662 Matching Annotations
  1. May 2024
    1. theworksprescribed in earlier years were much easier and written as lead sheets rather than detailed notations for both hands, which gave the performers the opportunity to rely more on their improvisational and arrangement skills rather than their reading skills to successfullyinterpret the works.
    2. Articulation specifications such as the staccatomarkings in Ballad for Thomas(Example 2.2.2) and sempre legato in Two Studies for Piano(Example 2.2.3). •Scale patterns in the left hand in Example 2.2.1 bar 30 and Example 2.2.3 bar 2-4 in Two Studies for Piano. •The similarity of sudden change in time signature, which can be found throughoutAfrican Funk for Felix, Ballad for Thomas and Lutoslawski’s Two Studies forPiano.
    3. Reddy use Western art music notation devices similar to those used by Lutoslawski in Two Studies for Piano no.1(Example 2.2.3):•There are detailed dynamic markings in both Ballad for Thomas and Lutoslawski’s Two Studies for Piano, although African Funk for Felix does not have any dynamic markings. It is important to note that Reddy states in the preface to Ballad for Thomasthat the dynamic markings are a mere suggestion (Reddy 2005c).•The use of Italian expressions, for example crescendoin Ballad for Thomas (Example 2.2.2) and sempre legatoin Two Studies for Piano(Example 2.2.3).
    4. Texture is regarded asthe joining of musical voices into melodic and accompaniment factors. In his book, Alfred’s essentialsof jazz theory,Berg (2005:3) writes: “... it is texturethat provides an aural dimension of depth”. The use of voicings6(Levine 1989:42) and texture in the three late piano worksare examined in this chapter.
    5. In addition, certain stylistic rhythmic elements in the worksareanalysed. Reddy’s musicis highly syncopated. Rhythm, as Neuhaus(1973)describes in his book The art of piano playing, is comparedto the pulse of a living organism, and he is adamant that even in a toccata the pulse will vary as the pulse of a healthy person is regular, but increases or decreases under the pressure of psychological or physical experience:Music is a tonal process and being a process and not an instant, or an arrested state, it takes place in time. The rhythm of a musical composition is frequently –and not without reason –compared to the pulse of a living organism (Neuhaus 1973:30).
    6. In this chapter the various stylistic influences in Reddy’s African Funk for Felix, Ballad for Thomas, and Toccata for John Roos are traced and delineated. By shedding light on the stylistic features that Reddy brought to pianistic realisation, I provideinterpretative insightsbased on a stylistic study of these works. This study is conducted by way of an overview of the stylistic musical elements found within the harmony, melody, rhythm, texture, form and style of the three works.The structures of the compositions are analysedincludingthe form of the composition, improvisation sections, intros, outros, modulation, development, and specific stylistic structural qualities, for example the cyclic repetition within the mbaqangasection in African Funk for Felix(Allen 2001; Bennet 2002:4-8; Berg 2005:3; Harrison 2009:131-132).Furthermore, examples of Reddy's harmonic vocabulary are givenand concepts such as extended jazz chords, harmonic repetition, ostinato, tension versus resolution, modal harmony, accompaniment style, modulation, transitions between different sections, and stylistic harmonic characteristics form part of this discussion (Reddy 2005b; 2005c; 2007).Stylistic melodic structures and motifs are also delineatedwith specific focus onstylistic licks,5development of the melody, tension and release, melodic material in the left hand, walking bass patterns, and melodies borrowed or quoted from other compositions (Aebersold 1992:43; Berg 2005:7; Harrison 2009:91; Reddy 2005b; 2005c; 2007).The use (or sometimes even lack) of dynamic markings in Reddy’s worksis also investigated. In African Funk for FelixReddy did not include dynamic markings. There arerecordings(as discussed in the literature review) that can be used as a referencewhen studying the work, but if itis performed as a solo piano composition, the
    7. His skills are apparent by looking at the rapid metronome marking (130 per crotchet) of one of his late piano works, African Funk for Felix (Reddy 2005b:1). This metronome markingadds to the difficulty of the workthat comprisesa repeated semiquaver ostinato, complex syncopations and rhythms, changes in time signatures, and technically challenging passages for both hands.
    8. While I enjoyed an excellent classical music education in London at the Royal College of Music I ventured later intopop, rock and other musical styles without abandoning my classical roots, and attempted to share the fruits of this Catholic musical perspective with audiences. They were perhaps not ready for pioneering efforts in bridging the gap between jazz and classical, then, and seemed to me sometimes to advocate a kind of ‘apartheid in music'(Reddy 2005a).
    9. This led him to createhis distinctive compositional style referred to as clazz.The name originated froman amalgamation of the words ‘classical’ and ‘jazz’. In reality, clazzcomprisesseveral musical genresincludingjazz, pop, Indian, world music, rock, Javanese gamelan music, South African mbaqanga,isicathamiya, and Western art music. Reddy’s political and philosophical beliefs are evident in clazz. By fusing different musical styles, he exhibitedhis humanitarianism, deeming all should be treated equally(Reddy 2007:11; Lucia 2010b:53; Van der Merwe 2016:71).
    1. rather than being born into a culture and almost becoming a victim of it one could choose ones culture or cultures and integrate one’s perception of them into one’s own creativity. both in time and in space one could travel around our world absorbing the best that different cultures and epochs have to offer us and making this, if appropriate, our own voice. i came to see music as one language with countless different dialects when viewed both internationally and inter-temporally any of which could be incorporated into one’s own self-expression if the subject matter of what one wished to express so necessitated it. (‘preface’ to ‘six baroque suites’, 2006)
    2. Surendran recorded two solo CDs in Johannesburg, Ready, Steady, Go! (1994) and Rough’n Reddy (1996), wonderfully illustrate his  crossover style, one of the conventions of which (as with playing Chopin) is maintaining a steady beat in the left hand “while the right hand moves rhapsodically, and with possibilities of rubato, above it” (‘Composer’s Note’).
  2. Feb 2024
  3. Jan 2024
  4. docdrop.org docdrop.org
    1. Schuller differentiates between thewestern and African understandings of polyrhythmic playing by stating that westernmusicians generally see polyrhythm as two or more rhythmic patterns played simultaneouslybut always resolving or meeting at the start and ending of phrases, bar lines and other centralpoints in the music. In contrast, “African music” reveals a far more intricate, extended,“polymetrically organized” understanding of polyrhythms, in which the individual rhythmicphrases hardly ever, and sometimes never coincide vertically (Schuller 1968, 11). These twointerpretations of polyrhythm are apparent in much U.S.-American jazz and can be seen toshift closer to the African approach in the later styles of jazz through the rhythmiccontributions of musicians such as John Coltrane, Tony Williams and Miles Davis. KeithWaters states that polyrhythm and polymeter, which he terms “metrical conflict”, were a keyfeature of music performed and recorded by the Miles Davis Quintet from 1965 to 1968(Waters 2011, 68).In terms of the use of polyrhythm in Western music from the pre-jazz era, Schuller citesCharles Ives as the only European composer who experimented with polymetric andpolyrhythmic structures, stating as an example Ives’s Fourth Symphony. Gridley deviatesfrom Schuller by suggesting that polyrhythms were used in European folk and concert musicin America for a long time before the jazz era came about but were not as prominent as inAfrican music (Gridley 1999, 45). He acknowledges the African ancestry of polyrhythms asoriginating from combinations of rhythms which can be heard in ragtime music. He definespolyrhythms as “the sounding of some rhythms that have a basis of two pulses while
    2. Polyrhythms and Polymeter
    3. kwel
    4. marab

