7̂ 2̂ 4̂

??? IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “North Portland” (Canvas, 2005)

A‹9 F©‹11 C©‹11 CŒ„Š9 j ™ ™ ™ w œ ™ œ œ #œ œ œ œ œw œ ™ & œ #œ œ œ J J œ F Ab C Eb G cSLIDE F# A C# E G# B D# F# E: ii IV vi I cSLIDE

F A C E G B D F# Em: iv VI i IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “North Portland” (Canvas, 2005) 1 [↑] 2 [↓] 3 [↓] 4 EŒ„Š9 F‹9 C©‹11™ CŒ„Š9 ™ œ œ #wœ n ™ 5 Ó bœ #œ #œ œ œ œ nœ œ œ œ &4 J J œ œ 5 [↑] 6 3 [↓] 4 A‹9 F©‹11 C©‹11 CŒ„Š9 j ™ ™ ™ w œ ™ œ œ #œ œ œ œ œw œ ™ & œ #œ œ œ J J œ F Ab C Eb G 2 cSLIDE F# A C# E G# B D# F# 1 3 cSLIDE 6 F A C E G B D F# 4 5 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “59 South” (Double-Booked, 2009)

1 [↓] 2 [↑] 3 4 F©Œ„Š9 B‹11 G©‹11 D©‹11 DŒ„Š7/E j # # œe e ™ j ™ j ™ # # #4 Œ‰ œ œ œ nœe œ œe œ e™ œ œ œ ™ ™ œ œ & # 4 n # œ #œe™ J œw ˙ [↓] 5 [↓] 6 7 F©‹7 G‹11 D‹9 DŒ„Š7/E e™ j ™ ™ #### # nœe™ œ ™ j nœe ™ j œ œ & # n œ œ nn œ œ nœ % Ó nnnw # B # # # # # # F©‹7G G‹11D F AG©13(“4)C E G C©Œ„Š9 BŒ„Š13 ™ 1 # ## # nœe™ j ™ j e4™ j ™ cSLIDE & # # n œ œ œ n nœe ™ œ nœ #œe™ j œ œ 3 n œ # œ #œ œ #œ œ œ œ B D F# A C# E G# B 5 2 cSLIDE G Bb D F A C E G 7 6 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “59 South” (Double-Booked, 2009)

F©Œ„Š9 B‹11 G©‹11 D©‹11 DŒ„Š7/E j # # œe e ™ j ™ j ™ # # #4 Œ‰ œ œ œ nœe œ œe œ e™ œ œ œ ™ ™ œ œ & # 4 n # œ #œe™ J œw ˙

F©‹7 G‹11 G©13(“4) C©Œ„Š9 BŒ„Š13 ™ # ## # nœe™ j ™ j e ™ j ™ & # # n œ œ œ n nœe ™ œ nœ #œe™ j œ œ n œ # œ #œ œ #œ œ œ œ G# B D# F# A# C# E# G# ↓cSLIDE B D F# A C# E G# B ↓cSLIDE G Bb D F A C E G ↓cSLIDE F# A# C# E# G# B# D# IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “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 IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “Rise and Shine” (Canvas, 2005)

2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ D F# A C# E b &Gb∑B ∑D ∑F ∑A ∑C ∑E ∑G Gb Bb Db F Ab C Eb G IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets “Rise and Shine” (Canvas, 2005)

2. root motion melodic motion Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ D œ œF# A C# E œ œ G Bb D F A C E G Gb Bb Db F Ab C Eb G &b∑ ∑ ∑ ∑ ∑ ∑ ∑ — 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 V. Broader Connections

The ic3/4 dual interval cycle…

…shapes many of Glasper’s vamps, hooks, and opening gambits

…coexists in longer progressions with other kinds of syntax

…but it (obviously) doesn’t animate all of Glasper’s music V. Broader Connections

The ic3/4 dual interval cycle… …as a transformational space Waters and Williams (2010), McClimon (2017), Smither (2019) …as a prolongational model Strunk (2016), Martin (2018) …as a model of relationships between diatonic collections Waters (2005), Michaelsen (2018) …as a targeted expansion of chord substitution sets Strunk (1979, 2016), Waters (2016, 2019) V. Broader Connections

The ic3/4 dual interval cycle…

…captures patterns of root and upper-voice motion within and between diatonic collections Thank You!

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———. 2002. “Thoughts on Klumpenhouwer Networks and Perle-Lansky Cycles.” Music Theory Spectrum 24 (2): 196–230.

———. [1987] 2007. Generalized Musical Intervals and Transformations. New York: Oxford University Press.

Love, Stefan Caris. 2017. “Ladders of Thirds and Tonal Jazz Melody.” Unpublished manuscript.

Martin, Henry. 2018. “Prolongation and Its Limits: The Compositions of Wayne Shorter.” Music Theory Spectrum 40 (1): 84–105.

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Michaelsen, Garrett. 2018. “Chord-Scale Networks in the Music and Improvisations of Wayne Shorter.” Gamut 8 (1): 123–88

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———. 2016. “Tonal and Transformational Approaches to Chick Corea’s Compositions of the 1960s.” Music Theory Spectrum 38 (1): 16–36.

Waters, Keith. 2005. “Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock.” Journal of Music Theory 49 (2): 333–57.

———. 2016. “Chick Corea and Postbop Harmony.” Music Theory Spectrum 38 (1): 37–57. ———. 2019. Postbop Jazz in the 1960s: The CompositionsDiscography of Wayne Shorter, Herbie Hancock, and Chick Corea. New York: Oxford University Press. Waters, Keith, and J. Kent Williams. 2010. “Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three- Dimensional Pitch Spaces; or Jazz Harmony after 1960.” Music Theory Online 16 (3).