University of Massachusetts Amherst ScholarWorks@UMass Amherst
Doctoral Dissertations 1896 - February 2014
1-1-1975
Improvisation and related concepts in aesthetic education.
Bill Barron University of Massachusetts Amherst
Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1
Recommended Citation Barron, Bill, "Improvisation and related concepts in aesthetic education." (1975). Doctoral Dissertations 1896 - February 2014. 3820. https://scholarworks.umass.edu/dissertations_1/3820
This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected].
IMPROVISATION AND RELATED CONCEPTS
IN AESTHETIC EDUCATION
A Dissertation Presented
By
WILLIAM BARRON, JR.
Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of
DOCTOR OF EDUCATION
August ]975
Major Subject: Education ( c) William Barron 1975 All Rights Reserved IMPROVISATION AND RELATED CONCEPTS
IN AESTHETIC EDUCATION
A Dissertation Presented
By
WILLIAM BARRON, JR.
Approved as to style and cont^rft by: )
David G. Coffing, Chairperson
Acting Dean Member Frederick C. Tillis, School of Education
Roland A. Wiggins , •'Member
August 197b iii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS .
ABSTRACT
Chapter
I. INTRODUCTION x
Statement of the Problem \ Purpose of the Study 1 Approach of the Study 3 Background of the Study U Educational Significance of the Study 18 Limitations of the Study 21
II. REVIEW OF THE LITERATURE 23 Historic Approaches to Embellishment as an Effective Notion 23 Instrumental Embellishments 26
Contrasts and Similarities in Embellishment Usages . . 26 Selected Definitions of the Embellishments 29 The Intuitive Approach to Creativity Ul
III. THEORETICAL FOUNDATIONS 1*5 Source Materials U5 Definitions U5 Application of the Embellishments to the Melodic Model 5^
IV. THE EMBELLISHMENT LEXICON 57
Hov to Read the Lexicon 57 Outline of the Page 57 The Abbreviations 58 Placement of the Embellishments 59
V. CONTEXTUAL EXAMPLES 105
VI. EMBELLISHMENT AND THE CURRICULUM 11*»
Application of the Results • 11**
VII. SUMMARY, CONCLUSION, AND RECOMMENDATIONS 131
BIBLIOGRAPHY 13^
SOURCES OF CONTEXTUAL EXAMPLES: SOLOISTS AND COMPOSERS .... 139 .
iv
ACKNOWLEDGEMENTS
I would like to acknowledge the help given me by the members of my committee In bringing the present work to completion: David G.
Coffing, Frederick C. Tillis, and Roland A. Wiggins. Their incisive' information and thought-provoking questions stimulated me to renewed effort when things got tough. They gave freely of their time to an- swer questions and to read through the several drafts prior to the completion of the dissertation.
So close wan the thinking between Roland Wiggins and myself on matters of music theory and melodic development that I was able to adapt and expand on a melodic model that he and Edward Boatner had constructed. Their work was intended to be used within a non-jazz context. I have adapted it for use in the Jazz idiom. I would like to thank both Roland Wiggins and Edward Boatner for their permission to use part of their work in the construction of the Embellishment
Lexicon
I also would like to thank my wife Anna for her typing and proof-reading of the manuscript from its inception to its completion. Improvisation and Related Concepts in Aesthetic Education
August 1975
William Barron, Jr., B.A., Combs College of Music, Philadelphia
Directed by: David G. Coffing
The objective of this dissertation is £o establish a reference book that can be used as a component in a music curriculum on improvi- sation or composition. It can be coordinated with the existing texts or it can be used as the basis for establishing a course on improvisa- tion or composition. It contains an Embellishment Lexicon, solos that are transcribed from records, and a section including suggestions on how the embellishments may be practiced or how the student or teacher may go about writing their own.
Chapter I gives an account of the experiences and reasoning that formed the basis for the Embellishment Lexicon which is the result of the present work. Among the impelling reasons for such an undertaking is the fact that within the music theory classes as now taught in the schools there is sufficient material to help the interested and creative student learn how the basic materials of music can be expended in cre- ative effort. Unfortunately, in all too many cases the emphasis in the theory classes is not upon the creation of melody but upon the utiliza- tion of the rules of harmony to fill in parts of an exercise. .
vi
The lexicon builds upon an aspect of the theory course that is passed over f leetingly ; how to use the embellishments to turn harmony
into melody. The Embellishment Lexicon will make available a reference book that can be used as a component in establishing a course on how to teach melodic development. It can also be used as a self-instructional aid by the student.
The educational objectives are to assist the student in the acquisition of cognitive, affective, and psychomotor abilities and skills
The historic approaches to embellishment as a source of melodic enrichment and extension are examined with regard to their development and application. The evolution of the embellishment in concept and use
is traced to show what the underlying principles were that developed into common practice among musicians. The role of the individual in the creative production of music is traced to show that creativity was once a natural component of Western music. The early usages of embellishment are contrasted with current usage, i.e., the evolution from a purely melodic ornament to its present status within a harmonic context.
Selected definitions are given to illustrate the confusion of terminology
that has remained rampant within the field ever since the attempt was made during the Renaissance and Baroque periods to codify the profusion
of interpretations concerning how the embellishments were to be performed.
An attempt is made to show that the expert use of the embellishments is not enough to guarantee a valid creation and that there is an unquantif iable
element present in the form of intuitive knowledge. . .
vii
Chapter III undertakes the description of the theoretical foun- dations for the Embellishment Lexicon. The definitions and principles are given that are used in the construction of the melodic model upon which the embellishment patterns are set. The definitions for the em- bellishments as used in this dissertation are given.
In Chapter IV, a systematic exposition of the various types of
embellishment is given in a two-chord context. The embellishments are
constructed over the different possible melodic motions, i.e., the re-
peated tone, the small leg.p up, the small leap down, etc. The harmonic
material is drawn from the diatonic scale.
Chapter V presents the embellishments in a contextual setting.
The examples are drawn from a wide range of representative works in the
field of Afro-American music. Both compositions and improvised works
are analyzed to show how the embellishments are used in a realistic
setting. Examples are included which cover works from Louis Armstrong
Chapter VI outlines how the embellishments may be taught. It
gives numerous examples of each of the embellishments which can be used
as a set of exercises to build up conceptual clarity and psychomotor
facility
chapter, Chapter VII, after summarizing the main ideas in each
the conclusion and recommendations for further study expresses in
part the notion that: Viii
The art of improvisation utilizing the principles of embellishment has been a major contribution to creative change in music. The embellish ments are a means for disseminating standard operational forms that are effective and efficient.
In addition to the cognitive aspects; rules of embellishment, etc., there should be more research into intuitive (affective) modes of creation.
Also the psychomotor or kinesthetic aspects of music performance which has received the least investigation as an educational objectives should be researched in greater depth. CHAPTER I
INTRODUCTION
Statement of the Problem
There is a need for music students who are interested in im- provisation and composition to have a thorough understanding of em-
bellishment , which is one of the basic components contributing to the
expansion of harmony into melody. There is a need for a lexicon in which there can be found under one cover the principles of embellish-
ment, isolated examples uncluttered by a complicated framework for
easy understanding, contextual examples for comprehending the embel-
lishments in use, and finally an approach for practicing them toward
facility in execution and application.
Purpose of the Study
Many music theory teachers use some favorite text in their
classes as an aid to student learning. The majority of the textbooks
emphasize the analytical aspects of music, with very few devoted to
the melodic or synthetic elements.
The purpose of this study is to make available a data bank in
student the form of an embellishment lexicon for the creative music cour- and for music teachers who are currently teaching improvisation
ses or who intend to teach creative music. 2
The lexicon could he used as the core of a course on improvisa- tion, or it could be coordinated with a standard theory course as an aid to increasing melodic possibilities. This could be an area for wide application, because most theory courses focus on the harmonic motion of the parts . This concentration on harmony to the exclusion of other improvisational aspects of music is a constant source of frustration to many students who are interested in studying Afro-American or any other form of creative music in the school system beyond the music apprecia- tion level.
The embellishments currently are taught within the context of a regular theory course. However, it can be argued that not enough stress is placed upon the importance of embellishment as an essential element in composition or in improvisation classes. There is not available at the present a systematized presentation of the embellishments.
The lexicon will contain a wide variety of examples for analysis to insure thorough conceptual understanding. It will also contain an approach to studying the embellishments for instrumental or psychomotor facility. The lexicon can be coordinated with the chord and scale approaches to improvisation.
A thorough presentation of the melodic movements that are con-
sidered melodically and harmonically valid within the domain of tradi- tional concepts has not been presented under one cover. :
3
Approach of the Study
The approach of this study is primarily in the areas of cur- riculum content and methodology. The study outlines some conventions used in deriving and extending melodic possibilities in tonal music.
Assumptions . The underlying assumptions of this dissertation cure as follows
1. That the need exists for melodic resource material to ex- tend and offer another interpretation of the ways in which chords and scales can be handled to multiply the melodic output
2. That those students who are motivated toward self-expression will have their motivation reinforced by having a resource book that they can use to teach themselves and which can also be used to extend the usefulness of their standard harmony classes
3. That a thorough knowledge of the embellishments cognitively
and operationally will eliminate technical deterrents to improvisation.
The nature of the approach . The developed lexicon will include
the following:
1. The embellishments will occur in a variety of harmonic re-
lations
2. The embellishments will occur within a single chord or be-
tween two or more chords
embellish- 3. The scope of the harmonic framework in which the
a ments occur within the lexicon (analysis section) will be limited to \ single progression between two chords Only a single major scale will be used
5* On each step of the major scale a diatonic thirteenth chord will be constructed
6. The melodic model upon which the embellishments will be con-
structed consists of the notes of the two chords in the progressions
given in the examples
7. The notes used in the model to form the basic melody will be
modified to conform to the pattern required by a specific embellishment
8. Melodic motion in various possible modes will be used, i.e.:
a) Repeated tone
b) Stepwise motion upward
c) Stepwise motion downward
d) Narrow leap upward
e) Narrow leap downward
f) Wide leap upward
g) Wide leap downward
Following the lexicon there will be a chapter outlining an
approach to learning and using the embellishments.
Background of the Study
Author’s personal background pre- The problems involved in the creative process have been a intuitive occupation of long duration with me. It was at first only an heard per- awareness of a need or a desire to improvise like the men I exposed to a limited forming on recordings during my youth. I had been 5
variety of musical styles in the European idiom and to an abundance of styles derived from the Black experience. My earliest exposure to the music indigenous to my culture was to the work of Fats Waller, Duke
Ellington, Count Basie, Bessie Smith, Jimmy Lunceford, Coleman Havkins and Louis Armstrong, to enumerate Just a few. Two questions became
very significant to me at the time : Hov did they learn to perform ex- temporaneously? And how could I learn to improvise?
The second question lead to the purchase of a book written by
Jimmy Dorsey which dealt with improvisation through the study of chords.
This early encounter with a method demonstrating the possibility of learning something about how to create one’s own music encouraged me to look for further instructions on how to compose and to improvise. This search culminated in my enrolling in the Music Department at the Mast- baum Vocational School in my native Philadelphia.
When I started at Mastbaum, I knew that I wanted to study Black music. The reason I chose an all-music course was that I thought I
could learn exactly what I needed to know in order to improvise and write music. My expectations were not totally satisfied, however. My music education was a typical one, with the usual emphasis on band,
orchestral and ensemble practice. There was the typical deference to
the practices of the past with the role of the student relegated to
responding to rigid formulas in the theory classes. There was, however,
a dance band which was the only concession to current practice on the
contemporary music scene.
My experiences at Mastbaum, although not ideal, were extremely
music which was not useful in that I learned to appreciate a variety of . »
6
indigenous to my culture. I learned to use the tools which were neces- sary for writing music; I learned to hear and analyze music; I learned how to perform in groups of varying sizes. The school did not play any recordings of music created by Black musicians or singers in the music appreciation class, and there was no mention in the music history class of the contribution of Black musicians to the history or development of music
The help I received at Mastbaum in the domain of creative work was only of an indirect nature. The greatest advances I made in crea- tive writing and playing were made outside the school environment. The sources of my information were personal research, questioning of my peers and of professional musicians, and listening to records. It is not to the credit of the schools that in so many instances creative persons have to pursue creative work outside the place designated to advance the indi- vidual and thus society and culture. The following statement by John W.
Gardner, former Secretary of Health, Education and Welfare, is most appro-
priate :
The body of custom and "reputable" standards exercises such an oppressive effect on creative minds that new developments often originate outside the area of respectable practice. The break with traditional art was not fostered within the Academy. Jajz did not spring from the bosom of the respectable music world.
My later studies in a formal setting at the Ornstein School of
Music (later Combs College of Music) in Philadelphia were much more re-
warding. There I studied composition under two very creative men, Leo
1 John W. Gardner, Self-Renewal: the Individual and the Innovative Society (New York: Harper Colophon Books, Harper and Row, 1965) pp. 4 5 -^6. 7
Ornstein and Romeo Cascarino. Although the theory courses followed the traditional pattern, I was fortunate enough to study independently with
Dennis Sandole who alerted me to many things that were useful and cur- rent.
This brief account of my music education covers approximately forty years (1933 to 1973). During this span of time there has been no
significant change in teaching toward providing the tools or the psycho-
logical atmosphere that would encourage or facilitate creative effort in
the schools. The net result is that the questions I asked a number of
years ago are still being asked, and the same answers given. The ques-
tions asked by creative or potentially creative individuals are:
1. What is the creative process?
2. What do I have to know in order to
be creatively productive?
3. Where do I go to get the information I need?
U. From whom shall I get the answers
pertinent to my questions?
Contemporary music curricula
It goes without saying that the creative urge should be nurtured
from as early an age as possible. No one has to convince a child that
music he should like music, because there is an intuitive response to
music and at an early age. The young child sings and makes up his own encour- words. This natural creative phenomenon should be recognized and emphasizes aged from the nursery to the university level. Lawrence Kubie :
8
this point in the following:
It has long been known that in early years children have an extraordinarily inventive imagination, transposing experience freely among the various sensory modalities, using delightful and original figures of speech and allegory.
The material is there, psychologically and biologically. It only needs developing and guiding. This guidance should be student- centered, i.e. maximally productive and satisfying to all concerned.
There are many students throughout the United States who have the potential and/or aspiration to be creative musicians. The very relevant and important needs of this student body is not being ade- quately met. A student brings to the learning environment a very per- sonal interrelated system of values, ideas, ideals, expectations,
questions, purposes , content needs, and psychological needs. Unfortu- nately, when the needs and purposes of the schools and those of the individual student do not form a one-to-one relationship, it is the student who must adapt. This may cause him to suffer serious material and psychological need deprivation. The seriousness of the situation is amplified by the following statement by the New York State Commission on Cultural Resources
Unless education is open - offering a broad range of choice and opportunity in answer to many different and changing individual needs - the formal educational system can cripple the child and the adult both intellectually ^nd psychologically in his ability to deal with a life of change.
2 Lawrence S. Kubie, Neurotic Distortion of the Creative Process (New York: The Noonday Press, a division of Farrar, Straus, and Giroux, 1961), p. 110.
3 Report Arts and the Schools: Patterns for Better Education , 62. of the New York State Commission on Cultural Resources, 1972, p. ,
9
Collectively, the schools —elementary. Junior high and high schools, universities, colleges, music schools and music conserva- tories—are structured with a bias in favor of convergent thinkers namely the problem solvers and verbal reasoners. On the other hand, the schools exhibit at least indifference, if not bias, against the divergent thinker who may be defined as the problem finder and intui- tive thinker. As of now, creative talent cannot be predicted reliably by test or intuition and developed at an early age or later in life.
For example, the college entrance examinations are not geared towards predicting creative potential among college students.^ The construc- tion of a test that could predict creative talent would most certainly be a definite asset, but until such time as one is constructed, the teachers will have to use their common sense to evaluate the candi- dates. Discovering implicit talent may be difficult, but there is nothing difficult in understanding explicit requests by students for studies in Jazz improvisation or creative writing. If they have any
talent , it probably will be reinforced positively by the opportunity to be involved in the study of a subject in which they are interested.
Obviously not all the students go to music school to become
composers or improvisors. Some are interested in recreative perfor- mance of works created by others, and this is important; others are
more interested in composing than in performing; some want to compose
and perform what they write. Finally, there is another group of stu-
**The Educational Environment and the Cultivation of Talent, Cliff Wing, Jr., "Creativity and Learning", Student Selection, ed. 102. Jerome Kagan (Boston: Beacon Press, 1967 ) » P* 10 dents who want to compose, recreate and improvise music. To counsel,
coach and instruct the students in their areas of interest does not
seem to be too much to expect of an institution dedicated to training
its students to take an active, productive part in society upon gradu-
ation.
As presently structured, music curricula are heavily weighted
toward perpetuation of the music of the past through virtuoso recre-
ative performance. The great composers of the past most certainly
should be listened to, but the new composers, whether intuitive or
academic, should also be heard.
Teacher training has been designed to follow the pattern of
passing on to future generations those works of art which have been
considered of enduring value. This could be defined as past-centered
teaching. Many of the works that have stood the test of time indis-
putably deserve to be heard, recorded and studied. The men who have
stood out in the history of music were those who understood the music
of their time and either formed a synthesis of the current practices
or went on to create new forms. Music history is a chronicle of the
life of these men and the events that led to changes in the music con-
tinuum. The theory books are the repository in which the techniques
they used are analyzed for all to study.
The main point in the above statement thus is that there were
people at some point in time who were engaged in creating music and
that these creations are a part of a continuum which has led up to
shifted this very moment. During the course of time, the emphasis has major has away from the composer to the performer. A music performance 11 to follow a strict regime of recreative performance from which he dare not stray. However, there is a body of students who want to perform and create simultaneously, using intuitive compositional techniques.
Performance majors-—-in fact, any music student who is pursuing any subject in the domain of inside (traditional) music —has a wide se- lection of institutions of learning at their disposal. On the other hand, students who are interested in creative musicianship have a limited number of options for study.
At the college and university levels there are only a few schools where a student can major in Jazz studies. At the preunder- graduate level there are even fewer. Formal music education which includes individual instruction on an instrument, singing lessons, performing in a band, orchestra and ensemble, or singing in a chorus
are all essential to the development of a well-rounded musician. How-
ever, it is important that the students not only play the standard
literature but are exposed to and trained to perform more non-standard works such as new European music, ethnic music, and Jazz.
In the harmony classes at the pre-undergraduate level, the main
focus of attention is on harmony with some attention to rhythm. Very
little attention is given to developing within the student an awareness
of the melodic processes. It is taken for granted that he will grasp
the principles of melodic syntax on his own. At the undergraduate
level, those students who manage to remain in the high school harmony
courses finally get a chance to do creative work if they are composition
majors. 12
Unfortunately most , students are not prepared at the high school level for the work that takes place in composition at the college level.
This unpreparedness is first revealed to the student when he is asked to present his latest compositions as part of his audition. This need not, and should not, happen if the student's interests vere truly con- sidered. It must have been situations like this which prompted John W.
Gardner to make the following statement:
Professions are subject to the same deadening forces that
afflict all other human institutions : an attachment to time- honoured ways, reverence for established procedures, a preoccu- pation with one’s own vested interests, and an excessively narrow definition of what is relevant and important.
Fortunately there is an increasing number of teachers who are
concerned that students with creative tendencies be given encouragement
and guidance in the area of their primary interests. However, the num- ber of teachers involved in such work is all too small and, in many
cases , the instruction that they give is not part of the formal program
offered by the institutions for which they work.
My primary interest is in the field of Black music , especially
in the domains of composition and improvisation. There are three ways
in which composition can be taught: academically, scientifically, and
intuitively. The academic and scientific compositional techniques are
the methods employed by most music educators. I will give a brief ac-
count of the three compositional techniques.
^John W. Gardner, No Easy Victories (New York: Harper and Row,
Harper Colophon Books , 19^9) » P» ^2. 13
The academic technique . The academic branch of composition places a great deal of stress on techniques which are based on the works of the long-established composers. The academic teacher of com- position constantly looks to the past for guidance. The end result is perpetuation of the melodic , harmonic , and rhythmic syntax based upon
set rules.
The scientific technique . The scientific composers use the late
latest developments in technology, mathematics and science and attempt
to explain everything in very complicated scientific terms. Included
in this group are Pierre Boulez, Milton Babbit, Allen Forte, and Walter
Krenek. The educational goal of the scientific group is the production
of creative music; however, the language and methods used are advanced
and too recondite for the average music student. And so the conditions
as they exist today are far from ideal, because on the one hand there
are the traditionalists who are always looking backward, and who in the
main are not contributing very much to the creative or forward-looking
aspects of music , and on the other hand there are the very advanced and
abstract groups whose teachings can only be relevant to someone who has
studied long and hard and who has been prepared with the language used
by these specialists. There is almost no choice for someone who is in-
terested in improvising or composing jazz and who is not an adherent of
either of the existing schools of thought.
teaching im- The intuitive technique . The intuitive approach to
provisation and composition seeks, along with the formal rules of com-
position, to increase the student's awareness of the possibility to uti- lU lize his emotions and feelings in spontaneously created music. One of the goals in promoting the intuitive approach to composition and impro- visation is to increase the spontaneity of the student as veil as the rapidity and fertility of concreticizing his inner perceptions and con- ceptions. Intuition as a possible method of instruction has gone large- ly ignored because it is assumed that objective knowledge will provide all the essential ingredients for constructing new models upon which to build new knowledge.
