I have now formulated a methodology to use for the analysis of transcriptions of improvisations which was task 1.1.3. It should be noted that the completed glossary of terms gives me a fully referenced resource to enable me to describe what the various components are of the improvisation. The analytical framework used has been built by refernece to other models of analysis.
Task 1.1.3- Formulate an appropriate analytical framework to analyse improvisations
The identified transcriptions that use the chord progression are
‘An analysis of Joe lovano’s tenor saxophone improvisation on
“Misterioso” by Thelonius Monk: an exercise in Multidimensional thematicism’ (Dahlke 2003) is a journal article which reveals methodologies for analysing improvisations. The author states ‘the goal of this analysis is to reveal Joe Lovano’s use of thematic relationships on four levels: 1) phrasing, 2) step-progression, 3) motives/formulas, and 4) harmonic implications’ (Dahlke 2003 p14) The author then states what ‘criteria’ is being used to analyse each of these areas. ‘The criteria used in the phrase analysis portion of chapter III are length of phrases, register of phrases, direction of phrases, duration of pitches in phrases, pitch content of phrases, metric placement of phrases, and the harmonic implications of phrases.’ (Dahlke 2003 p14) When considering how best to characterise different artists approach to phrasing, this is arguably a reliable model due to the attention paid to the individual components of phrases. A similar methodology can be found in ‘The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations’, where the author discusses what considerations have to be made when analysing improvised lines (Pfleiderer
Klaus Frieler N.D) ‘Of course, there are several musical dimensions to be investigated in improvised
melodic lines: first, their tonal and harmonic implications as well as their relation to the original melody and chords they are based on; then, the rhythmic features of the improvised lines including peculiarities like cross rhythms or those microrhythmic liberties that contribute to the overall “feel”, “swing” or “drive” of a solo’ (Pfleiderer, Frieler N.D P4) Within the context of the proposer’s method, several transcriptions of improvisations will be need to be analysed in order to understand different artists approach to the melodic content which forms the improvisation. A general framework for analysis of melodic content can be applied but as different artist’s approaches varies; a specific method of analysis for each transcription will need to be applied.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation.
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation.
Another article which deals with methods of analysis is Garry Potter’s ‘Analysing Improvised Jazz’. The author states that, ‘One early analytical tool would relate each pitch of a solo to the root of the chord in effect as that note is played.’ Potter thinks that it is, ‘Even more useful to show the relationship between a longer melodic passage and the underlying harmony than to deal with each note individually.’ (Potter 1992 p1)
A general framework for analysis of harmonic content:
1. Identify what content forms the accompaniment. As the improvised content has already been identified, the accompaniment should be what remains.
2. Describe the characteristics of the accompaniment. This involves identifying what intervals of the chord are being used in what hand and what the style of accompaniment is. For example, in some improvised transcriptions the accompaniment takes the form of a walking bass line with the rest of the chord filled out by the right hand. (For example see Take the A Train (Ellington 1941) In other transcriptions the accompaniment, in its entirety is in the form of close voiced chords in the left-hand. (For example see Peterson 1963)
3. Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
1. Identify and describe any chord-scale relationships that exist, ‘to show the relationship between a longer melodic passage... and the underlying harmony.’ (Potter 1992 p1) For example, particular modes are associated with particular chords and so examples of this could be found.
2. Identify and describe the ‘harmonic implications’ (Pfleiderer, Frieler N.D P4) of the improvised melodic content. For example, the improvised line may include tones that impact on the harmony. Sometimes scales are played which are a semi-tone out from the chord. (For example see Hussey, 2007, p5)
3. Identify and describe any patterns that exist between accompaniment and melodic content. ‘Which percentage of a repertoire of improvisations can be quantitatively characterised as consisting of repeated patterns or formulas’ (Pfleiderer, Frieler N.D P4)
After this stage a more specific framework for analysis can be used that is slightly adapted depending on the requirements of each transcription.
Specific methodological framework for analysis of transcriptions-
The Girl from Ipanema (Peterson 1963)
1. The improvised melodic content can be identified all in the right hand so this can easily be isolated.
2. Study the entirety of the improvised content to identify what scales and (or) chords are being used to improvise.
3. Identify and describe how Peterson uses the identified scales and (or) chords for improvisation.
4. Identify rhythmic features of the improvised content.
5. The identified accompaniment is all contained within the left hand so this is easily isolated.
6. Identify and describe the intervallic order of notes that the voicing’s use. For example, in the piece there are examples of close voicing’s and rootless voicing’s.
