Automatic Chord-Scale Type Detection Using Chroma Features
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How to Navigate Chord Changes by Austin Vickrey (Masterclass for Clearwater Jazz Holiday Master Sessions 4/22/21) Overview
How to Navigate Chord Changes By Austin Vickrey (Masterclass for Clearwater Jazz Holiday Master Sessions 4/22/21) Overview • What are chord changes? • Chord basics: Construction, types/qualities • Chords & Scales and how they work together • Learning your chords • Approaches to improvising over chords • Arpeggios, scales, chord tones, guide tones, connecting notes, resolutions • Thinking outside the box: techniques and exercises to enhance and “spice up” your improvisation over chords What are “chord changes?” • The series of musical chords that make up the harmony to support the melody of a song or part of a song (solo section). • The word “changes” refers to the chord “progression,” the original term. In the jazz world, we call them changes because they typically change chord quality from one chord to the next as the song is played. (We will discuss what I mean by “quality” later.) • Most chord progressions in songs tend to repeat the series over and over for improvisors to play solos and melodies. • Chord changes in jazz can be any length. Most tunes we solo over have a form with a certain number of measures (8, 12, 16, 24, 32, etc.). What makes up a chord? • A “chord" is defined as three or more musical pitches (notes) sounding at the same time. • The sonority of a chord depends on how these pitches are specifically arranged or “stacked.” • Consonant chords - chords that sound “pleasing” to the ear • Dissonant chords - chords that do not sound “pleasing” to the ear Basic Common Chord Types • Triad - 3 note chord arranged in thirds • Lowest note - Root, middle note - 3rd, highest note - 5th. -
Viewed by Most to Be the Act of Composing Music As It Is Being
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer’s Guide A doctoral document submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music By JEREMY LONG August, 2008 B.M., University of Kentucky, 1999 M.M., University of Cincinnati College-Conservatory of Music, 2002 Committee Chair: Mr. James Bunte Copyright © 2008 by Jeremy Long All rights reserved ABSTRACT Sonata for Alto Saxophone and Piano by Phil Woods combines Western classical and jazz traditions, including improvisation. A crossover work in this style creates unique challenges for the performer because it requires the person to have experience in both performance practices. The research on musical works in this style is limited. Furthermore, the research on the sections of improvisation found in this sonata is limited to general performance considerations. In my own study of this work, and due to the performance problems commonly associated with the improvisation sections, I found that there is a need for a more detailed analysis focusing on how to practice, develop, and perform the improvised solos in this sonata. This document, therefore, is a performer’s guide to the sections of improvisation found in the 1997 revised edition of Sonata for Alto Saxophone and Piano by Phil Woods. -
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. -
C Hapter E Ight
P LAYING “O UTSIDE” C HAPTER E IGHT Playing “Outside” ========& = Q Sequences Q Playing a Half Step Away Q Playing a Tritone Away Q Playing Scales to Get Outside Q Some Piano Stuff Q The Chromatic Scale Q Be Brave, Go Ahead and Play Outside ne reason that musicians such as Joe Henderson, Woody Shaw, McCoy Tyner, Bobby Hutcherson, David Liebman, and Mulgrew Miller are greatly admired is that Othey not only have mastered the art of playing changes, but also know how to play “outside” the changes. Playing “outside” on chord changes can mean several different things, including playing notes that aren’t in the chord, stretching the length of one chord into another, or playing something recognizable but in a different key. It can also mean playing “free,” or atonal, with no chord structure at all. Musicians such as Anthony Braxton and Cecil Taylor fall into this category, and their music is “outside” the scope of this book. Bear in mind that what’s considered outside is subjective and changeable. What you hear as “outside” someone else will hear as “inside,” and vice versa. Bird was considered “out” by many musicians in the 1940s, as was Coltrane in the 1960s. Quite a few musicians still hear Coltrane’s last few recordings as being “out.” Cecil Taylor has been recording for about 40 years, and is still considered “out” by many musicians. 183 C HAPTER E IGHT Many of the best examples of “outside” playing are really bitonality, or two tonalities at the same time.1 The pianist or guitarist may be ‘comping in one key, while the soloist goes outside and plays in another. -