The dichotomy which exists today in music education between re- creative performance and creative musicianship should be eliminated.
Each should be part of the music curriculum, as each is important for the propagation of both contemporary and traditional written music and for the dissemination of individual interpretations of the sound spec- trum through improvisation.
The music educators in all sincerity should realistically ex- amine their products and the capacity of the market to absorb them.
They should structure the curricula with the students' interests in mind, as they are the ones who have to pay the price for any errors on the part of the teachers. The teacher remains on his Job, whereas the student has to go out into the everyday world where he will be in for many disappointments if he is not equipped with knowledge that he can use right away.
At this point a statement by Dominique-Rene de Lerma is appro-
priate : '
15
Educators have not always thought about who it is they are educating, or for what purpose. We ignore the fact that at least 25,U62,891 of us are non-White (of this total, based on the 1970 Census, something under ninety per cent is Black). We compart- mentalize music into traditionally segregated areas , each seeking to establish its own identity and curriculum, despite the fact that many of those students who major in these areas are quali- fied only to perpetuate the teaching of their majors (and employ- ers, alas, think along the same lines). We are not always relat- ing teaching to Job opportunities. How many schools provide both the subject knowledge and skills to enter some aspect of the music
industries , as an example? What school has surveyed the entire professional world of music, consulted with specialists in these various fields, evaluated the potential Job market, and then de- veloped a curriculum which may provide an interested student with training for actual positions - other them those which advance their own cause within the classroom? I wonder if college adminis- trators, who might know quite well the implications of prerequi- sites, are as alert to the requisites of a music editor, a concert manager or an accoustical engineer. Does he have some distress about graduating another senior class of piano majors, not one member of wjaich may ever earn a living playing in the styles he was taught?
Jerome S. Bruner gave this definition of intuition and of the value of giving training in sensitivity to hunches:
. . . the intellectual technique of arriving at plausible but tenta- tive formulations without going through the analytic steps by which such formulations would be found to be valid or invalid conclusions. Intuitive thinking, the training of hunches, is a much-neglected and essential feature of productive thinking not only in formal academic disciplines but also in everyday life. The shrewd guess, the fertile hypothesis, the courageous leap to a tentative conclusion - these are the most valuable coin of the thinker at work, whatever his line of work .
A careful examination of the nature of intuitive thinking might
be of great aid to those charged with curriculum construction and teach-
stress the value ing. Mathematicians, physicists, biologists, and others
^Dominique-Rene de Lerma, Reflections on Afro-American Music (Kent State University Press, 1973), p. 23.
T York: Alfred A. Jerome S. Bruner, The Process of Education (New Random House, 1963), Knopf and Random House, Vintage Books, a division of pp. 13-1^. 8 16 of intuitive thinking in their respective areas.
Improvisation is an interfacing of synthetic creativeness
(the process of constructing, as you proceed, by rules and previously
gained knowledge) and of intuition—the process of leaping to a con-
clusion without formal proof. The validity of any piece of improvi-
sation can always be tested if it is recorded. Indeed, the improvised works of many Jazz musicians have stood the test of time. A short list
would include Jelly Roll Morton, Louis Armstrong, Charlie Parker, John
Coltrane, Miles Davis, Max Roach, and Clifford Brown.
The problem of how to teach creative music encompasses the whole
of America and probably most of the world where European music is taught.
However, this is not the case for all cultures. Creativity in music is
an integral part of Indian (Eastern), Japanese, Javanese, Balinese, and
African music. European music at one time contained improvisation as a
component , as illustrated by the following quotes from The New College
Encyclopedia of Music :
It may be assumed that plain song melodies which existed before neumes were improvised by the rearrangement, ornamentation and ex- tension of the melodic idioms of a given mode. ... Elementary com- position was taught through improvising a part of a plain song. ... The improvising of more extended polyphonic pieces became a recog- nized test of the musicianship of a keyboard player, and in the 17th century the ability to improvise and accompaniment on a fig- ured bass became an essential part of a keyboard player's qualifi-
cations .
8 Ibid.
9 J. A. Westrup and F. LI. Harrison, The New College Encyclopedia of Music (New York: W. W. Norton and Co., i960 ), P- 331. IT
Handel, Mozart, Beethoven, Liszt, Franck, and Bruckner are a few of the distinguished composers who had mastered the art of impro- visation. It is interesting to note that at one time improvisation and composition were considered as essential and parallel studies. Black music, which has retained the African characteristic of improvi- sation, is one of the leading forces in the domain of music today which encourages individual creation as a continuing process.
To summarize:
- Current music education at all levels —grade school, junior high, and high schools, universities, colleges—is geared almost ex- clusively to the recreative performance of music that is largely from the distant past.
- The students' interests are subordinated to the interests of the teachers or the system. Creative effort by the students is discour- aged on a very large scale.
- The preferences of the minorities for the music indigenous to their particular culture is grossly ignored. There is a sufficient- ly large body of students who would, if given the opportunity, follow a different course than the one prescribed by the school system.
- The work which is being done with creativity as its center is isolated and uncoordinated within the system. In many instances, if a teacher tries to teach jazz or jazz improvisation, his efforts are met with either discouragement or direct opposition.
- Many teachers are interested in teaching creative composi- tion, jazz composition and improvisation, but they have not had suf- ficient training because they went through the standard music curriculum 18 which did not help in this area. These teachers are actively engaged in teaching, and due to their workload they cannot find the time to do the necessary research to develop a curriculum around creative mu-
sicianship.
- Music appreciation, which is one of the methods for instill-
ing and maintaining an active interest in music, is not used to its
full potential for broadening the appreciation of diverse forms of mu-
sical expression. It is used in a rather restricted domain to further propagandize an issue which has evidently been decided for all times
and all people. The issues are:
What music is to be taught in school?
What music is worthy of being heard?
What shall be called music of high aesthetic worth?
Who are the import ant composers and performers?
- There is no source book or thesaurus to which the teachers or
students in the schools can refer and which systematically presents
examples of the traditionally accepted method of developing melody by
embellishing the principal tones in a clear, simple, uncluttered harmonic
background. Most examples used in the standard text in the classroom to
explain the techniques of embellishment do not proceed in a simple step-
by-step manner but instead, after one or two examples explaining the func-
tion of an embellishment, very complex examples axe given for analysis.
Educational Significance of the Study
What are the characteristics of a subject considered to be rele-
vant for inclusion in the school curriculum? Who determines what is to 19 be taught in the schools? Who uses vhat is taught there?
The school curriculum could be defined as a compilation of ideas originating in the needs and vants of diverse special interest groups. These groups form a hierarchy, vith the student~vho is the one most affected by curriculum content —in the position of having the least power to effect what is taught. Among the controllers of what is taught in school are: the legislators, governmental agencies, local school boards, school administrators, teachers, colleges (through ent- rance requirements), manufacturers of curriculum material, publishers of textbooks, unions, professional societies, educational research as- sociations, religious institutions, parents, and voters.^
The educational process appears to be a natural outcome of bio- logical, sociological, and psychological functions. Humans and other living organisms continually respond to environmental cues through their senses; these impressions are used for inter- and intrapersonal commu- nication which, in turn, includes human values and human relations and
1 '*' their transmission to later generations in the form of culture.
Music education has to do with the semantics (meaning), syntax
(relationship), and pragmatics (uses) of informational systems. This
informational or communication network originates in stimuli which are
10 re- William Boyd, The History of Western Education , 8th ed. , vised and enlarged by Edmund J. King (New York: Barnes and Noble, 1967); 2nd ed. (New York: Foundations of Education , ed. George F. Kneller, John Wiley and Sons, 1967); Educational Psychology: A Contemporary View (Del Mar, Calif.: Communications Research Machines, 1973).
^Jurgen Ruesch and Gregory Bateson, Communication: The Social Matrix of Psychiatry (New York: W. W. Norton and Co., 1968), pp. 6-7. , :
20
perceived, defined, related to other data temporally, and then put to use to satisfy some human interest, individually or collectively. For example: an acoustical event, i.e., sound, has been quantified, given a name, e.g. UUo vibrations per second is given the name "A". The pitch "A" has different relationships vith other pitches according to the parameters or conventions prevalent at the time. The organization of sound at different periods into styles could be defined as satisfying human interest in the aesthetics or affective domain.
Educational needs, objectives, and methods vhich may be defined
as systems of gathering, processing, and transmission of information, vere created by society to satisfy its needs and desires. The objectives
and uses of education evolved out of the need to survive physically,
psychologically, aesthetically, economically, and socially.
In the book entitled Taxonomy of Educational Objectives: Hand-
book I: Cognitive Domain , Benjamin S. Bloom et al. have divided educa-
tional objectives into three categories. They are:
1. The cognitive domain
2. The affective domain
3. The psychomotor domain
The categories are defined in the book as follows
The cognitive domain ... includes those objectives vhich deal vith the recall or recognition of knowledge and the development of intellectual abilities and skills. ... The affective domain includes objectives vhich describe changes in interest, attitudes, and values, and the development of appreciations and adequate adjustment. ... A third domain is the manipulative or motor-skill area. Although ve recognize the existence of this domain, ve find so little done about it in secondary schools or colleges that ve do not believe the development of a classification of these objectives would be 12 very useful at present.
This dissertation will attempt to assist in the fulfillment of educational objectives in the cognitive, affective, and psychomotor do- mains. It contains material that requires the use of cognitive skills such as the ability to
1. recognize the different types of embellishments and to de- fine them
2. apply the operational rules for progressive permutations
3. transpose the exercises to different keys or scale steps
H. recognize the embellishments in notated and aural form
5. notate the embellishments properly
6. apply the embellishments in different contexts
7. analyze music into its constituent parts; to recognize interrelationships among those parts; and to form generalizations from these data
Among the affective objectives are the ability to
I. apply full attention to the subject under consideration
2. set goals
In the psychomotor domain the objective is to develop facility
in performing the embellishments.
12 Taxonomy of Educational Objectives. Handbook I: Cognitive Domain, ed. Benjamin S. Bloom (New York: David McKay Co., 1956), pp. 7 22
Limitations of the Study
This study is primarily an instructional aid and has as its pri- mary goal the realization of the embellishments in improvisational per-
formance. It is basically analytical in its approach and includes phi-
losophical, psychological, descriptive or historical matter because
humans are holistic and few human activities can be compartmentalized.
For example, it is being assumed that for a particular population the
results of this study could have positive affective consequences. That
population would consist of those who are interested in investigating
educational materials that are related to creative music production.
The study can be used
1. as the core of a curriculum on improvisation
2. as a component in a standard theory course to assist in
the development of an approach to deriving melody from a harmonic base,
and
3. as a self-instructional unit.
This is not an analysis of large melodic form but rather a study of the
atomic aspect of melody, i.e., how a principal tone is divided and sub-
divided according to established rules. No attempt is being made to
are start something new. The creative ends sought in this approach there within the realm of traditional concepts. The assumption is that
is based that is is an acceptance of the style around which this study developments these indigenous to Western music and that in spite of new
conventions will last. • ,
23
CHAPTER II
REVIEW OF THE LITERATURE
Historic Approaches to Embellishment as an Effective Notion
The function of embellishment (ornamentation) in the develop- ment of melodic, harmonic, and rhythmic possibilities (permutations) has not been underscored enough in the music classes from an ethno-
musicological , historic, analytic or performance perspective. A vari- ant of the above proposition is this statement from Grove's Dictionary of Music and Musicians:
The ornamental embellishment of music is a difficult and extensive branch of figuration to which, particularly for Renaissance and Baroque mujic, insufficient attention has been paid in modern times.
The value of knowing the principles of embellishment extends
far beyond the narrow parameters established in the Grove's Dictionary
quote. The history of melodic development as a whole is inextricably
interwoven with the history of embellishment.
The following definitions have been provided by Grove's Dic-
tionary to further clarify the meaning of ornamentation or embellish-
ment :
matter by whomsoever and in 1 . Figuration : all ornamental whatsoever manner provided. (figuration) as 2. Passage-work: such ornamental matter is provided fully written out by the composer. matter (figuration) as 3. Embellishment: such ornamental the performer. is provided normally, more or less impromptu, by
^ Musicians 5th ed. edited by Grove's Dictionary of Music and , Eric Blom, 195^ ,
U. Ornamentation: such embellishment as is provided by the performer, partly under the theoretically exact but practically unreliable guidance of signs written in by the composer; and wholly in the shape of specific instances of ornamentation (e.g. trill* turn, mordent, etc.) crystallized into more or less stan- dard and invariable forms.
Figuration means in the Just cited definition that there is added to a melody extraneous matter which is called embellishment when it is added by the performer as an impromptu; it is called orna- mentation when it is indicated by standardized signs used by the com- poser; it is called passage work when it is written out by the com- poser in music notation.
The term "to embellish" implies that there is some model or constant present to which certain operations may be applied and that the application of these operations modify to some degree the way in which the original model is perceived. The original model has varied
in the history of music ; it has been called according to time and
place: plainsong, cantus firmus , variation , raga, radif, and chord change
The codification of the various types of embellishments was a long-term process which crystallized to a great degree in the seven-
teenth and eighteenth centuries. The New College Encyclopedia of Music
has this to say about the evolution of the embellishment:
In some periods ornaments (graces) have been an important feature of melodic style, whether added extemporaneously by singers and players, or indicated by the composer in the form of signs, or incorporated in the notation. In the keyboard and lute pieces of the l6th century, some of which were elaborations of choral pieces, conventions of ornamentation arose, and to some extent, as in Eng- lish virginal music, signs were used to indicate them. In the. 17th
2 Ibid. 25
and 18th centuries the principal types for which signs were used, varying somewhat in different countries, were: trill, mordent, appoggiatura arpeggio, , turn, springer or Nachschlag. In later periods most ornaments have been written out by the composer.
It was standard practice among Baroque composers to utilize
unwritten embellishments in their works relying upon the skill and musicality of the performer. In contrast, most of the music (Europe-
\ . U an) since then has been fully notated.
Embellishment grew out of the improvisations that were added
to plainsong during the monophonic stage of music development which
was between the years 200 and 1300 A.D. In the following periods
there was an increase in melodic and rhythmic independence and in
sharp dissonant clashes between parts; polyphonic music was more pre-
valent; the use of harmony increased. Prior to the extensive use of
harmony, the embellishments were added without regard to their harmo-
nic implications. With the use of harmony, the control of the embel-
lishing tones became a focal point for theorists. With a chordal ske-
leton as a foundation, the notes that were outside the chord were dis-
sonant or non-chordal in function. Rules were established for the in-
troduction and resolution of these tones that were considered ornamen-
tations or embellishments. In the sixteenth century sacred vocal mu-
sic, the use of dissonances was strictly controlled. The predominating
embellishments in use at the time were passing tones, neighboring tones,
suspensions, and changing note groups. The unprepared seventh chord
was not used until the seventh century A.D.
3 UT5- The New College Encyclopedia of Music , I960, p.
^Grove's Dictionary , p. 366. ,
26
Instrumental Embellishment
Up to about the seventeenth century, vocal music had been the primary domain of development. In the l600s there arose an increased interest in instrumental music. This interest brought about many changes that were related to the flexibility of the instruments. Among the changes brought about through increased usage of instruments were:
(l) Angularity of melodic line, (2) wide range of melodic line, (3) long sustained notes, long phrases, (U) sharp rhythm, strong accents, syncopation, (5) a freer treatment of dissonance than practiced in vocal music, (6) rapid, repeated notes and figures, (7) rapid scales, (Q) freely added parts and chords
filled in (called Freistimmigkeit ) , particularly in lute and key- board music, (9) melodic ornamentation, including figurati (re- peated figures or patterns on each note of the basic melody), embellishment (mordents, turns, trills, etc.), and coloration (free melismatic material added to the basic notes of the melody). The latter is not exclusively instrumental.
Contrasts and Similarities in Embellishment Usages
Prior to J. S. Bach and during his own time, the greater pro- portion of the embellishments that were performed were not written out but were left to a great extent to the performer. This created a mul-
titude of versions for the same composition. Bach, in contrast to many
of his contemporaries, notated many of his embellishments in addition
to using symbols to indicate the desired ornament. During this period
embellishment became very lavish, and there was such a profusion of
interpretations that an attempt was made to conventionalize the multi-
of tude of theories. Among those to contribute to the systematizing
ed. rev. and enl. ^Hugh Milton Miller, History of Music , 3d (New York: Barnes and Noble, 1967), P- 50. 27 the embellishments were: J. S. Bach, C. P. E. Bach, vho became the leader of the Berlin school of thought, and Joachim Quantz. In order to perform Baroque music properly, it was very important to practice the various embellishments until they had become a part of the indi- vidual's repertory of responses. The symbols used by J. S. Bach to indicate the embellishment desired were not always clear in meaning; some were used to represent more than one musical event and were there- fore inconsistent; some were not clearly defined. Most of the texts on embellishment are concerned with the correct interpretation of Re- naissance and Baroque music.
Learning how to embellish in the Baroque tradition would have limited use in today's music. However, the spirit of improvising and embellishing that prevailed during the Baroque period and earlier, which made the performer an integral part of the music and not Just an instrument of performance, is still a good and valid notion. Today this tradition is being maintained by performers around the world. In
America it is manifested in the form of Jazz or Afro-American music.
There was no universal agreement among the theorists during the Baroque period, nor is there today, concerning the names of the embellishments.
During the Baroque and Renaissance periods the controversy concerning embellishment evolved around whether or not the various figurations should be written in or left to the performer's skill. It also cen- tered on how to interpret the various symbols that were being intro- duced to indicate the various ornamental patterns. During this period the embellishments, whether written as signs or as music notes or com- . .
28 pletely at the discretion of the performer, vere conceived as being an enrichment of the melody, i.e., as an addition to the melody proper.
The scope of the controversy concerning the interpretation of the signs used to denote specific embellishments during the Baroque period is illustrated by the following statements:
In the case of specific ornaments, though not of free orna- mentation, we have, it is true, the advantage of a sustained attempt on the part of a number of Baroque musicians to minimize the penalties of ignorant or intemperate performance without un- duly courting those of literalness and rigidity. ... The consistency on which the chief utility of this system should have depended never remotely approached being realized
in practice. . . Such knowledge cannot beyond a certain point be acquired piecemeal, since it really depends on the unconscious assimila- tion of the complete style in question. Individual ornaments can be taught fairly readily by ear; the living art of embel- lishment by no means so readily. ... What is already practicable is to include in the training of musical students some grounding in the simpler specific ornaments, to be taught not from text- books but from the aural demonstration of teachers well steeped in Baroqge idioms and assisted by specially prepared grammophone records
It is interesting to note that as the notation system became
more and more standardized, there were individuals who felt that in
spite of the formalization of the semantics and syntax of the musical
language there should be a place for the performer in the interpreta-
tion of a piece of music.
Despite the decline of the art of free ornamentation, Mozart
and Chopin improvised embellishments when performing their music.
History bears testimony to the fact that creative individuals lost the
battle for the creative interpretation of music in Europe.
T Grove’s Dictionary, pp. 366-367. 29
An increase in the use of harmony during the eighteenth century coupled with the notation of the embellishments caused a redefining of the embellishment procedure. This dissertation is not the proper place
for a full explication of Baroque techniques of embellishment, since
the intent is to supply a lexicon of embellishments applicable to the
art of improvisation. A review follows of the embellishments as used within a harmonic context and as practiced currently.
Selected Definitions of the Embellishments
There is no consensus of opinion among today's theorists con-
cerning the nomenclature of the embellishments. There is general agree-
ment, however, that the embellishments as non-chordal tones require re-
solution to a consonant member of the chord of which they are a part.
The following definitions attempt to show some of the current opinions
on the matter. The acceptance or rejection of one theory for another
appears to be more a matter of semantics than of substance. The dif-
ference among the theorists appears to lie in how much one wants to re-
consider the definitions established in the eighteenth century. The
controversy revolves not only around definitions of the embellishments,
however, but also around whether or not the tones considered to be non-
chordal are extended chord members . Extended chord members are the
tones above the chord seventh.
The scope of the problem is underscored by the following state-
ment drawn from Chromatic Harmony by Justine Shir-Cliff et al.: .
30
Non-harmonic tones are a continual problem because it is difficult to be consistent about a line of division between two concepts: that all tones other than root, third, fifth, and seventh are non-harmonic; or that sixths, ninths, elevenths, and thirteenths are admissible to the inner circle of acceptable chord tones
In any given harmonic context there are tones that are part of the prevailing chord, and tones that are extraneous to the given chord.
The notes that are not in the chord are considered to be the embellish- ments. These notes are also called non-chorda! tones, neighboring tones, inharmonic tones, auxiliary tones, ornaments, unessential tones,
and non-essential tones. Embellishments are located a minor or major
second above or below the chord tone. The maximum number of embellish- ments that may lie adjacent to any chord tone is four: a major and
minor second above, and a major and minor second below. For example:
I
1i i 11a JL M L- -V H •9 hts* “ t H D k m ^ » T -f J Mrvq ] | Q r"Mi
The terms embellishment, non-chordal tone, unessential tone,
non-essential tone, neighboring tone, and inharmonic tone will be used
interchangeably. The common types of embellishment are:
^Justine Shir-Cliff, Stephen Jay, and Donald J. Rauscher, 12. Chromatic Harmony (New York: Free Press, 1965) > P- 31
1. Passing tone
2 . Suspension
3. Neighboring tone
h. Anticipation
5. Appoggiatura
6 . Cambiata
7 . Echappee
8 . Free tone
Passing tone
The passing tone is an embellishing tone (or tones) that fills
the space between two chord tones . These chord tones may be members of the same chord or of two different chords. A single passing tone, or a combination of diatonic and chromatic passing tones, may be used to fill the space of a third. Two diatonic passing tones, or a combination of
diatonic and chromatic passing tones, may be used to fill the interval
of a fourth. A single passing tone may be used between the chord seventh
and root. The passing tone is usually of shorter duration than the chord
tones it embellishes. Percy Goetschius, i.a., thinks that the passing
tone can occur on an accented part of the beat as well as on an unaccen-
8 ted part of the beat as well as on an unaccented fraction of the beat.
