7217 NEW JAZZ THEORY WBK-CH 11-PT 8.5X11

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7217 NEW JAZZ THEORY WBK-CH 11-PT 8.5X11

PART TWO PART Intermediate CHAPTER 11 Voicing Formations WRITTEN EXERCISES 1. On the staff below, notate the following upper-structure formations. 2. Analyze the following upper-structure chords with lead-sheet symbols and slash notation. 11–4 VOICING FORMATIONS 3. Using upper-structure triads on the dominant 7th chord, provide a six-voice harmonization for the following two-note segments. Make sure that your harmonization follows the rules of good voice leading. VOICING FORMATIONS 11–5 4. Analyze the following four-note rootless formations in the context of complete four-, ﬁve-part, and larger chord structures. 5. Analyze the following three-note rootless formations in the context of complete four-, ﬁve-part, and larger chord structures. 11–6 VOICING FORMATIONS KEYBOARD SKILLS 1. Play the progression as written. Transpose it up a minor second. 2. Play the progression as written. Transpose it up a minor second. VOICING FORMATIONS 11–7 EAR TRAINING SECTION AUDIO TRACKS Track 72 contains FIFTY major formations with major and minor upper-structure triads. Identify the quality of each triad and its scale-degree position in relation to the root of the major chord. (Answer Key) 11–8 VOICING FORMATIONS VOICING FORMATIONS 11–9 Track 73 contains FIFTY minor formations with major and minor upper-structure triads. Identify the quality of each triad and its scale-degree position in relation to the root of the minor chord. (Answer Key) 11–10 VOICING FORMATIONS VOICING FORMATIONS 11–11 Track 74 contains FIFTY dominant formations with major and minor upper-structure triads. Identify the quality of each triad and its scale-degree position in relation to the root of the dominant 7th chord. (Answer Key) 11–12 VOICING FORMATIONS VOICING FORMATIONS 11–13 IMPROVISATION Practice the following pairs of triads in the manner shown below. Transpose to all keys. 11–14 VOICING FORMATIONS VOICING FORMATIONS 11–15 11–16 VOICING FORMATIONS VOICING FORMATIONS 11–17 11–18 VOICING FORMATIONS VOICING FORMATIONS 11–19 11–20 VOICING FORMATIONS VOICING FORMATIONS 11–21 11–22 VOICING FORMATIONS VOICING FORMATIONS 11–23 11–24 VOICING FORMATIONS.

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Jazz Piano Basics Handout WIBC17
JAZZ PIANO BASICS - DAN DAVEY DAN DAVEY JAZZ PIANO BASICS JAZZ PIANO BASICS - DAN DAVEY LEAD YOUR PIANIST ACROSS THE THRESHOLD Your pianists need YOUR help in rehearsal! Don’t expect private teachers to give them everything they need to be successful in YOUR ensemble on YOUR timeline. You need to have an understanding of the role of the piano and how to communicate voicings, comping, style, and more! Joining the jazz band as a pianist (or any other rhythm section instrument) is much different than joining as a horn player. The “concert band notes” look shockingly similar to the “jazz band notes” on the page. The horn player has to learn style and listening responsibilities. The music you hand your pianist looks entirely different and can be very overwhelming unless you know how to help them. BASIC FOUR-NOTE CHORD SYMBOLS Chord tones are numbered based on an 8-note scale using scale degrees 1 (Root), 3, 5, & 7. The following formulas are used to modify a major scale/arpeggio. Basic Symbols: • Major 7th: 1 3 5 7 Cmaj7, Cma7, CM7, C 7 • Dominant 7th: 1 3 5 b7 C7 • Minor 7th: 1 b3 5 b7 Cmin7, Cmi7, Cm7, C-7 • Half-Diminished: 1 b3 b5 b7 C7, C, Cmin7(b5), Cmi7(b5), Cm7(b5), C-7(b5), C-7(-5) • Diminished 7th: 1 b3 b5 bb7 Co7 • Minor-major 7th: 1 b3 5 7 Cmin(maj7), C-( 7) See the pattern of how each chord adds one flat to create the next. CŒ„Š7 C7 C‹7 C‹7(b5) 4 7 b7 4 w 5 bw 5 bw bw & w 3 w 3 b w bb w w Root w Root w w CŒ„Š7 C7 C‹7 C‹7(b5) b7 b7 4 5 b5 w bw bw bw & 4 w w b w b3 bb w b3 w w w Root w Root (Same as half-diminished chord) Note: All of this may be applied to your guitarist as well! JAZZ PIANO BASICS - DAN DAVEY WHAT ARE TENSIONS/EXTENSIONS? Tensions are non chord tones that are added to a chord to change the color/texture of the chord.