7. Identify and describe the alterations and substitutions that Peterson uses in the accompaniment.
8. Identify and describe how the accompaniment, by means of the rhythmic displacement, provides a rhythmic foundation for the improvisation.
9. Identify and describe the chord-scale relationships that exist throughout the solo.
10. Identify and describe the harmonic implications of the improvised content.
11. Identify and describe the observed patterns between the improvisation and accompaniment.
Desafinado (Jobin 1959)
1. The improvised melodic content can be identified all in the right hand so this can easily be isolated.
2. Study the entirety of the improvised content to identify what scales and (or) chords are being used to improvise.
3. Identify and describe how Jobin uses the identified scales and (or) chords for improvisation.
4. Identify rhythmic features of the improvised content.
5. The identified accompaniment is all contained within the left hand so this is easily isolated.
6. Identify and describe the intervallic order of notes that the voicing’s use. For example, in the piece there are examples of close voicing’s, rootless voicing’s and vamping.
7. Identify and describe the alterations and substitutions that Jobin uses in the accompaniment.
8. Identify and describe how the accompaniment, by means of the rhythmic displacement and repeated rhythmic patterns provides a rhythmic foundation for the improvisation.
9. Identify and describe the chord-scale relationships that exist throughout the solo.
10. Identify and describe the harmonic implications of the improvised content.
11. Identify and describe the observed patterns between the improvisation and accompaniment.
Take the ‘A’ Train (Ellington 1941)
1. Isolate the improvised melodic content from the left-hand walking bass-line and the chordal accompaniment in the right hand.
2. Study the entirety of the solo to determine what scales and chords are being used to improvise.
3. Identify and describe how Ellington makes much use of dense chords in the improvisation. Also identify how he uses scales to improvise
4. Identify and describe rhythmic features of the improvised content
5. The accompaniment for this piece is both contained in the left-hand, which contains a walking bass line, and in the right hand which often includes the full chord under the individual notes of the improvised line.
6. Identify and describe the nature of the walking bass line and how Ellington fills out the remainder of the accompaniment in the right hand.
7. Identify and describe the alterations that Ellington uses in the accompaniment.
8. Identify how the walking bass line provides a rhythmic foundation for improvisation and how the right hand chords contribute to this sense of rhythm.
9. Identify any chord-scale relationships that exist throughout the solo.
10. Identify the harmonic implications of having sections of the improvised solo being harmonized by block chords.
11. Identify the harmonic implications of the sections of the improvised solo that are comprised of melodic lines without any harmony other than the walking bass line.
References
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Dahlke,A.,2003. An analysis of Joe lovano’s tenor saxophone improvisation on “Misterioso” by Thelonius Monk: an exercise in Multidimensional thematicism. DOCTOR OF MUSICAL ARTS. University of North Texas
Hussey.C. Ed.,(2007).Great Jazz piano solos Book two,(Music scores), Wise publications.
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
NewJacksWing,(1974) Oscar Peterson and Andre Previn,(Web Video), Available at http://www.youtube.com/watch? [Accessed 03/01/2012]
Pfleiderer, Frieler.,N.D. The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations. University of Hamburg, Institute for Musicology
Potter.G.,(1992)Analysing Improvised Jazz, College music symposium, 32, p143-160
Monday, 30 January 2012
Tuesday, 24 January 2012
Completed glossary of terms
The glossary has now been completed. I have described what each term is and how it can be applied practically. This should give me a better understanding to analyse improvisations with.