Jazz Piano Basics Handout WIBC17
JAZZ PIANO BASICS - DAN DAVEY DAN DAVEY JAZZ PIANO BASICS JAZZ PIANO BASICS - DAN DAVEY LEAD YOUR PIANIST ACROSS THE THRESHOLD Your pianists need YOUR help in rehearsal! Don’t expect private teachers to give them everything they need to be successful in YOUR ensemble on YOUR timeline. You need to have an understanding of the role of the piano and how to communicate voicings, comping, style, and more! Joining the jazz band as a pianist (or any other rhythm section instrument) is much different than joining as a horn player. The “concert band notes” look shockingly similar to the “jazz band notes” on the page. The horn player has to learn style and listening responsibilities. The music you hand your pianist looks entirely different and can be very overwhelming unless you know how to help them. BASIC FOUR-NOTE CHORD SYMBOLS Chord tones are numbered based on an 8-note scale using scale degrees 1 (Root), 3, 5, & 7. The following formulas are used to modify a major scale/arpeggio. Basic Symbols: • Major 7th: 1 3 5 7 Cmaj7, Cma7, CM7, C 7 • Dominant 7th: 1 3 5 b7 C7 • Minor 7th: 1 b3 5 b7 Cmin7, Cmi7, Cm7, C-7 • Half-Diminished: 1 b3 b5 b7 C7, C, Cmin7(b5), Cmi7(b5), Cm7(b5), C-7(b5), C-7(-5) • Diminished 7th: 1 b3 b5 bb7 Co7 • Minor-major 7th: 1 b3 5 7 Cmin(maj7), C-( 7) See the pattern of how each chord adds one flat to create the next. CŒ„Š7 C7 C‹7 C‹7(b5) 4 7 b7 4 w 5 bw 5 bw bw & w 3 w 3 b w bb w w Root w Root w w CŒ„Š7 C7 C‹7 C‹7(b5) b7 b7 4 5 b5 w bw bw bw & 4 w w b w b3 bb w b3 w w w Root w Root (Same as half-diminished chord) Note: All of this may be applied to your guitarist as well! JAZZ PIANO BASICS - DAN DAVEY WHAT ARE TENSIONS/EXTENSIONS? Tensions are non chord tones that are added to a chord to change the color/texture of the chord. -
Autumn Leaves" in the 1960S
Outside Forces: "Autumn Leaves" in the 1960s By Keith Waters Is there a problem of form in the jazz tradition? Does the reliance upon repeated 32-bar frameworks create an unavoidable formal, harmonic, and metric redundancy? How do jazz improvisers transcend or evade this cyclic regularity? These are crucial questions. Jazz players have extended privilege to the 32-bar AABA and ABAC song form (along with 12-bar blues structures) since at least the 1930s, when the 32-bar song form replaced the 16-bar sectional forms of ragtime and early jazz. Yet repeated cycles of thirty-two bars result in a hypermetric consistency on several levels: single measures group into four-measure units, which then combine into eight measure sections; the four eight-measure sections comprise the 32-bar form, which becomes repeated, normally for the duration of the composition.! In the Western European tradition (with the occasional exception of the theme and variations genre and dance forms) form is typically not generated by regularly repeating structures, structures that are consistently built from measure groups of 4, 8, 16, and 32 bars. Yet this formal model, with its foursquare regularity and its repeated harmonic and metric organization, has been one of the primary vehicles for jazz improvisers and composers. Historically, jazz players have kept the structure, merely renovating it peri odically through stylistic change. Thus, while stylistic development and evolution has rapidly taken place in the area of instrumental technique, harmony, and rhythm, the domain ofform has remained relatively static.2 The manner in which improvisers overcome the limitations of a peri odic structure varies, and players have developed a variety of strategies to mask this regularity. -
The Coordinative Structure of Polyrhythmic Performance and Korte’S Third Law
