Playing “outside the changes”To illuminate techniques of “outside” playing, an excerpt of Herbie Hancock’ssolo on the standard tune There is No Greater Love will show its application within thecontext of a standard AABA song form. This performance from a live recordingdemonstrates Hancock’s skill at moving from “inside” to “outside” and back again withinthe space of three choruses.

Quartal Harmony and sus ChordsQuartal chords can have a variety of uses. Sometimes they imply quartal harmonyand other times they are merely used to create interesting voicings of tertian chords; bothare staples of modern jazz keyboard harmony. There are many Preludes with isolatedchords voiced in fourths or with a right-hand figuration using fourths, and even thesequick references, along with Kapustin’s other devices, create a modern jazz context forhis musical ideas. Most of the examples discussed below feature more extensive use ofquartal techniques, and most use tertian harmony with quartal chord voicings

While there is nothing relaxed about the harmonic rhythm in Kapustin’s music,there are modal elements in some of his themes. Probably the most popular of the modesis Dorian and one of the first popular modal pieces, So What by Miles Davis, uses aDorian riff.

Rhythmic and Harmonic Anticipation

Diminished Scales and Harmony

In Prelude IV, Kapustin intensifies the Garner strumming effect by instructingthat the chords can be arpeggiated, simulating jazz guitar. Another aspect of Garner’sstyle, the offbeat “kicks” from the bass end of the keyboard, are also captured in bars 2and 4 of ex. 13.21

Like the diminished chord, the diminished scale is symmetrical, an eight-note (octotonic)collection of alternating whole and half steps, or half and whole steps.21 As Stefan Koskastates, “The octotonic scale is a rich source of melodic and harmonic material. It containsall of the intervals, from minor 2nd up to major 7th. All of the tertian triads except for theaugmented triad can be extracted from this scale, as can four of the five common 7th-chord types (the major-7 th cannot). 22Diminished scales and patterns derived from them are now part of modern jazzharmonic vocabulary and are used primarily to complement altered dominant chords. Forexample, a half-whole diminished scale over a G7 chord will include most of thecommon extensions and alterations:  9, 11, and 13

Another common hybrid scale, thediminished-whole tone, is usually implied by the “alt” chord symbol. This scale includesa 9, both major and minor thirds (also referred to as a 9), and a 5. It starts out like ahalf-whole diminished scale and ends like a whole-tone scale. A diminished-whole tonescale in C would be C, D, E, E, G, A, B

The modal approach de-emphasized the tonic-dominant axis of Bebop, leadingto a more pan-diatonic approach to harmony

FUSION, CROSSOVER, AND CATEGORIZATION .

TERNARY FORMS..

TWO WORLDS COLLIDE ..

NOTATION OF JAZZ STYLE, SWING RHYTHM, AND PERFORMANCE

Modal Jazz

Pentatonics

Quartal Harmony and sus Chords

Garner-style Chords

Bent-note and Double-note Techniques

Swing Eighths

Boogie-woogie.

Chord Voicings

Jazz Harmonic Progressions

STANDARD JAZZ TECHNIQUES ..

KAPUSTIN

Stride