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Woodworks: Five-Story Wood-Frame Structure Over Podium Slab
FRONT COVER DESIGN EXAMPLE Five-Story Wood-Frame Structure over Podium Slab ROOF 2nd. FLOOR 1st. FLOOR Developed for WoodWorks by Douglas S. Thompson, PE, SE, SECB STB Structural Engineers, Inc. Lake Forest, CA $FRA-593_Five-Over-One_TechDoc_Dec2017.indd 1 12/7/17 11:18 AM INSIDE FRONT COVER $FRA-593_Five-Over-One_TechDoc_Dec2017.indd 2 12/7/17 11:18 AM Free design and engineering support for non-residential and multi-family wood buildings WoodWorks provides free Five reasons to choose wood for your next project: resources that allow engineers, Wood typically provides more value—in terms of its beauty, architects and others to design design flexibility and environmental attributes—for less cost than and build non-residential and other major building materials, all while meeting fire, safety and other code requirements. multi-family structures out 1. Wood costs less – In addition to lower material costs, of wood more easily and at wood building systems typically cost less to install than other less cost. This includes free materials. Wood construction is fast, and wood’s relative light weight reduces the need for foundation capacity and one-on-one project assistance associated costs. as well as educational events 2. Wood structures meet code – The International Building Code recognizes wood’s safety and structural performance and online resources such as capabilities and allows its use in a wide range of building CAD/REVIT details, case studies, types, from multi-story condominiums and offices to schools, restaurants, malls and arenas. and Continuing Education Units. 3. Wood performs well in earthquakes and high winds – Because wood-frame buildings are lighter and have more repetition and ductility than structures built with other For tools and resources materials, they are very effective at resisting lateral and uplift forces.
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Modes, Scales, Functional Harmony, and Nonfunctional
MODES, SCALES, FUNCTIONAL HARMONY, AND NONFUNCTIONAL HARMONY IN THE COMPOSITIONS OF HERBIE HANCOCK Keith Waters The decade of the 1960s witnessed a vast expansion of the harmonic resources available to the jazz composer. The compositions of jazz pia- nist Herbie Hancock played an important role in shaping this emerging harmonic language. The innovations that arose affected both harmonic structure (chord type) and harmonic progression (chord-to-chord succes- sion). These newer harmonic developments—often referred to as “modal harmony” or “modal jazz”—remain today as a significant cornerstone of the harmonic vocabulary of jazz. In this article I examine several of Hancock’s compositions written and recorded during the 1960s, pointing out Hancock’s compositional approaches and innovations against the backdrop of standard functional harmony and modal harmony. I address three general questions: (1) How is compositional structure created when harmonic function is weakened or absent? (2) How did Hancock further extend the modal innovations pioneered by Miles Davis and others? (3) In what ways was Hancock Journal of Music Theory, 49:2 DOI 10.1215/00222909-011 © 2008 by Yale University 333 Downloaded from https://read.dukeupress.edu/journal-of-music-theory/article-pdf/49/2/333/377798/11-JMT_49.2.pdf by UNIV CA IRVINE user on 03 April 2020 able to merge functional harmonic procedures with modal harmonic pro- cedures? Hancock attained national prominence as a member of the Miles Davis Quintet, playing piano with Davis between 1963 and 1968. With his ten- ure with Davis, his recordings as a sideman on numerous albums, and his own series of albums for the Blue Note label under his own name, Han- cock was considered one of the most innovative, versatile, and accom- plished jazz pianists of the decade.
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Dominant Voicings Worksheet
Dominant Voicings Worksheet www.pianogroove.com Root in the melody: My Foolish Heart In the 2nd bar we have a G7 with the root in the melody. - First try just 3rd and 7th - Next add in the 13 - Now let’s test the different alterations – b9, #9, #11 & #5 - When I see a root in the melody I ofte voice the dominant chord with a suspension. Sus chords are basically dominant in nature. - The nice thing with sus voicings is that you can then resolve the suspension and add an alteration. - On final option available to you is the tritone sub. An important relationship to understand is that when you have the root in the melody over a dominant chord. If you play the tritone sub, the root then becomes the #11. - You can also move from the suspended dominant chord to the altered tritone sub. b9 in the melody: You don’t know what Love Is In the 5th bar we have a C7 with the b9 in the melody. - the b9, #9, #11 and #5 are all present in the altered mode. This means that when you have an altered chord, in theory you can substitute or move between these different alterations. - The key point is that if you see a b9 in the chord symbol or melody, chances are that the #9 and #5 will also work well. This also works the other way around too, so if any of these extensions are in the melody of the chord symbol, I’d recommend you experiment to see how the other alterations sound.
