Bibliography of resources needed in order to Analyse Jazz Theory Pre Production Tasks

My first task was to compile a bibliography of resources which I am to use in order to create a glossary of key terms of jazz theory. This is to help with answering What are the key aspects of the theory of improvisation and how is this applied practically? So far this comprises

Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hal Leonard
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Bearman,N.(2003),Big book of Jazz Piano Improvisation, Alfred
Hussey,C.(2007)Great Jazz piano solos,(Music scores), Wise publications.
Levine,M.et al.,(1995),The Jazz Theory Book, Sher Music
NewJacksWing, (1974) Oscar Peterson and Andre Previn,(Web Video), Available at http://www.youtube.com/watch?v=55wYm8csHC4&feature=related (Accessed 29th December 2011
Peterson,O.(2005),Oscar Peterson-Jazz exercises, Minuets, Etudes and Pieces for Piano, Hall Leonard
Thunderfunkamp,(1979) Oscar Peterson Piano Lesson,(Web Video), Available at http://www.youtube.com/watch?v=ec-FrnaU0rs&feature=socblog_th (Accessed 29th December 2011).

Updated mindmap

First tasks Pre Production

My first objective is:
With reference to existing improvisations, define, describe and discuss key aspects of the theory behind improvisation relating to the associations between melodic structures which form the improvisation and the differing harmonic structures which are possible within the chosen chord progression. (For example see Hussey, 2007, p5)

I am due to start this in December and so have to think about what resources I will need. As the chord progression is I-II-II-V-I, I am in the process of gathering recordings where improvisations over this can be heard. Among this includes
Oscar Peterson- Girl from Ipanema
Take the A Train- George Benson
Moon Indigo- Duke Ellington

As these are recordings, it will require me to transcribe improvised sections in order to see the association between harmonic and melodic structures. It is hoped that the act of trascription, by way of the concentration that it involves will result in a strong understanding of the melodic and harmonic association of the improvisation. In adition to this, I will study music scores which already have improvised sections transcribed. Following this stage, I will have to analyse the transcriptions to look for recurring themes and to understand the varied harmonic possiblities possible with just the one chord progression. In order to demonstrate this, I have decided that I will post recordings of myself playing these different possibilities along with an analysis.

Project proposal

In completing the project proposal I had to slightly alter the objectives that were stated in earlier drafts of the learning contract. Now that the primary focus of the project concerns creating a self-development learning resource for classical pianists, I have added an objective about identifying the limitations of a classical education in respect of improvisation. I feel that this is crucial in order for me to plan the project effectively as understanding and addressing these limitations forms the basis of my project.


AG1064A: Professional Practice – Project Proposal

Project Title:
Improvisation method for classical musicians
Proposer: Frazer Mitchell
Student Number:
Programme: Music Performance
Specialism(s): Improvisation, Pedagogy, Musicology, Harmony


1. Abstract (Approx 250 words)
It is a recognised problem that when classically trained musicians attempt to improvise, they often experience great difficulty as their training does not best facilitate the skills needed for effective improvisation. This difficulty is perhaps most clearly exemplified by the emphasis placed in a classical approach on playing the music exactly as notated. The overall aim of the project is therefore to create a self-development method, aimed at the classical musician that forms an accessible guide on how to improvise effectively. The guide will focus on the I-II-II-V-I chord progression, which should make the project of manageable scope and provide a critical framework. The methods used will involve researching the following: transcriptions of improvisations, teaching theory, limitations of a classical education in respect of improvisation, harmony and experts opinion. With reference to these research sources, an informed guide will be created that specifically addresses the needs of the classical musician. Along with the guide will be audio and visual recordings of what is taught which will act as a further aid to learning. In order to measure the success of the project, participants will contribute to a survey, questionnaire and performance that will ascertain their understanding and ability to improvise after using my method. In order to ensure that the testing measures the project accurately, participant’s knowledge and ability to improvise will be determined before they use the method. The participants will be gathered by contacting all pianists at Stevenson College.



2. Project Aim and Objectives
The aim of the project is to create a guide and DVD, which will form a self-development approach to jazz improvisation, aimed at the classically trained pianist.

On completion of this project the objectives are to
1. With reference to existing improvisations, define, describe and discuss key aspects of the theory behind improvisation relating to the associations between melodic structures which form the improvisation and the differing harmonic structures which are possible within the chosen chord progression. (For example see Hussey, 2007, p5)

2. Identify limitations of a classical education within the context of jazz improvisation. Addressing these limitations will form the basis of the guide.


3. Define, describe and discuss aspects of pedagogy, relevant to the appropriate teaching theory context, required to ensure that the guide is of high educational value.
4.
From research done on existing improvisations, establish the critical framework to be used in order to design and develop the methods. Produce a self-development resource comprising an instruction guide and DVD that should ensure that a classical musician has an accessible resource which they can use to learn to improvise effectively.

5. Test the overall aim of the project by contacting pianists who identify themselves as classically trained and measure their ability and understanding, using a survey and performance, before and after using the method.