      marabi

    1. I am particularly interested in how performance style and expressive vocabulary changes over time, as evidenced on sound recordings. I enjoy exploring aesthetics questions both empirically through experiments and measurements as well as philosophically, i.e. in their historical and cultural context.I try to embrace interdisciplinary approaches (e.g. cognitive neuroscience and perception as well as ethnographic and archival work) and learn from cross cultural investigations. I particularly like working with performers who are interested in research.
  5. Dec 2023
    1. Glossary of some important musical terms
    1. Listen to the recordings of arrangers and players who use these voicings to createtheir characteristic sounds. Here are a few suggestions:McCoy Tyner: Tender Moments (Blue Note CDP 7 84275)Phil Woods’ Little Big Band: Real Life (Chesky JD 47)Phil Woods’ Little Big Band: Evolution (Concord Jazz CCD 4361)Bill Perkins Octet: On Stage (Pacific Jazz 93163)Miles Davis: Birth Of The Cool (Capital Jazz CDP 7 92862 2)Miles Davis: Kind of Blue (Columbia CK40579)vii
    1. ESTIMATING TEMPO, SWING AND BEAT LOCATIONS IN AUDIO RECORDINGS

      https://docdrop.org/pdf/document-3gyfx.pdf/

      Estimating tempo, swing, and beat locations in audio recordings

      Jean Laroche 2001

    1. Rhythms are quickly wearisome, unless refreshed by a countervailing foreground which groups the tones against the metre. The ever‐so‐slight rubato of a solo instrument playing in front of the beat is familiar to jazzlovers. To play jazz properly it is not enough to move with the beat: you must also enter the ‘groove’ of it, which means riding alongside it with those playful gestures that ruffle the rhythmic surface and fill it with light. The distinction between beat and groove is a special case of the general distinction between foreground and background rhythm.
  6. Nov 2023
    1. The primary determinants of musica l foml in tonal music were tonality and theme, withcontrast of tonalities being a generally stronger force than contrast of themes. The declinein tonality as an organizing force has often led to a greater reliance on thematic contrast;but in many pieces, themes, in the sense of melodies, pla ya small or nonex istent part. Themost obvious example is electronic music, where texture, register, dynami cs, and especial MIy timbre are usua ll y more important as shaping elements than themes are. Rhythmic ac-ti vity is another organiz in g factor

      In the 20th and 21st centuries, tonality as organising force is being replaced with temporal and timbral style elements such as texture, register, dynamics, and timbre.