Walter Piston, on the other hand, thinks that the accented passing tone
,, 9 is "more corrently classified as an appoggiatura .
Q Percy Goetschius, The Theory and Practice of Tone Relations
(New York: G. Schirmer, 1931) , P* 15^*
^Walter Piston, Principles of Harmonic Analysis (New York: E. C. Schirmer Music Co., i960 ), p. 31* :
32
George Thaddeus Jones has this to say concerning non-harmonic tones
There are no universally accepted definitions of these non- harmonic tones. The tvo principal schools of thought agree that the criteria for describing the non-harmonic situations are: (l) how the dissonant tone relates spatially to the surrounding chord tones, and (2) where it occurs in terms of metric accent; they disagree as to which of these is to have the primary role in the definition. Most theory books have chosen the former of these two possibilities, since the determination of the metric accent is often difficult to make or is misleading.
Paul Hindemith agrees with the theorists who hold that there is no such thing as an accented passing tone. He prefers to call such embellishments neighboring notes.
Suspension
The suspension is, in terms of direction, a stepwise motion at a change of chord. The distinguishing feature between an ordinary step- wise movement and a suspension is that the suspension is a note which is sustained or repeated beyond the point at which a change of harmony takes place. The suspended note becomes a non-chordal tone and then resolves into the appropriate chord tone. For example:
10 George Thaddeus Jones, Music Theory (New York: Harper and
Row, Barnes and Noble Books, 197M , P* 170.
i:L Book I, Theo- Paul Hindemith, Craft of Musical Composition , retical Part, trans. Arthur Mendel, rev. ed. (London: Schott and Co., 19^5), p. 171. 33
Walter Piston belongs to a group of theorists who claim that a repeated tone occurring at a change of harmony and which does not be- long to the new harmony is an appoggiatura. In most cases the sus- pension resolves downward. It may, however, resolve upward in which
suspension case it is called a ritardation by some. The formula for a
suspensions are char- is preparation, suspension, and resolution. The
root of acterized by the distance between the suspended tone and the
A 7-8 suspension the chord over which the suspension is occurring.
T sustained into the I takes place when the seventh of the V chord is
the third of the tonic. chord and then resolves down by a half step to
states that Unprepared suspension . Goetschius
r epetition or rp- A Suspension is not obliged to appear as g ... but may enter^with any longation of the preceding tone , as ’’unprepared Suspension. reasonable skip (best from below) , tone which belongs to As the suspension must be an inharmonic observe the following the foregoing chord, it is necessary to preparation of the Suspension) rule: the original tone (the the preceding chord. must either occur in some other voice, in
W. Norton and Co 12Valter Piston, Harmony (New York: W.
19Ul ), p. 109* : .
3U
other voice, in the preceding chord, or must be understood as a possible interval of the latter. ^
For example:
The exact opposite of this position is claimed by Parks Grant.
His claim is made in connection with the appoggiatura and is as follows:
"The appoggiatura tone is often (but not always) present in the preceding chord. When not present, the appoggiatura is for all practical purposes
nil* an ’unprepared suspension'.
Delayed resolution of the suspension . The resolution of the sus- pension is sometimes delayed by the insertion of a neighboring tone or a number of neighboring tones or even of an entire chord prior to resolu-
tion . For example
13 Percy Goetschius, The Theory and Practice of Tone Relations (New York: G. Schirmer, 1931 ), PP« lUU—U5
Parks Grant, Handbook of Music Terms (Metuchen, N. J.: Scare- crow Press, 1967), p. 270. 35
Neighboring tones
The neighboring tone, also called auxiliary tone, and returning tone, encompasses a three-note group, one of which is a repeated tone.
The formula for the neighboring note pattern is: chord tone to neigh- boring tone back to the same chord tone. The neighboring tone is gen-
erally of short duration; it may be either accented or unaccented;
the upper or lower neighbor may be used. The direction of the return-
ing tone, i.e., whether it is below or above the chord tone, is depen-
dent on the direction of the next melody note. If the next essential
melody tone is upward, then the lower neighboring tone is used. If
the next essential melody tone is downward, then the upper neighbor
is used. Examples:
1 0 . n & HT 1= • * • u =t 5S * L :
36
The neighboring tone also occurs in clusters of four or more notes.
These are called tonal groups or changing tones . Examples
Anticipation
The anticipation is the arrival of a tone in an upcoming chord
prior to the arrival of the chord. It is primarily a rhythmic device.
The anticipation may be a repeated tone or it may be tied to the note
it anticipates. It is generally shorter than the principal tone which
it anticipates. The anticipation usually approaches by step but it
may also approach by leap. Examples: 37
Appoggiatura
The embellishment that appears to have the greatest number of divergent definitions is the appoggiatura. In this dissertation it is an unprepared non-chordal tone which enters by leap and resolves by step; it may be accented or unaccented. Some typical disagreements about the definition of the appoggiatura center around the fact that there are some theorists who believe that an accented passing tone is an appoggiatura (Walter Piston, for one), and others who believe that a suspension which is accented rather than tied is an appoggiatura.
Neither Paul Hindemith nor Samuel Lieberson in their listing and definition of embellishment even mentions the appoggiatura as an embellishment. Lieberson instead refers to the unprepared suspension, similar to the appoggiatura, which enters by leap.^ Hindemith terms the unprepared entrance of a non-chordal tone an unprepared suspension or neighboring tone.^ Examples:
^Samuel Lieberson, Manual of Functional Harmony and Key to 2l6 Exercises (Los Angeles: Warren F. Lewis, 19^6), pp. 70-71.
^Paul Hindemith, Craft of Musical Composition , Book I, Theoretical Part, p. 170. =
38
Two or more appoggiatura may precede the principal tone:
Cambiata
The cambiata is traditionally a note that enters by the leap of a third over its intended resolution and which then turns and resolves in the opposite direction by step. Examples:
o t- c V I a j u- gi
Jl. a ft. # Li \ cb 7\ T i —P , v r \ fw \ \ Y \ l h — L3 l
The cambiata is similar to the appoggiatura in that it is an embellish- ing tone that enters by leap and resolves by step. The essential dif- ference is that the appoggiatura is not part of a formula that is re- stricted to the leap of a third and it is not required to reverse it- self for its resolution. The cambiata would be called by many theorists .
39 an unaccented appoggiatura, and on the other hand some theorists would' say there is no such thing as an unaccented appoggiatura.^ It is not always the case, however, that the leap of a cambiata is limited to the interval of a third. The conflict in definitions is accentuated even further by an example given by Ludmila Ulehla to illustrate her expla- nation of the cambiata. She points out that it is a non-harmonic tone in which the direction of its entry is towards the primary note of re- ^ solution. See example :
Part of this definition is consistent with general practice, i.e., the movement of the cambiata towards its note of resolution is convention-
al , but the fact that the note in her example does not reverse direc- tions and move by step contradicts the definition of the cambiata as held by the school of thought of which Walter Piston is a member.
17 Parks Grant , Handbook of Music Terms , p . 2
^Walter Piston, Harmony (New York: W. W. Norton and Co. Inc., Harmonic Analysis (Boston: E. C. Schir- 19l*l) , p. 129; Principles of mer Music Co., i960; also in paperback edition by the same publisher,
1965 ), P. 34 .
^Ludmila Ulehla, Contemporary Harmony (New York: The Free 196^') Press, a division of the Macmillan Co. , » P* 45. Echappee
The echappee is also called by its English translation, the escape tone. An echappee is an embellishment which enters by step from a principal tone and then leaps a third in the opposite direction to its note of resolution. The echappee is sometimes left by a leap larger than a third. If the escape tone is a member of an upcoming chord some theorists call it a free anticipation, and if it is not, it is called by some a free tone. Examples:
Free tone
The free tone is a non-chordal tone that enters by skip and re- solves by skip. It is not a member of either of the chords between which it stands. Many of the theory books do not mention this parti- cular embellishment. Hindemith divides the free tone into two cate- 21 gories : the accented free tone and the unaccented free tone. The
20 Parks Grant, Handbook of Music Terms , p. 271
PI Paul Hindemith, Craft of Musical Composition , p. 173. : — 1 A
Ul free tone ressembles the appoggiatura in that it is an unprepared dis-
sonant tone, hut the resolution is not by step as is characteristic of
the appoggiatura. George Thaddeus Jones states that
The free tone ... is ... rare in eighteenth-century music. ... You may encounter isola^d cases in the analysis of medieval or twentieth-century music.
Examples
ChajI AV)(, 1 i- r \ J lT. . . p.-r 1 ^ / 0 r — i \— H- L \ V/v \ ^ ? \ J J 1 TXo 1 \ ) 1 O f- \ \ A 1 ° y —9. 1 — y —
The Intuitive Approach
The systematization of the embellishments that arose from the
efforts of the theorists of the Renaissance and the Baroque periods
resulted in a formalized approach to handling the many forms of orna-
mentation. The embellishments themselves originated as improvisations
which became established patterns within a given style. The patterns
which became conventions originated as intuitive perceptions. The
power of recognizing similar forms in widely various exemplifications, 23 intuition. The i.e., the power of recognizing analogies, is logical
22 192. George Thaddeus Jones, Music Theory , p.
23 3d rev. ed Susan Langer, An Introduction to Symbol ic Logic, 33. (New York: Dover Publications, 1967) » P* U2 patterns or embellishments as conventions made available for students a mechanism whereby the extrinsic aspects of melody could be learned
and applied to improvisations or to written compositions.
There are, essentially, two ways in which new forms of things are discovered: (l) by abstraction from instances which nature happens to collect for us (the power to recognize a common form in such a chance collection is scientific genius); (2) by the interpretation of empty forms we have quite abstractly constructed. The latter way is usually the easier, because if we know a great variety of possible forms, we have at least an idea of what we are looking for.
The forms interpreted as embellishments are in abstraction lo-
gical forms. Logic deals with the relationships between forms, i.e.,
the connection between patterns, structures or constructs. It deals
with definite shapes. The patterns that were developed and encoded
as embellishments could be called logical structures inasmuch as they
give form to content (music). The defining of the properties of the
embellishments and their relationships to the principal tones permits
greater clarity in some aspects involving the embellishments and their
use, but knowledge of all the possible permutations available does not
of itself guarantee that original and creative combinations will be
produced. Creative improvising involves an unquantified component:
originality, intuition, insight, etc.
Jean Piaget, in his developmental -centered studies, allocates
intuition a place prior to the logical stage. He defines this stage
as the prelogical level. The thinking that takes place at this time
is called prelogical thinking. It is based on "representational
2U Ibid. , p. 38. images” and "mental experiences" which prolong the sensorimotor sche-
2 mata without true rational coordination. ^
Piaget’s studies show that intuition is present at an early age. Other studies have shown that it is present throughout life.
Roberto Assagioli, in his book Psychosynthesis , devotes a chap- ter to intuition and its development. He states that
Intuition is one of the least recognized and least appreciated and therefore one of the repressed or underdeveloped functions. ... Repression of the intuition is produced by non-recognition,
devaluation , neglect, and^lack of its connection with the other psychological functions.
Assagioli believes that the intuitive process can be activated. The reason for bringing about such activation is to have available an
auxiliary source of knowledge, one that will take over when the ratio-
nal processes temporarily fail to produce the required results. Intu-
ition functions more freely in children and adolescents because they
have fewer pressing thoughts and demands on their time and capacities.
The greatest need for intuition is in intellectual or over- intellectualized people, i.e., for those who have an active or over-active mind but specifically for those who identify thfjiji- selves with their mind and are proud of their intelligence.
Assagioli believes that by combining the intuitive and logical cogni-
tive processes, the maximum benefits of both domains would be tem-
pered with the careful justification supplied by the logical processes.
2 ^Jean Piaget, Six Psychological Studies , ed. David Elkind (New York: Vintage Books, 1968), p. 30.
2 ^Roberto Assagioli, Psychosynthesis (New York: Viking Press, 1965), P. 217. 27 Ibid. , p. 221 :
In his book, he outlines a procedure for activating the intuitive pro- cess.
The Myers-Briggs Jungian Type Indicator showed that creative people are generally more intuitive than non-creative people. The
Intuition Scale shoved that over ninety per cent of the creative people
. . . . 28 tested were predominantly intuitive.
Insight is another term used to describe a point in the creative
process when suddenly the creative or unique combination of elements
becomes manifest. This description is very much like the definition 29 of intuition.
Another point of view concerning this matter is held by James
30 Deese
1 . Insight solutions occur suddenly
and 2 . They occur after a background of instrumental or trial
error learning
3. In some cases insight is the result of positive transfer
of learning
28 Frank Barron, "An Eye More Fantastical", Training Creative Holt, Thinking, eds. Gary A. Davis and Joseph A. Scott (New York: Rinehart and Winston, 1971), PP* 18U-85.
29 Managerial Tom Cornelia, "Understanding Creativity for Use in Planning", ibid., p. 175* McGrav 30James Deese, The Psychology of Learning (New York: Hill, 1958), 2d ed., pp. 276-78. *»5
CHAPTER III
THEORETICAL FOUNDATIONS
Source Materials
Most of the theoretical principles and definitions used in this dissertation are based upon the writings of composers and theorists such as Allen Forte, Percy Goetschius, George Thaddeus Jones, Vincent
Persichetti, and George A. Wedge. Primary sources are:
1. Percy Goetschius, Exercises in Melody Writing , and
The Material Used in Musical Composition
2. Vincent Persichetti, Twentieth Century Harmony
3. George A. Wedge, Ear Training and Sight Singing Applied
to Elementary Musical Theory
Definitions
Melodic model
em- Melodic framework . The melodic framework upon which the
bellishments have been constructed consists of:
1. A basic two-note melody using the major scale
2. Two notes that are individual members of individual chords
3. Two half notes
U. Intervals of various sizes based upon common practice con-
cerning the relationships possible between succeeding
intervals :
>46
Examples
Harmonic framework . The harmonic framework upon which the melodic model has been built consists of the chords normally con- structed on each scale step; extended chords are implied. :
Melodic motion . All of the possible melodic motions axe con tamed within the melodic framework. They aret
1 . Repeated tone
2. Stepwise motion upward
3. Stepwise motion downward
U. Narrow leap upward
5. Narrow leap downward
6. Wide leap upward
7 . Wide leap downward
Examples
Pe.ai’o.ci co v!»«- M^ycow. I**.? “To r\ up w Ur <1 clou. A lu
Embellishments and related concepts
The concept of embellishment implies that there is an essential underlying structure to which are added non-structural elements. These elements are considered to be unessential tones, or embellishments of the essential or principal tones.
Essential tones. Essential tones are the tones that are members of a given chord; they usually cover one beat or one metrical unit, e.g. U8 in 4/U quarter note would be one metrical unit , and in 6/8 the eighth note would be one metrical unit.
Unessential tones . Unessential tones are those tones that are considered to be non-chordal, inharmonic, ornamental or embellishing.
They are usually subdivisions of a beat.
Whether or not a tone is essential or unessential is determined basically by its duration and membership in a chord. Goetschius defines
it this way: "Usually, a tone of the value of a full beat is a principal
or essential one; and of two, three or four quick tones that constitute
the subdivisions of a beat , one or more are almost certain to be unessen-
tial." He points out that this is only a broad distinction and that ulti-
mately the relation of the tones, whether short or long, depends on the
prevailing chord line. "This being the case, it is evident here again
that a melody must be designed with more or less direct reference to some
harmonic basis, or subconscious chord concept." He sums it up this way:
"The tones which agree with the momentary chord are the essential , or
harmonic tones; those which differ from it are unessential embellishing,
1 or inharmonic tones."
Allen Forte has this to say about unessential tones: "Submetri-
which cal embellishments are sometimes called 'unessential ' notes, a term
suggests that such embellishments are superfluous, that they have no sig- 2 nificant function in the tonal composition. This is an erroneous notion."
1 13th issue (New Percy Goetschius, Exercises in Melody Writing , York: G. Schirmer, 1928), p. 59.
Concept (New York: ^Allen Forte, Tonal Harmony in Practice and Holt, Rinehart, and Winston, 1962), p. 375. The noti on of embellishments defined . As the structure of extended chords quite often contain seven or more notes , hov does one distinguish between the chord tones and the embellishments?
Rhythn is the deciding factor used in this paper.
The unit of measurement as determined by the meter can be used as the smallest unit allowable as an essential tone. For example: when the time signature is UA, the smallest unit is the quarter note.
The embellishments are those tones that are sub-divisions of the unit of measurement, i.e., in U/U time the embellishments will start at the rhythmic level of the eighth note.
The fundamental tones of a chord are the root, third, fifth and, in some chords, the seventh. These chord tones function in two ways: (l) As a structural function which has to do with the chord as harmony or the vertical relationship between the chord tones to a key, root or tonal center, and to chords in a related series, called chord progressions. In this capacity, chord tones are classified as essential tones. (2) As a melodic function the fundamental chord tones alternate with the non-chordal or extended chord tones in a dual capacity as harmonic and melodic functions.
For example, the chord, which is conceived of as being a static
a simple device as arpeg- element , upon activation through such giation becomes a simple melody. Such arpeggiation of the chord tones may be defined as to harmonic embellishment. In our stipu- lated definition as to what constitutes an embellishment, any tone :
50 of an eighth note value or less is in the embellishment range rhythmi-
cally. Theoretically this includes those tones that are also the fun-
damental tones of a chord. This is so because a set of objects may be members of more than one set. Therefore, in this connection, it
should be remembered that when extended chords are involved, every
tone is a potential chordal element.
The embellishments as defined for this study . In this disser-
tation, the embellishments vill be classified in accordance with the
following six categories
1. Passing tone
The passing tone is a non-chordal or embellishing tone used to
fill the space between two chord tones. The chord tones may be members
of the same or of two different chords. Passing tones are diatonic,
chromatic or a mixture of both. They may be accented or unaccented.
Percy Goetschius in his exposition on melodic development included for
completeness the notion of passing tones filling up the space of a per-
1 fect fourth or more. In Goetschius’ own words:
"As the fourth is the widest interval that can occur between contiguous chord-tones (namely, from the chord- fifth to the root above), it follows that a line of in- termediate passing-tones, inserted between still larger skips (5th, 6th, 7th, or 8th), can not consist exclusively or more chord- of inharmonic tones , but must contain one tones, also. The effect of the whole step-wise group, however, will be that of unessential tones, especially in swift successions; and as such they are to be regarded and treated."
1 issue Percy Goetschius, Exercises in Melody Writing , 13th (New York: G. Schirmer, 1928), pp. 67-^8* :
51
This statement underscores the fact that the various chord mem- bers may function in more than one set or class simultaneously. That is, a harmonic tone which is theoretically considered to be a static element can be transformed by rhythmization into dynamic motion. Be- cause the active part, which in most cases is the melody, is related or coordinated with a theoretically defined constant (harmony), it is useful to be aware of the dual relationship that certain tones will
have . For example
In the above example, the C, E, and G are given as chordal tones. In the sixteenth runs the C, E, G are part of the min and are also part of the harmonic element in which case they can be defined
as structure (harmony) or as embellishments (melody).
2. Neighboring tone
The neighboring tone occurs in a group. The smallest grouping
entails three tones; the first one is a chord tone; the neighboring
tone is the second one in the group— it is either one-half step or
one whole step above or below the first tone; the third tone is a
repeat of the first one. The neighboring tone can occur in a cluster
containing more than three tones. It is then called a tonal group. 52
3. Suspension
A suspension occurs when a chord tone is held past its point of resolution into the time value of a new chord. The held-over tone becomes non-chordal, displaces the expected tone and then resolves by- step. The suspension usually resolves downward but can resolve upward.
It needs to be remembered that the actual movement of a sus- pended tone is a stepwise motion and the only thing that distinguishes it from an ordinary stepwise motion is the delay in the entry of the second tone.
In this paper, the holding over of one metrical unit into the time value of another constitutes a suspension. This could involve a repeated tone. A suspension will be considered to have taken place
whether the tone is considered non-chordal or not . Such suspensions are called rhythmic or harmonic suspensions. It could be argued that this is not a true suspension, but the suspension is primarily a rhythmic device.
k. Anticipation
The anticipation occurs when a tone belonging to an upcoming
chord is sounded in advance of the chord of which it is a member. The
anticipation is also a rhythmic device and therefore there is contained
within this paper a harmonic or rhythmic anticipation.
5 . Appoggiatura
and The appoggiatura is a non-chordal tone that enters by skip
from resolves by step. It may be accented or unaccented. It may enter
above or below. 53
6. Echappee
The echappee is an embellishment that leaves a chord tone by step in the opposite direction to the intended resolution and which then turns and leaps a third to its note of resolution. The leap can be greater than a third. Added to the standard definition of the echappee is the following: any embellishment that enters by step and resolves by leap is to be considered an echappee.
The cambiata is not being included in the listing of definitions because it is an archaic device, and its function is being handled by the appoggiatura.