3. Rationale

It is a recognised problem that a musician who has been classically trained often finds the transition to improvisation uncomfortable as their training, with such an emphasis on notation, does not best facilitate the skills required for it. “The very thought of making music apart from the printed page can be intimidating for many musicians, and this challenge may be exasperated when style- specific constraints are imposed at the onset”.(Sarath 2009) The aim of this project is to create an important self-development resource which aims to bridge this gap by teaching concepts using methods that a classical musician would understand. Relevant studies done so far include "Investigating musical performance: commonality and diversity amongst classical and non-classical musicians", (Creech,et,al 2008)
This review article focuses on aspects of musicianship that are similar amongst classical and non-classical musicians and where the differences lie. The study presents evidence from questionnaire data of 246 undergraduates and professional musicians. The results show that classical musicians place the advancement of notation based skills as their main priority. (Creech, et,al 2008 p1) They regard the ability to improvise as the "least important skill" (Creech, et al, 2008 p8) This gives evidence as to the problem that this project attempts to address. If classical musicians prioritise notation based skills, then it suggests that emphasis on notation becomes a characteristic feature of a classical musician. It is understandable then, that the classical musician finds this difficult to escape from.
“A classical approach to jazz piano improvisation” (Alldis, 2008) is a teaching method tailored to pianists from a classical background. The author states in the preface “like many jazz pianists today, I have a background in classical music. Since 1993, I have taught jazz piano to classical pianists at the Royal Academy of Music in London “(Alldies, 2008, preface) It is clear then, that there is a group of people who are classically trained, but who aspire to extend their musicality beyond the classical genre. “A classical approach to jazz improvisation”, teaches concepts with much emphasis on notation, therefore being accessible to its intended audience. It explores what scales to use over what chords, left hand accompaniment patterns and has a chapter on Be-bop. As the proposer’s method is going to use the I-II-II-V-I chord progression throughout its entirety, there is a different framework applied. This should result in the user becoming especially proficient at improvising over the one chord progression.
Other key references include ‘Music and mind in Everyday life’. This book discusses musicology and has a chapter on improvisation which will inform the delivery of teaching methods. By understanding the psychological elements involved in the process of improvisation, this should help in establishing the correct mindset to improvise. This may be one of the underlying reasons classical musicians find difficulty in improvising. ‘Spontaneous creation is a fiction: A free improviser always starts from some state of consciousness’ (Clarke, Dibben, Pitts, 2008) As the finished product is to be a self-development learning resource then understanding and applying pedagogy within this context is crucial. ‘Practical piano pedagogy’
Focuses on how students learn and the best way of communicating what is to be learnt. It discusses structure and how students can learn by association of knowledge that they already have. (For example see Jordan, 2003, p75) Jazz pedagogy, gives advice on how to teach jazz, recognising it is a different discipline to that of classical music. (For example see Baker, 1978, Preface). ‘Diverse methodologies in the study of music teaching and learning’, details different methods to use for a variety of learning settings. (For example see Thompson, Campbell, 2008, foreword) Drawing from these different methods and applying them to the context of the project should help address the problem that the project will attempt to address.



(Clarke, Dibben, Pitts, 2008)
4. Project Methodology
The project aims to create an accessible teaching guide aimed at classical musicians that allows them to improvise. The methods associated with this involve:

For the first objective- analysing the theory of improvisation. This will involve researching existing improvisations and guides on improvisation. Recurring relationships between harmony and improvisation can be observed and analysed. This should form an in-depth understanding of the theory which can then be put into practice come the production stage of the guide.

For the second objective- Identify limitations of a classical education within the context of improvisation. This will involve researching classical tuition methods and the ABRSM classical syllabus to identify what is lacking in a classical training in respect of improvisation. The guide will attempt to address these difficulties which form the rationale of the project.

For the third objective- Understand learning theories. This will involve researching pedagogy within the context of a self-development learning resource. This will ensure concepts are taught in the most appropriate manner. This objective will be informed by the intended audiences needs.

For the fourth objective- Production of the guide. This involves establishing the critical framework from research done which should facilitate the design, development and justification of the methods used in the creation of the guide.

For the fifth objective- This involves finding a reasonable sample of participants in order to measure the success of the project. In devising the test, the participants existing knowledge will be carefully analysed so that results are objective.


5. Outcomes and Deliverables

Submission Deliverables


1.1.1- Bibliography to be included on blog.
1.1.2- Glossary to be included on blog
1.1.3- Analytical framework to be discussed on blog and as part of methodology section of dissertation.
1.1.4- Identify recurring relationships to be included on the blog and to be included as part of pre-production/ project portfolio.
Transcription of interview to be included on the blog and the main points summarised in the dissertation

2.1.1 Bibliography to be included on blog.
2.1.2- Identify and describe aspects of classical training which could help the classical pianist to improvise to be discussed in Methodology section of dissertation and on blog.
2.1.3- Identify and describe aspects of classical training which acts as a barrier to improvisation to be discussed in Methodology section of dissertation and discussed on blog.
2.1.4- Drawing conclusions from research to be included as part of Methodology section of dissertation.
.

3.1.1- Prepare bibliography of pedagogy resources to be included on the blog
3.1.2- Identify and describe appropriate learning strategies to be done on the blog, also as part of the literature review in the dissertation and the research proposal.
3.1.3- Transcription of views to be included on blog and recording to be included as part of the pre-production portfolio.


4.1.1- Establish critical framework to be discussed on blog and as part of methodology section of dissertation. Research needed for this to be included as part of the research proposal.
4.1.2- Decide on software to be included as discussion on blog and as part of methodology section of dissertation.
4.1.3- Layout and format to be apparent in final product which will be a paperback guide.
4.1.4- Provide a suitable rhythmic backdrop to be evident on the DVD.
4.1.5- Paper back guide and DVD to be submitted as evidence of the finished product.

4.2.1- Results of testing to be included on blog and as part of the results and discussion section of the dissertation
.



5.1.1- Gather list of all those involved. State how many people involved and musical background on blog and testing section of the dissertation.
5.1.2- Testing method to be discussed in blog and as part of methodology section of dissertation.
5.1.3- Existing knowledge to be discussed on blog and included as part of the methodology section of dissertation.
5.1.4- To be actively updated on the blog and the process summarised in results and discussion section of dissertation.
5.1.5- Results of testing to be included on blog and as part of the results and discussion section of dissertation.
5.1.6- Analyse results to be included in the results and discussion section of dissertation. It will also be included as part of the conclusion.



6. Expertise and Experience of Project Proposer

The project proposer currently has knowledge of most scales and understands what ones to use over what chords. Going a stage further, the proposed can apply this knowledge to an extent to improvisation so an initial idea develops. This is however limited to certain keys and so the proposed will have to apply this knowledge to all keys which recognises the importance of transposition within jazz. In addition, the proposed is familiar with how to voice chords particularly over the II-V-I progression and understand the considerations that have to be taken when doing so, e.g., when playing as a soloist or as part of an ensemble. The proposed knows how to alter chords (For example using the b9). Again, the application of this knowledge is limited to certain keys. In understanding further how to develop an improvisation into an effective composition, the proposed will study transcriptions of improvisations and analyse recurring themes to understand what aspects make it a composition rather than just a series of ideas. The ability to be analytical will therefore need to be developed as the proposed can’t simply list every aspect of the improvisation; rather, the need to understand how all these components work as a whole is required to fully understand the improvisation. The proposed has some understanding of teaching from teaching piano and keyboard. For example, breaking each concept down into the simplest of steps and then by means of repetition reinforce the knowledge. The proposed 3rd year project consisted of creating a beginners course for the piano. In doing this pedagogy was researched and applied within the context of a teaching course. There was however some limitations of the teaching apparent in the end product. This regarded the consistency of the methods used. Therefore, in creating this method, the proposed will be sure to study pedagogy further within the context of an instruction method in order to fulfil the aim of the product being an effective teaching resource. In addition to this, it has been identified that psychology has a role to play in improvisation. (For example see Clarke, Dibben, Pitts 2010 p50) This is an area where the proposed has very little knowledge and so will study musicology to develop this understanding. For the testing part of the project, the proposed has no real experience devising a formal, objective testing process. The ability to be objective about the testing process and how to formalise the approach will need to be developed so that the project can be measured accurately.