  7. Oct 2023
  8. Sep 2023
    1. the use of a choir of instruments, in this case two saxophones, as the main means of exposing the melody, and the playing off of different instruments against one another in a rudimentary contrapuntal manner

      rudimentary counterpoint

  9. docdrop.org docdrop.org
    1. Appendix A: Drum Kit Notation
    2. Rhythmic Phrasing
    3. Exoticisation of South African Jazz and Township Culture
    4. Reworking the South African Jazz Sound
    5. Influence of Apartheid
    6. Traits of South African Jazz in Masekela’s Style
    7. South African and U.S.-American Rhythm Sections
    8. Rhythmic Influence of Latin Music on South African Jazz Styles
    9. Rhythm section
    10. Analysis of Selected South African JazzRecordings
    11. South African Jazz Sound
    12. Mbaqanga
    13. Marabi
    14. Behind the Beat”Feel
    15. Syncopation
    16. Theoretical Framework
    17. Jazz in South Africa: Roots and Styles
    1. In a blues song with a sung text, the lyrics consist of a line that is repeated, then followed by a contrasting line (aab). The melody often follows this structure as well. Blues melodies often leave large gaps to allow for call-and-response between the melodic instrument and other instruments. The blues scale is like a minor pentatonic scale with an additional chromatic passing tone: do–me–fa–fi–sol–te (^1−↓^3−^4−↑^4−^5−↓^7)(1^−↓3^−4^−↑4^−5^−↓7^)(\hat1-\downarrow\hat3-\hat4-\uparrow\hat4-\hat5-\downarrow\hat7). The blues scale can be rotated to begin on its second note, creating a major blues scale: do–re–ri–mi–sol–la (^1−^2−↑^2−^3−^5−^6)(1^−2^−↑2^−3^−5^−6^)(\hat1-\hat2-\uparrow\hat2-\hat3-\hat5-\hat6).
    2. The “major” blues scale Some improvisers find it helpful to think of a major blues scale. The difference between a major and minor pentatonic scale is identical to the difference between the major and minor blues scale: the major blues scale is a rotation of the blues scale of its relative minor. Begin the blues scale on me (↓^3)(↓3^)(\downarrow\hat3), and you will get a blues scale for the relative major. These relationships are summarized in Example 5
    3. Another essential part of blues phrase structure is the notion of call-and-response, a feature likely inherited from the work songs of enslaved Africans and African Americans. The vocal, lyricized melody takes on the role of the “call” while an instrumental filler takes on the role of the “response.” Notice that in “Gulf Coast Blues,” each lyric labeled with an a is sung entirely and exclusively in the first two measures of the phrase. Example 3 annotates a transcription of “Gulf Coast Blues” to show this call-and-response relationship.
    4. This blues scale is used in both major and minor blues tunes, despite the clashes with the underlying harmony.
    5. Much as the harmonies of the blues tend not to stick to one diatonic key, flouting the norms of tonal music, the melodies are similarly chromatic to match.
    1. The poetic structure: it is undoubtedly a structure made of three lines of fourbars each but its organization differs on the levels of prosody, melody, andharmony.The prosodic structure: AAB generally. The phrase (either sung or spoken)during the first line is repeated in the second line and a second phrasefollows in the third line.9The melodic structure: AAB but often AA’B. The same melodic phrase usuallyis repeated but may be subject to variation.The harmonic structure: ABC. As seen above, the three lines have been differentfrom each other right from the most original chord changes. The first linestarts with I, the second with IV, and the third with V
  10. Jul 2023
    1. 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.
    2. 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
    3. 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.
    1. As for meter, Arom adds that “it is in fact the most elementary manifestationof rhythm,” 17 made of identical durations with regular stress patterns.
    2. “The pulse, as it has just been defined, is notrhythm. Rhythm is created by a succession of sound events with contrastingfeatures. This contrast may be generated by accents, timbres and durations.”15This is how these three components operate:

      Accents: Contrast is created by means of highlighting certain elements of the music, either regularly or irregularly. When timbre or duration are not at play, accents are the only rhythmic criteria. Timbre: Contrast is produced by hearing/playing different tone colors in turn, either regularly or irregularly. When accents or duration are not at play, timbre is the only rhythmic criterion. Duration: Contrast is produced by the succession of unequal time val- ues. When accents or timbre are not at play, durations are the only rhythmic criteria. 16 As for meter, Arom adds that “it is in fact the most elementary manifestation of rhythm,” 17 made of identical durations with regular stress patterns. Fred Lerdahl and Ray Jackendoff suggest other definitions of the accent, of which they see three types:

    3. walking bass, ching-a-ding, oom-pah
    4. SOUND
    5. Orchestral Settings and Instrumental Functions
    1. street bands, made up of various combinations of brass instruments, clarinets, and drums, which played marches, hymns, popular songs

      open-air performances - needed loud instruments

    1. To answer your question about register, register doesbelong to the domain of timbre but differs from instrumentation that also belongs to timbre. I understand that in organ music the word "register" is synonymous to characteristic timbres of musical instruments. But confusion like this is inevitable with any of the 11 aspects: "melody" can have its own "harmony" (e.g., solo flute sonatas by CPE Bach), rhythm can be "metric" (e.g., compositions written in the genre of "perpetum mobile", e.g., Paganini or Weber), articulation can be dynamic (e.g., accent), etc..