Glossary of essential terms
Aeolian mode- The Aeolian mode is the name given to a major scale that has a b3, b6, and b7. Therefore it is the same as a natural minor scale. It can be used for improvising over minor 7th chords. (For example see Alldis 2003 p63)
Accentuation - Emphasizing certain notes in order to enhance the rhythmic vigour of a line. When deployed it is common for accents to be placed on off beats. This is a very common feature of the jazz genre. (For example see Alldis P154 2003)
Alteration – A chord which has at least one tone raised or lowered by a semitone from its normal place within the chord. A common alteration is to flatten the 9th. For example in G7b9, the 9th has descended chromatically from A natural to A flat. By altering chords the player can add more colour when soloing. (For example see Baerman p8 1998)
Articulation – How individual notes are to be played. Symbols can be used in music to specify articulation. A key point concerning articulation within a jazz setting is that the improvised line played with the right hand is heard above the accompaniment that the left hand plays. (For example see Alldis p155 2003)
Bebop- Bebop is a sub-genre of jazz which is characterized by a fast tempo, long melodic lines comprising of 8th notes , chromaticism and virtuosic playing. The bebop scale used for improvising over dominant 7th chords is an eight note scale with a chromatic passing note placed between the dominant 7th and octave. For example, on C the notes would be: C,D,E,F,G,A,Bb,B,C For improvising over sixth or major 7th chords, the chromatic passing note comes between the fifth and the sixth. For example C,D,E,F,G,Ab,A,B,C. (For example see Alldis 2003 p71)
Blues- The Blues is a genre which is central to jazz in terms of both feel and structure. The blues scale is frequently used in improvisation and comprises of the following intervals: Root, b3, 4, b5, 5, b7, 8. In addition to this, the chord structure of the twelve bar blues is often used in jazz. (For example see Davis 1959 p146)
Contour- Refers to the shape of the melody line, determined by its pitch. The contour of a solo must be considered carefully in order for the improviser to produce a convincing solo. If the improviser uses too narrow a register throughout the entirety of a solo then this may become boring. If the improviser makes use of the full register available then this can aid the development of the solo. For example, on starting the solo, the improviser may play in the lower register and then move up the register as the solo continues to enhance momentum. (For example see Alldis p155 2003)
Chord Voicing- This refers to the arrangement of the notes within a chord. For example, notes in ‘Open Voiced’ chords are spread out so that one of the notes are doubled. This is effective in an ensemble setting as it allows the rhythm to be reinforced. ‘Close voicing’s’ are where the notes are grouped together closely. This means chords can be played with the left hand near to where the right hand plays the melody. Rootless voicings are chords which don’t contain the root note. This is often used in an ensemble context where the double-bass player would play the root note. (For example see Alldis 2003 p113)
Chord tone Improvisation- This refers to using the intervals of a chord in order to improvise. The style of Be-bop uses this frequently. (For example see Alldis 2003 p97)
Chromatic scale- This refers to a scale spanning at least one octave where all the intervals are semi-tones. This is often used in improvisation, in conjunction with diatonic scales, to add variety. (For example see For example see Hussey, 2007 p12)
Chorus- A complete ‘cycle’ of the chord structure of a piece. An improviser may play through several choruses when soloing. (For example see jazz.about.com)
Diatonic- This refers to a scale which is comprised of 5 whole tones and 2 semi-tones. Diatonic scales including the unaltered major are often used when improvising. (For example see Alldis p56 2003)
Diminished scale- A scale which comprises of 8 notes to the octave. The scale uses alternating tones and semi-tones. There are only three diminished scales. It can be used for improvising over diminished chords. (For example see Alldis 2003 p68)
Dorian mode- The Dorian mode is the name given to a major scale with a b3 and a b7. It is commonly used for improvising over minor 7th chords. (For example see Alldis 2003 p59)
Extensions - Extra notes that are added beyond the 7th. The extensions do not have to be functional and can be used in order to create a particular colour. The 9th, 11th and 13th are chord extensions and are used frequently in jazz. (For example see Boyd 1997 p5)
Form- This refers to the compositional structure of a jazz standard. There will normally be at least two distinct sections in a standard. (For example see Hussey,2007 p12)
Half-diminished- This is a chord comprising of a minor third, a flattened 5th and minor 7th. The inclusion of a minor 7th as opposed to a diminished 7th is what defines it as a half diminished chord. It can also be described as a minor 7th b5 chord. Often it is used in minor ii-v-i progressions as the ii chord. (For example see Boyd 1997 P39)