9. Resources
The resources required will comprise of classical pianists who are willing to participate in the testing. An e-mail will be sent to all pianists studying at Stevenson to ask if they would like to be involved with the project. In addition, musicians will be required so that the rhythmic and harmonic backdrop can be provided. Using the jazz trio that the proposer is a member of would provide a solution to this. To have recordings done, gaining access to the recording facilities at Stevenson would be the most practical way to do this. The guide will be paperback and so it will be required to be printed professionally. This will probably cost some money which the proposer is willing to provide.


10. References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Baker,D.(1978)JAZZ PEDAGOGY, Alfred
Campbell,M. and Thompson.L.(2008)Diverse methodologies in the study of music teaching and learning, Information age publishing
Creech,et,al(2008) Investigating musical performance: commonality and diversity amongst classical and non-classical musicians, Music Education Research,10(2)p215-243
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Hussey.C(2007)Great Jazz piano solos,(Music scores), Wise publications.
Jordan,M,B.(2003)Practical piano pedagogy, Alfred Music publishing
Sarath.E(2009)Music Theory through improvisation, Taylor and Francis

Planning of Project

In the run up to the production of the guide, there are several areas that need to be addressed.


Commencing in December through to 17th January, I will analyse existing improvisations with the view that I will acheive an understanding of the relationship between harmony and improvisation within the context of the chosen chord progression. The differing harmonic possibilities possible will be studied and analysed and so should provide an initial framework for what is to be taught ahead of the production of my own method. This seems to be a logical first stage as I can then consider the difficulties a classical musician would face with these concepts.

Commencing on the 18th of January- 13 Feburary, I will study the limitations of a classical training in respect of improvisation. I will study the literature associated with a classical training and consider what aspects of this education are missing in order to be able to improvise effectively. I will also consider what aspects of a classical training could be beneficial to improvisation, such as scales and arpeggios. Therefore, drawing on aspects that a classical musician is familiar with should make the transition to improvisation more accessible.
I have given myself almost a month to carry this out this objective as understanding and addressing the needs of the audience is crucial if the product is to address the problem surrounding classical musicians and improvisation.
The next objective concerns understanding learning theories. I have given myself from the 16th of Feburary through to the 6th of March. This is the third objective, as by understanding the limitations of a classical education, it allows this objective to be contexulised. Once I know what will be taught in the guide and the intended audiences difficulty with this, I can research and apply pedagogy specific to the intended audiences needs.

Production of the Guide

This is objective four which I intend to implement between 5th of March and the 14th of April. This comes after:
1. Researching and understanding what concepts will be taught in the guide.
2. Understanding the intended audiences difficulty with such concepts.
3. Researching what learning stratagies will work in teaching these concepts.

During the production I will decide on what software to use to create the guide and the layout and format of the guide. I feel that the layout and format of the guide should come at this stage as it will be informed by the research done on classical education and pedagogy. For example, there will perhaps be an emphasis on notation to start with and gradually there is more spaces for improvisation. Another crucial task is to organise that a dvd is made which provides a suitable harmonic and rhythmic backdrop for participants to practice improvising. To do this, I will be using the jazz trio that I am a member of to record examples. Rehearsals will be organised from the start of the production objective as I need to have some material to work with first.


The last objective is testing. This is scheduled to last from 1st of Feburary- 26th of March

I need to gather participants while the guide is still in production and ask for their initial opinion on the guide. I will also ask my piano teacher for his opinion. I should be able to judge be peoples responses if the guide is going in the correct direction. I will do this at the start of Feburary as it could take time to gather participants. As part of this stage, I will also devise a test which analyses the participants existing knowledge on improvisation. This should ensure that the final test, which mesaures participants knowledge after they have used the method, is objective and yields accurate results.

Rationale for project

As I have started work on the project proposal, I have considered what the rationale for my project is.


It is a recognised problem that a musician who has been classically trained often finds the transition to improvisation uncomfortable as their training does not best facilitate for it. The aim of this project is to create an important teaching resource which aims to bridge this gap by teaching concepts using methods that a classical musician would understand. Relevant studies done so far include "Investigating musical performance: commonality and diversity amongst classical and non-classical musicians", (Creech,et,al 2008)
This review article focuses on aspects of musicianship that are similar amongst classical and non-classical musicians and where the differences lie. The study presents evidence from questionnaire data of 246 undergraduates and professional musicians. The results show that classical musicians place the advancement of notation based skills as their main priority. (Creech, et,al 2008 p1) This gives evidence as to the problem that this project attempts to address. The study found that classical musicians regard the ability to improvise as the "least important skill" (Creech, et al, 2008 p8) This suggests that there is only a minority of classical musicians that have the desire to improvise. There is evidence for the intended audiences’ interest in such a product. “A classical approach to jazz piano improvisation” (Alldis, 2008) is a teaching method tailored to pianists from a classical background. The author states in the preface “like many jazz pianists today, I have a background in classical music. Since 1993, I have taught jazz piano to classical pianists at the Royal Academy of Music in London “(Alldies, 2008, preface) It is clear then, that there is a group of people who are classically trained, but who aspire to extend their musicality beyond the classical genre. “A classical approach to jazz improvisation”, teaches concepts with much emphasis on notation, therefore being accessible to its intended audience. It explores what scales to use over what chords, left hand accompaniment patterns and has a chapter on Be-bop. As my method is going to use the I, II,II,V,I chord progression throughout its entirety, there is a different framework applied. This should result in the user becoming especially proficient at improvising over the one chord progression.

Development of project

From feedback regarding the last draft of the learning contract I was given advice that it wasn't completely clear what the aim of my project would be. The two options were that I was either going to give a performance that demonstrated my ability to improvise over the I,II,II,V,I chord progression or create a learning resource aimed at teaching classical musicians how to improvise over the progression. Upon consideration, I decided to choose the second option as I did not wish to be judged on my ability to improvise. In creating a learning resource, it should still give me the skills to improvise effectively over the chord progression, but will produce a product where the success of it can be measured using qualititive research. My project aim has therefore been adjusted to reflect this. In addition, there was too many objectives in the last learning contract so this has been condensed.