      The distinction between register and instrumentation is that register is bound to pitch and underlies instrumentation. Every instrument and vocal usually breaks into 3 registers that can be classified in 2 general types: intensity growing towards the top (vocals and brass) or 5towards the bottom (reed woodwinds and strings). This typology goes against and across the distinctions between different timbres of the instruments. However, the distinctions between registers can be greatly reduced. For instance, the bel canto training can completely conceal a breaking point between neighboring registers. Also, the timbral differences between different instruments (and vocals) greatly exceed the timbral differences between different registers of the same instrument (or voice type).Yet another important distinction is that register plays a formative role for tonal organization of modes of timbre-oriented music that are characterized by indefinite pitch (relative and variable pitch values), such as ekmelic and khasmatonal modes. In such modes, the degrees are defined in regards to their position within a vocal register(s). It is possible that the same principles are in play in the instrumental forms of music of the same ethnicities that keep cultivating such vocal music (e.g., music for Jaw Harp or musical bow). The aspect of instrumentation completely misses this formative melodic modal function. Combinations of timbral colors of different instruments do notform specific musical modes. Timbral coloration is known to be modally formative only in instrumental ensembles consisting of the sameinstrumental types -e.g., a set of gongs. But then, such cases fall within the domain of register rather than instrumentation.On the other hand, instrumental timbres often blend, forming new composite colors (for example, clarinet + oboe). There is nothing remotely similar in the domain of register -registers don't blend.It can be generalized that register fundamentally opposes instrumentation: register is based on timbral similarity, whereas instrumentation -on timbral contrasts. Composers select a specific instrument to "color" constituent sounds in a musical composition in different colors. Singers (and possibly instrumental players) usually select a specific register to secure unityin timbral coloration for the pitch-classes of a musical mode. Timbral contrasts are important in khasmatonal music, where a mode is defined by the group of pitch classes of one register contrasting the other register (e.g., falsetto or rasping). However, such music is rather rare and is still operated by the principle of integratingtimbral colors into a melodic phrase rather than by differentiation of timbral color to color the music textures, as it occurs in instrumentation. The only exception is Schoenberg's experiments with Klangfarbenmelodie that did not work -and could not work, because changes of instrumental timbres within the same melodic stream has been demonstrated to segregate this stream into fragments that obstruct phrasing.

    1. INSTRUMENTATION AND ORCHESTRATION
    2. TEXTURE AS A FORM DETERMINANT
    3. SECTIONAL VARIATIONS
    4. NONTHEMATIC DELINEATORS OF MUSICAL FORM
    5. SCALE FORMATIONS IN TWENTIETH-CENTURY MUSIC
    6. MUSIC FROM OTHER CULTURES
    7. CHOICE IN PERFORMANCE
    8. INFLUENCES FROM FOLK MUSIC, JAZZ, AL'ID ROCK
    9. FORM IN TWENTIETH-CENTURY MUSIC
    10. SERIALIZED RHYTHM AND ISORHYTHM
    11. TEMPO MODULATION AND POLYTEMPO
    12. WRITTEN RHYTHM AND PERCEIVED RHYTHM
    13. PANDIATONICISM
    14. VOICE LEADING IN TWENTIETH-CENTURY MUSIC
    15. INTRODUCTION 46 CONVENTIONAL TERTIAN SONORITIES 47 TERTIAN CHORDS WITH ADDED NOTES 49 TERTIAN CHORDS WITH SPLIT CHORD MEMBERS 52 OPEN-5TH CHORDS 54 QUARTAL AND QUINTAL CHORDS 55 SECUNDAL CHORDS 59 MIXED-INTERVAL CHORDS 62 WHOLE-TONE CHORDS 63 POLYCHORDS
    16. OTHER POSSIBILITIES
    17. MICROTONAL SCALES
    18. CHROMATICISM AND MUSICAL FORM
    19. THE TWILIGHT OF THE TONAL SYSTEM

      https://docdrop.org/pdf/kostka---Materials-and-Techniques-of-20th-Century-Music-3rd--5cqu1.pdf/