The embellishments are generally considered to be specific oper- ations involving the sonic elements of music. The absence of sound is recognized and used in music as an integral part of the total system, but its function as an embellishment has been overlooked or not speci- fically stated. In this dissertation, the rest is being defined as a substitution for sound and as such is a form of embellishment.
The embellishments, in addition to modifying the basic harmonic structural elements, may themselves be embellished. Some examples of embellished embellishments are: x . —
1. The interposing of tones at the resolution of the suspen- sion- thereby delaying the resolution:
1 - D"* Ct 1 Gr“l S. \s . s. ^ z ^ - _ ^ it - 1 - I T 1 f
i ^ \ \ \ 1 , T \ \ —9 - IT i 1 L_l V 1 \ \ — 1*1 It I * : : « 1 1 * o —J «. .1. — G~ n QrO 6-7 ) S. ” * - ^ 'n : • 1 r » 1 > 4 • r - ! | * ' V. ( , L V \ L \ 1 \ \ \ y — 2 1 ca.^1 — ' 11 | \ \ uA \ <~J 2. A neighboring tone may itself have a neighboring tone:
3. An appoggiatura may have a neighboring tone:
«*<.(> £> ^Ti p t 1 — Y r \ \ • • ( * (— \ \ \ \ V L \ • . , \ \ ( \ — * r* v " „-=! V 1 1 - * • * A > \ 0-N^ Q; Ar- ^
Application of the Embellishments to the Melodic Model.
At the top of each page in the lexicon, descriptive titles will
be placed to show
independent variable 1. The operation being performed by the
harmonic /melodic (the embellishment) on the dependent variable (the
structure) :
55
2. The two chords that form the harmonic /melodic structure.
The general order in which the embellishments will occur in the examples will be as follows (the exact order having to depend ulti mately upon the embellishment and the size of the melodic interval):
1. Anticipation
2. Suspension
3. Upper neighbor
U. Lower neighbor
5. Upper and lower neighbors (tonal group)
6. Chromatic passing tone
7. Diatonic passing tone
8. Diatonic, chromatic passing tone
9. Chromatic, diatonic passing tone
10. First-note neighbor
11, Second-note neighbor
12. First and second neighbors
13. Single appoggiatura on first note
lU. Single appoggiatura on second note
15. Single appoggiatura on first and second notes
16 . Double appoggiatura on first note
IT. Double appoggiatura on second note
notes 18 . Double appoggiatura on first and second
19. Combination embellishments
20. Embellished embellishments
21. Rest substitution
The two-chord framework will occur in the following order 56
- AmT BmT( 5) AmT - CmaJ AmT - DmT AmT - EmT AmT - FmaJ AmT — GT
BmT( 5) AmT BmT( 5) — CmaJ BmT( 5) - DmT BmT( 5) — EmT BmT( 5) — FmaJ BmT( 5) - GT
CmaJ AmT CmaJ - BmT( 5) CmaJ - DmT CmaJ - EmT CmaJ - FmaJ CmaJ - GT
DmT _ AmT DmT - BmT( 5) DmT - CmaJ DmT - EmT DmT - FmaJ DmT - GT
EmT _ AmT EmT - BmT( 5) EmT - CmaJ EmT - DmT EmT - FmaJ EmT - GT
FmaJ AmT FmaJ - BmT( 5) FmaJ - CmaJ FmaJ - DmT FmaJ - EmT FmaJ - GT
GT AmT GT - Bm( 5) GT - CmaJ GT - DmT GT - EmT GT - FmaJ 57
CHAPTER IV
THE EMBELLISHMENT LEXICON
Hov to Read the Lexicon
In reading this lexicon there are three things to consider: the chords involved, the melodic motion that is taking place on the chordal framework, and the specific embellishment that is being applied to the harmonic, melodic situation. The application of embellishments will increase the rhythmic activity of the otherwise metrically divided cells of melodic motion.
Outline of the Page
Each page will be headed by two chord symbols which represent the harmonic structure within which the examples on that page will be constructed. The second level of subdivision on the page will be the headings indicating the basic melodic motions that are derived from the harmony, for example, the repeated tone motion, the stepwise motion up- ward, the stepwise motion downward, etc. These headings will be written
out in full in those cases where there are only two words, e.g. , Repeated
Tone. Where there are three words involved in the heading, such as Nar- row Leap Upward, the last word will be abbreviated. These abbreviations are necessary to save space and to make for easy referral by making it possible to have a complete treatment of the embellishments on one page. 58
The Abbreviations
The abbreviations adopted for use in the lexicon are:
1. To indicate melodic motion
- Narrow Leap Upv. - replaces Narrow Leap Upward
- Narrow Leap Downw. - replaces Narrow Leap Downward
- Wide Leap Upw., Downw. - replaces Wide Leap Upward, Downward
2. To indicate the embellishments:
Ant • replaces Anticipation
- Susp. " Suspension
- U.N. " Upper Neighbor
- L.N. " Lower Neighbor
- T.G. " Tonal Group
- C.P.T. " Chromatic Passing Tone
- Ech. " Echappee
- F.N.N. " First Note Neighbor
- S.N.N. ” Second Note Neighbor
- F. S.N.N. " First and Second Note Neighbor
- D.P. " Diatonic Passing Tone
- D.C.P. " Diatonic, Chromatic Passing Tone
- C.D.P. " Chromatic, Diatonic Passing Tone
- C.E. " Combined Embellishment
- S.A. ” Single Appoggiatura
- D.A. " Double Appoggiatura
Tones - S.D. P. " Successive Diatonic Passing
- R.8. " Rest Substitute
- H.E. " Harmonic Embellishment
Embellishment - E.E. » Embellished :
5>9
Placement of the Embellishments
The embellishments will occur within the rhythmic pattern of either two half notes or of two quarter notes followed by a half note.
In either case the first two beats will represent the first chord and the second two beats will represent the second of the two chords on the page of examples.
The embellishment is always constructed at the point in each example that exemplifies the melodic motion under consideration. For example, if the melodic motion is Stepwise Upward and the chordal frame work is Dm7-Em7, the basic melodic pattern before embellishment could appear as
or
|£»0 DWl
1 1 U- —
60
In the first example the embellishment would be constructed on the first note which is D, because the stepwise motion upward takes place there.
In the second example the stepwise motion upward starts on D, and the second note and the embellishment therefore would be constructed at that point. In the third example the stepwise motion upward starts on the first note, which is D. The application of a chromatic passing tone to each of the three examples will produce different results because the stepwise motion upward occurs under different circumstances. Examples:
p. 0 c . ~r. Dr*i —c..p, 7. -7. . '-1 -T- 1 , > \ \ \ \ 1 1 11 \ \ 1 I r >v -^-<5— *'1U * a 11
Additional examples are given below of some of the other possible com- binations of melodic motion and embellishment. D - E "1
\ j—j— 7V- — h \ \ J\ \ n 1 ^ i --ci o> —
r> O.p. — \ * r— x m—— s— \ T~\ (d n 0—\ Ha i » bnM- .
6l
Exceptions
There axe a number of exceptions in the application of the em- bellishments to the various chord tones. For example* it is not possible to insert a chromatic passing tone between two chord tones that are a half step apart. I.e., between the tones F and E it is not possible to
insert a chromatic passing tone. Example:
O ™ 1 *
In those examples where the combining of the melodic motion and
the embellishment is not possible, the heading will be left over the
space where the example would normally go, but the space in which the
example would be placed will be left empty.
It is to be noted that the terms Wide Leap Upward, Downward are
used both disjunctively in an either up or down sense or conjunctively
model in a simultaneous up and down sense. That is, when the melodic melody being embellished is the Wide Leap Up, Down category, then the or the may consist of a single wide leap followed by any other interval simultaneously or melody may be two wide leaps which may be embellished
individually :
62
Example
D rv\~l ^
*) ") r» l\ r« |) — —: — 4 —*
ALLztkvJf 63
J&UL2&L .Laisl L-JLAL -*•-« — /? 4—#--* =?' i^cEE^EEj "I I am —» ———*
*• r. S £_ZX —££h^-ilfhARD C.P. Zaa*. ‘ £USf. + + -
r + .—r—rcr 4r ^4 r*
" jC£&_ S. a, . v. JL £JiA< £: JA-A±- —^.'JLLj.j -a4V — — - nzcf j 3Z
*- 3
/X H. 7 AMt. JJLjlusl. J*l-££JL l Am*. * — <— ii. E. / fat he: =£ i?
/ fL&.AUL M F.S.A'.P. M.L. UPW.. AHh M. SUSP. —f- J1 ^ J J_ t—t" BE 1 S^fEE •«5 r
A/? C.D.R S.M'rt- xz Zl M . ns. F.H.M ft-. ±^E^{ ' s*. i d
D*A. r.S.A'A. Jlf. S.A- r C.c. 17. Sf Atf-ui. njrivkXA'g- E A~Sip. T, P f £ Ji-u -U #-
^ AV*
— «. i y —-r^-" v*j ••* T «*• r
HVA yy J. 0. P Hi. C • E-‘ »*: fZ 3LH7~?J :< --t-~t- 7 ir e~fz;~ — r—»- HE Ht T* ?- C-
’’*• V/- A X. yr, A/5f Hf. & ft- H7. A.:. e 1- HEpiti HHLET EEHE=XEZ=E J—E- “nzc nrn fiOi' Zi_ et:::
*•» • * N l, C J O I1« • •* * T ' MO D I • 12 iTAVI E— u 1 : ^; 4{— ^ 614 A1 zJLSl. ElP. TV. \'£ A.W. j. *'* ^ r up,\am S ^./T 7: /? - 4 f. SUSP. p— Trj-^t— ^zczzziL 4 -f-ar " r,-; I ;i £CH. f. fa 6. fa fa. ,<*/’ - r.fa.fa. //. a. * - *• a'. 4 6 aA* M'l'J P :czzz: -a— _ vi? H // //. If. /;? 4 t- TiZT zzz > * ; IZZI —i . A .. . I . 0 S.fa.fa. ES.fa.fa. IS. H' faP-L.UPW. jO. Afa-t XI. SUSP j— EE— 3F : - - - — Ji. /7 A ££•/? -—1 : . —.*C~ ;:zz- zzzz^z..-- :-ji =zz=zz=zz=zrz -zzzzzzzzz n >1 - — — — ,| ; —7^ — 1 : fj!— ;— ^ — — 1 ? Z. -J L-, ,. ; -A - 1—1 —« 1 : / J i 4 F.S.s.fa 7 AS S.A. A1. 0. A. ?a. u. £• fa3\. faX.L. Mk'faWMD }j- i=*=k EE ^--^zzzlrzz S& 3^< ^ ;/. At'/. «. W- S3. 0. P. A E S.fa.fa . •* tt- pJ.P._ 31 S. JU- tS, ,?* £,4 ^ . : up. — ? r Z4JI >'• zzzz 'i— = -tf H— 3 -*77 -« +L^.L «!• *• ~£:==s: 4- y. r VI. C.S. VS. SUSP. — : t '.. i_- n rTY— T -r~JP^~~~T j i —— F ' r*— J r$ A i L t A l - I d £. ,L i /l J - 1 & ^ li f ...... if.... -J L^-'^z.t~^ — 1 7 * £ ^ - A<5? Hf. H- ' T.G. yz s. S. *y. ». 42 - _4z-t-zz^ 1 - CpzzzpL -r l> . ."±r- f y ,A^- ±1 fcfct J MO Ol-ll ITAVf —~ — ? - 7 — — 65 A-? - n- XEP. /. A At. TOMS' a sj/sr. a>. $. j.— y /.*. ±=nzr' -t r- r —i» xz. . f.rr: t -4- h~-—nzJzrr.? 1 ~ T.6. SfiW- UPWAKo C.P.T. f. 6. 7. Alt. S. SUSP -g-~ * e- znzzLSc a — tt T--f !J ~T /vr/r. 1 * /ita /f r./ //. S.M.M. /I. F f.A’.M. sr.w. Ot*A'»MA'p j—HC -? — ; i 1 1 1 I r 3=C SEE5B5T 'V £• P- T. //. /y //; yfc /f^/Y. // /fVY./y. SB- jr 7~J-h±=t i /* /?. FS.M.M. tfg.L.l/PW. V, AST. At. sjsp :--<• 1 -uj—) > * = r==:g =zzjt — i f— = » . PT' — r: r = 1 =F 7 —i f j o- f i : ! 4 — --*xz±#£ — 7l- _i dl ~ir xt:.— Bt-.-- / ZZ. D.P. ?/. O. C.P. ay. c. z>. /? /T s. a/- a/. A-USA- 2-^W - - ¥— " f P-i 4- £ < i i- t r TtL u- ? -r m F. S.M.M. «£ A. $7 • zi. MX./*. DOWMAZD • -5-^ . < r ZJ -4—4- X i ± xu. -* *r ?/. /W* susp. >). Ay? //. z>. ^r./Z =F f *T -J *+ is* 17. S.M-M. ?& /T ?. M.M. ??. S.A. YA D.A. ~ — «• ... - . x i a.F7.± —rd~ , ---i T/zT- --— , _ •A /. DAP/. AMt. 06? *. i>./? ¥/. UPW. MO. y/. / yy ZjT~JT. -X *~ U 4- sr T /V. u/ . /?. 5. ME. APP y/. r. 6 i7. YZ Y°. ^77Z2S^1 XX (- -H r 4 4- -J #- nrr^: 0. A, si. £*£• ZT' .- ^3^ Xxr. e -XL-#- I » c !•••*(> • •»** N T NO O I • 1 I «TAVC “ r * f ! 66 A *7 - £^7 REP. TORE 1. A-Vfc 2. SI'S?. 3. U. F. Y l. F. i,.S.PT. SEW. UPWARD i. susp 1. ECH. to. F F. F. — II. S.F.F. H.F S.F.F. $tw. CfhAUXfb x=y_TTi— tEEEEEEz T. 3 K£/ vj/ Vi^ c - r- T SUSP. /f/K F. /?. /f. /A /£ zjpL* * ?.\.F. /$, /f. /% A /V- F- Ft.L. UPWARP to. AFt. 21. SUSP L — r + .- ,, ^ *2A—*'-‘-+-r e ‘i A f- P J .—* — ' — 1 — 1 f H H =b — j W. s. 0. P 22. FF.F. AS. S.F.F. u $f. Aftt 12. SUSP • 1 -M — f s -j uj rr-;;-=]i-r: H 1| 9 4 \r- ~-r-9-t>—r -f— i — ' • .../.. A *- • ly- . —#—)-— -j — t 0 - 11 — 4 J *--—h-7--r—tn£ - 1 £. F- F. F. F- F. ? S-F.F. P* . u- j' ?£. F 2!. FA. Y<>. A V -Til -jr.7. r m XZT- & 7^ $6. J.A. 2t\fi. F. “—-z— r * Kr^r K-o t’**° «•»« WAV ** V MO D I • II •TAVf f * I — — — ‘ — — I 67 A .7 - /•.vr REP. TCJiS 1. ant. X. SUSP. 2. u. n. y. c. /V. — JTJ- >r tr' H :nJ - f -M 13. It ANT. If. SUSP M. £Oi. /? F. N./J. - 71 ;^7=r— ±3 S.N.u. IS. If. fS.li.At. NP.L. uPW. is. ant xi. SUSP. t=± 1=ZE PH HE \£x vi/ U7 XX. D.p D.C.p. XH. C.D. P. AS. fN.V. At. S-AJ A/. J— —n SE^EEiEE U2ZZE ~ g !l~ ^=21 *• Jr•ST /-S.M.M. ,« i( . s.A. Xf. D.A. SJ, ££• ---- / AX. 1. Awm o — i£z-zfE^?=rr-< |, 3±=uSL fa r f- l. — ! — rf -r— 1 — J:=B=i=; ^-jr^,r a Si. SUSP. Ji o.p 3=1— * Si. D.C.p 3=zIf. 3-X^r.z 4-+-V, X.£. Hi- w.A.ilfW.DVH. tx. Air. H3. SUSP it. S. D. P 00 ' - J -f g — ^ ~TT t !T *S^— xzn j "ET : =^ E^IL_ E2TE ~ x -I VUlJL ~ -i rf-_; ... I 4 1 \2J , H5. /V. T.C. A. 5. *£. i7. if. HI. AM 1 ! ,— 1 ' 1 rN r —— -- » ' “I f-I — — J * — r f -f— ' .— — —— — q i".:i : . a r~c a r r n— , q -J Ll U-J +-£g— »— U— * 4 i fl. 0. A. fl- £.£. ^j— Ua^L- I x&rsu+rpJirSEE (’MC |«**>0 NO Ol • II «TAVC •1»» • WAY H — — A 7 . 1 — y —V 68 A-J -67 f < Mt 2. SUSP. 3. L . V. V L.A/. —.—* r—— A. 4- t W—T—i—9 “-* r-y * y —cr T +. f g- y. r.6. SK W. UPUAPO S C-P.T. 7. Aut. $ susp. f £CH. IO.F.A/.M. S’. A/. /V A . 7. // /X-F. S. A' fP.W. D0 WA HviZp ~ r > - - - nr~7.77T =Z~< r< v — = — t f — T ( E -J u_ — \ TT7 U/ \Jj \Js /5. E r '4 AFt, If. SUSP. /(,. tCH. 17. A/. A/. [ ; ; f~ i 1 — • 1 T~*t r~" r— r 1 j * j- - 1 J 3 £~ r~~ r — i — i )r~T7t J r. A t A r- — — • • - » -•- -* » 1 - —r ..J _V W ^ II V a — IS. S.MU n. FJ.AJ.M. FS.l.UPlU. 20. A Ft, 21. SUSP. -r?*—7 : M ^=^=— ^ , == -iH- *S- i 4 a -* t zf v^r 11 AX. O.p. V. AC. 24. C.b.P. 2f F.M.A/. At* S.F.F. f=q=l * *4 LJ ; ! ^ : ! J i i 4 ——j —a 1 L — 4 i F. S. M.M. v>- f.f.f. 37. S.V.F. 3 S. it f.p. VO. O.A. ± 4 « 4 -*- -4~±—4- 21 ^r cr ' *• 'r‘ * r . T T 2 .D. P - - SUSP. yy, /. c £ AS' 1 S3. 7 W. L . UFW. DHW. V*. c a: *-4 49. APP. Vf. U. W. ~S- VZ p. S. Vfi. F. £. - = '1 -- . 1 ~1 —r —P 1 :1 : f 1 1 ^ f _Lj M l * J L.--a=1 ,-^-J^-L -1 * * T'i =4 -J- V— * J: V ft}. O.A. fl• £. £• ±3Z=J£ 4 ZJrxr C**»c t *» s 3 »%•» • »»•*. N T NO Ot . II IT AVI — — 69 fsJU-A -7 l AHt. i£R TJME ”" X. Sl/st y - ^= ~~-t C'i r ~*—r - 7—7 ~ ~ 5 -+~r 7 r~ 3 H ‘ ' It rr /. r£ .W. Up*ARC) 6. £. P. T. ANt __ 7 /, SUSP. nz nzt S H 3E= 4 * ** 6- -* r; 7 — cJ f. A- A'. _f /4 /f //- /i. &.UW*'Af.D -i F= 5 — f- i — Ji = ~ *~ -fr —4 *— r=r I ~ r -* ~r j y r —tf- T Jt. S.A'.*. **0 | *1 la §• * u« • **» 1 NO Ol > II CTAVI c—4 - | — * 70 M 1 - r. - r- 'g-mte-, l M SUSP. I L'. /. Z. V. n ~ —— **—• ' - * y "*~y -y— ~ ^ -^- H ^ ^ ^ ^ ^ ^ ' ^ ' 7^ — 57/v. urwAtb £ 7T*. S. 7 A\t. A SUSP. * X 1^ I -i* -*•-+ - ••* -* ~7~r- }=£ZZZil » * / *... ii £CH. 10. F, F-F. // StA'-F. tft.ES.KF> $FW. tew Mfs -C. ., .,.* ^ - # X r ... -; 1 , ._ ,_^r. - f~n ; ,, , 1_ * L XzzX—r _ — — r * =}:z l! * tt=__L_ — H— ' [ - .. xfcr—1-, "Xirx -X--": . V r , X4— A*r. C, FT. /t/ SUSP. ££H. Fa/.a!- /l /f. /S. /7. - - ->-t*' | • 1 3 i ^xzzExzrr.rz-^.^__ ., i -zzz~':-m L fi ixriiz, — | — — — t i-~i srri-rt-7 F.S^A'.F. IS; n l/PWARb to. A Ft. X/. SUSP. c I u "- ---» -»» -— ~f o •*] ; 0 _ 7: s<* - — 0 x=ix»z: r.r • XL D.R 11 0. C. F IP. If. F.FF' D.A' P. 17. FS.F.F. IS. Fa. ip 7.1. U. NR.L. OAW. Zl^rzzzzjr!-•—f— — H 3- fc^-jr 4 ^-U. vi/ I r . A /? d. ;/. ,4 V* 2V £<: z*. P. — IT = =^ZU--xqxzxTr-: xi£EEEEE + xi Jlj. ^ «C f FM.H. 77. /.A'.