Aim of Honours
project

The overall aim of
this honours project is to create a leaning resource on how to improvise over
the common jazz chord progression I,II, II, V,I, aimed at classical musicians. It
is a recognised problem that classically trained pianists who attempt to
improvise often have great difficulty as their training does not always
facilitate the skills needed for effective improvisation. With a classical
training, this difficulty is perhaps best realised when the emphasis on playing
exactly what is notated on is considered. Improvisation, with its emphasis on
the freedom of the player, is completely at odds with this approach. Even with
high technical ability and knowledge of music theory the transition between the
two approaches is uncomfortable. This project will attempt to create a method
that greatly assists the classical player in making this transition. In
addition to the guide, there will be performance based examples included on a
DVD which should aid the learning process. One way of measuring the success of
the project would be to contact pianists that identify themselves as only
classically trained pianists and conducting a survey that ascertained their
understanding of improvisation before and after using the method.


Objectives of project
On completion of this
project, the objectives are to
1.
Define,
describe and discuss key aspects of the theory behind improvisation relating to
the associations between melodic structures which form the improvisation and
the differing harmonic structures which are possible within the chosen chord
progression. Do this with reference to existing improvisations.

2.
Define,
describe and discuss aspects of pedagogy, relevant to the appropriate teaching
theory context, required to ensure that the guide is of high educational value.
Also identify limitations of classical education in respect of improvisation.
3.

Apply
the research to produce a learning resource comprising an instruction guide and
DVD that fully explains the effect of harmony on improvisation and teaches the
practical application of this. This should ensure that a classical musician has
an accessible resource which they can use to learn to improvise effectively.
4.

Measure
the project by reference to the critical framework that should become
established as a result of using the one chord progression. E.G Explaining the
effect of harmony on improvisation by reference to what is normally done.
5.

Test
the overall aim of the project by contacting pianists who identify themselves as
classically trained and measure their ability and understanding, using a survey
and performance, before and after using the method.



Major tasks

For the first
objective

1.
Prepare
a bibliography of existing guides on improvisation and of transcriptions of
improvisations.
2.
Create
a glossary to define and describe key terms of improvisation theory and how
this is put into practice.
3.
Identify and describe recurring relationships
between improvisation and harmony that has been observed by reference to the
transcriptions.

4.
Ask
professional in field of jazz for advice on the application of the theory.
5.
Write
a review of these key terms and describe how this relates to the scope of my
project. E.G Identify difficulties that a classical musician would have in
applying this theory.


For
the second objective
1.
Prepare
bibliography of transcriptions and guides/ interviews of professional jazz
pianists on approaches to improvisation that use the chord progression I am
focussing on.
2.
Formulate
an appropriate analytical framework in order to make formative judgements.

3.
Identify
common approaches to improvisation over the same chord progression by reference
to the transcriptions and guides/interviews of jazz pianists. Analyse how different
harmonic structures over the same progression influences this. Look for
similarities in different musicians approaches.



For the third
objective
1.
Prepare
bibliography of books that explain teaching theory.
2.
Identify
and describe appropriate teaching strategies that will ensure that the learner
is engaged to what is being taught in the guide.
3.
Ask
professional jazz piano teacher for views on how to teach improvisation.
4.
Apply
the teaching theory to the guide to ensure its intended audience find it
accessible.

5.
Decide
what software I am going to use to create the guide.
6.
Decide
on the layout and format of the guide. This will be informed by reference to
teaching theory.
7.
Decide
on logistics of having performance based examples recorded. E.G, Will it
involve an ensemble?
8.
At
the end, have the guide professionally printed and any performance based
examples recorded onto DVD


For the fourth
objective
1.
Establish
the appropriate critical framework to measure the project against. This should
be achieved by taking the chord progression chosen and applying the research
that done on it. This way there is a justification for the methods that will be
explained in the guide.
2.
Ensure
testing is carried out whilst the guide is still in production. This will involve
gathering opinions of classically trained pianists and piano teacher. It will
identify whether the guide is achieving what it aims to do.



For the fifth
objective
1.
Contact
pianists at Stevenson that identify themselves as classically trained and ask
if they would like to be involved in the project.
2.
Devise
a testing method. To do this, concentrate specifically on what will be
explained in the guide.
3.
Test
their existing knowledge of improvisation before they use the guide using a
survey
4.
Test
their level of understanding after they have used it using a survey and a
performance.
5.
Analyse
results to determine how successful the project has been in achieving the aim.










Submission
Deliverables


1.1.1-
Bibliography
of guides on improvisation to be included on the blog.
1.2.1-
Glossary of terms to be included on the blog
1.3.1-
Identify and describe recurring relationships to be done on the blog and to be
included as part of literature review.
1.4.1-
Transcription of interview to be included on the blog and the main points
summarised in the dissertation
1.4.2-
Audio recording of interview to be included on blog and as part of the
pre-production/ project portfolio
1.5.1-
Review to be included in the literature review of the dissertation, the
research proposal and on the blog.

2.1.1-Bibliography
of jazz transcriptions and guides to improvisation to be included on the blog
2.2.1-
Formulate analytical framework to be included in the pre-production portfolio
and a full description of this process to be included in the blog and as part
of the methodology section of the dissertation
2.3.1-
Identify common approaches and analyse relationships between melodic and
harmonic structures to be done on the blog as it would include recordings.
Also, this could be included in the pre-production/ project portfolio.
.

3.1.1-
Prepare bibliography of teaching guides on the blog
3.2.1-
Identify and describe appropriate teaching theory to be done on the blog, also
as part of the literature review in the dissertation and the research proposal
3.3.1-
Transcription of views to be included on blog and recording to be included as
part of the pre-production portfolio.
3.4.1-
Applied teaching theory to be included in the methodology section of the
dissertation.

3.5.1-
Decide what software to be used to be included as part of blog.
3.6.1-
Layout to be discussed as part of methodology section of dissertation
3.6.2-
Final product will be a professionally produced guide where this can be judged.
3.7.1-
Performance aspects will be discussed on blog and as part of the discussion section
of the dissertation.
3.8.1--
A hardback copy of the guide will be submitted.
3.8.2-
CD’S and DVD’S of performance material will be submitted. This can also be
included on the blog.


4.1.1-Critical
framework to be discussed on blog and as part of the methodology section of the
dissertation. Also research needed for
this will be included as part of research proposal.
4.2.1-
Results of testing to be included on blog and as part of the results and
discussion section of the dissertation
.



