Jazz Composition Theory and Practice

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JAZZCOMPOSITIONJAZZCOMPOSITIONBERKLEEPRESSAculminationofProfessorTedPease’sTedPease,winneroftwograntsinjazzcompositionfromtheNationalEndowmentfortheArts,hasbeenafacultytwenty-fiveyearsofteachingjazzmemberatBerkleeCollegeofMusicsince1964.HeiscompositionatBerkleeCollegeofMusic.currentlyDistinguishedProfessorofJazzComposition.Whenyouthinkofgreatjazzcomposers,whocomestoHeistheauthorofseveraljazzarrangingtextsthatmind?PerhapsDukeEllington,DizzyGillespie,havebeenrequiredreadingforBerkleestudentsforTheloniousMonk,CharlesMingus,GilEvans,ThadJones,ormorethantwenty-fiveyears,amongthemModernJazzBobBrookmeyer.Thisbookisaboutwhatthey(andVoicings(BerkleePress).AnaccomplisheddrummerasJAZZCOMPOSITIONmanyothers)do,andhowtheydoitsowell.well,hehasperformedwithHerbPomeroy,RaySantisi,GeorgeMraz,JohnLaPorta,CharlieMariano,ToshikoJazzcompositionhasevolvedintoadisciplinedartthatAkioshi,andRedNorvo,amongmanyothers.oftenevidencesgreatemotionaldepthandbreadthofsophistication.InJazzComposition:TheoryandPractice,BerkleeCollegeofMusicProfessorTedPeasedemystifiestheprocessesinvolvedincomposingtunesaswellas“Amonumentalwork.Finallyabookthatreallyepisodicandextendedjazzworks.addressesthesubjectofjazzcomposition.ShouldbeinEVERYtheoryclassroomandnotjustjazz.”THEORYANDPRACTICEJazzComposition:TheoryandPracticewillhelpyouto:JOHNLABARBERA,ComposerandArranger/•Improveyourwritinginalljazzstyles—frombluesAssociateProfessor,UniversityofLouisvilletofusion—witheffectiveapproachestomelody-writing,suchasrepetition,sequence,motivic“JazzComposition:TheoryandPracticecontainsatransformation,andembellishmentwealthofinformation—muchofwhichfrequentlygetsshortshriftinotherjazzarranging/composing•Creategreatmelodiesbuiltonintervallicpatterns,texts.Thechapteronmelodicconsiderationsaloneguidetonelines,compoundlines,antecedent/iswellworththepriceofthebook.But,whetherconsequentphrasing,andmelodictensionyouadoptthisbookasyourprimarytextorasa•Learntothinkcreativelywhenworkingwithtonalsupplement,itisonethatwillproveindispensableandmodalharmony,coveringsuchharmonicforitsexercisesandreferencematerials.”techniquesasinversions,pedalpoint,constantCHUCKOWEN,ComposerandArranger/Professor,structures,andreharmonizationUniversityofSouthFlorida•Arrangeandformatallpartsofsongform,includingintros,interludesandendings,and“TedPeasehasbeenamentortomanyajazzmusician.backgroundsHisbookshouldbestudiedbyallmusicians.”TedPeaseGEORGEGARZONE,TenorSaxophonistwithJoe•ApplywhatyouhavelearnedtowritingforjazzLovanoNonet/AssociateProfessor,BerkleeCollegeensemblesofanysizefromsolopianotoquartetorofMusicquintet,andfromsaxophonesectiontobigbandNumerouswritingexercisesareincludedtohelpimprovethemelodic,harmonic,andrhythmiceffectivenessofyourjazzcompositions.Additionally,allcompositionalelementsarereinforcedwithlisteningexamplesontheincludedCD,where,amongotherthings,youwillbenefitfromaguidedlisteningtourofanentireextendedjazzwork,withdetailedannotationbythecomposer/author.BerkleePress1140BoylstonStreetBoston,MA02215USA617-747-2146berkleepress.comBerkleePress,apublishingactivityofBerkleeCollegeofMusic,isanot-for-profiteducationalpublisher.Availableproceedsfromthesalesofourproductsarecontributedtothescholarshipfundsofthecollege.’Coverdesign:DavidEhlersjazz_comp_layout16/25/03,12:54PM jazzcomposition15/28/034:32PMPageiiiTableofContentsRecordedExamplesviPrefaceviiiIntroductionixWhatisJazz?ixWhatisJazzComposition?ixPrerequisites:WhatDoINeedtoKnow?ixAcknowledgmentsandThanksxAbouttheAuthorxiHowtoUsethisBookandCDxiiReviewxiiiScalesxiiiModesxiiiTensionsxivApproachNotesandOtherEmbellishmentsxviAnticipationandDelayedAttackxviiGuideTonesxviiChapter1.MelodicConsiderations1Definitions1Exercise3MelodicRhythm4MelodicRhythmDensityasaFunctionofStyle5Exercise7ScaleResources10IntervalPatterns11Exercise13MelodicVariationviaModalInterchange16Exercise17MotivicDevicesandtheRudimentsofForm18Repetition18Sequence19MotivicTransformation21MotivicEmbellishment21Exercise22MotifsBasedonIntervallicPatterns26Exercise27MelodiesBasedonGuideTones28Exercise29EmbellishingaGuideToneLine30Exercise32MelodiesBasedonCompoundLines34Exercises36AntecedentandConsequentPhrases37Exercises40PitchContourandRange42Apex(Climax)42Exercise43iii jazzcomposition15/28/034:32PMPageivMelodicTensionasaFunctionofStyle44Exercises45SourceMaterial—MelodicConsiderations46Chapter2.HarmonicConsiderations51TonalHarmony(MajorKeyOrientation)52Exercises55TonalHarmony(MinorKeyOrientation)57Exercises60ModalHarmony62InvertedVoicingsinFourths66ModalApproachChords68ModalMelodies70Exercises72HarmonicVariationviaModalInterchange76Exercise79ChromaticHarmony80HarmonicRhythm(andDensity)81Modulations83Exercises86Ostinato88Exercise89InversionsandOtherSlashChords90PedalPointandConstantStructures92Exercise93PedalPointandPandiatonicism95Exercises96Harmonization97Exercises101Reharmonization104Exercise107SourceMaterial—HarmonicConsiderations109Chapter3.BluesandSongForm111Form111TheBlues113Blues:HarmonicForm113Blues:MelodicForm119Exercises123SourceMaterial—Blues126RhythmChanges127Exercise131SourceMaterial—RhythmChanges132aabaSongForm132Warm-UpExercise136SourceMaterial—aabaform138abacSongForm140Exercises142SourceMaterial—abacform142Ostinatos(Revisited)143Exercises145SourceMaterial—Ostinatos146abcaSongForm146Exercise148iv jazzcomposition15/28/034:32PMPagevThrough-ComposedTunes149Exercise158Exercises159SourceMaterial—Through-ComposedTunes163Chapter4.ArrangingandFormattingConsiderations164GettingYourMusicPlayed164Two-PartSoliWriting165Exercises166BackgroundWriting/DerivingCounterpointfromGuideTones167Exercises169Intros,Interludes,andEndings172TheArranger’sChorus173“GroupEffort”174Exercises176SourceMaterial177Chapter5.MetricConsiderations178MetricModulation182Exercises183SourceMaterial184Chapter6.Fusion185FusionMelody186FusionHarmony186FusionRhythm187FusionInstrumentation187Chapter7.EpisodicForm197“InCelebrationofSaxophones”197Exercises201SourceMaterial—EpisodicCompositions201Chapter8.MotivicComposition202Exercises202InternalFormforMotivicComposition205“DynamicDuo”—InternalForm207Exercise211SourceMaterial—MotivicCompositions212Chapter9.ExtendedWorks213MotivicContinuityinExtendedWorks215ExternalFormforExtendedWorks222InternalFormsforExtendedWorks223InternalFormfor“Initiations”224InternalFormfor“Reflections”228InternalFormfor“ThisIsWhatWeDo”231Exercise235Bibliography236v jazzcomposition15/28/034:32PMPageviRecordedExamplesCDTrackPage1“Strays”demonstratesmotivicfocus,breathphrases,andgrammatical(antecedentandconsequent)phrases.32“OdeNo.1”demonstratesmelodicswingrhythms.43“Soliloquy”demonstratesmotifsbasedonintervallicpatterns.264“AndWhyNot?”demonstratesamelodybasedonguidetones.315“DiminishingReturns”demonstratesamelodybasedoncompoundguidetones.356“CatchMeIfYouCan”demonstratesmajorkeytonalharmonyinapredominantlyfunctionalcontext.547“MinorDifferences”demonstratesminorkeytonalharmonyinapredominantlyfunctionalcontext.598“AnyPortinaStorm”demonstratesmodalharmonyandmelody,andvoicingsinfourthsandfifths.719“NoWay”demonstratesostinato.8810“BorrowedTime”demonstratessimpleharmonizationofamelody.9011“BorrowedTime(Reharmonized)”demonstratesreharmonizationfeaturingchordalinversionsandotherslashchords.9112–13Examplesdemonstrateconstantstructuresoverapedalpoint.9214–15Examplesdemonstratepandiatonicismoverapedalpoint.9516–24Examplesdemonstratereharmonizationtechniques.10425“AfterBreakfast”—riffblues(aaa)11926“AnyFriday”—aabminorkeyblues12027“BluesforaBiliousBystander”—through-composed(abc)blues12028“MoveIt”—through-composed(abc)bluesinbebopstyle12129“StrongCurrents”—through-composed(abc)modalblues12130“Let’sSplit”—through-composed(abc)bluesinacontemporary,unorthodoxharmoniccontext122vi jazzcomposition15/28/034:32PMPagevii31“Scooter”—Rhythmchanges12832“Thad’sPad”—Rhythmchanges12933“Rascals”—aabaform13434“YourSmile”—aabaform13535“ForBill”—abacform14136“SezWho?”demonstratesostinato.14437“Scrooge”abcaform14738“SambadeGoofed”—40-measurethrough-composed(abcde)form15539“WhereDidYouGo?”—20-measurethrough-composed(abcde)form15740“OdeforTwo”demonstratestwo-partsoliwriting.16541“SmallWonder”demonstratesbackgroundwriting.16842“OdeforTwoRedux”demonstratesbackgroundwriting.16843“GroupEffort”—afullarrangementbasedonBeethoven’s“OdetoJoy”thatincludesanintroduction,amelodychorus,aninterlude,anarranger’schorus,afadeending,two-partsoliwriting,counterpoint,andamodulation17444“ForBill”—abactunein3/417945“FullHouse”—bluesin5/418046“Uno,Dos,Tres...”—through-composedtunein7/418147“AndThereYouAre”—through-composedfusionpiecedemonstratesguidetonesandchromaticharmony18948“PedaltotheMetal”—fusionpieceinaabb’acformdemonstratesvoicingsinfourthsandmodalwriting19049“WithAllDueRespect”—episodicfusionpiecedemonstrateschromaticharmony,ostinatos,andconstantstructures19350“InCelebrationofSaxophones”—episodicjazzpiecedemonstrateswritingforfivesaxophones19951“DynamicDuo”—motivicjazzcompositionforbigband20852–54SuiteforJazzBand—extendedjazzcompositioninthreemovementsforbigband225vii jazzcomposition15/28/034:32PMPageviiiPrefaceMypurposeinwritingJazzComposition:TheoryandPracticeistodemystifytheprocessesinvolvedinwritingjazztunesandincomposingepisodicandextendedjazzworks.Thisbookisaby-productofmytwenty-fiveyearsofteachingjazzcompositionatBerkleeCollegeofMusic.Itscontenthasbeenshapedbytheinputofmymanystudents,bycountlessdiscussionswithlearnedcolleaguesandotherprofessionals,andbymyowncomposing.Asatheorytext,thebookprovidesinformationregardingthemelodic,harmonic,andrhythmicelementsofjazz,alongwithnumerousrecordedmusicexamplesthatdemonstratethoseelements.Asapracticemanual,thebookcontainsavarietyofmusic-writingexercisesdesignedtofocusonthesesameelementsoneatatimeandtherebyhelpaspirantsbeginproducingtheirowneffectivejazzcompositions.Becomingasuccessfulcomposerofjazzmusicwilldependuponmanythings:theextentofyourlisteningandplayingexperience,yourreceptivity,yourtimeandtalent,yourears,yourpersistence,thepotentialwritingoutletsyouhave,and,ideally,theguidanceofaknowledgeableteacher.Ihopethisbookwillprovideyouwithsomestrategiesandhelppointtheway.Goodluck!TedPeaseBoston,MassachusettsJanuary,2003viii jazzcomposition15/28/034:32PMPageixIntroductionWhatisJazz?Tryingtodefinejazzisliketryingtodescribethecolorgreentosomeonewhoiscolorblind.Alotofinkhasbeenspilledandargumentsraisedonthissubject.Mypersonaldefinitionsofjazzandjazzcompositionarepresentedherenotasdogma,butrathertogiveyousomesenseofwhereIamcomingfrominthisbook.Inmyview,jazzisauniqueandimportantAmericanmusicalartformwithnineteenth-andearlytwentieth-centuryAfrican-Americanoriginsthat,overthepastonehundredyearsorso,hasdevelopedintoahighlysophisticatedmusicalidiomwithimprovisation,rhythmicswing,andindividualexpressionatitscore.Jazzischaracterizedbyinstrumentalsolos,syncopatedmelodyandrhythm,idiomaticvoicingsandchordprogressions,characteristicinstrumentation,andahighlypersonalizedapproachtovocalandinstrumentalperformance.WhatisJazzComposition?Jazzcompositioninvolveswritingdownspecificcombinationsofmelodic,harmonic,andrhythmicelementsthat,inturn,produceidiomaticallyrecognizablejazzforms(suchasthebluesandothersongforms)orlongerworksinwhichmotivicdevelopmentmayplayanimportantrole.Jazzcompositionhasevolved,alongwithjazzperformance,intoadisciplinedartthatoftenevidencesgreatemotionaldepthandbreadthofsophistication.WhenIthinkofjazzcomposersandjazzcomposition,IimmediatelythinkofDukeEllington.Thenothernamescometomind:BillyStrayhorn,DonRedman,JimmyMundy,JellyRollMorton,CharlieParker,DizzyGillespie,TaddDameron,TheloniousMonk,CharlesMingus,HoraceSilver,GeorgeRussell,GilEvans,DaveBrubeck,ChickCorea,ThadJones,HerbieHancock,WayneShorter,BillHolman,BobBrookmeyer,JimMcNeely,andMariaSchneider.Thesecomposers(andsomanyothers)havemadesignificantcontributionstothejazzlegacy,whetherwithmemorabletunesorwithelaborateextendedworks.Thisbookisaboutwhattheydo.Prerequisites:WhatDoINeedtoKnow?Inordertotakefulladvantageofthistext,youneedtohaveaworkingknowledgeofbasicmusictheory.Youshouldbefamiliarwithpitchnotationintrebleandbassclef,majorandminorscales,modes,intervals,andchordspellingoftriadsandseventhchords.Itwillalsohelpifyouhavehadexperiencewithleadsheetsand/orpianosheetmusic,andthatyouhaveaccesstosome“legal”fakebooks.TheauthorassumesthatyouhaveatleastamodestjazzrecordorCDcollection,andthatyouhavebeenlisteningtomajorjazzpractitioners,bothpastandpresent,forsometime.Mostimportanttoyourgainingthemaximumbenefitfromthetextisthatyouhavehadsomeexperienceplayingjazz—oratleastsomeexperienceimprovisingonthebluesandothersimplejazzforms.ix jazzcomposition15/28/034:32PMPagexAcknowledgmentsandThanksForlogisticalandeditorialsupport:DaveKusek,AssociateVicePresident,BerkleeMediaDebbieCavalier,DirectorofContent,BerkleeMediaRickMattingly,EditorSusanGedutis,Writer/Editor,BerkleePressShawnGirsberger,ProductionManagerMusiComp,Inc.,MusicEngravingMycolleaguesintheJazzCompositiondepartmentatBerkleeCollegeofMusic:KenPullig,ChairScottFree,ProfessorJeffFriedman,ProfessorGregHopkins,ProfessorDickLowell,AssociateProfessorBobPilkington,AssociateProfessorJacksonSchultz,AssociateProfessorBillScism,AssociateProfessorPhilWilson,ProfessorThequintet:GregHopkins,trumpet,flugelhornDarylLowery,tenorandsopranosaxophonesTonyGermain,pianoJohnRepucci,bassDaveWeigert,drumsThesaxophonequintet:LarryMonroe,altoBruceNifong,altoBillPierce,tenorGregBadolato,tenorJoeCalo,baritoneThebigband:trumpets:JayDaly,JeffStout,GregHopkins,KenCervenkatrombones:TonyLada,PhilWilson,RickStepton,PeteCirelliwoodwinds:MarkPinto,BruceNifong,GregBadolato,BillPierce,JoeCalopiano:BradHatfieldbass:DaveClarkdrums:JoeHuntMIDIarranging,production,andperformanceofthefusionpieces(Specialthanks,Emir!):EmirIsilayEngineers:Bigband:DonPuluse,BerkleeCollegeofMusicStudiosQuintet:BobPatton,ThinIceProductions,NorthAndover,MAFacilitators:KenDornandDavidGibsonofJazzPlayermagazineRonKeezerofTheNationalEndowmentfortheArtsforfunding“SuiteforJazzBand”x jazzcomposition15/28/034:32PMPagexiMentors(specialthanksforyourpresenceandmusicalguidanceovermanyyears):HerbPomeroyBobFreedmanRaySantisiWilliamMaloofJohnLaPortaJohnBavicchiJoeViolaRichardBobbittRobertShareAlanDawsonSpecialthankstothesemusicians/jazzeducatorswhosewordsandmusichavepro-videdmewithenlightenmentandenjoymentduringmycareer:GeorgeBrambillaAndyMcGheeBobBrookmeyerLarryMonroeSteveBrownChuckOwenJerryCeccoJimProgrisBobCurnowMichaelRendishBillDobbinsGeorgeRussellMichaelGibbsDanielIanSmithBillHolmanAlStegerGregHopkinsAlanUlanowskyJohnLaBarberaJamesWilliamsAlfredLeeDickWrightEverettLongstrethEdXiquesSpecialthanksforperformingmymusicovertheyears:DanielIanSmithandtheBigandPhatJazzOrchestraLarryMonroeandtheBerkleeFacultyConcertJazzOrchestraAnnualJazzCompositionDepartmentFacultyConcert:“FallTogether”(specialthankstoBobPilkingtonandKenPullig)BerkleeCollegeofMusicadministration:LeeEliotBerk,PresidentGaryBurton,ExecutiveVicePresidentHarryChalmiers,VicePresidentAcademicAffairs/ProvostBobMyers,AssociateVicePresidentforInstitutionalResearchSpecialthanksformyfamily:MywifeLucy;mydaughterMelissa;mysonGaryandhisfamily;andmydaughterAllisonandherfamily.AbouttheAuthorTedPeasehasbeenafacultymemberatBerkleeCollegeofMusicsince1964.HeiscurrentlyDistinguishedProfessorofJazzComposition.ProfessorPeaseispastchairpersonoftheProfessionalWritingDivisionatBerkleeandpastchairpersonoftheJazzCompositionandArrangingdepartments.HehasauthoredseveraljazzarrangingtextsthathavebeenusedatBerkleeformorethantwenty-fiveyears.HehasreceivedtwograntsinjazzcompositionfromtheNationalEndowmentfortheArts.EightofhiscompositionsarefeaturedonhisCD,BigBandBluesCelebration.HehasbeenrecognizedasanExceptionalArtistbytheMassachusettsCulturalCouncil’sArtistGrantsProgram.HehasbeenacontributingwriterforJazzPlayermagazine.Asadrummerwithfortyyearsofprofessionalexperience,hehasperformedwithHerbPomeroy,RaySantisi,GeorgeMraz,JohnLaPorta,CharlieMariano,ToshikoAkioshi,RedNorvo,LeeKonitz,GregHopkins,TonyLada,andDickJohnson.ProfessorPeaseisalsoanexperiencedclinicianandadjudicatorwithmorethanthirty-fiveyears’experienceinjazzeducation.xi jazzcomposition15/28/034:32PMPagexiiHowtoUsethisBookandCDAsyoustudythetext,listentotherelatedmusicexamplesontheCD.Listentoeachexampleseveraltimestogetthesoundsinyourear.Completethesuggestedexercisesandapplythevarioustechniques.Writeouttheseexercisescarefullyandcheckthesoundsatthepiano.Ifnecessary,getapianoplayertohelpyoudothis.Ifpossible,recordyourexamples.Ifyouareusingacomputerprogram,youcanplaybackyourexamplestoseehowtheysound.Needlesstosay,anexperiencedteacherwillbeinvaluableinguidingyouthroughthetextandcheckingyourwork.Ifpossible,youshouldalsowriteoutindividualpartsandhaveyourexamplesplayedinrealtime.Analyzethetonality/modalityandformofthetunesinthebook.Askyourself:Istheremotiviccontentinthemelody?Dopartsofthetunerepeat?Arethereanydistinguishingrhythmpatternsinthemelody?Whatotherfeaturesofthetuneareinteresting?Playorsingalongwiththerecording.Whatistheshapeofthemelody?Doestherangeexceedthatofyourvoiceoryourinstrument?Doesthemelodydevelopsmoothly,orarethere“hillsandvalleys”?Canyourememberthemelodylaterintheday?Doyoufindyour-selfsingingorwhistlingit?Ifso,whatisitaboutthemelodythatsticksinyourmind?Valuablesupplementalresourcesareavailabletotheaspiringjazzcomposer.Ifyouneedhelpregardingarrangingtechniques(voicings,approachtechniques,instrumentation,chord-scaletheory,etc.)Isuggest,asacompaniontexttothisone,ModernJazzVoicingsbyTedPeaseandKenPullig,whichisalsopublishedbyBerkleePress.Also,checkoutsomeofthenew“legal”fakebooksforideasonnotationandformat.SherMusicCompanyhaspublishedseveral,andHalLeonardCorporationdistributesagoodone.Attheendofmostchaptersyouwillfindalistofsourcematerials—tunesandcompositionsthatdealwiththesubjectmatterathand.MostofthetunesandcompositionsIhavereferencedwerewrittenbyjazzmusiciansforthepurposeofjazzperformance.ThereareafewreferencestostandardsbyDukeEllington,JeromeKern,ColePorter,GeorgeGershwin,andothers,whichhavelongbeenassociatedwithjazzperformanceandwhichmaybehelpfulinsheddingadditionallightonthecurrenttopic.Ifyouareinterestedenoughinjazztohavepurchasedthisbook,chancesareyouhavebeenplayingjazzforsometime.Youmayevenhaveprofessionalplayingexperience.Obviously,youhavebeenlisteningtojazzrecordingsandhavebeenenthralledtoonedegreeoranotherbywhatyouhaveheard.Youaremostlikelytryingtoreplicatesoundsfromtheserecordingsonyourinstrument.Nowit’stimetoreplicatethesesoundsinwriting!xii jazzcomposition15/28/034:32PMPagexiiiReviewScalesMajorRelativeMinorParallelMinorNaturalMinorHarmonicMinorMelodicMinorModesRelativetoCMajorParalleltoCMajorDorianPhrygianLydianMixolydianAeolianLocrianxiii jazzcomposition15/28/034:32PMPagexivTensionsTensionsarethehigherfunctionsofseventhchords.Theyarerealizedbyextendingchordsupwardpastthe7thinsuccessiveintervalsofathird.Thus,tensionsincludesuchfunctionsas9,11,and13andtheirrespectivechromaticalterations(%9,#9,#11,%13).C71357T9T11T13chordtonestensionsTensionsaresonamedbecausetheycreatemoredissonantintervalsinthechordstructurethandothechordtonesalone.Whentensionsareused,intervalsofthemajorandminorseventhandninthoccur.C7(11)Maj9min7Maj9Maj7Maj9Maj7Melodictensionsareverticallysignificantnon-chordtonesthatare:1.longerthanaquarternoteinduration,and/or2.followedbyaleap,and/or3.onastrongbeatprecededbyaleapfrombelowandfollowedbyarelatedchordtoneonaweakbeat,asin9to1,11to3,or13to5.(Inclassicalmusic,thisisknownasanappoggiatura,or,iftiedoverfromanoteinthepreviousmeasure,asuspension.)MediumswingG–7C7FMaj7B6(9)T11T13T9T9T91T76E–7(5)A7(5,9)A7(9)D–7G7T11T5T113T91T13xiv jazzcomposition15/28/034:32PMPagexvAvailableTensionsbyChordTypeChordTypeTensionsSpecialSituations%99#911#11%1313sus4Maj7#5%5Major6√√(6)√√Minor6√√(6)√Major7√rare√√chordrare√toneMinor(Maj7)√√√chordtoneMinor7Phrygian√√AeolianDorian(11)Minor7(%5)Ionian√√(%13)chordtoneDominant7√√√(sus4)√√√√(%13)√Augmented7√√(#5)chordtoneDiminished7*√√√√(%13)chordtone*Note:Tensionsondiminishedchordsarenotusuallylabeledbyintervalonleadsheets.Thegeneralconsensusisthatavailabletensionsondiminishedchordsarethosenotesawholestepaboveachordtonethatarediatonictotheprevailingkey.xv jazzcomposition15/28/034:32PMPagexviApproachNotesandOtherEmbellishmentsApproachnoteshavealinearmelodicpurpose.Theyareshort-durationnotesthatmovebysteptochordtonesortensions.(Chordtonesandtensionshaveaverticalmelodicpurpose,helpingtoprovidefocalpointsthatareinagreementwiththeunderlyingharmony.)Approachnotesoccurinmelodicpatternsas:1.passingtones(PT),whichmovestepwisebetweentwonotesofdifferentpitchPTPTPT2.neighbortones(NT),whichleaveandreturntothesamenoteinstepwisemotionorproceeddirectlytoatargetnotewithoutpreparationPreparedUnpreparedNTNTNTNTNT3.indirectresolution(IR),whichconsistsoftwonotesofshortandequaldurationthatapproachthetargetnotebystepfromaboveandbelowIRIR4.doublechromaticapproach(DCHR),whichconsistsoftwonotesofshortandequaldurationthatmovebyconsecutivehalfstepstoatargetnoteDCHRDCHROtherembellishmentsincludeescapetones(ET),whichinterrupttheupwardordownwardflowofamelodybymovingintheoppositedirectionbystepandthenleapingto“catchup.”ETETETxvi jazzcomposition15/28/034:32PMPagexviiAnticipationandDelayedAttackRhythmicanticipation(A)occurswhenanon-the-beatnoteisattackedahalfbeatorawholebeatearly.Ifachordchangeisinvolved,thechordisalsoanticipated.A–7D7EMaj7AMaj7(11)AAAAdelayedattack(DA)occurswhenanon-the-beatnoteisattackedahalfbeatorawholebeatlate.Ifachordchangeisinvolved,thechordisalsodelayed.G–7C7F6B7A–7D7(9)DADADAGuideTonesGuidetonesarechordtonesortensionsthatarevoiceledfromonechordtoanewchordtoneortensiononasubsequentchordbycommontoneorstepwisemotion.The1and5ofachordareweakguidetonesbecausetheyduplicatethebassline.The3and7ofachordarethemostharmonicallydefinitiveguidetones.Tensions,especiallychromaticallyalteredtensions,arethemostdissonantguidetonesandthereforethemostunstableanddramatic.Thefollowingexampleshowsallofthevoice-leadingchoiceswhenmovingfromagivennoteinaD–7chordtoG7.(
=usualvoiceleading;=lesscommon)GivenVoiceLeadingChoicesGivenVoiceLeadingChoicesD–7toG7D–7toG71T13T135T5317T13T13D–7toG7D–7toG753T9T9T9175539D–7toG7D–7toG7T97T13T135T11T9T917Thechoiceofavailabletensionsisoftenaidedbydesignatedtensionsinthechordsymbol.Inanycase,youmustuseyourears!xvii jazzcomposition15/28/034:32PMPagexviiiFURTHERREFINEMENTS1.Withinthedurationofachord,aleaptoanotherguidetonemayoccurbeforemovingon.G–7C7FMaj7leapleap2.Ifadjacentchordsshareaguidetone,youcanleapbetweenchords.G–7C7FMaj7BMaj7leapleap3.Compoundlinesarepossiblewhentwosetsofguidetones“playtag”throughaprogression.A–7D7GMaj7CMaj7F–7B7E–Athoroughdiscussionofguidetoneusageappearslaterinthebook.xviii jazzcomposition15/28/034:32PMPage1CHAPTER1MelodicConsiderationsDefinitionsMelody:Abroadgeneraltermusedindefiningasuccessionofpitcheshavinganestablishedrhythm.Amelodymayencompassathemethat,inturn,mayencompassamotiformotifs.Theterm“melody”isusedinavarietyofways:“Thispiecehasanicemelody.”“Themelodyisplayedbytheflute.”“Thismelodyisangularandfragmented.”“ThemelodybeginsatletterAaftertheintroduction.”“Themelodyandtheharmonyshouldagree.”Theme:Amelody,oraportionofamelody,thatrecursoftenenoughinacompositionthatitcomestobeidentifiedwiththatcomposition.Song:Ashortcompositionconsistingofamelody,usuallysettoharmony,thathasabeginning,middle,andendandcontainslyrics(words).Tune:Injazzparlance,thecommontermforasongwithoutwords.Ajazztunecanusuallyberepresentedonaleadsheet.LeadSheet:Aleadsheetdepictsthemelodyandchordsymbolsofatune.Otherimportantfeaturesonaleadsheetmayincludeabasslineand/orspecificchordvoicingsforthepiano.Head:Injazzparlance,“head”issynonymouswith“tune.”Harmony:Abroad,generaltermusedindefiningasuccessionofchordsinacomposition.Theterm“harmony”isalsousedwhendescribingaharmonicsystem,asin“tertian”harmony(harmonyinthirds),or“quartal”harmony(harmonyinfourths).Chord:Averticalmusicalstructureconsistingofthreeormorepitches.Changes:Injazzparlance,“changes”referstothespecificchordprogressionofatune.ChordSymbol:Shorthanddesignationofachord,e.g.,B%7,CMaj7,etc.Voicing:Thespecificpositioningofpitchesinachord.1 jazzcomposition15/28/034:32PMPage2JAZZCOMPOSITIONTHEORYANDPRACTICEMotif:Ashortmelodicfragment(2–5notes),consistingofaspecificpatternofpitchesandrhythm.Motifsaremanipulatedinacompositioninordertofacilitatemelodicdevelopmentandcontributetotheunityandcoherenceofapiece.(Seeexamplebelow.)Phrase:Asegmentofmelodythatisheardasaunitbutwhichneedsotherphrasesincombinationwithitinordertopresentacompletemusicalstatement.Aphrasewilloftenincludeanidentifyingmotif.Balladantecedentphrasemotifmotifmotifconsequentphrasemotif(See“YourSmile,”page135.)Motif=qtqBreathPhrase=GrammaticalPhrase=Antecedent:Amusical“proposal”(openended,asifwithacomma)Consequent:Amusical“response”(closed,asifwithaperiod)FormPhrase:Acompletemusical“sentence”thatrepresentsamajorsubdivisionofthetune.Forexample,iftheabove8-measuremelodyconstitutesthe“a”sectionofastandard32-measuretuneinaabaform,wewoulddescribethetuneingeneraltermsas“aabaformwith8-measurephrases.”2 jazzcomposition15/28/034:32PMPage3CHAPTER1MELODICCONSIDERATIONSEXERCISEOntheleadsheetof“Strays,”identifyandlabel:1.themainmotif(circleiteachtimeitoccurs)2.breathphrases(withcurvedlines)3.theantecedentandconsequentphrases(withbrackets)Strays(forBillyStrayhorn)1TedPeaseBalladE7(9,11)F6/9E7(9,11)F6/9123343312ToCodaB7(9,11)B6/9G7(9,11)F7FMaj7F7FMaj756789333D6/9B–7E–7A7(9)DMaj7D710311312313D.C.alCodaE6/9C–7F–7B7(9)EMaj7DMaj7DMaj7CMaj7F731433151617CodaF7FMaj73 jazzcomposition15/28/034:32PMPage4JAZZCOMPOSITIONTHEORYANDPRACTICEMelodicRhythmThemostdistinguishingcharacteristicofjazzmelodyisitsrhythm.Jazzmusichasbeenassociatedwithdancingandotherbodymovementsfromtheverybeginning.Infactthewordjazzwasoftenusedasaverb,asin“Let’sjazzupthatsong.”“Jazzingup”asonginvolvescreatingsyncopations.Thisisaccomplishedbyanticipatingordelayingtheattackofnotesthatwouldotherwisebefoundonthebeat.Theultimateaimin“jazzingup”amelodyistomakeit“swing.”Inrecordedexample2afamiliarmelodybyBeethovenhasbeen“jazzedup.”2OdeNo.1Beethoven/arr.Peasecresc.33cresc.4 jazzcomposition15/28/034:32PMPage5CHAPTER1MELODICCONSIDERATIONSMelodicRhythmDensityasaFunctionofStyleTherhythmicdensityofajazzmelodyreferstotherelativenumberofrhythmicattackspermeasureinthemelodyandinthepieceasawhole.Rhythmicdensityislargelyafunctionofstyleandmayreflecttheerainwhichthetunewaswritten.Earlyjazzandswingeratuneshavealowtomediumrhythmicdensity.(See“AnyFriday,”page120.)MediumSwingBeboptunescontainahighdegreeofrhythmicdensity.(See“Thad’sPad,”page129.)Fast335 jazzcomposition15/28/034:32PMPage6JAZZCOMPOSITIONTHEORYANDPRACTICEModaltunesalternatebackandforthfromlowtomediumrhythmicdensity.Thereareliabletobenumerousnotesoflongduration,whichareusedformodalemphasis.(See“Uno,Dos,Tres…,”page181.)MediumFusiontunesusevariouscombinationsofrhythms,includingrhythmswithadouble-timefeel.Somemelodiesemployfragmentationwhiletherhythmsectionkeepsasteadybeat.(See“WithAllDueRespect,”page193.)Fusion6 jazzcomposition15/28/034:32PMPage7CHAPTER1MELODICCONSIDERATIONSEXERCISE1.Canyouidentifythewell-knownjazztunesrepresentedbythefollowingmelodicrhythms?(Answersonpage9.)2.Circlethemostprominentrhythmicmotifineach.1.MediumswingAnswer12.Mediumswingetc.Answer23.MediumswingAnswer34.Medium-upswing()Answer47 jazzcomposition15/28/034:32PMPage8JAZZCOMPOSITIONTHEORYANDPRACTICE5.Fastswingetc.Answer56.Mediumswing(bridge)etc.Answer67.Mediumjazzwaltzetc.Answer78.Medium-upswing33Answer88 jazzcomposition15/28/034:32PMPage9CHAPTER1MELODICCONSIDERATIONS9.Medium-upbossaAnswer910.FastswingAnswer1010.Mr.P.C.