Other Diatonic Techniques

Total Page：16

File Type：pdf, Size：1020Kb

OTHER DIATONIC TECHNIQUES TRIADS The tonic triad is the core of tonal music and diatonic playing. It is necessary to practice ways of embellishing this fundamental musical building block. It is crucial to be aware of the underlying background and middle ground harmonies when improvising diatonically. EMBELLISHING TRIADS: EXAMPLES FROM THE MASTERS • Sonny Stitt “Eternal Triangle” In this example Stitt uses the key’s tonic triad throughout the first four measures of the A section. Here he is using an approach that relies on the background perspective, since all four measures are based on the I chord. • Dexter Gordon “Red Cross” 61 LUKAS GABRIC Gordon also embellishes the tonic triad in this example. He approaches each note of the triad with a half step from below. The background perspective is also used here. • Dexter Gordon “Red Cross” Gordon also ornaments the tonic triad in this example. Each chord tone is approached with a three-note group. • Cannonball Adderley “Oleo” This embellishment only ornaments the root and fifth of the tonic triad, but a 3/4 cross rhythm is also implied. • John Coltrane “Good Bait” 62 THE RHYTHM CHANGES GUIDE Here Coltrane performs an embellishment of the ii7 chord. In contrast to the earlier examples, it is not the I chord which is prolonged but the predominant chord Cm7. TRIADIC EMBELLISHMENTS: EXERCISES DERIVED FROM THE MASTERS All the derived exercises are transposed to the key of C but should be practiced in all keys. There are countless other ways to ornament triads and seventh chords besides what is displayed in these examples. The following exercises are also derived from the jazz tradition. 63 .