5.1.1-
Gather list of all those involved. State how many people involved and musical
background on blog and testing section of the dissertation.
5.2.1-
Testing method to be discussed in blog and as part of methodology section of
dissertation.
5.3.1-
Existing knowledge to be discussed on blog and included as part of the
methodology
5.4.1-
Results of testing to be included on blog and as part of the results and
discussion section of dissertation.






Resources

The resources that I
need would comprise of musicians for any ensemble performances and a means to
record these. I am already in a jazz trio and could probably have access to
recording facilities at Stevenson in order to record compositions. If I am to
get the guide printed professionally then this will probably cost some money
which I am willing to fund myself. I also have a wide range of literature to
refer to, most of which can be borrowed from libraries. So far this consists
of:

Harmonic experience
W.A Mathieu Inner Traditions
International 1997 – This
explores harmony from its natural origins and so would be useful to form an all
rounded view of harmony.
Keyboard Jazz Harmony
Baerman 2000 Alfred- This teaches the
music theory side of jazz harmony.
Music and Mind in
Everyday Life Clarke, Dibben, Pitts Oxford
University Press 2010- This books discusses music and psychology which again
should help in understanding why certain intervals have particular effects on
people. It also has a chapter on improvisation, so by understanding the
psychological elements involved in the process of improvisation, this should
help in establishing the correct mindset.
Instrumental teaching
Janet Mills 2007 Oxford Music education series- This is beneficial in understanding
the teaching theory required for my project. It also has a section on improvisation.
Great Jazz Piano
solos Omnibus press wise 2005- This
comprises of transcriptions, some of which use the chord progression that I am
focussing on and so provides clear case study examples.

Feedback from pitch session and related studies

At the pitch meeting on the 9th November I was given feedback regarding how to further develop my project. One aspect was to look at existing studies that had been done on classical musicians and improvisation. The rationale for my project focuses on the point that classical musicians often find the transition to improvisation uncomfortable due to their education not best facilitating the techniques needed for effective improvisation. My project would attempt to create an effective learning resource that would aid classical musicians in making this transition.

"Investigating musical performance: commonality and diversity amongst classical and non-classical musicians", is a review article focusing on what aspects of musicianship are similar amongst classical and non classical musicians and where the differences lie. It aims to "Explore findings relating to attitudes towards the importance of musical skills, the relevance of musical activities and the nature of musical expertise." (Creech, et al, P1, 2008) One of the tasks that has been set out in the learning contract is to identify limitations of a classical education within the context of improvisation. The most apparent observation is the emphasis in classical music placed on playing exactly what is notated. The nature of improvisation with its emphasis on the freedom of the player is completely at odds with this approach. The research paper states that "While classical musicians emphasized the drive to excel musically and technically and prioritized notation-based skills and analytical skills, non-classical musicians attached greater importance to memorising and improvising" (Creech, et al, 2008, P1) It makes this assessment using results from a questionnaire of 244 undergraduate and professional musicians. With regards to the aim of my project, I will have to consider attitudes of classical musicians when coming up with a suitable teaching method. I could perhaps start with a notation based approach that would gradually place more emphasis on the freedom of the player. This might involve initially notating a solo in its entirety then leaving gradually more spaces in the notation for the improviser to fill. This way the learning method should be accessible to the intended audience. The paper discusses how genres produce an ideology where particular characteristics can be observed in the musician who identifies themselves as being of that genre. (Creech, et al,2008 p5) It is apparent that classical musicians in the mainstream regard ability to improvise as the "least important skill" (Creech, et al, 2008 p8) They place sight reading as the most important. This suggests that the niche for my project consists of a minority of classical musicians who have the desire to improvise but don't adhere to the belief that this is off limits because of their education. The survey also observed that classical musicians place a higher importance on the advancement of technical skills and musicality. Non classical musicians however consider making music for pleasure and listening to music of their own genre more relevant. (Creech, et al, 2008 p23) Again, when coming up with an effective teaching device, I will be informed by this. I feel that the advancement of technical skill and musicality is a goal that can be met within the context of improvisation. For example technical skills can be devoloped using increasingly difficult patterns of arpeggios and scales, which a classical musician may already be familiar with because of the emphasis on scales and arpeggios within a classical education. Also, many jazz pianists have been influenced by highly technical aspects of classical piano playing. For example Bill Evans was influenced by Debussy. Added to this, because improvisation is a creative process this allows for an advancement of musicality.

This review paper therefore documents important evidence regarding the mindset of classical musicians that I can use to inform what teaching methods I use.

Creech, et all.(2008) Investigating musical performance: commonality and diversity amongst classical and non-classical musicians.

Revised Learning contract

After following Kennys feedback I have revised the blog so that the aim of the project has a context and the tasks and objectives are in the correct format.

Aim of Honours
project

The overall aim of
this honours project is to explore how harmony shapes the course of
improvisation and how it defines the sound quality of the scales being used.
The project will focus on the common jazz chord progression I,II, II,V,I in
order to make the project of manageable scope. By perusing this project, the
output should consist of an accessible guide that would explain fully the
effect of harmony on improvisation and therefore form an important teaching
resource. It is a recognised problem that classically trained pianists who
attempt to improvise often have great difficulty as their training does not
always facilitate the skills needed for effective improvisation. With a
classical training, this difficulty is perhaps best realised when the emphasis
on playing exactly what is notated on is considered. Improvisation, with its
emphasis on the freedom of the player, is completely at odds with this approach.
Even with high technical ability and knowledge of music theory the transition
between the two approaches is uncomfortable. This project will attempt to create
a method that greatly assists the classical player in making this transition. In addition to the guide, there will be performance
based examples of what is explained in the guide. This should aid the learning
process. One way of measuring the success of the project would be to contact
pianists that identify themselves as only classically trained pianists and
conducting a survey that ascertained their understanding of improvisation
before and after using my method.


Objectives of project
On completion of this
project, the objectives are to
1.
Define,
describe and discuss the key aspects of the theory behind improvisation and how
this is put into practice.
2.
Identify
and analyse the associations between melodic structures which form the
improvisation and the differing harmonic structures that are possible within
the chosen chord progression.
3.
Define,
describe and discuss aspects of pedagogy, relevant to the appropriate teaching
theory context, required to ensure that the guide is of high educational value.
4.
Apply
the research to produce a guide that fully explains the effect of harmony on
improvisation and teaches the practical application of this. This should ensure
that a classical musician has an accessible resource which they can use to
learn to improvise effectively.
5.
Measure
the project by reference to the critical framework that should become
established as a result of using the one chord progression. E.G Explaining the
effect of harmony on improvisation by reference to what is normally done.
6.
Ensure
that performance has an effective role by giving an audible and visual
representation of what is explained in the guide and so making the learning
process more effective.
7.
Test
the overall aim of the project by contacting pianists who identify themselves
as classically trained and measure their ability and understanding before and
after using my method.



