Beyond Borders: Broadening the Artistic Palette of (Composing
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Chapter 3.2.1 That Non-Tonal Improvisation Is a Very Relative Term Because Any Configuration of Notes Can Be Identified by Root Oriented Chord Symbols
Cover Page The handle http://hdl.handle.net/1887/57415 holds various files of this Leiden University dissertation Author: Graaf, Dirk Pieter de Title: Beyond borders : broadening the artistic palette of (composing) improvisers in jazz Date: 2017-11-21 3. IMPROVISING WITH JAZZ MODELS 3.1 Introduction 3.1.1 The chord-scale technique Through the years, a large number of educational methods on how to improvise in jazz have been published (for instance Oliver Nelson 1966; Jerry Coker, Jimmy Casale, Gary Campbell and Jerry Greene 1970; Bunky Green 1985; David Baker 1988; Hal Crook 1991; Jamey Aebershold 2010). The instructions and examples in these publications are basically meant to develop the musician’s skills in chord-scale improvisation, which is generally considered as the basis of linear improvisation in functional and modal harmonies. In section 1.4.1, I have already discussed my endeavors to broaden my potential to play “outside” the stated chord changes, as one of the ingredients that would lead to a personal sound. Although few of the authors mentioned above have discussed comprehensive techniques of creating “alternative” jazz languages beyond functional harmony, countless jazz artists have developed their individual theories and strategies of “playing outside”, as an alternative to or an extension of their conventional linear improvisational languages. Although in the present study the melodic patterns often sound “pretty far out”, I agree with David Liebman’s thinking pointed out in section 2.2.1, that improvised lines are generally related to existing or imaginary underlying chords. Unsurprisingly, throughout this study the chord-scale technique as a potential way to address melodic improvisation will occasionally emerge. -
Beyond Borders: Broadening the Artistic Palette of (Composing
Cover Page The handle http://hdl.handle.net/1887/57415 holds various files of this Leiden University dissertation Author: Graaf, Dirk Pieter de Title: Beyond borders : broadening the artistic palette of (composing) improvisers in jazz Date: 2017-11-21 5. IMPROVISING WITH MESSIAEN’S MODES 5.1 Introduction In the previous chapter, practical applications of the Tone Clock were demonstrated, concluding that it can serve as a useful tool to embed twelve-tone techniques in the improvisational languages of contemporary jazz artists. In this chapter, I will discuss a compositional technique that also contains serial elements, yet with more obvious tonal references: Messiaen’s modes of limited transposition. As well as composing an impressive oeuvre, Messiaen disseminated his theories and practices in a large number of publications, such as the seven volumes of the comprehensive Traité de rythme, de couleur, et d’ornithologie (1949-1992) and the earlier2 and more compact Technique de mon langage musical (1956), in which he explained his modes of limited transposition for the first time. Organist and theorist Vincent Benitez (2008) explains that Messiaen’s modes of limited transposition, devised in 1929, originated from his improvisation classes with composer- organist Marcel Dupré, which implied the application of unconventional modalities as part of the Catholic liturgy. Benitez also claims a close relationship between Messiaen’s abilities as an improviser and the applications of the modes in his compositions, because in a number of passages he examined, “the harmonies lie comfortably in the hands, suggesting that they emerged from Messiaen’s improvisations” (Benitez 2008: 135). The first time I became acquainted with Messiaen’s modes of limited transposition was in my days as a saxophone student, practicing Guy Lacour’s 28 Etudes pour saxophone sur les modes à transpositions limitées d'Olivier Messiaen (Lacour 1972). -
Peter Schat's Tone Clock: the Steering Function and Pitch- Class
Peter Schat’s Tone Clock: The Steering Function and Pitch- Class Set Transformation in Genen Erik Fernandez Ibarz Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the Master of Arts in Music School of Music Faculty of Arts University of Ottawa © Erik Fernandez Ibarz, Ottawa, Canada, 2015 “The clock simply elucidates what our chromatic language is [and demonstrates] that there is a natural chromatic order, existing of itself, by virtue of the almighty power of number. [The tone clock] belongs to all, and it can work for anyone.” ––Jenny McLeod ii Table of Contents List of Examples ......................................................................................................................iv List of Tables ............................................................................................................................vi Abstract.....................................................................................................................................vii Acknowledgements............................................................................................................. viii Chapter One...............................................................................................................................1 1.1: Biography of Peter Schat ........................................................................................................2 1.2: Development of Schat’s Compositional Techniques .....................................................9 -
Octatonic Scale Jonathan Dimond, Phd
PATHWAYS THROUGH THE OCTATONIC SCALE JONATHAN DIMOND, PHD Edition: April 14, 2019 INTRODUCTION ..............................................................................................3 Terminology and nomenclature ..................................................................................4 Definition of symbols .................................................................................................7 TRIADIC FORMATIONS ....................................................................................9 PATHWAYS THROUGH OCTATONIC ...............................................................11 Diminished triad steering ..........................................................................................11 Minor triad steering .................................................................................................13 Major triad steering ................................................................................................14 Major flat 5 triad steering ........................................................................................16 Steering Application: Tetrachord permutations ..........................................................18 Steering Application: Inversion permutations .............................................................19 Steering Application: Chord progressions .................................................................21 Diminished seventh chord steering ............................................................................23 Minor seventh chord steering -
Fall 2004) Refereed Journal & Newsletter of the South Central Chapter — the College Music Society ______
South Central Music Bulletin ISSN 1545-2271 Volume III, Number 1 (Fall 2004) Refereed Journal & Newsletter of the South Central Chapter — The College Music Society __________________________________________________________________________________________ Editor: Dr. Nico Schüler, Texas State University-San Marcos Editorial Review Board: Dr. Paula Conlon, University of Oklahoma Dr. Cynthia Gonzales, Texas State University-San Marcos Dr. Lynn Job, University of North Texas Dr. Kevin Mooney, University of Texas at Austin Sunnie Oh, University of Oklahoma Dr. Deborah Schwartz-Kates, University of Texas at San Antonio Dr. Robin Stein, Texas State University-San Marcos Dr. Paolo Susanni, Clavier Werke School of Music (Austin) Dr. Lori Wooden, University of Central Oklahoma Subscription: Free This Journal can be downloaded from http://www.txstate.edu/scmb/ Publisher: South Central Chapter — The College Music Society c /o Nico Schüler, Ph.D. Texas State University-San Marcos School of Music 601 University Drive San Marcos, TX 78666 USA __________________________________________________________________________________________ © Copyright 2004 by the Authors. All Rights Reserved. South Central Music Bulletin III/1 (Fall 2004) _________________________________________________________________________________________ Table of Contents Message from the Editor by Nico Schüler … Page 4 Visit the CMS South Central Website … Page 4 Visit the South Central Music Bulletin (SCMB) Website … Page 4 President’s Message by Richard Davis … Page 5 CMS South Central