Harmony Workbook 1

Total Page:16

File Type:pdf, Size:1020Kb

Harmony Workbook 1 Harmony workbook 1. Nomenclatura 2. Diatonic chords in relation to the tonal center 3. Diatonic cadence in relation to the harmonic rhythm 4. Secondary dominants 5. Tritone substitution 6. Diminished chords 7. Chord scales 8. Modal interchange 9. Subdominant minor cadence 10.Modulation 2. Diatonic chords are triads or four note chords which contain only notes of the major or minor scale. Ex.2.1: The diatonic triads in the scale of the C melodic major scale ( also known as Sankarabharanam in south-, Bilaval in north Indian music) C Dmin Emin F G Amin Bdim w w & w w w w w w w wI wIImin wIIImin wIV V VImin VIIdim S R3 min G3 min M1 P D2 N3 dim ! Triads are common in classical harmony and folk- and pop music Ex.2.1.1 In functional jazz harmony (Bebop & Hardbop) four note chords are prefered, because they give a more distinctive dominant chord (V7) 7 7 7 7 7 7 7b5 Cmaj Dmin Emin Fmaj G Amin Bmin w w w w & w w w w w w w Imaj7w IImin7w IIImin7w IVmajw 7 V7 VImin7 VIImin7b5 S maj7 R3 min7 G3 min7 M1 maj7 P 7 D2 min7 N3 min7b5 ! Ex.2.2: the diatonic four note chords in the scale of the C harmonic major scale (Sarasangi in south Indian music) 7 9b5 7 (maj7) 7b9 13 7#9 7b5 Cmaj Dmin Emin Fmin G A maj Bmin b bw w w w w w w & w bw w bw w bw w Imaj7w IImin7b5w IIImin7w IVmin(maj7) V7b9 13 bVImaj7#9 VIImin7b5 ! ©Rainer Pusch Ex.2.3: the diatonic triads in the scale of the C harmonic major scale C Ddim Emin Fmin G A aug Bdim b w w w bw & w bw w bw w bw w I w IIdimw IIIminw IVminw V bVIaug VIIdim ! 3. Diatonic cadence in relation to the harmonic rhythm Two notes of a scale seperated by a half step create a melodic energy. The less stabel note (less related to the tonal center) wants to resolve to the other. In the major scale in tertian harmony the 4th resolve to the 3 and the ♮7 to the 1. For that reason chords of the scale which contain 1 or both notes want to resolve . Chords which contain the 4th note only we call subdominant and chords which both notes dominant. 3.1 harmonic functions of diatonic chords: tonic subdominant dominant Imaj7 IVmaj7 V7 strong VImin7 V7sus4 " IIImin7 IImin7 VIImin7b5 weak strong #—————$ weak 3.2 harmonic rhythm In a 4/4measure the 1st and 3rd quater note are strong the 2nd and 4th note are weak. strong weak strong weak & œ œ œ œ ! In 2 4/4 measures the 1st and 3rd half note are strong the 2nd and 4th note are weak. strong weak strong weak & ˙ ˙ ˙ ˙ ! in 4 4/4 measures, the first and the third one is strong and the second and fourth one is weak ©Rainer Pusch strong weak strong weak ! in superposing a strong chord on a strong time unit and a relatively weak chord on a weak time unit we get a balanced cadence Ex.: Turnaround strong weak strong weak Imaj7 VImin7 IImin7 V7 Ex. 2.2 Mack the Knife strong weak strong weak strong Imaj6 IImin7 IImin7 V7 Imaj6 VImin7 IImin7 IImin7 V7 Imaj6 3. Secondary dominants Secondary dominants are dominants which resolve into diatonic chords and are named in relation to their specific diatonic resolution: V/II, V/III, V/IV, V/V, V/VI, V/VII i.e.: five of two, five of three, etc. In general they are placed on weak time units. All dominants are often prepared by their related IImin7 chord. Ex. 3.1 : the first 8 bars of "You are the sunshine of my life" I IVmaj7 #11 IIImin7 V7b9b13/II C G/F Emin7 └─── ───┘ A7b9b13 IImin7 V7 Imaj7 IImin7 V7 Dmin7 └─── ───┘ G7 Cmaj7 Dmin7└‒┘ G7 4. Chord scales *) If