(JohnColtrane)9.BlueBossa(KennyDorham)8.LadyBird(ToddDameron)7.UpJumpedSpring(FreddieHubbard)6.SpeakNoEvil(WayneShorter)5.GiantSteps(JohnColtrane)4.WellyouNeedn’t(TheloniousMonk)3.SatinDoll(DukeEllington/BillyStrayhorn)2.DolphinDance(HerbieHancock)1.KillerJoe(BennyGolson)AnswerKeyforpage7:9 jazzcomposition15/28/034:32PMPage10JAZZCOMPOSITIONTHEORYANDPRACTICEScaleResourcesUntilthelate1950s,scaleresourcesinjazzwerelimitedprimarilytomajorandminorscalesandtothebluesscale,whichisinsomerespectsacombinationofmajorandminorandcontainsso-called“blue”notes.AftertheseminalMilesDavisalbumKindofBluein1959,modesbecameanimportantresourceforjazzcomposers.Otherscaleresourcesusedtodayincludethepentatonicscaleandthesymmetricdiminishedscale.Majorscale(See“Strays,”page3.)FMajorMinorscale(See“MinorDifferences,”page59.)AminorNaturalMinorMelodicMinorHarmonicMinorModalscales(See“AnyPortinaStorm,”page71)DDorian12345671EPhrygian12345671GMixolydian12345671BluesScale(See“BluesforaBiliousBystander,”page120.)Fbluesscale=bluenote357Pentatonicscale(See“AfterBreakfast,”page119.)CmajorpentatonicCminorpentatonicSymmetricdiminishedscale(See“Let’sSplit,”page122.)GorG7(9,11,13)Symmetricdiminished(half/whole)10 jazzcomposition15/28/034:32PMPage11CHAPTER1MELODICCONSIDERATIONSIntervalPatternsAthoroughstudyofmelodywritingproducescertainobservationsabouthowcomposersconnectnotestogethertoformmelodies.Thescaleslistedabovecontainanalmostunlimitednumberofpotentialintervalpatterns,anyofwhichcanbeusedtocreateamusicalideaatanygivenmoment.Nevertheless,thepatternsthatmostcomposersusemostofthetimecanbedescribedingeneraltermsinordertohelpyougetstarted.First,somedefinitions:Step:Melodicmovementupordownbyamajororminorsecond(i.e.awholesteporahalfstep).Skip:Melodicmovementupordownbyamajororminorthird(i.e.“skipping”overascalenote).Leap:Melodicmovementupordownbyaperfectfourthormore.(Note:Sometheorytextsdefinealeapasanyintervallargerthanamajorsecond.)Mostscalesaremadeupofcombinationsofwholeandhalfsteps(seeabove).Notice,however,thatthepentatonicscalecontainstwominor-thirdskips.Noticealsothattheharmonicminorscalecontainsanaugmentedsecondintervalbetweenthesixthandseventhstep.Chordarpeggiosaremadeupofacombinationofskips,withoccasionalstepsorleapsdependingonthechordtypeandwhetheranarpeggiohappensformorethanoneoctave.C7ED–7F7E7sus4311 jazzcomposition15/28/034:32PMPage12JAZZCOMPOSITIONTHEORYANDPRACTICEThefollowingintervalpatternsarecommonintonalandmodalmelodywriting,notonlyinjazzbutinmostotherformsofpopularmusic.1.Stepwisemotionisverycommon.Itmaybeupordown.Stepwisemotionusuallyconformstothescaleofthemoment.Insomecases,twonotesfromthescaleofthemomentmaybeconnectedbyachromaticapproach.GmajorscaleGB7(9)E–7D7(9)(Ch)GMaj7C7(11)32.Skipsarecommon.Theymaybeupordown.Theyareusefulanytimeyouwishtospellachordmelodically.Arpeggiatedchordsformthebasisofmanybebopmelodies(“uptheII,anddowntheV”).E–7A7(9)D–9G7(9)CMaj9(11)F7(9)3.Leapsareusedfordramaticpurposes.Thewidertheleapthemoredramaticitis,andthegreaterthelikelihoodthatitwillbefollowedbyamoveintheoppositedirection.F6D–7G–7C7A–7D–7G–7C7(9)F6E–7A–7D7GMaj7CMaj94.Consecutiveleapsinthesamedirectionshouldnotexceedanoctave.Thesamegoesforaleapandaskipinthesamedirection.a.Weak:combinedleapBetter:combinedleapORAlsobetter:combinedisamajorninthisonlyaminorseventhleapisamajorseventhb.Weak:combinedleapBetter:combinedleapORAlsobetter:combinedisamajorninthisonlyaperfectfifthleapisamajorsixth12 jazzcomposition15/28/034:32PMPage13CHAPTER1MELODICCONSIDERATIONSEXERCISEUsingtherhythmsgivenbelow,writeoriginal,diatonicmelodies(withoutchordchanges)inthedesignatedscaleormode.Observetheguidelinesgivenpreviouslyregardingsteps,skips,andleapswhencreatingyourintervalpatterns.1.CmajorMediumswing3332.CDorianFastswing13 jazzcomposition15/28/034:32PMPage14JAZZCOMPOSITIONTHEORYANDPRACTICE3.FharmonicminorMediumjazzwaltz4.EPhrygianMediumfast5.GMixolydianMediumswing14 jazzcomposition15/28/034:32PMPage15CHAPTER1MELODICCONSIDERATIONS6.CbluesscaleMediumswing7.DminorpentatonicFastswing8.GsymmetricdiminishedMediumswing315 jazzcomposition15/28/034:32PMPage16JAZZCOMPOSITIONTHEORYANDPRACTICEMelodicVariationviaModalInterchangeModalinterchangecanbeusedtocreatedifferenttonalandmodalcontextsforamelody.Amelodyoriginallyconceivedinmajorcanberewritteninminororinoneofthemodes.Similarly,amelodyoriginallyconceivedinminorcanberewritteninmajororinoneofthemodes.Andfinally,amelodyoriginallyconceivedinoneofthemodescanberewritteninmajororinoneoftheminormodes.Thesepossibilitiesprovideadditionaloptionsformelodicdevelopmentinacompositionoranarrangement.TheexamplesbelowdemonstratewhathappenswhenthistechniqueisusedonBeethoven’s“OdetoJoy.”DminorDPhrygianDLydianDLocrian16 jazzcomposition15/28/034:32PMPage17CHAPTER1MELODICCONSIDERATIONSEXERCISERewritethiswell-knownmelodyineachofthemodes.Playorsingeachexampleforcomparison.CmajorCDorianCPhrygianCLydianCMixolydianCAeolianCLocrianCharmonicminorCmelodicminor17 jazzcomposition15/28/034:32PMPage18JAZZCOMPOSITIONTHEORYANDPRACTICEMelodicDevicesandtheRudimentsofFormREPETITIONMotivicrepetitionOneofthemostobviousmelodicdevicesissimplemotivicrepetition.Ifyoulookbackattheexercisesonpages7–9,youwillobservethateachoftheexamplescontainssomedegreeofrhythmicrepetition.Whenrhythmicrepetitioniscombinedwithpitchrepetition,adistinguishingmotivic“hook”usuallyemerges.(See“Strays,”page3,measures1,3,7.)D–G7B7E7B7(Notetherhythmicdisplacement)GMaj7E–7A–7D7(9)Phraserepetition—fourmeasuresThisisverycommonintheblues.(See“AfterBreakfast,”page119.)MediumswingF7(9)B7F7C–7B7(5)B7F7A–7(5)D7(9)G7(9)G–7C7F7D7G7C7(alt)18 jazzcomposition15/28/034:32PMPage19CHAPTER1MELODICCONSIDERATIONSPhraserepetition—eightmeasuresThisisthebasisforstandardaabaandabacsongforminwhichtheasectionisrepeatedinconjunctionwithothercomplementarybutcontrastingphrases.(See“Strays,”page3foraabaform,and“ForBill,”page141forabacform.)aabaabacSEQUENCEAsequenceoccurswhenyoutransposeamelodicfragmentorphrasetoadifferentpitchlevel.Thistranspositionmaybediatonic(inwhichcasethetonalityisnotdisturbed)orexact(inwhichcaseatemporary“key-of-the-moment”maybesuggestitself).Theuseofsequencetakestheconceptofrepetitiontothenextlevelandprovidesformelodicaswellasrhythmicvariety.MotivicsequenceDiatonicMediumswingF6G–7C7A–7D7G–7C7ExactMediumswingF6A–7D7G–7C7FMaj7(Seealso“Strays,”page3:comparemeasures1–2with5–6,and10–11with14–15;alsomeasures16and17.)19 jazzcomposition15/28/034:32PMPage20JAZZCOMPOSITIONTHEORYANDPRACTICETwo-measuremelodicsequenceNotethatthechordprogressionisalsosequential.=intervalatwhichthesequenceoccurs.(Seealso“Scrooge,”page147,measures9–14.)MediumfastP5B7(9)E7(9)P4P5A7(9)D7(9)ContrastingphraseFour-measuremelodicsequence(Seealso“Scooter,”page128,measures11–14,15–18.)MediumswingD–6G–6D–6G–6D–6E–7(5)A7(alt)m3F6B6F6BMaj7F6A7(9)D–6Eight-measuremelodicsequenceExamplesofthisarerelativelyrare,butcheckout“JoySpring”byCliffordBrownand“SoWhat”byMilesDavis.m2aaaa1DDorianDDorianEDorianDDorianaaaamelodymelodyrepeatsmelodyupamelodyasbeforeminorsecond20 jazzcomposition15/28/034:32PMPage21CHAPTER1MELODICCONSIDERATIONSMOTIVICTRANSFORMATIONSometimes,toomuchrepetitiongetstobemonotonous.Motivictransformationisadevicethatallowsyoutoaltertheintervalsortherhythmofamotifinordertopreventtheoveruseofanidea.Youcankeepthesamerhythmandchangethepitches;oryoucankeepthesamepitchesandchangetherhythm.Intervallictransformation:Samerhythm,differentpitches.FastE6F–7B7G–7D7C7F–7B7G–7C7F–7B7(Seealso“SambadeGoofed,”page155,measures17–20vs.21–24.)Rhythmictransformation:Samepitches,differentrhythm.MediumswingG6B–7(5)E7(9)A–7D7sus4B–7E7(9)A–7D7(9)(Seealso“SambadeGoofed,”page155,measures1–2vs.3–4.)MOTIVICEMBELLISHMENTMotivicembellishmentisadevicethatallowsyoutoactivateasimplemotifbeforeitbecomestoorepetitiveandmonotonous.MediumswingD–7G7D–7G7(Seealso“SambadeGoofed,”page155,measure25vs.27.)21 jazzcomposition15/28/034:32PMPage22JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISE1.(a)Writediatonicsequencestothefollowingtwo-measuremelodicfragmentoneachdegreeoftheB-flatmajorscale.(b)Writeexactsequencestotheoriginalfragmentgivenaboveonthegivennoteswrittenbelow.(c)Usingthesamefragmentgiveninexample1.(a)above,demonstratemotivictransformation.Samerhythm,differentpitchesSamepitches,differentrhythms(d)Usingthesamefragment,demonstratemotivicembellishment.22 jazzcomposition15/28/034:32PMPage23CHAPTER1MELODICCONSIDERATIONS2.Utilizemelodicsequenceonthefollowingexamples.(a)motivicsequenceMediumswingCMaj7D–7G7CMaj7FMaj7CMaj7A–7D–7G7DMaj7MediumjazzwaltzG–7C–7G–7EMaj7G–7AMaj7EMaj7(11)A9sus4(b)two-measuremelodicsequence(twoversions)MediumfastP4A7D7G7C7(F)MediumfastM2A7D7G7C7(F)23 jazzcomposition15/28/034:32PMPage24JAZZCOMPOSITIONTHEORYANDPRACTICE(c)four-measuremelodicsequenceFastA–7B–7A–7D7GMaj7A–7D7(9)G–7A–7G–7C7FMaj7B–7E7sus4E7AMaj7A–7D7sus4D7GMaj7B–73.Inthefollowingaabaformat(seeaabaSongForm,page132),writeatuneinwhichtheasectionsutilizemotivicsequenceandthebsectionutilizesatwo-measuremelodicsequence.Theprincipalcomponentsaregiven.MediumswingACC7CA–7D–7G7E–7A–7D–7G7ToCoda12F6F–6E–7A7D–7G7D–7G7CBE7A7D.C.alCodaCodaD7G7D–7G7C24 jazzcomposition15/28/034:32PMPage25CHAPTER1MELODICCONSIDERATIONS4.Inthefollowingaabaformat,writeatuneinwhichtheasectionsutilizemotivicembellishmentandthebsectionutilizesmotivictransformation.Theprincipalcomponentsaregiven.MediumswingAE6A7G–7D9C7(9)12F–7B7sus4G7C7F7B7E6A7E6E7BA–7D7EMaj7B–7E7A–7D7G–7C7F–7B7E6A7G–7D9C7(9)F–7B7sus4D6D6E625 jazzcomposition15/28/034:32PMPage26JAZZCOMPOSITIONTHEORYANDPRACTICEMOTIFSBASEDONINTERVALLICPATTERNSOnemethodofarrivingatintriguingmelodicshapesistoworkwithintervalpatterns.Thefollowingexampleisbasedontheintervaloftheperfectfourth.MediumfastA–7D7(alt)B–7E7(alt)A–7G–7Inthefollowingexampletheintervallicpatternismorecomplex.Inthefirstfourmeasuresthemotifisahalf-stepfollowedbyaleapupaperfectfifth,thenaleapdownaperfectfourth.Inthefifthbarthatpatternisinverted.Note:“Soliloquy”isinthekeyofD-flatmajor.Itisnotatedherewithoutakeysignaturesothattheintervallicpatternswillbeasclearaspossible.Soliloquy3TedPeaseSlowballadG7A7D7(9)DMaj733ToCoda12F–7C7(5)C–7(5)G7(11)E–7A7(9)A–7D7DMaj7D733GMaj7C7DMaj7A–7D7GMaj7333D.C.alCodaCodaC–7F7B–7E7A–7D7DMaj726 jazzcomposition15/28/034:32PMPage27CHAPTER1MELODICCONSIDERATIONSEXERCISEComposediatonicmelodiesfromthechosenscalesbasedonthegivenintervallicpatterns.Userepetitionandsequencefreely.(Note:Nokeysignaturesareusedhere,sosupplythenecessaryaccidentalsinyourmelodies.)CDorianFastGMixolydianMediumELydianSlowLatin27 jazzcomposition15/28/034:32PMPage28JAZZCOMPOSITIONTHEORYANDPRACTICEMELODIESBASEDONGUIDETONESSomeofthemostenduringmelodieseverwrittenhavebeenbasedonguidetones.Forexample,“AutumnLeaves”isbasedonthefollowingguidetoneline:A–7D7GMaj7CMaj7F–7(5)B7(9)E–3737373Guidetonesarechordtonesortensionsthatmovebysteporbycommontonetoachordtoneortensioninasubsequentchord.Theysimultaneouslyimplythechordqualityofthemomentwhilecreatinganeedtoconnecttothenextchordintheprogression.D–7G7(9)D–7G7(9)D–7G7(9)D–7G7(9)73T3797T11T9B–7E7CMaj7FMaj7G–7C7(11)A–7D773377T115T9Mostguidetonelinestendtoresolvedownward.D–7G7CMaj7C7FMaj7B7CMaj7A773Maj773757However,someofthemostdramaticguidetonelinesmoveupward(againstthegrain).D–7(9)G7CMaj7(11)C7FMaj7B7CMaj7A7(9)T97T11531Maj7T928 jazzcomposition15/28/034:32PMPage29CHAPTER1MELODICCONSIDERATIONSEXERCISEThepurposeofthefollowingexerciseistofindmultipleguidetonelinesonthesamesetofchordchanges.Voiceleadthegivenguidetonesinthedesignateddirection(downorup).Usecommontonesand/orstepwisemotion.Includetensionsasappropriate.Thesamechangesaretobeusedforeacheight-measureexample.(Note:alt=altereddominant;%9,#9,%5,%13areallavailable.)F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)73737373F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)7T537F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)5T95F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)373F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)37F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)T11T9F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)1T13F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)1T5F–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)T11129 jazzcomposition15/28/034:32PMPage30JAZZCOMPOSITIONTHEORYANDPRACTICEEMBELLISHINGAGUIDETONELINEEffectivemelodiescanbewrittenbysimplyembellishingaguidetoneline.Embellishmentsconsistofpassingtones,neighbortones,escapetones,pickupnotes,andsuspensions.Anticipationsanddelayedattackscontributeadditionalrhythmicinterest.(Note:Inthefollowingexamples,embellishmentsarecircled.)OriginalEmbellishedwithpassingtonesD7G7D7G7PTPTAnt.PTDAOriginalEmbellishedwithneighbortonesD–7G7CMaj7A–7D–7G7CMaj7A–7DANTAnt.Ant.NTOriginalEmbellishedwithescapetonesD–7G7DMaj7CD–7G7DMaj7CDAETETETAnt.Ant.OriginalEmbellishedwithpickupnotesD7G7D7G7PUNPUNDAOriginalEmbellishedwithasuspensionB–7(5)E7(9)A–7E+7B–7(5)E7(9)A–7E+7Ant.suspDASee“AndWhyNot?”onthenextpage.30 jazzcomposition15/28/034:32PMPage31CHAPTER1MELODICCONSIDERATIONS4AndWhyNot?TedPeaseD–7G7C6A–7D–7G7(5)CMaj71234GuideToneSketchMediumsambaResultingMelodyB–7(5)E7(9)A–7E+7D7G75678F–7(5)B7(9)E–7A–7D–7G7(9)CMaj7C79101112FMaj7F7C/GA7(9)D–7G7DMaj7C6/913141516Asyouobservethisexample,noticethat:1.Guidetonescanmoveup(measures3–5,10–11,and15–16),down(measures1–2,9–10,13–14),andsideways(measures9,13,and16).2.Withinthedurationofachord,youcanskiporleaptoanotherguidetonebeforemovingon(measures4,7,and8).3.Youcanalsoskiporleapwhentwochordsshareguidetones(measures11,12,and14).31 jazzcomposition15/28/034:32PMPage32JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISE1.Writeaneight-measuremelodythatconsistsofanembellishedversionofthegivenguidetonesketch.Labelyourembellishments.SketchFMaj7B7A7D7G7C7FMaj7B7FMaj7YourMelodyMediumswingFMaj7B7A7D7ADAIRG7C7FMaj7B7FMaj72.Writeaneight-measuremelodythatconsistsofanembellishedversionofthegivenguidetonesketch.Labelyourembellishments.SketchFMaj7B7(11)A7(9,13)D7(9)G7C75(9)FMaj7B7FMaj7(11)YourMelodyMediumbossanovaFMaj7B7(11)A7(9,13)D7(9)PTADCHRG7C75(9)FMaj7B7FMaj7(11)32 jazzcomposition15/28/034:32PMPage33CHAPTER1MELODICCONSIDERATIONS3.Createyourownguidetonesketchonthegivenchanges.Thenwriteamelodyconsistsofanembellishedversionofthesketch.Labelyourembellishments.SketchD–7(5)G7(9)AMaj7DMaj7E–7A7DMaj7CMaj7YourMelodyBalladD–7(5)G7(9)AMaj7DMaj7E–7A7DMaj7CMaj733 jazzcomposition15/28/034:32PMPage34JAZZCOMPOSITIONTHEORYANDPRACTICEMELODIESBASEDONCOMPOUNDLINESSomemelodiesarebasedoncompoundlines.Compoundlinesconsistoftwo(ormore)guidetonelinesthatproceedthroughasetofchordchangessimultaneously.Amelodycanbecreatedbyalternatingbetweentheguidetones.Observetheexamplebelow,andthenturntothetune“DiminishingReturns”onthenextpage.meas.1–8B–9F7/BF7/BE7/B5TTetc.1333meas.21–27E–7G–7A–7C–7E–95T95T13etc.115T9meas.29–46D–9G7(9,13)CMaj7F–7B7(9,13)A7(9,13)T11T95113T11T9T9A7A7B–9F7/BDMaj7/AG7/AG7/AD61757T37153511334 jazzcomposition15/28/034:32PMPage35CHAPTER1MELODICCONSIDERATIONS5DiminishingReturnsTedPeaseFastLatinB–91B–93(vamp)F–6F7/BF7/BE7/B3331C7(9)D7(9)(swing)C7(9)F–610(break)33B–7E7(11)AMaj7D7sus4E7sus4D7sus41419GMaj7E–7G–7A–7C–7(pianofill)2(swing)E–9E–9F7(9)D–9G7(9,13)CMaj725(pianofill)F–7B7(9,13)A7(9,13)A7A732(Latin)37B–9F7/BDMaj7/AG7/AG7/AD6(9)C–7(5)F7(9)423(rhythmbreak)35 jazzcomposition15/28/034:32PMPage36JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISESCompleteacompoundlineonthegivenchanges.Thenwriteamelodythatconsistsofanembellishedversionofthesketch.Labelyourembellishments.SketchCMaj7B–7E7(9)A–7D7G–7C7FMaj7F–7B7E–7A7E–7A7D–7G7E–7A7(9)D–7G7YourMelodyMediumbluesCMaj7B–7E7(9)A–7D7G–7C7N.T.addedchordtoneN.T.FMaj7F–7B7E–7A7E–7A7D–7G7E–7A7(9)D–7G736 jazzcomposition15/28/034:32PMPage37CHAPTER1MELODICCONSIDERATIONSANTECEDENTANDCONSEQUENTPHRASESAntecedentandconsequentphrasesarecomplementarymusicalideasthat,whencombinedinlongerphrases,producebothvarietyandbalance.Ineffect,theyhelpproduceamusicalconversationsimilartolanguage,asin:Antecedent:“Whowontheballgamelastnight?”Consequent:“TheRedSoxwon3to2.”or,asinaone-sidedmonologue:Antecedent:“Didyouhearthelatest?”Consequent:“I’mbeingauditedbytheIRS!”Mostjazzmelodiesrelyonsymmetricalphrasestructure.Thispromotesbalance.Therefore,antecedentandconsequentphrasesareusuallythesamelength.(Whentheyarenot,youwilllikelyhearvigorousandcarefuldiscussionamongmusiciansatrehearsals!)Mostantecedentandconsequentphrasesarefourmeasureslong,asintheexamplebelow:antecedentphraseE–7A7DMaj7GMaj7G–7(5)C7(alt)F–9B9consequentphraseE–7A7F–7B–7E–7A7DMaj7(See“YourSmile,”page135.)37 jazzcomposition15/28/034:32PMPage38JAZZCOMPOSITIONTHEORYANDPRACTICESometimes,antecedentandconsequentphrasesareeightmeasureslong:antecedentphraseJazzwaltzA–7D–7G–7C7(11)/BA–7D–7E–7(5)A7(9)consequentphraseBMaj7C7/BA–7D7(9)G–7C7F6(See“ForBill,”page141.)Asymmetricphrasestructuringislesscommon.Caremustbetakentoavoidincoherence.Thefollowingexamplehasafour-measureantecedentphraseandasix-measureconsequentphrase.Noticehowtheeartriestomaketheexamplesymmetricalbysubdividingtheconsequentphraseintotwomeasuresplusfourmeasures,therebybreakingupthetotaloftenmeasuresintofour/two/four.antecedentphraseSlowballadCF7(11)E–7A–7D–7G7G–7C7consequentphraseB–7E7A–7D7C/GG7C/GG738 jazzcomposition15/28/034:32PMPage39CHAPTER1MELODICCONSIDERATIONSItisveryimportanttocreateasenseofbalancebetweenantecedentandconsequentphrases.Otherwise,youmaycreateamusical“nonsequitur”(Latinfor“doesnotfollow”).Theexamplesbelowdemonstratethisunfortunateeffect.MediumswingD–E–7(5)A7(9)D–B7A71234GMaj7A–7D7B–7E75678Problems:1.Consequentphrasesoundslikethebeginningofadifferenttune.2.Drasticcontrastinrhythmicvelocityanddensity.BossanovaGMaj7A–7D7GMaj7A–7D71234E–7A7DMaj7B–7E–7G–7C753678Problems:1.Simplediatonicmelodyinbossanovastyle(measures1–4)isinterruptedbybeboplickinmeasure5.2.RadicaltonaldeparturefromGmajorintheconsequentphrase.3.Awkwardharmonicrhythminmeasures6–8.Toavoidmusicalnonsequiturs:1.Makesureyourconsequentphrasereflectsthemelodicrhythmoftheantecedentphrase.2.Avoidabruptchangesinmelodicdensityandcontourbetweenphrases.3.Maintainaconsistentharmonicstyle.4.Avoiddrasticdifferencesinmelodicrangebetweenphrases.39 jazzcomposition15/28/034:32PMPage40JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISESWriteconsequentphrasestothefollowingantecedentphrases.MediumfastC7F7C7E–7(5)A7(9)D–7G7C7F7C6MediumswingA–7D7GMaj7E7A–7D7B–7A–7GMaj7MediumbluesF7B7F7C–7F7B7B7F7D7(9)G–7C7F7D7(9)G–7C740 jazzcomposition15/28/034:32PMPage41CHAPTER1MELODICCONSIDERATIONSUsingaabasongform,supplyconsequentphrasesforthegivenantecedentphrasesintheasectionandinthebridge.BalladG–7C7(9,13)FMaj7F–7B7(9,13)EMaj7A33ToCoda1E–7A7DMaj7G–7C7(9)FMaj7B2G–7C7(9)FMaj7E–7A7DMaj7E–7A7(9,13)DMaj7D–7G7CMaj7A–7CodaD.C.alCodaD7D–7G–7G–7C7F6/941 jazzcomposition15/28/034:32PMPage42JAZZCOMPOSITIONTHEORYANDPRACTICEPITCHCONTOURANDRANGEPitchcontourplaysadefiniteroleinmelodywriting.Theeffectofasmoothlinewithinanarrowrangetendstoberelaxing,whereasaroughorjaggedlinethatcoversawiderangetendstobemoreintense.Thefollowingexamplesaredrawnfromtwotuneswithverydifferentpitchcontours.(See“AnyFriday,”page120.)(See“Let’sSplit,”page122.)APEX(CLIMAX)Mostjazztuneshaveanapex.Theapex(orclimax)isthehighestnoteinthetune.Itisstrategicallyplacedtoprovidethemostdramaticmomentandusually(butdefinitelynotalways)occursabouttwo-thirdstothree-quartersofthewaythrough.Lookthroughthebookatthevarioustunesandplaceacheckmarkoverthehighestnoteineach.Comparemeasurenumberstodeterminewhethertheapexisearlyorlate.Hereisashortlistofsomeofthetunes,alongwithameasurecountfortheapexandthetotalnumberofmeasures.“SambadeGoofed,”page155;apexinmeasure15outof40(early)“Scrooge,”page147;apexinmeasure21outof32(average)“SezWho?”page144;apexinmeasure21outof24(late)42 jazzcomposition15/28/034:32PMPage43CHAPTER1MELODICCONSIDERATIONSEXERCISES1.Writeasixteen-measuremelodythatstayssmoothlywithinthefollowingrange.Slowballad1BMaj7C–7F7D–7G–7C–7F72345A–7(5)D7(9)G–7C7C–7F767899BMaj7DMaj7GMaj7F7101112BMaj7B7EMaj7A7C–7F7BMaj7131415162.Writeasixteen-measuremelodythatencompassesthefollowingrangeandcontainstheapexinmeasure11.MediumjazzwaltzD–7(5)G7(9)C–7A712345D–7(5)G7(9)C–7F7678F–7B7EMaj7AMaj79101112D–7(5)G7(9)DMaj7C–71314151643 jazzcomposition15/28/034:32PMPage44JAZZCOMPOSITIONTHEORYANDPRACTICEMELODICTENSIONASAFUNCTIONOFSTYLETensionswerearelativelyuncommonmelodicchoiceforjazzcomposersduringthe1920sand1930s.Mostmelodieswerebasedonchordarpeggiosorscalepatternsthatdidnotexposetheserelativelydissonantnotes.Thosetensionsthatwereusedusuallyresolvedimmediatelytorelatedchordtonesastepawayinthemannerofasuspensionoranappoggiatura,ortheyweretreatedasapproachnotes.Sincetheadventofbebopinthemid-1940s,melodictensionshaveplayedanincreasinglyimportantroleinjazzperformanceandcomposition.Today,unresolvedtensionsarepartofthemusicalpaletteavailabletoallwriters.OlderStylesLowtensionlevelMediumswingF–6G–7(5)C7(9)F–6C–7(5)F7(9)B–7F–6D–7(5)G–7(5)C7(9)F–6(See“Scooter,”page128.)NewerStylesHighertensionlevelBossanovaF–6G–7(5)C7(9)F–6C–7(5)F7(9)T9T11T13T9T13T11B–7F–6D–7(5)G–7(5)C7(9)F–6T9T9(See“Let’sSplit,”page122.)44 jazzcomposition15/28/034:32PMPage45CHAPTER1MELODICCONSIDERATIONSEXERCISESConstructasixteen-measuremelodyoutlineinhalfnotes.Asachallenge,limityourselftomelodictensionsoneachchord.Trytoorganizethetensionsintointervallicpatterns,orusethemasguidetonesandvoiceleadthem.Havetheapexinthetwelfthmeasure.(Major7maybeconsideredatensioninthisexercise.)FMaj7BMaj7(11)E–9A7(13)DMaj9C7(9)B7(9)B7(9)1234A–7(11)D7(9)GMaj7(13)E–7(9)A–7(9)D7(13)G–7(9)C7(13)5678FMaj7(9)AMaj7BMaj7DMaj7CMaj7A–7(11)FMaj7D7(9)910111213G–7(11)C7(9)A–7(11)D7(13)G–7(11)C7(9)GMaj7(11)FMaj7(11)141516Nowcreateamelodybyembellishingyourmelodyoutline.Usefour-measureantecedentandconsequentphrases.EasybossaFMaj7BMaj7E–9A7(13)DMaj7C7(9)B7(9)B7(9)1234A–7(11)D7(9)GMaj7(13)E–7(9)A–7(9)D7(13)G–7(9)C7(13)5678FMaj7(9)AMaj7BMaj7DMaj7CMaj7A–7(11)FMaj7D7(9)9101112G–7(11)C7(9)A–7(11)D7(13)G–7(11)C7(9)GMaj7(11)FMaj7(11)1314151645 jazzcomposition15/28/034:32PMPage46JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterial—MelodicConsiderationsSCALERESOURCES1.MajorscaleSee“Strays,”page3.TheBeautyofAllThings(LaurenceHobgood/KurtElling)AChildIsBorn(ThadJones)HoneysuckleRose(“Fats”Waller)It’sOnlyMusic(GaryWillis)Moment’sNotice(JohnColtrane)Perdido(JuanTizol)YesterdayandToday(DarioEskenazi)2.MinorscalesSee“MinorDifferences,”page59.Django(JohnLewis)HowInsensitive(AntonioCarlosJobim)KeepItMoving(WyntonKelly)SongforMyFather(HoraceSilver)3.ModalscalesSee“AnyPortinaStorm,”page71.Don’tLetItGo(VincentHerring):LydianImpressions(JohnColtrane):DorianJeannine(DukePearson):DorianLaFiesta(ChickCorea):SpanishPhrygianLittleSunflower(FreddieHubbard):DorianPassionDance(McCoyTyner):MixolydianPursuance(JohnColtrane):AeolianTellMeaBedtimeStory(HerbieHancock):Lydian4.BluesscaleSee“BluesforaBiliousBystander,”page120.Birdland(JoeZawinul)FilthyMcNasty(HoraceSilver)LocoMotiv(LarryGales)5.PentatonicscaleSee“AfterBreakfast,”page119.Pursuance(JohnColtrane)SonnyMoonforTwo(SonnyRollins)6.SymmetricdiminishedscaleSee“Let’sSplit,”page122.KillerJoe(BennyGolson):bridgeMELODICVARIATIONVIAMODALINTERCHANGEAllBlues(MilesDavis):GMixolydiantoGDorianNoMoreBlues(AntonioCarlosJobim):DminortoDmajor46 jazzcomposition15/28/034:32PMPage47CHAPTER1MELODICCONSIDERATIONSMELODICREPETITION1.MotivicRepetitionSee“Strays,”page3.AChildIsBorn(ThadJones)BlueMonk(TheloniousMonk)Four(MilesDavis)IMeanYou(TheloniousMonk)InaMellowTone(DukeEllington)KillerJoe(BennyGolson)PassionDance(McCoyTyner)Perdido(JuanTizol)SoWhat(MilesDavis)StraightNoChaser(TheloniousMonk)2.Four-MeasurePhraseRepetitionSee“AfterBreakfast,”page119.Jeannine(DukePearson)Naima(JohnColtrane)PentUpHouse(SonnyRollins)Rosewood(WoodyShaw)SonnyMoonforTwo(SonnyRollins)St.Thomas(SonnyRollins)3.Eight-MeasurePhraseRepetitionSee“YourSmile,”page135.AfternooninParis(JohnLewis)BlackNile(WayneShorter)IRememberClifford(BennyGolson)MaidenVoyage(HerbieHancock)SatinDoll(DukeEllington)MELODICSEQUENCE1.MotivicSequenceSee“Strays,”page3.Cute(NealHefti):diatonic(measures9–12)WellYouNeedn’t(TheloniousMonk):exact(bridge)2.Two-MeasureMelodicSequenceSee“Scrooge”page147(measures9–14).AfternooninParis(JohnLewis):exact(measures1–4)Airegin(SonnyRollins):exact(measures9–20)SatinDoll(DukeEllington):diatonic(measures1–4)ShinyStockings(FrankFoster):exact(measures9–14)Woody’nYou(DizzyGillespie):exact(measures1–6)47 jazzcomposition15/28/034:32PMPage48JAZZCOMPOSITIONTHEORYANDPRACTICE3.Four-MeasureMelodicSequenceSeethebridgeof“Scooter,”page128.Airegin(SonnyRollins):exact(measures1–8)BlueBossa(KennyDorham):diatonic(measures1–8)LocoMotiv(LarryGales):exact(bridge)NewGirl(DukePearson):exact(measures1–8)SatinDoll(DukeEllington):exact(bridge)Woody’nYou(DizzyGillespie):exact(bridge)4.Eight-MeasureMelodicSequenceBlackNarcissus(JoeHenderson):exact(measures1–16)JoySpring(CliffordBrown):exact(measures1–16)SoWhat(MilesDavis):exact(bridge)MOTIVICTRANSFORMATION1.SameRhythm,DifferentPitchesSee“SambadeGoofed,”page155.AnaMaria(WayneShorter)MaidenVoyage(HerbieHancock)TheMidnightSunWillNeverSet(QuincyJones)2.SamePitches,DifferentRhythmSee“SambadeGoofed,”page155.Spain(ChickCorea):ComparethelastpartofAwiththelastpartofC.BluesforaBiliousBystander(TedPease):Seepage120.MOTIVICEMBELLISHMENTSee“SambadeGoofed,”page155.AlongCameBetty(BennyGolson):measures1–4Ecaroh(HoraceSilver):AsectionMemoryandDesire(BillyChilds):measures1–10Nica’sDream(HoraceSilver):measures1–8MOTIFSBASEDONINTERVALLICPATTERNSSee“Soliloquy,”page26.E.S.P.(WayneShorter):fourthsGiantSteps(JohnColtrane):thirdsInWalkedBud(TheloniousMonk):expandingintervalsMisterioso(TheloniousMonk):sixthsPentUpHouse(SonnyRollins):mixedintervalsWitchHunt(WayneShorter):fourths48 jazzcomposition15/28/034:32PMPage49CHAPTER1MELODICCONSIDERATIONSMELODIESBASEDONGUIDETONESSee“AndWhyNot?”page31.Ceora(LeeMorgan)DolphinDance(HerbieHancock)HowInsensitive(AntonioCarlosJobim)MELODIESBASEDONCOMPOUNDLINESSee“DiminishingReturns,”page35.I’llRememberAugust(RalphTowner)InWalkedBud(TheloniousMonk)Jordu(DukeJordan)ANTECEDENTANDCONSEQUENTPHRASES1.Four-measurephrasesSee“YourSmile,”page135.Anthropology(CharlieParker)Bernie’sTune(BernieMiller)ComeSunday(DukeEllington)IRememberClifford(BennyGolson)KeepItMoving(WyntonKelly)Morning(ClareFischer)TaketheATrain(BillyStrayhorn)2.Eight-measurephrasesSee“ForBill,”page141.Ceora(LeeMorgan)Epiphany(DennyZeitlin)Jeannine(DukePearson)Moment’sNotice(JohnColtrane)Mr.Softee(AlanPasqua)Nica’sDream(HoraceSilver)Pensativa(ClareFischer)ShinyStockings(FrankFoster)YesterdayandToday(DarioEskenazi)3.AsymmetricphrasesSee“DiminishingReturns,”page35.TheBeautyofAllThings(LaurenceHobgood/KurtElling)InfantEyes(WayneShorter)NewGirl(DukePearson)Stablemates(BennyGolson)49 jazzcomposition15/28/034:32PMPage50JAZZCOMPOSITIONTHEORYANDPRACTICEPITCHCONTOURANDRANGE1.SmoothSee“AnyFriday,”page120.GregoryIsHere(HoraceSilver)InaMellowTone(DukeEllington)Moment’sNotice(JohnColtrane)2.RoughSee“Thad’sPad,”page129.InnerUrge(JoeHenderson)Isotope(JoeHenderson)MemoryandDesire(BillyChilds)UpperManhattanMedicalGroup(BillyStrayhorn)APEX(CLIMAX)See“Scrooge,”page147.AlongCameBetty(BennyGolson):measure29Ceora(LeeMorgan):measure28ShinyStockings(FrankFoster):measure29MELODICTENSIONASAFUNCTIONOFSTYLESee“Let’sSplit,”page122.Epiphany(DennyZeitlin)TheEverlastingNight(GaryWillis)Ladybird(TaddDameron)Stablemates(BennyGolson)TimeRemembered(BillEvans)50 jazzcomposition15/28/034:32PMPage51CHAPTER2HarmonicConsiderationsJazzharmonyismostlytonalormodal.ComposerssuchasCharlesMingusandCecilTaylorhaveexperimentedwithatonaltechniques,andso-called“freejazz”sometimesassumesanatonalquality.Nevertheless,mostjazzcomposershaveretainedarelativelyconservativeapproachtoharmony(comparedtoclassicalcomposerssuchasStravinsky,Bartók,orAlbanBerg!),andtheharmoniclanguagetheyuseis,inmostcases,recognizable.Thisisnottosaythatjazzharmonyislimitedoruninteresting.Partofthechallengeofplayingandwritinggoodjazzistouseconventionalchordchanges,reharmonizations,modulations,andvoicingsinuniqueandsurprisingways.Furthermore,partofthebasiccharmofjazzisthatitsharmoniclanguageissowellunderstoodbyexperiencedplayersthattotalstrangerscanperformtogetheratamoment’snotice.Onemustunderstandthedifferencebetweenjazzharmonyandjazzvoicings.Jazzharmonydealswiththeprogressionofchordsintime(the“changes”)andthepossibleharmonicsubstitutionsthatmightbemadeformorefamiliarpatterns.Jazzvoicingsaretheindividualharmonicsoundsthatcomposers,arrangers,andperformersproducewhenprovidingverticalstructureswithinaprogression.Thesestructuresmaybeopenorclosed,clearorambiguous,andpercussiveorsustaineddependingonthesituation.Therelationshipbetweenvoicingsandchangesprovidesmuchoftheharmonicinterestinjazz.Untilthemid-1950s,mostjazzcompositionsweretonal.Itcouldbesaidthataparticularpiecewasinthismajorkeyorthatminorkey.Jazzvoicingsconsistedofseventhchordsandtheirextensions(ninths,elevenths,andthirteenths)andwerebuiltupfromtherootinthirds(“tertian”harmony).Functionalharmonywastheprevailingharmonicsystemofanalysis.