Major tasks

For the first
objective

1.
Prepare
a bibliography existing guides on improvisation
2.
Create
a glossary to define and describe key terms of improvisation theory and how
this is put into practice.
3.
Ask
professional in field of jazz for advice on the application of the theory.
4.
Write
a review of these key terms and describe how this relates to the scope of my
project. E.G Identify difficulties that a classical musician would have in
applying this theory.


For
the second objective
1.
Prepare
bibliography of transcriptions and guides/ interviews of professional jazz
pianists on approaches to improvisation that use the chord progression I am
focussing on.
2.
Identify
common approaches to improvisation over the same chord progression by reference
to the transcriptions and guides/interviews of jazz pianists. Analyse how different
harmonic structures over the same progression influences this. Look for
similarities in different musicians approaches.
3.
Formulate
an appropriate analytical framework in order to make formative judgements.


For the third objective
1.
Prepare
bibliography of books that explain teaching theory.
2.
Identify
and describe appropriate teaching strategies that will ensure that the learner
is engaged to what is being taught in the guide.
3.
Ask
professional jazz piano teacher for views on how to teach improvisation.
4.
Apply
the teaching theory, ensuring that the learning process is focused on the
intended audience.

For the fourth
objective
1.
Decide
what software I am going to use to create the guide.
2.
Decide
on the layout and format of the guide. This will be informed by reference to
teaching theory.
3.
Establish
the critical framework to be used which will measure what I am explaining
against what is usually done over the chosen chord progression
4.
Ensure
testing is carried out whilst the guide is still in production. This will
involve gathering opinions of classically trained pianists and piano teacher.
It will identify whether the guide is achieving what it aims to do.
5.
At
the end, have the guide professionally printed and any performance based
examples recorded onto either DVD or CD.

For the fifth
objective
1.
Establish
the appropriate critical framework to measure the project against. This should
be achieved by taking the chord progression chosen and applying the research
that done on it. This way there is a justification for the methods that will be
explained in the guide.

For
the sixth objective
1.
Decide
whether performances will be done as a soloist or with an ensemble.
2.
Make
sure that performances directly relate to the guide, giving a visual and
audible reference.
3.
Organise
the logistics of this.

For the seventh
objective

1.
Contact
pianists at Stevenson that identify themselves as classically trained and ask
if they would like to be involved in the project.
2.
Devise
a testing method. To do this, concentrate specifically on what will be
explained in the guide.
3.
Test
their existing knowledge of improvisation before they use the guide.
4.
Test
their level of understanding after they have used it.










Submission
Deliverables


1.1.1-
Bibliography
of guides on improvisation to be included on the blog.
1.2.1-
Glossary of terms to be included on the blog
1.3.1-
Transcription of interview to be included on the blog and the main points
summarised in the dissertation
1.3.2-
Audio recording of interview to be included on blog and as part of the
pre-production/ project portfolio
1.4.1-
Review to be included in the literature review of the dissertation, the
research proposal and on the blog.

2.1.1-Bibliography
of jazz transcriptions and guides to improvisation to be included on the blog
2.2.1-
Identify common approaches and analyse relationships between melodic and
harmonic structures to be done on the blog as it would include recordings. Also,
this could be included in the pre-production/ project portfolio.
2.3.1-
Formulate analytical framework to be included in the pre-production portfolio
and a full description of this process to be included in the blog and as part
of the methodology section of the dissertation.

3.1.1-
Prepare bibliography of teaching guides on the blog
3.2.1-
Identify and describe appropriate teaching theory to be done on the blog, also
as part of the literature review in the dissertation and the research proposal
3.3.1-
Transcription of views to be included on blog and recording to be included as
part of the pre-production portfolio.
3.4.1-
Applied teaching theory to be included in the methodology section of the
dissertation.

4.1.1-
Decide what software to be used to be included as part of blog.
4.2.1-
Layout to be discussed as part of methodology section of dissertation
4.2.2-
Final product will be a professionally produced guide where this can be judged.
4.3.1-
Critical framework to be discussed on blog and as part of the methodology
section of the dissertation. Also research needed for this will be included as
part of research proposal.
4.4.1-
Results of testing to be included on blog and as part of the results and
discussion section of the dissertation.
4.5.1-
A hardback copy of the guide will be submitted.
4.5.2-
CD’S and DVD’S of performance material will be submitted. This can also be
included on the blog.

5.1
Discuss how critical framework has been
established on the blog and include this in the methodology section of the
dissertation.

6.1.1-
To decide whether performances will be done as a soloist or as part of an
ensemble will be discussed on the blog.
6.2.1-
Any recordings of performances submitted on the blog, DVD, or CD will directly
match what is contained in the guide.
6.3.1-
Describe the logistical steps needed on the blog and as part of the discussion
section of the dissertation.


7.1.1-
Gather list of all those involved. State how many people involved and musical
background on blog and testing section of the dissertation.
7.2.1-
Testing method to be discussed in blog and as part of methodology section of
dissertation.
7.3.1-
Existing knowledge to be discussed on blog and included as part of the
methodology
7.4.1-
Results of testing to be included on blog and as part of the results and
discussion section of the dissertation.






Resources

The resources that I
need would comprise of musicians for any ensemble performances and a means to
record these. I am already in a jazz trio and could probably have access to
recording facilities at Stevenson in order to record compositions. If I am to
get the guide printed professionally then this will probably cost some money
which I am willing to fund myself. I also have a wide range of literature to
refer to, most of which can be borrowed from libraries. So far this consists
of:

Harmonic experience
W.A Mathieu Inner Traditions International
1997 – This explores harmony from its
natural origins and so would be useful to form an all rounded view of harmony.
Keyboard Jazz Harmony
Baerman 2000 Alfred- This teaches the
music theory side of jazz harmony.
Music and Mind in
Everyday Life Clarke, Dibben, Pitts Oxford
University Press 2010- This books discusses music and psychology which again
should help in understanding why certain intervals have particular effects on
people. It also has a chapter on improvisation, so by understanding the
psychological elements involved in the process of improvisation, this should
help in establishing the correct mindset.
Instrumental teaching
Janet Mills 2007 Oxford Music education series- This is beneficial in understanding
the teaching theory required for my project. It also has a section on improvisation.
Great Jazz Piano
solos Omnibus press wise 2005- This
comprises of transcriptions, some of which use the chord progression that I am
focussing on and so provides clear case study examples.