you build chords with diatonic thirds up to the 13th degree, you get seven part harmony. If one of he notes is an avoid note (x) the resultant chord will sound very dissonant, because the avoid note creates a b9 interval with one of the other notes and/or destroys the harmonic function. The only exception for chords in thirds is the V7b9 chord, where you look for dissonance to get more kinetic energy. Now we transpose the upper 3 notes (so called tensions) down an octave and we receive the ©Rainer Pusch correspondingchord scale. All notes of this scale besides the avoid note can be played on any time unit, while the chord sounds. The avoid note should be treated like all other notes as a passing note, i.e. in general on a weak time unit which resolves to the nearest scale note on a strong time unit. If the melody ends on a weak time unit this unit becomes an anticipation of the strong one and you have to treat it like that. Keep in mind that the high notes are weaker in the bottom of the structure and vice versa. So they become in these positions very useful diatonic passing notes. *) For other chord scales check out the “chord scale relation chart” ! Ex.:2.5: the diatonic four note chords in the scale of the C harmonic major scale Ex.1.2: la gamme C-majeure harmonique ! Ex. 1.3: la gamme C-eolienne ! Ex.1.4: la gamme C-mineure harmonique ! Ex.1.5: la gamme C-mineure mélodique ©Rainer Pusch ! 5. Modal interchange If you borrow a harmonic function from another scale with the same root you get a so called modal interchange. Ex.: The first 2 bars of "Night and Day" IImin7b5 V7b9b13 Imaj7 Dmin7b5 └─── ───┘G7b9b13 Cmaj7 (C-harmonic minor) (C-ionian) Ex. 5.1: the 9th bar of the B part of "You are the sunshine of my life" VImaj7 V/VI VImin VImin(maj7) VImin7 └──────┘ Amaj7 Amin Amin(maj7) Amin7 Bmin7 E7b9b13 (A ionian) (A aeolian \ harmonic minor \ aolien ou dorian) 5.2 Subdominant minor cadence This is a special modal interchange used in a lot of standard songs. The Vimin7 bVII7 progression is borrowed from the corresponding aeolian mode. It resolves most of the time into the tonic. Ex.: The first 8 bars of "Misty" Imaj7 V/VI IV IVmin7 bVII7 └──────┘ └──────┘ Ebmaj7 Abmaj7 Bbmin7 Eb7 Abmin7 Db7 (Eb ionian) (Eb aolien) ©Rainer Pusch Imaj7 Vimin7 IImin7 V7 IIImin7 V7/II IImin7 V7 └──────┘ └──────┘ └──────┘ Ebmaj7 Cmin7 Fmin7 Bb7 Gmin7 C7 Fmin7 Bb7 (Eb ionian) 6. Triton substitution If you substitute a V7 chord wth a V7 chord a triton (#4) away you get a “chromatic dominant” or the triton substitute dominant (subV7) The harmonic function is the same because the guide tones, which line out the function, are the same. The b7 becomes the 3rd and the 3rd becomes the b7. The corresponding IImin7 chord can be substituted the same way. I n doing this you get 4 cadences, which sound differently, but their harmonic function is the same. IImin7 V7 I └──────┘ ⎯⎯→ C Dmin7 G7 IImin7 subV7 I └─ ── ─┘ ⎯ → Dmin7 Db7 C subV7 I └──────┘ ⎯ → Abmin7 Db7 C V7 I └─ ── ─┘ ⎯⎯→ C Abmin7 G7 Ex.: the first 4 bars of "One Note Samba" IIImin7 subV/V IImin7 subV7 └─ ── ── ─┘ ⎯ → └─ ── ── ─┘ Dmin7 Db7 Cmin7 B7 7. Diminished chords 7.1 In chromatic upward movements the dim chords are dominat chords without root. (C7 9 = C E G bB D / E07 = EdMin7 = E G bB D) Ex.: First 2 bars of "It Could Happen To You" ©Rainer Pusch Imaj7 V7/II IImin7 V/III ⎯⎯→ Ebmaj7 C7 Fmin7 D7 Imaj7 #Idim7 IImin7 #IIdm7 Ebmaj7 Edim7 Fmin7 F#dim7 2. In chromatic downward movements the