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.
Sunday, 30 October 2011
Sunday, 23 October 2011
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.
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
Sunday, 16 October 2011
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)
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)
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