Head- The head of a jazz standard is the composed section that resembles the main theme and contains the chord changes. In a typical jazz standard the head is played first and then improvised solos take place using the chords of the head. (For example see Hussey, 2007, p girl from Ipanema)
Ionian mode- The Ionian mode is the same as an unaltered major scale. For example, C Ionian is just the same as the C major scale. It can be used for improvising over Major7th chords. (For example see Alldis 2003 p62)
Improvisation- This refers to instantaneous composition over a series of chord changes. In addition to playing completely new lines, the improviser may be influenced by motifs that they have used in the past. (For example see Clarke,Dibben,Pitts 2010 P49)
Inversion- This refers to the differing structure of chord tones that are possible within a chord voicing. Different considerations have to be made depending on the situation. For example, often, it is desirable that chords are played within a narrow register. (For example see Boyd 1997 p28)
Jazz melodic minor- This refers to a major scale with a flattened 3rd both ascending and descending. This is different to the melodic minor used in classical music where descending, the natural minor is used. The jazz melodic minor is suitable for improvising over minor chords with a major 7th. For example in Cm(MAJ7), the notes are: C,Eb,G,B. The C jazz melodic minor comprises of: C,D,Eb,F,G,A,B,C. (For example see Alldis 2003 p66)
Lydian mode- This refers to a major scale with the fourth raised a semi-tone. It is the fourth mode. It is commonly used for improvising over MAJ7 chords with a sharpened 11th. The 11th is the same note as the fourth. (For example see Alldis 2003 p63)
Locrian mode- This refers to a minor scale with a b2 and a b5. It is the seventh mode and is suitable for improvising over half diminished chords. For example, B half diminished consist of: B,D,F,A. The Locrian mode of B comprises: B,C,D,E,F,G,A,B. (For example see Alldis 2003 p63)
Modes - Modes are scales that were used in early music before the onset of equal temperament. The seven modes are derived from the major scale. The modes are used very frequently in improvisation. (For example see Alldis 2003 p59)
Mixolydian Mode- This is the name given to a major scale with a b7. It is the 5th mode and is commonly used for improvising over dominant 7th chords. (For example see Alldis 2003 p63)
Modulation- This refers to a new key centre being established. It is common in jazz standards for a ii-V chord change in the new key to be used where the modulation occurs. This is commonly done before a bridge. (For example see Gershwin 1924 p372)
Pentatonic- The pentatonic scale is comprised of five notes. The major pentatonic scale is made from the i,ii,ii,v, and vi degrees of the major scale. There is no dissonance in the scale because the IV and VII degrees are not included. Oscar Peterson often used pentatonic runs to establish moments of complete consonance. (For example see Peterson 1964)
Phrygian mode- The Phrygian mode is the name given to a major scale that has a b2, b3, b6 and b7. It is suitable for playing over b9 chords. (For example see Alldis 2003 p62)
Progression- This refers to a series of chords that defines the harmony of a standard. There are several common chord progressions in jazz. The II-V-I progression is amongst the most important. (For example see Boyd 1997 p6)
Quartal Harmony- This refers to chords which are made from stacked fourths. Either all the intervals will be fourths or there will be one that isn’t. Minor 11th voicings are often built this way. For example, in Em11 the root is E, the 11th is A, the 7th is D, the 3rd is G and the 5th is B. (For example see Boyd 1997 p93) A famous example of Quartal harmony can be heard in ‘So What’ by Miles Davis. (For example see Davis 1959 p366)
Rhythmic displacement- This refers to altering the rhythm through changing note lengths and including syncopation. By playing some notes on off-beats this creates a strong jazz feel. It can be used effectively within improvised passages. (For example see Alldis 2003 p100)
Substitution- Chords can be replaced others in a progression. The tri-tone substitution is the most common substitution. A tri-tone is the name given to the distance of an augmented fourth. This form of substitution can be used for dominant seventh chords where the roots of two chords are a tri-tone apart. For example F7 substitutes for B7. This frequently happens during a turnaround (For example see Boyd 1997 p8)
Turnaround- A series of chords which come at the end of a section. The chords form a cadence which leads to the next section. Common jazz turnarounds include the I, VI, II, V. Alterations and substitutions are common during turnarounds. (For example see Boyd 1997 p85)
Transposition- Playing the same music in a different key. Transposition is an essential skill for the jazz musician as a standard can typically move through several key centres. (For example see Dorham 1993 p50)
