A Reference for Jazz Theory Michael Morangelli The Reel Score, LLC [email protected] Michael Morangelli Film Composer Worked with high quality samples. Delivery on DAT Has performed accompanied by the Audio Data files and either the extensively both in sequence or Finale Lead Sheet Conductors score if New York City and required. Boston. His credits include the Angelo All material is laid up to QuickTime for review with Tallaracco and Bob spotting and cue notes if required. January Big Bands, Fire & Ice Jazz Web Octet, and the Blue Rain Lounge Quartet. He was also staff guitarist for South Park Flash audio materials are optimized for file size and Recording Studio. laid up in Flash suitable for web display. Both the .fla file and the .swf file are accompanied by all sound and music samples in AIFF or Wave In Boston 1985 - 2004, he has played with the format (with Sound Designer II if required). George Pearson Group (local headliners at the Boston Jazz Society Jazz Festival in 1990), All Flash animations can be converted to QuickTime Urban Ambience, and was founder and leader of should that format be required. the Whats New Septet (1995). His Jazz compositions have been recorded by Comraderie Tapes and included in the missing links Tape The Reel Score, LLC Sampler. Services Composing for film since 1996, he has provided Original Music Composition scores for Board Stories, Rules of Order, the Music Spotting independent production American Lullaby, the CityScape production Wastebasket, and Il Music/Sound Design Moccio - an April 2004 New York Film and Video Efx/Foley/VoiceOvers entry. He has also provided music, efx, and for QuickTime/Flash Animation sound design for Eric Mauro and his work has appeared on theBitscreen.com, the Seoul Animation Festival, Aspen Shortfest, and the ExCentris New Media Festival in Montreal. 337-B Canterbury Court, Lakewood, NJ 08701,732.674.3579 [email protected] // www.thereelscore.com 2 -Basic Concepts I- .....................................................................................................11 Tonality.................................................................................................................11 Intervals ...............................................................................................................11 -Scale Intervals [Melodic Intervals]-.............................................................13 -Chord Intervals [Harmonic Intervals]-............................................................14 -Basic Concepts II- ....................................................................................................17 Chord Construction ...............................................................................................17 -Diatonic Chord [Chords natural to any given key]- ......................................... 20 Scales & Key Signatures ...................................................................................... 20 -Basic Concepts III- .................................................................................................. 22 Chord Notation: "Chord Symbols" .......................................................................... 22 Diatonic Scale Chords .......................................................................................... 22 Scales.................................................................................................................. 23 Chromatic Chords.................................................................................................. 24 -HARMONIC MOVEMENT-.......................................................................................... 24 Harmonic Movement.................................................................................................25 Harmonic Principles ...............................................................................................25 (CHROMATIC PATTERNS: CHORD MOVEMENT BASED ON NON-KEY ROOTS)..... 28 -GENERAL GUIDE - CHROMATIC MOVEMENT-.................................................. 28 Modulation ........................................................................................................... 28 -General Guide Lines- ......................................................................................29 -Locating Modulation- ......................................................................................29 -Deceptive Modulation- .....................................................................................29 -Deceptive Cadence-...........................................................................................30 -CHORD FUNCTION-...................................................................................................31 Function and Chord Quality [7th Chords]...............................................................31 -Major-.............................................................................................................31 -Dominant-........................................................................................................31 -Minor- .............................................................................................................31 -Half Diminished- ..............................................................................................31 -Diminished-......................................................................................................31 3 -Augmented-..................................................................................................... 32 Dominant Function................................................................................................. 32 -The Dominant 7 Cadence [Vx7 to IM7]- ............................................................ 32 -Augmented 7 approach to IM [V+7 to IM]- .........................................................33 Subdominant Function............................................................................................33 -The Minor Seventh Chord [ii-7 to Vx7]- ...........................................................33 Tonic Function ...................................................................................................... 34 -CHORD EXTENSIONS- .............................................................................................35 Unresolved Tensions .............................................................................................35 -Major Extension-.............................................................................................35 -Minor Extensions [i Minor]-........................................................................... 36 -Minor Extension [Subdominant m7]- ............................................................... 36 -Minor 7Ñ5 Extension- ...................................................................................... 36 -Diminished Extension [o7 chord]- ....................................................................37 -Dominant Extensions-......................................................................................37 Function & Chord Quality .......................................................................................38 --9th Chords-....................................................................................................38 -11th Chords- ....................................................................................................38 -Augmented 11th Chords-...................................................................................39 -13th Chords- ....................................................................................................39 Parallel Interval Structures ...............................................................................39 Principle of Mixed Positions.................................................................................. 40 -CHORD TENSIONS-..................................................................................................41 General Considerations .........................................................................................41 -CHORD PATTERNS-................................................................................................. 44 The Chord Pattern................................................................................................. 44 -CIRCLE SEQUENTIAL PATTERNS- .......................................................................... 47 General Guidelines [Circle Sequential Patterns]................................................ 47 -Ii V- ................................................................................................................ 47 -Ii V I- .............................................................................................................. 48 -Extended Sequential Patterns-...................................................................... 48 4 Summary [Circle Sequential Movement] ............................................................... 48 -DIATONIC STEPWISE PATTERNS-............................................................................49 -I Maj ii min7 iii min7-........................................................................................49 -Ii min7 iii min7 IV (Maj or min7)-.......................................................................50 Summary ................................................................................................................50 -Generally-......................................................................................................50