reharmonisation with a secondary dominant or subV7 is possible. But the sound is different. IIImin7 bIIIdim7 IImin7 Emin7 Ebdim7 Dmin7 IIImin7 V7/II IImin7 └─── ───┘ ⎯⎯→ Emin7 A7 Dim7 IIImin7 subV7/II IImin7 Emin7 Eb7 Dmin7 7.3. Remplacement of the diatonic function Ex.: "Spring is here" Idim7 Imaj7 Idim7 Imaj7 Abdim(maj7) Abmaj7 Abdim(maj7) Abmaj7 Reharm: VII7 Imaj7 VII7 Imaj7 G7b9 Abmaj7 G7b9 Abmaj7 7.4. #IVdim7 resolves to the V or often into the I chord with the 5th in the base. Ex.: 4th bar of "Hard Times" IVmaj7 #IVdim7 I/5 Abmaj7 Adim7 Eb/Bb ©Rainer Pusch 7.5. Specific scales for diminished chords You just have to fill the wholes between the minor thirds of the dim chord with notes of the scale of the tonal center in which you analyse the dim chord Ex.: #IIdim7 in the tonal centre of C ! The half notes are the notes of #IIdim7 = Ebdim7. The quarter notes are the notes of the C melodic major (Ionian) scale. The resulting scale in this case is mode 7 of E harmonic minor. If you prefer the note F instead of E, go for it! Your ear is the judge 8. Modal cadences The chords of a scale which contain not the characteristic note (avoid not) of the scale become tonic function (strong) The chords of of a scale which contain the characteristic note (avoid not) of the scale become dominant function (weak) Be careful with chords (specially in tonic function) which contain a triton, because they have a strong tendency to function as normal V7 chords. Now you just have to place these chords on strong or weak time units depending on their function and you got a cadence, which produces the sound of your scale. Ex.: "My Favorite Thing" Imin7 IImin7 Imin7 IImin7 Emin7 F#min7 Emin7 F#min7 strong weak strong weak The characteristic note in E dorian is the 6 = C# n 9.
Recommended publications
  • Allan Holdsworth Schille Reshaping Harmony
    BJØRN ALLAN HOLDSWORTH SCHILLE RESHAPING HARMONY Master Thesis in Musicology - February 2011 Institute of Musicology| University of Oslo 3001 2 2 Acknowledgment Writing this master thesis has been an incredible rewarding process, and I would like to use this opportunity to express my deepest gratitude to those who have assisted me in my work. Most importantly I would like to thank my wonderful supervisors, Odd Skårberg and Eckhard Baur, for their good advice and guidance. Their continued encouragement and confidence in my work has been a source of strength and motivation throughout these last few years. My thanks to Steve Hunt for his transcription of the chord changes to “Pud Wud” and helpful information regarding his experience of playing with Allan Holdsworth. I also wish to thank Jeremy Poparad for generously providing me with the chord changes to “The Sixteen Men of Tain”. Furthermore I would like to thank Gaute Hellås for his incredible effort of reviewing the text and providing helpful comments where my spelling or formulations was off. His hard work was beyond what any friend could ask for. (I owe you one!) Big thanks to friends and family: Your love, support and patience through the years has always been, and will always be, a source of strength. And finally I wish to acknowledge Arne Torvik for introducing me to the music of Allan Holdsworth so many years ago in a practicing room at the Grieg Academy of Music in Bergen. Looking back, it is obvious that this was one of those life-changing moments; a moment I am sincerely grateful for.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e.