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Chord Names and Symbols (Popular Music) from Wikipedia, the Free Encyclopedia
Chord names and symbols (popular music) From Wikipedia, the free encyclopedia Various kinds of chord names and symbols are used in different contexts, to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and the corresponding symbol are typically composed of one or more of the following parts: 1. The root note (e.g. C). CΔ7, or major seventh chord 2. The chord quality (e.g. major, maj, or M). on C Play . 3. The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or M7). 4. The altered fifth (e.g. sharp five, or ♯5). 5. An additional interval number (e.g. add 13 or add13), in added tone chords. For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3. Except for the root, these parts do not refer to the notes which form the chord, but to the intervals they form with respect to the root. For instance, Caug7 indicates a chord formed by the notes C-E-G♯-B♭. The three parts of the symbol (C, aug, and 7) refer to the root C, the augmented (fifth) interval from C to G♯, and the (minor) seventh interval from C to B♭. A set of decoding rules is applied to deduce the missing information. Although they are used occasionally in classical music, these names and symbols are "universally used in jazz and popular music",[1] usually inside lead sheets, fake books, and chord charts, to specify the harmony of compositions.
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Upper Structure Quartals Piano Voicings Vol. 1 Jazz & Improvisation
mDecks Series Upper Structure Quartals Piano Voicings Vol. 1 All possible USQs over IIm7 and V7 Jazz & Improvisation Ariel J. Ramos Table of Contents Prerequisites USQ1 Introduction USQ2 Infinite Possibilities USQ4 Analysis and Scope USQ5 Graphing vs. Music Notation USQ6 Quartals Related Numbers USQ11 Available-USQ Charts USQ14 How to interpret graphs USQ22 Practicing with these Books USQ28 Preparing Quartals Perfect Quartal 33 Altered Quartal maj74 51 Altered Quartal maj7#4 67 Transforming Quartals 79 Perfect QSTs over IIm7 I47 of IIm7 92 II47 of IIm7 96 IV47 of IIm7 100 V47 of IIm7 104 VI47 of IIm7 108 Altered QSTs maj74 over IIm7 bVIImaj74 114 Altered QSTs maj7#4 over IIm7 bIIImaj7#4 120 Perfect QSTs over V7 II47 of V7 126 III47 of V7 130 VI47 of V7 134 bVII47 of V7 138 bIII47 of V7 142 bVI47 of V7 146 Altered QSTs maj74 over V7 Vmaj74 152 bIImaj74 156 IIImaj74 160 bVImaj74 164 bVIImaj74 168 Altered QSTs maj7#4 over V7 bIImaj7#4 174 IIImaj7#4 178 bVIImaj7#4 182 Vmaj7#4 186 bVImaj7#4 190 3 Prerequisites To take full advantage of these books the student needs a good understanding of basic harmony, chord notation, harmonic progressions, intervals and functional harmony. Also, you need to be able to play at an intermediate level, understand chord symbols and how to play basic voicings from a lead sheet and also be able to read regular music notation (notes and rhythms). Evaluation Quiz. If you know the answer to the following questions you are probably ready to embark in the study of Upper Structure Triads over the IIm7 and V7 chords.
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Augmented Scale
Augmented Scale Hexatonic – 6 notes, 2 mutually exclusive triads. Symmetrical - repeating minor 3rd and half-step intervals. C augmented can be constructed by taking a C+ triad (C, E, G#) and adding: 1) augmented triad a half-step below (B aug = B, D#, F## [G]), or 2) half-step leading tone into each note, or 3) augmented triad a b3rd above (Eb+). Scale degrees: R, #2 (b3), 3, 5, #5, 7. There are only 4 augmented scales. Repeated pattern of b3rd and b2nd produces three possible tonics (major thirds apart). C augmented scale can also be called E augmented or G# augmented. (In same way that C+ triad can be named E+ or G#+). © Dylan Kay 2012 www.dylankay.co.nz Applications Over diatonic chords from the scale There are many chords with roots C, E and G# contained within this scale: • Major, minor, augmented triads • Maj7, Maj7(with #9), Maj7#5, Min/maj7 • also 3 major triads with an added #9/b3rd: C/Eb, E/G, G#/B. This means it can be used over any of these chords. Chromatic tones can be viewed as passing tones, or as upper extensions if you alter the chord. II V I Dm7 G7 Cmaj7 – use C augmented scale. Can build an altered dominant 7th chord on leading tone of the scale. So for G7alt, use G# augmented scale (ie C augmented scale). C augmented scale over chords diatonic to A melodic minor Since the maj7#5 chord could be used as an upper structure for most, if not all, of the chords diatonic to the melodic minor scale: Amin/maj7, Bm7(b9), Cmaj7#5, D7(#11), E7(b13), F#m7b5, G#7alt B augmented scale over Giant Steps The augmented scale contains 3 major triads major thirds apart.