Upper Structure- A triad being played in the upper register over a chord in the lower register with a different root note. Upper structures are normally played over dominant chords. For example in D7(b9,13), the notes in the lower register could be D and C,(Root and dominant 7th) while the upper structure could comprise of a B major, second inversion triad. (5th, 13th and b9) (For example see Moehrke 2007 p114)
Bibliography
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Baerman,N.(2000)Jazz Keyboard Harmony, Alfred music publishing
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Davis,M.(1959)The Real Book sixth edition,(Music scores) Hal Leonard Europe
Dorham,K.(1993)The Real Book sixth edition,(Music scores) Hal Leonard Europe
Gershwin,G.(1924)The Real Book sixth edition,(Music Scores) Hal Leonard Europe
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
Moehrke,P.(2007)Jazz Piano voicing concepts, Mel Bay
Carlos,J.(1964)The Girl From Ipanema, Oscar Peterson. AMG. [Sound Recording: CD]
Glossary of essential terms
Aeolian mode- The Aeolian mode is the name given to a major scale that has a b3, b6, and b7. Therefore it is the same as a natural minor scale. It can be used for improvising over minor 7th chords. (For example see Alldis 2003 p63)
Accentuation - Emphasizing certain notes in order to enhance the rhythmic vigour of a line. When deployed it is common for accents to be placed on off beats. This is a very common feature of the jazz genre. (For example see Alldis P154 2003)
Alteration – A chord which has at least one tone raised or lowered by a semitone from its normal place within the chord. A common alteration is to flatten the 9th. For example in G7b9, the 9th has descended chromatically from A natural to A flat. By altering chords the player can add more colour when soloing. (For example see Baerman p8 1998)
Articulation – How individual notes are to be played. Symbols can be used in music to specify articulation. A key point concerning articulation within a jazz setting is that the improvised line played with the right hand is heard above the accompaniment that the left hand plays. (For example see Alldis p155 2003)
Bebop- Bebop is a sub-genre of jazz which is characterized by a fast tempo, long melodic lines comprising of 8th notes , chromaticism and virtuosic playing. The bebop scale used for improvising over dominant 7th chords is an eight note scale with a chromatic passing note placed between the dominant 7th and octave. For example, on C the notes would be: C,D,E,F,G,A,Bb,B,C For improvising over sixth or major 7th chords, the chromatic passing note comes between the fifth and the sixth. For example C,D,E,F,G,Ab,A,B,C. (For example see Alldis 2003 p71)
Blues- The Blues is a genre which is central to jazz in terms of both feel and structure. The blues scale is frequently used in improvisation and comprises of the following intervals: Root, b3, 4, b5, 5, b7, 8. In addition to this, the chord structure of the twelve bar blues is often used in jazz. (For example see Davis 1959 p146)
Contour- Refers to the shape of the melody line, determined by its pitch. The contour of a solo must be considered carefully in order for the improviser to produce a convincing solo. If the improviser uses too narrow a register throughout the entirety of a solo then this may become boring. If the improviser makes use of the full register available then this can aid the development of the solo. For example, on starting the solo, the improviser may play in the lower register and then move up the register as the solo continues to enhance momentum. (For example see Alldis p155 2003)
Chord Voicing- This refers to the arrangement of the notes within a chord. For example, notes in ‘Open Voiced’ chords are spread out so that one of the notes are doubled. This is effective in an ensemble setting as it allows the rhythm to be reinforced. ‘Close voicing’s’ are where the notes are grouped together closely. This means chords can be played with the left hand near to where the right hand plays the melody. Rootless voicings are chords which don’t contain the root note. This is often used in an ensemble context where the double-bass player would play the root note. (For example see Alldis 2003 p113)
Chord tone Improvisation- This refers to using the intervals of a chord in order to improvise. The style of Be-bop uses this frequently. (For example see Alldis 2003 p97)
Chromatic scale- This refers to a scale spanning at least one octave where all the intervals are semi-tones. This is often used in improvisation, in conjunction with diatonic scales, to add variety. (For example see For example see Hussey, 2007 p12)
Chorus- A complete ‘cycle’ of the chord structure of a piece. An improviser may play through several choruses when soloing. (For example see jazz.about.com)
Diatonic- This refers to a scale which is comprised of 5 whole tones and 2 semi-tones. Diatonic scales including the unaltered major are often used when improvising. (For example see Alldis p56 2003)
