CHORD-SPECIFIC SCALAR MATERIAL IN CLASSICAL MUSIC: AN ADAPTATION OF JAZZ CHORD-SCALE THEORY by ANDREW JOHN POKORNY A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2014 DISSERTATION APPROVAL PAGE Student: Andrew John Pokorny Title: Chord-Specific Scalar Material in Classical Music: An Adaptation of Jazz Chord- Scale Theory This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Stephen Rodgers Chairperson Jack Boss Core Member Lori Kruckenberg Core Member George Rowe Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Andrew John Pokorny iii DISSERTATION ABSTRACT Andrew John Pokorny Doctor of Philosophy School of Music and Dance June 2014 Title: Chord-Specific Scalar Material in Classical Music: An Adaptation of Jazz Chord- Scale Theory Jazz chord-scale theory identifies scales that can be used to embellish a particular type of chord. It has fostered the notion that chords can generate their own local scales. This idea as well as many of the scale types that jazz chord-scale theory identifies are essentially foreign to classical music theory, which instead tends to focus on the scales that represent relatively global key areas—that is, the scales that accommodate entire chord successions. Both the jazz and classical perspectives can coexist, and each can inform and supplement the other. This study explores implications of the jazz chord-scale perspective for classical music and classical music theory. The scalar notes and intervals that embellish a particular chord are referred to as chord-specific scalar material (CSSM). Following the suggestion of jazz chord-scale theory and Ramon Satyendra’s chord spaces, each chordal zone can exhibit its own local tonal hierarchy potentially consisting of a local tonic note (usually a chord root), chordal notes and intervals, scalar notes and intervals, and sub- scalar notes and intervals. Focusing particularly on the scalar level of these chord-specific tonal hierarchies, CSSM is a relatively foreground phenomenon that can be understood against the backdrop of a deeper, uninterrupted scalar space that is associated with the iv key of the passage at hand. A chord succession can occupy the deeper scalar space while each chord is embellished with CSSM suggestive of potentially different local scalar spaces. This study considers examples of CSSM spanning the music of Bach through Fauré, and it proposes a classification of four general types of CSSM found in classical repertoire. Each type suggests a different theoretical derivation for examples of CSSM, and each type has its own implications for tonal function (both locally and globally), coherence, and color. The fourth type apparently did not emerge until the Romantic era. Special attention is given to CSSM in the music of Gabriel Fauré, who seemingly developed rather innovative CSSM techniques. Practical benefits of this theoretical approach for today’s composers, improvisers, and performers are also considered. Various techniques for generating CSSM are offered, and further scalar possibilities are explored. v CURRICULUM VITAE NAME OF AUTHOR: Andrew John Pokorny GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR University of Minnesota, Minneapolis, MN Webster University, St. Louis, MO DEGREES AWARDED: Doctor of Philosophy, Music Theory, 2014, University of Oregon Bachelor of Arts, Music, 2003, University of Minnesota AREAS OF SPECIAL INTEREST: Theory and analysis of scales and scalar structures Theory, analysis, and history of harmonic, scalar, and other tonal “colors” PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2007–2012 Teaching Assistant, University of Minnesota, 2005–2006 AWARDS, AND HONORS: Doctoral Research Fellowship, University of Oregon, 2013–2014 Graduate Research Award, School of Music and Dance, University of Oregon, 2011 vi ACKNOWLEDGMENTS I thank the members of my dissertation committee (Steve Rodgers, Jack Boss, Lori Kruckenberg, and George Rowe) for their time and comments. Over a roughly three- year span, Steve Rodgers read through more versions of this material (and related material) than could possibly be healthy for anyone. I am grateful for all of his patience and encouragement over these years, and for all of his valuable feedback. I would also like to express gratitude to Jack Boss, who advised me while Steve Rodgers was on sabbatical and showed much dedication through his many careful readings of my drafts. I especially thank Professors Rodgers, Boss, and Kruckenberg, along with Dean Ann Tedards, for writing recommendation letters that helped me obtain a University of Oregon Doctoral Research Fellowship for the 2013–2014 academic year, thus allowing me a full year to work exclusively on the dissertation. As I am naturally a slow worker, this extra time was absolutely crucial. While the present document still has a regrettable number of deficiencies and problems, it would have been far more deficient and problematic had I not had the extra time. Finally, I would like to thank the many friends and colleagues who gave me helpful advice and moral support while I worked on this. Most notably, Helena Kopchick Spencer and Joon Park were invaluable study partners and friends during this time, and I am grateful for all of their advice and encouragement, and for the many long discussions I dragged them into. Matt Voglewede and Anatoly Larkin also gave me valuable criticism and engaged in thoughtful discussions with me about this material. I would also like to thank Dmitri Tymoczko for his kind and helpful replies to my questions via email when I was in the early stages of this dissertation. vii Dedicated to my parents, Steve and Joyce viii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 1. Jazz Chord-Scale Theory and Its Implications .................................................. 1 2. The Importance of Scalar Material to Tonality.................................................. 2 3. Implications and Prompted Questions ............................................................... 3 4. Contents of This Study and Its Importance........................................................ 6 5. Limitations, Assumptions, and Disclaimers ...................................................... 11 Limitation to Common-Practice-Era (“Classical”) Music ................... 11 Tuning and Temperament .................................................................... 12 Scales Are Assumed To Be Significant Entities .................................. 12 Theory and Analysis Do Not Always Reflect Composers’ Thinking ............................................................................................... 15 Scales and Other Music-Theoretical Entities Are Not Objective ........ 15 II. OVERVIEW OF RELEVANT LITERATURE ...................................................... 17 1. Chord-Scale Theory ........................................................................................... 17 Joseph Schillinger ................................................................................ 17 George Russell’s Lydian Chromatic Concept...................................... 22 Recent Chord-Scale Methods Associated with Berklee College of Music ............................................................................................... 24 Simplified Forms of Jazz Chord-Scale Theory .................................... 26 2. Has There Ever Been Anything Like Chord-Scale Theory for Classical Music? .................................................................................................................... 26 3. Reasons for the Oversight of CSSM and Its Implications ................................. 29 ix Chapter Page 4. Relevant Scholarship in Classical Music Theory .............................................. 32 John Vincent ........................................................................................ 32 Russell’s Analyses of Classical Music ................................................ 34 Satyendra’s “Chord Spaces” ................................................................ 35 Tymoczko’s Work ............................................................................... 36 III. FOUR TYPES OF CSSM ...................................................................................... 40 1. Defining the Types ............................................................................................. 41 Key and Deep Scalar Space (DSS) ...................................................... 41 The Four Types .................................................................................... 42 Possible Special Features or Conditions .............................................. 46 Applying the Four Types to Different Aspects of CSSM .................... 46 Labeling CSSM (Beyond Type Numbers) ........................................... 48 2. Analysis of Examples Demonstrating Each CSSM Type .................................. 51 Type 1: Pure Horizontal ......................................................................