    [Show full text]
  • Joe's Guitar Method Towards a Jazz Improviser's Technique
    Joe’s Guitar Method Towards A Jazz Improviser’s Technique I. Intro Pg. 1 II. Tuning & Setup Pg. 5 A. The Grand Staff B. Using a Tuner C. Intonation D. Action and String Gauges E. About Whammy Bars III. Learning The Fretboard Pg. 11 A. The C Major Scale....(how to find the “natural” pitches on each string) IV. Basic Guitar Techniques Pg. 13 A. Overview B. Holding the Pick C. Fretting Hand: Placement of the Fingers D. String Dampening E. Fretting Hand: Placement Of the Thumb F. Fretting Hand: Finger Stretches G. Fretting Hand: The Wrist (About Carpal Tunnel Syndrome) H. Position Playing on Single Strings V. Single String Exercises Pg. 19 A. 6th String B. 5th String C. 4th String D. 3rd String E. 2nd String F. 1st String G. Phrasing Possibilities On A Single String VI. Chords: Construction/Execution/Basic Harmony Pg. 35 A. Triads 1. Construction 2. Movable Triadic Chord Forms a) Freddie Green Style - Part 1 (1) Strumming (2) Pressure Release Points (3) Rhythm Slashes (4) Changing Chords 3. Inversions 4. Open Position Major Chord Forms 5. Open Position - Other Triadic Chords a) Palm Mutes B. Seventh Chords 1. Construction 2. Movable Seventh Chord Forms 3. Open Position Seventh Chord Forms C. Chords With Added Tensions 1. Construction D. Simple Diatonic Harmony E. Elementary Voice Leading F. Changes To Some Standard Tunes 1. All The Things You Are 2. Confirmation 3. Rhythm Changes 4. Sweet Georgia Brown 5. All Of Me 5. All Of Me VII. Open Position Pg. 69 A. Overview B. Picking Techniques 1.
    [Show full text]
  • The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
    THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT
    [Show full text]
  • Interactive Music System Based on Pitch Quantization and Tonal Navigation
    Interactive music system based on pitch quantization and tonal navigation Leonardo Aldrey MASTER’S THESIS UPF / 2011 Master in Sound and Music Computing September 3, 2011 Sergi Jordà Puig - Supervisor Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona 1 Abstract Recent developments in the field of human computer interaction have led to new ways of making music using digital instruments. The new set of sensors available in devices such as smartphones and touch tablets propose an interesting challenge in the field of music technology regarding how they can be used in a meaningful and musical way. One to one control over parameters such as pitch, timbre and amplitude is no longer required thus making possible to play music at a different level of abstraction. Lerdahl and Jackendoff presented in their publication “Generative theory of tonal music” a perspective that combines Heinrich Schenker’s theory of music and Noam Chomsky linguistics to eXplain how tonal music is organized and structured. This idea opens up the possibility of investigating ways to manipulate a “wider” aspect of music through an assisted interactive musical system that takes into account the “principles” or common knowledge used in music composition and performance. Numerous publications exist in the field of music theory regarding how the tonal aspect of music works. Due to aspects related to psychoacoustics and cultural inheritance, there is a certain common base on how to form and use chords and scales, and how they are organized in terms of hierarchies, movement tendencies and tonal functions. This project deals with the design of a graphical representation about the use of tonality in jazz and popular music, organizing chords and scales in a hierarchical, semanticall and practical way.
    [Show full text]
  • 1 Multi-Phase Learning for Jazz Improvisation and Interaction1
    Multi-Phase Learning for Jazz Improvisation and Interaction1 Judy A. Franklin Computer Science Department Smith College Northampton, MA 01063 [email protected] http://www.cs.smith.edu/~jfrankli (413)-585-3858 Abstract This article presents a model for computational learning composed of two phases that enable a machine to interactively improvise jazz with a human. To explore and demonstrate this model, a working system has been built, called CHIME for Computer Human Interacting Musical Entity. In phase 1, a recurrent neural network is used to train the machine to reproduce 3 jazz melodies. Using this knowledge, CHIME can interactively play music with a human in real time by trading fours in jazz improvisation. The machine is further trained in phase 2 with a real-valued reinforcement learning algorithm. Included in the paper are details of the mechanisms for learning and interaction and the results. The paper presentation includes real-time demonstrations of CHIME. Introduction The goal in developing CHIME was to use machine learning to enable a machine to learn to improvise jazz and to interact with a human player. Creating this kind of human/machine interaction has great aesthetic and philosophical appeal. CHIME starts as a beginner, but after training can “trade fours” with a human. That is each improvises (makes up original jazz melodies in real time) for four measures while the other listens. Then the other takes a turn and so on. These four measures are played over a chord structure. In trading fours, a player tries to incorporate some of the other player’s music while adding new material.