Copy Link

Recommended publications

Harmony Crib Sheets
Jazz Harmony Primer General stuff There are two main types of harmony found in modern Western music: 1) Modal 2) Functional Modal harmony generally involves a static drone, riff or chord over which you have melodies with notes chosen from various scales. It’s common in rock, modern jazz and electronic dance music. It predates functional harmony, too. In some types of modal music – for example in jazz - you get different modes/chord scale sounds over the course of a piece. Chords and melodies can be drawn from these scales. This kind of harmony is suited to the guitar due to its open strings and retuning possibilities. We see the guitar take over as a songwriting instrument at about the same time as the modes become popular in pop music. Loop based music also encourages this kind of harmony. It has become very common in all areas of music since the late 20th century under the influence of rock and folk music, composers like Steve Reich, modal jazz pioneered by Miles Davis and John Coltrane, and influences from India, the Middle East and pre-classical Western music. Functional harmony is a development of the kind of harmony used by Bach and Mozart. Jazz up to around 1960 was primarily based on this kind of harmony, and jazz improvisation was concerned with the improvising over songs written by the classically trained songwriters and film composers of the era. These composers all played the piano, so in a sense functional harmony is piano harmony. It’s not really guitar shaped. When I talk about functional harmony I’ll mostly be talking about ways we can improvise and compose on pre-existing jazz standards rather than making up new progressions.
[Show full text]
University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
[Show full text]
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II.
[Show full text]
Cadence in Music Version 1.9: Oct 4, 2007 12:24 Pm GMT-5
Connexions module: m12402 1 Cadence in Music Version 1.9: Oct 4, 2007 12:24 pm GMT-5 Catherine Schmidt-Jones This work is produced by The Connexions Project and licensed under the Creative Commons Attribution License ∗ Abstract A cadence is a place in a piece of music that feels like a stopping or resting point. In tonal music, cadences are classied by their chord progressions. Cadence in Music A cadence is any place in a piece of music that has the feel of an ending point. This can be either a strong, denite stopping point - the end of the piece, for example, or the end of a movement or a verse - but it also refers to the "temporary-resting-place" pauses that round o the ends of musical ideas within each larger section. A musical phrase1, like a sentence, usually contains an understandable idea, and then pauses before the next idea starts. Some of these musical pauses are simply take-a-breath- type pauses, and don't really give an "ending" feeling. In fact, like questions that need answers, many phrases leave the listener with a strong expectation of hearing the next, "answering", phrase. Other phrases, though, end with a more denite "we've arrived where we were going" feeling. The composer's expert control over such feelings of expectation and arrival are one of the main sources of the listener's enjoyment of the music. Like a story, a piece of music can come to an end by simply stopping, but most listeners will react to such abruptness with dissatisfaction: the story or music simply "stopped" instead of "ending" properly.
[Show full text]
Teaching Jazz Improvisation Using Macro-Analytical Techniques
Teaching Jazz Improvisation Using Macro-Analytical Techniques Nolan Stolz tudents of jazz must overcome several hurdles in their develop- ment as musicians. Technical fluidity may be mastered in a practice room, but skills related to style and performance practice are Sbest obtained through experience. A command of aural skills such as the recognition of intervals, chords, scales and form is imperative. A theoretical approach to performance is another important component of a jazz musician’s education. The aim of this article is to demonstrate to jazz educators, theorists and performers that macro analysis can be one of the most useful tools in developing this approach. In my years of teaching jazz improvisation, I have noticed students who improvise solely by ear—without an understanding of the underlying theory—have a very limited improvisational vocabulary and struggle with many of the same problems. They improvise diatonically, lose the form,1 improvise melodies that lack harmonic direction and do not resemble the original melody, and do not resolve guide tones.2 I have found that applying macro-analytical techniques to teaching jazz improvisation greatly improves students’ understanding of jazz harmony, and consequently, improves their improvisational skills. Macro analysis can help the performer understand the melodic and harmonic structure of a composition, leading to a more successful performance, including solo improvisation. A song’s formal structure will become clearer, reducing the likelihood of getting lost in the form. Moreover, Roman numerals, used in conjunction with macro analysis slurs, increase the student’s ability to transpose the tune to a different key, which is especially useful when working with vocalists and transposing instruments.
[Show full text]
A Diachronic Analysis of Harmonic Schemata in Jazz Daniel Shanahan1 & Yuri Broze2 School of Music, Ohio State University, USA [email protected], [email protected]
A Diachronic Analysis of Harmonic Schemata in Jazz Daniel Shanahan1 & Yuri Broze2 School of Music, Ohio State University, USA [email protected], [email protected] ABSTRACT recording as being more authoritative than the other without introducing personal or theoretical bias. The harmonic language of jazz is fluid and living, Jazz harmony relies heavily on a set of well-defined characterized by the continual introduction of reharmon- harmonic patterns that evolved gradually throughout the 20th izations that may be dependent upon the harmonic clichés at century. While certain tonally-oriented progressions such as the time of performance. As such, a transcription of a single the “ii-V-I” appear to be nearly ubiquitous across time- recording might not adequately capture the spirit of the periods, the jazz tradition also includes a notable departure composition. While D’Clerq and Temperley (2011) were from tonal harmony: the rise of modal jazz in the late 1950s. easily able to identify definitive versions of rock and pop We aimed to systematically investigate the history of jazz recordings, this tactic would not necessarily translate well to composition by describing the evolution of chordal syntax, as the jazz idiom. Aside from big band arrangements, the well as the sort of organizational frameworks that might be dependence on an authoritative score has often been described as harmonic schemata. secondary in jazz music. In this study, we empirically describe the most common Nonetheless, it is possible to focus specifically on the form chords and chord motions of the jazz canon, and trace their of a composition most likely to play an active role in the evolution over time.
[Show full text]
Jazzing up Jazz Band JB Dyas, Phd As Published in Downbeat Magazine