      Materials and Techniques of Twentieth-Century Music Kostka 2006

    1. PROCEDURE FOR CHORD CONSTRUCTION The priori~y order dIe is not set up cornplecely by rhe &crates ~Facoustics. There are adjust- ments made to the table thar are more reflective of"c~rnrnon pracrice." That is, taking prefer- ence in the order of notes chat emphasize the modal quality of a primary mne or sel~cting notes that conform to documented use in recordings or printed music. It will be explained in each example when an adjuscrnent is made. Although a11 spacings will be represented in the examples, it is restated here that the most interesting are the mixed spacings. Still, ane should be familiar with the consrmction and use of a11 spacings. 1. Select che general tessitura and soar of rhe chord. 2. Select the kind of spacing. 3. Place the primary color tone somewhere within the seIecced ressitura. 4. FiIl inJ up or dawn, the remaining coIar cones wirhin the specified incervaI of che selected spacing to the number of notes desired in the chord (four or five plus root is ypical). 5. Keep in mind the rules of supporr and balance if good support and balance are desired. One should be abIe to create a balanced chord on assignment. 6. If constructing mixed spacings, try co create balanced chords first, then experiment with exotic (imbalanced) spacings. Some of them sound surprisingly good. 7. Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may need to shift the prioricy tabIe to fuIm the requlred spacing- 8. Doublings are acceptable and wen desired in some cases. commendations wilI be made within rhe comments of each example. At this time it should be pointed out hat there is a problem with rhe standardization ofmodal chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples are a compilation ofsuggestions that I have received from the many studerm I have had from all parts of the world. These suggested symbols work, but are open ro criticism
    1. SOUND SUPPORT PHRASINGThe last performance directive to cover is quite important, and one that is often overlooked~ that of sound support phrasing ~ the direction as when to start and when to stop produc-ing a sound irrelative to pitch change.Whether the sound is produced by blowing, plucking, scrapping or hitting, there is a pointwhen the performer needs to take a breath, raise the arm, or move the bow toa starting posi-tion; all affect the phrase qualicy ofa melody. There are two considerations the composermust make; (1) how long the sound production can last depending on the tempo of theperformance and the abilities of the performer, and (2) how will the pause ro take a breathor raise a bow affect the phrasing of the melody. Careful preplanning is required to assure asuccessful interpretation of your melody.
    2. ARTICULATIONS AND EFFECTSThis subject is beyond the scope of this book ~ one really should refer to an orchestrationor arranging text for this, bur to provide a quick access and a review, the following descrip-tions of articulations are included.ARTICULATIONSIchasbeenstatedthatforajazzperformance,onlytwoarticulationsareneeded:staccatoandtenuto-thereisnoneedtobesospartan.To review:Staccato and tenuto refer to note length ~ how long the pitch is held - with no change in vol-ume or emphasis.
    3. Non-western scales (octatonic and more)
    4. THE ELEMENTS OF A MELODYThe elements ofa melody are comprised of the following groups: source materials, a meansof creation and development, phrase organization, tessitura, contour and expressive devices.In addition, a goal and point of climax should be devised for each section or phrase of amelody.A, SOURCE MATERIALSMelodies may be based on any of the following sources:1. Single notes2. Tritonic scale fragments3. Tetratonic scale fragments (tetrachords - see Vol. 1)4. Pentatonic scales(a) diatonic(b) altered(c) add note (sextatonic)(d) blues scalesDiatonic and altered diatonic modes (septatonic)Symmetric scalesHarmonic references(a) arpeggiations/guidetones(b) common tones/pivot points_(c) leading tones/neighbor tones8. Quotes9. Non-western scales (octatonic and more)AWA melodic source is the pitch organization of a motif, phrase, section, or any area of a melodythat shows musical unity. A group of asymmetrically organized pitches numbering four ormore in a scalar format can imply a modality and its perceived emotional qualicy (see Vol. 1,Chapter IV).If an example is not scalar - having consecutive skips - in most cases it will have notes incommon with a particular modality. Ir is possible char if the phrase is long enough, morethan one scalar source can be detected. In addition, the modal qualicy of the motif or phrasecan be enhanced or obscured by its relationship to the harmonic foundation of that partic-ular area.EXAMPLES OF MELODIC SOURCE MATERIALSThe following, like most of the examples found in the remainder of the book, are excerpts,ofa length sufficient to illustrate the defined concept. To put the example in context, it issuggested the student refer to the recommended listenings and readings found at the end ofche chapter as a source of scores and recordings for further study1. SINGLE NOTEThe starting point of the categories of melodic source materials, having no pitch compari-son it is a melodic device in which the rhythmic development of the motif or phrase createsmusical cohesion. Very effective in jazz melodies, it is a device chat Horace Silver and JoeHenderson use extensively.Example 1.1a: “Caribbean Fire Dance” (B section) by Joe HendersonG- F E Eb Db Eb
    5. STYLEThe styles of jazz melodies can be categorized into two main groups:ROMANTICJazz ballads, bossa novas, boleros and some medium and fast tempo songs have melodiesthar are constructed following the developmental procedures that have come from the melo-dic style of Tchaikovsky and Rachmaninoffby way of the popular music composers of the20s to the 50s. Included are the efforts of expert film composers from the earliest to con-temporary times. With this in mind, it is very importanc chat the jazz composer as well asthose aspiring to compose for the popular market: CDs, radio, television and films, be ableto compose a romantic melody.IDIOMATICThesejazzmelodiesareconstructedtoconformtoparticularqualitiesthataredefinedbyanhistoricera:bebop,swing,Dixieland,hardbop;afolk/ethnicreference:blues,Caribbean,pentatonic,pop;orbytheperformancepeculiarities ofaninstrumentorvoice.Melodiescanalsobedescribedbyanynoteworthyuseofcheelements:angular,lyrical,programmatic,symmetric,tetrachordic,oranyoftheothers.THE GENERAL MELODIC STYLE CATEGORIESRomantic/Ideal: these melodies/compositions are based on the Romantic period philosoph-ically, melodically and to some degree, harmonically.Romantic/Melodic: these melodies show consistencies with romantic melody writing proce-dures but differ in philosophy, harmonic materials and emotional goals.idiomatic/Referential:modeledonthemelodicdescriptionsofastyleera,folkreferenceorinstrument/voiceperformancecharacteristics.Idiomatic/Abstract: these melodies are constructed to have a quality described as jagged,smooth, consonant, chromatic and similar depictions.Idiomatic/Programmatic: the construction ofa melody to define an emotional, modal orprogrammatic goal: pastoral, energetic, dark, mysterious and so forth.In the main, jazz melodies are either romantic or non-romantic. The non-romantic melodiesare so diverse - having so many variables in their descriptions - that a comprehensive repre-sentation of how the elements of melody writing were co be applied for each would bebeyond the scope of this book. In addition, there are many melodies that have mixed influ-ences: folk/modal, riff/pentatonic, and many more,Another point to consider is that many compositions have different styles of melodies indifferent sections. Some examples arSONG SECTION STYLE - Contrasted and Combined Melodic Styles
    1. n comparing themarabi harmonic structure and its seminalposition in vernacular jazz improvisatory practice in South Africa to that of the AfricanAmerican blues in its relationship to jazz, Ballantine explained its basis ‘on a cyclicpattern’ as ‘stretch[ing] over four measures, with one measure for each of the followingchords: I – IV - I 6/4 - V’ (Ballantine 1993:26)
    1. There are two ways of establishing a chord–scale relationship for ii 7 –V 7 or ii≤57–V 7progressions: either select a mode that works for V7 or select a mode that works for ii7or (ii≤57). As shown in Figure 18.4, mm. 2–4 feature a descending sequence of incompleteII–Vs connecting the tonic on I with the predominant on IV. Each II–V progressionestablishes a chord–scale relationship with the corresponding dominant 7th. Notice that,in m. 2, the use of Mixolydian ≤13 fits the underlying context much better than the diatonicMixolydian mode. The tonic note F4 functions as the ≤13th of Mixolydian ≤13 and isretained as a common tone in mm. 1–2. The second A section (mm. 9–16) demonstratesa different approach to chord–scale theory. The selection of modes for the II–V pro-gression in Figure 18.4 is based on the quality of the predominant chord. Thus, inm. 10, Emin7(≤5)–A7 uses E Locrian, while in m. 11, Dmin7–G7 establishes a chord–scalerelationship with D Dorian, etc

