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Theory Advanced Group JAZZ CLINIC Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] Theory advanced group JAZZ CLINIC DWORP 2015 This summer also: Pop clinic 23 – 28 august JAZZ CLINIC 2015 THEORY ADVANCED GROUP 1 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] 1. My Romance In the first class we give you an overview of what you should know to understand a composition such as “My Romance” (R. Rodgers & L. Hart). A good start is always the lyrics: My Romance doesn't have to have a moon in the sky My Romance doesn't need a blue lagoon standing by No month of May, no twinkling stars No hide away, no soft guitars My Romance doesn't need a castle rising in Spain Nor a dance to a constantly surprising refrain Wide awake I can make my most fantastic dreams come true My Romance doesn't need a thing but you We continue with the melody and look at its structure, its organisation. Ask yourself questions such as: - What is the motive (smallest melodic cellula) - What is the first phrase? - How is this futher developed? - What is the structure of the first sixteen bars? Things you should know before the analysis: • What is the tonality? (1) • What are the diatonic chords? (2) • Which chords are diatonic, which aren’t? (3) • Is the melody diatonic? (4) • What are the related chords to be expected, such as for Secondary Dominants and what is the added value of these chords? (5) JAZZ CLINIC 2015 THEORY ADVANCED GROUP 2 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] • What are the related tonalities to be expected? What are the expected parallel chords and what is their added value? (6) Some answers: 1) The song is written in C major 2) The diatonic chords: 3) Chords which are ‘non-diatonic’: Most of the chords are diatonic, which you can see at their roman numerals. What is also remarkable is that most of the non-diatonic chords are dominant chords. 4) The melody is diatonic. JAZZ CLINIC 2015 THEORY ADVANCED GROUP 3 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] 5) What are the related chords to be expected, such as for Secondary Dominants and what is the added value of these chords? Herewith you can find all possible secondary dominants1. See how these chords add chromatic passing tones to the main tonality, with • A7, as being the V/II this chord adds an c# to the tonality, which is the leading tone onwards d and, by this way, this chord introduces a chromatic leading tone/passing note in this tonality • B7, being the V/III and adding a d# to the tonality, the leading to unwards to e, and, by this way, this chord introduces a chromatic leading tone/passing note in this tonality • C7 or the V/IV gives us a b flat, a tone that leads towards the third of the F major chord. By this way, this chord introduces a chromatic leading tone/passing note in this tonality and makes it possible to go to F major • D7 or the V/V gives us a f#, leading tone towards G. By this way, this chord introduces a chromatic leading tone/passing note in this tonality and makes it possible to go temporary to G major • E7 or V/VI adds g# to our main tonality, the leading tone of ‘a’ minor and by this way, this chord introduces a new chromatic leading tone/passing tone to the tonality, in this case, to the related minor tonality A secondary dominant is mostly the alteration of a diatonic chord. For the scale of secondary dominants you should adapt the notes which where not available in the original modus. So a D7 gets only the extra f#, which differs this chord from the diatonic Dm7. So, E7 gets – as an adaptation or alteration of the original diatonic Em7 chord, a major third – so a g# must be added. A lot of secondary dominants will be preceeded by their related IIm7. We show this by adding a bracket between the II and V. Jazz uses frequently II V sequences and this is often an II V of a secondary dominant. 6) What are the related tonalities to be expected? What are the expected parallel chords and what is their added value? Related tonalities of C major are G-major, F-major, a-minor and c-minor. This is often indicated by using a ‘cross image’: c F C G a a 1 The ‘logical’ V/VII is never used since this chord has no perfect fifth. The eventual dominant of B would be F#7, with a non-diatonic root. But S.D.’s always contain a diatonic root… JAZZ CLINIC 2015 THEORY ADVANCED GROUP 4 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] Chords, borrowed from parallel tonalities, which are logical and expected… Some chords, such as Maj7 or m7, are to be found in different diatonic series. This means that this chord can be found in many tonalities, but with another function. Lets take Am7: this chord can be a II, III or VI. Or better: it is VI in C- major, II in G-major and III in F-major. This chord can thus be found in the principal tonality and both of the related major tonalities. In these sixteen measures of My Romance it is frequently used as a harmonic tool. What can we conclude for these first 16 bars of My Romance? Measure 5: here you can see a movement towards the related a-minor tonality Measure 9: ‘light’ deviation towards F-major Measure13: deviation towards G-major but this time more in relationship towards e-minor (so called secondary relationship). If you see a F#m7(b5), which only can be found on the VIInd degree of a diatonic series, you can say that its origin is G-major. Which is a related tonality of C-major. An ‘m7(b5)’ chord is mainly an indication of a II – V in minor, what is confirmed in the next measure. Such a “borrowing” is used frequently, we call the F#m7(b5) chord a #IVm7(b5), as related II of the V/III. Measure 15: D7 is a S.D. and therefor Am7 is both the VI in C-major and both the related II of the D7 chord. What is possible? a) Related major-tonalities The related major tonalities of C are F major and G major, thus C7 can be possible as V/IV and D7 as V/V. And every secondary dominant may be by its related IIm7. So this makes: Gm7 C7 as II V/IV Am7 D7 as II V/V Am7 D7 will be less striking since Am7 exists in C-major. Gm7 is clearly non-diatonic since bb is a non-diatonic third of the chord. What do we have by now? JAZZ CLINIC 2015 THEORY ADVANCED GROUP 5 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] b) Related minor tonalities The related minor tonalities of C are a minor and c minor. For a minor, you will see an E7 chord, with g# as the third of this chord. The third of a dominant is mostly the leading tone towards the root, which is the case in this situation. The chords which will be borrowed from c minor will mainly posess an ab. More about this later. c) Related minor tonalities of F and G major Frequently a song in C major moves also towards the related minor tonalities of F- and G-major, which means Dm and Em. Both chords exist also in C-major. This is possible by using the secondary dominants A7 and B7, sometimes again preceded by their related IIm7b5. So we obtain: d) What is the sum of all this? Be aware: some notes can be derived from different chords, such as the f# from F#m7b5 or B7 etc. What conclusion is possible? Almost all chromatic tones can be obtained by using secondary dominants or borrowings from Cm. What note is missing? The b2… JAZZ CLINIC 2015 THEORY ADVANCED GROUP 6 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] A global overview: JAZZ CLINIC 2015 THEORY ADVANCED GROUP 7 Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] ‘Reharmonisation’ of My Romance As you know, standards are mostly themes from musicals. This tune was also originally composed for a musical, namely Jumbo (1935) and was first performed by the Paul Whiteman orchestra. The ‘lead sheet’ is thus an adaptation or reduction of the original score for full orchestra. That is the reason why it is always difficult to state which were the ‘original’ chords. Above, I gave a simplified version. Let us now add chords to this ‘original’, using the known theory. Adding, skipping or changing chords in a standard is called ‘reharmonisation’. Measures 1 – 4 Added: - FMaj7, a diatonic chord, with sub-dominant function (cadential), its root being a fourth from the previous chord and resolving chromatically to the IIIrd graad - Eb dim7, a non-diatonic deminished chord which links chromatically two consecutive diatonic chords2 - E7(#5), a non-diatonic dominant seventh chord which precedes the resolution towards Am of measure 5 (= secondary dominant or S.D.) Measures 5 – 8 Added: - E7, same dominant as in measure 4.
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