Diminished scale- A scale which comprises of 8 notes to the octave. The scale uses alternating tones and semi-tones. There are only three diminished scales. It can be used for improvising over diminished chords. (For example see Alldis 2003 p68)
Dorian mode- The Dorian mode is the name given to a major scale with a b3 and a b7. It is commonly used for improvising over minor 7th chords. (For example see Alldis 2003 p59)
Extensions - Extra notes that are added beyond the 7th. The extensions do not have to be functional and can be used in order to create a particular colour. The 9th, 11th and 13th are chord extensions and are used frequently in jazz. (For example see Boyd 1997 p5)
Form- This refers to the compositional structure of a jazz standard. There will normally be at least two distinct sections in a standard. (For example see Hussey,2007 p12)
Half-diminished- This is a chord comprising of a minor third, a flattened 5th and minor 7th. The inclusion of a minor 7th as opposed to a diminished 7th is what defines it as a half diminished chord. It can also be described as a minor 7th b5 chord. Often it is used in minor ii-v-i progressions as the ii chord. (For example see Boyd 1997 P39)
Head- The head of a jazz standard is the composed section that resembles the main theme and contains the chord changes. In a typical jazz standard the head is played first and then improvised solos take place using the chords of the head. (For example see Hussey, 2007, p girl from Ipanema)
Ionian mode- The Ionian mode is the same as an unaltered major scale. For example, C Ionian is just the same as the C major scale. It can be used for improvising over Major7th chords. (For example see Alldis 2003 p62)
Improvisation- This refers to instantaneous composition over a series of chord changes. In addition to playing completely new lines, the improviser may be influenced by motifs that they have used in the past. (For example see Clarke,Dibben,Pitts 2010 P49)
Inversion- This refers to the differing structure of chord tones that are possible within a chord voicing. Different considerations have to be made depending on the situation. For example, often, it is desirable that chords are played within a narrow register. (For example see Boyd 1997 p28)
Jazz melodic minor- This refers to a major scale with a flattened 3rd both ascending and descending. This is different to the melodic minor used in classical music where descending, the natural minor is used. The jazz melodic minor is suitable for improvising over minor chords with a major 7th. For example in Cm(MAJ7), the notes are: C,Eb,G,B. The C jazz melodic minor comprises of: C,D,Eb,F,G,A,B,C. (For example see Alldis 2003 p66)
Lydian mode- This refers to a major scale with the fourth raised a semi-tone. It is the fourth mode. It is commonly used for improvising over MAJ7 chords with a sharpened 11th. The 11th is the same note as the fourth. (For example see Alldis 2003 p63)
Locrian mode- This refers to a minor scale with a b2 and a b5. It is the seventh mode and is suitable for improvising over half diminished chords. For example, B half diminished consist of: B,D,F,A. The Locrian mode of B comprises: B,C,D,E,F,G,A,B. (For example see Alldis 2003 p63)
Modes - Modes are scales that were used in early music before the onset of equal temperament. The seven modes are derived from the major scale. The modes are used very frequently in improvisation. (For example see Alldis 2003 p59)
Mixolydian Mode- This is the name given to a major scale with a b7. It is the 5th mode and is commonly used for improvising over dominant 7th chords. (For example see Alldis 2003 p63)
Modulation- This refers to a new key centre being established. It is common in jazz standards for a ii-V chord change in the new key to be used where the modulation occurs. This is commonly done before a bridge. (For example see Gershwin 1924 p372)
Pentatonic- The pentatonic scale is comprised of five notes. The major pentatonic scale is made from the i,ii,ii,v, and vi degrees of the major scale. There is no dissonance in the scale because the IV and VII degrees are not included. Oscar Peterson often used pentatonic runs to establish moments of complete consonance. (For example see Peterson 1964)
Phrygian mode- The Phrygian mode is the name given to a major scale that has a b2, b3, b6 and b7. It is suitable for playing over b9 chords. (For example see Alldis 2003 p62)
Progression- This refers to a series of chords that defines the harmony of a standard. There are several common chord progressions in jazz. The II-V-I progression is amongst the most important. (For example see Boyd 1997 p6)
Quartal Harmony- This refers to chords which are made from stacked fourths. Either all the intervals will be fourths or there will be one that isn’t. Minor 11th voicings are often built this way. For example, in Em11 the root is E, the 11th is A, the 7th is D, the 3rd is G and the 5th is B. (For example see Boyd 1997 p93) A famous example of Quartal harmony can be heard in ‘So What’ by Miles Davis. (For example see Davis 1959 p366)
Rhythmic displacement- This refers to altering the rhythm through changing note lengths and including syncopation. By playing some notes on off-beats this creates a strong jazz feel. It can be used effectively within improvised passages. (For example see Alldis 2003 p100)