(Functionalharmonyrecognizesthepreeminenceoftonic,subdominant,anddominantchordsandtheircommon-tonesubstitutesinvirtuallyeverystyleofclassicalandpopularmusic.)Allofthesepredictablecharacteristicsproducedalevelofcomfortamongjazzmusicians,whowelcomedthecommonalityofthemusicallanguage.(Adiscussionoftonalharmonyinmajorandminorkeysbeginsonpage52.)Inthelate1950s,jazzcomposerssuchasGeorgeRussellandMilesDavisbeganusingmodesintheircompositions.GeorgeRussellusedvariousscalesandmodesinpolytonalandpolymodalrelationshipsincompositionssuchas“AllAboutRosie.”MilesDavisturnedthejazzworldupsidedowninhisseminalalbumKindofBluewithmodalcompositionssuchas“SoWhat”and“AllBlues.”Thelattertwoclassicjazzcompositionswerealsonoteworthyfortheirextendedharmonicrhythmsandfortheuseofostinatos.Theysoundedquitedifferentfromthebebopandhardboptunesthatwerealsobeingwrittenatthetime.(Adiscussionofmodalharmonybeginsonpage62.)PianistBillEvans,whoperformedwithGeorgeRussellandMilesDavisontheaforementionedrecordings,contributedtotheimpactofthenewmodalapproachby51 jazzcomposition15/28/034:32PMPage52JAZZCOMPOSITIONTHEORYANDPRACTICEvoicingchordsinfourthsandinseconds,aswellasinthirds.Thesenewvoicingswereunfamiliartomostjazzmusiciansatfirst,buttheirusagewaseagerlyadoptedintheearly1960sbysuchpianistsasMcCoyTynerandHerbieHancock,andbysuchcomposer/arrangersasOliverNelsonandThadJones.Bythemid1960sthisnewharmoniclanguagehadbeenabsorbedandwasbeingusedalongwiththeearlierstylesbymostcomposersandplayersoftheday.Sometunesofthe1960salsostrayedfartherandfartherawayfromfunctionalharmonyasdeliberatetonalidentitybecamelessimportant.Chromaticharmonyandparallelharmony(so-called“constantstructures”)becamemoreandmorecommon.ThechordprogressionsofWayneShorter(e.g.,“Nefertiti”)andHerbieHancock(e.g.,“MaidenVoyage”)weresometimespurposefullyambiguous.TheIchordwasnolongerafrequenttargetpoint,andconsequentlythetonalitywasoftenvague.Sometimesitseemedasifanychordcouldfollowanyotherchord,melodypermitting.(Chromaticharmonyisdiscussedonpage80.Constantstructuresarediscussedonpage92.)Inthe1970sand1980s,fusion(seepage185)helpedtofurtherfocustheattentionofcomposers,arrangers,andperformersontheroleofthebass.Inasmuchastheelectricbasswasmorelikeabassguitarthananuprightbass,andbecauseitwasamplified,virtuosoelectricbassplayerssuchasJacoPastoriusandStanleyClarkewereabletobringbasslinestothetexturalforegroundnotonlyinsolosbutalsoinaccompaniments.Harmoniesthatfurtheremphasizedthebass,suchaschordalinversionsand“slash”chords(seepage90),becamemoreandmorecommon.Inrecentyears,composerssuchasJohnScofieldhaveoccasionallyemployedostinatosandotherbasslinesthatsuggestapolytonalrelationship(oratleastadisconnect)withthemelody.SuchScofieldtunesas“StrangertotheLight”and“ICanSeeYourHousefromHere”aregoodexamples.Contemporaryjazzharmonypresentsavirtualkaleidoscopeofsoundsrangingfromsimpletriadstocomplexpolychords.Aspiringjazzcomposersneedtohaveafirmgraspofallitsaspects.TonalHarmony(MajorKeyOrientation)Intonalharmony,theIchordofapieceisatthecenteroftheharmonicuniverse.TheIchordexhibitsthemostgravity,andallotherchordsthatareusedinapiecehavearoleinprogressingtoorfromit.Primarydominantresolution(V7/I)andprimarysubdominantresolution(IV/I)andtheirrespectivederivativesarethemostcommonprogressions.Sincemanyjazzvoicingsarebasedonseventhchordsandtheiravailabletensions,itishelpfultoknowthattheotherdiatonicseventhchordsinmajor(II–7,III–7,VI–7,andVII–7(%5))providecommon-tonederivatives(“aliases”)andsubstitutionsforthetonicchord,thesubdominantchord,andthedominantchord.Becauseoftheirrespectivecommontones,III–7andVI–7aresimilartotheIchordandoftenhavetonicfunction;II–7issimilartotheIVchordandoftenhassubdominantfunction.VII–7(%5)issimilartotheVchordbecauseitcontainsthetritone.ItcanhaveasomewhatweakdominantfunctionwhenprogressingtoImajor(e.g.,B–7(%5)toCMaj7),orsubdominantminorfunctionwhenprogressingtoV7/Iminorintherelativeminor(e.g.,B–7(%5)toE7(%9)toA–).52 jazzcomposition15/28/034:32PMPage53CHAPTER2HARMONICCONSIDERATIONSSecondarydominantprogressions(V7/II–7,V7/III–7,V7/IV,V7/V,V7/VI–7,V7/VII–7(%5))createasecondarylevelofharmonicgravity.Inaddition,eachoftheseV7chordshasasubstitutedominantavailabletotakeitsplaceatthewhimoftheperformerorcomposer/arranger.Thesubstitutedominantcontainsthesametritoneasthe“real”dominantandactsasanaliasforit.Therootofasubstitutedominantchordisanaugmentedfourth(oritsequivalent,thediminishedfifth)awayfromtherootofthe“real”dominantchord(e.g.D%7isthesubstitutedominantforG7inthekeyofCmajor.Conversely,G7isthesubstitutedominantforD%7inthekeyofG%major.)Dominantresolutionproducesrootmotiondownaperfectfifthtothetargetchord.Substitutedominantresolutionproducesrootmotiondownahalfsteptothetargetchord.PassingdiminishedchordsmoveupbyhalfstepbetweenIandII–7,betweenII–7andIII–7,betweenIVMaj7andV7,andbetweenV7andVI–7.Theymimicsecondarydominantsbecauseofthecommontonesthatareshared.TraditionalpracticeinjazzharmonyallowstheplacementoftherelatedII–7chordbeforeanydominantseventhchord.TherelatedII–7chordcomesfromthesame“keyofthemoment”astheV7.ThereforeD–7istherelatedII–7ofG7regardlessofwhereitoccursinaprogression.E%–7istherelatedII–7ofA%7,F#-7istherelatedII–7ofB7,andsoon.RelatedII–7chordsareoftenusedbeforesubstitutedominantsaswell.ThefollowingchartsummarizestheaboveinthekeyofCmajor.Thetune“CatchMeIfYouCan”onthefollowingpageutilizesavarietyoftonalprogressions.HarmonicUniverseinCMajorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/IV7/II–7V7/III–7V7/IVV7/VV7/VI–7V7/VII–7(5)A–7D7B–7E7C–7F7D–7G7E–7A7F–7B7G–7C7D–7G7E–7A7F–7B7G–7C7A–7D7B–7E7C–7F7CMaj7D–7E–7FMaj7G7A–7B–7(5)IMaj7II–7III–7IVMaj7V7VI–7VII–7(5)TONICSubdominantTonicSUBDOMINANTDOMINANTTonicDominantAliasAliasAliasAliasC7D7F7G7mimicsmimicsmimicsmimicsA7(9)B7(9)D7(9)E7(9)I7II7IV7V7PassingDiminished53 jazzcomposition15/28/034:32PMPage54JAZZCOMPOSITIONTHEORYANDPRACTICE6CatchMeIfYouCanTedPeaseMedium-fastswingC:IV7/II–7II–7V7/III–7III–7IVII–7V7/IVCMaj7A7(9)D–7B7(9)E–7FMaj7G–7C716IVV7/VI4V7/VI–7VI–7V7/VII–7V7FMaj7D7(9)C/GE7(9)A–7D7D–7G75II7II–7II7III–7IVII–7V7/IVCC7D–7D7E–7FMaj7G–7C79IVIV7IV7VI–V7IFMaj7F7C/GG7A–G7C613E:II–7V7ID:II–7V7IF–7B7EMaj7E6E–7A7DMaj717C:II–7subV7/II–7(5)E:II–7(5)subV7/II–7A:II–7V7/II–7G:II–7subV7/ID–7G7F–7(5)B7(9)B–7E7A–7D721C:II7II–7II7III–7III7(V7/VI–7)IVVII7CMaj7C7D–7D7E–7E7FMaj7B925IV7/VIVI–V7/VII–7V7ICMaj7E7A–D7D–7G7C6/929Measures1–8demonstratethefollowingsecondarydominants:V7/II,V7/III,V7/IV,V7/V,andV7/VI.Measures9–16demonstratethefollowingpassingdiminishedchords,whichmimicthedesignatedsecondarydominants:#I°7(mimicsV7/II),#II°7(mimicsV7/III),#IV°7(mimicsV7/V),and#V°7(mimicsV7/VI).Measures17–20demonstrateatwo-measuremelodicandharmonicsequence.Measures21–24demonstrateasequenceofII/Vsinfourdifferentkeysofthemoment:C,E,A%,G%.Measures25and26demonstratepassingdiminishedchordsagain.Measures27–32demonstratemoresecondarydominants.54 jazzcomposition15/28/034:32PMPage55CHAPTER2HARMONICCONSIDERATIONSEXERCISESCompletethefollowingcharts.HarmonicUniverseinFMajorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/IV7/II–7V7/III–7V7/IVV7/VV7/VI–7V7/VII–7(5)FMaj7IMaj7II–7III–7IVMaj7V7VI–7VII–7(5)TONICSubdominantTonicSUBDOMINANTDOMINANTTonicDominantAliasAliasAliasAliasI7II7IV7V7PassingDiminishedHarmonicUniverseinBMajorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/IV7/II–7V7/III–7V7/IVV7/VV7/VI–7V7/VII–7(5)BMaj7IMaj7II–7III–7IVMaj7V7VI–7VII–7(5)TONICSubdominantTonicSUBDOMINANTDOMINANTTonicDominantAliasAliasAliasAliasI7II7IV7V7PassingDiminished55 jazzcomposition15/28/034:32PMPage56JAZZCOMPOSITIONTHEORYANDPRACTICEHarmonicUniverseinGMajorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/IV7/II–7V7/III–7V7/IVV7/VV7/VI–7V7/VII–7(5)GMaj7IMaj7II–7III–7IVMaj7V7VI–7VII–7(5)TONICSubdominantTonicSUBDOMINANTDOMINANTTonicDominantAliasAliasAliasAliasI7II7IV7V7PassingDiminishedSupplythemissingiteminthefollowingmusicalequations.Assumethatthesearetonalsituationsinvariousmajorkeys.Thefirsttwoaregiven.1.B%major:V7=F711.D%major:subV7/IV=____2.Cmajor:V7/II–7=A712.Fmajor:______=A%73.Fmajor:V7/V=____13.G%major:______=D%74.D%major:V7/IV=____14.________:subV7/V=E%75.____major:V7/VI–7=D715.Cmajor:relatedII–7ofV7/IV=____6.____major:#I°7=E°716.E%major:relatedII–7ofsubV7/II–7=____7.A%major:____=F717._______:relatedII–7ofV7/V=D–78.Gmajor:#II°7=____18.A%major:relatedII–7of_____=E%–719.B%major:relatedII–7ofsubV7/II–7=____9.E%major:____=E%720.Cmajor:____=F#°710.Cmajor:subV7/II–7=____56 jazzcomposition15/28/034:32PMPage57CHAPTER2HARMONICCONSIDERATIONSTonalHarmony(MinorKeyOrientation)Therearethreeformsoftheminorscale:naturalminor,melodicminor,andharmonicminor.Naturalminorcontainsadiatonicsixthandseventhdegree.Melodicminorcontainsaraisedsixthandseventhdegree,whileharmonicminorcontainsthediatonicsixthdegreeandaraisedseventhdegree.Thefollowingchartsdemonstrate(respectively)theharmonicuniverseofCnaturalminor,Charmonicminor,andCmelodicminor,andtheyshowthediatonicseventhchordsthatareproducedoneachnoteoftheserespectiveCminorscales.HarmonicUniverseinCNaturalMinorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/I–7V7/II–7(5)V7/IIIMaj7V7/IV–7V7/V–7V7/VIMaj7V7/VII7A–7D7B–7E7B–7E7D–7G7E–7A7E–7A7F–7B7D–7(5)G7(9)E–7(5)A7(9)F–7(5)B7(9)G–7(5)C7(9)A–7(5)D7(9)B–7(5)E7(9)C–7(5)F7(9)C–7D–7(5)EMaj7F–7G–7AMaj7B7I–7II–7(5)IIIMaj7IV–7V–7VIMaj7VII7TONICSubdominantTonicSUBDOMINANTDOMINANTSubdominantSubdominantMinorMinorMinorMinorMinor7thMinorMinorAliasAliasAliasAliasHarmonicUniverseinCHarmonicMinorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/I–(Maj7)V7/II–7(5)V7/III+(Maj7)V7/IV–7V7/V7V7/VIMaj7V7/VII7A–7D7B–7E7B–7E7D–7G7E–7A7E–7A7G–7C7D–7(5)G7(9)E–7(5)A7(9)F–7(5)B7(9)G–7(5)C7(9)A–7(5)D7(9)B–7(5)E7(9)C–7(5)F7(9)C–(Maj7)D–7(5)E+(Maj7)F–7G7AMaj7B7I–(Maj7)II–7(5)III+(Maj7)IV–7V7VIMaj7VII7TONICSubdominantTonicSUBDOMINANTDOMINANTSubdominantDominantMinorMinorMinorMinor7thMinorAliasAliasAliasAlias57 jazzcomposition15/28/034:32PMPage58JAZZCOMPOSITIONTHEORYANDPRACTICENote:Primaryandsecondarydominantchordsinaminorkeytendtouse%9asahar-monictensionbecauseithasadarkersoundthan$9.When%9isused,therelatedII–7chordusuallytakes%5,because%5and%9ofthedominantarethesamepitch.Thesubstitutedominantstake$9,andtheirrelatedII–7stake$5.HarmonicUniverseinCMelodicMinorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/I–(Maj7)V7/II–7V7/III+(Maj7)V7/IV7V7/V7V7/VI–7(5)V7/VII–7(5)A–7D7B–7E7B–7E7D–7G7E–7A7F–7B7G–7C7D–7(5)G7(9)E–7(5)A7(9)F–7(5)B7(9)G–7(5)C7(9)A–7(5)D7(9)B–7(5)E7(9)C–7(5)F7(9)C–(Maj7)D–7E+(Maj7)F7G7A–7(5)B–7(5)I–(Maj7)II–7III+(Maj7)IV7V7VI–7(5)VII–7(5)TONICSubdominantTonicSUBDOMINANTDOMINANTTonicDominantMinorAliasMinor7th7thAliasAliasAliasThethreeformsoftheminorscaleareinterchangeable,andyoumaynoticethatsometunescontainreferencestoallthreedependingonthewhimofthecomposer.Inthefollowingexample,“MinorDifferences,”youwillfindallthreeformsoftheAminorscalebeingused.Forreference,thesescalesareshownonthesecondstaff(belowthemelody).Noticethatsomeofthemarebuiltupfromtherootofthechord-of-the-moment,therebyindicatingthecorrectchordscaleforthatchord(i.e.,themodeofthedesignatedminorscale).Note:Forathoroughdiscussionofchord-scaletheoryseeModernJazzVoicingsbyTedPeaseandKenPullig.58 jazzcomposition15/28/034:32PMPage59CHAPTER2HARMONICCONSIDERATIONS7MinorDifferencesTedPeaseBossanovaA–6F7E7(9)A–6E–7(5)A7(9)1234I–6subV/VV7I–6II–7(5)V7(9)/IV–7DnaturalminorDharmonicminorAmelodicminorAharmonicminor(5-5)Amelodicminor(2-2)(5-5)SCALE:(56712345)(2345671)(56712345)ToCoda1D–7E7(9)A–7B–7(5)E7(9)5678IV–7V7I–7II–7(5)V7(9)AharmonicminorAnaturalminorAharmonicminor(2-2)(5-5)(5-5)2B–7(5)E7(9)A–6D–7G7CMaj79101112II–7(5)V7(9)I–6II–7V7IMaj7AharmonicminorAmelodicminorCmajor(2-2)(2-2)(5-5)(5-5)F–7B7EMaj7C–7F7BMaj713141516II–7V7IMaj7II–7V7IMaj7EmajorBmajor(2-2)(2-2)(5-5)(5-5)CodaD.S.alCodaB–7(5)E7(9)B–7(5)E7(9)A–617181920II–7(5)V7II–7(5)V7(9)I–6Anaturalminorcombinednatural+harmonicAharmonicminorAmelodicminor(2-2)(2-2)(5-5)(5-5)“Aharmonicminor(5–5)”suppliesthecorrectchordscaleforE7(%9).ThisistheAharmonicminorscaleshowninits“5–5”mode:E7(9)5671234559 jazzcomposition15/28/034:32PMPage60JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISESCompletethefollowingcharts:HarmonicUniverseinDNaturalMinorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/I–7V7/II–7(5)V7/IIIMaj7V7/IV–7V7/V–7V7/VIMaj7V7/VII7D–7I–7TONICMinorHarmonicUniverseinGHarmonicMinorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/I–(Maj7)V7/II–7(5)V7/III+(Maj7)V7/IV–7V7/V7V7/VIMaj7V7/VII7G–(Maj7)I–(Maj7)TONICMinor60 jazzcomposition15/28/034:32PMPage61CHAPTER2HARMONICCONSIDERATIONSHarmonicUniverseinAMelodicMinorPrimarySecondarydominants,theirsubstitutes,andrelatedII–7sDominantV7/I–(Maj7)V7/II–7V7/III+(Maj7)V7/IV7V7/V7V7/VI–7(5)V7/VII–7(5)A–(Maj7)I–(Maj7)TONICMinorSupplythemissingitemineachequation.Assumethatthesearetonalsituationsinvariousminorkeys.Forthesakeofconsistency,use%5and(%9)onII—7andV7chordsrespectively.Thefirsttwoaregiven.1.Aharmonicminor:V7(%9)=E7(%9)2.Gnaturalminor:II–7(%5)=A–7(%5)3.Charmonicminor:V7/II–7(%5)=____4.Fnaturalminor:____=C–75.___________________:V7(%9)=F7(%9)6.___________________:V7(%9)/IV7=C7(%9)7.Eharmonicminor:F#–7(%5)=____8.Dmelodicminor:____=V7(%9)9.Cmelodicminor:subV7/II–7=____10.Fharmonicminor:subV7/V7=____11.Dharmonicminor:________=B%712.Amelodicminor:________=B%713._____________________:II—7(%5)=F–7(%5)14._____________________:relatedII–7(%5)ofV7(%9)/VI–7(%5)=B–7(%5)15.Emelodicminor:_____=II–761 jazzcomposition15/28/034:32PMPage62JAZZCOMPOSITIONTHEORYANDPRACTICEModalHarmonyThemodeshaveprovidedfertilemusicalsoilforjazzcomposerssincethelate1950s.Ineffect,modescanbeviewedasdisplacementsofthemajorscale.LocrianAeolianMixolydianLydianPhrygianDorianIonianDiatonicseventhchordsforeachofthemodescanbederived,asshownbelow.Eachmodecontainsaso-calledcharacteristicnotethathelpstodistinguishitfrommajorandminor,andfromtheothermodes.C–7D–7EMaj7F7G–7A–7(5)BMaj7CharacteristicCDoriannote6C–7DMaj7E7F–7G–7(5)AMaj7B–7CharacteristicCPhrygiannote2CMaj7D7E–7F–7(5)GMaj7A–7B–7CharacteristicCLydiannote4C7D–7E–7(5)FMaj7G–7A–7BMaj7CharacteristicCMixolydiannote7C–7D–7(5)EMaj7F–7G–7AMaj7B7CharacteristicCAeoliannote6C–7(5)DMaj7E–7F–7GMaj7A7B–7CharacteristicCLocriannote562 jazzcomposition15/28/034:32PMPage63CHAPTER2HARMONICCONSIDERATIONSMosttextbookexplanationsofmodalharmonywarnyoutobewareofthediatonictritoneineachmode,lestitpullyouintotherelativemajorkey.Thiswarningisvaluable,butitcanbesomewhatlimiting,especiallyinjazzcomposition.Sincethecharacteristicnoteofeachmodeisalsoanoteinthediatonictritoneofthatmode,itstandstoreasonthatthetritonemayactuallyhavearoleinhelpingtoestablishthesoundofthatmode.Playtheexamplesbelowonthepianoandyouwillseeandhearthatthesevoicings,assimpleastheyare,arepotentialIchordsinDDorian,EPhrygian,FLydian,GMixolydian,AAeolian,andBLocrianrespectively.Notethattherespectivetritonesaregivenstrongsupportfromeachmodaltonicinthebassclef.Thishelpsanchorthetritoneandensuresmodalratherthantonalorientation.DDorianEPhrygianFLydianGMixolydianAAeolianBLocrian=characteristicnoteTheproblemwiththetritoneinmodalharmonyisnotsomuchtheintervalitselfbuttheplacementofthatintervalinavoicinginthirds.Voicingsinthirds(triadsandseventhchords)aresoidentifiedwiththemajorandminormodesthattheirveryusepromotestonalratherthanmodalidentity.BillEvansandMilesDavismusthaveunderstoodthisinstinctivelyattheKindofBluerecordingsessions,becauseBillEvansmakesextensiveuseofvoicingsinfourthsthroughout,especiallyon“SoWhat.”Voicingsinfourthshaveamoreambiguousqualitythanvoicingsinthirds.Aquartal“triad”(three-notevoicinginperfectfourths)doesn’tsoundmajor,minor,augmented,ordiminished.Infact,anyofthethreenotesinsuchavoicingmightbethe“root”ofthechord!Thisambiguityhasintriguedjazzmusiciansformorethanfortyyearsandisattheheartoftheuseofthesevoicingsbyplayersandcomposer/arrangerswhohopetosound“modern.”DDorian7thchordsin3rdsvoicingin4ths(majorthirdontop)63 jazzcomposition15/28/034:32PMPage64JAZZCOMPOSITIONTHEORYANDPRACTICEIthelpstoexaminethediatonicchordsofeachmodeusingthree-partvoicingsinfourths.DDorianEPhrygianFLydianGMixolydianAAeolianBLocrianAssigningRomannumeralstothesevoicingsisnotparticularlyhelpfulbecausethereisnotonic,subdominant,ordominantqualityinherentinanyofthemwithoutanoteinthebass.Ifthemodaltonicisaddedinthebass,mostofthevoicingswillsound“tonic,”whileoneortwovoicingsmaysoundvaguely“non-tonic”orlikeanapproachchord.Then,ifanoteotherthanthemodaltonicisusedinthebass,allofthesevoicingswillsoundnon-tonic.64 jazzcomposition15/28/034:32PMPage65CHAPTER2HARMONICCONSIDERATIONSThemostimportantfactorinestablishingmodalorientationisthefrequentuseofthemodaltonicinthebass.Thisisessentialbecausethetritoneisalwayslurkingandthreateningtopullyouintotherelativemajormode.Aslongasthemodaltonicisusedpersistentlyinthebassvoice,allofthediatonicvoicingsinfourthsfromthemodecanbeusedaboveitinvirtuallyanyordertoprovideharmonicfluidity.Theuseofothernotesfromthemodeinthebasswillsuggestnon-tonicchordsthatcanbeusedincadencingtoamodaltonicchord.DDorian*111399131311119TonicNon-tonic(anyotherbassnote)EPhrygian13119131311119TonicNon-tonic(anyotherbassnote)FLydian13911911119TonicNon-tonic(anyotherbassnote)*Anothernicethingaboutusingmodalvoicingsinfourthsisthateachwillcontainatleastonetensionofthemode(9,%9,11,#11,13,%13).65 jazzcomposition15/28/034:32PMPage66JAZZCOMPOSITIONTHEORYANDPRACTICEGMixolydian139119131311119TonicNon-tonic(anyotherbassnote)AAeolian13119131311911TonicNon-tonic(anyotherbassnote)BLocrian1311991311119TonicNon-tonic(anyotherbassnote)InvertedVoicingsinFourthsVoicingsinfourthsandtheirinversionshavebeenusedextensivelyinmodalsituationsbyjazzpianists,composers,andarrangerssincetheearly1960s.Athree-partvoicinginfourthscanbeinvertedbyshiftingthebottomnoteupanoctavetwiceinsuccession.Thisresultsintwonewpositionsofthevoicing,whichcontainthesamethreenotesbutinadifferentintervallicorder.Insteadoftwoadjacentfourths,thefirstinversioncontainsafourthonthebottomandasecondontop.Thesecondinversioncontainsasecondonthebottomandafourthontop.(Avoicinginthirdshasbeenavoidedonceagain!)ThechartonthenextpagedemonstratesinversionsofvoicingsinfourthsinDDorian,EPhrygian,andGMixolydian.66 jazzcomposition15/28/034:32PMPage67CHAPTER2HARMONICCONSIDERATIONSDDorianVoicingsinfourths1stinversion2ndinversionEPhrygianVoicingsinfourths1stinversion2ndinversionGMixolydianVoicingsinfourths1stinversion2ndinversion67 jazzcomposition15/28/034:32PMPage68JAZZCOMPOSITIONTHEORYANDPRACTICEModalApproachChordsChromaticandparallelapproachchordsareveryusefulinmodalsituations,providedtheyareusedonlytoembellishdiatonicchordsandnottosupplantthem.Thechartsonthenexttwopagesdemonstratehowchromatic(“ch”)andparallel(“para”)approachtechniquesproduceupperandlowerneighborchordsthatarerespectivelyahalfsteporawholestepaboveorbelowtheirmodaltargetchords.Doublechromatic(“dc”)approachisalsopossibleiftheparallelapproachchordmovesfirsttothechromaticapproachchord(asindicatedbythehorizontalarrows).Theseapproachchords,ratherthanthesecondarydominantsoftonalharmony,producetheharmonicuniverseofthemodesinjazz.AsyoustudythefollowingHarmonicUniversecharts,noticethatsomeoftheparallelapproachchords(“para”)areidenticaltodiatonicchordsfromthemode.Thesediatonicapproachchordshelpreinforcethemodewhenusedappropriately.Onthecharts,these“para”chordsarecheckedandlabeledinboldtype.HarmonicUniverseinDDorianApproachfromaboveparachparachparachparachparachparachparachdcdcdcdcdcdcdcTargetchordsApproachfrombelowdcdcdcdcdcdcdcparachparachparachparachparachparachparachSuggestedcadentialpatternsinthebassare:5121toto7to141to68 jazzcomposition15/28/034:32PMPage69CHAPTER2HARMONICCONSIDERATIONSHarmonicUniverseinEPhrygianApproachfromaboveparachparachparachparachparachparachparachdcdcdcdcdcdcdcTargetchordsApproachfrombelowdcdcdcdcdcdcdcparachparachparachparachparachparachparachSuggestedcadentialpatternsinthebassare:2to17to15to14to1HarmonicUniverseinGMixolydianApproachfromaboveparachparachparachparachparachparachparachdcdcdcdcdcdcdcTargetchordsApproachfrombelowdcdcdcdcdcdcdcparachparachparachparachparachparachparachSuggestedcadentialpatternsinthebassare:5to17to12to14to169 jazzcomposition15/28/034:32PMPage70JAZZCOMPOSITIONTHEORYANDPRACTICEModalMelodiesModalmelodiesareusuallydiatonic.Theremaybeanoccasionalshortchromaticorparallelapproachnoteonaweakbeat.Modalmelodiesshouldemphasizethetonicofthemodeandthecharacteristicnote.Melodicrhythmdependsonthetempoandtheoverallrhythmicgroove.Manymodalmelodiesalternatebetweennotesoflongduration(ofameasureorlonger)andshortgroupsofeighthnotes.Observethenexttune,“AnyPortinaStorm.”Noticethatthreemodesarerepresented:DDorian,EPhrygian,andGMixolydian(sometimesreferredtoasthe“whitenote”modesbecauseoftheirrelationshiptowhitepianokeys).Noticealsothattheentirepieceiswrittenwithoutanychromatics(accidentalsoutsidetherespectivemodes),withtheexceptionoftheG-sharpsinmeasures10and11.TheG-sharpsareborrowedfromtheSpanishPhrygianscale,inwhichthemajorandminorthirdareusedinterchangeably.Noticetherepeatedreferencestotherespectivemodaltonicsinthebassvoiceofthepianopart.Thesemodaltonicsarereinforcedabovebyperfectfifths.Noticethattherearealsosomenon-tonicnotesinthebassvoice.Theresultingnon-tonicapproachchordsabovethemareusedtosurroundandreinforcethemodaltonic.Therespectivemodaltonicsandcharacteristicmodalnotesappearfrequentlyinthemelodyandarecircledforreference.70 jazzcomposition15/28/034:32PMPage71CHAPTER2HARMONICCONSIDERATIONS8AnyPortinaStormTedPeaseMedium-upswing1234TrumpetandTenorDorian1234Piano5678356789101112Phrygian910111213141516Mixolydian1314151671 jazzcomposition15/28/034:32PMPage72JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISES1.Replicatethechartsonpages65–67showingvoicingsinfourthsforeachscaledegreeofthedesignatedmodes.Indicatenon-tonicbassnotes.Besuretoplaythesevoicingsonthepiano.CDorian(voicingsinfourths)TonicNon-TonicGPhrygian(invertedvoicingsinfourths)TonicNon-TonicAMixolydian(invertedvoicingsinfourths)TonicNon-Tonic72 jazzcomposition15/28/034:32PMPage73CHAPTER2HARMONICCONSIDERATIONSGDorian(voicingsinfourths)TonicNon-TonicFPhrygian(invertedvoicingsinfourths)TonicNon-TonicBMixolydian(invertedvoicingsinfourths)TonicNon-Tonic73 jazzcomposition15/28/034:32PMPage74JAZZCOMPOSITIONTHEORYANDPRACTICE2.Supplydiatonicmodalmelodiesforthefollowingsituations.Thinkscale(mode),notchordchange!GDorian:mediumjazzwaltzDPhrygian:mediumswing74 jazzcomposition15/28/034:32PMPage75CHAPTER2HARMONICCONSIDERATIONSGLydian:slowballadCMixolydian:fastswingBLocrian:slowswing75 jazzcomposition15/28/034:32PMPage76JAZZCOMPOSITIONTHEORYANDPRACTICEHarmonicVariationviaModalInterchangeModalinterchangeoccurswhenadiatonicchordfromonetonalityormodalityisborrowedforuseinanothertonalityormodality.ModalinterchangeisusedbycomposersandarrangerswhenarepetitivechordprogressioninvolvingII–7,IV,IV–,orV7needssomereharmonizationforthesakeofvariety.MODALINTERCHANGEFROMMINORTOMAJORThefollowingminor-keychordsareliberallyborrowedviamodalinterchangeforuseintheparallelmajorkey(e.g.,fromCminortoCmajor).CHORDFUNCTIONEXAMPLEINCMAJORII-7(%5)replacesII–7D–7(%5)%IIIMaj7replacesIVorV7E%Maj7IV–7orIV–6replacesIVF–7orF–6V–7replacesV7G–7%VIMaj7replacesIV–A%Maj7%VII7replacesIV–B%7MODALINTERCHANGEFROMMODALTOMAJORThefollowingchordisliberallyborrowedfromDorianmodeforuseintheparallelmajorkey(e.g.,fromCDoriantoCmajor):CHORDFUNCTIONEXAMPLEINCMAJORV–7replacesV7G–7ThefollowingchordisliberallyborrowedfromPhrygianmodeforuseintheparallelmajorkey(e.g.,fromCPhrygiantoCmajor):CHORDFUNCTIONEXAMPLEINCMAJOR%IIMaj7replacesIV–D%Maj7ThefollowingchordisliberallyborrowedfromLydianmodeforuseintheparallelmajorkey(e.g.,fromCLydiantoCmajor):CHORDFUNCTIONEXAMPLEINCMAJORIMaj7(#11)tonicaliasinCCMaj7(#11)ThefollowingchordisliberallyborrowedfromMixolydianmodeforuseintheparallelmajorkey(e.g.,fromCMixolydiantoCmajor):CHORDFUNCTIONEXAMPLEINCMAJOR%VIIMaj7replacesIVB%Maj776 jazzcomposition15/28/034:32PMPage77CHAPTER2HARMONICCONSIDERATIONSMODALINTERCHANGEFROMMAJORTOMODALThefollowingchordisliberallyborrowedfromIonian(major)modeforuseintheparallelDorianmode(e.g.,fromCmajortoCDorian):CHORDFUNCTIONEXAMPLEINCDORIANIVMaj7replacesIV7FMaj7(avoidstritone)Inthefollowingexample,eachofthepreviousexamplesofmodalinterchangeiswrittenoutforauralcomparison.Inthefirstmeasureofeachtwo-measureexample,CMaj7(I)isfollowedbyeitherII–7,IV,IV–,orV7forreference.Inthesecondmeasureofeachtwo-measureexample,CMaj7isfollowedbyarelatedmodalinterchangechordfromtheprecedinglist.(Inthefinalexample,theIchordisI–7inDorianmode.)Itissuggestedthatyouplaytheseexamplesatthepianoseveraltimesinordertotrainyoureartohearthem.ModalInterchangeCMaj7D–7CMaj7D–7(5)CMaj7F6G7CMaj7EMaj7II–7II–7(5)IVV7IIIMaj7(fromCnaturalminor)(fromCnaturalminor)CMaj7F6CMaj7F–6CMaj7G7CMaj7G–7IV6IV–6V7V–7(fromCnaturalminor)(fromCnaturalminor)77 jazzcomposition15/28/034:32PMPage78JAZZCOMPOSITIONTHEORYANDPRACTICECMaj7F–6CMaj7AMaj7CMaj7F–6CMaj7B7IV–6VIMaj7IV–6VII7(fromCnaturalminor)(fromCnaturalminor)CMaj7G7CMaj7G–7CMaj7F–6CMaj7DMaj7V7V–7IV–6IIMaj7(fromCDorian)(fromCPhrygian)CMaj7G7CMaj7(11)G7CMaj7FMaj7CMaj7BMaj7IMaj7IMaj7(11)IVMaj7VIIMaj7(fromCLydian)(fromCMixolydian)C–7F7C–7FMaj7IV7IVMaj7(fromCmajor)(tritone)(notritone)78 jazzcomposition15/28/034:32PMPage79CHAPTER2HARMONICCONSIDERATIONSEXERCISEUsemodalinterchangechordsatthespotsmarkedwithabox.Compareyourchoicestotheoriginal.CMaj7A–7D–7G7CMaj7D–7F–6CMaj7G–7C7FMaj7F–6B7EMaj7B7EMaj7A–G–7C7F–7B7EMaj7G7CDorianF7CDorianF7C–7F7E–7A7D–7G7CMaj7D–7G7E–7A–7FMaj7E–7A–7D–7G7F–6CMaj779 jazzcomposition15/28/034:32PMPage80JAZZCOMPOSITIONTHEORYANDPRACTICEChromaticHarmonyChromaticharmonyisproducedwhentwochordsareconnectedbyoneormorehalf-steps.Thismayhappenintonalcontexts(asintheresolutionofthetritone),butitismoredramaticwhentheresultisanewchordfromadistantlyrelatedorunrelatedtonalityormodality.Hence,chromaticharmonyhasheldaspecialattractionforjazzcomposers,whooftenenjoysurprisingthelistenerwithabrupttransitionsintonewtonalormodalterritory.AnearlyexampleofchromaticharmonyinclassicalliteraturecanbefoundinChopin’s“PreludeinEMinor,”composedin1836.TheexamplebelowcontainsthemelodytothefirsthalfofthePreludeandanapproximationofthe“changes.”Thevoice-leadingsketchoutlinesthechromaticconnectionsbetweenthechords.