//- 3^—' n St Am ^xrzi v—* ir' ' > T^-jr^r^r r~+~r rf s T ' y/S. T 7 SUSP. y/- £.*. IV Z. UFW. om & Apt PS. - — ~^=U> ^ * « r K.*»0 |-*NO !«•* 0 *» » MO O 1 • 1 2 ATAVK — 0 y } t r t » 71 (c* Ait. Th /. X. SUSP. J.jav. / l.A/. 3PEEE mi ““ p- ~r- r. r / +—tr~* — —(T * .j ? i ' SPIV. t/fih'AM C C.P.T. 7 S. Sl/S/> y* ' " — — - . . - ^ Z . .. 1 3 , —ii— r."~. i ~ ' • H ~ ~r *r r <* g / --» - Up £ j ? f A S. A A’. ECU. //, S A'. A . /X. //#>; DsWHX/tn _mLm - -j- -r r *f ; j J * - rr i t i — ~ " — — H -• r • 1-* =7= iH eT % -fl-~ S.A'.M /y f-S A/.U. M.L.UfWAKD XX 4** xi, SVS/>‘ jCJI. ~ ~ - 1! . - — — J . *---7 =-C « ~ “I t* f ;•» . a£:-ir TT j-1- 1 -1 *- ^~=Z=2=S f- 1— ^ vjy A** H Af. f.ti* AC S.MV. ' r Z I;' . =%==***= - *= 3=7=1 =v 7- <* 7— $ . , =7to ;? -J _L_ "U=mm to -r r s. M-H- XS. S.A. r a- y f F~. ;iE5 ^Y U ^ 1 * ' j f ,}t'^ 1 — > f 7 J ' . j. , ; — XZZL _J 1/ ». SUSR ?/ c.p. x= -to?: $ =9 to Z/tf/V. n S. A'.M s.a. D. A. -7 St, *—n —9— W i—^—r — n rr? , ^ L^^_X===^ A — f—x ; * t f , =n_. i - 2=to==^ — ~~f . "S>— -f ' -i « - - " J 1 - . 1 "* — ‘ — r U- u , ; — -U-r- C, E. fit. E O P. . n'.z.. ufw. daw. vz. y/ *y. S ±=r_- =ZZZ=7=== z^znrziq a— « mm » £• IS. vc t:g. VZ A. S. Vf- H. ff. = V- =7 / • jt;-T== ; i -to p- D. A. £• /A( //. —^•7^ - -''jV L. f 3to: =: JXrr *1*1 • *4T H V MO O ! • I » •AVI i / r*T —?— r — 72 P 7- f _ p 7 ANt j A. SUSP. I J-x- y l.aj. — — - - I 0 r 1 A s r& /•>•*'* i IP. //- S.A.A. /A. f. S. M- X- cph'. ajwhx/rn ip* "* L * J ~ e , — ' * * n , , ^ 4 rs ^r-i-* ^ t r 7 7-r - Jl c/;t: AU+- susp. £CH. £** //. //. ,7. — r~ i — zE=-i +*- g f ; — — . s -» (5- >t— ? !i' ±=±3 //. $.*•* PS UP. A'P.L. UPWARD ““ If. m AUt X! SUSP. ~ E ^ ! i n — ——— l ii „ -f ,: : m U’rkU" : r=E m X3 A* /? A £ If. fiM-M AS. f"«M \ZZZEflI±7Z+ ^F=EE\: 1 i tl I I f— f.S.S.N. AS. S> A. p f j 3!L... zzri -f-fj-— — . ff-f-TT - r.t tz=z^= — { f 1 — '< i 11 L ,L 1 ri J. . 1 1 — ^ 1 ~ts=r~—J -jS5^— j | 31 A**' 31 SUSS. 5a ** A* Sf. U. O. P x f; -?++-r -r- e- :rx x— t=zztz m y=F= «± r -A. 3k F.ti.H- 37, S.U.A. $£ PS. A n S. A- yu. O.A ^ ^ -- — vj, —f 7‘T”'' ^ r JL_~‘ • ._,zrj^±= ' ^ J D. P W.l. UFA. UAH', pi. Mf. f/, SUSP. S. fO-ipL SL £> £• - ' xjl . 1—.1 , xfezj ^-p f . H* > 1 —— y ' T r {iNU |*»NO tl«» • * **. I MO 01-11 «TAVC — — 7 — — T — Hi — — 73 REP. AA't. nw£ 1. X. Si'S? f. U.Af. L. ,V Z/ZZTZLT. r~ rzzrzrzL =?--rrr— : //. ECU. -» —* ? ~ , , n f— r~ r * . t! i i — — - : ! ^ i ! i , — — — jrr..--./. ./.nq —* *- -t e <--^± * ' :zx_ r * -n£.-j; j_ i — 6 — — r.SR-tf- lit. It Atf.Z. iffmho xx. AM* x?4 $'jsr. - s=zr:g: . zrrzr --lzr ~j — —V~7 hj~trzf-: 7f;z~x rs7*—r - • -- 3 rr-zblm ±Ei -g 1: r t 5 r ^ tT~*- 0. P* XI. A c.e xv. £.*./? E/J.N. XX. SMV. !1 r 0 —« 1 L jj - u ,>. — 1 ~ ' '" 1 li . It 17 & 1 ir'— c"^' J -V ^ / X7. £S.**- XS. 9. A XI. b' A It). C. £. XA.L. AfMMXO S IZZZ^? l-iiz-i ~~^T -,.... - v-V-: *Z ^ !—— — l ( --i j:Tr~-fj-. T7zit-£ - J-—-p-:— T* J> * j A* A 3X. XT. o. A II. $X. MM tl A n ±=t± - _r .» fi—f- -f i ± ?==+ n£ E $. R. A/. A. A A. ft. f.M.ft- ;7 7$, ft £ T , 'FZTJZ bp^=z::;;z y—--f-FS rrrrzzi--te^ 3!7= ^^ S. D.E £. SUSP. VI. W.L.UFU. 0\ lv. /W # . - T~ 1 4- S • V EE t-*- I —~ i Y <. # V’ H. R-S. E- AfP. yx VS. T. A V7. ys R V7. r~T~r Ji L X GL _j j 1_ * -4 I — "T T=r=^ -r-^r ? r * r r * ;r ' ** r E. E. fs. D-A. £/. ±± FA—ZZ 9 > + *Y* r. * •>*» < r x MO O 1 • «1 • AVI ^- — 1 0 7U bj»- a 1. A*: J. SUSP 3. I/A/. v. *. y. } • 1 f y t — -S — ——* ~ . ifEEfEE^ 3-^— .=pr- r+r- r "S^J^C—r i < 1 r. f. a. SPiY. UfUAPD L. 7 Aa/+. g, SUSP I=LZ— y. . r.rrz\ 1 /f/K.y. f. M /!. S.MM. a. 3^. lK'*W A n c. p. r AMt &*• H /tf If. SUSP. ft u F.y.y. Ej ‘ 'll" UhtARb /, $. ,V.,V. /f. A gti AHt X/. XiAT/J II -O— -f *- It= a =£± #. SUSP. 33. D-A If, U- A P r -+*— mr -+ r * 1=t=C -f— o-,- m ¥ -/—0-- -O. A. . S. A. YJ. i. F.M-H- 37. S. MM ^ F.SM.M. 39 SZiZiLy. . I—f # |ZI **—«• — — , -ZX1( ,4 r..f | — — I f &- rrSs>— —4— — '_JLr._— 1 us TZ^ <1 Us D.P c ' £‘ ML. 1/fW. DA/W. AMt. Hi. susp. j/Y. S <1. m 3zzt -y— :xz5§p^z| sdE5EH 5E - W- 3: 7 ,y.< * T '• r yV* M. £• APP r ml. r.s. ^ /?. £ YS. ^ sspz. E3 < vzl * - ' .z a» ~i ; 1 -fz± sru ~t—ST _r_ v T r 5 r r + r r i 0./4. F. F. =^5 1—SI. ± JL.. tUs V |•*o MO O « • f • tTAVC — r r p . —* d 75 £«»-A~7 AMt TitfL j> / u./s. ¥. i.#. ~ ^- *<- - - - - •€ — ~ — - — +A~ J ' 1 — 4 -4 — — j ^ ^ " - ^ . j /Ac uawauo f- r.a. s. c.fir. 7 g si/sr. - r~xr =^=? . < 6 ~~Trrj T—*f -—r~r- !iv-rf rT— t_ =±=y= fcx —tr tin. f. A'. />'. ?. A u s.a'.m /£' /, }. A \ A fFrt. Da*/* »*rp . • <' ' nrzr-3"-i— -=ir.~ ~r f r ifEEEBEiE* HHli 3 : u- /*. C.P.T. X/fr. /v. //. Sufr * // f. MA/. i T- 3 1- .= ^4 izjtz:-# 3 •0- * ife 1: , r; I I? — - — ^.5! ...... A/. AT. At. Alft* L. UFWARb . f . tf.fwS/V. r,. ^A/t. //?.7 7 £0, */,31. ***/.SUSP — i l -jr^i-.. il .^— ** a/? D. C.F. M S.D.fi US. /TM*. UL S.s.a'. ~ '-^ u~~j, i' . . . ^y • ~4 ^ . * j— r y — J — F.S.M.N. DflW/vMxo Xt St- S. A. Ut 0 . A. to- C. £. M.L. 31 f.M.V. 33 £ S. M- Al. ft f. A *'A. d. A. ttzzur. "» — -v- r •+•’ * 3^ mm f' £. £. A A SI- ^EEE=tz5^1~: -+ 1 -+- C^.. I-.no • Mt • wr*» < MO P I • »l •TAVf ^ — j v* 76 C - 8~ ^ a. mm u.m -A&L-JMLL. S~L r * r^. L/FAARb t. C.P.T. 7. AM* g. SUSP A n H. If. SUSP. A. £CH' EpLgZjT ^T~r '«*- -r- 1 9=f 3^? /&. S. M. /V. F.S.M.M. M.L. t/fh'AKD /£ fat AM* M. SUSP i| ^ j- si — —«*jl- >1—^— ippl ^ 4 * r r A £ S.M.V. It H ^>r xa'-m St. 31 3^3 -7-i- 33 t-Tr-t — — ri m V Ar*--*- T S.X.M. - £ , A D.A AS. SA. S?\ fS, £’ Mt-L. DCMaHAPO ^ sj> £j\_ XI : = —f- i:;:::: 3.:. -v I- ^ vr?— * rr y * r* w y ; J yw P. /. #. SUSP. IS. O.P. SY A U. $f. U. O. P ^ " 1 r - , -.-ii.— - ... 4- , -j,. : . .. — v“ 1 •— -' —+H— ' :i A 3 J L ° ; -U—1-++-* 13=—4 ..^ j Li— # » —4—rira St. /f/V./V. 37. S.MM ?, %**_ n s.a. MS. 0. A. r :=~~ :==£L3=~yrv : :_ i ; i -*>—#- r * f T ’ +~ T Vt.i.UPW. 4A/t. 4/€ SUSP . D. A. m. c.e. JAW. yt. j/M J j .::::^tl 0- t~t -i -C-—r*- I 4 — 7r T + T -r-^rr -— — ^ * it « -t i - : ; — *i ,r ~T ^...-y Ni-P± _ — r J 4 _ 11 1 --g l- -—— 1^ArtzSz^r-z^zy, _ i— ‘<3 *4 * ~< -i ^•>r. £. £. ff. P- uq i*- S3E3 (ita IMt • »** * * HO Ol • II I T A VI — J — — * — 77 // * - 7 PEP. TJAE /• Aft. A- SJS* 3. J.\. Y. l..\. 1 41— *— -o— -a—r -+--rO- -+-rp / 4 3 f. r. a. SflV. UPWARD A/At SffSP. 7. s. m. * ZT * 3^3 £=£E3= -6 +- ££« a'. 1. p, Pa'. A'. //. $. A r. ti.A'.A'. fPW. CoWA'WPFP p= -t : jrr L. ; x — ii I L I... . — : 53E -J T -~r C -* r — l —* 1 E '} C.P.T. ' £CH. /y Mt !$. SUSP. /A ty F.A/.a/. t -v 21 ^ — +* 1 f F^ — ±w^7 jt .a N. F. S. /f. $. /?. F. F.M. APS,, upward ft. AFt Xt. SUSP. o . c.p. X2. P. XI XX F. FM xf. S.F-F. ^=*=T- =Z f—FF. i a il -f. < v ^ ' $- A A. x . E. If. ^ jx OCWA’IYAPD IE i. ii. zrppsptzrzi . — — r.'.’l T~T~^"tzrz^rrr:: .'.phiz., j ,.i ' j Ji/J.r J ' ^-Thr-i-r^rv \2T A U. P F. 0. P. V. Mt $2. Susa n o.p. JY. 3?. 1 - ! -1 « . j.... |j _x= '7Tv~: " — i 27' ^ -—0 .: " — ~a :i —f -f*^7 . i?' U <• 4 a..^— .j-JL- r *— — / .4 ^ W /-l- U. F.FF 37. f./Y-.V. It. FSF.M dyw. ,i AA t. SUSP. $- P‘F V/. r. ^ 1*7 4.. JPW. w YY. q >a-+. =^-= ~ f ~ f f T~ ztz ^ ML ->—e^- /V. T. 6. P.S. v/. y/. YZ Y*. ^ V?. { ^ X — i 1 if-zzr: ,, ^ - -^ -rr+ 4 r-A ^—i~ l *-. -+xp- O.A. £• £- & si. F 0/ *« 4taO C T. |* l«t« • »»» N * NO o . ia tTAVI E * — — 3 ) - a 78 /• r L. _ L- '7 AZP, TMe A /. 4^//. *- :±zsr* *rr*— 3P5=*- -*- * * xr ig/ZZ* * rj. y/JK UPWARD c.r.T. 6 ' 7 £ SUSP ! 4— ; i- t - r~ I t- 4--—If—J- - — - —— > n :zzij / / - tf 4 j 4 4* £Cf. /,: 1. /A ^^' // tf. £f>/>.*'• ( hv. Do * »*/rr 1 i . • — ^ ; if-- i -- -m-j' 1 f/ —=i f — ... jjj-lj J — — J . / / . Ir . . r t - ^ *1 U- / J1 '_i v r — u ; —\£p> ; "Tr^ 1 ASt c ^‘ i). /V. if. SUSP. 16. S /7 /•. A/. /V. £ ir=r=i: -I tuti -e—*- :>- i: .. ^ g ~3Tg~ S.MX UPWARD //• /% tft.L. AWt M soft —1- r--~T* -F=» he : _ M $E33 * *—#- D.P jtS. 0. C. P M C-D.fi I.|—i—-J- -t—«- *“ *• x? F.S.S-S. O.A. /ZZ tf, S. A. M } -ri—fc $Lf H-M. 0. A. ?4. F. /Z £ /K. /tf ** /ts.w.m H S' A. Ys. qr=^= HE -e f- 3E±E + T-* zrlm- - 4 3££ AWt ^ * D. fi. 47. s.£. W.L. UPW. 6*W. ttf. VS. SUSP. j/Y. T=rrE-- = f=4 -» ^ f- -t-*~ • V. y/. 4* 7T£ 47 A. 5. yr. ^ /^/^f ~ ' - : . — ],- : ^_.— -g .tzz— £i ^rSll 3 4-i . i— L == -- ^ * -^- '* 1J 11 , L=ll— ; .-f.--: <— ~fl Edhf• *; -t— ^ *3- y ^* «* Y + t -- (•NO t ^D «t** • WAT. H T Mrs n « . « 9 «r»u» r ; - — —r < — 79 MAp. L. REP. TOME Mt, /. 2. MSP. U.M. M.V. cur 3 V. 3TTZ E=z£ — ^‘.7: T-„ j.irz: t=Z4 ^z=pz H H r //»' LtfWAUb EMM M. grw ,j //2 -C^-^ RS. M frihU h Arn ff—:— r_i~ T~ i ~" is. c.r.r. H. AM?. //. /yi'/f /*. /? EMM ' ~~T," 31 — i—i— >-+f E f t% S. h-H- ES.MM t n MR. L. UPWARD z£^=f5± 22. AM?. Rl. Stiff. + I m * e 21 D. P. 22. 0.0. P 21. C. D. P. 2S. EM-M PS, S-M.M -\- rC=P^ =£=£ - - t=£ ~ * * * + R + V ' + %L ****, - £' wax it is- S.A. w. D.A. 3?. c MML. Daw// o • .-= —Ep P T-~~Ti z^_r ,. ..._. ji: -— 7ir:sj*— zg± \ C "0 H — -*-r-4~ If?Ti r 3< C.D.E Si* AM 3L SUSP 33. 0.R 21 D.C.P. Z3yZTZu ~ u 7* ' + ? * "> -jFrrz . 4 + }k F.R.R 37. S. M. M. 2f, ES.MM. SI S.A . •/$ D. A- : ^ >* -r»— —rr f- El 1 — • >"•* j 7 1 / — — 1 'l ll - C =£=} — ---^ - — —«f— ~i Q ~± i ~T W ^ ^ ^ Ct E’ r p. f W.L.UPW. t/2 Stiff. MM. AM?. 13. tr-p— : E r -~n- ± c 3 '1 T u 1 M. t: s. t{7. R.S. /# 12 APR If. is y/. ^ .. bz =t=± t ! '^"pz.x , l' • 1 ± r ; i A /4. J0- r=^ •’. ?*— M -IL (iMC | '*NO •• * I 5 • • • -**V MO Ot*«l ITAVI v — 1 — • 80 £'* zJLL ,JL££ rave i._m* Z. SUSP. _ 3. U.//. v. v. r: r _.i„ t— - j ±E5i: * T.6. SPiV- UPWARD 6. c.p.r. AMt. 7. g. SUSP. etti- r //. F.U.M. ,, F.S. At. M. ST\ //. S.MM SPW. OOWA'MRD i ~f — r - '~f - ~T- t £2= Hl.l. II jL— il 31 n. c.p.r. /I. AM IP. SUSP. £CH. IU 17. Fa:*- T ) v | —*»—^ Z y — *=*=? — w * /£ $//-#. £$.' V-M /% MR. L. UPWARD M, AMP. M. SUSP. mmx m-mxm!tx=± mux - m ~7 ' * v * m -» * S.C.P. Z3. At Z/- S A/. A/. mr' ; rr : X 3="-^. 1 ± lij.. ijiHH 3=? ; J / #- XI F.S.MM. ZS. S. A- a £. «- # *P.£. Dmwwa.zd &-V—£mx= rS-im. » — T =1 r r' *— * r/y: / j T * 2T //. SUSP. /M* /Z 33. D.A 21. D.C.P. //. A /? " )r ?> ^ 37._S A/. A/. ft FS.M/S. ^ '*-+— -q -+—_j— - j - ^ jut <« U- y S- <*" 7* C. £ W.i. UM Mu', i/2. fit- sysy HI. A AS. - AA. s.d.p. -?. -/—* 4- -l * r- yy- nzz=i giNC J«*N3 *• A » K NO O I • 1 t •TAVf H*1 i .^ j 81 A- 7 - A -7 ecH- /a. fix. Y n s.At.H. a. fis.s-M spw. doisawapp ~ 1 : s: -r — — ! , — J --t- — <» / - < ii »- 3 /V. AMt //. ECK* /x ' * « -*T * , =yr]— f; -'T^ "JExdjzn : — < — a~j-V ii 1 3rribrr ^P_". j. — \ i e < r ^./V. MR L. UPWARD It M. AMt Xl. SUSP. JtraZJL. ’ — y-jr^r - ^—:z=z==5 P.M. *. ~ T — n ._pz,r i ._J - . - ./ **~y -Jk ii ! !! - 1 - t J_^ — A — —La J—^—f /i u ; i < a 1 a A* ^L 47 MR.L. D!W*'WARD zrzs: A 1 SE3z *' T*"ir v*-'— /4/tf SUSP. a D.U.P C.D. P */. #. st 3f. _£ ,-a_ ** z -f * i r - f D.A. /X ^ ^ P- 4/Af< /4^ -//. X* ^ J T 1* C~ zcm np— ± xn 7T <£ yr P- yx ?Z P'S- i/s. // £• APP IS- .<2L . t - f ..I; — . T ( 4= -<*—r—f~ r fa t- J...M-.. -..-i— - C .1 .1 I . 4 -i— ; , ^Tl^i-rrtzt=l m i= a >t. f. jf. f* //* 5 Cl-f ,.. .. — i7x:z: Prrrs-H? T2T t'«e l«--o tM • *• A*. NO Ot.11 STAVC — 82 D~7 - gjr-f 1. AAt X. Si/S/: ** /•*: y i~—J_ri. y ~ - — ?• ~r±ZT\—- r -d r mrn^ -f ~s~ ..~f >* t mv. //fh'akd ^ c.p.t. s. susp. p. F.M.M. u. f. A- a a . $7. JFSl. #• ij?. E* AFP. y/. # 7, 6. t? ^ £ n ~ T~j~7~> TJ : I r 7TP^3 TtrT ii ^Tzr E. # A A *7. £. m y^r a - - r (iko t«»*0 iMi • ** * y n r MO O I . (a CTAVC f — r y — d ^ r 83 D^y - c™* • REP. TJRE /. A M A. SUSP. x. i/.R. Y a./j. :r_-” 4-4—4- - - L < r 9 / ~zr* T'6. $pw. VfwARO £ £ C.RT- 7. ARP if. Si/RR ECU- A). f.RR. f. R- //. Ef.A'.M -j u-^. fnn =?xc -6 * c 4 B <• -$ ' -r-+fr+ / 4T** C.t.T. /y ARP **'"* H //. W* /t. ECH. 97 ., a-/— —rrr. , n—zj[z azjl ~rr ^ -jr 3 J y.L c xzi E S. At. A/. S.H-H- A'Al. JfHAtP ARt K. n r-j-i ^ 2J. At. W* — r, r . rj~ J i T~'»L n *- ? — i fc t — r m — —»7““ 5" —r- cr c • A E XI D.R A3. AY Af. E RR Ai. RMR I j -A > A- ± -fp-^- A r~ffr~r~ **• d'A. £’ E' //Z.L. DOW#MAP **%*% * Ai li). rrr.T x -i—* — -« f -7- ti J 1 f XU' g ~ * * #— D. C. 7*. /4/ft ». SJSR 33. O.P. M R If. ::'I ! " xi: f- TT— -*~9 « ^F=F ^ »< j - 3 < F.RR ?.R‘R A. a a. 1L 27. 39. VO. xrt£ xzz: mm, 4==^=E=±=^=t====(h T< 7 £• a'iv. V7. C w. L . i/w. A yj' ARP YJ. PARR YY. ~^r= rrr — #_r Af- /. y* ' Arr, Af. Y6. 77 yz /?. y*r y* - 4 ; x^-x^=xir^ A , ; -V 1M • • ^p x- " X — * * • ^ l . ^ i - — f : f / a < . ,l ’ m / " / t v # JT^ I"*" *$f / O. A. f'f. £ E’ ftJR- 0E z [ *c b* -o '*•« • w NO O I • »« «TAVI * —I — 8 U M~7 - SJ SPiv. £ £<£ /.'FhAXj 6. C.f.T. 7 * Sl/SF. £^P-~ggs%--:T~~^ pqa » >JZ^I /T/. ^ w> n. /tfe.Z. JPh'AJID AA'^ MSP. -# ->T- 20. Wf. i — ~4 “ * / . 0 0 D.z C. A P. F.MM V. 33. PS -=^= 1 =J==t: r —:iai 2t 3 ~ — 9 *~ -o “ ^—r~ r-+ 7 j- r^ f t fif.MM S.A. * D.A. £ • M 30. ' AW. L. OJMYhX/tD ~ 2112:k-T'i {—*— i . +^-^^^r..Tn rn * if *7 9 ~*prr- T o * r A.vt. ?l. M. MS* P. 33. A $H. D.C.P. 3f. -\ nr r ~J r o- esmm $~ •+' a l ~i— 1 t* * f* *" F.S.M.* ‘ * ft. S A A A ' n?.** £z^z^ 31 VA S=P= mz - ' licit,c 1 ^rV — * - 0 - i ; > 4- WZ, UPW> /3 /Vt y r £ /?.£ H- £‘ 4f. //. Aft*. ^y~y~ +-T -,—^^=7 7 rt—i* jczu: 31112 5 f .*._*- ±=± .JI— t — f i >— m y- • ^ xj — M A /4. ^/. E.£. 3f=^ 3=ajmr JJi^ir. [".so MO Di li «TAV« • •• «« • T. — - — — — —t — A * ' J 85 ANt. SjSf. U.M. tejjue i. j j :.rz -•1* a-—- 7 '--0 - vzzx. — -vtJ1 -» 3TJC . r.a }pw. { unmD b C. RT. 7 /?/*# 5 itt?/? J — ihrti: < 4-- 1 i, £CH- /C. F.MAt- FS.a'-/J- //. M. ffw tokwwA,to Uri —-^- £ - 2 __linr: __. — ^ ./» *** 0 4*^* ^ &,*** ' r Hfj-rr 30 c WARP m a ai d. a. tfR. /. DOW* ' r= 1 -r*— — -P* —r -A F7^^=f=^F=P= • * =*_ezz itr. . ..r..^ .t 1 1 r-I-f il. . — " j- .j. j.j. , 4—j.- j j O.A. .V. *'* 4 ' C.E 0*w Aa/> SUSP. S.&.F- V/. w>~. mm *3 V*. p - --- tz^=izzf=?z=zJL —f-^f-T . g„ l::r?^— T^~ * * { - - - J '-•-i/I7> 4Z1_iL^^Lj1^==: 44ii=±E^—^ 1 — tf. £. '// vs. r. 6. AS. APfi -~ r •» ! 1' a r + a — ‘ ft f I * — —>' tf f i 'i — T , f— T, f f n K-—.-J— — T — t 7 — 1 — f' bi±iS= 5. t>. A. // fr r r_ 7 77~ p5c 1 -*-r S : y K'^O (**» t»»* t ** »» h r NO Ot*lt • T A V f — ’ — £r— —- . ' * d 86 D,y - g ? MIL-2ZLL._ JJW}. Z SUSP i £4 A'. L./t. "yr ~j— x_3 — ^ir~T^z==te : irvziai rfzzzzrV i*:r" X-"'/~ r u- 3 -J / >7*. WISEUPWARD 1 Cm f> T V Amt. s SUSP. 3E * **- * ' » -r —T? * zl ff i— ,C/? * ECU. 10 P.A'.A'. // /./:/'• U PS A - V. Odt^A i* r£ n * r 4--} i T-?r-r 3zx O' ^ /j ^ ^ ,y AhT. // SUSP psp- ^ n> — /7 ^ :. :TT~~h B^Se zir— <- TTT7JL •1 p tt E2EE /S S.A/.M / 1 '| U—i—!—1 ; i — — H K — 1 vr A — — 1 i-r— 1 L * £=+^£r-<~1 : - c? —— j- ? 1 \- 1 4 ll J. ^ ~ TJ- y — £B£J — i — , ~l_ ? hn -J n u.p 23 D.C.P. 2Y C.D.P. 2S PM. 2b S.M- J L. l. . .1 —*— 3 r m 3X57 3XZ_#_ DCM/HP. ^7 PS-/V-M. AS S.A. 21 U.A.~ SC c.E. AJAR. LEAP —=^—1 ****"< ^' . 33X .