    [Show full text]
  • PENTATONICS by CHORD TYPE Extract from Pentatonic & Hexatonic Scales in Jazz, © Jason Lyon 2007
    PENTATONICS BY CHORD TYPE Extract from Pentatonic & Hexatonic Scales in Jazz, © Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html 1. WHAT TO PLAY ON A MINOR 7TH CHORD AS OF now, we’ll be thinking primarily in terms of minor pentatonics (but keeping the relative major in the back of our mind). There are three of the classic pentatonic structures that fit over a Dm7: DmPT EmPT AmPT The easy way to remember these scales as a set is to notice that the roots form a II-V-I to the root of the Dm7 chord you’re playing over. But there’s more. Rearranging the inversions, we can see that the move from each pentatonic to the next involves just one note shifting at a time: DmPT AmPT EmPT Let’s now add the minor 6 th pentatonic in D: DmPT AmPT EmPT Dm6PT Notice how the minor 6 th pentatonic is one note different from both the E minor pentatonic that it follows and the D minor pentatonic at the start of the line. As such it can be used as a bridge between the two, for the purposes of repeating the sequence. Extract from Pentatonics & Hexatonics in Jazz, © Jason Lyon 2006-7 www.opus28.co.uk/jazzarticles.html , [email protected] Note also how as we move from D minor (containing root, third and seventh, D, F and C) to A minor (containing D and C) to E minor pentatonic (containing D) we gradually lose more of the defining chord tones of Dm7. This gives an increasing sense of moving away from the chord, without actually leaving the tonality.
    [Show full text]
  • Chord Scale Theory
    IMPROCHART: USER GUIDE APPLICATIONS OF IMPROCHART CONTENTS 2 Introduction Improvising on a Chord The Chord Scale Theory Tensions Avoid Notes IMPROCHART – Improvisation Chart Explanations – Scales Explanations – Chords Conclusions © 2010 www.harmonicwheel.com INTRODUCTION 3 Improvisation exists since the beginning of the Music history. Nevertheless, nowadays its use has been practically reduced to Jazz. Improvisation generally consists in creating a melody suitable for a given chord progression. That is, a melody must be composed in such a way that it “fits” or “sounds well” with those chords. © 2010 www.harmonicwheel.com INTRODUCTION 4 The most common procedure for improvising consists of 2 Phases: 1) For each chord or group of chords we need know which scale or scales are suitable for improvising on them. 2) After choosing one of these scales, we have to form a melody with its notes. © 2010 www.harmonicwheel.com INTRODUCTION 5 For solving the Phase 1, an Improvsation Chart has been developed, called IMPROCHART TM , which automatically gives us all the scales related to a given chord. In this presentation, we will explain all its features and how to make the most of them. Regarding the Phase 2, we will explain the Tensions, which is a basic subject to make melody and harmony consistent to each other. © 2010 www.harmonicwheel.com INTRODUCTION 6 In another presentation, entitled “EXAMPLES ON IMPROVISATION”, we will show how to use IMPROCHART TM in some practical cases and will give more directions for Phase 2. On the other hand, let us remember that Music is an Art, so it is not constrained to strict rules.