(Seealso“AndThereYouAre,”page189.)PreludeinEMinorChopinE–F–7(5)B7(9)F7(11)B–7(5)F–6E7E–7A7(9)A–7F–7(5)B7sus4(9)B7(9)D7D–7B–7(5)E7(9)A–B7sus4B7F–7(5)B7F–7(5)B7(9)E–3etc.80 jazzcomposition15/28/034:32PMPage81CHAPTER2HARMONICCONSIDERATIONSHarmonicRhythm(andDensity)Chordprogressionsinjazzaredesignedtomoveatapacethatcoincideswiththeover-allmeterofapiece.In4/4time,harmonicrhythmstendtooccurinmultiplesoftwobeats.Thus,thereareharmonicrhythmsoftwobeatsintheasectionof“Scooter.”(Seepage128.)BG–7C–7F7D–7G–7C–7F7BB7EE–D–7G7C–7F7etc.Thereareharmonicrhythmsoffourbeats(andthentwobeats)in“AfterBreakfast.”(Seepage119.)C7F7C7F7F7C7A7(alt)D7(alt)D–7G7(alt)C7A7(alt)A7G7sus4etc.Thereareharmonicrhythmsofeightbeats(i.e.,twomeasures)inthebridgeof“Scooter”:D7G7C7F7etc.Longerharmonicdurationsarefoundinsuchmodaltunesas“SoWhat”byMilesDavisand“Impressions”byJohnColtrane.Bothofthesetuneshavesustained“harmonies”ofeightandsixteenmeasures,butthose“harmonies”arereallyjustverticalizedDorianscales.Evenlongerharmonicdurationscanbefoundinearlyfusionpiecesthatarebasedonsustainedrhythmicgrooves(asinselectionsfromBitchesBrewbyMilesDavis).Ineffect,thesepieceshavenoharmonicrhythm.Theyachieveeffectivenessthroughrhythmicratherthanharmonicmotion.(See“WithAllDueRespect,”page193.)81 jazzcomposition15/28/034:32PMPage82JAZZCOMPOSITIONTHEORYANDPRACTICEHarmonicrhythmsin3/4tendtooccurinmultiplesofthreebeats(See“ForBill,”page141.):A–7D–7G–7C7(11)A–7D–7E–7(5)A7(9)etc.Harmonicrhythmsin5/4areusuallysubdividedinto3+2or2+3(See“FullHouse,”page180.):D–7CD–7Cetc.Harmonicrhythmsin7/4areusuallysubdividedinto4+3or3+4(See“Uno,Dos,Tres…,”page181.):A–7D7GMaj7CMaj7FMaj7B7(5)E–(9)FMaj7etc.Harmoniccrossrhythmsaresometimesused.Inmeasures33–39of“SambadeGoofed”(page155),twomeasuresof4/4timearetwicesubdivided3+5andthensubdivided3+3+2:D–9G7E–7(5)A7(9)D–7DMaj7G7(9)C3plus53plus53plus3plus282 jazzcomposition15/28/034:32PMPage83CHAPTER2HARMONICCONSIDERATIONSModulationsOneoftheeasiestwaystocreatevarietyandinterestinacompositionistouseamodulation.Modulationsmaybeabruptandunconfirmed(asintherapidseriesofkeys-of-the-momentin“GiantSteps”byJohnColtrane),temporary,butconfirmed(asingoingfromD%majortoDmajorinthebridgeof“BodyandSoul”byJohnnyGreen),orpermanent(asinakeychangemovingintoanewepisodeofanextendedcompositionsuchas“Harlem”byDukeEllington).Inanycase,amodulationrepresentsafreshstartandachanceforthecomposertopresentfamiliarornewmusicalmaterialinadifferentlight.Modulationstoflatkeyssoundprogressivelydarkerasyoumovedowninacycleoffifths:F–B%–E%–A%–D%–G%–C%.Modulationstosharpkeyssoundprogressivelybrighterasyoumoveupinacycleoffifths:G–D–A–E–B–F#–C#.ThekeyofCsoundsbrighterwhencomingfromaflatkeyanddarkerwhencomingfromasharpkey.(Ingeneral,jazzcomposersfavorflatkeys,plusthekeysofCandG,becausetheyaremorecomfortableandfamiliarforsaxophonesandbrassinstruments.)Modulationscanmovealongthiscontinuumineitherdirectionsothatthedesiredresponseisobtained.Thisresponseissubjective,ofcourse,butitcanbereinforcedbymovingthemelodyuptoenhancebrightnessordowntoenhancedarknessduringthemodulation.Youcanalsoneutralizethemodulationsomewhatbymovingthemelodyinoppositiontothemodulation.Anotherwaytocreatemodulatoryinterestistomovefromminortomajor(increasingbrightness,asingoingfromCminortoA%majorwhenenteringthebridgeof“AngelEyes”byMattDennis),orfrommajortominor(increasingdarkness,asingoingfromGmajorbacktoCminorcomingoutofthebridgeofthatsametune).Modulationsupahalf-step(e.g.,CtoD%)enhancebrightnessandintensity.Modulationsdownahalf-step(e.g.,A%toG)releasetension.Modalmodulationsalsocreateinterest.ModescanbedescribedinsubjectivetermsashavingadarktobrightspectrummovinginacycleoffifthsfromLocrian(thedarkest)throughPhrygian,Aeolian,Dorian,Mixolydian,andIonian,toLydian(thebrightest).Contemporaryjazzcomposersdelightinmovingrapidlythroughdifferenttonalareaswithoutstoppingtosmelltheflowers.InColtrane’s“GiantSteps,”thereareten“modulations”inthespaceofsixteenmeasures!Inothercases,thetonicchordofatonalareaisdeliberatelyavoidedtokeepthelistener(andsometimestheplayers!)offbalance.Atunesuchas“Nefertiti”byWayneShorterissoharmonicallyambiguousthatthereisnokeysignatureontheleadsheetinTheNewRealBook(publishedin1988bySherMusicCo.,page232).83 jazzcomposition15/28/034:32PMPage84JAZZCOMPOSITIONTHEORYANDPRACTICECadentialModulations(NewIChordRealized)1.Permanent:confirmedwithachangeofkeysignature.a.Direct:usesapivotchord,whichhasadefinedfunctioninbothkeys.Inthefollowingexample,theA%7isthepivotchord,servingasthe%VI7inCandV7inD%.D–7G7CA7DMaj7etc.CadencestoCandD%areexplicit.b.Indirect:nopivotchord.D–7G7E–7A7DMaj7etc.CadencetoD%isexplicit,butthereisnopriorcadencetoC.E%–7isnotapivotchordbecauseithasnoapparentfunctioninCmajor.A%7isnotapivotchordbecausethekeyofD%hasalreadybeensuggestedbyE%–7.)2.Transient:short-livedunconfirmedkey-of-the-momentsituations;keysignaturenotchanged;sometimesreferredtoas“tonicsystems.”F–7B7EMaj7A–7D7GMaj7C–7F7BMaj7etc.E:II–7V7IG:II–7V7IB:II–7V7I84 jazzcomposition15/28/034:32PMPage85CHAPTER2HARMONICCONSIDERATIONSNon-cadentialModulations(NewIChordNotRealizedorConfirmed)1.Transient:Ichordisabsent;short-livedunconfirmedkey-of-the-momentsituations.D–7G7F–7B7A–7D7B–7E7B–7E7etc.C:E:G:A:A:2.Constantstructures:parallelharmonicconstruction;mayormaynotsuggestkey(s)-of-the-momentCMaj7DMaj7EMaj7FMaj7BMaj7etc.C:?D:?E:?F:?B:?3.Randomorambiguous(enhancedbychromaticharmony)AMaj7A–7F7DMaj7G7B7A:?G:?B:?D:?C:?E:?85 jazzcomposition15/28/034:32PMPage86JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISESCreatecadentialmodulationscenariosforthefollowing,usingchordsymbols.1.Permanent(confirmedwithachangeofkeysignature)a.Direct(usesapivotchord):GMaj7FMaj7C–b.Indirect(nopivotchord):BMaj7B–2.Transient(unconfirmedkey-of-the-momentsituations):86 jazzcomposition15/28/034:32PMPage87CHAPTER2HARMONICCONSIDERATIONSCreatenon-cadentialmodulationscenariosforthefollowingusingchordsymbols.1.Transient(Ichordisabsent;short-livedkey-of-the-momentsituations):A–7D7G:E:Bminor:F:D:Aminor:B:C:2.Constantstructures(parallelharmonicconstruction):D–7F7B–73.Randomorambiguous(usingchromaticharmony—onechordpermeasure.Indicatethechromaticconnectors):EMaj7E–787 jazzcomposition15/28/034:32PMPage88JAZZCOMPOSITIONTHEORYANDPRACTICEOSTINATOAnostinatoisamotif(riff)thatisrepeatedpersistentlyinthebassvoice.OstinatosareverycommoninLatintunesandtunesthatareinunusualmeters.Theearliestexamplesoftheuseofostinatosinjazzcomefromtheleft-handpatternsofboogie-woogiepianoplayerssuchasMeade“Lux”Lewisinthelate1920s.(His“HonkyTonkTrainBlues”isaclassicinthisstyle.)Inthe1940s,DizzyGillespiebeganusingAfro-Cubanrhythmsinsomeofhiscompositionsandarrangements.Twoofhismostwell-knowncompositionsfromthatperiod,“ANightinTunisia”and“Manteca,”containostinatosintheasectionoftheirrespectiveforms.Inthe1950sand1960s,DaveBrubeckandDonEllisusedostinatosinunusualmeterssuchas5/4,7/4,9/8,and11/8tohelpanchortherhythmicgrooveoftheircompositions.WayneShorter’scomposition“Footprints”containsanostinatoin6/4.Inthe1970sand1980s,ostinatoswereprevalentinjazz-rockandfusion.HerbieHancock’scomposition“Chameleon”andJoeZawinul’s“Birdland”containwell-knownostinatosthathelpmakethesepiecesinstantlyrecognizable.9NoWayTedPeaseLatinfeelD–7B7(11)D–7B7(11)Noticethattheostinatocanberepositionedtofitanewchord.88 jazzcomposition15/28/034:32PMPage89CHAPTER2HARMONICCONSIDERATIONSEXERCISEAddanappropriateostinatotothefollowingmelody.AfricanfeelA–933D–93A–93FMaj7E7(alt)A–933389 jazzcomposition15/28/034:32PMPage90JAZZCOMPOSITIONTHEORYANDPRACTICEInversionsandOther“Slash”ChordsTheroleofbasslinesinjazzcompositionandarrangingbecameincreasinglyimportantinthe1970sand1980s.TheelectricbassassumedadominantroleintherhythmsectionoffusiongroupssuchasWeatherReportandReturntoForever.Inversionsand“slash”chordsbecameincreasinglycommonascomposersandarrangerssearchedforprominentwaystofeaturethebass.Inversionsareindicatedbytheprincipalchordsymbolfollowedbyadiagonalslashandadesignatedbassnote—e.g.,D7/F#foraD7chordinfirstinversion.Otherso-called“slash”chordssuchasD/Fareusedtoproduceamoreambiguousanddissonantsound.Inversionsandslashchordshighlightthebasslinebyemphasizingnotesotherthantherootandhelptocreateasenseofcounterpointbetweenthemelodyandthebassline.SlashchordssuchasFMaj7/EorA%Maj7/Dareinterestingbecausetheyprovidechordchangesthatareslightlyoutoffocus.Theresultingdissonancesoundsmoredramaticthanthestandardroot-positionorientation.Itisinterestingtonotethatthemoredissonanttherelationshipbetweenthechordandthebassnote,themoreacomposer/arrangerisliabletouseit.Combinationsthatproducedissonantintervals,suchasthemajorseventhandtheminorninth,betweenthebassandoneofthechordtonesabovearenowquiteprevalentbothintunesandinextendedcompositions.Inversionsandslashchordsproveespeciallyusefulwhensimplechordprogressionsarereharmonized.Thissimpleexamplecanbetransformedviatheuseofinversionsandotherslashchords:BorrowedTime10TedPeaseBalladG–B7EMaj7AMaj7A–7D7D+7GMaj790 jazzcomposition15/28/034:32PMPage91CHAPTER2HARMONICCONSIDERATIONSHereisthetransformation:11BorrowedTime(Reharmonized)TedPeaseBalladG–D/FB7/FF–/EEMaj7E/DE/AB/AA7(11)A–7A–/GD/FE7D7G/FE–/C91 jazzcomposition15/28/034:32PMPage92JAZZCOMPOSITIONTHEORYANDPRACTICEPedalPointandConstantStructuresApedalpointisanothereffectiveharmonicdevice.Asinglenote(thepedalpoint),whichisoftenthetonicorthedominantofthescaleormode,issustainedorrepeated,usuallyinthebassvoice.Melodyand/orharmonymoveagainstthepedalpointintheupperregister,creatingconsonantanddissonantrelationshipswithit.Constantstructures(parallelvoiceleadingoftriads,voicingsinfourths,oranyothervoicing)arefrequentlyusedoverapedalpointforintros,interludes,andendings.12(MajortriadsoverDpedal)(Major7thsoverDpedal)Slow13(VoicingsinfourthsoverGpedal)Mediumswing92 jazzcomposition15/28/034:32PMPage93CHAPTER2HARMONICCONSIDERATIONSEXERCISEWritetwointrosusingdesignatedconstantstructuresoverthegivenpedalpointandunderthegivenleadline.Mediumswing(minortriads)(4ths)Mediumswing(majortriads-2ndinversion)(majortriads-rootposition)(majortriads-1stinversion)93 jazzcomposition15/28/034:32PMPage94JAZZCOMPOSITIONTHEORYANDPRACTICECompletethefollowingexamplesofvariousconstantstructures(tobeplayedoveraCpedal).Playandcomparethematthepiano.ExamplePerfectfourthPerfectfourthPerfectfourthMajorsecond(overCpedal)PerfectfifthMinorsecond(overCpedal)AugmentedfourthMinorsecond(overCpedal)MajorthirdMinorsecond(overCpedal)PerfectfourthMinorsecondPerfectfourth(overCpedal)94 jazzcomposition15/28/034:32PMPage95CHAPTER2HARMONICCONSIDERATIONSPedalPointandPandiatonicismPandiatonicismisproducedbystrictlyconfiningharmonicmaterialtoagivenscale(i.e.,withnochromatic,orout-of-scale,intrusion).Thisconceptcanbeappliedtoanyscale,butitismostcommonlyusedintonalandmodalcontexts.Thetechniqueissimilartoconstantstructures,buttheintervalsofallvoicingsareadjustedsoastoconformtothescaleofthemoment.Thespacingmaybeuniformorvariable.14Example1:TonalcontextwithuniformspacingMediumswingthirdthird(Cmajor)secondfourth15Example2:ModalcontextwithvariablespacingsMediumswing(DDorian)95 jazzcomposition15/28/034:32PMPage96JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISESCompletethefollowingpandiatonicexamples.Playandcomparethematthepiano.Slowfifth(Fmajor)secondMediumswingfourth(Gmajor)secondMediumfastfourth(CDorian)fourthFastfourth(APhrygian)second96 jazzcomposition15/28/034:32PMPage97CHAPTER2HARMONICCONSIDERATIONSHarmonizationOkay,soyou’vewrittenamelodicmasterpiece.Whataboutthechordstogowithit?Choosingchordstogowithamelodymayseemdauntingatfirstbecausetherearesomanypossibilities.Butthatispartoftheenjoymentofcomposing:CHOICE!Ifyouareapianistorguitarist,itislikelythatyouhavebeencomposingmelodyandharmonysimultaneouslyonyourinstrument.Evenso,thereareprobablymomentswhenyouareunsureastothedesiredchordquality,orwhatdegreeoftensiontouse,soyouhavepausedtoconsidervariouspossibilitiesinamethodicalway.Ifyouareawindplayer,thechoiceofachordisevenmoreproblematicifyouarenotasusedtothinkingofchordsonyourinstrumentandhavelimitedkeyboardskills.Atfirstitseemsthatthereareonlytwowaystoapproachthetaskofharmonizingamelody.Oneistorelyonthefamiliartonalandmodalrelationshipsinconventionaljazzharmonydiscussedearlierinthissection.TheIchordistheboss,andalltheotherchordsinthetonalormodaluniverseareusedinservicetoit.Thereisdiatonicharmony;therearesecondarydominantsandtheirsubstitutesalongwithrelatedII–7chords,etc.Theotherwayistofreeyourselfofthoselimitationsandproceedwiththeconceptthatanychordcanfollowanyotherchord.Thisisfun,butitcanresultineithertorturedchordprogressionsorharmonicincoherence.Thebestwayistocombinethesetwoapproaches—useconventionalchordprogressionstoprovideclarity,bututilizeunexpectedharmonictwistsandturnstopromotevarietyandinterest.Obviouslythechoiceofachordwilldependuponitscompatibilitywiththemelody.Notesoflongduration(longerthanaquarternote)shouldbechordtonesortensionsofthechosenchord.Shorternotesmayjustbeembellishments—approachnotesiftheymovebysteptoatargetnote,orescapetonesiftheydon’t.Askyourself:Whatkeyormodeismymelodyin?Willdiatonicharmonywork?Doesmymelodyarpeggiateachordorpartofachord?Isamajor,minor,ormodalscalesuggestedbymymelody?Ifnot,considerthepossibilitiesthatemergeifyouassignthefirstimportantwholenoteorhalfnoteofthetunetoamajor,minor,ordominantchordbymakingthatnote1,3,5,7,9,11,or13ofthepotentialchord.Whatkindofachordshoulditbe?Major7?Minor7?Dominant7?Doesthestyleofyourtuneplayaroleinthatdecision?Thisiswhereyourear,andperhapsyourinstrument,comesintoplay.Makingchoiceswithoutconfirmingthemaudiblyisrisky!ConsiderthemanypossibilitiesthatexisttoharmonizethenoteC.Thechartonthenextpagelistsanumberofthem.97 jazzcomposition15/28/034:32PMPage98JAZZCOMPOSITIONTHEORYANDPRACTICEChordType:Major7Minor7Dominant7MelodyFunctionCMaj7C–7C71AMaj7A–7A73FMaj7F–7F75DMaj7D–7D7Maj7or7BMaj7(9)B–7(9)B7(9)9N/A(seepagexv)E–7(Phrygian)B7(9)9N/AN/AA7(9)9N/AG–7(11)G7sus411GMaj7(11)N/AG7(11)11(or5)EMaj7(13)E–7(Dorian)E7(13)13N/AE–7(Aeolian)E7(13)1398 jazzcomposition15/28/034:32PMPage99CHAPTER2HARMONICCONSIDERATIONSSometimesamelodywillarpeggiateachord.Thearpeggiomayhavethechordinrootposition,asinthefollowingexample(E–7).Noticethatothersolutionsmayexistforthesamearpeggio.Ifyouthinkofthefirstnote(E)asthethirdofCMaj7,orasthefifthofA–7,orasthemajorseventhofFMaj7,orasT13ofG7,yougetfouradditionalharmonizationpossibilities.=E–7,CMaj9,A–11,FMaj7(11),G13Herearetwoothermelodicfragmentsconsistingofbrokenchordsandsomepossiblesolutionsforharmonizingthem.=F7,E7,E6/9(11),B7(alt),D7(9),A7(alt)=F–11,B9,DMaj7,B–9,E–11,A9,D–7(5)Onascalewisepassagesuchasthefollowing,seeifyoucandeterminethekey-of-the-moment.Thenchooseharmoniesfromthatharmonicuniverse.=C6,D–9,FMaj7,G9sus4,A–7C:Whenyouhavedecidedwhichchordtostartwith,moveontothenextimportantmelodynote(awholenote,ahalfnote,anaccentednote,anoteprecededbyorfollowedbyaleap).Willitreceiveanewchord?Whatistheharmonicrhythmofyourtunegoingtobe:sixteenbeats(fourmeasures),eightbeats(twomeasures),fourbeats(onemeasure),ortwobeats(halfameasure)?Doesthetempoofthetuneplayarole?Lookforguidetonesthatcanconnectthetwochordstogether,especiallyifyourmelodyleapsbetweenthem.99 jazzcomposition15/28/034:32PMPage100JAZZCOMPOSITIONTHEORYANDPRACTICEBelowisamelodicfragmentthathasbeengiventhetreatmentoutlinedonthepreviouspage.Asyoucansee,therearesevensolutionsoffered.(Thereareundoubtedlymanymore.)Easybossamelody/harmonyrelationshiponfirstchordex.11D–7(5)G7(9)C–7B–7II–7(5)V7/VI–7VI–7V–7ex.23B7EMaj7AMaj7DMaj7V7IMaj7IVMaj7VIIMaj7ex.35G–7C7DMaj7(11)GMaj7III–7(II–7)V7/II–7VIIMaj7IIIMaj7ex.47EMaj7C–7F–7B7IMaj7VI–7II–7V7ex.59C–7B7EMaj7E7VI–7V7IMaj7V7/IVex.611A–7(5)D7sus4G–7(5)C7(alt)IV–75(II–75)V7/III–7III–7(5)V7/II–7ex.713F7B7E7A7V7/V7V7/II7(V7/IV)IV7Additionalsolutionscanbediscoveredbyinterchangingchordsamongstandbetweentherespectivecolumns.Thesolid-linearrowshowsonesuchpossibility.(Somechoicesmayprovetobelesseffective.Thedotted-linearrowproducesaprogressionthatisalit-tletooscatteredanddysfunctional.Useyourearswhenyouexperiment!)100 jazzcomposition15/28/034:32PMPage101CHAPTER2HARMONICCONSIDERATIONSEXERCISESHarmonize(addchordchangesto)thefollowingfour-measuremelodicfragments.(TheseexamplesneednotcadencetoaIchord.)BalladEasyLatinSambaMediumswingSlowjazzwaltzFastswing101 jazzcomposition15/28/034:32PMPage102JAZZCOMPOSITIONTHEORYANDPRACTICEAddappropriatechordchangestothefollowingmelodies.=120E–7FastG/AB/C33102 jazzcomposition15/28/034:32PMPage103CHAPTER2HARMONICCONSIDERATIONSSupplychordchangesforthefollowingtune.HarmoniqueTedPeaseBossaD–7(5)/GG7(9)AMaj7DMaj7(11)510EMaj7(9)15ApedalG–7(5)C7(alt)20Apedal253034C–7B–9/CC–7B–9/C103 jazzcomposition15/28/034:32PMPage104JAZZCOMPOSITIONTHEORYANDPRACTICEReharmonizationTheinitialharmonizationofamelodyisnotalwaysthefinalonethatacomposerorarrangersettleson.Infact,amelodymaygothroughseveralharmonicincarnationsbeforethefinalchordchangesarechosen.Wehavealreadyseenhowasinglemelodycanaccommodatemanydifferentharmonicsolutions.Evenafteraleadsheethasbeenincirculationforsometimeyoucanalwaysfindpianoplayerswhowillreharmonizethemelody.Indeed,theremaybesubsequentsituationswhereeventhecomposerfindsthattheinitialharmonizationneedstoberethought.Reharmonizationisalsousedasadevelopmenttechniqueincompositionandarranging.Oncetheexpositionofacompositionorarrangementhastakenplace,laterstatementsofimportantthemescanberevitalizedthroughreharmonization.Reharmonizationissimplyonemoretoolthatcomposersandarrangershaveattheirdisposal.Therearevariouswaysofapproachingareharmonizationsituation,fromsimpletomorecomplexandsophisticated.Wewillusethefollowingexampleasastartingpoint.16DADADADAD171.Upgradefromtriadstoseventhchordsand/orninthchords.DMaj7A9D6A9A7(9)DMaj7A9D6A7(9)D6104 jazzcomposition15/28/034:32PMPage105CHAPTER2HARMONICCONSIDERATIONS2.Embellishtheexistingprogressionwithotherfunctionalchordsfromthecorrespondingharmonicuniverse(relatedII—7s,secondarydominants,substitute18dominants,etc.).DMaj7B–7E–7A7D6B–7E–7A7DMaj7D7G6G–6D6B–7A7(9)D6193.Lookforcontiguous(back-to-back)II–Vsthatarecompatiblewiththemelody.F–7B7E–7A7B–7E7E–9A7A–7D7G–7C7B–7E7A7D6204.Usemodalinterchangechords(seepage76).DA–7(fromDDorian)DC(fromDMixolydian)DG–(fromDAeolian)DE(fromDLydian)D215.Choosechordsthatincreasethelevelofmelodicandharmonictension.F–7F7BMaj7E7(9)A–7(5)G–(Maj7)F–7E–7A–7D7sus4G–7C7(11)B–7E7A7(9)B–7105 jazzcomposition15/28/034:32PMPage106JAZZCOMPOSITIONTHEORYANDPRACTICE6.Createastepwisebassline(upordown)andwritechordsaboveitthatarecompatiblewiththemelody.(Functionalharmonyneednotapply,soanychord22canfollowanyotherchord—melodypermitting.However,useyourears!)C7(11)B7(alt)BMaj7A9A–7(5)F–7(5)E9D9C7(11)B7(alt)BMaj7A7(9)A–7(5)B7(11)C9B7(9)237.Useconstantstructuresoverapedalpoint.8.Usepandiatonicstructuresoverapedalpoint.24106 jazzcomposition15/28/034:32PMPage107CHAPTER2HARMONICCONSIDERATIONSEXERCISEReharmonizethechordchangestothefollowingwell-knownmelodyusingthesuggestedpro-ceduresfromthepreviouspages.CGGCCFCGC1.Upgradefromtriadstoseventhchordsand/orninthchords.2.Embellishwithotherfunctionalchordsfromthecorrespondingharmonicuniverse.3.Lookforcontiguous(back-to-back)II–Vsthatarecompatiblewiththemelody.4.Usemodalinterchangechords.5.Choosechordsthatincreasethelevelofmelodicandharmonictension.107 jazzcomposition15/28/034:32PMPage108JAZZCOMPOSITIONTHEORYANDPRACTICE6.Createastepwisebassline(upordown)andwritechordsthatarecompatiblewiththemelody.7.Useconstantstructuresoverapedalpoint.8.Usepandiatonicstructuresoverapedalpoint.108 jazzcomposition15/28/034:32PMPage109CHAPTER2HARMONICCONSIDERATIONSSourceMaterial—HarmonicConsiderationsTONALHARMONY—MAJORKEYORIENTATIONSee“CatchMeIfYouCan,”page54.AChildisBorn(ThadJones)—B%majorBoplicity(MilesDavis)—FmajorIt’sOnlyMusic(GaryWillis):A%majorPerdido(JuanTizol)—B%majorSatinDoll(DukeEllington)—CmajorSevenStepstoHeaven(VictorFeldman)—FmajorYesterdayandToday(DarioEskanazi):FmajorTONALHARMONY—MINORKEYORIENTATIONSee“MinorDifferences,”page59.AutumnLeaves(JosephKosma)—GminorDjango(JohnLewis)—FminorKeepItMoving(WyntonKelly):FminorLocoMotiv(LarryGales):DminorSongforMyFather(HoraceSilver)—FminorWhisperNot(BennyGolson)—CminorMODALHARMONYANDMODALMELODIESSee“AnyPortinaStorm,”page71.AllBlues(MilesDavis)—GMixolydian,GDorianDon’tLetItGo(VincentHerring):E%Lydian,GMixolydian,FMixolydianImpressions(JohnColtrane)—DDorian,E%DorianNardis(MilesDavis)—EPhrygian,CIonianPursuance(JohnColtrane)—B%AeolianSoWhat(MilesDavis)—DDorian,E%DorianHARMONICVARIATIONVIAMODALINTERCHANGEJeannine(DukePearson)—A%DoriantoA%majorNoMoreBlues(AntonioCarlosJobim)—DminortoDmajorStolenMoments(OliverNelson)—CDoriantoCmajorCHROMATICHARMONYSee“AndThereYouAre,”page189.AtNight(MarcCopland)BeautySecrets(KennyWerner)Epiphany(DennyZeitlin)Dreams(BillyChilds)I’llRememberAugust(RalphTowner)SteppingStone(SteveMasakowski)HARMONICRHYTHM(ANDDENSITY)1.Active(See“MoveIt,”page121.)BluesforAlice(CharlesParker)GiantSteps(JohnColtrane)Daahoud(CliffordBrown)109 jazzcomposition15/28/034:32PMPage110JAZZCOMPOSITIONTHEORYANDPRACTICE2.Inactive(See“Rascals,”page134.)Impressions(JohnColtrane)LittleSunflower(FreddieHubbard)MaidenVoyage(HerbieHancock)SoWhat(MilesDavis)MODULATIONSSeereferencesinthetext.OSTINATOSee“NoWay,”page88.Afro-Centric(JoeHenderson)Aisha(McCoyTyner)Birdland(JoeZawinul)BlackNarcissus(JoeHenderson)FlywiththeWind(McCoyTyner)LocoMotiv(LarryGales)MemoryandDesire(BillyChilds)Nutville(HoraceSilver)INVERSIONSANDOTHER“SLASH”CHORDSSee“AndThereYouAre,”page189.TheBeautyofAllThings(LaurenceHobgood)Cafe(EgbertoGismonti)Cassidae(JohnScofield)Delgado(EddieGomez)LikeFather,LikeSon(BillyChilds)LittleWind(GeriAllen)MemoryandDesire(BillyChilds)Paladia(SteveMasakowski)PEDALPOINTTheBeautyofAllThings(LaurenceHobgood)Capuccino(ChickCorea)Cirrus(BobbyHutcherson)Epiphany(DennyZeitlin)FirmRoots(CedarWalton)I’llRememberAugust(RalphTowner)Naima(JohnColtrane)Paladia(SteveMasakowski)Truth(BobMintzer)110 jazzcomposition25/28/034:37PMPage111CHAPTER3BluesandSongFormFormInordertobeintelligible,musicneedsstructure.Intheabsenceofstructure,collectionsofpitchesandrhythmscanseemrandomandchaotic.Eversincehumanbeingsbegantoperceivethesoundsaroundthem(orthosethattheycouldmakethemselves)as“music”—wind,thunder,rain,theheartbeat,breathing,vocalizing,footsteps,chopping,clapping—therehasbeentheimpulsetosomehoworganizethesesoundsintopatternsforcommunicationpurposes.Pitchandrhythmmakeuptheatomsandmoleculesofmusic,butwithoutformtheyremainamorphousandindistinct.Wecanmakeaneducatedguessthatthefirst“music”wasprobablyrhythm.Withouttherhythmsoftheheartbeatandbreathing,wewouldn’texist.Thereareotherrhythmsallaroundus—dayandnight,thechangingseasons,phasesofthemoon—thatorganizethepassageoftimeintoperceptiblephenomenathathelpusdefineourexistence.Wecancreaterhythmsbyclappingourhandstogether.Wecanmakethosesoundslouderandmoreinsistentbybeatingadrum.Andwecanmakerhythmsslowerorfastertoexpresscertainfeelings.Wecanalsomakesoundswithourvoice.Iftalkingisnotsufficientforconveyingacertainemotion,wecanyellorcryout.Ifwecontrolthepitchandvolumeofthesevocalsounds,perhapsthenatureoftheemotionbecomesclearer,andwehavesuccessfullycommunicatedsomething.Ifwegoastepfurtherandaddproperintonationandnuance,melodycanbecreated.Wecansingmelodiesandwecanplaythemonmusicalinstruments.Ifwearejoinedbyothersintheseendeavors,polyphonymayhappen.Ifweagreetomakedifferentsoundstogetherinthesamerhythm,harmonymayhappen.Andsoon.Thereisstillanimportantelementmissinginallofthis:howtoorganizethesesoundsintoatimeframethathasabeginning,amiddle,andanend,becauseifwedothat,wehavemusiccomposition!Anditisthisorganizationalchallengethatbringsustoadiscussionofform.Somegeneralobservationscanbemadeaboutforminjazz.ThemostcommonjazzformisABA,whereAisthemelody,or“head,”Bistheimprovisedsoloorsolos,andAisthemelodyagain.(ThisisroughlyanalogoustosonataforminclassicalmusicwhereAistheexposition,Bisthedevelopment,andAistherecapitulation.)TheAsection(the“head”)ofajazzpieceusuallyexhibitsoneofanumberofshortersongformssuchasab,aaba,abac,abca,abcd,ortheblues.Iftheimprovisedsolosectionutilizesthesameformasthatofthe“head,”thepieceasawholecanbedescribedas“themeandvariations.”111 jazzcomposition25/28/034:37PMPage112JAZZCOMPOSITIONTHEORYANDPRACTICEAdiagramofatypicaljazzpresentationis:ExpositionDevelopmentRecapitulation“head”solos“head”A(aaba)B(aaba)A(aaba)themevariationsthemeIntheabovescenario,thejazzcomposercreatesthetheme(the“head,”alsoreferredtoas“thetune”),andthesoloiststhenimproviseontheharmonicform(“thechanges”)thatunderliesthetheme.Ineffect,thesoloistsrecomposethethemespontaneouslyeachtimetheypassthroughtheharmonicform.Afterthesolos,theperformersplaytheheadagaintoconcludethepresentation.Untilthe1960s,themostcommonlengthforjazztunesotherthanblueswas32measures.Thiswasprobablybecausejazzmusiciansgotusedtoplaying(andsometimesrecomposing)popularsongsfromBroadwayshowsbyGeorgeGershwin,ColePorter,JeromeKern,andothersinthe1920sand1930s.Thesecomposersfavored32-measureaabaandabacsongforms(althoughColePorterinparticularsometimesusedmuchlongerformsontunessuchas“BegintheBeguine”).Consequently,manyso-calledjazz“standards”writteninthe1930s,1940s,and1950sare32measureslongandarebasedonaabaorabacsongform.Since1960orso,jazzcomposershavemadeuseofmanyothersongformsandlengths.Inparticular,through-composedtuneshavebecomemorecommon.Through-composedtunes(theirformsoftendesignatedasabcd)relyonmotivicmanipulationratherthanphraserepetitionforunityandcoherence.Agoodexampleofathrough-composedjazztuneis“DolphinDance”byHerbieHancock.Episodicpieceshavealsobecomemorecommon.Episodicpiecescontainseparateanddistinctsectionsthatmaycontaintheirownspecificmotifs,themes,andmoods.