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Modal Tonicization in Rock: the Special Case of the Lydian Scale
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 6 Issue 1 Article 4 October 2013 Modal Tonicization in Rock: The Special Case of the Lydian Scale Brett Clement Ball State University Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Theory Commons Recommended Citation Clement, Brett (2013) "Modal Tonicization in Rock: The Special Case of the Lydian Scale," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 6 : Iss. 1 , Article 4. Available at: https://trace.tennessee.edu/gamut/vol6/iss1/4 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. MODAL TONICIZATION IN ROCK: THE SPECIAL CASE OF THE LYDIAN SCALE BRETT CLEMENT ost analysts of popular music have identified modality as one among several important M tonal resources in rock harmony.1 While these authors have acknowledged to varying degrees the use of Ionian, Aeolian, Mixolydian, and Dorian modes, they have largely balked at embracing the idea of Lydian centricity.2 For example, Walter Everett has demonstrated that most instances of the Lydian II chord, in the 1959–69 rock era, are the result of “chromatic process” within the Ionian mode.3
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An Analysis of the Compositions of Bill Evans, Billy Strayhorn, and Bill Murray
Billy's Touch: An Analysis of the Compositions of Bill Evans, Billy Strayhorn, and Bill Murray J. William Murray Towson University March, 2011 Billy's Touch Introduction Composers of any musical style are influenced by what they hear. There are certain sounds that resonate with each composer and musical elements that create these sounds will appear in his/her works. In addition to being influenced through the listening process, musical elements of others composers are learned by analyzing their works, transcribing compositions or other means of study and will also likely find their way into compositions. The study of music theory will also influence what appears in whatever they write or arrange. Because of all these influences and many more things that impact a particular composition, it is difficult to determine a specific influencer for most composers. However, most times when they are asked whose works they admire, they are able to name several composers that are more meaningful. In my case, there are two composers, Bill Evans (1929- 1980) and Billy Strayhorn (1915-1967), whose compositions have a particular resonance with me. Why am I drawn to these composers? Why do I enjoy listening to their works? Why do I enjoy playing their tunes on the piano? These are all questions that I have been unable to answer other than I enjoy listening to them. As part of my interest in and study of jazz, I have begun to compose tunes to be played primarily by small jazz ensembles. If the above hypothesis is true, characteristics of Evans's and Strayhorn's music should appear in my compositions.
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Schillinger's Special Theory of Harmony: Hybrid 5- and 4-Part Harmony
Hybrid 5- and 4-part harmony F.G.J. Absil Schillinger’s Special Theory of Harmony: Hybrid 5- and 4-part harmony F.G.J. Absil February 9, 2008 Abstract This document describes two techniques as presented by Schillinger [1] in his Special Theory of Harmony book. Chord structures, progressions and application aspects of the hybrid 5- and 4-part harmony technique will be discussed and illustrated with score examples. Document history: revised (typing errors corrected, minor edits) August 16, 2010, (score and other errors corrected) August 2015. 1 Introduction Schillingers Book 5: The Special Theory of Harmony [1] presents a great summary of tonal 4-part har- mony. Tonal harmony implies that chord structures and progressions are based on a ordering in thirds of seven-pitch diatonic scales (Schillinger calls this the first expansion form of the scale). This means that if we write a 7-pitch scale on a tonic p1 as an ordered set (ascending diatonic steps of a second) E0 = fp1 p2 p3 p4 p5 p6 p7g, then the first expansion (into a sequence of thirds) is E1 = fp1 p3 p5 p7 p2 p4 p6g. Chord structure is determined by neighbouring subsets: e.g., a triad is formed by taking 3 neighbouring pitches, such as fp1 p3 p5g (the tonic triad chord) or fp5 p7 p2g (the dominant triad chord). Root pro- gressions are determined by pitch pairs and are more natural when the pair lies close together and the movement is from right to left (from last to first pitch): e.g., root movement by a third downward from 1 p3 ! p1 is more natural than p6 ! p2 (a fifth downward) or a third upward p5 ! p7 .
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JAZZ 230 INSTRUCTOR: COURSE NAME: Theory of Tonal Music and Jazz III OFFICE: LOCAL: SECTIONS: E-MAIL: COURSE CREDITS: 3.0
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DELTADIATONICS Synopsis
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