      The bridge of “Confirmation” (mm. 17–24) features two four-bar phrases with ii7 –V7 tonicizations of the IV and ≤VI key areas. The chord–scale relationship for the bridge in Figure 18.4 includes a different selection of modes: Dorian, Mixolydian, and Ionian for Cmin7–F7–B≤Maj7, and Dorian, Altered, and Lydian for E≤min7–A≤7–D≤Maj7. Tonal and contextual considerations are particularly evident with the choice of Altered mode in m. 22, which accommodates notes from the tonic key and prepares the arrival of FMaj7 in m. 25. The last A section (mm. 25–32) features a much bolder selection of modes. The choices of A Altered in m. 26 and F Locrian in m. 28 are particularly poignant. The former injects chromatic notes into the structure of dominant 7th chord. The choice of F Locrian over Cmin7–F7 in m. 28 might seem out of place because neither chord (at least not in the present form) establishes a convincing relationship with this mode. But, the F Locrian mode forms a chord–scale relationship with F7(≤9≥9)sus, which is an effective harmonic substitution for Cmin7–F7. While the selection of modes in Figure 18.4 is overcrowded with different options, an improvisation may focus on only a few modes. In fact, each A section contains a selection of modes that could be implemented in the course of an entire solo. In establishing a successful chord–scale relationship for the tune, be mindful of three important con- siderations: (1) modal hierarchy, (2) chromatic treatment, and (3) voice leading. Chromatic modes, for instance, contain notes that might need preparation. This preparation usually takes place anywhere from one beat to one measure before the chromatic notes occur. The succession of modes in mm. 5–6—B≤ Mixolydian and D Mixolydian ≤13—illustrates such a case. The latter mode contains the chromatic ≤13th that was introduced as ≤7th of B≤7 in m. 5. “CONFIRMATION” 239