“Birdland”byJoeZawinulisagoodexampleofanepisodicjazzcomposition.Jazzcomposerssometimesuseextendedformsforlarger,moreambitiouspieces.Thefollowingisadiagramofahypotheticalextendedpiece:Introduction||Theme||Developmentofthetheme||Interlude||Solosection||Interlude||Solosection||Interludeandmodulation||Furtherdevelopmentofthetheme||Solosection||Furtherdevelopmentandprimaryclimax||Shortenedthemerecapitulation||CodaThischapterdealswiththebluesandvarioussongforms.Chapter7dealswithepisodicform,andChapter9dealswithextendedform.Thefirstorderofbusinesswillbetowritesomejazztunes.Inthepagesthatfollow,youwillbegivenbackgroundinformationontheblues,aabaform,abacform,abcaform,andabcdform.ThereareexamplesthatyoucanlistentoontheCD,andyouwillgetachancetocomposetunesusingtheserepresentativeforms.Later,wewillmoveontolargerandmorecomplexforms.112 jazzcomposition25/28/034:37PMPage113CHAPTER3BLUESANDSONGFORMTheBluesThebluesisthebestplaceforaspiringjazzcomposerstogetsomeinitialwritingexperience.Thebluesisashortform(12measures),itisbasedonareasonablysimplechordprogression,andmelodictraditionsarewelldefined.First,somehistoricalperspective.Initsearlystages,theblueswasprimarilyavocalidiom.Throughtheblues,anindividualsingercouldrelatewhatwasonhismindwhileaccompanyinghimselfontheguitarorperhapstheharmonica.Virtuallyeveryexpressionofhumanemotioncanbefoundintraditionalvocalblues,fromhappyexcitementtoabjectdespair,buttheemphasishasalwaysbeenonlife’shardtimes.Subjectmatteroftenincludesironicreferencestolust,sex,money,materialpossessions,travel,loneliness,illhealth,envy,orgreed.Therootsofthebluesgoallthewaybackto19th-centuryshouts,fieldhollers,andworksongs.Thehistoryofthebluesthenparallelsthehistoryofjazz.Thebluesandjazzhavealwaysbeenseparateanddistinctidioms,buttherehasbeenagreatdealofcrossoverbetweenthemovertheyears.SufficeittosaythatthebluesinallitsmyriadformshaspermeatedeveryaspectofAmericanpopularmusicandisstillspreadingthroughouttheworld.Withoutbluesinfluences,popularmusicingeneralwouldsoundquitedifferent.Theblueshasgivenusthebluesscalewithits“bluenotes”—thelowered3rdandthelowered7th(andsometimesthelowered5th).12334556771Inadditiontotheiruseinjazz,bluenotesareusedinvirtuallyeveryotherformofpopularmusic,fromrocktocountry-and-westerntolovesongsandballads.BLUES:HARMONICFORMIngeneral,traditionalbluesformoccursasfollows:1stphrase:Tonic(fourmeasures)2ndphrase:Subdominant(twomeasures);Tonic(twomeasures)3rdphrase:Dominant(twomeasures);Tonic(twomeasures)Tothisbasicharmonicform,jazzmusicianshaveaddedamyriadofembellishmentchords,reharmonizations,andsubstitutechords,someofwhichareshowninthefollow-ingexamples.113 jazzcomposition25/28/034:37PMPage114JAZZCOMPOSITIONTHEORYANDPRACTICEMajorBluesFormI7(IV7)I7(II–7/IVV7/IV)C7(F7)C7(G–7C7)TonicIV7(IV7)I7(V7/II–7)F7(F7)C7(A7)SubdominantTonicV7(orII–7)IV7(orV7)I7(V7Turnaround)G7(orD–7)F7(orG7)C7(G7)DominantTonicNOTE:Anyorallofthechordsinparenthesesmaybeused.BebopVariationIMaj7II–7V7/VI–7II–7V7/II–7II–7V7/IVCMaj7B–7E7A–7D7G–7C7IVII–7subV7/V7II–7subV7/V7II–7subV7/V7FMaj7F–7B7E–7A7E–7A7II–7V7III–7VI–7II–7V7D–7G7E–7A–7D–7G7Turnaround114 jazzcomposition25/28/034:37PMPage115CHAPTER3BLUESANDSONGFORMMinorBluesFormI–(II–7(5))V7(9)I–(II–7(5)/IV–)V7/IV–)C–(D–7(5))G7(9)C–(G–7(5))C7(9)TonicminorIV–I–F–C–SubdominantminorTonicminorII–7(5)V7(9)I–(V7Turnaround)D–7(5)G7(9)C–(G7)DominantTonicminorVariationI–7C–7VI7I–7A7C–7VI7(subV7/V7)V7I–7(V7Turnaround)A7G7C–7(G7)115 jazzcomposition25/28/034:37PMPage116JAZZCOMPOSITIONTHEORYANDPRACTICEModalBluesFormITonicnotIINon-tonicTonicnotIINon-tonicTonicSampleDorianBluesD–7G7sus4D–7A7sus4G7sus4D–7116 jazzcomposition25/28/034:37PMPage117CHAPTER3BLUESANDSONGFORMSamplePhrygianBluesE(9,no3)F(no3)E(9,no3)G(no3)F(no3)E(9,no3)SampleMixolydianBluesG7sus4C7sus4G7sus4678D7sus4C7sus4G7sus4101112VariationG7........G–7G7........D7(9)E7(9)D7(9)G7101112........117 jazzcomposition25/28/034:37PMPage118JAZZCOMPOSITIONTHEORYANDPRACTICE16-BarBluesIneffect,measures9–10ofthestandard12-barformareplayedthreetimes.(Chordsinparenthesisareoptional.)Anexampleis“WatermelonMan”byHerbieHancock.C7(F7)C7(G–7)C7F7(F7)C7(B7A7A7)G7F7G7F7G7F7C7G724-BarBluesThe24-barbluesformcanbecreatedbydoublingtheharmonicrhythmofthestandard12-barform.Thiscanbedonein4/4(asin“Nutville”byHoraceSilver)or3/4(asin“BluesforYnaYna”byGeraldWilson),andinmajor,minor,ormodalcontexts.C7F7G7C7B7A7D7G7C7A7A7G7118 jazzcomposition25/28/034:37PMPage119CHAPTER3BLUESANDSONGFORMBLUES:MELODICFORMBluesmelodiesfollowoneofthreedifferentforms:aaa,aab,andabc,witheachletterrepresentingafour-measurephrase.Intheaaa(orriff)typeblues,thesamefour-measuremelodicfigureissoundedthreetimesovertheunderlyingchordprogression.“C-jamBlues”(DukeEllington)and“SonnyMoonforTwo”(SonnyRollins)eachconsistofafour-measureriffwhichisplayedthreetimes.aaa(riff-type):Majorkey,usingCminorpentatonicscale25AfterBreakfastTedPeaseMediumswingC7F7C7F7F7C7A7(alt)D7(alt)D–7G7(alt)C7A7(alt)A7G7sus4Theaabbluesformisderivedfromold-stylevocalblues.Inthatstyle,eachfour-measurephraseissubdivided,withthevocalisttakingthefirsttwomeasuresandarespondinginstrumentalisttakingthesecondtwomeasuresinasympatheticconversationalmanner.Inamoderncontext,atypicalversemightresemblethefollowing:Myrent’snotpaid,gotnoplacetogo;(instrumentalcommentary)Isaid,therent’snotpaid,gotnoplacetogo;(instrumentalcommentary)(It’s)beenalongtime,sinceIfeltsolow.(instrumentalcommentary)Theinstrumentalaabtypebluesoffersaninitialrifftwiceandthenconcludeswithadifferentriffthatapproximatesthemusical“punchline”invocalblues.Well-knownearlyvocalexamplesofaabbluesforminclude“St.LouisBlues”(W.C.Handy),whichwasoneoftheearliestpublishedblues,and“Roll’emPete”(PeteJohnson).Morerecentwell-knowninstrumentalexamplesinclude“Now’stheTime”(CharlieParker)and“TheIntimacyoftheBlues”(BillyStrayhorn).119 jazzcomposition25/28/034:37PMPage120JAZZCOMPOSITIONTHEORYANDPRACTICEaab:Minorkey,usingtheDminorbluesscale26AnyFridayTedPeaseMediumswingD–G–7D–E–7(5)A7(9)D–Theabc(through-composed)typeofbluescontainsnophraserepetition.Inotherwords,therearenoriffsasinaaaoraabbluestunes,justonecontinuousmelodicline.Through-composedbluesareusuallyinstrumental.“BluesforAlice”(CharlieParker)and“AuPrivave”(CharlieParker)aregoodexamples.abc(through-composed):Majorkey,usingtheFbluesscaleBluesforaBiliousBystander27TedPeaseMediumswingF7B7B7F7C–7F7B7B7F7E7D73G–7C7F7D7G–7C7120 jazzcomposition25/28/034:37PMPage121CHAPTER3BLUESANDSONGFORMabc(bebop):Majorkey28MoveItTedPeaseMediumfastBMaj7A–7(5)D7(9)G–7C73F–7B7EMaj7E–7A7D–7G7D–7G7C–73F7BG7C–7F7abc:Modal29StrongCurrentsTedPeaseMediumfastDDorianGDorianDDorianBMaj7A7(alt)DDorian121 jazzcomposition25/28/034:37PMPage122JAZZCOMPOSITIONTHEORYANDPRACTICEabc(contemporary):SymmetricdiminishedscaleLet’sSplit30TedPeaseFastswingG7(9)B9(13)D7(alt)B7(alt)E7(alt)F9B7(9,13)C7(9)Bluesmelodiesmakeheavyuseofthebluesscalewhetherinmajor,minor,ormodalcontexts.Earlybluesstylesusesimplemelodicrhythmsthatareeasilymemorized.Bebopbluesmelodieshaveamoredensemelodicrhythmandapotentialincreaseinchromaticism(notesoutsidethekey).Modalbluesmelodiestendtobediatonictothemode,buttheremaybesomenon-diatonicnotesifmodalinterchangeisusedintheharmony.Thebluesscalecantakeseveralotherforms.Thesimplestbluesscaleisaminorpentatonicscale.Thisscaleisparticularlyusefulfornovicewritersandplayersbecauseanyandallofthenotescanbeusedfreely,regardlessofwhereoneisintheprogression.122 jazzcomposition25/28/034:37PMPage123CHAPTER3BLUESANDSONGFORMEXERCISESWriteoriginalbluesmelodiesforthefollowingsetsofchanges.Besuretoobservetempoandstyle.Usetheexamplesonthepreviouspagesasaguide.(a)aaa(riff-type)MediumswingCF7CC7F7F7C7A7D7G7C7(D7G7)(b)aab(minorblues)MediumswingD–G–7D–E–7(5)A7(9)D–(c)abcMediumswingF7B7B7F7C–7F7B7B7F7E7D7G–7C7F7D7G–7C7123 jazzcomposition25/28/034:37PMPage124JAZZCOMPOSITIONTHEORYANDPRACTICE(d)abcbebopMediumfastBMaj7A–7(5)D7(9)G–7C7F–7B7EMaj7E–7A7D–7G7D–7G7C–7F7BG7C–7F7(e)abcmodalMediumfastDDorianGDorianDDorianBMaj7A7(alt)DDorian(f)abccontemporary(useyourownchanges)Fastswing124 jazzcomposition25/28/034:37PMPage125CHAPTER3BLUESANDSONGFORMAdditionalBluesExercises1.Writeanoriginal12-measurebluesinCmajorusingaabmelodicform.2.Writeanoriginal12-measurebluesinGminorusingaaamelodicformandusingtheGminorpentatonicscale.3.Writeanoriginal12-measurethrough-composedbluesinFmajor.4.Writeanoriginal24-measurebluesinAminorandin3/4time.5.Writeanoriginal16-measurebluesinGmajor.6.Writeanoriginal12-measurebluesinDDorian.7.Writeanoriginal12-measurebluesinEPhrygian.8.Writeanoriginal12-measurebluesinA%Mixolydian.125 jazzcomposition25/28/034:37PMPage126JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterial—BluesAuPrivave(CharlesParker)AllBlues(MilesDavis):modalbluesBags’Groove(MiltJackson)BassBlues(JohnColtrane)Bessie’sBlues(JohnColtrane)Birk’sWorks(DizzyGillespie):minorbluesBluesConnotation(OrnetteColeman)BluesforAlice(CharlieParker)BluesforYnaYna(GeraldWilson):24-measureminorbluesin3/4CanteloupeIsland(HerbieHancock):bluesformwithreharmonizedchangesCJamBlues–akaDuke’sPlace(DukeEllington)Doodlin’(HoraceSilver)Eighty-one(RonCarter)FilthyMcNasty(HoraceSilver):withwrittenintro,outchorus,andcodaFootprints(WayneShorter):in6/4HonkyTonkTrainBlues(MeadeLuxLewis)Interplay(BillEvans):minorbluesTheIntimacyoftheBlues(BillyStrayhorn)Isotope(JoeHenderson)Mamacita(JoeHenderson)MoonGerms(JoeFarrell)Mr.P.C.(JohnColtrane)Nutville(HoraceSilver):24-measureminorblueswithanostinatoOpusdeFunk(HoraceSilver)Pursuance(JohnColtrane):modalbluesRoll’emPete(PeteJohnson)Sandu(CliffordBrown)SingMeSoftlyoftheBlues(CarlaBley):non-traditional14-measureformSomeOtherBlues(JohnColtrane)SonnyMoonforTwo(SonnyRollins)St.LouisBlues(W.C.Handy)ThingsAin’tWhatTheyUsedtoBe(MercerEllington)T.N.T.(TinyKahn):a-b-a;b-a-bmelodicformovertwochorusesUnitSeven(SamJones):blueswithabridgeWatermelonMan(HerbieHancock):16-measureblueswithanostinatoWestCoastBlues(WesMontgomery)WhenWilltheBluesLeave?(OrnetteColeman)Windflower(SarahCassey):modalbluesWitchHunt(WayneShorter):24-measureblues126 jazzcomposition25/28/034:37PMPage127CHAPTER3BLUESANDSONGFORMRhythmChanges“IGotRhythm”isashowtunewrittenbyGeorgeGershwin,withlyricsbyhisbrotherIra,fortheir1930musicalGirlCrazy.Nexttotheblues,so-called“rhythmchanges”arethesecondmostpopularformthatjazzmusiciansliketojamon.Becauseofthepopularityofthisharmonicform,numerousjazztunesthatfollowrhythmchangesare,ineffect,recompositionsof“IGotRhythm.”Belowaresomerepresentativetitlesandcomposersinroughchronologicalorder.Cottontail(DukeEllington)LesterLeapsIn(LesterYoung)Anthropology(CharlieParker)Shawnuff(DizzyGillespieandCharlieParker)Rhythm-a-ning(TheloniousMonk)Oleo(SonnyRollins)Fingers(ThadJones)BrownZone(SteveKhan/Yellowjackets)BiteYourGrandmother(SteveSwallow)TheGershwinbrothers’“IGotRhythm”isa34-measuretuneinaabaformwithatagending.Jazzcomposersandperformerstendtoleaveoutthetagending,therebyretainingthefamiliarityofasymmetric32-measuresongform.Today,rhythmchangesareessentiallythesameastheywereinthe1930s,althoughnumeroussubstitutechordsareoftenemployedbyarrangersandbyalertimprovisers.(See“VariationsonRhythmChanges,”page130.)Observethefollowingtune,“Scooter,”whichisbasedonrhythmchangesandwrittenintheswingstyleofthelate1930s.ThefirstfourmeasuresarebasedonthefamiliarIVIIIVchordpattern.Measures5and6arebasedonanotherfamiliarchordpattern:IV7/IVIVIV–.Thiswell-knownprogressionproducesastrongcounterline,whichcanbeusedagainstthemelody,eitherinthebassorinaninteriorpart:BB7EE–B/F56Thefirstendingcontainsa“turnaround,”whichgetsyoubacktothebeginning(asyougoaroundforthesecondaphrase).Thesecondendingcontainsafirmcadence.Thebsection(knownasthe“bridge,”the“release,”orthe“channel”)containsfourdominantseventhchordsthatbeginonIII7(D7inthekeyofB%).D7thenmovestoG7,whichinturnmovestoC7andthentoF7beforereturningviaDaCapo(D.C.)tothetop.Thisprogressionisoftendescribedas“dominantchordsinacycleoffifths.”Itpresentsanidealsituationforamelodicsequence.Comparemeasures11–14withmeasures15–18andyouwillseehownicelyafour-measuresequenceworkshere.127 jazzcomposition25/28/034:37PMPage128JAZZCOMPOSITIONTHEORYANDPRACTICEAfterthebridge,theasectionisplayedonemoretime,andthecoda(or,ifpreferred,athirdending)finishesoffonechorusofthetuneinaabaform.(Afulldiscussionofaabaformbeginsonpage132.)31ScooterTedPeaseMediumswingABG–7C–7F7D–7G–7C–7F7123431*BB7EE–D–7G7(9)C–7F756782BBF7BD79101112313G7C71415163CodaF7D.C.alCodaBF7B17191820*Alternatechordsformeasures5and6:*BB7/DE6E756IV7/IVIVIV7128 jazzcomposition25/28/034:37PMPage129CHAPTER3BLUESANDSONGFORM“Thad’sPad”(dedicatedtoThadJones)isalsobasedonrhythmchanges,butthemelodyofthetuneisthrough-composed.Eacheight-measurephrasehasadifferentmelody.Inotherwords,theformofthemelodyisabcd,whiletheformofthechangesisstillaaba.Unlikethrough-composedbluestunes,whicharequitecommon,through-composedrhythmtunesarerelativelyrare.32Thad’sPadTedPeaseB7(11)F712343B6B7E6E7B/FC–7F7567833B6B6F7D–7G–7C–7F79101112B6B/DE6E7B/FF7B613141516D7G919171820C7(11)F721222324B6B7C–7C7D–7G7C–7F725262728F–7B7EE7FpedalC7(9)F7B629303132129 jazzcomposition25/28/034:37PMPage130JAZZCOMPOSITIONTHEORYANDPRACTICEVARIATIONSONRHYTHMCHANGESTherearealmostasmanyvariationsonrhythmchangesasthereareonblueschanges.Hereareafewofthem.measures1–41.B%G–7C–7F7D–7G–7C–7F72.B%B°7C–7F7B%B°7C–7F73.B%pedal


4.B%B%7E%E%–B%/FpedalC–7F75.F#–7B7E–7A7D–7G7C–7F76.B%G7C7C%7B%G7G%7F7measures5–81.2.3...1.B%B%7E%E%–D–7G7C–7F7B%F7B%..2.B%B%7/DE%E°7B%/FG7C–7F7B%F7B%..3.F–7B%7E%–7A%7D–7G7C–7F7B%F7B%..4.B%B%7E%E%–B%F7B%B%F7B%..5.B%B%7/DE%E°7B%/Fpedal
B%F7B%..6.F–7B%7E%A%7B%G7G%7F7B%F7B%bridgemeasures1–41.D7
G7
2.A–7D7D–7G73.D7
D%7
4.A–7D7D–7G75.E%–7A%7A%–7D%76.D7E–7F°7D7/F#G7A–7B%°7G7/Bbridgemeasures5–8D.C.al3rdending1.C7
F7
2.G–7C7C–7F73.C7
B7
4.F#–7B7E–7A7D–7G7C–7F75.D%–7G%7G%–7C%76.C7D–7E%°7C7/EF7G–7A%°7F7/A130 jazzcomposition25/28/034:37PMPage131CHAPTER3BLUESANDSONGFORMEXERCISEWriteatunebasedonrhythmchanges.Use“Scooter”andtherhythmchangestemplateasaguide.Useappropriatesubstitutionsand/orreharmonizationsifyouwish.Intheasection,useafour-measureantecedentphrasefollowedbyafour-measureconsequentphrasethatcontainsa“turnaround”inthefirstendingtogetyoubacktothetop.Thesecondtimethroughtheasection,finishtheconsequentphrasewithamusical“period.”Thebridge(thebsection)isperfectlysuitedforsequencesoftwomeasuresorfourmeasuresbecauseofthedominantseventhchordsthatmoveinacycleoffifths.Supplyacoda(orathirdending)toshowhowthetuneshouldend.RhythmChangesTemplateBG–7C–7F7D–7G–7C–7F71BB7EE–D–7G7(9)C–7F72BF7BD7G7C7CodaF7D.C.alCodaBF7B131 jazzcomposition25/28/034:37PMPage132JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterial—RhythmChangesAnthropology(CharlieParker)BirdFood(OrnetteColeman)BiteYourGrandmother(SteveSwallow)BrownZone(SteveKhan)ChasingtheBird(CharlieParker)Cottontail(DukeEllington)Fingers(ThadJones)FourOthers(Lighthouse)(JimmyGiuffre)LesterLeapsIn(LesterYoung)LittlePixie(ThadJones)MoosetheMooche(CharlieParker)Oleo(SonnyRollins)RedCross(CharlieParker)Rhythm-a-ning(TheloniousMonk)Shawnuff(CharlieParker/DizzyGillespie)Steeplechase(CharlieParker)ThrivingfromaRiff(CharlieParker)Wee—akaAllen’sAlley(DenzilBest)aabaFormAswehaveseen,rhythmchangesarebasedonaabaform.(Iamusinglowercaseletterstodesignateaabasongform.Later,wewillexamineextendedcompositionsinwhichanaabasongmightbeasubsectionofalongerAsectionorBsectionofamovement,forwhichuppercaseletterswillbeused,)Bytheway,Beethoven’s“OdetoJoy,”whichisusednumeroustimesinthebookfordemonstrationpurposes,isalsoinaabaform!Suppliedwith“rhythmchanges,”youwroteanoriginalmelodyonthatform.Nowitistimetotrywritinganoriginalmelodyandoriginalharmony.Awordofcaution!Atthispoint,manystudentswillwriteachordprogressionandthencomposeamelodyoverit.Thiscanwork,aswehaveseenwithrhythmchangesandtheblues,butthereisalwaysthepotentialproblemthattheharmonywillendupdictatingthemelody.Ideally,itshouldbetheotherwayaround.IsuspectthattheGershwinbrotherscameupwiththemelodyforthetitlelyricof“IGotRhythm”firstandthenputasimpleIVIIIVprogressionunderit.Theproblemwithwritingthechordprogressionfirstisthatlateryoumayfindyourselfpuzzlingoverwhatchordscalesyoushoulduseforthemelody,andwhetheryouarebreakingany“rules.”This,inturn,mayresultinwhatIcalla“tortured”melody,whichisamelodythatyouarriveatmechanicallyratherthanaurally(byear).132 jazzcomposition25/28/034:37PMPage133CHAPTER3BLUESANDSONGFORMNowwouldbeagoodtimetoreviewChapter1ofthisbook.Asyoubegintothinkaboutthemelodyforyouroriginalaabatune,startwithsomequestions:Whatisthefirstmelodicintervalofmytunegoingtobe?Willitbearepeatednote?Asecond?Afifth?Anoctave?Whatwillthenextintervalbe?Whatisthefirstrhythmgoingtobe?Andthen,beforeyouaskyourselfanymorequestions,Singsomething!Ashortlick,ascalewisepassage,aninterval,arhythm—anything.Ifitclicks,jotitdown.Thenplayitonyourinstrument.Thenaskyourself,“Okay,whathappensnext?”Hopefully,bynow,youhavethebeginningsofafour-measureantecedentphrase.Ifthefirstlickistwomeasureslongandyoulikeit,tryrepeatingit.Ortryasequence(upamajorsecondoftenworkswell).Orifthefirstlickmovesup,movethesecondlickdown.Keepsingingandkeepplaying.Ifyouarehappywiththeantecedentphrase,youcanchoosewhethertocompletetheconsequentphraseortoputsomechordchangestotheantecedentphrase.Reviewtherelatedtextforideas.Inmostcases,aconsequentphraseshouldendwithaturnaroundthefirsttime(togetyoubacktothetop),andafullcadencethesecondtimewithapivotchordtogetyouintothebridge.Ifyouarechoosingchords,experimentwithdifferentlevelsoftensiononthefirstfewnotesofyourmelodyandseewhatthatsuggestsforsubsequentchords.Thebridge(thebsection)ofanaabatuneshouldpresentanewideathatprovidescontrastwiththeasection.Thereisalsothepossibilityofmodulatingtoanewkey.Followingisashortlistofasection/bridgekeyrelationshipsfromrepresentativejazztunes.TuneComposerasectionbsectionendingkeystartingkeySatinDollDukeEllingtonCFInaSentimentalMoodDukeEllingtonFD%PreludetoaKissDukeEllingtonCEDaahoudCliffordBrownE%A%JeannineDukePearsonA%D%MorningClareFischerB%–D%PensativaClareFischerG%CIfYouCouldSeeMeNowTaddDameronE%G133 jazzcomposition25/28/034:37PMPage134JAZZCOMPOSITIONTHEORYANDPRACTICEBelowisapartiallistthatsuggestsothertonalandmodalrelationships:Iftheasectionendsin:trymodulatinginthebridgeto:Imajor(e.g.,Cmajor)relativeminor(e.g.,Aminor)Imajor(e.g.,Cmajor)parallelminor(e.g.,Cminor)Imajor(e.g.,Cmajor)IVmajor(e.g.,Fmajor)Imajor(e.g.,Cmajor)VImajor(e.g.,Amajor)Imajor(e.g.,Cmajor)%IImajor(e.g.,D%major)Imajor(e.g.,Cmajor)%VImajor(e.g.,A%major)Iminor(e.g.,Cminor)relativemajor(e.g.,E%major)Iminor(e.g.,Cminor)parallelmajor(e.g.,Cmajor)Iminor(e.g.,Cminor)IVminor(e.g.,Fminor)IDorian(e.g.,DDorian)%IIDorian(e.g.,E%Dorian)IPhrygian(e.g.,EPhrygian)IVmajor(e.g.,Amajor)Observethenexttwotunes,“Rascals”and“YourSmile.”In“Rascals,”theasectionisinADorian.Themelodyisdiatonicandcontainssimplemelodicrhythmswith1and5ofthemodeemphasizedwithlongnotes.Thecharacteristicnote(F#)occursinmeasure6andhelpsustoidentifythemodeasDorianratherthanAeolian.Thebsectioncontainsatwo-measure“riff”thatmovesupinhalfsteps(sequence!)toaconcludingpercussivefigureinmeasure15.33RascalsTedPeaseMedium-upswingA1ADorian2345Fine678BD–7E–7910111213E–7F–7E7(9,13)D.C.alFine141516134 jazzcomposition25/28/034:37PMPage135CHAPTER3BLUESANDSONGFORM“YourSmile”isaballadinD%major.Theasectionantecedentphraseutilizesamelodicsequence.Theconsequentphrasecontinuesthesequencedownwardsinmeasure5butmovesbackupinmeasure6.Thefirstendingcontainsamelodiccadenceto3ofthekeyonaD%Maj7chordandtheturnaroundchord,B%7.ThesecondendingcontainsamelodiccadencetothetonicofthekeyonD%6/9.ThebridgecontainsanantecedentphraseinG%(IVmajorofD%)andaconsequentphraseinB%(VImajorofD%)withchordsinmeasure18togetusbacktothebeginning.Thelastasectionhasadifferentconsequentphrasethatcontainstheapexofthetuneinmeasure20.Accordingly,weshouldlabeltheformaaba’(notetheapostrophe),andspeakofitas“aab-a‘prime’”(Theterm“prime”isusedtodesignateaslightmelodicorharmonicdeviationfromanearlierrelatedasection,butonethatleavestheessenceoftheasectionintact.The“prime”designationisusedmostcommonlywhenaconsequentphraseisdifferent,asisthecasewith“YourSmile.”Simpledeviationsinafirstandsecondendingareusuallynotcauseforusingthe“prime”designation.)34YourSmileTedPeaseSlowballadAE–7A7DMaj7GMaj7G–7(5)C7(alt)F–9B912341E–7A7F–7B–7E–7A7DMaj7B756782BE–7A7D6/9A–7D7GMaj7E–7A–7D7910111213D.C.alCoda14GMaj7C–9F7BMaj7G7(alt)C–7F7susF–9B7(alt)15161718Coda19E–7A7F–7B7(alt)E–7A7(9)D6/9202122135 jazzcomposition25/28/034:37PMPage136JAZZCOMPOSITIONTHEORYANDPRACTICEWARM-UPEXERCISEFollowingisatemplateforatuneinaabaform.Thechangesandasuggestedrhythmaresupplied.WriteanasectioninDDorianusingthegivenrhythmforthemelody(noticethattheasectionrepeats).Writeabsectionusingthegivenchordchangesandthesuggestedrhythm.Thenwritetheasectionagain.Fast4DDorianaG–G–5G–6G–7bG–F7E–7(5)A7(9)DDoriana136 jazzcomposition25/28/034:37PMPage137CHAPTER3BLUESANDSONGFORMEXERCISES1.Writeanoriginal32-measuretuneinaabaform.Chooseamajorkey,thetempo,andthestyle.GotothekeyofIVinthebridge.Includeaprominentmelodicrhythmintheasectiontoserveasamusicalfingerprint.(Reviewpages4–9.)2.Writea32-measurebossanovainaabaform.PuttheasectionsinDminorandthebsectioninFmajor.Useatleastoneprominentmelodicrhythm.3.Writea32-measurejazzwaltzinaabaform.PuttheasectionsinB%majorandthebsectioninGminor.4.WriteaballadinE%majorinaabaform.Maketheasectionsfourmeasureslongandthebsectioneightmeasureslong.Useapedalpointintheasections.GotoA%majorinthebsection.5.Writea32-measuretuneinaabaform.PuttheasectionsinAminorwithaLatinfeel.PutthebsectioninCmajorwithaswingfeel.6.Writea32-measuretuneinaaba'form.PuttheasectionsinEPhrygianandthebsectioninB%Lydian.Inthefinala'(a“prime”)section,useaslightmelodicand/orharmonicdeviationfromthepreviousasections.7.Writeatuneinaabaforminwhichthebridgeisinbluesform.8.Writeanaabatuneinwhichtheasectionsareinbluesformbutthebridgeisnot.137 jazzcomposition25/28/034:37PMPage138JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterial—aabaformNote:Deviationsfromstandard32-measureformarenotedinsidebrackets[].Youwillalsofindtheapostrophe(')andthedoubleapostrophe("),whichareusedtoindicatethatdespiteanoticeablealterationinthemelodyand/ortheharmony,thebasicessenceofaprecedingaorbsectionisstillpresent.(See“TellMeABedtimeStory”below.)Aisha(McCoyTyner)[ostinatointheasection]Bernie’sTune(BernieMiller)BlackNile(WayneShorter)[aa'ba]TheBlessing(OrnetteColeman)BlueSpirits(FreddieHubbard)[16–16–16–16in3/4]Boplicity(MilesDavis)Bouncin’withBud(BudPowell)[aa'bawithaneight-measuretag]Cassidae(JohnScofield)[aabba(16–16–7–7–16)]ChelseaBridge(BillyStrayhorn)ComeSunday(DukeEllington)Daahoud(CliffordBrown)DayDream(DukeEllington/BillyStrayhorn)Don’tLetItGo(VincentHerring)TheDuke(DaveBrubeck)[aabawithafinalcoda]FourBrothers(JimmyGiuffre)GeeBaby,Ain’tIGoodtoYou(DonRedman)[4–4–4–4]GrandCentral(JohnColtrane)[aaba'(8–8–8–12)]HoneysuckleRose(FatsWaller)Impressions(JohnColtrane)IfYouCouldSeeMeNow(TaddDameron)IMeanYou(TheloniousMonk)[8–8–8–8–tag]IRememberAugust(RalphTowner)InaSentimentalMood(DukeEllington)InWalkedBud(TheloniousMonk)Jacqui(RichiePowell)[8–8–12–8;bridgeisinbluesform]Jeannine(DukePearson)Jordu(DukeJordan)138 jazzcomposition25/28/034:37PMPage139CHAPTER3BLUESANDSONGFORMKillerJoe(BennyGolson)LesterLeftTown(WayneShorter)[16–16–16–16]LineforLyons(GerryMulligan)LittleSunflower(FreddieHubbard)[aabbaa]LocoMotiv(LarryGales)[22–22–8–22]MaidenVoyage(HerbieHancock)Monk’sMood(TheloniousMonk)Morning(ClareFischer)Naima(JohnColtrane)[4–4–8–4]Nica’sDream(HoraceSilver)[16–16–16-16–tag]OnebyOne(WayneShorter)Pensativa(ClareFischer)[16–16–16–16]PentUpHouse(SonnyRollins)[4–4–4–4]PreludetoaKiss(DukeEllington)SatinDoll(DukeEllington/BillyStrayhorn)SevenStepstoHeaven(VictorFeldman)[8–8–8–8withaninterludebetweensolos]Solitude(DukeEllington)SongforMyFather(HoraceSilver)SophisticatedLady(DukeEllington)SoWhat(MilesDavis)SpeakNoEvil(WayneShorter)[14–14–8–14]Stablemates(BennyGolson)[aba(14–8–14)]StraightStreet(JohnColtrane)[12–12–12–12]TellMeaBedtimeStory(HerbieHancock)[aa'ba"(12–12–8–12)]ThisIsforAlbert(WayneShorter)ToyTune(WayneShorter)[8–8–4–8]UnitSeven(SamJones)[blueswithabridge]UpJumpedSpring(FreddieHubbard)[16–16–8–16in3/4]WabashIII(JohnScofield)WellYouNeedn’t(TheloniousMonk)WhisperNot(BennyGolson)[withwrittenout-chorus]Woody’nYou(DizzyGillespie)YesandNo(WayneShorter)[14–14–16–14]YesterdayandToday(DarioEskenazi)[16–16–16–18plusaninterlude]139 jazzcomposition25/28/034:37PMPage140JAZZCOMPOSITIONTHEORYANDPRACTICEabacFormTheabacformpresentsanexcellentopportunitytouselongerantecedentandconsequentphraselengths.Insteadoffour-measureantecedentandconsequentphrases,whicharecommoninaabaform,eight-measurephrasesmayprovidebetteroverallbalanceandalsokeepabacformfrombecomingtoocluttered.Withabacform,thereareonlytwoasections(ascomparedtothreewithaabaform).Furthermore,therearetwoothersectionsthatcanprovidenecessarycontrast(thebsectionandthecsection).Thismakesitpossibletoconsidertheentireasectionasanantecedentphrase,andtheentirebsectionasaconsequentphrase.Atthatpoint,theasection(theeight-measureantecedentphrase)repeats.Thenthecsectionprovidesyetanothereight-measureconsequentphrasetocompletetheform:aantecedent(8)—oneelementbconsequent(8)—acontrastingelementaantecedent(8)—theoriginalelementcconsequent(8)—adifferentcontrastingelementTotalofdifferentelementsinthetuneasawhole:threeRemember,antecedentandconsequentphrasesaregrammaticalphrases—thatis,elementsofmusicalconversation.Justasinspokenlanguage,theiroveralllengthcanbesubdividedintobreathingphrasesforperformancepurposeswithoutsacrificingthegrammaticalcontent.Incomparison,aabaformcontainsthreeasections.Thereisagreaterneedforcontrastwithineachasectionsothatatunedoesn’tbecometoorepetitive.Thiscontrastisprovidedbyanantecedentphraseandaconsequentphraseineachasection,aswellasanewantecedentphraseandanewconsequentphraseinthebridge:aantecedent(4),consequent(4)—twoelementsaantecedent(4),consequent(4)—thesametwoelementsbnewantecedent(4),newconsequent(4)—twonewelementsaantecedent(4),consequent(4)—theoriginaltwoelementsTotalofdifferentelementsinthetuneasawhole:fourFurthercontrastwithinaabaformisprovided(inmosttunes)byatemporarymodula-tiontoanewkeyinthebridge.Thereisanother,moresubtleresultthatoccurswithabacform.Itispossibletoconsidertheentirefirsthalfoftheform(ab)asanevenlargerantecedentelementandtheentiresecondhalf(ac)asabalancingconsequentelement.Theterm“phrase”beginstoloseitsmeaningwhenwespeakofstructuralelementslongerthaneightmeasures.Theterm“period”mightbemoreappropriate.Periodisacommontermusedinclassicalmusictodescribeamusicalstatementconsistingoftwophrases.However,jazzmusiciansrarelyusetheterm.Theyaremoreliabletosaythingslike,“Thefirsthalfofthetunedoesso-and-so,andthesecondhalfdoessuch-and-such.”140 jazzcomposition25/28/034:37PMPage141CHAPTER3BLUESANDSONGFORMMostabactunescontainaprimaryapex,orclimax,inthecsection.Thisprovidesadditionalreinforcementoftheformthroughanaturalcrescendoasthetuneprogresses.Observethefollowingtune,“ForBill”(dedicatedtoBillEvans).Theprimaryapexoccursinthefourthmeasureofthesecondending.35ForBillTedPease=140A–7D–7G–7C7(11)/BaA–7D–7E–7(5)A7(9)1G–7C7A–7D–7bG9F7G7G–7C+72BMaj7C7/BA–7D7(9)cG–7C7F6Referbackto“DiminishingReturns”(page35,CDtrack5)foratuneinabacformthatcontainsasymmetricphrasing.Theasectioncontainstwelvemeasures,thebsection(firstending)containssixteenmeasures,andthecsection(secondending)containstwentymeasures.Theprimaryapexoccursinmeasure34(thesixthmeasureofthesecondending.)141 jazzcomposition25/28/034:37PMPage142JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISES1.Writea32-measuretuneinFmajorinabacform.Useadistinctivemelodicrhythmintheasection.Useadifferentmelodicrhythminthebsectionandasimilarmelodicrhythminthecsection.Usesequencesfreely.Placetheclimaxofthetuneinthecsection.2.Writea32-measurejazzwaltzinabacform.Useeight-measureantecedentandconsequentphrases.3.Writea64-measurejazzsambainabacform.Usesixteen-measureantecedentandconsequentphrases.4.Writea32-measuretuneinabacform.UseaLatinfeelintheasectionsandswinginthebandcsections.SourceMaterial—abacformDeviationsfromstandard32-measureformarenoted.AChildIsBorn(ThadJones)Airegin(SonnyRollins)[8–12–8–8]AllAcrosstheCity(JimHall)AnotherTime(AlanBroadbent)[8–8–8–10]Ceora(LeeMorgan)Dig(MilesDavis)DonnaLee(CharlesParker)[aba'c]Epiphany(DennyZeitlin)Four(MilesDavis)InaMellowTone(DukeEllington)Isfahan(DukeEllington/BillyStrayhorn)It’sOnlyMusic(GaryWillis)Lament(J.J.Johnson)Moment’sNotice(JohnColtrane)[withwrittenintro;formis8–8–8–14includingtag]MorningoftheCarnival(LuizBonfa)NewGirl(DukePearson)[8–4–8–8]Quasimodo(CharlieParker)SoulEyes(MalWaldron)Strollin’(HoraceSilver)Teaneck(NatAdderley)142 jazzcomposition25/28/034:37PMPage143CHAPTER3BLUESANDSONGFORMOstinatos(Revisited)EversinceDizzyGillespieandothersbeganincorporatingLatinrhythmsinsomeoftheirtunesinthe1940s,jazzcomposershaveusedostinatosasameansofhighlightingbasslinesandachievingtexturalandstylisticcontrastintheirwork.Theinfluenceofrockmusicandfusioninthe1960sand1970sreinforcedtheimportanceofthebass,thanksinparttothecontributionsofvirtuosoelectricbassplayerssuchasJacoPastorius,StanleyClarke,andAbrahamLaboriel.Anumberofjazzstandardsfeatureostinatos:ANightinTunisia(DizzyGillespie)Manteca(DizzyGillespieandChanoPozo)TakeFive(PaulDesmond)AllBlues(MilesDavis)SoWhat(MilesDavis)KillerJoe(BennyGolson)WatermelonMan(HerbieHancock)MaidenVoyage(HerbieHancock)Footprints(WayneShorter)Chameleon(HerbieHancock)RedClay(FreddieHubbard)Rosewood(WoodyShaw)Birdland(JoeZawinul)Ostinatosarerepetitiverhythmicandmelodicpatternsinthebass.Observe“SezWho?”onthenextpageandlistentoitontheCD.Noticethattheostinatoisestablishedintheintroductionbeforethemelodyenters.Thisistypicaloftuneswithostinatos.