Substitution- Chords can be replaced others in a progression. The tri-tone substitution is the most common substitution. A tri-tone is the name given to the distance of an augmented fourth. This form of substitution can be used for dominant seventh chords where the roots of two chords are a tri-tone apart. For example F7 substitutes for B7. This frequently happens during a turnaround (For example see Boyd 1997 p8)
Turnaround- A series of chords which come at the end of a section. The chords form a cadence which leads to the next section. Common jazz turnarounds include the I, VI, II, V. Alterations and substitutions are common during turnarounds. (For example see Boyd 1997 p85)
Transposition- Playing the same music in a different key. Transposition is an essential skill for the jazz musician as a standard can typically move through several key centres. (For example see Dorham 1993 p50)
Upper Structure- A triad being played in the upper register over a chord in the lower register with a different root note. Upper structures are normally played over dominant chords. For example in D7(b9,13), the notes in the lower register could be D and C,(Root and dominant 7th) while the upper structure could comprise of a B major, second inversion triad. (5th, 13th and b9) (For example see Moehrke 2007 p114)
Bibliography
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Baerman,N.(2000)Jazz Keyboard Harmony, Alfred music publishing
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Davis,M.(1959)The Real Book sixth edition,(Music scores) Hal Leonard Europe
Dorham,K.(1993)The Real Book sixth edition,(Music scores) Hal Leonard Europe
Gershwin,G.(1924)The Real Book sixth edition,(Music Scores) Hal Leonard Europe
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
Moehrke,P.(2007)Jazz Piano voicing concepts, Mel Bay
Carlos,J.(1964)The Girl From Ipanema, Oscar Peterson. AMG. [Sound Recording: CD]
Thursday, 12 January 2012
Video (Pre production)
In this interview Oscar Peterson talks about the role of the left-hand. It is clear that different considerations have to be made depending on the context. For example, within an ensemble setting the left-hand has a minimal role: The drums provide the rhythm and the double bass plays in the range where the left hand plays. Within a solo setting, the left-hand must accomodate for this. Peterson then gives examples of left-hand styles. This is valuable as the inclusion of the left hand is vital in my method.
Wednesday, 11 January 2012
Glossary of key jazz terms (Pre production)
What are the key aspects of the theory of improvisation and how is this applied practically?
The Glossary of key jazz terms is work in progress. The aim of this is to have a full appreciation of what is required for effective improvisation. This will provide a framework to devise learning methods. This is being compiled using self-development learning methods(A classical approach to jazz piano improvisation”)(Alldis, 2008), (‘Jazz piano- Improvisations concepts’) and by looking at interviews by professional jazz pianists.
Glossary
Accentuation - Emphasizing certain notes in order to enhance the rhythmic vigour of a line. When deployed it is common for accents to be placed on off beats. This is a very common feature of the jazz genre. (For example see Alldis P154 2003)
Alteration – A chord which has at least one tone raised or lowered by a semitone from its normal place within the chord. A common alteration is to flatten the 9th. For example in G7b9, the 9th has descended chromatically from A natural to A flat. By altering chords the player can add more colour when soloing. (For example see Baerman p8 1998)
Articulation – How individual notes are to be played. Symbols can be used in music to specify articulation. A key point concerning articulation within a jazz setting is that the improvised line played with the right hand is heard above the accompaniment that the left hand plays. (For example see Alldis p155 2003)
Contour- Refers to the shape of the melody line, determined by its pitch. The contour of a solo must be considered carefully in order for the improviser to produce a convincing solo. If the improviser uses too narrow a register throughout the entirety of a solo then this may become boring. If the improviser makes use of the full register available then this can aid the development of the solo. For example, on starting the solo, the improviser may play in the lower register and then move up the register as the solo continues to enhance momentum. (For example see Alldis p155 2003)
The Glossary of key jazz terms is work in progress. The aim of this is to have a full appreciation of what is required for effective improvisation. This will provide a framework to devise learning methods. This is being compiled using self-development learning methods(A classical approach to jazz piano improvisation”)(Alldis, 2008), (‘Jazz piano- Improvisations concepts’) and by looking at interviews by professional jazz pianists.