The Coordinative Structure of Polyrhythmic Performance and Korte’s Third Law THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Emanuele Rizzi Graduate Program in Psychology The Ohio State University 2015 Master's Examination Committee: Dr. Richard Jagacinski, Advisor Dr. Alex Petrov Dr. Steven Lavender Copyrighted by Emanuele Rizzi 2015 Abstract Previous research examining the performance of bimanual polyrhythmic tapping has utilized temporal covariance analysis to determine the interdependence of limbs being coordinated. The prevailing finding is that the perceptual-motor system couples the actions of the left and right hand into a dependent or integrated unit, with one notable exception in a study by Krampe et al. (2000). This study found that concert level pianists performing a 4:3 bimanual polyrhythm could exhibit relatively independent (i.e. parallel) performance between the two hands. In other coordination experiments parallel performance between the upper and lower body was achieved fairly regularly in the timing structure of moderately skilled golfers during their swing (Jagacinski et al., 2011). Combining aspects of these previous works, we tested the effects of speed on the coordinative structure of skilled drummers’ hands and right foot while performing a 4:3:2 polyrhythm. All participants showed parallel performance between one or more limb pairs in both 3-limb polyrhythmic conditions and bimanual polyrhythmic conditions. Given that participants were coordinating both of their hands and their foot, they exhibited coordinative structures that mixed both integration and parallelism between limb pairs. Faster performance speed resulted in more parallel performance as well as more variable performance. -
Chord-Scale Networks in the Music and Improvisations of Wayne Shorter
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 8 Issue 1 Article 7 April 2018 Chord-Scale Networks in the Music and Improvisations of Wayne Shorter Garrett Michaelsen University of Massachusetts, Lowell, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Recommended Citation Michaelsen, Garrett (2018) "Chord-Scale Networks in the Music and Improvisations of Wayne Shorter," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 8 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/gamut/vol8/iss1/7 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. CHORD-SCALE NETWORKS IN THE MUSIC AND IMPROVISATIONS OF WAYNE SHORTER GARRETT MICHAELSEN ayne Shorter’s tune “E.S.P.,” first recorded on Miles Davis’s 1965 album of the same Wname , presents a number of fascinating challenges to harmonic analysis. Example 1 gives the tune’s lead sheet, which shows its melody and chord changes. In the first eight-bar phrase, the harmony moves at a slow, two-bar pace, sliding between chords with roots on E, F, and E beneath a repeating fourths-based melody that contracts to an A4–F4 major third in the last two bars. Shorter’s melody quite often emphasizes diatonic and chromatic ninths, elevenths, and thirteenths against the passing harmonies, thereby underscoring the importance of those extensions to the chords. -
West African Polyrhythm: Culture, Theory, and Representation1 Michael Frishkopf2 Department of Music, University of Alberta, Edmonton, Alberta, Canada
SHS Web of Conferences 102, 05001 (2021) https://doi.org/10.1051/shsconf/202110205001 ETLTC2021 West African Polyrhythm: 1 culture, theory, and representation Michael Frishkopf2 Department of Music, University of Alberta, Edmonton, Alberta, Canada Abstract. In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called AgbeKor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio- visual recordings, much less the experience of participation in a live performance. 1 West African music as a holistic poly-kino-melo-rhythmic socio-cultural phenomenon Traditional West African music presents complex rhythmic and metric structures, through song, dance, and instrumental music – particularly (though by no means limited to) percussion music. This situation prevails, in particular, in Ghana cf [1, p. -
10Th Grade Music – Choir I: Harmonic Function May 11 – May 15 Time Allotment: 20 Minutes Per Day
10th Grade Music – Choir I: Harmonic Function May 11 – May 15 Time Allotment: 20 minutes per day Student Name: ________________________________ Teacher Name: ________________________________ Academic Honesty I certify that I completed this assignment I certify that my student completed this independently in accordance with the GHNO assignment independently in accordance with Academy Honor Code. the GHNO Academy Honor Code. Student signature: Parent signature: ___________________________ ___________________________ Music – Choir I: Harmonic Function May 11 – May 15 Packet Overview Date Objective(s) Page Number Monday, May 11 1. Review Roman numeral identification of chords 