Jazzing Up Jazz Band JB Dyas, PhD As published in DownBeat magazine JB Dyas (left) works with the big band at Houston’s High School for the Performing and Visual Arts Presenting jazz workshops across the country on behalf of the Herbie Hancock Institute, it’s been my experience that too many high school jazz bands, although often sounding quite impressive, are really playing very little jazz. On any given tune, few students are able to improvise – arguably jazz’s most important element. Most of the band members don’t know the chord progression, the form, or even what a chorus is – essentials for the jazz musician. And all too often they haven’t listened to the definitive recordings – a must in learning how to perform this predominantly aural art form – or know who the key players are. They're just reading the music that’s put in front of them, certainly not what jazz is all about. What they’re doing really has little relation to this music’s sensibility; it's more like “concert band with a swing beat.” The teaching and learning of jazz can and should be an integral component of every high school jazz band rehearsal. Since most high schools don’t have the luxury of offering separate jazz theory, improvisation and history classes, jazz band needs to be a “one stop shop.” Therefore, repertoire is key, meaning the repertoire chosen for the school year and the order in which it is presented should be such that it is conducive to the learning of jazz theory and improvisation in a natural, understandable and playable unfolding of material.
[Show full text]
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
[Show full text]
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log On, Get Your Coffee, Listen, Relax
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log on, get your coffee, listen, relax. • “I Got a Crush on You” recorded by Nat Adderley in 1960 on Work Song. Written in 1928 for Treasure Girl. • “Nice Work If You Can Get It” recorded by Sarah Vaughn in 1950 on Sarah Vaughn with George Treadwell and his All Stars. Written in 1937 for Damsels in Distress. • “Isn’t It A Pity” recorded by Cheryl Bentyne in 2010 on The Gershwin Songbook. Written in 1933 for Pardon My English. • “I Loves You, Porgy” recorded by Billie Holiday, accompanied by Bobby Tucker. Written in 1935 for Porgy & Bess. • “Let’s Call The Whole Thing Off” recorded by Ella Fitzgerald and Louis Armstrong with the Oscar Peterson Trio in 1957 on Ella and Louis Again. Written in 1937 for Shall We Dance. • “They Can’t Take That Away From Me” recorded by Frank Sinatra in 1962 on Sinatra and Swingin’ Brass. Written in 1937 for Shall We Dance. • “Do It Again” recorded by Beverly Kenney accompanied by Ellis Larkins in 1958 on Beverly Kenney Sings for Playboys. Written in 1922 for The French Doll. • “Love is Here to Stay” recorded in 1955 by Carmen McRae. Written in 1937 for The Goldwyn Follies. • “My One and Only” recorded in 1950 by Ella Fitzgerald with Ellis Larkin on Ella Sings Gershwin. Written in 1927 for Funny Face. • “I Got Rhythm” recorded in 1964 in Sweden by Sarah Vaughn. Written in 1930 for Girl Crazy. Class Begins at 930AM The Gershwins Part 1: “I Got Rhythm” Course Agenda showing the music 1.
[Show full text]
Blues, Rhythm Changes, Coltrane Changes
LearnMusicTheory.net 4.4.1 Standard Changes: Blues, Rhythm, Coltrane • Changes = a standard chord progression that can be transposed to any key • Three of the most common progressions are blues changes, rhythm changes, and Coltrane changes. Blues changes • The blues is a 12-bar (12-measure) form, organized as 3 stanzas of 4 measures each. • In the most basic version, each measure uses only one chord. • The most basic form is: stanza 1= I - I - I - I, stanza 2= IV-IV-I-I, and stanza 3=V-IV-I-I • An example in C major would be: C-C-C-C, F-F-C-C, G-F-C-C (each chord symbol is 1 measure) • Substitutions and reharmonizations have resulted in a huge number of variant forms (ex: I7 - I7 - I7 etc.) Rhythm Changes • Rhythm changes are based on the chord progression from “I Got Rhythm” by George Gershwin. • Jazz musicians (especially Bebop musicians) created many new tunes (called contrafacts) with the chords. • Rhythm changes are 32 measures long, organized as 4 sections of 8 measures each, in the pattern AABA. • The chord progression for each A section is: I vi / ii V / I vi / ii V / I I7 / IV #iv°7 (or iv) / I V / I • The chord progression for the B section (called the “Bridge”) is: III7 / III7 / VI7 / VI7 / II7 / II7 / V7 / V7 • The chords in the B section could also be analyzed as a circle-of-fifths sequence of secondary dominants. • The most basic version has few 7th chords in the A section, but many variants include 7ths/9ths/11ths/13ths, etc.
[Show full text]
Jazz Guitar Chord Progressions
10 JAZZ GUITAR CHORD PROGRESSIONS hord progressions are a succession of chords played one after another C and during a specified duration. On this page you'll find the 10 most popular chord progressions in jazz, a list of songs that use similar chord progressions and the jazz guitarists who recorded these songs. In this lesson you will learn how to recognize these progressions from a Roman Numeral standpoint, allowing you to quickly transpose them to other keys, as well as two different ways to comp through each progression on the guitar. It's important that you learn to recognize these classic chord progressions and that you practice improvising over them, so grab your axe, turn up your amp and let's dig in to these 10 Must Know Jazz Guitar Chord Progressions! Jazz Guitar Chord Progression 1 - ii V I Major iim7 V7 Imaj7 % Dm7 G7 Cmaj7 % The 2 5 1 progression is without any doubt the most popular chord progression in jazz. I'm not going to give you a list with songs that use this progression, since a jazz standard without a II V I is almost unthinkable. Some jazz standard chord progressions are nothing more then a series of II Vs. It can be found in countless tunes, in all 12 keys, and with many different permutations, both rhythmically and harmonically. For this reason, it is the best place to start when working on solidifying and expanding your jazz guitar progressions repertoire. Btw, the % symbol means you have to repeat the chord of the previous bar.
[Show full text]
Musictheoryexam.Pdf
Music Theory Exam Word Doc Aug 24, 2014 Analysis This two-page segment is a movement from a larger composition. Key = G Major, tempo = 3/8, length = 71 bars or measures. The Form may be: Theme 1, Transition, Theme 2, Theme 1, Theme 3 (or altered theme 2), Coda OR A , transition, B, A, C, Coda Identified on score. The score is in G+ for 18 bars, there is a transition from bars 9-18, and modulation to the Dominant, D+ from bar 19 - 71, A repeat sign at bar 71 indicates that the entire movement is to be repeated. Leading Note s (Leading tones) are identified as LN in perfect cadences. Theme 1; bars 1-8; The tonic, G+, is firmly established, followed by V b (1st inversion) V7 to I (tonic) ending with a perfect cadence. Transition; bars 9-18 form a transition to V of G+, = D+. All notation will be written in the key of D+, D being the tonic, I. The transition oscillates between I and V in G+, ending in V. I - V is a imperfect cadence, but the ending on V establishes establishes the key of D+ for the remainder of the piece. Bars 11-16 are sequences of chromatic scalar notes with some non-chord notes. (Sequences are 11-12, 13-14, 15-16 altered) Theme 2; Bars 19-26 are sequences in 2-bar fragments, I-V, I-V7 with all instruments (voices) contributing. Bars 27-34 essentially repeat 19-26 with violin I only on alternate bars. The effect is to move the music along, ending in I-V-I perfect cadence in bar 35.
[Show full text]