Updated learning contract

Updated Learning contract




Aim of Honours project

The overall aim of my honours project is to explore how harmony shapes the course of improvisation and how it defines the sound quality of the scales being used. The project will focus on the common jazz chord progression I,II, II,V,I in order to make the project of manageable scope. By perusing this project I would aim to create an accessible guide which would explain fully the effect of harmony on improvisation, rather than the improviser simply accepting the effect through their own trial and error. This should ensure that the project is of high educational value. In addition there will be performance based examples of what is explained in the guide. The project should therefore be of appeal to jazz academics and musicians wishing to improve their improvising through a full awareness of the underlying principles of harmony. There is therefore a desire that the finished project should take a unique slant on what is already available.

Objectives of project

The subject area of my project focuses on jazz improvisation and harmony. I will concentrate my research on these areas and relate the results of the research to the focus of my project. I will study what material currently exists regarding guides on improvisation to see what common approaches to the subject are currently taken. I will also identify any limitations of these common approaches with a desire that in my guide this will be filled. I will research harmony both in terms of music theory and the natural conditions that facilitate it. My project will draw on elements from all of these subject areas and I will seek the opinion of my piano teacher who is an expert in jazz so that I can see if he can identify any further research material or offer contrary opinion. I will apply the research so that it meets the focus of my project. This would comprise of applying the research done on harmony and improvisation to explain the effect of harmony on improvisation by producing a guide. I will also seek to make performance an integral part of the outcome so that what is explained in the guide can be heard. I will focus on the common I,II,II,V,I progression used in standards such as The Girl from Ipanema, Take the A train and Mood Indigo. In order to test the project, it will be measured against the critical framework which hopefully will become established as a result of using just one chord progression. (EG,explaining the effect of harmony by referring to what is normally done in these standards that use the progression) The underlying end goal is that I produce an important educational resource as well as improving my own improvising and hopefully become an expert at the particular chord progression that I am focusing on.

Major tasks


In compiling research material I will prepare a bibliography that contains all of the resources that I think are relevant to my project. I will then document all the relevant literature obtained and looks for examples of what is listed in practice, eg common approaches to improvisation. If I find research material that I think would be beneficial to my project then this will be listed. To do this I will keep in mind the scope of my project. I would further discuss this with my piano teacher who is an expert in the field of jazz in order to obtain a second opinion. This should also help with identifying limitations that I wish to fill in my project. I will study and produce my own transcriptions in order to further contribute to the objective of understanding approaches to improvisation within the chosen chord progression. This should help contribute towards the critical framework I am measuring my project against. In researching harmony I will again identify the range of literature and write commentary on aspects which are relevant to my project. I will test the knowledge acquired about harmony and then by means of experimentation and by referring to the critical framework, test what approaches work. One of the objectives is to make performance an integral part of the project. To implement this, I will compose so that the performances accurately represent what is being explained in the guide and decide whether this will be done with an ensemble or a soloist. I will then have to record these. One of the objectives is that the project is of high educational value. In order to fulfil this I will study pedagogy to ensure that the guide uses appropriate teaching theory in explaining concepts.


Submission Deliverables

In preparing a bibliography, this could be done effectively using the blog and all the research material placed into categories. (E.g Improvisation guides, books on harmony, books on psychology, transcriptions, journals) Any commentary would therefore use these categories. In producing the guide, I will have this printed, hopefully professionally as a hard copy will be the best format for a teaching guide. In testing the knowledge acquired about harmony, this would probably be best shown on the blog as it will show the testing process stage by stage and give a realistic impression of the time scale. This process could then be described in the dissertation. As performance is to be an integral part of the project, I will have any performances and compositions recorded and handed in on disk so that this can be measured.


Resources

The resources that I need would comprise of musicians for any ensemble performances and a means to record these. I am already in a jazz trio and could probably have access to recording facilities at Stevenson in order to record compositions. If I am to get the guide printed professionally then this will probably cost some money which I am willing to fund myself. I also have a wide range of literature to refer to, most of which can be borrowed from libraries.

Analysis of dissertations

The first dissertation that I have read aims 'To find out whether the perception of an image can be changed by adjusting the quality of the ambient sound effects'. The author of this dissertation provides the context for his/her project aim in the introduction where they explain the effect of ambient sound and then pose the question of how this can influence how the audience percieves the film. Therefore the author has identified a problem to be solved which would seem to give a strong project rationale. This is in line with the marking scheme that says for a B there needs to be reference to context. They then go on to identify areas of research that they will need to undertake and further justify the areas of research. In the literature review, the author shows that they have done extensive background research into the subject area and relates it directly to the scope of their project. This would seem to act as clear evidence of analytical research which is required to get a B. Also there is clear example of project development and a careful attention to detail in the next section where the author makes sure they are covering all the areas that are relevent to the project. It is also clear that for every statement that they make, they are justifying by reference to literature, some of which is academic. although there is quite a lot of internet material.

After the research section, the author talks about the methodology. They present this very clearly and show evidence of critical thinking in order to solve the problem of there being two versions of the same film and all the considerations that come under the scope of their project. This would seem to ensure that the survey is unbiased and makes sure the results are going to be measurable against the critical framework that has been established through what the author says will be researched. The author shows the results of the survey visually so that it is clear. The overall conclusion though does seem a bit short for an honours dissertation.

Overall, the grade would probably be the lower end of a B. The author has done extensive research and uses much high quality research material to assist his/her project. There is much evidence of the development of concept and the overall aim identifys a problem to be solved. Also, there is critical thought been applied.

First attempt at learning contract

Before the tutorial class on the 19th october I made a first attempt at the learning contract what is attached below. Following the feedback given at the pitch session I was advised to narrow the scope of my project down so that I focussed on one genre of jazz or on one particular chord progression. This was in order to provide a critical framework for the project. For example, expaining the effect of harmony on improvisation by reference to what is normally done within the chord progression.

Aim of Honours project

The overall aim of my honours project is to explore how harmony shapes the course of improvisation and how it defines the sound quality of the scales being used. The project will focus on the common jazz chord progression I,II, II,V,I in order to make the project of manageble scope. By persuing this project I would aim to create an accessable guide which would explain fully the effect of harmony on improvisation, rather than the improviser simply accepting the effect through their own trial and error. This should ensure that the project is of high educational value. In addition there will be performance based examples of what is explained in the guide. The project should therefore be of appeal to jazz academics and musicians wishing to improve their improvising through a full awareness of the underlying principles of harmony. There is therefore a desire that the finished project should take a unique slant on what is already available.