^.TXXErZXIi ._ _ii: j - — — -4 j — i — r t. zk.:, , i. o -~j I ii * 'SL g -Jl yjilJ :rtd4 4 U—it—i=l // /W . $ :inx ^ ^_ E4Ei ^ TT! «/ — J*. F.A'.tf. )7 S./V.A'. IS F S.A'. P. 11 S.A. YC D.A. ~i : tt iZEZi xztrzrzrzzr: sa *' S ^ W-&T*- ^ T 0 K>U -T^t • rZ2 rv t • fS P-P V/ /K Vf ~.x 4- •: :•: -j i?y > 4^ 5- !7TT! 4- J-K- Tt # * 4."* * + r f /* D.A- // PE. * ~ . . ->-4- Vi ' wf-tofa| If* ( «(. !••••» • 1 M a *» 1 MO O 1 • 11 8TAVC “ “ - — — — i t * 87 -A~7 I. A.Vt * fJSfi REP r:.\E 3 u.A. L.M. T 4-. 1 .j . 1~ -o— -4 —-t~ ~jrr. E r.& SfW. U.^'ARD Si/sf. m £.P.T AaY. £ 7. =5= g. 2 jL 25ur —** - zzt-ij: - -r* nczg: ~ii * If o s EMM EM- M. H. ECH. It. //. ^ /A. ES.M- M cpn' p^w-v wkd , ; ... . .: > XT ~fTT7 ~r~~~~7 ——^—r •— 1 —l u u -J—_ 4 ^ u . —T1 A’- M. i$. c.p.t. /y. AMt If. SJSF. K. £Oi- M -n ST^ “Hf ^ ** # / -JL- if" P A MM. ASM. l/PMARD AMP. «** /r. //* E AD. XI. - — 7^ n j « . - . — —— —- V7,— . x : .':~:~.ii jX ! ; 1 ... A-. : ! ”f — —; : *- +- + -— — rri -A r— 7T r — , — —— 6 '*^—j ^ ^ r ' +• r 4^,4* •£ 4* a/> EMM. XL AS. 0. C» P’ AY. AS. 16. S.M.M =£= ITjz n ' V + s. m. n. f. SA. A /I. At AS. AY C.£. MR. 6. OJHMHARD J-l-r x: irSzt 1 4- "if ,-h w» & i £ *r. #. SUSP. O.E 2Y ^ ^ a p T~ XZT 4j f- u—w EEE - *-+Er 3^? tr T /?<#<# EMM f, AM. M i: ^ * n Jg ^ 3?. EE^X -I r- Hi—'- * «*• <" 1 *• *s* E C.E. S - WM.iSSM &M AMP. j-// SJfP. yy. E j'l # ' ‘ * , f „ i *- — J +*=; A— X : . \.A 'JL*lP :: : if TJ* MS- T. £. MZ M.S. MS- ME- ft /f/5^ ;~e zaUJU * n Mfr + r r r ^ » D. A. fl £. £. r*‘ ! yAL ri~ K -•! |- 4 **« H»* • W. NO O I • ft fTAVt . " * 88 ESLz b> -jei-iML— JL-. y; fe--- zii-:— »• —?• /&. i, //. /2. Sfw. tow# WARo cz 1 - -* EE r — 1 n. C.F.r. Mt SUSP. ££ri- **'•*'• ^ If /6. / 7. ~t=hT~} I'rjnzt: ZCPZJZZ. D.A. AZ f.S.M-ti- AS. S.A. At yO. C.£. AS. I . DRUA'UAJiD ~-:fTj-Eztrz:i ^— - -9—i m 4 i^E zpn tnr D. K 12. H ir. C- D. £ vj_EEEEr zr ES.Mrt. 0. A. EMM 37. S.A'.M is. 39. S. A. VP ~ 1 ~T ~r =r- .:zl -*—*- * -~ -y £z± «v £• . £>VW. /? y/. W. 6 I/FW. AFT. SUSA ± 4——A- 1tr.tn g i-j -- r~ i- 1 — < , ; ( \i — —± -^.£3=?^ — it IV 1 * -a v- v f . ;.-=3i * j ***; ij z> - 3 3 r —f. Srf MO P I • <1 ITAVK — — t 89 E~ 7 - l/. At. EEIL.JJJAS * AMt. Z. SJSt Jt, y. z. .v. 1 -4 ' 4 * f — -0 - j 3^?=C -* #- — — * — ? r&_ „W mntp f. 5W/J ~Z2: F.S.E-E. tiw/swAKO // SFW. //. C-f'T> /h, AA't //. sirs/i ' //. £CH. 17. £a -2~‘ -4 ,- 1 * ' r ^ ~r~*—*c~ytr =^ !$ S.A'.M E S. MM. AS. 1. Ufh'ARD suss. H fa, A** 2i. r * T^r: -< 4- A=f -4-4-4 u ^ ^ — 5 ! r 4- * + y + EZ-E4 w D. X XX F#*- 3i. , -it— F=F^ i——t- 1 ms5Z± D./4. ES-F-F- S, A - ^7 ^s. 80 C . £. MX.L. OoHWMR* !ul £ ^=7 i ±3®=* ±=z± j^. SUSP. n. D-£ H 3f. C. A /? Uj u F* 1 -mss A—t- aj+-t+:v-. i ^w V-* -4 IZZiL —v» E A'.M « S.XM. ES..V.M - S.A. 16 /7N # n i&t 0. A. ‘ i-~f ' * :n±r^ J ~zz ~z± < -Jr -*-+ 3 ti- V Js E.S. \V- A, JJPtY. MlY. YE AA - ff. SUSA. F/V. S. D. /f -I r m JL+-~ j . i-»„ . . ~tt - r rw ? ^ f T P- / ‘ <* -^--r * i ^ -y- r 5: v £. ^r, A/4. //• £. a Ki*.o f««-J 111 ! • »»*» 1 NO O I • 12 •TAVf — < r^ . . - 90 £^7 - /L 7 KEF TV 1. AKt sjsr. U.M. AS i x’ 6. A. p__ * ~ Z^x-^ rzJji Zzn^zjLr=3 -* - ! + - .T1XZX. , T.& SPM UFWA4D ^ FT. y, ^Mt, S. SUSP jgpg O ECF, *• '-A'- i'. £.»/* *»w/*P /e. f.A'-X- // S. A F S.A fri -I L. — ~~r_n~ ~r~Y. -4 7— 37rzzrr. Ft //. C. FT /f. A //. SUSP. /£ F.//.A/. Er.jzi£^ nnz^i: m r ~t~znt -«w^- Z—J~ fcS.n-'t- n F.S.M-M Art. L. UFWARO A Alt 3mm F 1 —r— p=zq= -f—»- y a XT~f ^l?T-),-_ b T=7 m 5 c- 0-* ;U. X?. vf^L H if t =rz-r—j=xz:..: _l . .rxx.-zzr.zj -*—-+- X U.-p.. ^=3= joiZiz:z±z=__jl. ,. z%jf.z£-~ ~£=* ±$ee~. »**** S‘ A ‘ A >4. C.E. MX. L. D4W.YW4RD AS. /??. 20' =s= “T—! 1 ~f~ n 3ft D. Z C . b. P. ?/. Ah* IX. SUSP. 13. 9Y. Sf. ==): -t —*- -4 =? rf- ~‘ /4- F.SI.F. AFr. J P. F if!. C.E- M.L.UPW- MX. y/. SUSP. yy -4— t— ,i . j).. 1 zj .,\ 1 J in— j • - ± -i ^-JF^ t: ^ T 5 "d T — r 1 ; E. ’ Hf.1- «. TV. yz /?. i- y/. ^ 41 ^ 3= =^= 5g= E=k —2- =ZiT zirr-i 1 X — J a xzi; III i z r T ,V. A/4. f/. i". E *1^=i=F (ibl. |«*"3 MO O I • « It A VC . — . & 1 91 E~7_ - /. Avr. SUSP. / _M1- 7CHS ,7, A. vl • ^3=t=± "* + •* - n r -i -U2& -1 • r -J~i34- TC — J±tAf± t~+ T—*~ EE^ f. 7 6 SFW UFh'AfiO C.F.7. A*t SUSP. i' V. £ :Z=*=*-* ~Tt 3= /& A. A. £/K// /£ FS. A//1. L. UFMKD 20. AFt >-/. / A. 11 0. £ ^ O.C-F. H 2f. F FA'. XC, $,A'. Fr zs=c J £r..«f Z ..71 i.~V' £3tE±l^Zg F.F. S.A D. A- %o. C. u • wuafd ££ xF 21. AF.L. a hhil XZJ 1i= — *=&=?= & SUSP. D-* £• P II. AM n. IS. 3f. r — nix fr * mm i i +-‘r r .. F.S-kf-M XD.fi ££• W. X UFA- DAA. aAt fX SUSP ‘li. ^ 31“ _u -t—t-w r^r m r. r r F. ^ - y£ ¥F. 7. 6 W. A.5- fjr. ff. f ii ii.J- ^^7 ^ ^ f^ yr-++-f £. £• 0. A ft- 7 1 T” —• r- — — 1 l^KEtzic^xxEir: e '?* 7*' NO Ol • II «TAVC i f £ —X — . —i 92 E~7 -G t, Aft 2. SUSP. U.ti. -JFLSA KL £ //. /tf ~ ~~? t— - l — FirJ— -V— 1~*~9 1 — * * r/,7 f. T-G- SPM - ^/*'4/{0 £ 7. ANt. * ^y//f ± dtz± *- v--* * n— T. v- — V-/ 7 ti- !C. F. ft- ti. f.A'.ff. JhA'»*JC 0 ll, f u. /; fPH' 0 JL C>£T. Atit. si/sr. £CH. il H. if. /*. T=fc n. J v— * r 3ES^2 -?T— P * 3-ti’ti £ S. ft. ft. MSP IS- /t HU. I/PWAXD u Aftt. M ^ ' " * -^ — %-+ - - - »*- . — fP*— 'V p-f g=j q 22. E O.C.F. f.tf-ft. S.ft-ft- M 21. If. *i>. / 0 > j r - 7^zz_t li' *—T -_f --- - ~ - :„:f f -f -til- ‘-i-J 1 1 1 U 1 . j- .- Fr |, —— t— t F.titi- s.ti-tt- ES'tt-ti. s. D. A si. n & n a. ye. :7=Jr- tiftt. DftW. S.D.t? til. & W- A. itf. Atit 1 : --— ’ " ...-^. 7==7 ’ll - 11 - 1 - u =Li f ^ .—«4 ^ —l' L—> » .J-W— L— ' i •-..^r / •-- j—*» ! < =2 r -* J rf -P--U j^- r ’ t i— J 1 * i )— ' — - — — rv r J T 5 — 1 g NO O f • (2 IT AVI J t 93 - A~ 7 A/If. SUSP. aep. me f {/ .Y. 2. A'. A •/. -t- :r^L-x=!r —/- x- — -:TZZng= SPu. UPHAPb £ c.P.T. 7. AA'T. f. SUSP S&M F.S.A'.M. UPHA/IP /\}lt. Zt. /f kR.L. 21. SUSP - ~ - j : . " f. -s. —i ; * ! — I U J a i -j “XT- , y | J (i i i t~g 4— x :/ ? i— — XZ 7~ * O' U 4 t=. —Z.— ^ j J..- 23. D.C.P. 21. C. D. P. JP /-MM UP S.A'A/. ± EE + —»- ± =£=*= S- A ‘ 0. A. c.E. 27. F.S.M* 23. 21. 34 A/P. L. DJWAKAKO EEixEE f=*=JFF=z T~i 3=0 -*zr* r + * T l SUSP. P. C.P. % AM 32. 33. O.P. 31- 33- =2?=C -H- r r~ T—Sl ± + Tot ? £• L.UfW. DAY '£ SUSP S D. P. C> VK A/t , V/. ^ y/> YY. -q 3. ,j . M T~FI J U—J V ) 8 1 m f- i H | T.6. *.$. APP /V. If. 4tf. 17. Y?. ;f rgr—^zg^rsn --z7z^zri^ .tt : r~s: 1 rzz r MO 0 1*11 ITAVC - T * u ' + j 9U F MA* - SJ AFt j. susp a a/. i v. £•*' i —j- ni * iH l t^jtz ntT7— t r 6. 7 SPW. i/PlUAD C. P T. s. SUSP. $PW. OCWAHARO Ff: j—^—c_ -c 1_ - 3 — C.P.T. A VVi susp. /r//. #. A. 13. H If /i. r~~7r rrznr: -J— J- /- "fi"* * ~r—r « , , SUSP- f. N. /V. /?. FS.MF. /Jt. L. UPWARD xj'AHt. li. 11. EE - + *+ i ±-± S p- D.C.P- mC.D.P- " Al.M. S.A/.A/. XI If. rf A. F. ’S. MM- S. A. 0. F. xl XS. 'id xr ' SUSP 0. F D. C.P. 31. AFt. 3i. 13. 31. IP a ±=±J=^ #-* S.FF. A. ! D. A A** « S. £ 2>j S. 3,. * * • 38. m f-r-r^z *- -*— -a— f t: tijjr: ±ZK i “ * tu 4 -+—f 4 t 4 9—r £• c. W. i*. JP;\. *5. £i Y/. Pa W- yj, AFt lit. SUSP yy. A ^3= -jgz~t- 7— Sg33E mz i=3=tz z } M T.6. X.S. H.F- vx rf. 17. vs. 1 ' :~ . Ei. TTTiqr~i^: j..: :- ^ . -U^ J -6^- ft. A'^~ f/. f.*. ' * K'*u [ **0 lt«t • ***. N — ; ' x 95 fit A SUSP. , U, xsr. \- /. x, M if L. A'. . ra t - u~y f jzzrr. s—i—» —-—mj.- f. T C: SPW. UfhAPD C.P.7' AHt SUSP. J' ecH- 13. K. SVft u. jj F A'-Ai. _ r 1 - . pn zFL 1;— — 1}. ) — - ^— ——4j-i--pr— J — =4 - r ' ii a: *..... il -/-./ 6 — —'bH— v ^— 4 t-7-^-rrj-i S.A.F F.S.A.A. L. UPWARD Ft. st** 1$. ft Atf. ^ /J >. h ; ^ 1* -1 I 4 .. ll~~ZLf~'*'~ r i /.:! m* . |j J .±i j *-? c ~i • / 9 3= 'J' "T 1 (T* 5 Szfc^zS ii ^r D. A. S. A. (• • £• DJMMtO 30. A'P. Z. AFt SUSP. D.P D. C.P. C. t>. P 31 3t 33. H, IS. =£ =5 /‘ . 1 & l i nrzij n.. trrT 2^ —j- ^ — j I t li e^1= /V. /v: /./<• < * *** 5. 4/^r D, A 1 *-" 1 U K . — 7 — / = j ^-T~r • t «9 ¥W*V 1 NO Ol • «f »TAVf 1 r — — 96 MX ' f - Z)-7 A SUSP. ^ILLIML L _!l 2. 3. UM. a~~ ^ vi/ r.£ A ^t SPW. UPWARD {,. C.r.T. 7. g. Rusr. -C>~ jpz:f7n.f S§=! nrri v>- rx d=: fr//. /' f.A'.A'. .C a: **•»•* HARD /A //. A/. CAW JthA —e 4f- i=3£ -i ri— f— * ^ ^ i ”1 — — 1 H i i -— t . f=P=-7*i f-j~- 7~~n — T J— t r-f— M— T — [ * * ?* —f -* f if — C7 — 1 H t" - tr- r: J .j]7 jlJ **S.MM/""* F-S.AUP. Atf.#R.L.L. UPWARD M* SUSP. II, /£ ~'~ jA0t0i AP jEjx ^zt=£-j-- |Ei5E^ -£ ; j ; B ft-V=3g D.C.P O.P. C. D. P. PPW.W. S. A- A/ p. F.M A. ///W. V/. K —— v-"^=z? E * %ETGE^E2 -#— f- * A'. r-G' A-S- M. £• /4//! H if6. y? US y?. JIX -^-— 5=XJj-'TTZZ 1 U--=^ F r—rs — , |l a 1 -4- > - tgi i _ l r^'1" =g E fcd J...,j j j ^ a. f^tut i? i? "i: x * -A. (•*C |. »NO imi • »•»» i MO Ol • If a.'AVI —. 4 - a 9T -£~ 7 sssr. u.m. x. $ if. L. A". . i£JLJM£ , \JULL 7~-1 ZZ—-T 1 “CJ =Z -i'- —f +- y — *=t =P=£ -fcr~r— 'jj ///K UPWARD fa c.PT. A tit. SUM 7 6. = '* -7 *-“ .. fn T I--., :. 3fi==s^ N- 4 1 7 -./ .—<- -• - --+ !L : .- — *=- JD_-J .a il- — 4 — j 1 t — F.S.P/-M- MR. L. UPWARD /j/V'rt an 1=P £ _1 J 1 ~?z±=+=z=i =e=7 • ' ^ *TT^~ 5P » '*'• ^ .£. b. P /? /t'* £ /i< 4/. as. It. =?-=, =z=TX E T~" J = 33 = T~JT7^r 3==m Pi S. M M S. A. P. /*. DCWMWARD At AS- if. MR. l>- 33X =Z^ ~ X j- ' +: £££ y* +• ~r-+r *• < + j. T 7 ^ SUSP. D.P P- AM O.C. C. D. /f it. IP. n 3H. IP. zttztzr Se *-=* iH f *.— - > 4. * XF Z /r^'- D.A- F.M.N. S. Af. M- « j<. $7 **-•- T 77. V4 ~ ~' ' . " — —— — • l — -if — - — ».$ ^ — } - jmmm «i ! -*—#-»- + + *. *. SUSP' j\ a /? C- £ AK.4 i/MOA% i;Z A^‘ Hi- ' VP, yy — a: . r , .-riTT s j 1_3 3=3 - -i-Q i J. ^.- H.e. APP A/- 7:6 A/. v/r y/. yz y* V9. D-A. E. E. (* a. 4-4- !(•'• I* »io 1)11 « ««.•» I MO 0 1*11 «TAVf ^ r 98 - £ 7 u.u. nr 7mf /. ./ l.M. r :rnzirf?jzL - 4=3: :rzz. r r - n 77 £ iTW UflYARb C.P.T i; ^ rr svsr. ?~ 3= =B~P -S' — : ii -B==±= i EBB ^ v i H- £C. F /*• tf. f.A.P- FS.F-F- fC. //. P. ffW. DJWA/WA£D — ~T“ 5=^- 4= r r~ 1,7-7- r~T n~T : -f— — jT/itt: b—y5 s£ee3 ^c==niz±izrrtl - | stfsr ZCHi /S /£ m /f. /*. 17. ^D>. l —/— i 3E i±B i i r>-H & M. F.$. A^V, MR. L. UPWARD AMt‘ ffusf. IS. /f ^ FZZZf —*-- - J - 317?; -^T~f H f— r —* *=£=£ :F=^—::-T — 1 ij/ ^7" r z^/^ D. £ . P. c. A f.MM ^ K'*«c |-*»«o «|»« «*»» N MO 0 1*11 tTAVI g t r j , ' — 99 ^7 - A-7 ! AVr- szsr. U.A. U^ATJ '.C x. ECH. F. * ti- SIMM F.S.titi epw. DffW/vWACP f. /«, ff. a. -- f— — 4 - 4} * 44—v~7— -*_ * £. ^ V & ^l AMt- susp. £CH. Af.ti, IS. H. //. F f6. 17. m 5Z BSrfr; 3=3- £ -* 9 =*=3= $. ti /V. /t) Ai '£ a/f,l. upward //^ iW IS. /g £S- ^ ;?/. 3^ /T —n 3d .i . y / f: * : Ml. D.C.F. :/l4 5*. W. /f. Ri. */. ^ ,*£ . #. -i-r? : r—•- '' 1 *’-* ft- rt - ~D D T 1 — IFF - 1 =?^- —^-il —— — :.{j — f $ 5 jSii=±z4j rrtrrj=— *5 /: /v: //• /V. 4 <£ /k /k n & ^ A/4. j -T- =zz :-±z=zd: H— * —JC=^= 1 tz± " J 4^--c= > 4 $ t r 14 \lyf-+-~ AM; SUSP. ^/y/ X */. K»*c §•*•90 1 mo o i . ti l'»VI , " t — h v — 100 qj_ zJLl! A susr. > X ax !/. t.A. ^J£P.a TM£ J± . i t-A— /. 76 $?W. Ufn'ARD , c.P.T. AX* SJSP ~ s. » - -xz=^_jzii^tzzzrzzr^i.’ F~ i T"" II +=T- 4 * P* 1 4 S y.* \ 1 ea- F.ti.A. $. A'. A’. F.S. A'. A/. ^ SPW. DJWA'WARD 10, ST\ II. IX — - » - : * j 1 i t t * r—r rn - - ir i 3=1 ' C.tT- AMt. SUSP EC.H. F/V.M 13. H. If. /s. /7 zip k. Jr—.. , -H — ih-S—4- r v V v r — g——i . 9 > s.rt.ti F.S. A. A. . L . UPtt A PD FA- lSi f<> A'f ... A £(' SU±P x , - r+' ,— ^ l| t r- ' r t ^ •. 0 .r / : P. *> H...-J.. -g--^ 1 t=*=*=l / ; — — . -fs "l 4 t /— O.F O. C.P. D.P F/V.M ,, S./p. A/. XX. 13. XV. If. A* “n -G—H h x , j.._» -X ±ut=±z -Tt- -T—X27 E=* 4- 5-*' ti- F: S.A. D. A. DMA'IMTD XV. ll Xl AP.U. - r ZZ_*—jl. n f * t —4 * a -4 r ±± - ± - rx J *-u 1 27—+ <2/ sjy ^5 KJ/ ^ SUSP 0. P. P.D.P ?/. ^ 3X. 33. 3Y. 3f + * -+ iL J 7 X.- 3JX f F.F.ti S.At.At. tf.FS.At.Pt. S.A A- ;9 D. W. L. UPW. DAW. AAt SUSP imm vi APP H. r. 6. F. S. H. F. *ts. US Yl Yf. nx -x- u J--T . f r=j: -+—T ' V-' ^ KF . . D. A f0 //. x *' C «-. f* * **o 1 *« WAT I NO 0 1-0 »TAV( V f ^ ’ i - 101 £7 - C M** “\’,5 l 3. SUSP * u.M _A5P. ^ ,/. l.M - * -T~‘ 1 X*>~ T. 3. 57; K UPlvARO c. 7 ASt s. SUSP. + i* 3XX: £CH. A/V.// ^S.A'.A'- f.S.A'.A' DtkWWt r ~ /A /2 ///{/ i 12 Xt: ntzx -j tt=n 7 f 2T —• '—J — -i j £ £Sti- A/ .A/. c./?r- /f.' ASt SJfP jy. £, ~~~ 1 P : — ! i (f ~ 1 *• —*—+ — » — i jf V — — — r / ~rj. ^ " Xxx \s 1/ f.S.A.A'. XR.U UPWARD /4Vrf <$. H */. ’i- 1 ^ ^ | _ t n * 1 "'" u r — U ! r y : . . ir.: . . ! r j — ‘ " i J| 1 L — t_X— j y 7- i - J ^ =5^ t=7 t j=J !*. A * r r— ZfSf.— — -4—*- £ E -*~ 0. . F. A'. M. i*. -/V. .7. F.S.H-A/. S.A. A ?*• 5 7# /* 39. w. a ! : V * J -£^r^r + * ' * F?jr^r X T % + T . *«,**?t *1 " 5. o. P. C.E. 7/t rl Rt- IV. <5. Aw. x//. i/l SUSP yy. X 7*± -* *- — Jt jL * ? rtf* r ~S F^ N- 77 6. S.S. **• APA Hf. U >A £.E. ^ . $l g^rzzr^x:^,— U. L— x-x =tF «y *••>» S" • M \ • « MO O I • I I «TAV( p E - —r nf r 102 /j 7 - d~ 7 yMLJM i. A. A/. T ~r~ r + r~/— SAW. L/SWAAO C.F.T. f. T£. S. AAt - 3-1 1 Tssearor-— 3 l i ft— 4-4 f ; V — - -J II j - pprl — “ft 4—4 -4 ^4 7 -V a—/ * ** •* 4 f — •3 — 1 N-iPefI — l-Ti=fc=J n £crt- fa. a. 6 A a: Cfw. D0**'**Al ft. //. /J. ^"vfV 'Vt'I P i 1- 4— Z -h— £Z- T==J ' r r >' r —j T.~~v j t / ]! — Z±L t \ c.f r. AAt. Sl/SF £CH. fa. a. n // /*. /z BT.~r -4 ^ xr 13^ S.A. A. F.s.w.a. USWA AD /g. AA.L. AAt ^4f/? /t 20 21. -f—F—i f- T~r n ! r ^ , —7~rr-tf- PJ — 'y ^ Vi/ t y v r* 0. F. 0. 3 £ AAM S.A. A. X?. x/. a. *> Jt- 33 —i— c±: ri_ _i r r *-*r F.S.A.A. S.A, D.A. Ct£c.£-‘ /W.i, dJh'MMAD X7 x$% n go. r A«t Mr. * * * * * si- 3* n w /* : -tf- -+ —ft- -#~#- EEEE , * f -4- =F= dt A. £ /V. /V. F.S, A. A. S.A. 0. A . FA 37 ?S n w. MO Ol • II I T A VI - 103 ter, n.vt t *** , . S.M.M /t} F.S.A/.M. MR.L. uPWARO AFt . susr. 10. it. *-H>= £ =?=*=* D. P. /? ‘ /V. a r. c ‘ / r 'V,/* /. /V. XI- XI X«. -y—ri - -J - - E .. -- 4 .+ — — =dt r { i t : C.E. AR. L. OaMWAfO 11 ...mm-.. M a ... fmm — I i « 1| —4 f- | :— 21- n J— -tA -* l 4 • — ft —* £r z , — AFt SUSP. V- ^ ^ M. fk |£ fpj|p^£p^El E‘ V/. ^ /V. f/ =) r-.iifL.4.-j^jz?z^E= 1 —- - 1 * I 7 i f A ft—zzzt NO Ol • II ft AVI — t ,1 * — J T — * * i— iou &tl Td Vc Lw. SUSP. X. J. u\. '/. L.\ x X :.txi : S. T.S. UPkMO 6. c.p.t. 7 4*77 s. SUSP. l=x ixT^ m F. ~; / 5. sen. It. F.A'.A'. S.A'.M 1 Sr.W. //. n. F.S.a'a . bsWHWAKV F ~r f — <— — q==r=p *~-1 i * J l * I XX m F"7 TT-iLi-i-p m T C.P.T. IS. /f.Axr. If. SUSP. 16. cCH. 17. Fm A/. 1 -H=~* 7«^~a—#_ Si Xrr~ S.A/.A/. IS. ;?. F.S.N.U. w./. upw. ^0. Avr */. SUSP. ? - u -: i---V t—~iiX-Xf-X / , t d >- f- 2 —TV — D ' —4- 4M—*—— -— : -4 £ *- - i —- fcfj -lL-^J.,-1 .-1 _ii -•}- 1t— H— . i — 0a/l #• AlD.C.P. Zi. XSF.M./f. U.SJJ.M- r ox : i zz ~c~. if- — i n 1 — xxx — : r— n 1 jr— : * * 4 t- : — n 1 n j F.S.M/S. 4/- £>?. z*.£. '/?. tf. xt A Z . UShWHA/D IF 1 =x E35 f -f—r T=&: ?/. y*VT SI- SUSP. 31. D.p. 3i. tf.U.D.P. " 1 " ~ —7\~ l _ ilXfl XXX . 