2 2. Introduce chord voicing (expanded form) Tuesday, May 12 1. Introduce harmonic function and chord 6 substitution Wednesday, May 13 1. Decode tonic/dominant relationship and define 9 goal of motion within the context of analysis Thursday, May 14 1. Discern predominant function within chorale 12 analysis Friday, May 15 1. Demonstrate understanding of harmonic function 13 by taking a written assessment. Additional Notes: In order to complete the tasks within the following packet, it would be helpful for students to have a piece of manuscript paper to write out triads; I have included a blank sheet of manuscript paper to be printed off as needed, though in the event that this is not feasible students are free to use lined paper to hand draw a music staff. I have also included answer keys to the exercises at the end of the packet. Parents, please facilitate the proper use of these answer documents (i.e. have students work through the exercises for each day before supplying the answers so that they can self-check for comprehension.) As always, will be available to provide support via email, and I will be checking my inbox regularly. -
AP Music Theory: Unit 5
AP Music Theory: Unit 5 From Simple Studies, https://simplestudies.edublogs.org & @simplestudiesinc on Instagram Harmony and Voice Leading II: Chord Progressions and Predominant Functions Harmony and Voice Leading II Predominants usually precede the dominant and are independent chords that link the harmonies between the tonic and dominant. The main examples of predominants are IV and ii. ● IV: the subdominant is used a lot by composers because it can create a smooth transition from the tonic to dominant. In the excerpt below, which is in the key of E flat Major, the bass section ascends a step, and the upper voices go from A to G. This helps steer from voice-leading issues. ○ Going from 퐼푉6to V is another pre- dominant progression. It is very useful because it creates an intensified tonal motion to the dominant. 푖푣6to V in minor form is a type of half cadence known as phrygian cadence. ● II (major), ii° (minor): The supertonic is the most common type, and it is an effective pre-dominant due to 3 reasons: ○ When the progression ii-V continues by a descending fifth (or ascending fourth) format, it is the strongest tonal root motion. ○ It introduces strong timbre and modal contrast during progressions. ○ In the image, the 2-7-1 in the soprano (ii- V-I) is a better scale degree pattern because it produces a stronger cadence in comparison to the original 1-7-1. Keep in mind.. ● The predominant model is tonic→ predominant→ dominant ● When the bass of a predominant transitions to the dominant by (4 to 5) or (6 to 5), the soprano moves in the opposite motion of the bass. -
Harmonic Language in the Legend of Zelda: Ocarina of Time Nicholas Gervais Queen's University
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 4 Harmonic Language in The Legend of Zelda: Ocarina of Time Nicholas Gervais Queen's University Recommended Citation Gervais, Nicholas (2015) "Harmonic Language in The Legend of Zelda: Ocarina of Time," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 4. Harmonic Language in The Legend of Zelda: Ocarina of Time Abstract This paper examines the work of Koji Kondo in the 1998 video game The Legend of Zelda: Ocarina of Time. Using a variety of techniques of harmonic analysis, the paper examines the commonalities between teleportation pieces and presents a model to describe their organization. Concepts are drawn from the work of three authors for the harmonic analysis. William Caplin’s substitutions; Daniel Harrison’s fundamental bases; and, Dmitri Tymoczko’s parsimonious voice leading form the basis of the model for categorizing the teleportation pieces. In general, these pieces begin with some form of prolongation (often tonic); proceed to a subdominant function; employ a chromatically altered chord in a quasi-dominant function; and, end with a weakened cadence in the major tonic key. By examining the elements of this model in each piece, this paper explains how the teleportation pieces use unusual harmonic language and progressions while maintaining a coherent identity in the context of the game’s score. Keywords Game, Zelda, Harmony, Analysis, Progression Nota Bene NB Harmonic Language in The Legend of Zelda: Ocarina of Time Nicholas Gervais Year IV – Queen’s University Music often fills a specific function in video games.