(Sometimesthebasswillstart,followedbythekeyboardthesecondtime,andthedrumsthethirdtime.Thisiscalled“layering.”)Noticealsothattheostinatohasaharmonicsequenceinthethirdandfourthmeasures(upamajor2ndfromthefirstandsecondmeasures).Noticethatthereisalotofspaceinthemelodyinmeasures1,3,4,9,11,and12.Thisgivestherhythmsectionachancetobeintheforegroundandtoenhancethegroove.Inthebsection,noticetheA–7chords.ThesearemodalinterchangechordsfromGmajor,theparallelmajor.Theyareusedtoavoidthediatonictritone(B%toE)inGDorian.ThisparticularprogressionisoneofOliverNelson’strademarksintuneslike“StolenMoments.”143 jazzcomposition25/28/034:37PMPage144JAZZCOMPOSITIONTHEORYANDPRACTICE36SezWho?TedPeaseShufflePianoBassHarmonicSketchC/DB/CC/DE/FBMaj7D/EAMaj7C/DC/DB/CC/DF/GCMaj7E/FBMaj7D/EA12345Ostinato6378910ToCoda1112131415BD7(9)G–7A–9G–7A–9G–7A–9G–7A–9161718192021222332433G–7C7F–7B7E–7A7E–7(5)A7(alt)CodaN.C.A7(5)144 jazzcomposition25/28/034:37PMPage145CHAPTER3BLUESANDSONGFORMEXERCISES1.Writeanabactuneonthestavesprovidedbelowusinganostinatointheasectionsandstraighttimeinthebandcsections.AB1C22.Researchthetunesthatuseostinatoslistedonpage143.Findleadsheetsandrecordingswhereverpossible.145 jazzcomposition25/28/034:37PMPage146JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterial—OstinatosAisha(McCoyTyner)AllBlues(MilesDavis)Afro-Centric(JoeHenderson)Birdland(JoeZawinul)Bolivia(CedarWalton)BlackNarcissus(JoeHenderson)CanteloupeIsland(HerbieHancock)Chameleon(HerbieHancock)FlywiththeWind(McCoyTyner)Footprints(WayneShorter)KillerJoe(BennyGolson)LittleSunflower(FreddieHubbard)LocoMotiv(LarryGales)MaidenVoyage(HerbieHancock)Mamacita(JoeHenderson)Manteca(DizzyGillespieandChanoPozo)MemoryandDesire(BillyChilds)Naima(JohnColtrane)ANightinTunisia(DizzyGillespie)Nutville(HoraceSilver)Paladia(SteveMasakowski)RedClay(FreddieHubbard)Rosewood(WoodyShaw)SongforMyFather(HoraceSilver)SoWhat(MilesDavis)TakeFive(PaulDesmond)WatermelonMan(HerbieHancock)abcaSongFormTheabcasongformisrelativelyrare.Themostwell-knownstandardwritteninthisformis“StellabyStarlight”byVictorYoung.Thea,b,andcsectionsoftheformarethrough-composedinacontinuouslybuildingmannersothattheapex(climax)isreachedinthecsection.Theconcludingasection(actuallya'sincetheconsequentphraseisdifferentthantheoneinthefirstasection)islikeapostscript—areturntorelativecalminalowerregister.Studythefollowingtune,“Scrooge.”Noticehowthetunebuildstowardtheclimaxinmeasure21.Measures5–6areasequenceofmeasures1–2.Measures9,11,and13demonstratemelodicsequence.Measures17and19demonstrateaninversionofthemelodiclineinmeasures9,11,and13.Measure19isasequenceofmeasure17.146 jazzcomposition25/28/034:37PMPage147CHAPTER3BLUESANDSONGFORM37ScroogeTedPeaseMediumSwingD–6E–7(5)A7(9)D–7A–7D91234aG–6A–7(5)*D7(9)G–G–5G–65678A7(9)B7A7(9)D–D–(Maj7)D–7D–69101112b13E7(alt)B–7(5)E7(9)A7141516D–D–5D–6D–7G–G–5G–6G–617181920cB7A7(9)B7A7(break)21222324D–6E–7(5)A7(9)D–D–5D–6D–725262728a'B7A7D–sus4D–29303132*=3147 jazzcomposition25/28/034:37PMPage148JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISEWriteatuneinabcaformusing“Scrooge”asamodel.Useadistinctivemelodicrhythmasyoudevelopthetune.Usesequencesfreely.Placetheclimaxinthecsection.abca148 jazzcomposition25/28/034:37PMPage149CHAPTER3BLUESANDSONGFORMThrough-ComposedTunesAthrough-composedtunederivesitsunityfrommotivicrepetitionanddevelopmentratherthanfromphraserepetition.Thus,athrough-composedtuneisonewithacontinuallyevolvingmelody.Itsformcanbedescribedasabcd...insteadofaabaorabac.Motivicmanipulationisthekeytosuccessinathrough-composedtune.Youneedashortmelodicfragment(aninterval,arhythmicfigure,amelodicgesture)thatwillstillberecognizableevenwhenitispartiallydisguised.Thatmotifcanberepeated,sequenced,inverted,playedbackward,transformedpitch-wiseorrhythmically,andingeneralmanipulatedimaginativelytoproducethevarietynecessarytosustaininterest.Someofthesemelodicdevicesaredemonstratedbelow,usingexcerptsfromthenexttune,“SambadeGoofed.”Theprincipalmotifis:1P4maj2Theprincipalmotifisalteredrhythmicallyandintervallicallytoproducethefollowingvariation:17P4P4Thesetwomelodicandrhythmicfragmentsprovidethemainfocusforthetune.MotivicrepetitionMotivicrepetitionisdemonstratedinmeasures17and19,andagaininmeasures21and23.1718192021222324149 jazzcomposition25/28/034:37PMPage150JAZZCOMPOSITIONTHEORYANDPRACTICEMotivicsequenceMotivicsequenceisdemonstratedinacomparisonofmeasures1–2withmeasures5–6.1256becomesMaj.2Motivicsequenceoccursagaininacomparisonofmeasures17–20withmeasures21–24.17181920becomes21222324Motivicsequenceoccursagaininacomparisonofmeasures33–34withmeasures35–36.33343536MotivicdisplacementMotivicdisplacementoccursinacomparisonofmeasure1withmeasure3.1234becomesMotivictransformation:samerhythm,differentpitchesMotivictransformationoccursthroughoutthetune.Asthemotifismanipulated,therhythmremainsthesamebutthepitchkeepschanging.throughoutORthroughout150 jazzcomposition25/28/034:37PMPage151CHAPTER3BLUESANDSONGFORMMotivictransformation:samepitches,differentrhythmInmeasures1and3thepitchesremainthesamebuttherhythmchangesthroughdisplacement.1234becomesMotivicembellishmentMotivicembellishmentoccursinmeasure27.2728becomesTonalinversionInversionchangesthedirectionofamelodicgesturefromuptodown,orfromdowntoup.Tonalinversionadjuststheintervalseithertoleavethetonalityundisturbedortocreateawiderornarrowerintervalintheinversion.Exactinversionmaintainstheexactintervallicrelationshipsevenifthetonalityisdisturbedintheprocess.Tonalinversionoccursinacomparisonofmeasures1and9.Theperfectfourthinmeasure1invertstoaperfectfifthinmeasure9.Themelodicgesturechangesfromdownwardinmeasure1toupwardinmeasure9.Thetonalityremainsundisturbed.12910becomesP4P5ExactinversionExactinversionoccursinacomparisonofmeasures6and14.Theconsecutiveintervalsofamajorsecond,aminorsecond,andamajorthirdinmeasure6aremirroredinmeasure14.(Asitturnsout,thisparticularinversiondoesn’tdisturbthetonalityofB%major.)614becomesmaj2mi2maj3maj2mi2maj3151 jazzcomposition25/28/034:37PMPage152JAZZCOMPOSITIONTHEORYANDPRACTICEPitchAxisThepitchaxisreferstothelineorspaceonthestaffuponwhichaninvertedmelodyrotates.Thelocationofapitchaxisisatthediscretionofthecomposer.Belowaresomeexamplesofamelodythathasbeeninvertedonseveraldifferentpitchaxes.(Note:Theresultinginversioncanbeusedinanyoctave.)Given:TonalinversionPitchaxisDExactinversionPitchaxisDTonalinversionPitchaxisFExactinversionPitchaxisFTonalinversionPitchaxisAExactinversionPitchaxisA152 jazzcomposition25/28/034:37PMPage153CHAPTER3BLUESANDSONGFORMRetrograde(notusedin“SambadeGoofed”)Retrogradepositionoccurswhenthemelodyisplayedinreverse.Whenexact,theretrogradeisthelateralmirrorimageofthemelody.Wheninexact,theretrogrademirrorsthepitches,buttherhythmoftheoriginalremainsthesame.sameforwardrhythm(inexact)becomesbackwardrhythm(exact)becomesAugmentationAugmentation(theexpansionofnotevalues)occursinacomparisonofmeasure33withmeasures37–38.33373839becomes(3x)(3x)(3x)(6x)(6x)(4x)x=1=thedurationofaneighthnote(oraneighth-noterest)DiminutionDiminution(thecontractionofnotevalues)occursinmeasure17.121718becomes(4x)(3x)(4x)(3x)(3x)(3x)x=1=thedurationofaneighthnote(oraneighth-noterest)153 jazzcomposition25/28/034:37PMPage154JAZZCOMPOSITIONTHEORYANDPRACTICETruncationTruncation(theuseofonlypartofthemotif)isdemonstratedinmeasure11andagaininmeasure13.1171113orbecomesorExtensionExtension(theaddingofnotestothemotif)isdemonstratedthroughoutthetunewhenthemotifsareconnectedbyalinkingfigure.Thishappensinmeasures2,6,10,34,and36.33343536motifextensionmotifextension154 jazzcomposition25/28/034:37PMPage155CHAPTER3BLUESANDSONGFORM38SambadeGoofedTedPeaseSamba11D–9G–9D–9G–9C–96F7BMaj7E7(9)A–9D–9G9CMaj7C–7(5)F7(9)BMaj7C–7F7BMaj71116N.C.Esus2(*)B–/EA–/EEsus2Dsus2/E(**)A–/EC–7(5)F7(9)B–92126A–9F–9E–9A7sus431DMaj7D–9G7E–7(5)A7(9)36D–9DMaj7(11)G7(9)C6/9(*)Esus2(**)Dsus22replaces3155 jazzcomposition25/28/034:37PMPage156JAZZCOMPOSITIONTHEORYANDPRACTICE“WhereDidYouGo?”isathrough-composedballadbasedonanostinatoandthefollowingmotifs:3Theostinatoprovidesanadditionalmotiviccontextasitalternatesrhythmicallywiththemelody:3A–7FMaj7(11)/A33Otherfeaturesofthistuneincludeslashchords,triadsoverrelatedandunrelatedbassnotes,andchromaticharmonythatcadencesonlyonce(measure17).156 jazzcomposition25/28/034:37PMPage157CHAPTER3BLUESANDSONGFORM39WhereDidYouGo?TedPeaseBallad33A–9FMaj7(11)/AE/AC/DF/E33333EF/G/A/C–9G–7(5)/CD/CC3333E–9G/FCMaj7/EFMaj7/EDMaj7/E3333EF/G/A/E/FB/EC7sus4F7sus4F333()(lasttime)B(add9)GMaj7/BEMaj7/BCMaj7(5)/B()33157 jazzcomposition25/28/034:37PMPage158JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISEApplythedesignatedmanipulationdevicestothegivenmotifs.repetitionsequencetonalinversion(pitchaxis=F)exactinversion(pitchaxis=G)retrograderetrogradeinversion(pitchaxis=F)augmentationdiminutiontruncationdisplacement158 jazzcomposition25/28/034:37PMPage159CHAPTER3BLUESANDSONGFORMEXERCISES1.UsingGasthepitchaxis,demonstratetonalinversionofthefollowingmelodicfragments.2.UsingA%asthepitchaxis,demonstrateexactinversionofthefollowingmelodicfragments.159 jazzcomposition25/28/034:37PMPage160JAZZCOMPOSITIONTHEORYANDPRACTICE3.Writethefollowingmelodicfragmentsininexactretrogradeposition(usingthesameforwardrhythm).4.Writethefollowingmelodicfragmentsinexactretrogradeposition(usingtherhythmsandpitchesinreverseorder).160 jazzcomposition25/28/034:37PMPage161CHAPTER3BLUESANDSONGFORM5.Demonstrateaugmentationonthefollowingmelodicfragments.Addbarlinesasnecessary.6.Demonstratediminutiononthefollowingmelodicfragments.Addbarlinesifnecessary.161 jazzcomposition25/28/034:37PMPage162JAZZCOMPOSITIONTHEORYANDPRACTICE7.Demonstratetruncationofthefollowingmelodicfragments.8.Demonstrateextensionusingthefollowingmelodicfragments.originalwithextensionoriginalwithextensionoriginalwithextension162 jazzcomposition25/28/034:37PMPage163CHAPTER3BLUESANDSONGFORM9.Writeathrough-composedtune.Writeathrough-composedtuneofbetween24and40measuresinlength.Intheprocess,chooseadistinctivemotif(aninterval,melodicrhythm,orothergesture)andapplymotivicmanipulationasyoudevelopthetune.Youmayalsowishtoconsidertheuseofguidetonesandtheirembellishmentstocreatecontinuity.SourceMaterial—Through-ComposedtunesBlueBossa(KennyDorham)TheDolphin(LuisEca)DolphinDance(HerbieHancock)FallingGrace(SteveSwallow)GiantSteps(JohnColtrane)HowInsensitive(AntonioCarlosJobim)HumptyDumpty(ChickCorea)InnerUrge(JoeHenderson)IntheWoods(PhilMarkowitz)Madrid(BradMehldau)MemoryandDesire(BillyChilds)OneFingerSnap(HerbieHancock)Peace(HoraceSilver)Peri’sScope(BillEvans)Pinocchio(WayneShorter)TimeRemembered(BillEvans)163 jazzcomposition25/28/034:37PMPage164CHAPTER4ArrangingandFormattingConsiderationsYourtunesaremusicalentitiesthatcanstandaloneasshort(butcomplete)compositions.However,iftheyaretobeperformedbyothers,arrangingandformattingconsiderationsmustbeaddressed.Questionsinvolvinginstrumentationandthesizeofaperforminggroupmustbeanswered.Willachangeofkeyfromtheoriginalbenecessary?Willtherebeanintroduction?Willtherebeanyimprovisation?Willtherebeinterludesand/oramodulationbetweensolos?Willtherebean“arranger’schorus”inwhichthecompositionisparaphrased?Howwillthepieceend?Thischapterofferssuggestionsandtechniquesforansweringthesequestions.GettingYourMusicPlayedThereisnogreaterincentiveforfurthercomposingthanhearingyourowncompositionsplayedbacktoyou.Ifyoucanplayyourtunesyourself,youhaveundoubtedlybeencheckingyourresultsduringthecomposingprocess.Buttherealkickcomeswhenyougetyourtunesplayedbyand/orwithotherpeople.Ifyouareapianoplayer,perhapsafriendwhoplaystrumpetortenorsaxophonecanplaythemelodywhileyoucompthechanges.(Remember,yourmelodymustbetransposedupamajorsecondfromconcertpitchforB%instruments.)Ifyouareaguitarplayer,perhapsyoucangetapianoplayertoaccompanyyouwhileyouplayyourmelody.Dowhateverittakestogetyourmusicplayed.Ifyouhavefriendsorfellowstudentswithwhomyouplayregularly,writeoutyourtunesforthem.Asimpleleadsheetcon-sistingofthemelodyandchordchangeswilldoforstarters.Trumpet,clarinet,sopranosaxophone,andtenorsaxophonerequireaso-called“B%part,”whichistransposedupamajorsecond.AltoandbaritonesaxophonerequireanE%part,whichistransposedupamajorsixthandreadintrebleclef.Trombonerequiresapartinconcertkeywritteninbassclefandmostlikelyanoctavebelowyouroriginallead-sheetmelody.Ifyouwishtoaddsomeharmonyparts,youmayneedtoreviewajazzarrangingtextfortechnicalassistance.ModernJazzVoicingsbyTedPeaseandKenPullig(bookandCDpublishedbyBerkleePress)canhelpinthatregardwithareviewofinstrumentation,melodicandharmonictensions,andreharmonizationtechniquesforapproachnotes,aswellasvoicingtechniquesforthreetosixhorns.Meanwhile,herearesomebasicguide-linesforwritingfortwohorns.164 jazzcomposition25/28/034:37PMPage165CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSTwo-PartSoliWritingTwo-partsoliwritinginvolvestheuseofintervalsasopposedtofullchords.Harmonicintervalsofthesecond,third,fourth,fifth,sixth,andseventhareusedtohelpdefineagivenchordsound.Thirdsandsixthsarethemostcommonchoicebecausetheyarecomparativelyconsonantintervals.Seconds,sevenths,andthetritoneusuallyresolveimmediatelytothirdsorsixthssincetheyareunstableandcomparativelydissonant.Fourthsandfifthshaveanopensoundthatisparticularlyusefulformodaltunes.(Injazz,parallelfourthsandfifthsareusedfreelybyarrangersandcomposers.)Fourthsandfifthsarealsousedwhenevernecessarytohelpsupplythedesiredchordsound.Theexamplebelowdemonstratesasimpletwo-partharmonization(called“soli”)fortrumpetandtenorsaxophoneofajazzversionofBeethoven’s“OdetoJoy”fromhisNinthSymphony.IstronglyrecommendthatyousingorplaytheharmonypartalongwiththeCDinordertohearhowthevariousintervalssoundandhowtheyhelptodefinethechordsoundofthemoment.Two-partsoliwritingisausefulandeffectivetechnique.However,don’tneglectunisonandoctaveunisonwhenyouarewritingfortwohorns,becausethosesounds,asdemonstratedinmeasures1,12,15,and16,canbepowerful,direct,anddramatic.40OdeforTwoBeethoven/arr.Pease“2”feelDA7A7B–7E7E–7A7F–7A–7D7G6C7D/AA7D5A7D/AA7D/AA7A7B–7E7A7D9DD7G6C7D/ApedalA–7D7(9)1333(unison)cresc.165 jazzcomposition25/28/034:37PMPage166JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISES1.Hereisaleadsheetto“Rascals,”thetuneusedearlierinthebooktodemonstrateaabaform.Addaharmonypartusingmostlyfourthsandfifths(useotherintervalsasnecessary).Whenyouaredone,play(orsing)theharmonypartalongwithCD(track33).MoreRascalsTedPeaseAMedium-upswing1ADorianBD–7E–76FineE–7F–7E7(9,13)D.C.alFine122.Hereisanothercopyoftheleadsheetto“Rascals.”Onthisone,addaharmonypartusingmostlythirdsandsixths(again,useotherintervalsasnecessary).PlayyourharmonypartalongwiththeCD.Comparethetwoversions.EvenMoreRascalsTedPeaseMedium-upswingAADorian1BD–7E–76FineE–7F–7E7(9,13)D.C.alFine123.Arrangeoneofyourowntunesfortwohornsusingthetwo-partsoliwritingtechnique.Copyoutthehornparts,transposingforB%orE%instrumentsasnecessary.Makecopiesoftheleadsheetfortherhythmsection.Playyourarrangement.166 jazzcomposition25/28/034:37PMPage167CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSBackgroundWriting/DerivingCounterpointfromGuideTonesGuidetonesarethemeansbywhichharmonicprogressionscanberepresentedlinearlyinasinglevoice.Wehaveseen(inchapter1)howguidetonescanbeusedtocreateamelody.Guidetonescanalsobeusedtoderivecounterpointandbackgroundstoamelody.Backgroundwritinginvolvesanadditionalcompositionalprocessbeyondthecreationoftheoriginalmelodic,harmonic,andrhythmicmaterialofapiece.Backgroundsprovideinterestinginterplaybetweentwoormorevoices.Thisinterplayisknownascounterpoint.(Thebackgroundsinsomejazzarrangementsareaswellknownasthecompositionitself.AgoodexampleisGilEvans’arrangementofGeorgeGershwin’s“Summertime”fromPorgyandBess,asperformedbyMilesDavis.)Counterpointprovidesrelieffromunisonandsolitextures.Ifyoustartwithamelodyandthenaddabassline,youalreadyhaveatwo-partcontrapuntaltexture.Addingathirdlinebasedonacomplementaryguidetonelinewillprovideyouwitharemarkablycompletemusicalresult.Theexamplebelowshowstwoseparateguidetonelinesandabasslineforasimpleprogression.Thefirstexampleonthenextpage(“SmallWonder”)showshowthesketchshownbelowmightbemodifiedwithembellishments.Thetopguidetonelinehasbeenembellishedtocreateamelody.Thesecondlinehasbeenembellishedtocreateabackgroundtothatmelody.Thebottomlineinthebassclefhasbeenactivatedtocreateabasspart.Noticethatthemelodyandbackgroundarearrangedinakindofmusicalconversationforthefirstfourmeasures.Theythenjoinforcesforamoreconcertedsolieffectinthesecondfourmeasures.SketchTedPeaseF–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)167 jazzcomposition25/28/034:37PMPage168JAZZCOMPOSITIONTHEORYANDPRACTICE41SmallWonderTedPeaseF–7(5)B7(alt)E–7(5)A7(alt)D–7(5)G7(alt)C–7(5)F7(alt)ThefollowingexampleshowshowthisproceduremightbeappliedtoBeethoven’s“OdetoJoy.”42OdeforTwoReduxBeethoven/arr.PeaseDDMaj7A7sus4A7B–7E7E–7A7DD7GC7D/AA7D168 jazzcomposition25/28/034:37PMPage169CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSEXERCISES1.Usingpage167asamodel,constructaguidetonesketchintwopartsinthetrebleclefbasedonthegivenchordchanges.Addasketchofthebasslineinbassclef.BMaj7C–7D–7E–7A7D–7G–7C–7D7C–7CMaj7BMaj72.Nowembellishthetopguidetonelinetocreateamelody.Leavesomespacesforthebackgroundtofillbehindthemelody.Thenembellishthesecondlineandcreateamusicalconversation.Finally,writeasimplebasspart.BMaj7C–7D–7E–7A7D–7G–7C–7D7C–7CMaj7BMaj7169 jazzcomposition25/28/034:37PMPage170JAZZCOMPOSITIONTHEORYANDPRACTICE3.“AndWhyNotIndeed?”recallsthetuneusedearlierinthebooktodemonstratehowtowritemelodiesusingguidetones.Intheexercisebelow,thegoalistowriteabackgroundbasedonacomplementaryguidetoneline.Completetheguidetonesketchonthesecondstaff.Thenembellishthesketchonthethirdstafftocreatethebackground.PlayyourbackgroundalongwithCDtrack4.AndWhyNotIndeed?TedPeaseSambaD–7G7C6A–7D–7G7(5)MelodyGuideToneSketchBackgroundCMaj7B–7(5)E7(9)A–7E+7170 jazzcomposition25/28/034:37PMPage171CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSD7G7F–7(5)B7(9)E–7A–7D–7G7(9)CMaj7C7FMaj7F7C/GA7(9)D–7G7DMaj7C6/9171 jazzcomposition25/28/034:37PMPage172JAZZCOMPOSITIONTHEORYANDPRACTICEIntros,Interludes,andEndingsIntros,interludes,andendingsprovideadditionalenhancementtocompositionsandarrangements.Theiruseneedstobeconsideredduringtheformattingprocess.Intros(introductions)preparethelistenerforwhatistofollowbyestablishingacombinationofmelodic,harmonic,and/orrhythmicmaterialthatrelatestothemainbodyofapiece.Interludesprovidearespitebetweensolosorbetweenotherimportantsectionsofapiece.Theycanalsoserveas“introductions”tonewinternalepisodesofmotiviccompositionsandotherlongerworks.Aninterludealsoprovidesastrategicspotforamodulation.Endingsusuallyprovideclosure,orinsomecasesabridgetothenextmovementofanextendedwork.Thefollowingexamplesaretobefoundelsewhereinthisbook.(Seealso“PedalPoint”onpage92.)Introsmayconsistof:1.anostinatothatisgoingtobeusedinthetunethatfollows.(See“SezWho?”onpage144.)2.animportantchord(orchordprogression)thatestablishesthetonalityandrhythmicgrooveofthepiece.(See“AndThereYouAre”onpage189,“DynamicDuo”onpage208,andmeasures16–19of“Reflections”onpage229.)3.importantmotivicorthematicmaterialthathasbeendisguisedortakenoutofcontext.(Seemeasures1–40of“Initiations”onpage225andtheintroto“WithAllDueRespect”onpage193.)Interludesprovidea“pause”intheaction.Theyoftenconsistof:1.areferencetopreviousmotivicorthematicmaterialaccompaniedbyapedalpoint,abrokentimefeel,and/orsparsechordalaccompaniment.(Seemeasures73–78of“Initiations”onpage226.)2.ashortbridgingpassagethatcreatesalinkortransitionbetweensectionsofapiece.(Seemeasures39–42,59–66,and83–86of“DynamicDuo”onpages208and209,measures47–54of“Reflections”onpage229,andthe“intro”toletterBof“WithAllDueRespect”onpage195.)3.apassagethatincludesamodulation.(Seetheinterludein“GroupEffort”onpage175.)172 jazzcomposition25/28/034:37PMPage173CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSEndingsusuallyprovideaheightenedsenseoffinality.However,fadeendings(which,ineffect,areinconclusive)arealsoquitecommon.Atypicalexampleofafadeendingmaybefoundin“GroupEffort”onpage175.Insomecases,anendingwillprovideabridgetoasubsequentmovementofalongerwork.(Seemeasures269–277of“Initiations”onpage227.)Conclusiveendingsmaybefoundin“WithAllDueRespect”(page196),“DynamicDuo”(page210),“InCelebrationofSaxophones”(page200),and“ThisIsWhatWeDo”(page234).TheArranger’sChorusThearranger’schorusinajazzarrangementpresentsanopportunityforthecomposerorarrangertorecomposetheoriginalcomposition.Inotherwords,inanarranger’schorus,thearrangerbecomestheimproviser(onpaper).Duringthebigbandera,thearranger’schoruscametobeknownasthe“shoutchorus”becauseitusuallycontainedtheclimaxtothearrangement.Anarranger’schorususuallyfollowstheharmonicformoftheoriginalcomposition.Anewmelody,oftenresemblinganimprovisedsolo,iswrittenoverthatform.LetterBof“GroupEffort,”whichbeginsonthenextpage,isanarranger’schorus.Inlongercompositions,thearranger’schorusmaybereplacedbyadramaticepisodeinwhichthecomposerprovidesoneormoreclimacticmoments.Theformusedmayresemblethatofprevioussections,oritmaybequitedifferent.(SeeletterDof“DynamicDuo,”letterCof“Initiations,”letterCof“Reflections,”andletterEof“ThisIsWhatWeDo.”)“GroupEffort”“GroupEffort”isashortarrangement,fortrumpetandtenorsaxophoneaccompaniedbypiano,bass,anddrums,ofthe(bynow)familiarBeethovenmelodyfromhisNinthSymphony.Theformatconsistsofanintroduction,amelodychorus(letterA),aninterludebasedontwopedalpoints,anarranger’schorus(letterB),andafadeending(coda).OtherelementstoobserveincludethechangeofkeyfromBeethoven’soriginalDmajortoFmajor(andlaterGmajor),two-partsoliwriting,counterpointderivedfromguidetones,amodulation(processedintheinterludeandrealizedatletterB),andconstantstructuresoverapedalpoint(atB9).173 jazzcomposition25/28/034:37PMPage174JAZZCOMPOSITIONTHEORYANDPRACTICEGroupEffort43Beethoven/arr.PeaseIntroTrumpetandTenor(8vb)D7C7ATrumpetAddTenoraswrittenFC7C7D–G7G–7C7FF7BE7FC7FA9CpedalC7C7D–G7C7FF7BE7F/CC7F174 jazzcomposition25/28/034:37PMPage175CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSInterludeCpedalA–7/DD+7BTrumpetandTenor(8vb)GMaj7D7sus4D7E–7A7A–7E7D7A7D–7G7CMaj7F7B–7E7(9)A–7D7sus4GB9TrumpetandTenor(Pianodoublesthehornsandaddsthethirdnote.)DpedalGTrumpetandTenor(8vb)(aswritten)GG7C–7F7G/DD–11F9sus4CodaF9sus4repeatandfade175 jazzcomposition25/28/034:37PMPage176JAZZCOMPOSITIONTHEORYANDPRACTICEEXERCISESApplysomeorallofthefollowingprocedurestooneofyouroriginaltunes.1.Considerafour-toeight-measureintroduction.Howcanyoubestsetupyourtunemelodically,harmonically,andrhythmically?2.Afteryoustatethetune,consideraninterludebeforebeginningasolosection.Cantheintroductionberestatedandserveasaninterlude,orshouldtherebenewmaterial?Canpedalpointplayarole?3.Considerhavingasolosection.Willthesoloformbethesameasordifferentthantheformofyourtune?4.Considerrecomposingyourtuneinanarranger’schorus.5.Considertheending.Willyourpieceendwithasharpaccentoraheldchord?Willtherebeafadeendinginstead?176 jazzcomposition25/28/034:37PMPage177CHAPTER4ARRANGINGANDFORMATTINGCONSIDERATIONSSourceMaterialINTROSBlackNile(WayneShorter)CanteloupeIsland(HerbieHancock)FirmRoots(CedarWalton)Groovin’High(Parker/Gillespie)IRememberClifford(BennyGolson)KillerJoe(BennyGolson)Morning(ClareFischer)NewGirl(DukePearson)Nica’sDream(HoraceSilver)OpusdeFunk(HoraceSilver)INTERLUDESNewGirl(DukePearson)Nica’sDream(HoraceSilver)ENDINGSGroovin’High(Parker/Gillespie)NewGirl(DukePearson)Nica’sDream(HoraceSilver)ARRANGER’SCHORUSAlongCameBetty(BennyGolson)NewGirl(DukePearson)ThisIsforAlbert(WayneShorter)WhisperNot(BennyGolson)177 jazzcomposition35/29/039:32AMPage178CHAPTER5MetricConsiderationsThereisareasonwhythischapteristitledÒMetricConsiderationsÓandnotÒRhythmicConsiderations.ÓIneffect,almosteverythinginourdiscussionofjazzcompositionsofarhashadsomethingtodowithrhythm:melodicrhythm,melodicrhythmdensity,motivicrhythm,motivictransformation,harmonicrhythm,etc.Inshort,rhythmhasbeenanunderlyingthemeinthistextfromthebeginning.However,ourdiscussionofrhythminjazzwouldbeincompletewithoutamentionofmeter.TherootsofjazzÑAfricanrhythms,blues,ragtime,gospel,marches,worksongsÑalltookholdinthefertilesoilofduplemeter.Tothisday,mostjazziswrittenandplayedin4/4timewithaswingfeel.(Latininfluencesandfusionhaveaddedtheoptionofsubdividingthebasicduplebeatevenly.)Criticshavesometimessuggestedthatthisrelianceonduplemeterinjazzisalimitation,butmostjazzmusiciansagreethat4/4swingistheessentialheartbeatofjazz.Nevertheless,fromtimetotime,jazzmusicianshaveexperimentedwithothertimesignatures.Inthe1950sand1960s,thejazzwaltzbecamefashionable.JazzwaltzessuchasÒBluesetteÓbyjazzharmonicaplayerTootsThielemansandÒGravyWaltzÓbybassistRayBrownwerepopularexamples.PianistBillEvansisstillrememberedforhisrecordingofÒWaltzforDebby.ÓOthertimesignaturesbegantopopupafterDaveBrubeckÕsmulti-metricalbumTimeOutwasissued.PaulDesmondÕscompositionÒTakeFiveÓ(in5/4)andBrubeckÕsÒBlueRondoalaTurkÓ(in9/8)quicklybecamejazzstandards,andtheiropeningostinatosarestillinstantlyrecognizable.Indeedmostjazzcompositionsinunusualmetersrelyonostinatosforformalandrhythmicorganization.DonEllis,atalentedtrumpetplayerandcomposer,frontedabigbandinthe1960sthatplayedmusicinmanydifferentandunusualmetersincluding5/4,7/4,and9/4.ThetitleofhiscompositionÒ33-222-1-222Órepresentsthesubdivisionofthetimesignatureofthepiece,whichis19/8!Theopeningostinatooutlinesthepulsesubdivision.Inthe1970sand1980s,fusionrequirednotonlyareturntoduplemeterbutalsoaneveneighth-notesubdivisionofthebeatbecauseofitsrockorigins.Jazzpuristsstillrailagainstthissupposedcorruptiveinfluence,arguingineffectthatÒifitdoesnÕtswing,itisnÕtjazz.Ó(Seechapter6,ÒFusion.Ó)Latininfluenceshavealsobecomepervasiveinjazz:Afro-Cubaninthe1940sand1950s,Brazilian(thebossanovaandsamba)inthe1960sand1970s,andArgentinean(e.g.,thetangosofguitaristAstorPiazzolla)inthe1980s.Likefusion,theseLatingenresarebasedmostlyonduplemeter.Inaddition,fusionandLatinstylesoftenfeatureostinatosasacentralunifyingelement.178 jazzcomposition35/29/039:32AMPage179CHAPTER5METRICCONSIDERATIONSContemporaryjazzcomposerssuchasChickCorea,PatMetheny,MichaelBrecker,andBillyChildsenjoythechallengesofwritingandplayinginunusualtimesignatures,oftenmixingthemwithstraight-aheadpassagesin4/4.OneofthemostinterestingjazzcompositionsinrecentyearsisÒEscherSketchÓbyMichaelBrecker.Thepieceiswrittenin6/4andalternatesbetweentheeveneighthandsixteenthnotesofrockandtheswingeighthnotesofjazz.Themusicalexamplesthatfollowdemonstrate3/4,5/4,and7/4respectively.ÒForBillÓ(in3/4)iswritteninabacsongform.ThemelodyismostlydiatonictoFMajor,andtheharmonyissimpleandfunctional.ÒFullHouseÓisabluesbasedonanostinatoin5/4.ÒUno,Dos,Tres...