7 r _ _ Tr-rfc:- ! ' u r U ; T * G* t f C . t 'r : ij iZLf y + 1 t 1 i r i ; I * i jI i i — i . '-i-'XL -i J i._ .. IL^i *XJ- 1 L— i. 3(f. F.Af.H. 37. S.a/M. )S F. S.At.rt- 3 i. S-A. yd. C.A. * SUt r 3 5 ^ . n -W» XT' * - il Xf L. L P • T 1 • ’ . - - Sd / T : - .. - : . - - . >f . - , > j 1 1 T- I f , , T( •M— yi.AHT. SUSP. yi. £,£. Vf.i.UPW. 0*«- y}, yy.S.O.F " 2 — ^ - f § ’ ' ' : 3 " •' ^ , i • ii p**i r i - : — t— ! x ^ ; — ' r ~i — — : ; ^ 1 _ 1 d c * j -ii 1 , ““i JX ^ jl —Jt: ^ ' .J L-j 1 — — l >MC £»«**0 * 11 ^ • •»» " * NO OU II IT4VI 105 CHAPTER V CONTEXTUAL EXAMPLES The Scope of the Examples The examples used in this section are drawn from a variety of styles extending from the work of Louis Armstrong and Coleman Hawkins in the thirties up to contemporary styles. The examples include ex- tracts from transcribed improvised solos and written works by Jazz com- posers and performers. The examples will be used to illustrate specif- ic embellishments. No attempt will be made to be exhaustive. Most of the solos have appeared in the Workshop Section of the Down Beat Maga- zine. Notated music permits a more deliberate and conscious use of the embellishments. Indeed, it is well known that the original motive of many compositions were rewritten a number of times by their composer. On the other hand, the improviser must practice scales, chords, embel- lishments and other things in order to build the appropriate sensitivity of response to the musical environment . The solos used in these examples display a variety of embellishments which are intuitive responses to the environmental cues that were present at the time. — i — _» 106 /\hT\~» C » i O K 6- I 0-7 A *f. ^*7. Mt^l* r\ ^A v\ e. 6 ?^=T= o —\ t^-\~ - ~i\— -4- A— a =f=t — il S’-l- ~' Co I ewv^ »** 1 ' F 1 ,U^ A' __ ^ A.t. A-tT. r > 1= bVr- rrn i rn n - ** Ut — CT 9 9 m +' ) T •» + • &° 3 n a,t ».iA 4 = . L»u<^ A r '"> CT »• o n tf" fl 6 S-* 6 E~1 *,i. 1 i— di-if—i & . - PT^~i i±A_, -^1 ^ 1 \ f-r , i ~s . rrfe t ^ A ^ F^V/O / Pf^^t Cy-oV'iftK j-r Aht- At- »~ «* • i v r. A- T t in ,— — * ^ - \ - * — • -; i cv t>»* a C ^7 *9 C°) *nPi') a G9 . A,V^ i1 A<^. ^ oj-Cc — A a — 107 S-* (lUV - E^UaAU/ *X>P- w * l \ ' } rB \ \ l=t=* «-* - 4 » , U=v^ z|P— — *» ‘ EETTg~gE TTV 3 p“’ Arr*^,. L-CVi\ V O o {< - ^ w Str^Wy }"! nc. TIv-h , r-»/ &-? 5w , ^ ^'-s -+-"V ~ -j- k\+- ^ # *C eJ r _ v.'-No.vutcW-&.vh«. Pa>K.tv*ra>F. f-*»- F ,R-t> k ^ 1 v \ * OflH Y ref-rfcft J • ; =B -y;- -j-^- 5 r~]-^H 3f FP e_ ro ^ e_ — ^ 108 S''* pr*~l £>b. lou^t —I AV I ^ * ( r E b e^ a * M i=?= Ufa* «h ID < Ur:' t Fgpjjfe^g * s-Vr cn * c 7 4 -j £*«> p n * M aJ J 4.W\q.S M o cA Li *uii i S'lV F _!_^_h C-uyt'— ' ”*> v fgUe.y. =r rtr t>tL b_s k| i^>±*\± ~ _*_ ^”* . ^ , 6 n * 7 r-** \ ,.u tA«*4>»f IGkc-oJC n \ G r oo ^ S VJC & M on't^O r« SVY 19 S' T 0- • tj . t,*. Jr'"\ i n tut w - ffedlfr A i i £--?— h-i—M ^f- \_^i-4 U V 5 -*° T- C- « Cr»l T- G- . 1 t I -9 » t>-»- u , C fi^nriiTr - in» \ M -T _ , Hit ^ if cT * P l S ^ & r one i vu c, T* S^i_s_v_hK l &*e s “ m »i-rtXcTKi®»r ? ? ? „o*% n ~ !-”*>+- + —*-+ p t 7 t « . . : •*) 'J i ^*k ''fc- * d« P 2L s> S i n n <^ ^ * *«. ? t; $ p p ^"\. ^0^ JL . £ . i jLt r i. V) • ± ifr.! TriT.Tfjjr— • p tyvj e_* M »\'t^'ory\e-v -a.r C-i . b. p ^ * "* y < —*~ A, . ,_ \ 110 G-7 © > * in T *-r C«-pT-<2- A PJ-iU^ T o h«_ ^n«. - »• * • 1 ^4— ) -Tjkjff-I \ « H^lpi d 3 3 > 3 * i -^-s- i 1=_ -*- A* 3 3 W- . P P P P V C Dvc^^kSOK _, P , , y c-'» = = =£ii?~^ = = 4 ^ ; i \ 1 \— t > U r n 1 1 \ it I4 i& 4= 11 ? P p p » • Ite £ Ill 0 The. ? ^^'a.Huv-a. 1 — 1 112 A? AP A,? ) r - iTfeji\"i ! ffip. -^*•^1 - -. .. ti>Jvt!.«.t-iC %q-| * -*'- } * t>* 'DooU*"TKe. *- A-f>?° £g'a_A-or&_ e* &1 /9j(_ -4- ( A^' 1 a EfEF =o=ij— 1 6' 5 - . -1 4. : A V..r •-(- ST \-\ 1 1 y=y \; 1 — u=y r, 4 ; O-A^ C.KV-'rUo. Pa>K.CV < fiJ D t' yt ^-r 1 P t »*1 rt-e.vb'j * _ 0. A- C1 r^i FveJif WoUiti . J. f — u 4 --ty^^rz4=^vT—^ . ^ ,—»-f—P -M Cr*-> OA. — . ^A., ... 113 s-s* £ n £cK. c. n J » W, n CTo SE iT I'V f3=E-*—•1 1Z4 i; 1 1. CHAPTER VI EMBELLISHMENT AND THE CURRICULUM Application of the Results An outline of possible vays to practice embellishments Up to this point the semantics and the syntax of melodic devel- opment have been considered. If the main purpose of this work were Just to describe the possible ways in which musical materials could be manip- ulated, the first five chapters would have been sufficient. A course on the use of the embellishments should include a prac- ticed. aspect, however, involving the use of the embellishments instrumen- tally. This chapter is included to help solve the problem of practical application, which is a problem of long standing in theory classes. More often than not the student writes out exercises and very seldom hears them performed. In most cases the exercises given in the schools aim at helping the student understand the harmony. The purpose of the exercises in this chapter is to suggest ways by which the instructor might teach the student to practice embellishments, or by which the student might teach himself. The instrumentalist of today who is interested and involved in improvisation needs to take note of the fact that the art of ornamenta- tion or embellishment was a special field in music during the Baroque period. As a special field it required intensive training in the art 115 of ornamentation. Today the emphasis on improvisation is primarily in the field of music called Jazz. The principles behind embellishment forms the basis for all melodic development. In the Baroque period the major emphasis was upon embroidering a melody. The ornamentation was added to an already established melody. This method of embellishment is still used today to enhance the original melody of a ballad prior to an improvised solo on the chord progressions. The student should be encouraged to listen to a large selection of bal- lads to gain the aural experience of this type of embellishment and be given the opportunity to elaborate upon the melodies of standard bal- lads. The common tendency is for the students to listen to music with- in a moderate to fast tempo range because of the great emphasis put on virtuosity. The student needs to be warned that learning the embellish- ments, the chords, and the scales is merely a means to an end when it comes to creative endeavor; that without that inner knowledge or in- tuition, the memorization of a multitude of formulas is Just a mecha- nical process. However, the mechanics are a very useful device to have readily on hand to assist in the unfoldment of the creative idea. The embellishments can be taught in a classroom situation as well as in a tutorial situation. [Facility in the execution of the chords and scales are a prerequisite to the effective use of embellishments r~J Each embellishment should be practiced until it flows flawlessly, whether invoked by decision or by intuition. Initially the execution of the embellishments will occur as a result of the intention to perform a specific ideomotor pattern. Each embellishment needs to be practiced until it becomes a habit so that a creative synthesis of discrete acts can become manifest. 116 Embellishments have been considered as appendages or as ornamen- tation added to an already composed piece of music, and they have been considered with regard to their harmonic implications. In this disser- tation the harmonic aspect of the embellishments is being considered. To this end, the chords need to be practiced 1. In all possible inversions 2. In various series of the same type of chord, i.e., all the major triads in minor seconds, in major seconds, in minor thirds, etc. The minor augmented and the diminished chords should be practiced the same way 3. As Tth, 9th, 11th, and 13th chords in the same way U. In ascending and descending motion One form of embellishment should be applied systematically to each note in a chord. All the embellishments should be done individu- ally, and then the various types should be mixed systematically after which they should be applied in the context of selections from the stan- dard literature. The passing tone . The passing tone is the easiest of the embel- lishments to teach because once the student understands chord structure, the passing tone is seen in the role of filling in gaps between the notes in the arpeggio under consideration. Moving as it does in a scalular fashion, the passing tone is seen as melodic motion by step. Forming seconds with the chordal tones, the passing tone is heard as a dissonant sound. When all of the spaces in a chord are filled in with passing tones, the resultant is a scale. The scale to be played with any chord is dependent upon the tonality in dominance at the time, e.g., when in 117 the key of C major, the scale that would be played with a C major chord (triad, major 7th, etc.) is the C major scale or the Ionian mode. In the key of F major, the C chord is on the fifth scale step; therefore the scale to use would be the mixolydian mode or, as it is called, the dominant chord scale. In the key of G major, the C major hord appears on the fourth scale steps and takes the form of the lydi- an mode. Viewing the chord tones and the passing tones as a single scale is an economical method but it obscures the melodic function of the pas- sing tones. It is best to point out the fact that the notes in a scale may function structurally as harmony or melodically as embellishments. The passing tones that are connecting the chord tones may be diatonic, chromatic or combinations of both. When a chord is maximally saturated with passing tones, both diatonic and chromatic, the resultant is a chromatic scale. Practicing the passing tones is expeditiously handled by scale exercises. The viewpoint should shift when practicing the scales from seeing them as a succession of pitches proceeding in seconds to viewing them as a combination of chord tones and passing tones. To this end a thorough review of the modes will aid in the attainment of facility in handling the scales with an enhanced meaning. The neighboring notes (auxiliary tone, returning tone). The de- finition of the upper and lower neighboring tones should be understood by the student who should start a systematic study of the returning tones. This would involve the application of the returning tone to all practice exam- the various chord types in different progressions. Some ples : 118 1. Practice the ascending and descending forms of the chords using the lower neighbor (returning tone) at the half step 2. Practice the ascending form using the lower neighbor at the half step and the upper neighbor on the descending form 3. Vary the rhythmic pattern U. Practice upper and lower neighbors The appoggiatura . The definition of the appoggiatura should be reviewed before systematic practice is undertaken. Great emphasis should be placed on the fact that the appoggiatura is an unprepared embellish- ment that enters by leap and resolves by step. It should be pointed out that the accented passing tones are considered to be an appoggiatura by some theorists. Practice procedure: 1. The single appoggiatura 2. The double appoggiatura 3. The triple and quadruple appoggiaturas Suspension . The definition of the suspension should be reviewed so that the student will not experience difficulty in handling it. The fact that the suspension is primarily a rhythmic device should be stressed. It should also be pointed out that traditionally the melodic movement is that of a second, that the most frequent direction of the resolution is downward, and that the upward resolution is called a ritardation by some. (Unprepared suspension and appoggiatura are two names for the same melodic device (embellishment).) The suspension should be practiced as follows: 1. Occurring at a chord change Prepared form 119 2. As a rhythmic or harmonic embellishment Anticipation t As vith the other embellishments, the definition of the anticipation should be reviewed prior to practicing it in a system- atic way . It should be covered in the same method as the other embel- lishments , i.e., on chords that form series in half steps, whole steps, etc. Echappee . The echappee should be reviewed and practiced to round out the coverage of the embellishment types. Some general considerations The practice of the suspension or the anticipation in the tradition- al form has limited possibilities in structuring an interesting exercise because of their location at a chord change. For the purpose of exercise they are best practiced in the rhythmic or harmonic form, and only a few of them are included in the following examples. Some suggested ways of practicing embellishments are given below. All of these exercises are based on the C major chord. ( h 120 ft \ — P cL s r d" i c. ~~" -~ ~~" ' — . — ba->ic Ma.\o_AY E-^WU^W^ CA.wl &»^^U < feFFz: :Mzfa=±±-b=i^i F • p * —z>— zjr~ #* : :::: :: : , ^ p^=?=3 rf_ n l ga ff^l ^ — v fN= C-k-*-U I * V I App 1\' 0icL*\c. Mc-Io4y C-r^i : Ha>/*W\o piLkmi-T' 122 D o v i K o d Q « 123 ~TW e_ L ta voJ o S*t€Lp b«-lovo 5 3 r r > ~^v~ v " P ' '\ -/I- /L- \ r » * r r — — ; - -—75 i - i i 1 \ 1 1 1 » r i \ i 4l-.-* l— r-1 > j r— t- — —— i ? \ J if \ X. \ » \ \ t ~ ' Y'l Jrrp^W- t l_uy 11 /UormfcA ** ^ 'ooA . — 12U «*- - jJ ? i y AJ fa OY> m £_ \ SCSlI^ ^ T-a- "P $ A «*- 7T <3 cW-cb. I— O UJ Q^.