    [Show full text]
  • Effective for Cases Diagnosed January 1, 2016 and Later
    POLICY AND PROCEDURE MANUAL FOR REPORTING FACILITIES May 2016 Effective For Cases Diagnosed January 1, 2016 and Later Indiana State Cancer Registry Indiana State Department of Health 2 North Meridian Street, Section 6-B Indianapolis, IN 46204-3010 TABLE OF CONTENTS INDIANA STATE DEPARTMENT OF HEALTH STAFF ............................................................................. viii INDIANA STATE DEPARTMENT OF HEALTH CANCER REGISTRY STAFF .......................................... ix ACKNOWLEDGMENTS ................................................................................................................................ x INTRODUCTION ........................................................................................................................................... 1 A. Background ..................................................................................................................................... 1 B. Purpose .......................................................................................................................................... 1 C. Definitions ....................................................................................................................................... 1 D. Reference Materials........................................................................................................................ 1 E. Consultation .................................................................................................................................... 2 F. Output ............................................................................................................................................
    [Show full text]
  • A Transformational Approach to Jazz Harmony
    A TRANSFORMATIONAL APPROACH TO JAZZ HARMONY Michael McClimon Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University January 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee Julian Hook, Ph.D. Kyle Adams, Ph.D. Blair Johnston, Ph.D. Brent Wallarab, M.M. December 9, 2015 ii Copyright © 2016 Michael McClimon iii Acknowledgements This project would not have been possible without the help of many others, each of whom deserves my thanks here. Pride of place goes to my advisor, Jay Hook, whose feedback has been invaluable throughout the writing process, and whose writing stands as a model of clarity that I can only hope to emulate. Thanks are owed to the other members of my committee as well, who have each played important roles throughout my education at Indiana: Kyle Adams, Blair Johston, and Brent Wallarab. Thanks also to Marianne Kielian-Gilbert, who would have served on the committee were it not for the timing of the defense during her sabbatical. I would like to extend my appreciation to Frank Samarotto and Phil Ford, both of whom have deeply shaped the way I think about music, but have no official role in the dissertation itself. I am grateful to the music faculty of Furman University, who inspired my love of music theory as an undergraduate and have more recently served as friends and colleagues during the writing process.
    [Show full text]
  • Improvvisazione (Michele Francesconi)
    WWW.MICHELEFRANCESCONI.COM CONSIDERAZIONI GENERALI SULL’IMPROVVISAZIONE Interpretazione da “Gunther Schuller – Il jazz, Il periodo classico” “Nonostante i limiti della notazione musicale, una pagina di Beethoven o Schoenberg è un documento definitivo, un tracciato da cui possono derivare varie letture lievemente diverse. Al contrario, l’incisione di un brano jazz improvvisato è cosa di un attimo: in molti casi è l’unica versione accessibile, e perciò “definitiva”, di un qualcosa mai pensato come definitivo. Che sia, e non possa che essere, definitiva - se ispirata o no, è ovviamente un altro discorso - è un fatto intrinseco alla natura e al concetto di improvvisazione. Perciò lo storico del jazz è costretto a giudicare l’unica cosa che ha in mano: il documento sonoro. Mentre ci interessa anzitutto l’Eroica e solo secondariamente il modo in cui qualcuno la esegue, nel jazz il rapporto si rovescia. Ci interessa ben poco West End Blues come tema o composizione; prima di tutto conta il modo in cui Armstrong lo interpreta. Oltretutto siamo obbligati a giudicare sulla scorta di una singola versione, incisa per caso nel 1928, e non ci resta che immaginare le altre centinaia che Armstrong ne diede, nessuna esattamente uguale, alcune inferiori al disco, altre forse anche più ispirate.” Un esempio, risguardo: anche se a livello metronomico il musicista di jazz rispetta lo scandire del tempo, egli in realtà può suonare “in avanti” o “indietro” sul tempo - la scrittura tradizionale, invece, è “mensurata”. Inoltre in questa musica non esiste il concetto di “bel suono”, ma di “proprio suono”. Il jazz ha spesso amato sonorità sporche, rauche, addirittura stonate (Thelonious Monk, Lee Konitz, Betty Carter, Gary Peacock…) Nei vari real book in uso tra i jazzisti vengono scritte principalmente due cose: una linea melodica e degli accordi siglati.
    [Show full text]