Óisashortthrough-composedmodalpieceinEPhrygianbasedonanostinatoin7/4.44ForBillTedPease=140AÐ7DÐ7GÐ7C7(11)BAÐ7DÐ7EÐ7(5)A7(9)1GÐ7C7AÐ7DÐ7G9F7G7GÐ7C+72BMaj7C7/BAÐ7D7(9)GÐ7C7F6179 jazzcomposition35/29/039:32AMPage180JAZZCOMPOSITIONTHEORYANDPRACTICE45FullHouseTedPeaseIntro(bass)A33DÐ7C33B7(11)DÐ7C33A7(11)B7(11)DÐ7CDÐ7etc.repeatandfade180 jazzcomposition35/29/039:32AMPage181CHAPTER5METRICCONSIDERATIONS46Uno,Dos,Tres...TedPeaseIntroLatinfeelAEÐ(9)FMaj7EÐ(9)FMaj7G6FMaj7EÐ(9)AÐ7D7GMaj7CMaj7FMaj7B7(5)EÐ(9)FMaj7EÐ(9)FMaj7adlib.EÐ(9)FMaj7repeatandfade181 jazzcomposition35/29/039:32AMPage182JAZZCOMPOSITIONTHEORYANDPRACTICEMetricModulationMetricmodulationinvolvesachangefromonetimesignaturetoanother.ExamplesofthisincludeChickCoreaÕsÒTonesforJoanÕsBonesÓ(metricmodulationfrom4/4to6/8andback)andÒLithaÓ(metricmodulationfrom6/8tofast4/4),andÒHowMyHeartSingsÓbyEarlZindars(metricmodulationfrom3/4to4/4andback).Similareffectsoccurwhenthereisachangeoffeelintherhythmsection.Sometunes,suchasÒNicaÕsDreamÓandÒNutvilleÓbyHoraceSilverandÒANightinTunisiaÓbyDizzyGillespie,changefromaLatinfeeltoswingandback.Inothertunes,suchasÒWhisperNotÓbyBennyGolson,thereisachangefromaÒtwofeelÓtoÒinfour.Ó=.etc..=etc.=etc.(Latin)(Swing)(2feel)(in4)etc.etc.(SeeletterAofÒThisIsWhatWeDoÓ(page232)forexamplesofmixedmeter.)182 jazzcomposition35/29/039:32AMPage183CHAPTER5METRICCONSIDERATIONSEXERCISES1.Writeathirty-two-measuretunein3/4andinabacform.2.Writeaminorbluesin5/4time.3.Writeamodalpiece(chooseanymode)basedonanostinatoin7/4.4.Writeashortthrough-composedcompositionthatusesmixedmeters.5.ResearchthetunesreferredtounderÒMetricModulation.ÓFindleadsheetsandrecordingswheneverpossible.183 jazzcomposition35/29/039:32AMPage184JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterial3/4(6/8,6/4)SeeÒForBill,Ópage179.AChildIsBorn(ThadJones)AllBlues(MilesDavis)6/8AttheCloseoftheDay(FredHersch)BeautySecrets(KennyWerner)BlackNarcissus(JoeHenderson)BlueDaniel(FrankRosolino)Bluesette(TootsThielemans)BluesforYnaYna(GeraldWilson)BrokenWing(RichieBeirach)DarkTerritory(MarcCopland)Dienda(KennyKirkland)Dreams(BillyChilds)Footprints(WayneShorter)6/4TheEverlastingNight(GaryWillis)ThreeViewsofaSecret(JacoPastorius)UpJumpedSpring(FreddieHubbard)WaltzforDebbie(BillEvans)WestCoastBlues(WesMontgomery)Windows(ChickCorea)5/4SeeÒFullHouse,Ópage180.ExitsandFlags(MiltonNascimento)TakeFive(PaulDesmond)7/4SeeÒUno,Dos,Tres...,Ópage181.LittleWind(GeriAllen)MilesBehind(ClareFischer)Willow(PaulMcCandless)MIXEDMETERSeeÒThisIsWhatWeDo,Ópage232.TheBeautyofAllThings(LaurenceHobgood)BlueMatter(JohnScofield)DreamOn(ChristopheWallemme)HowMyHeartSings(EarlZindars)JBenJazz(VinnyValentino)LikeFather,LikeSon(BillyChilds)TakeHeart(RalphTowner)TrioImitation(KennyWerner)184 jazzcomposition35/29/039:32AMPage185CHAPTER6FusionAdiscussionofjazzcompositionwouldbeincompletewithoutamentionoffusion.Theinfluenceofrockmusiconjazzandofjazzonrockfirstbecamenoticeableinthemusicofyoungermusiciansinthe1960sduringtheheydayoftheBeatles.VibraphonistGaryBurton,theninhistwenties,ledaquartetthatincludedguitaristLarryCoryell,bassistSteveSwallow,anddrummerBobMoses.BurtonÕsgroupbeganusingrockasastylisticelementinsomeofitsrepertoire.HerbieHancock,alsoinhistwenties,usedtheeveneighthnotesandbackbeatofrockonhisalbumssuchasMaidenVoyage,ThePrisoner,andFatAlbertRotunda.FreddieHubbardusedrockelementsonhisalbumRedClay.Meanwhile,pop-rockgroupssuchasBlood,Sweat&TearsandChicagofeaturedhornsectionsandincorporatedextendedjazzsolosinmanyoftheirarrangements.Therewasgiveandtakebothways.Inthelate1960s,MilesDavisbecameinterestedinthegroove-orientedmusicofJamesBrownandinpop-rockbandssuchasSlyandtheFamilyStone.InaseriesofalbumsthatincludedFillesdeKilimanjaroandInaSilentWay,andthatculminatedinthenowclassicBitchesBrew,Davisofferedupanimprovisationalmusicbasedonostinatosandrhythmicgroovesthatcontainedlengthysolospaceandaminimumamountofformalcomposition.Thesealbumsbecamesuccessivelymoreelectricwithguitarandelectrickeyboard(s)becomingmoreandmoreprominent.ParticipantsintheBitchesBrewsessionsincludedJoeZawinulandWayneShorter,whosubsequentlyformedWeatherReport;ChickCorea,wholaterformedReturntoForever;JohnMcLaughlin,whowentontoformtheMahavishnuOrchestra;andLarryYoung,wholaterplayedwithdrummerTonyWilliamsÕgroup,Lifetime.ThatthesefusionbandsallseemedtodescendfromMilesDavisandBitchesBrewisprobablythereasonwhymanyjazzhistoriansciteBitchesBrewasthefirsttruefusionalbum,eventhoughtheseedsoffusionweretherelongbeforethatalbumcameout.Forawhile,therewassomethingofanidentitycrisisinjazz.Jazztraditionalistscomplainedthatjazz-rockandfusiondonÕtswing,andthatelectricinstruments(otherthanperhapshollowbodyelectricguitar)havenoplaceinatruejazzband.Othersarguedthatfusioncooksjustasmuchasjazz,albeitataslightlydifferenttemperature,andthatithasintroducedjazztoabroadspectrumofyoungrockerswhootherwisemightneverhavebeenexposedtoit.Inthefinalanalysis,itisimpossibletoignoreamusicalgenrethatessentiallyco-optedthejazzsceneformorethantwentyyears.OthersuccessfulfusionpractitionersinrecentyearshaveincludedJeffLorber,PatMetheny,LyleMays,RussellFerrante,RandyandMichaelBrecker,JohnScofield,andAydinEsen.So,whatdistinguishesfusionfrombeboporpost-bebopormodaljazz?Onepossibleclueliesinwhothewritersoffusionare.JoeZawinul,ChickCorea,HerbieHancock,JohnMcLaughlin,JohnScofield,PatMetheny,LyleMays,JeffLorber,BillyChilds,AydinEsen,andRussellFerrante(tonamejustafew)areallkeyboardorguitarplayers.Itisnotsurprisingthenthatalotoffusioncompositioniseitherkeyboardorguitaroriented.185 jazzcomposition35/29/039:32AMPage186JAZZCOMPOSITIONTHEORYANDPRACTICEFusionMelodyMelodically,thereisade-emphasisonthebluesscaleinfusion,unlessthecontextisfunk.Melodiesareeithermostlydiatonictomajor,minor,ormodalscales,ortheymayoccasionally(usuallyonlymomentarily)beintenselychromatic.Melodicrhythmsmovebackandforthbetweennotesoflongduration(oftentensions)thatsustainovertherhythmicgroove,andnotesofshorterdurationthatmoverestlesslybetweenthelongernotes,oftenjabbingwithsyncopatedattacks.FusionHarmonyFusionharmonyreliesheavilyonparallelism(constantstructures),modalharmony,andchromaticharmony(chordprogressionsthatareobtainedbyvoiceleadingoneormorenotesofachordbyahalfsteptocreateanewchordÑseebelow).Thereisatendencyinfusiontoprogressfreelyfromchordtochordwithoutnecessarilypausingtoconfirmaparticulartonalityormodality.Thiscancreatesurprisinglyeffectiveshiftsinaprogression,andfinalcadencescanbedelayedalmostindefinitelyfordramaticpurposes.Voicingsinfourthsandfifths,andupper-structuretriadsandslashchordsarecommon.Voicingsinthirdsarelesscommon.Parallelism(SeeÒAndThereYouAre,Ópage189,measures29Ð30.)CMaj7/EFMaj7G7sus4AÐ9ChromaticHarmony(SeeÒAndThereYouAre,Ópage189,measures9Ð20.)AÐ9FMaj7(11)E/EC/DF/ECÐ9Esus2/D186 jazzcomposition35/29/039:32AMPage187CHAPTER6FUSIONFunk/fusiondictatestheuseofdominantchordswithblues-scaletensions,butÒpureÓfusiontendstode-emphasizethetritoneanddominantchordsingeneral.(Ifadominantseventhchorddoesoccur,itisusuallyinsus4position.)Alsoabsent(usually)areaugmented,diminished,andhalf-diminishedchords.Majorsevenandminorsevenchords,liberallysprinkledwithtensions,aremuchmoreprevalent.Fusioncomposerstendtoavoidtheidiomaticchordprogressionsofconventionaljazzandbebop(II/V,secondarydominants,etc.).Pedalpointandostinatoarecommoninfusiontunes.Andbecausefusionisrhythm-sectionoriented,thebass(sometimesdoubledwithkeyboardand/orguitar)isoftenfeaturedintheforegroundeitheronthemelodyoronanimportantbassriff.Whenthishappenspersistently,IcallittheÒmega-bassÓeffect.FusionRhythmMostfusionisinduplemeter(e.g.,4/4orpossibly2/2)andfeaturesapersistentbackbeat(thisfromitsrockorigins).OftenthereareLatininfluences(especiallyBrazilian),andtheuseofLatinpercussioniscommon.Somefusioncomposers(suchasChickCoreaandBillyChilds)haveusedmixedmeter(5/8,6/8,7/8,etc.)alongwithduplemetertogoodeffect.Thewalkingbasslinesofconventionaljazzarenoticeablyabsent.Basslinesinfusiontendtobejustassyncopatedasdrumrhythms,andsometimesthebasslineandthedrumpartaresynchronizedrhythmically.Whereasswingrhythmsinjazzstrivetobelinearandsmooth,fusionrhythmstendtoberestlessandoftenfragmented.FusionInstrumentationTheinstrumentationoffusionbandsis,bydefinition,electricandincludeselectricguitar(s),electrickeyboard(s)(includingsynthesizers),andelectricbass.Thedrumsmaybespeciallymikedaswell.Theremaybeawindinstrument(usuallyasaxophone),andittoomaybespeciallymikedorhookeduptoanelectronicdevicesuchasanEWI(electronicwindinstrument).Auxiliarypercussionisalsocommon.Thefollowingtunes,ÒAndThereYouAre,ÓÒPedaltotheMetal,ÓandÒWithAllDueRespect,Óarepresentedinafusioncontext.ÒAndThereYouAreÓisathrough-composedtunebasedonguidetones,astrongbassline,andchromaticharmony.Ifyoufollowthenotesoflongduration,youwilldiscoveritsskeletalstructure,whichisillustratedonpage188.187 jazzcomposition35/29/039:32AMPage188JAZZCOMPOSITIONTHEORYANDPRACTICEThefollowingsketchalsoshowsthechromaticconnectionsbetweenthechordsthatallowthepiecetovisitdistantlyrelatedtonalcenters.Sketchof“AndThereYouAre”TedPeaseAÐ9FMaj7(11)E/EC/DF/ECÐ9Esus2/DCÐ9F/BG/AA/GD/FEÐ9G/F(notethecontrarymotion)CMaj7/EFMaj7G7sus4AÐ7Dsus2Esus2B/E(contrarymotionagain)EMaj7F/DCÐ9CMaj7(11)C7sus4F7sus4Bsus4G/B(andagain)EMaj7/BCMaj7(11)/B188 jazzcomposition35/29/039:32AMPage189CHAPTER6FUSION47AndThereYouAreTedPeaseIntro=150even8thsAÐ91VampAAÐ9FMaj7(11)E/E9C/DF/ECÐ9Esus2/D15CÐ9F/BG/AA/GD/FBEÐ921G/FCMaj7/EFMaj7G7sus4AÐ727Dsus2/FEsus2/FB/E31CEMaj7F/DCÐ9CMaj7(11)C7sus4F7sus4Bsus437G/BEMaj7/BCMaj7(11)/B43D.S.Ifthistunesoundsfamiliar,itÕsbecauseyouhearditearlierinadifferentcontextasthejazzballadÒWhereDidYouGoÓ(page157).189 jazzcomposition35/29/039:32AMPage190JAZZCOMPOSITIONTHEORYANDPRACTICEÒPedaltotheMetalÓisinaabb'acform.Intheasection(measures1Ð8),abasslinedescendsinhalfstepswhileinvertedvoicingsinfourthsharmonizeaÒmelodyÓthatdescendsinwholesteps.Inmeasures7and8,triadsharmonizeanascendingmelodiclinewhilethebassdescendschromatically.(Therhythmsinmeasures7and8suggestadiminutionoftherhythmsinmeasures2through4.)Inthebsection(measures9Ð16),thereisafour-measureconversationbetweenthekeyboardandthebass,followedinmeasures13Ð15byanechoofmeasures2Ð4inthekeyboardpart.Intheb'section(mea-sures17Ð24),thereisasequenceofmeasures9Ð12followedbyanotherechoofmea-sures2Ð4,thistimewithanascendingmelodicline.Theasectionthenrepeatsandmovestothecoda,wherethecsectionoftheformprovidessustainedchordsagainstapedalCandsomedrumfills.TheÒchangesÓontheleadsheettoÒPedaltotheMetalÓareapproximationsoftheharmoniccontentandareincludedforreferenceonly.ThepieceisderivedmostlyfromthebasslineÑchromaticallyrestlessintheasection,moremelodicinthebandb'sections,andstaticinthecsection.48PedaltotheMetalTedPease=120AF/EBsus2/DD6/9(no3rd)Asus2/CC6/9(no3rd)Gsus2/BEsus21Synth.Elec.BassfillfillfillfillfillfillDrumsF/EBsus2/DDMaj7F/CE/FF/EG/EA/D5simile190 jazzcomposition35/29/039:32AMPage191CHAPTER6FUSIONBCPhrygianGLydian91/2XfeelFPhrygianEPhrygianCPhrygian13fillsolofillBPhrygianE(F)Lydian717191 jazzcomposition35/29/039:32AMPage192JAZZCOMPOSITIONTHEORYANDPRACTICED.C.alCodaD/GEÐ/FFÐ/EG/DC(9)no3(Phrygian)(1sttime)21solofillCodaF/CFsus4/CD/CF7sus4/C25(fill)F/CFsus4/CD/CF7sus4/C29(fillaroundfigures)Solos192 jazzcomposition35/29/039:32AMPage193CHAPTER6FUSIONÒWithAllDueRespectÓisanepisodicfusioncompositionwithseparateanddistinctmusicalsections.Thecontextismorefunkorientedthanthetwopreviouspieces.Intro(rubatopianosolo)ÑemphasizeschromaticharmonyagainstamelodyinEminorthatsubsequentlyshiftstoAminorAsection—pianovamp(basedontheintro)establishesthetempo;themeisaa’bform(brecallstheintro)Bsection—rhythmicostinato(pentatonic-scalethemeharmonizedwithconstantstructures)CsectionÑsolooverB7vamputilizingtheB7symmetricdiminishedscaleDsectionÑsolocontinuesoverintrochanges(half-timefeel);CsectionandDsectionplayedtwiceEsectionÑdrumsolooverB7vampRecapitulationoftheAsectionCodaÑemphasizestheB7symmetricdiminishedscale;finaleightmeasuresrecallthechromaticharmonyoftheintroandletterD49WithAllDueRespectTedPeaseIntroRubatoPianoSolorit.193 jazzcomposition35/29/039:32AMPage194JAZZCOMPOSITIONTHEORYANDPRACTICEA=110FunkPianovampcontinues1Vamp2pno.(bs.)194 jazzcomposition35/29/039:32AMPage195CHAPTER6FUSIONBB/CA/BB/CE/FD/EB/CA/BBassvampcontinuesB/CB/CA/BB/CE/FD/EB/CA/BB/CB/CA/BB/CE/FD/EB/CA/BsimiletuttiCSolos(4x’s)B7(9,5,13)D(1/2TimeFeel)EÐ9C/EEÐ9ELocrian195 jazzcomposition35/29/039:32AMPage196JAZZCOMPOSITIONTHEORYANDPRACTICEEÐ9C/ECÐ7/EEÐ7sus4E12(DrumSolo)B7(9,5,13)D.S.atBGotoletterAforadditionalsolosandtakeCodaCodadrumfillsdrumfillsC/BdrumfillEÐC/E(fills)(fills)timeELocrianEÐ(fills)196 jazzcomposition35/29/039:32AMPage197CHAPTER7EpisodicFormEpisodicpieceshaveseparate,completesectionsthatdividethewholeofapieceintoaseriesofself-containedmusicalunits.Theindividualsectionsmaycontainimportantthemes,changesinmoodortempo,ortonalormetricmodulations.Agivensectionmayevencontainitsownseparatesongformorperhapsabluesform,andthatformmayberepeatedasabasisforimprovisedsolos.ExamplesofepisodicjazzcompositionsincludeÒDjangoÓ(JohnLewis),ÒThreeViewsofaSecretÓ(JacoPastorius),ÒSpainÓ(ChickCorea),ÒBirdlandÓ(JoeZawinul),ÒTwoBassHitÓ(DizzyGillespie),ÒHighlandAireÓ(LyleMays),andÒEcarohÓ(HoraceSilver).Inasmuchasepisodicformscontainseparateanddistinctmusicalunits,weneedtoadjustthewaywerecognizeandlabelthem.Accordingly,wewilluseuppercaseletters(A,B,C,etc.)forindividualepisodes,whilewecontinuetouselowercaseitalicizedletters(a,b,c,etc.)foranyphrasesubdivisionsofthoseepisodes.Ahypotheticalepisodicpiecemightbelaidoutasfollows:Introduction(eightmeasuresÑrubato,setsupFminortonality)A(theme:sixteenmeasuresatslow4/4tempoÑabforminFminor)B(newtheme:thirty-twomeasuresatslightlyfaster4/4tempoÑaba’forminB%major)C(newtheme:twelvemeasuresatfast6/8tempoÑbluesforminGminor;bluesformthenrepeatedforsolosfollowedbyarecapitulationoftheCthemetoaconcludingfermata)A(recapofAtheme)Coda“InCelebrationofSaxophones”ÒInCelebrationofSaxophones,Ówhichfollows,isashortepisodicpieceinABCAepisodicform.ComparethispiecetoÒScroogeÓ(page147),whichisinabcasongform.InÒScrooge,Óthea,b,andcsectionsaremotivicallysimilar.Theyarelinkedtogetherbythecommonpurposeofpreparingtheclimaxofthesonginmeasure21.Thephraselengthsaresymmetrical,andthewholetunestaysclosetotheDminortonality.Theresultisathoroughlyintegratedthirty-two-measureÒtune.ÓÒInCelebrationofSaxophonesÓislaidoutdifferently.First,thereisnorhythmsectionaccompaniment.Second,thephraselengthsaredifferent.TheAsectionisaself-containedtwelve-measurebluesform.TheBsectionisonlyeightmeasureslongandcontainsanentirelynewtheme,firstinB%minorandthen(strikingly)inEmajorandDmajor,twokeycentersthataredecidedlydistantfromthehomekeyofD%major.TheCsectionisinDminorandisalsoeightmeasureslong.Itcontainsanother197 jazzcomposition35/29/039:32AMPage198JAZZCOMPOSITIONTHEORYANDPRACTICEnewtheme,whichisthoroughlydiatonicbutthatcreatessomestrongdissonanceswithtriadsagainstachromaticbassline.TherecapitulationofArelaxesthetension,andtheextendedcodacontributestothesenseofimpendingfinality.Inthefinalanalysis,thepieceisexperiencednotasatune(orÒheadÓ)butasacollectionofthreedifferentandyetintegratedthemes.Thescoringofthethreedifferentthemesalsohelpstodifferentiatethem.Thealtosaxophoneplaysthefirsttheme,thebaritonesaxophoneplaysthesecondtheme,andthetenorsaxophoneplaysthethirdtheme.Thealtothenreturnstoplaythefirstthemeagain.Form:AsectionÑtwelve-measurebluesinD%major;altosoloBsectionÑeight-measurethemeinB%AeolianandthenEmajorandDmajor;baritonesoloCsectionÑeight-measurethemeinDAeolian;tenorsoloAsectionÑ(dalsegnoalcoda)repeatoftheAsectionCodaÑseven-measureconcludingpassagebasedonD%pedalpointinthemelodyandchromaticallydescendingdominantseventhchordsintheharmonyArrangingandScoring:ÒInCelebrationofSaxophonesÓcontainsavarietyofthree-,four-,andfive-partvoicingsituations(designatedas3P,4P,and5P).Thechoralestylepresentsauniquechallengeinasmuchasthescoringmustprovideacompletemelodic,harmonic,andrhythmicsoundscapewithoutrhythmsectionaccompaniment.Thepieceisscoredforfivesaxophones:twoaltos,twotenors,andbaritone.Becausethereareseparatesolosforalto,baritone,andtenor,muchofthepiececonsistsofmelodywithathree-orfour-partbackground.Occasionally,allfivehornscometogethertocreateafive-parttexture.Thefollowingmenuliststhevarioustechniquesastheyoccurmeasurebymeasure.Measure(s)Observe1Ð2altosolowith4Pspreadbackground33Pvoicingsin4ths;independentbaritone45Pvoicingincludesmelodyasaseparatefifthnote5Ð65Pspreadfollowedbyfour-wayclose(doublelead8vb)7Ð8altomelodywith3Pspreadbackground95Pspreadvoicing10Ð12altomelodywith3Pspreadbackground13Ð15baritonesolowith3Pinverted4thsbackground16Ð205Pvariablevoicings21Ð23tenorsolowith3Pvoicingsin4thsdescendingchromatically24tenormelodywith4Pspreadbackground25Ð273Pvoicings(mostlyupperstructuretriads)withanindependentbasslinethatcreatesinterestingslashchords285Pvariablevoicings29Ð35(coda)altomelodywith4Pspreadbackgrounds198 jazzcomposition35/29/039:32AMPage199CHAPTER7EPISODICFORMInCelebrationofSaxophones50TedPeaseSlowswingD6(9)G9D6(9)AÐ11D13(9)A33333G9GÐ9C9DMaj7EÐ7FÐ7C9B9EÐ93533EÐ9E95EÐ9A9sus4(D)93[GFEEED]B(even8ths)BAeolianE9(swing)1333FMaj7(EMaj7)AÐ7EÐ7BÐ7EÐ9A9(13)D6/9D7(alt)317181920199 jazzcomposition35/29/039:32AMPage200JAZZCOMPOSITIONTHEORYANDPRACTICECDÐEÐ11A7(13)21DÐ11F/DB/E/FC/FF/GB/GB/A/BC/BD/CE/DF/EA/GBÐ7EÐ7A7D.S.alCoda25CodaG9G9F9E9293E9DMaj7D7(9)323Episodicpiecescanemployavarietyofmusicalblueprintsthatrepresentconceptualexpansionsofsongform.Thus,itisnotunusualtofindepisodicpiecesinAB,ABC,AABA,ABAC,orABCAform.However,theepisodesinsuchpiecesareoftenlonger(possiblyevenwithsubdivisions)andaredecidedlymorecompleteandindependentthantheirsongformcounterparts.(Forexample,theremaybemodulationsbetweenepisodes,aswithÒInCelebrationofSaxophones.Ó)Inaddition,portionsofinitialepisodesmayberevisited.Forexample,apiecethatbeginsinABACepisodicformmightcontinueontobecomeABACB'A'C'A".Theuseoftheapostropheorthedoubleapostrophe(A'orB'orC'orA")tellsusthattheessenceoftheprecedingA,B,orCsectionshasbeenmaintained,butcertainalterations(changeofkeyormode,shortening,lengthening,motivicmanipulation,reharmonization,etc.)havebeenemployedtofurtherdevelopthemainidea.200 jazzcomposition35/29/039:32AMPage201CHAPTER7EPISODICFORMEXERCISES1.Listentoanyorallofthefollowing:ÒDjangoÓ(JohnLewis),ÒThreeViewsofaSecretÓ(JacoPastorius),ÒSpainÓ(ChickCorea),ÒBirdlandÓ(JoeZawinul),ÒTwoBassHitÓ(DizzyGillespie),ÒHighlandAireÓ(LyleMays),ÒEcarohÓ(HoraceSilver).Ifpossible,viewleadsheetsofthesecompositions.Identifytheepisodesineach.Determinewhetheranyoftheepisodeshavesubdivisionsandwhetherthosesubdivisionsconstituteasongformortheblues.2.Usingyourthrough-composedtune,writeaneight-measureinterludeattheendofthetunebasedonapedalpointandabrokentimefeelintherhythmsection.Ideally,theinterludewillalsoserveasanintroductiontoyourtune.Aftertheinterlude,addaneight-tosixteen-measurerepeatingsoloformbasedonachordprogressionoffourtoeightchordchangesthatarenotdrawnfromthemaintune(usestretchedoutharmonicrhythms).Achangeintonalityormodalitymaybeespeciallyeffectiveforthesolosection.(Theinterludemayalsosuggestharmonicpossibilities.)Afterthesolo(s),writeanotherinterlude,similartothefirstinterludebutwithsomevariation.ThendevelopthemotivicmaterialofyourtuneinanÒarrangerÕschorus.ÓFinally,writeacodabasedontheintro/interlude(s).Theresultingformwillbeepisodic:Intro;Asection(yourtune);interlude;Bsection(contrastingsoloform);AÕsection(arrangerÕschorus);extendedcoda.3.Writeashortpiece(twotofourminutes)inABCAepisodicformforfivehornswithoutrhythmsection.UseÒInCelebrationofSaxophonesÓasamodelordeviseyourownblueprint.SourceMaterial—EpisodicCompositionsAnaMaria(WayneShorter)TheBeautyofAllThings(LaurenceHobgood)Birdland(JoeZawinul)Celia(CharlesMingus)Django(JohnLewis)Ecaroh(HoraceSilver)LittleWind(GeriAllen)LushLife(BillyStrayhorn)NowHeSingsNowHeSobs(ChickCorea)OdetotheDooDaDay(JimBeard)ReincarnationofaLovebird(CharlesMingus)Shawnuff(CharlieParker/DizzyGillespie)Spain(ChickCorea)StraightUpandDown(ChickCorea)ThreeViewsofaSecret(JacoPastorius)TimeTrack(ChickCorea)WhenItWasNow(WayneShorter)201 jazzcomposition35/29/039:32AMPage202CHAPTER8MotivicCompositionMotiviccompositionpresentsachallengetothejazzcomposerthatisdifferentfromcomposingand/orarrangingtunes.AmotiviccompositiondevelopsfromoneormoresmallmusicalfragmentsorÒcellsÓinsteadofanintegratedmelodyandchordprogression,orÒhead,Óthatisbasedonsongform.Songformsaresometimesintroducedasinternalepisodesinmotiviccompositions,butgenerallytheytendtohavesupportingrolesratherthanserveasthecentralfocus.Amotifusuallyconsistsofbetweentwoandeightnotes,althoughcircumstancesmaydictatesomethingmoreextensive.Itmaybeaninterval,abrokenchord,orsomeothershortmusicalgesturelastingforameasureortwo.Amotiviccompositionisconcernedwiththemanipulationanddevelopmentofmotifs.Thismanipulationanddevelopmentisaccomplishedthroughtheapplicationofrepetition,sequence,inversion,retrograde,retrogradeinversion,displacement,harmonization,reharmonization,augmentation,diminution,truncation,modulation,andsoforth.Thefollowingexerciseswillgiveyousomepracticewithmotivicmanipulation.EXERCISESGiventhefollowingmotifanditsscale(orharmonic)implications:1.Derivefouradditionalmelodicvariationsusingthegivenrhythm.2.Derivefouradditionalrhythmicvariationsusingthegivenpitches.202 jazzcomposition35/29/039:32AMPage203CHAPTER8MOTIVICCOMPOSITION3.Deriveeightadditionalharmonizationsforthegivenmotif.C7B7DÐ9G7(9)4.Writeasixteen-measuremelodyusingthegivenmotifandsimilarvariations.Giventhefollowingmotifanditsscale(orharmonic)implications:5.Derivefiveadditionalmelodicvariationsusingthegivenrhythm.203 jazzcomposition35/29/039:32AMPage204JAZZCOMPOSITIONTHEORYANDPRACTICE6.Derivefiveadditionalrhythmicvariationsusingthegivenpitches.(Repeatnotesifnecessary.)7.Derivetenadditionalvariationsusingacombinationofrhythmsandpitches.Includeembellishmentsifdesired.204 jazzcomposition35/29/039:32AMPage205CHAPTER8MOTIVICCOMPOSITIONInternalFormforMotivicCompositionsTheinternalforminvolvesthedetailsofapiece.Theinternalformiswhereyoutrytofindthedelicatebalancebetweenfamiliarmaterial(bywayofmotivicrepetitionorallusion)andnewmaterial(bywayoftangentsorvariations)asthepieceevolves.Itiswhereyoumakedecisionsabouttempo,style,tonality,modality,harmonicrhythm,consonanceanddissonance,voicings,orcounterpoint.Itiswhereyoudecidewhetherornottouserecognizableinternalepisodesbasedonsongformsorthebluestomakeyourmusicmoreaccessibletotheplayersandaudience.Itiswhereyoumakedecisionsaboutorchestration.Itiswhereyoudecideonsoloformsandahostofotherthings.Anditiswhereyouwillprobablyexperiencesomemomentsoftotalexhilarationandothermomentsoftotalbewildermentandfrustration.Suchisthenatureofthecompositionalprocess.IthelpstounderstandthatyoudonÕthavetoknowallthedetailsofapieceattheoutset.Partoftheprocessofcompositioninvolveslettinggoandlettingapieceflowthroughyou.YoucanÕtalwaysplanforthis;sometimesitjusthappenswhenyouleastexpectitinthemiddleofthenightorwhenyouÕreonthebus.ItisagoodideatokeepamusicsketchbookhandysoyoucanjotdownanideabeforeitÒevaporates.ÓIfindstartingwithanemptyfull-pagescoretobeintimidating,soIalwaysbeginbyusingsketchesonone,two,orthreestaves.Ialwaysbeginsimply,withasinglebrushstroke:anote,aninterval,achord,aÒlick.ÓIfIlikeit,Imightrepeatitonthesame,orperhapsadifferent,pitchaxis.Iamafanaticaboutbasslines,soItrytobeconsciousofwhatisgoingtohappeninthebassvoicerightaway.(Itmaynotbethestringbass;itmaybebaritonesaxophone,bassclarinet,orthelefthandofthepiano!)Thefirstfourmeasuresareusuallythemostdifficulttoconceive(althoughIhavebeenluckysometimesandhavecometothewritingdeskwithanideafirmlyinmind).Oncethefirstfourmeasuresarelaidout,Iusuallytrytodevelopthoseinitialideasforseveralmeasures.Hopefully,IwillthenhavethemakingsofanAsection,oratleastanasubdivisionofagestatingAsection.Confusedaboutuppercaseandlowercaseletters?Rememberthatwhenanuppercaseletter(A,B,etc.)isusedinformalanalysis,itreferstoacompleteepisode,nottheshortphraseofasongform,asinaabaorabac,andnotaportionofanepisode.However,acompleteepisodeofalongercomposition(anAsection,aBsection,etc.)maycontainsubdivisionsthatcanbedefinedwithlowercaseletters(a,b,c,etc.),whetherthosesubdivisionsrepresentsongformorjustcontrastingmusicalideas.(Itshouldbenotedthatthebeginningofanepisodeinacompositionisoftenassignedanuppercaseletteronthescoreandonthepartsforrehearsalpurposes.Subdivisionsareusuallylabeledwithjustameasurenumber.)TofacilitatethecreationofabsubdivisioninthefirstAepisode,Iusuallyintroduceanewmotif.Ioftenthinkofwordswithopposingmeaningsandtrytofindawaytoexpressthoseoppositesmotivically.Wordoppositeslikemajor/minor,tonal/modal,slow/fast,high/low,stable/restless,loud/soft,active/passive,treble/bass,orforeground/backgroundcansometimessuggestmusicaldirection.205 jazzcomposition35/29/039:32AMPage206JAZZCOMPOSITIONTHEORYANDPRACTICESometimesIconnecttheaandbsubdivisionswithashortinterlude(fouroreightmeasures).Turntothenextselection,ÒDynamicDuo,ÓandlistentotheCD.NoticethattheAsection,whichbeginsatmeasure23,containstwosubdivisions(labeledÒaÓandÒbÓonthescorefordescriptivepurposes).Theaandbsectionsareconnectedbyashortinterludeatmeasure39.OnceyouhaveanAsection(withorwithoutsubdivisions)moreorlessthewayyouwantit,thereareseveralwaysyoucango:1.RepeattheAsectionwithorchestralvariationsand/orcountermelodies.(Ifthevariationsaresubstantial,youmayevenconsiderthisparttheBsection!)2.Gointoaholdingpattern(aninterlude)beforeproceeding,usingapedalpointinthebasswithmotivicfragmentsoverthetop.3.FurtherdeveloptheAsectionusingtheusualtechniquesofsequence,inversion,retrograde,truncation,extension,augmentation,modulation,etc.4.BegintheBsection,whichmayconsistofadditionalmotivicdevelopmentoftheAsection(e.g.,inadifferentmodalcontext),orthefirstsolo,orperhapsacombination.Forexample,thesolomaybeaccompaniedbymotivicreferencesinthebackground.5.BegintheBsectionwithacompletelynewmotifortheme.6.Pause,goback,andcreateanintrotoyourpiecethatsetsuptheAsectionandthatmayhavesomeuselaterasaninterludeorcoda(forexample,anostinato).Youcanthencontinuetoextendtheforminmanydifferentways:¥A,B,interlude,solos,etc.¥A,B,A,C,A,D,etc.(Thisislikeclassicalrondoform.)¥A,B,interlude,thendevelopAmoreinanewtonalityormodalityandatadifferentpitchaxis¥A,B,C,thendevelopB,thensolooveranostinatotakenfromtheintroduction,etc.Eventually,youaregoingtowanttobringthepiecetoapointofclimax.(Indeed,theremaybesomemini-climaxesalongtheway.)Theprimaryclimaxshouldoccurapproxi-matelytwothirdstothreequartersofthewaythrough.Followingtheclimaxtherewillprobablybearecapitulation(return)toaportionoftheinitialmaterial.Thereshouldbedefinitereferencestotheoriginalmotivicmaterialbeforeyouendthepiece.TheinternalformofÒDynamicDuoÓisdetailedinthenextsection.ÒDynamicDuoÓisacompositionbasedonadescendinghalf-stepmotif.TheAandBsectionsaresimilar,butthereisonesignificantdifferencebasedonthesewordopposites:foreground/background.IntheAsection,thetrumpetandtenorareintheforegroundastheyplaythemaintheme,whiletherestoftheensembleplaysasupportingroleechoingthehalf-stepmotifinthebackground.IntheBsection,theensembleisintheforegroundastheyplaythemaintheme,whilethetrumpetandtenorplaythesupportingroleechoingthehalf-stepmotifinthebackground.Inotherwords,thereisareversalofroles.TheAandBsectionsbothhaveaandbsubdivisions.TheCsectioncontainssolosfortrumpetandtenor(theÒDynamicDuoÓ)andbackgroundsderivedfromtheprincipal206 jazzcomposition35/29/039:32AMPage207CHAPTER8MOTIVICCOMPOSITIONmotivicmaterial.TheDsectioncontainstheprimaryclimaxfollowingsomecontrapuntallayeringofthemainthemeandthemainmotif.ArecapitulationoftheintroductionandtheBsectionfollows,andafinalchordwithamotivicechoconcludesthepiece.