    2. The rhythmic structure of the melody is interesting hypermetrically: in mm. 1–4, thehypermetric downbeat occurs in mm. 1 and 3 and emphasizes ^5 as the melodic anchor.The continuation of the phrase features a less regular hypermetric organization withmetrical downbeats occurring in mm. 5, 6, and 7. This hypermetric organization cor-roborates yet another characteristic of contrafacts, namely that they have a fairly irregularand purposefully unpredictable phrase structure. The irregular hypermetric organizationof the A section is balanced by a symmetrical unfolding of hypermetric two-bar phrasesin the bridge
    3. ach dominant 7th in mm. 2–4 is subsequently expandedwith the ii≤57–V or ii7–V7 progressions, thereby doubling the rate of harmonic rhythm. Inm. 2, then, A7 becomes Emin7 (≤5)–A7; in m. 3, G7 turns into Dmin7–G7; and, in m. 4,F7 expands into Cmin7–F7.Comparing the second half of each A section shows that the first A is harmonically openand ends on a ii 7–V7 in m. 8, while the second and the last A feature closed harmoniccadences on I in m. 16 and m. 32, respectively. The bridge in mm. 17–24 has a symmetricalphrase structure and slower harmonic rhythm, which redirects the harmony from I to IVin m. 19 and, then, to ≤VI in m. 23. These key areas are tonicized with local ii7–V7progressions. The choice of these tonal areas corroborates an interesting fact about theoverall tonality of bebop tunes with respect to jazz traditions. The subdominant key areahas always had strong blues underpinnings and the flat submediant was one of the fewchromatic regions that ragtime or early jazz tunes allowed in their harmonic structure.3
  11. Jun 2023
    1. The A Section—Arpeggiation Patterns
    2. An Alternate Chord–Scale Relationship for the A Section
    3. The A Section: A Two-Scale Approach
    4. A Single-Scale ApproachThe chord structure of the A sections of rhythm changes can be reduced to the fundamentalframework shown in Figure 19.5.While mm. 1–4 of any A section feature a tonic prolongation, mm. 5–8 are morecomplicated even at the background level. For instance, the predominant in mm. 6, 14,and 30 can take the form of major 7th or dominant 7th chords. Also, the tonally closed256 INTERMEDIATEFIGURE 19.5 Fundamental Harmonic Frameworks
    5. xperiments with the“Coltrane” substitution
    6. FIGURE 19.6 A Basic Chord–Scale Relationship for the A Section
    7. The A section of rhythm changes can be realized with different harmonic progressions.Some of the most interesting realizations are shown in Figure 19.3a–i. With eachconsecutive progression, the level of harmonic complexity increases.
    8. As pointed out in the analysis of the tune, blues melodic devices are featured prominentlyin the original melody. In Jones’s solo, the melodic blue notes are integral componentsof his lines. In mm. 14–15, for instance, the pitch D≤4/C≥4 connects two adjacent phrases:≤^3 functions as a ≤7th of E≤7 and then becomes a lower chromatic neighbor preparingthe 3rd of B≤Maj7 in m. 15. The tritone G4–D≤4 in m. 14 provides additional bluesreferences. In mm. 61–62, open-position chords have similar blues underpinnings with≤^3 as the highest note piercing through the characteristic blues voicing. In mm. 94–95,the use of three-note close-position voicings embellished with grace notes enhances thestructural subdominant
    9. All the harmonic options in Figure 19.4 rely on the use of dominant 7th tritonesubstitutions, ii7–V7 diminutions, and/or [ii7–V7]/X interpolations. The use of a dominant7th tritone substitution in its clearest manifestation is shown in Figure 19.4b. Chords inmm. 18, 20, 22, and 24 function as tritone substitutions of the preceding dominant 7ths.The use of ii7–V7 diminutions results in the faster harmonic rhythm, as each dominant7th of the bridge can be potentially expanded with a predominant ii 7. In Figure 19.4c,the ii7–V7s occurring in mm. 18, 20, 22, and 24 expand the underlying dominant 7thchords. The combination of ii7–V7 diminutions with [ii7–V7]/X interpolations can producemore intricate harmonic progressions as demonstrated in Figure 19.4d and 19.4e. Themost obvious consequence of such combinations is even faster harmonic rhythm with twochords per measure. For instance, in Figure 19.4d, the [ii7–V7]/X interpolations in mm.18, 20, 22, and 24 establish a logical voice-leading connection with the upcoming ii7–V7progression. In addition, the ii 7–V7s in mm. 17–18, 19–20, 21–22, and 23–24 are a halfstep away from each other, which further assures good voice leading. The neighboringii7–V7s are also on display in Figure 19.4e. But unlike Figure 19.4d, the [ii7–V7]/Xprogressions in mm. 18, 20, 22, and 24 from Figure 19.4e function as lower chromaticneighbors in relation to the diatonic ii 7–V7 progressions
    10. ownward arpeggiation of Cmin7

      downward arpeggiation of Cmin7 balances an upward arpeggiation of a rootless B≤9 in m. 93; in mm. 115–116, an incomplete upward arpeggiation of Dmin 11 balances a downward arpeggiation of G7 (≤13)