Objectives of project

The subject area of my project foccusses on jazz improvisation and harmony. I will concentrate my research on these areas and relate the results of the research to the focus of my project. I will study what material currently exists regarding guides on improvisation to see what common approaches to the subject are currently taken. I will also identify any limitations of these common approaches with a desire that in my guide this will be filled. I will research harmony both in terms of music theory and the natural conditions that facilitate it. My project will draw on elements from all of these subject areas and I will seek the opinion of my piano teacher who is an expert in jazz so that I can see if he can identify any further research material or offer contrary opinion. I will apply the resarch so that it meets the focus of my project. This would comprise of applying the research done on harmony and improvisation to explain the effect of harmony on improvisation by producing a guide. I will also seek to make performance an integral part of the outcome so that what is explained in the guide can be heard. I will focus on the common I,II,II,V,I progression used in standards such as The Girl from Ipanema, Take the A train and Mood Indigo. In order to test the project, it will be measured against the critical framework which hopefully will become established as a result of using just one chord progression. (EG,explaining the effect of harmony by referring to what is normally done in these standards that use the progression) The underlying end goal is that I improve my own improvising and hopefully become an expert at the particular chord progression that I am foccusing on.

Major tasks


In compiling research material I will prepare a bibliography that contains all of the resources that I think are relevant to my project. I will then document all the relevant literature obtained and looks for examples of what is listed in practice, eg common approaches to improvisation. If I find research material that I think would be beneficial to my project then this will be listed. To do this I will keep in mind the scope of my project. I would further discuss this with my piano teacher who is an expert in the field of jazz in order to obtain a second opinion. This should also help with identifying limitations that I wish to fill in my project. I will study and produce my own transcriptions in order to further contribute to the objective of understanding approaches to improvisation within the chosen chord progression. This should help constitute towards the critical framework I am measuring my project against. In researching harmony I will again identify the range of literature and write commentary on aspects which are relevant to my project. I will test the knowledge acquired about harmony and then by means of experimentation and by referring to the critical framework, test what approaches work. One of the objectives is to make performance an integral part of the project. To implement this, I will compose so that the performances

Honours Project

Pre production
In order to come up with a project, I first had to identify areas of interest and skills and knowledge gaps that I wished to fill. My main interest was in jazz and harmony and with this subject area I begun writing down a series of questions and statements that could be the focus of further research with the objective of coming up with a clear project idea.

In planning what my honours project would comprise of, I knew that my main area of interest was around jazz and improvisation. This is an area where I wish to fill skills and knowledge gaps. As part of meeting the criteria of concept development I took this subject area and began asking questions and writing down statements with the hope that this would start to narrow down the subject area.

Questions and Statements

Why does the interval of a minor second in isolation produce a grating unpleasant sound, yet within certain chord constructions, its sound quality is transformed. For example, play D and Eb in isolation and its effect is unpleasant. Within the chord of Cm9 despite the same minor second clash its quality is completely different.
Also, why do different chord voicing’s of the same chord produce different qualities when all the notes are the same?
Performance needs to be a key component of the project

The same scales have different qualities when alternative harmonies are applied. For example play an FMAJ7 chord and improvise using the A blues scale. The effect is completely different if the chord is changed to A7.

What dictates what scales to use over what chords when improvising?
How does harmonic backing influence the act of improvisation?

Does this change the course of improvisation when improvising in different settings such as in a group or as a soloist, even when the chords are the same?
From these questions and statements a more focussed project idea emerges. This is exploring the impact of harmony on improvisation, showing and explaining how harmony shapes the course of improvisation and how it defines the sound quality of the scales being used. The resultant output would comprise of a series of performance based activities that would each explore this along with a guide that would explain how harmony actually works applied to the context of improvisation.

In complying with the research methods and dissertation part of the honours project, I have identified some research material that should be of assistance in helping me understand my subject area.

From this there are many areas of research that can be identified. These include
· Jazz transcriptions- to reference consistent patterns between harmony and improvisation that produce particular effects.
· Jazz recordings- so that the effect of harmony and improvisation can be heard
· Books on improvisation
· Books on the theory of harmony
· Books on the Psychology of music

Target audience
The project could be aimed at jazz academics


Research- exploring the relationship between improvisation and harmony. By examining transcriptions how does the harmony change the effect of the scales being used? Supporting evidence pre production

Art Tatum ‘Aint Misbehavin’ (Jazz Masters 1986)
Within the transcription several observations can be made between improvised passages and the harmony Tatum is using. An example is in bar 8 where the last four semiquavers of the right hand would suggest A minor but the left hand suggests Db. The Semitone clash creates tension yet is instantly resolved at the start of the next bar where Tatum resolves the tension by playing a Db major chord which is spread over two hands. This gives the effect of there being a transition; there is a break in harmonic agreement. The chord in the left hand at the end of bar 8 characterises this. The effect would be completely different if the left hand played an A minor chord at this point. Tatum uses this device frequently in his improvisations. The use of scales that are made up of whole tones, such as in the first bar of the last system of page 18, is another device which is used. In this bar the effect that it has is of conflict. Again, it is the combining of the left hand harmony and the scale in the right hand that creates this effect rather than the scale in isolation producing it. The chord that the left hand is playing would suggest Ebminor, the scale seems to be derived from a B9 chord. The sound quality of the scale is transformed depending on what harmony is applied underneath it. For example on page 19 in the second bar of the last system Tatum plays another scale where no interval is less than a whole tone. The effect that it has this time is of greater harmonic agreement because of the chord that Tatum plays in the left hand. Another significant observation is how the whole-tone scale, played in isolation, in its entirety, has a dreamy, nostalgic quality, yet with some notes omitted this quality changes.



Psychology of music
Researching the experience of Harmony
Books that have reliable information that will inform my project include
‘Harmony its theory and practice’ by Ebenezer Prout
The book contains information on the harmonic series and the makeup of chords relating to the natural conditions which facilitate it. This would seem to be useful research material in understanding why certain intervals have a particular effect rather than simply accepting the effect.
‘A certain amount of knowledge of the phenomena of the production of musical sounds is of the utmost assistance to the student in enabling him to understand the derivation of the various chords which form the material of which music is constructed’ (Prout p24 1888)