“DynamicDuo”—InternalForm:Measures1Ð22:Introduction1Ð4loudensemblechord5Ð14half-stepmotifstatedbytrumpetandtenor15Ð22pianoplayshalf-stepmotifinaugmentationtosetuptheAsectionMeasures23Ð66:Asection(Exposition)subdivisiona23Ð30mainthemestatedbytrumpetandtenor;half-stepmotifechoedinturnbysaxes,trumpets,andtrombones31Ð38themeinmelodicsequence;half-stepmotifechoedagain39Ð42transitioninterludesubdivisionb43Ð50newtripletmotifintroducedwithdescendingguidetones51Ð54tripletmotifrepeatedwithdiminishedchordarpeggio55Ð58concertedrhythmsectionfigureansweredbytrumpetandtenor59Ð68pianoplayshalf-stepmotifagaintosetuptheBsectionMeasures67Ð100:Bsection(Development)subdivisiona67Ð74mainthemeplayedbyensemble;half-stepmotifechoedbytrumpetandtenor75Ð82themeinmelodicsequence;half-stepmotifechoedagain83Ð86transitioninterludesubdivisionb87Ð92tripletmotifusedwithhightargetnote93Ð96tripletmotifwithadifferentdiminishedchordarpeggio97Ð100concertedensemblefigureMeasures101Ð150:Csection(Furtherdevelopmentwithsolos)Measures151Ð166:Dsection(Furtherdevelopmentwithclimax)151-162contrapuntallayeringofmainthemeandmainmotif163Ð166primaryclimaxwithloudensemblechord(asintheintro)followedbyD.S.Measures5Ð22and67Ð100:AbbreviatedBsection(Recapitulation)Measures167Ð169:Coda167Ð169finalchordfollowedbyfinalmotivicresponse207 jazzcomposition35/29/039:32AMPage208JAZZCOMPOSITIONTHEORYANDPRACTICE51DynamicDuoTedPeaseIntroFastSwing=120mainmotifstatedbytrumpetandtenorinoctaves5saxesechomotif7motifwithaugmentationbypiano(repeatedat)A15to67A(ÒaÓ):mainthemestatedbytrumpetandtenor;motifechoedinturnbysaxes,trumpets,andtrombones23themeinmelodicsequencemotifechoedagain2931transition-interlude3539(ÒbÓ):tripletmotifintroducedwithdescendingguidetones433333tripletmotifrepeatedwithdiminishedarpeggio4951333208 jazzcomposition35/29/039:32AMPage209CHAPTER8MOTIVICCOMPOSITIONconcertedrhythmsectionfiguretransition-interludesetsupB555961B(ÒaÓ):mainthemeplayedbyensembletrumpetandtenorplayhalf-stepmotif67mainthemeinsequence7275trumpetandtenoranswerwithmotif788vatrombonesechomotif(ÒbÓ):transition-interludetripletmotifwithhighertargetnote838733tripletmotif(cont.)89339333concertedensemblefigure95397lasttimeafterD.S.CSOLOFORM(trumpet1stsolo:tenor2ndsolowithbackgrounds)101CÐ7209 jazzcomposition35/29/039:32AMPage210JAZZCOMPOSITIONTHEORYANDPRACTICE109EÐ71EÐ7DMaj7/GEMaj7/ACMaj7/BDMaj7/C1171sttime(2ndtime)DMaj7/CFMaj7/BFMaj7/EDMaj7/GBMaj7/B1252132AMaj7/DB/BDMaj7/GEMaj7/ACMaj7/BDMaj7/CGMaj7/D1393EMaj7/ECMaj7/GA/BB/B14433Dtutticontrapuntallayeringofmainthemeandmainmotif151D.S.alCoda1primaryclimaxandCoda2157finalchordfollowedbymotivicresponse(B/E)fromtrumpetandtenor167210 jazzcomposition35/29/039:32AMPage211CHAPTER8MOTIVICCOMPOSITIONEXERCISEDevelopamotiviccompositionincondensedtwo-orthree-stavescoreformatusingoneormoreofthefollowingmotifsandthefollowingblueprint:1.Ataminimum,includeanAsectionofatleastfortymeasuresandacontrastingBsectionofatleasttwenty-fourmeasures.2.UseharmonicrhythmsoftwomeasuresorlongerintheAsectionandshorterharmonicrhythmsandadifferenttonalityormodalityintheBsection.3.AftertheBsection,writeaninterludeofatleasteightmeasuresbasedonapedalpointthatleadstothefirstsolo.(Usethesameorasimilarinterludeleadingtoothersolos.)4.DerivesolochangesfromtheAorBsection,oruseatotallydifferentsoloform.(DonÕtfallintotheÒhead;solosontheheadchanges;repeatheadÓtrapinthispiece!)5.Developthepiecefurtherinasubsequentsectionthatincludestheprimaryclimax.Includeamodulationbeforeorduringthissection.6.Haveashortrecapitulation(donotuseaD.C.orD.S.)ofinitialmotivicmaterialandconcludethepiecewithasatisfactoryending.7.Atsomepoint,evaluatetheneedforanintroduction.8.Finally,decidehowyoumightorchestrateyourpieceandgetitplayed!AsectionBsection211 jazzcomposition35/29/039:32AMPage212JAZZCOMPOSITIONTHEORYANDPRACTICESourceMaterialforMotivicCompositionsTherearemanyexcellentrecordedexamplesofmotivicjazzcompositionsavailable.Hereisashortlist:ÒDing,Dong,DingÓ(BobBrookmeyer)fromMelLewisandtheJazzOrchestraPlayBobBrookmeyerCompositions(GryphonG912)ÒElCoÓÑ1stmovement(BobBrookmeyer)fromthesamealbumÒHelloandGoodbyeÓ(BobBrookmeyer)alsofromthesamealbumÒAPerfectSixÓ(JimMcNeely)fromGroupTherapy(Omnitone15101)ÒRealLifeÓ(JimMcNeely)fromRealLife,PhilWoodsÕLittleBigBand(Chesky47)ÒGreenPieceÓ(MariaSchneider)fromEvanescence(Enja-80482)ÒTheThreeMariasÓ(WayneShorter)fromAtlantis(SonyCOL4816172)212 jazzcomposition35/29/039:32AMPage213CHAPTER9ExtendedWorksAnextendedworkisnotsimplyalongarrangementofatuneinstandardtheme-and-variationsformat.Anextendedworkistoatunewhatanovelistoashortstory.Inmanyinstances,anextendedworkisanexpandedepisodiccomposition.Theremaybemorethanonemovement,asinasuite.Eachmovementmayhaveitsowndistinctflavorbutstillmaintainamotivicorthematicconnectiontothewhole.ProgrammaticpiecesthatareÒaboutÓsomethingarealsopossible(forexample,DukeEllingtonÕsHarlem).DukeEllingtonwasthefirstjazzcomposertorecognizetheenormouspossibilitiesforpersonalexpressioninherentinlongerworks.Oneofhisearlycompositions,ÒCreoleRhapsodyÓ(firstrecordedin1931),isapproximatelysixminuteslong.ÒCreoleRhapsodyÓdoesnotfollowthestandardtheme-and-variationsformatofatraditionaljazzcompositionorarrangement;instead,itfeaturesmusicaltangentsalternatingwitharecurringtheme.Theformissimilartoclassicalrondoform:ABACADAE,etc.Becauseofitslength,ÒCreoleRhapsodyÓhadtoberecordedonbothsidesofaten-inch78RPMrecord,somethingunprecedentedforajazzrecordingatthattime.EllingtonspentmuchoftherestofhislifeinthecreationofsignificantextendedjazzcompositionssuchasDiminuendoandCrescendoinBlue;Black,Brown,andBeige;Harlem;andTheSacredConcerts.(Sincetheadventoflong-playingrecordsinthelate1940s,thethree-minutetimelimitforjazzrecordingsnolongerapplies.)JazzhistoryhasproducedotherÒseriousÓcomposersofnote.Inthe1940s,StanKentonÕsOrchestraprovidedaveritablemusiclaboratoryforthecreationofso-calledÒprogressiveÓjazzcompositionsbyPeteRugolo,BobGraettinger,andJohnnyRichards.ManyjazzcriticsarguedthatbecausethisreallywasÒseriousÓmusic,ithadnoplaceinthejazzlexicon,particularlybecausetherewasade-emphasisonimprovisationandindividualexpression.Indeed,someofthemusicthatKentonrecordedthensoundedmorelikemodernEuropeanclassicalmusicthanjazz.Inhindsight,itisclearthatthesecomposerswerepushingtheenvelopeand,alongwithDukeEllington,arguing(musically)thatjazzcouldbemorethanjustsyncopateddancemusic.SimilarcriticismwasleveledbysomecriticsattheextendedworksofThirdStreamcomposerssuchasGuntherSchuller,CharlesMingus,andGeorgeRussellinthe1950sand1960s.ButGeorgeRussellÕscompositionAllAboutRosie,recordedin1957,isgen-erallyregardedtodayasoneofthemosteffectivejazzcompositionseverwritten.213 jazzcomposition35/29/039:32AMPage214JAZZCOMPOSITIONTHEORYANDPRACTICEExtendedjazzworkshavebecomecommonplaceinrecentyearsandarenowacceptedasalegitimatemodeofexpressionbymostjazzlisteners.Belowisashortlistofsomeextendedworksinroughchronologicalorder.ComposerCompositionAlbumTitleandLabelDukeEllingtonAToneParalleltoHarlemEllingtonUptown(1951)Columbia(CK40836)GeorgeRussellAllAboutRosieBrandeisJazzFestival(1957)CBSSONY(25DP5327)ThadJonesCentralParkNorthCompleteSolidState(1969)RecordingsoftheThadJones/MelLewisOrchestraMosaic(S25X-17929)ClausOgermanSymbiosis(feat.BillEvans)Symbiosis(1974)Verve(314523381-2)ChickCoreaTaleofDaringInsideOut(1990)GRP(GRD-9601)MariaSchneiderScenesfromChildhoodComingAbout(1996)ENJA(ENJ-90692)BobBrookmeyerCelebrationNewWorks(2000)ChallengeRecords(CHR70066)214 jazzcomposition35/29/039:32AMPage215CHAPTER9EXTENDEDWORKSMotivicContinuityinExtendedWorksThewritingofanextendedpieceoftenbeginswiththesmallestmusicalelement:amotif.Themotifmaybeaninterval,aspecificmusicalgesture(movingupordown),orashortthematicfragment.Forexample,EllingtonÕsHarlembeginswithasolotrumpetplayingadescendingminorthird,whichsignifiesthetwosyllablesofthetitle.Thisissimilartowhathappensinmanyclassicalcompositions.Agoodexampleisthiswell-knownmotiffromtheFifthSymphonyofBeethoven.Weallknowthatopeningstatement,butwesometimesforgetthatmostofwhatfollowsisderivedfromthatopeningmotif.etc.LikeBeethoven,manyjazzcomposersusemotivicdevelopmentasameansofestablishingvarietyandinterestwithinlongerworks.Anumberofdevelopmenttechniquescanbeutilizedindealingwithmotivicideas.Amongthemarerepetition,sequence,inversion,truncation,extension,augmentation,diminution,andtransformation.Thesetechniqueswereintroducedearlierinthediscussionofthrough-composedtunes.(Seepages149Ð157.)TheaccompanyingCDincludesSuiteforJazzBand,athree-movementjazzcomposition.ThemovementsaretitledÒInitiations,ÓÒReflections,ÓandÒThisIsWhatWeDo.ÓTheprincipalmotifintheSuiteisthefollowingdownwardmusicalgesture:215 jazzcomposition35/29/039:32AMPage216JAZZCOMPOSITIONTHEORYANDPRACTICETheaccompanyingbasslineisbasedontheinversionofthemainmotif:Truncation,orforeshortening,isusedtowardtheendofÒThisIsWhatWeDoÓ:1261271281291301318vaExtension,whichinvolvesacontinuationofthemotivicline,isalsousedtowardtheendofÒThisIsWhatWeDoÓ:1341351361371381398vaDiminution,whichinvolvesdecreasingthenotevaluesofthemotif,isusedinÒReflectionsÓ:A12Augmentation,whichinvolvesincreasingthenotevaluesofthemotif,occurstowardtheendofÒReflectionsÓ:828384216 jazzcomposition35/29/039:32AMPage217CHAPTER9EXTENDEDWORKSOtherdevicesthatmighthavebeenused(butwerenot)includemotivictransformation.(therhythmofthemotifcanberetainedwhilethepitchrelationshipschange):Motivictransformationcanalsoaccomplishedbyretainingtheoriginalpitchrelationshipswhilechangingtherhythm(thiswasalsoconsidered,butnotused):Motifscanbesubjectedtoharmonicvariations.AttheendofÒThisIsWhatWeDo,Óatruncatedversionofthemainmotifissubjectedtosequencing,extension,andreharmonization.AÐ/EG/FF/GEÐ/ABÐ/FA/GG/A1261271281291308vaFÐ/BB/EA/EG/FF/FE/GD/GC/A131132133134135136BÐ/AF/BE/CEÐ/AE/FEÐ/D137138139140141217 jazzcomposition35/29/039:32AMPage218JAZZCOMPOSITIONTHEORYANDPRACTICEAmotifcanbeorchestratedinavarietyofways.TheprincipalmotifisheardseveraltimesinÒInitiations,ÓthefirstmovementoftheSuite.First,itispresentedbysolopiano:(AÐ)G/FF/GEÐ/ADÐ/CC/BDÐ/AE/A52495051Next,itisheardinasolipassageforfivesaxophones:F6(9,11)G9sus4EÐ/ADÐ7/CCMaj7/BDÐ7/AAMaj965666768Next,itisheardinanensembletutti:D7(9)FMaj7(11)G9sus4AÐ11DÐ11/CCMaj7/BDÐ11/AAMaj9107108109110218 jazzcomposition35/29/039:32AMPage219CHAPTER9EXTENDEDWORKSAttheendofÒInitiations,Óitisscoredforthebrasswithacounterpointinthesaxophones:252253254255SaxesF6(9,11)G9sus4AÐ9DÐ11/CCMaj7/BDÐ11/AAMaj9BrassInÒReflections,ÓthesecondmovementoftheSuite,themotifispresentedinaminorkeybysopranosaxophone.EMaj7(11)D7(alt)GÐ712Laterinthesamemovement,themotifisscoredforthebrasssection.BMaj9(11)BMaj9A7(alt)DÐ(Maj7)DÐ982838485219 jazzcomposition35/29/039:32AMPage220JAZZCOMPOSITIONTHEORYANDPRACTICEInÒThisIsWhatWeDo,ÓthethirdmovementoftheSuite,themotifisscoredonceagainforthefullensemblewithsomeaddeddissonance.B/FA/FE/GD/BEMaj7/BA6G/G1234Sometimes,aswehaveseenwiththrough-composedtunes,acompletesongformcanbegeneratedfromaninitialmotif.InÒReflectionsÓthereisasixteen-measurethemethatcontainsreferencestothemainmotif.First,themainmotifisheardindiminutioninmeasure1.Inmeasures5and6themainmotifisinverted.Inmeasures7and8thereisasequenceofthatinversion.Themainmotifisheardonemoretimeinmeasures13and14.AEMaj7(11)D7(alt)GÐFÐ7B7(9)EÐEÐ(5)EÐ6EÐ7D7(9)A7G7(13)(Sop.solo)1234CÐ7B/FF9(13)E9sus4DÐ7EÐ7GMaj7/DCMaj7BÐ7A7(9,13)A7(9,13)5678DMaj7D6DÐ7BÐ7E7(9)AMaj7C+(Maj7)CMaj7C79101112FMaj7(11)E7(alt)AÐ7C/GFÐ6E7(13)AÐ913141516220 jazzcomposition35/29/039:32AMPage221CHAPTER9EXTENDEDWORKSThereareotherimportantmotifsintheSuite.ThereistheÒmega-bassÓmotifthatoccursprominentlyatthebeginningofÒInitiations.ÓThismotifisalsousedasrawmaterialforthebsectionofthemainthemeatmeasure79.34357980381AthematicmotifappearsatthebeginningofthemainthemeofÒInitiationsÓatmeasure41:4142Earlier,thereisanallusiontothethematicmotifinmeasures28Ð30(viamotivictransformation):282930ThereisalsotheintervallicmotifoftheperfectfifththatcanbeheardthroughoutÒInitiationsÓinvarioussettings:331325556838485221 jazzcomposition35/29/039:32AMPage222JAZZCOMPOSITIONTHEORYANDPRACTICEExternalFormforExtendedWorksTheexternalformistheoverallblueprintorbroadoutlineofanextendedpiece.TheforegoingmusicexamplesfromSuiteforJazzBandareisolatedsnapshotsfromalargermusicalpanorama.Indeed,someoftheseexamplescamefromasketchbookIkeptduringtheinitialstagesofcomposingthepiece.Theseandotherexampleshadtobeplacedinalargercontextasthearchitectureofthisextendedworktookshape.Theexternalformofanextendedpiececanusuallybedescribedverbally.SuiteforJazzBandmightbedescribedasfollows:I.ÒInitiationsÓ:medium-fastswingtempo.Mainmotivicmaterialintroducedanddeveloped.Trumpetsolofeatured.Fullorchestrationindialogwiththetrumpettowardtheendofthemovement.Inconclusiveendingsuggestingthefullpiecehasmoretocome.II.ÒReflectionsÓ:slowrubatoevolvingtoeasyLatintempo.Motivicmaterialusedtobuildathrough-composedthemeforsopranosaxophone.Fullorchestrationofportionsofthethemesupportsopranojazz.III.ÒThisIsWhatWeDoÓ:fastswingtempo.Motivicmaterialreintroducedandtransformedrhythmically,harmonically,andorchestrally.Solosbysopranosaxophone,trombone,andtrumpet.Primaryclimaxofthepieceoccurstowardtheendwithfullorchestration.Conclusiveending.Thisoutlineissimilartoclassicalconcertoform(althoughitfeaturesmorethanonesoloist):thefirstmovement(allegro)isbrightandpeppy,thesecondmovement(adagio/andante)istheÒslowÓmovement,andthethirdmovement(presto)isfastandexciting.IdidnÕtusethoseclassicaltempodesignations,buttheintentwasthesame.Avarietyofexternalformsisavailabletothejazzcomposer.Themostcommonformisthesuite.Earlysuitesinclassicalrepertoireweremulti-movementcompositionsbasedondanceforms.Later,thesuitebecameanextendedepisodicinstrumentalformwithseparatesectionsormovementsbasedonanevenlargerwork,suchasanoperaoraballet.TheNutcrackerSuitebyTchaikovskyisanexampleofthelatter.Jazzcomposersusethesuiteformtoexpressavarietyofmusicalimpressionsaboutsomecentralideaorthing.DukeEllingtonÕsHarlemisagoodexample.ItcoversabroadrangeofmusicalimpressionsinseparateanddistinctepisodesabouttheAfrican-AmericancommunityinNewYorkCity.Theconcertoisanotherextendedformalsofavoredbyjazzcomposers,althoughthatactualtermisrarelyused.Justasinclassicalmusic,thejazzconcertofeaturesasingleperformerwithensembleaccompaniment.SymbiosisbyClausOgermanfeaturespianistBillEvanswithalargeorchestra.FocusbyEdSauterfeaturestenorsaxophonistStanGetzwithastringorchestra.AnothercommontreatmentofforminextendedjazzcompositionscanbestbedescribedasÒfreerhapsodyÓorÒfantasy.Ó(Again,theseactualtermsarerarelyusedbyjazzcomposers.)Ineffect,thecomposermovesthroughthepiecefreeofanyspecificformal222 jazzcomposition35/29/039:32AMPage223CHAPTER9EXTENDEDWORKSdesign,althoughclearmotivicand/orthematicreferencesmayappearfromtimetotimetosupplyfocus.Howdoyouknowwhatexternalformanextendedpieceisgoingtotakebeforeyoustart?Thatquestionbreedsotherquestions:Willthepiecebeinone,two,three,ormoremovements?DoesthepiecehaveprogrammaticcontentÑisitaboutaperson,aplace,anevent?Whattemposandstylesshouldberepresentedinthepiece?Arethererequirementsforthepiecethataredictatedbyacommissionoragrantproposaloraclassassignment?Areyouwritingthepiecewithaparticularensembleinmind?Willthepiecefeatureaparticularperformerorperformers?Approximatelyhowlongisthepiecegoingtobe?Ithelpstoknowtheanswertosome,ifnotall,ofthesequestionsbeforeyoubegin.Otherwise,thetaskmayseemoverwhelming.Inmycase,IhadaprettygoodideaofwhattheexternalformwasgoingtobebecauseIhadtogiveabroaddescriptionoftheproposedworkinagrantproposaltotheNationalEndowmentfortheArts.Iknewthepiecewasgoingtobeinmorethanonemovementandthatitwouldbemotivicandepisodic.IalsoknewthatIwantedtoincludesubstantialsolospaceforseveralplayersonrelativelysimplesoloforms.Sometimes,acomposerwillbeginapiecewithoutknowingwhatthelengthwillbeoranythingelse.SoundsmaybefillingthecomposerÕshead,andtheimpulsetowriteanythingistoostrongtoresist.Thisisactuallyanexciting,ifsomewhatscary,feeling.Itgoeswiththeterritory.DukeEllingtonwasfamousforsayingthathisfavoritepiecewasÒthenextone.ÓWordstoliveby!InternalFormsforExtendedWorksAvarietyofinternalformsmaybeusedinanextendedwork.1.Oneofthemostcommoninternalformsistheblues.Forexample,EllingtonÕsHarlemmakessignificantuseofthebluesinthemiddleoftheoverallwork.2.Songforms,suchasaabaandabac,aresometimesusedasepisodesinlongerworks.EllingtonÕsextendedworkBlack,Brown,andBeigecontainsthebeautifulaabasongÒComeSundayÓasoneofitsmovements.ÒReflectionsÓisasixteen-measurethrough-composedsongform.3.RondoformisfeaturedinDaveBrubeckÕscompositionÒBlueRondolaTurkÓwhich,althoughhemaynothaveintendeditthatway,isthefirstÒmovementÓfromhisandPaulDesmondÕsÒsuite,ÓTimeOut,thecommonmusicalthreadofwhichistheexplorationofunusualtimesignatures.4.Anothercommoninternalformusedinextendedworksisthemeandvariations.ÒInitiationsÓusesthemeandvariations(withafewextensions)beginningatletterA.ÒReflectionsÓfeaturessopranosaxophoneonathemeandvariations.(SuiteforJazzBandisheardasasingleextendedworkbecauseofallthemotivicreferences.)223 jazzcomposition35/29/039:32AMPage224JAZZCOMPOSITIONTHEORYANDPRACTICE5.Sometimes,composerswillborrowfromthemselvesinapiece.TheopeningepisodeofÒThisIsWhatWeDoÓisborrowedfromÒReflections.Ó(ThemelodyandharmonyofÒReflectionsÓaretransformedrhythmically.)Also,thefinalsectionofÒThisIsWhatWeDoÓbeginningatmeasure118isborrowedfromÒInitiations.ÓAcomposersometimeshastoÒstepbackÓfromapiecetogetasenseofhowtheformisevolving.OnemethodIhavesuggestedtostudentsistowriteshort,eight-measureverbalsummariesoftheirpiecesonabunchof3x5cardssoastorepresentthepieceinminiature.Theythencanlaythesecardsoutonatableorthefloorinordertoseewheretheyhavebeenand,hopefully,wheretheyaregoing.Thismethodhelpsindiscovering(a)theproportionsofapiece,(b)whetherornotasectionmightneedtoberepeated,(c)whethersolosareintroducedtoosoon,(d)whetheranendingistooabrupt,or(e)wherethepiecehastakenaleftturnintoablindalley.(Thismethodislesscumbersomethanlayingoutfull-sizescorepaper!)SuiteforJazzBandThiscompositionwaswrittenwiththesupportoftheNationalEndowmentfortheArts.I.“INITIATIONS”InternalForm:Measures1Ð40:Introduction1initialexclamatorychord3Ð5Òmega-bassÓmotifstatedbybassandbaritonesax13Ð15Òmega-bassÓmotifondifferentpitchaxis21Ð23Òmega-bassÓmotifondifferentpitchaxis29Ð30allusiontomainthememotif(tobeintroducedatmeas.41)33Ð40pianosetsupmainthemeMeasures41Ð118:Asection(Exposition)41Ð72partaofmaintheme(containsprincipalmotif)73Ð78interlude79Ð98partbofmaintheme(containsÒmega-bassÓmotif)99Ð118partaofmainthemerestatedMeasures119Ð190:Bsection(Development)trumpetsoloson72-measureelongatedaabaformwithensemblebackgroundsMeasures191Ð260:Csection(Furtherdevelopmentwithclimax)191Ð222trumpetandensembletradeÒ8sÓ223Ð242trumpetsolosonbchanges243Ð254ensemblepassageleadingtoprimaryclimaxat251255Ð260trumpetvampsMeasures261Ð277:Coda261Ð268restatementofÒmega-bassÓmotif269Ð277trumpetvampsuntilfinalchord224 jazzcomposition35/29/039:32AMPage225CHAPTER9EXTENDEDWORKS52InitiationsTedPease=100(Mega-bassmotif)133(Mega-bassmotif-cont.)913(Mega-bassmotif)31721(motivictransformationofmotifthatisextractedfrommainthemebelow)brass24b.cl.29saxes(invertedmega-bassmotif)33pianosetsupthemeatA34Atrumpet(partÒaÓofmaintheme)41piano(seedetailonpage218)(pno)46brass52tpt.tpt.225 jazzcomposition35/29/039:32AMPage226JAZZCOMPOSITIONTHEORYANDPRACTICE58saxes(seedetailonpage218)65interlude(mega-bassmotif)brass733(partÒbÓofmaintheme)79trumpet384soprano389trumpet(partÒaÓofmainthemerestated)97brass99ens.ensemble(seedetailonpage218)101trumpetsoloBtrumpetsolo(72measureelongatedaabaform)109226 jazzcomposition35/29/039:32AMPage227CHAPTER9EXTENDEDWORKS135C191saxestrmpetsolo:8measures199trmpet(unis.)trmpetsolo:8measurestrmpetsolo:20measures(bridge)211223243brassens.(seedetailonpage219)248Coda253255trumpetsolobariplaysmega-bassmotif3F+(Maj7)tbns.echomega-bassmotif3263saxes269F+(Maj7)270trumpetsoloens.227 jazzcomposition35/29/039:32AMPage228JAZZCOMPOSITIONTHEORYANDPRACTICESuiteforJazzBandII.REFLECTIONSInternalForm:Measures1Ð16:Asection(Exposition)1Ð16sopranosaxophoneandpianopresentathemedrawnfromtheprincipalmotifoftheSuiteinrubatostyle16Ð19tempoestablishedMeasures20Ð47:Bsection(Development)20Ð35sopranosoloonchordchangesfromthethemeinaugmentedharmonicrhythm(twicetheoriginalvalue)36Ð46sopranosolocontinuesonchordchangesfromthethemeintheoriginalharmonicrhythmMeasures47Ð54:Interlude47Ð54sopranovampsonF+Maj7whilerhythmsectionbuildstowardthemodulationatletterCMeasures55Ð77:Csection(Furtherdevelopmentwithclimax)55Ð62ensemblepassageoverchangesinaugmentedharmonicrhythm63Ð70saxsolioverchangesinaugmentedharmonicrhythm;primaryclimaxreachedinmeasure6971Ð77sopranosoloonremainingchangesfromthethemeinoriginalharmonicrhythmMeasures78Ð93:Coda78Ð81sopranovampsovertonicminorchordsinEminorandDminor82Ð85brassplayprincipalmotifinaugmentedrhythm86Ð89trombonesechotheprincipalmotifinaugmentedrhythm90Ð93sopranoplaysprincipalmotifinaugmentedrhythm228 jazzcomposition35/29/039:32AMPage229CHAPTER9EXTENDEDWORKS53ReflectionsTedPeaseRubatoSopranosoloAEMaj7D7(alt)GÐ7FÐ7B7EÐD7(9)G7(13)CÐ7B/FF9E9susDÐ7EÐ7GMaj7/DCMaj7BÐ7A7(9)DMaj7D6DÐ7BÐ7E76AMaj7C+(Maj7)CMaj7C7FMaj7(11)E7(alt)AÐ7C/GFÐ6E7(13)11=100even8thsB16AÐ(Maj7)AÐ7GÐ(Maj7)GÐ7EMaj7D7(alt)sop.22GÐFÐ7B7EÐ(Maj7)EÐ(5)EÐ6EÐ7D7A727G7CÐ7B/FF9E7sus4DÐ7EÐ7G/DCMaj7BÐ7A7(9,13)A7(9,13)DMaj7D6323637DÐ7BÐ7E7AMaj7C+(Maj7)CMaj7FMaj7E7(alt)AÐ7C/G42FÐ6E7(alt)AÐ(Maj7)AÐ7GÐ(Maj7)GÐ7Interlude47F+(Maj7)ens.229 jazzcomposition35/29/039:32AMPage230JAZZCOMPOSITIONTHEORYANDPRACTICECBMaj7(11)A7(9,13)DÐ553363saxsoli(seedetailbelow)33sopr.E7(9)67371AMaj7AÐ7FÐ7B7(9)EMaj7G+(Maj7)GMaj7CMaj7B7(alt)CodaEÐ7G/DCÐ6B7(alt)EÐ(Maj7)EÐ7DÐ(Maj7)7678brass(seedetailonpage216)DÐ7BMaj7A7(alt)DÐ(Maj7)DÐ7BMaj78182tbns.86RubatoA7(alt)DÐ(Maj7)DÐ7BMaj7A7(alt)DÐ(Maj7)DÐ78790sop.DetailofÒReflectionsÓsaxsoliatmeasure63:GÐ7F/BC911B9sus4AÐ93333BÐ11D/AGMaj7FÐ11E79E7(9)33230 jazzcomposition35/29/039:32AMPage231CHAPTER9EXTENDEDWORKSSuiteforJazzBandIII.THISISWHATWEDOInternalForm:Measures1Ð43:Asection(Exposition)ThissectionrestatesthethemefromÒReflectionsÓinsomewhatdisguisedfashionthroughtheuseofdissonantreharmonizationsandmetricmodulationsto3/4thatproducedramaticallyaugmentedmelodicrhythmsalternatingwithdrumfills.Measures44Ð59:Bsection(sopranosolo)SopranosaxophonerepeatstheroleofsoloistonchangesthatarederivedfromthechangestoÒReflections.ÓMeasures60Ð77:Csection(trombonesolo)Thetrombonesolotakesofffromthesyncopatedrhythminthelasttwomeasuresofthesopranosolo(recurringaccentonbeat4).Measures78Ð117:Dsection(trumpetsolo)ThetrumpetreturnstosoloonthechangestoÒInitiations.ÓMeasures118Ð145:Esection(Recapitulationandprimaryclimax)118Ð125recapitulationofthethemefromÒInitiationsÓ126Ð141recapitulationoftheprincipalmotifoftheSuiteusingtruncation,reharmonization,andextension(seedetailonpage217)142Ð145drumsoloMeasures146Ð157:Coda146Ð147pyramid148Ð155trumpet,soprano,andtromboneÒjamitupÓ155Ð157finalchordwithtrumpetexclamationpointontop231 jazzcomposition35/29/039:32AMPage232JAZZCOMPOSITIONTHEORYANDPRACTICE54ThisIsWhatWeDoTedPease=120ens.(seedetailonpage220)Adrumfill6drumfill13saxestbns.18ens.24tpt.,alto,tbn.30brass(2ndx)38Bsopranosolo44BMaj7A7(9)DÐ7CÐ7F7BMaj7GÐ7C750FMaj7EÐ7(5)A7(9)DÐ7BMaj7232 jazzcomposition35/29/039:32AMPage233CHAPTER9EXTENDEDWORKSCtrombonesolo56EÐ7(5)A7(9)DÐ(Maj7)DÐ7G7sus4G762F7sus4F7G7sus4G7F7sus4F768BÐ7AÐ7AÐ9BÐ9AÐ9Dtrumpetsolo74D7sus4D7sus4G7susG7CMaj7FÐ680CMaj7D/CBÐ7(5)E7(9)AÐ7D7186FMaj7G7CMaj7AMaj7CMaj7FÐ6/G292EÐ7A7DÐ7G7CMaj7/GFÐ6D/CE/DG/FA/Gsopranosolotrombonesolo98AÐ7CÐ7BÐ7/Ctrumpetsolo106BMaj7EMaj7AMaj7DMaj7233 jazzcomposition35/29/039:32AMPage234JAZZCOMPOSITIONTHEORYANDPRACTICEtpt,sop,tbntogetherGMaj7CMaj7FMaj7BMaj7DÐ7G7112118trumpetunison123126(seedetailonpage217)128333133138142drumsolo−−Coda145146148tpt.,sop.,tbn.solotogetherC/Asolotpt.152155234 jazzcomposition35/29/039:32AMPage235CHAPTER9EXTENDEDWORKSEXERCISEDevelopanextendedworkinthreemovementsinthefollowingstages:1.Whatinstrumentationwillyoubeusing?___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________2.Plantheexternalform.Useageneralverbaldescription.I.Firstmovementapproximatelength(inminutes):_______________tempo:___________________________________meterorgroove:___________________________tonalityormodality:_________________________featuredsoloist(s):__________________________II.Secondmovementapproximatelength(inminutes):______________tempo:___________________________________meterorgroove:___________________________tonalityormodality:________________________featuredsoloist(s):__________________________III.Thirdmovementapproximatelength(inminutes):______________tempo:___________________________________meterorgroove:___________________________tonalityormodality:_________________________featuredsoloist(s):__________________________3.Determinetheprincipalmotif(s):4.Beginasketchbooksketchandletthepiecebegintoflowthroughyou.235 jazzcomposition35/29/039:32AMPage236BibliographyThefollowinglegalfakebookswereconsultedforanalysisofindividualtunesandforthecompilationofsourcemateriallistsforindividualchapters.HalLeonardCorporation,7777W.BluemoundRd.,Milwaukee,WI53213TheUltimateJazzFakebook(CompiledbyDr.HerbWong),1988Sher,Chuck(PublisherandEditor).SherMusicCo.,P.O.Box445,Petaluma,CATheWorld’sGreatestFakebook,Copyright1983.TheNewRealBook,Copyright1988.TheNewRealBook(Volume2),Copyright1991.TheNewRealBook(Volume3),Copyright1995.TheAll-JazzRealBook,Copyright2001(includesCD).Note:TheAll-JazzRealBookcontainsanexcellentCDthatfeaturesanumberoftheselectionspresentedinthebook.AlloftheSherbookscontaincompletediscographiesthatareextremelyhelpfulinlocatingdefinitiverecordingsofindividualtunes.Thefollowingbookshavebeeninmymusiclibraryforalongtime.Althoughtheirpurviewisprimarily“classical”music,theyhavehelpedtoprovideblueprintsinstyleandsubstanceforthecontentofthisbook.Dallin,Leon.TechniquesofTwentiethCenturyComposition.Dubuque,Iowa:Wm.C.BrownCompany,1968.Persichetti,Vincent.TwentiethCenturyHarmony.NewYork:W.W.NortonandCo.,1961.Salzer,Felix.StructuralHearing.NewYork:DoverPublications,1982.Inadditiontobeinganexcellentreferenceworkonthehistoryandevolutionofjazzarranging,thefollowingbookprovidesmodelsoflayoutsforlongerworksthatIwasabletoadaptinthepresentationofextendedworks.Sturm,Fred.ChangesOverTime:TheEvolutionofJazzArranging.AdvanceMusic,1995.236 jazzcomposition35/29/039:32AMPage237BIBLIOGRAPHYSuggestedReadingDavis,Miles.TheAutobiography.SimonandSchuster,Inc.,1989.Easton,Carol.StraightAhead:TheStoryofStanKenton.DaCapo.,1973.Ellington,Duke.MusicIsMyMistress.Doubleday,1973.Evans,Gil.JoeMuccioli,JeffSultanof,editors.TheGilEvansCollection:15StudyandSketchScoresfromGil’sManuscripts.HalLeonardCorporation,1997.Gillespie,DizzyandAlFraser.ToBeorNotToBop:Memoirs.Doubleday,1979.Gitler,Ira.FromSwingtoBop.OxfordUniversityPress,1985.Hajdu,David.LushLife:ABiographyofBillyStrayhorn.NorthPointPress,1996.Hasse,John.BeyondCategory:TheLifeandGeniusofDukeEllington.DaCapoPress,1995.Khan,Ashley.KindofBlue:TheMakingoftheMilesDavisMasterpiece.DaCapoPress,2000.Kernfeld,Barry,ed.TheNewGroveDictionaryofJazz.St.MartinÕsPress,1994.Litweiler,John.OrnetteColeman:AHarmolodicLife.Wm.Morrow,1993.Lowell,DickandKenPullig.ArrangingforLargeJazzEnsemble.BerkleePress,2003.Lyons,Len.The101BestJazzAlbums:aHistoryofJazzonRecord.Wm.Morrow,1980.Mingus,Charles.BeneaththeUnderdog:HisWorldasComposedbyMingus.Penguin,1980.Pease,Ted&Pullig,Ken.ModernJazzVoicings.BerkleePress,2001.Pettinger,Peter.BillEvans,HowMyHeartSings.YaleUniversityPress,1998.Porter,Lewis.JohnColtrane,HisLifeandMusic.UniversityofMichiganPress,1998.Schuller,Gunther.TheSwingEra.OxfordUniversityPress,1990.VanDeLeur,Walter.SomethingtoLiveFor:TheMusicofBillyStrayhorn.OxfordUniversityPress,2002.Wright,Ray.InsidetheScore.Kendor,1982.237