    11. Another relatively simple technique used by Jones in his solo involves the arpeggiation offour-part chords
    12. “Confirmation”—Improvised Solo by Hank Jones (transcribed by Dariusz Terefenko)
    13. Lead Sheet—“Confirmation”
    14. Even though the subdominant on IV features a dominant 7th chord, inthe context of this progression it functions as a predominant
    15. A chromatic pitch enclosure occurs in m. 18 when the melodic cellE4–C4–C≥4–D4 encircles the root of D7. The C≥5s in mm. 2, 6, 26, and 30 constitutemelodic appoggiaturas because they are accented and approached by a leap
    16. The presence of chromaticism is integral to the structure of bebop melodies. Some of thechromatic additions, such as the metrically accented C≥5s in mm. 2, 6, 26, and 30, makesubtle references to the blues
    17. With the exception of the blues, the rhythm changes progression is probably the mostimportant chord progression in jazz. The term “rhythm changes” refers to a 32-bar AABAform based on the harmonic structure of “I Got Rhythm” by George and Ira Gershwin.The song appeared in the Aarons and Freedley production Girl Crazy (1930) andoriginally featured a 34-bar AABA form with a two-bar extension in the last A section.The two-bar extension was eventually cut and the chord changes of the last A sectionreplicated those from the second A. A newly composed line based on the rhythm changesprogression is known as a contrafact. The enormous popularity of rhythm changes hasbeen well documented by an ever-increasing number of composed contrafacts andrecordings
    18. The melody of “Moose the Mooche” confirms the premise that contrafacts are far moredexterous than the tunes from which they borrow their chord progressions. The melodicrhythm of “Moose the Mooche” is typical of bebop syntax. In m. 1, the Charleston rhythmis highlighted with an octave leap from F4 to F5. This rhythmic gesture appears in variousguises throughout the tune. Other rhythmic figures, such as 8th-note triplets in mm. 2and 8, and 16th-note triplet turn figures in mm. 14, 31, and 32, are idiomatic decorationsthat enhance the melodic surface.The presence of chromaticism is integral to the structure of bebop melodies. Some of thechromatic additions, such as the metrically accented C≥5s in mm. 2, 6, 26, and 30, makesubtle references to the blues. Other chromatic notes emphasize structurally importantharmonies. For instance, a carefully prepared A≤4 occupies beat 1 in mm. 5 and 29, andconstitutes the ≤7th of the underlying V7/IV harmony. The preparation of A≤4 in mm. 4and 28 features an upward stepwise ascent: F4–G4. The end of m. 12 illustrates anotheridiomatic preparation of this pitch. Here, the A≤4 anticipates V 7/IV by a half beat andoccurs at the “and” of 4 in m. 12. The downward tritone leap from D5–A≤4 furtherintensifies its status and injects yet another blues characteristic into the framework of themelody. Other chromatic notes, such as unaccented passing and pitch enclosures, haveprimarily ornamental functions. The chromatic passing note G≤4 in mm. 5 and 29 moves
    19. “Moose the Mooche” features a 32-bar AABA form.3 The first A section is harmonicallyopen and ends on a ii 7–V7 in m. 8. The second A features a full-cadential closure on I inm. 16. The bridge cycles through a cycle of dominant 7ths progression and interruptsthe form on V 7 in m. 24. The final A section is harmonically closed but, in order to allowfor the circularity of the chorus improvisation, it features a Imaj7–VI 7–ii7–V7 turnaroundprogression (or any acceptable substitute variant).The tonic is prolonged in mm. 1–4 and then morphed into a V 7/IV in m. 5. The tonicprolongation takes the form of an idiomatic Imaj 7–vi7–ii7–V7 progression, which lendsitself to a variety of harmonic substitutions. The subdominant controls mm. 5–6 and iscapable of many surface realizations. Next, mm. 7–8 proceed to the dominant, which canalso be idiomatically expanded, transformed, and/or confirmed. The A section of rhythmchanges is also known as an eight-bar blues because it contains the harmonic paradigmof the blues: tonic in m. 1, subdominant in m. 6, and dominant in m. 8.4 This foreshortenedblues preserves the structural weight of the fundamental chords, as the tonic controls thelongest span (mm. 1–4), the subdominant occupies the shorter span (mm. 6–7), and thedominant (m. 8) becomes subject to various harmonic modifications
    20. Charlie Parker wrote a number of contrafacts on rhythm changes among which “Moosethe Mooche,” shown in Figure 19.1, is one of the most well known
    21. Figure 18.5 provides a chord–scale relationship for “Confirmation” using bebop scalesonly.The selection of bebop scales is analogous to the use of modes from Figure 18.4. Inm. 2, for instance, Emin7 (≤5)–A7 uses A Mixolydian ≤13, which accommodates ^1 in itspitch structure, as does A dominant bebop ≤13, making them much better choices thantheir diatonic counterparts.Demonstrating slightly different and more advanced organization of bebop scales, the lastA section alternates between ascending and descending scalar patterns. In addition, thelast note of each measure forms a stepwise connection with the first note of the next,thereby ensuring effective voice leading between different scales. Thus the last note ofm. 26, C≥4, resolves up to D4, which begins the G dominant bebop scale on 5. Similarly,the use of B≤3 in m. 31 is a consequence of the C4 in m. 30 resolving down to the ≤7thof C7
    22. cadential melodic gestures in his solo. Thesepatterns usually accomplish two objectives: (1) they provide a logical phrase conclusionand (2) they foreshadow the arrival of the next phrase
    23. diminished 7th chords
    24. incomplete diminished 7th (mm. 24 and 98)