\r 127 Y*\ &_ r\ \ 0 5 \J S P t*s *-VoA-Y 5v^V5. : t'^OMC /ochaj . —. rn ^FP=f=-ppg^Mi 128 A~ C. V Vv. A \ P V Q 1C VA CL [o i 1 a $ cv A ? yo^^v'bJA-'ov-d- 129 130 t) o*A l o, n i vVur < 3^. / XL CHAPTER VII SUMMARY In Chapter I the need was established for a reference book that would have in one place a systematic explication of the process whereby harmony is expanded into melody. This reference book is in the form of an Embellishment Lexicon and it is intended to be of use to teachers and students of music. It can be used by the teacher in conjunction with a standard course of harmony, and by the motivated student as a self-in- structional unit. The function of the lexicon will be to increase the materials at the disposal of the teacher that can be used to facilitate the student's awareness of how a melody can grow from the bare harmonic base. The important role 6f improvisation and embellishment in the history of music is covered, as is the importance of the contributions of the improvisor to the growth, development and enrichment of European mustic up to and including the Baroque period. Also discussed is the codification by Bach and others of the multitude of embellishments in existence during the Baroque period and the resulting decline of the importance of the performer as a creative contributor to European music. A comparison of some of the problems of definition that developed as a result of the notation of the embellishments and the continued existence embellish- of conflict of definition is discussed. The evolution of the harmonic ments from a strictly melodic device to a component within the 132 structure is traced. Important as the knowledge of the rules of harmony and embellishment is to good craftsmanship, it is indicated that there is an unquantif iable element in music of high aesthetic quality which for want of a more precise term called intuition. The description of the theoretical basis for the Embellishment Lexicon is given which includes definitions of the embellishments as used in this dissertation and the basis for the melodic model upon which they are placed. Chapter IV constitutes the Embellishment Lexicon in which the various embellishment forms are placed on a two-chord framework. A variety of examples are given to illustrate how the embellishment appear within a realistic context. The examples are drawn from transcribed solos from representative works and compositions in the field of Afro- American music. Also included is an outline of how the embellishments may be taught or practiced. The examples are intended as suggestions and are by no means exhaustive. They can be amplified by the student or teacher. CONCLUSION AND RECOMMENDATIONS To those who are interested in the art of improvisation, the in- tensive practice of the embellishments is an efficient things to do. Learning the art of embellishment is as useful today as it was to the Baroque performer who has to know how to improvise in order to earn a harmonic living performing music. The embellishments complement the variety. structure by adding a dynamic dimension to it as well as . ]33 The systematized practice of the embellishments will contribute to the techniques now used to teach the art of improvisation by making available another approach. The analysis of the chords and scales and patterns now in use will take on added meaning when viewed as embellishments More stress should be given to the creative aspect of music, and those who want to develop skills in handling the materials that comprise the tools for creative writing or improvising should be given the opportunity to gain the knowledge they want. To this end the function of the embellishments in the development of melody should be given greater emphasis in the music theory classes. The conditions facilitating the acquisition of psychomotor skills should be researched in greater depth. Up to now, the greater amount of time has been spent on investigations conducted in the field of cognitive development and growth. 131* BIBLIOGRAPHY Arts and the Schools : Patterns for Better Education. Report by New York State Commission on Cultural Resources, 1972. Assagioli, Robert. Psychosynthesis . New York: Viking Press, 1965 Babbitt, Milton. Past and Present Concepts of the Nature and Limits of Music Perspectives on Contemporary Music Theory . Edited by Benjamin Boretz and Edward T. Cone. New York: W. W. Norton and Co., 1972. Baker, David. Jazz Improvisation: A Comprehensive Method of Study for All Players . Chicago: Maher Publications; division of John Maher Printing Co., 1969. Barron, Frank. "An Eye More Fantastical." Training Creative Thinking . Edited by Gary A. Davis and Joseph A. Scott. New York: Holt, Rinehart , and Winston, 1971. Bell, Virginia Lee. Sensorimotor Learning: From Research to Teaching . Pacific Palisades, Calif.: Goodyear Publishing Co., 1970. Boyd, William. Educational Psychology: A Contemporary View . Del Mar, Calif.: Communications Research Machines, 1973. . Foundations of Education . 2nd ed. Edited by George F. Kneller New York: John Wiley and Sons, 1967. . The History of Western Education . 8 th ed.; revised and en- larged by Edmund J. King. New York: Barnes and Noble, 1967. Bruner, Jerome S. The Process of Education . New York: Alfred A. Knopf and Random House; Vintage Books; division of Random House, 1963. . New York: W. W. Norton and . Toward A Theory of Instruction Co. , 1966 . Prentice-Hall, 196U. Coker, Jerry. Improvising Jazz . Englewood Cliffs: Cornelia, Tom. "Understanding Creativity for Use in Managerial Planning." Davis and Joseph A. Training Creative Thinking . Edited by Gary A. Scott. New York: Holt, Rinehart, and Winston, 1971. Cooper, Grosvenor, and Meyer, Leonard B. The Rhythmic Structure of Music_, Books, 1963 Chicago: University of Chicago Press, i 960 . Phoenix Franco Colombo, 196 U. Creston, Paul. Principles of Rhythm . New York: . : 135 Dallin, Leon. Techniques of Twentieth Century Composition . Dubuque: Wm. C. Brown Co., 1957. Deeae, James. The Psychology of Learning . 2nd ed. New York: McGrav Hill, 1950 Delamont Gordon. , Modern Harmonic Technique . Vol. II: The Advanced Materials of Harmony. Delvan: Kendor Music, 1965. Deutsch , Maury. Improvisational Concepts and Jazz Patterns . New York: Charles Colin, 1959. * Emery, Walter. Bach s Ornaments . London: Novello and Co., 1953; re- print ed., London: Novello and Co., 1970. Forte, Allen. Tonal Harmony in Practice and Concept . New York: Holt, Rinehart , and Winston, 19^2 Garcia, Russell. The Professional Arranger-Composer . New York: Crite- rion Music Corp. , 195^ ; 5th printing by arrangement with Barring- ton House. Gardner, John W. No Easy Victories . New York: Harper and Row, Harper Colophon Books , 19^9^ . . Self-Renewal: The Individual and the Innovative Society New York : Harper Colophon Books , Harper and Row, 1965. Goetschius, Percy. Applied Counterpoint . New York: G. Schirmer, 1930. New York: G. Schirmer, . Exercises in Melody Writing , no. 13. 1928. NA. . Lessons in Music Form. New York: Edwin F. Kalmus , Composition . New York: G. . The Homophonic Forms of Musical Schirmer, 19^3. . New York: G. Schir- . The Larger Forms of Musical Composition mer, 19^3. of Harmony. The Material Used in Musical Composition . A System Yew York: G. Schirmer, 1913. Tone Relations . New York: Barnes , The Theory and Practice of “and Noble, 1967 i . N . J . Scarecrow . of Music Terms Metuchen , Grant , Parks Handbook Press , 1967 • . . 136 Grove' s^Dictionary of Music and Musicians , 5th ed. Edited by Eric Blom, Hindemith, Paul. Craft of Musical Composition , Book I, Theoretical Part. Translated by Arthur Mendel. Revised ed. London: Schott and Co. 195 1*. • Exercises in Two-part Writing . Vol. II. Translated by Otto Ortmann. New York: Associated Music Publishers, 1939. • Traditional Harmony , Book I. Revised ed. New York: Associ- ated Music Publishers, 19UU. Jones, George Thaddeus. Music Composition . Evanston, 111.: Sumray-Bir- chard Co., 1963. • Music Theory . New York: Harper and Row, Barnes and Noble Books, 1974. Koch, Lawrence 0. "Ornithology: A Study of Charlie Parker's Music, Part One." Journal of Jazz Studies 2, Dec. 197U. Kubie, Lawrence S. Neurotic Distortion of the Creative Process . New York: Noonday Press, division of Farrar, Straus, and Giroux, 1961 Langer, Suzanne. An Introduction to Symbolic Logic . 3rd rev. ed. New York: Dover Publications, 1967 fLateef, Yusef. Yusef Lateef's Method On How To Improvise Soul Music . Teaneck, N. J. : Alnur Music Co., 1970. ^Lerma, Dominique-Renee de. Reflections on Afro-American Music . Kent State University Press, 1973. Lieberson, Samuel. Manual of Functional Harmony and Key to 2l6 Exer- c ises . Los Angeles : Warren F. Lewis, 19^0. in Music , Madsen, Clifford K. , and Charles H. , Jr. Experimental Research Contemporary Perspectives in Music Education Series. Englewood Cliffs, N. J.: Prentice-Hall, 1967 Meyer, Leonard B. Emotion and Meaning in Music . Chicago: University of Chicago Press, 1956. Predictions in . Music, the Arts, and Ideas: Patterns and Twentieth-Century Culture. Chicago: University of Chicago Press, 1967. New York Miller, Hugh Milton. History of Music . 3d ed., rev. and enl. Barnes and Noble , 19^7 • :, 137 Music Appreciation for High School . Bureau of Curriculum Development Board of Education, City of Nev York, 1969. Nettl , Bruno . Folk and Traditional & Music of the Western Continents . Prentice-Hall History of Music Series. Englewood Cliffs, N. J.: Prentice-Hall, 1965 . -J^Paynter, John, and Aston, Peter. Sound and Silence: Classroom Projects in Creative Music . London: Cambridge University Press, 1970. Persichetti, Vincent. Twentieth Century Harmony . London: Faber and Faber, 1961 . Piaget, Jean. Six Psychological Studies . Edited by David Elkind. New York: Vintage Books, 1968 . Piston, Walter. Harmony . New York: W. W. Norton and Co., 19 UI. . Principles of Harmonic Analysis . New York: E. C. Schirmer Music Co., i960 . Reed , H . Owen , and Harder , Paul . Basic Contrapuntal Technique: An In- troduction to Linear Style Through Creative Writing . New York Mills Music, 196U. Ruesch, Jurgen, and Bateson, Gregory. Communication: The Social Matrix of Psychiatry. New York: W. W. Norton and Co., 1968. Salzer, Felix. Structured. Hearing: Tonal Coherence in Music , Vols. I and II. New York: Dover Publications, 1962 . Schenker, Heinrich. Harmony . Edited and annotated by Oswald Jonas. Translated by Elisabeth Mann Borgese. Cambridge, Mass.: MIT Press, 195^ Schoenberg, Arnold. Models for Beginners in Composition: Music Examples , Syllabus, and Glossary . New York: G. Schirmer, 19^3. Shir-Cliff, Justine; Jay, Stephen; and Rauscher, Donald J. Chromatic Harmony . New York: Free Press, 1965 Domain. Taxonomy of Educational Objectives . Handbook I: Cognitive Edited by Benjamin S. Bloom. New York: David McKay Co., 1965. Berklee Press, The Berklee Correspondence Course . Lesson 5. Boston: 1969. Free Press, 1966. Ulehla, Ludmila. Contemporary Harmony . New York: Elementary Wedge, George A. Ear Training and Sight Singing Applied to Musical Theory. New York: G. Schirmer, 19^9 . 138 Westrup, J. A., and Harrison, F. LI. The New College Encyclopedia of Music . New York: W. W. Norton and Co. , I969T Wing, Cliff, Jr. "Creativity and Learning." The Educational Environ- ment and the Cultivation of Talent . Student Selection. Edited by Jerome Kagan. Boston: Beacon Press, 1967 139 SOURCES OF CONTEXTUAL EXAMPLES: SOLOISTS AND COMPOSERS 1. 5-3 Louis Armstrong's solo on "Terrible Blues." Transcribed by Bob Wilber from Louis Armstrong: An Early Portrai t. Milestone (MLP 2010). 2 . 5-9 Louis Armstrong's solo on "S.O.L. Blues." Transcribed by Bob Wilber from The Louis Armstrong Story, Vol. 2: Louis Armstrong and His Hot Seven. Columbia (CL 852 ). Down Beat . July 1970. 3. 5-29, 5-30 Louis Armstrong's solo on "West End Blues." Transcribed by David Baker from The Louis Armstrong Story, Vol. 3. Columbia (CL 851 ). Down Beat , September 1971. U. 5-32 Mike Brecker's solo on "Child of Wisdom." Transcribed from The Dreams album Imagine My Surprise. Down Beat , May 1975. 5. 5-35, 5-50 John Coltrane's solo on his "Giant Steps." Transcribed by David Baker from Coltrane's album Giant Steps. Down Beat , July 1971. 6. 5-31 Vic Dickenson's solo on "Bourbon Street Parade." Transcribed by David Baker from The World's Greatest Jazz Band's album What's New. Down Beat, August 1972. 7. 5-10 Ted Dunbar's solo on "There Is No Greater Love." Transcribed by David Baker from album Charles Williams. Mainstream (MRL 312). Down Beat, January 197^. Duke Ellington's "I Let a Song Go Out of My Heart." The Great Music Publishing of Duke Ellington . Melville, N. Y.: Belwin-Mills Corp.; American Academy of Music, 1966. lHo 9. 5-7 Duke Ellington's "Prelude To a Kiss." The Great Music of Duke Ellington. 10. 5-17 11. Curtis Fuller's solo on "Bongo Bop." Transcribed by David Baker from Fuller's album Sliding Easy. United Artists (UAL UoUl). Down Beat , January, 1973. 5-26, 5-^2 Dizzy Gillespie's solo on "One Bass Hit." Transcribed by David Baker from album The Dizzy Gillespie Reunion Big Band (MPS 15207). Down Beat, February 1970. 12. 5-5, 5-Ul Frank Gordon's solo on "Kera's Dance." Transcribed by Dick Washburn from albym by The Awakening, Hear, Sense and Feel. Black Jazz (BJQ/9). Down Beat , April 1973 13. 5-18, 5-33, 5-^3 , 5-^6 Herbie Hancock's solo on "Fire Water." Transcribed by Brian Priestly from Hancock's album The Prisoner. Blue Note (BST 8U321). Down Beat , November 1970. lU. 5-2, 5-lU, 5-M Coleman Hawkins' solo on "Body and Soul." Transcribed by Hoyt This Jones. Down Beat, 19^0; reprint Down Beat , July 1972. classic solo may be heard on A Jazz Autobiography-Coleman Hawkins. RCA Vintage (LPV 50l). 15. 5-8, 5-21 Johnny Hodges' solo on "Passion Flower." Transcribed by David Baker from Duke Ellington's album Blue Rose. Columbia (CL 872). Down Beat, August 1970. 16. 5-15 Greg George Freddie Hubbard's solo on "Killer Joe.". Transcribed by from Quincy Jones' album Walking in Space (A and M 3923). Down Beat , May 1973. Freddie Hubbard's solo on "Shutterbug. " Transcribed by David Baker from J. J. Johnson's album J. J. Incorporated. Columbia (CS 8 H 06 ). Down Beat . February 1971. 18. $-1, 5-13. 5-23. 5-28 Milt Jackson's solo on "Theme from the Anderson Tapes." Transcribed by David Baker from Quincy Jones' album Smackwater Jack. A and (SP M 3037). Dovn Beat , March 1972. 19. 5-**, 3-51 Keith Jarrett's solo on "Lucky Southern." Transcribed by Bill Dobbins. Dovn Beat , August 1973. 20 . 5-53 J. J. Johnson's solo on "Shutterbug." Transcribed by David Baker from J. J. Johnson's album J. J. Incorporated. Columbia (CS 8 Uo6 ). Dovn Beat , February 1971. 21. 5-36. 5-37 Thelonius Monk's solo on "I Mean You." Transcribed by Bill Dobbins from Monk's album Big Band and Quartet in Concert. Columbia (CS 896**). Dovn Beat , October 1971. 22 . 5-1** . 5-38. 5-39. 5-**8 James Moody's solo on "Cherokee." Transcribed by Greg George. Dovn Beat , September 1973. 23- 5-19. 5-20. 5 -2 **. 5-25, 5-52 Wes Montgomery's solo on "Here's That Rainy Day." Transcribed by John Kusiak. Dovn Beat, November 197**. 2k. 5-12 Charlie Parker's "Confirmation." Verve (MGV 8001). 5-3**, 5-** 5 25. Charlie Parker's solo on "Nov Is the Time." Transcribed by David Baker from The Charlie Parker Story, Vol. 2. Verve (MGV 8001). Dovn Beat, November 1971 26. 5-22 Charlie Parker's solo on "Scrapple from the Apple." NA. lh2 27. Charlie Parker's solo on "Embraceable You." Transcribed by Zita Carno and Jimmy Giuffre from Dial Take 1106A. Reissued on Charlie Parker Sextet (Roost 2210), and Bird Symbols (Charlie Parker Records U07). Down Beat, April 1970. 28. 5-^0 Clark Terry's solo on "Tete A Tete." Transcribed by Bill Dobbins from the Clark Terry/Bobby Brookmeyer Quintet album Tonight. Mainstream (S/60U3). Down Beat , May 1971. 29. 5-11 Stanley Turrentine's solo on "Speedball." Transcribed by David Creighton from album Cherry (CTI 6097). Down Beat , April 197U.