Glossary
Accentuation - Emphasizing certain notes in order to enhance the rhythmic vigour of a line. When deployed it is common for accents to be placed on off beats. This is a very common feature of the jazz genre. (For example see Alldis P154 2003)
Alteration – A chord which has at least one tone raised or lowered by a semitone from its normal place within the chord. A common alteration is to flatten the 9th. For example in G7b9, the 9th has descended chromatically from A natural to A flat. By altering chords the player can add more colour when soloing. (For example see Baerman p8 1998)
Articulation – How individual notes are to be played. Symbols can be used in music to specify articulation. A key point concerning articulation within a jazz setting is that the improvised line played with the right hand is heard above the accompaniment that the left hand plays. (For example see Alldis p155 2003)
Contour- Refers to the shape of the melody line, determined by its pitch. The contour of a solo must be considered carefully in order for the improviser to produce a convincing solo. If the improviser uses too narrow a register throughout the entirety of a solo then this may become boring. If the improviser makes use of the full register available then this can aid the development of the solo. For example, on starting the solo, the improviser may play in the lower register and then move up the register as the solo continues to enhance momentum. (For example see Alldis p155 2003)
Research Questions Pre Production
The Research question that underpins the whole project is:
What difficulties does a classical musician face when improvising and how can these be addressed?
This requires research covering diverse areas:
What are the key aspects of the theory of improvisation and how is this applied practically?
What are the characteristics of a classical training? What elements of a classical training are missing in order to develop the ability to improvise? Are there aspects of a classical training that relate to improvisation?
What methodologies can be used to aid learning within the context of a self development method? What is an appropriate format for the guide? What are the needs of the audience?
What difficulties does a classical musician face when improvising and how can these be addressed?
This requires research covering diverse areas:
What are the key aspects of the theory of improvisation and how is this applied practically?
What are the characteristics of a classical training? What elements of a classical training are missing in order to develop the ability to improvise? Are there aspects of a classical training that relate to improvisation?
What methodologies can be used to aid learning within the context of a self development method? What is an appropriate format for the guide? What are the needs of the audience?
Analysing Take the 'A' Train Pre Production Tasks
As part of the first objective, the research question proposed was What are the key aspects of the theory of improvisation and how is this applied practically? it was identified that studying jazz transcriptions would give an insight into how professional jazz pianists improvise.
Take the A train uses the chord progression that I am focussing on. In analysing the left-hand the solo reveals a walking bass line consisting entirely of crotchets with chromatic approach notes. In establishing methods for my guide, this type of left hand pattern could be one example of a stylistic accompaniment to use. An example of me improvising over it can be heard by clicking on song one- (If the player doesnt work then right click the link and left click'Open in new window'
Song 1
It is important to identify the range of left-hand methods that can be deployed when using the left-hand, as it is recognised that different artists have different approaches. The Girl from Ipanema’ from ‘Great Jazz Piano Solos Book One’, uses the same chord progression. The left hand, however is characterized by four note chords and rootless voicing’s; a completely different approach to that of ‘Take the ‘A’ Train'. Therefore, this research informs me that in the production of the guide, I will include the various lefthand styles that can be included. These are justified by professional musicians usage of them as shown in the transcriptions. What can also be heard in 'The Girl from Ipanema' is the use of altered chords within the context of the same chord progression. Again, by analysing this it reveals another key component of improvisation, therefore acting as valuable research material into improvisation theory which is what the first objective is concerned with. This research helps build a framework for the delivery of concepts which directly relates to task 2 of objective 1:Formulate an appropriate analytical framework which will form the basis of gathering information from research done on existing improvisations.
To hear an example of me demonstrating these components,click here- Song 2
What is also apparent from studying the Girl from ipanema is how to integrate the left-hand with the improvisation that the right-hand plays. For example, the chords that I play in the recording are exactly as notated in the transcription. It is harder to keep time with this more rhythmic left-hand pattern than it is perhaps with just playing crotchets in the left hand. One of the research questions proposed is, What methodologies can be used to aid learning within the context of a self development method? Upon considering this, it would perhaps be appropriate for the left-hand not to be used at first when improvising. This way the learner is not having to cope with two new concepts at the same time. When the left-hand is introduced, it would perhaps be appropriate to introduce a bass line such as that of 'Take the A Train' first, before moving on to harder ones like that of 'The Girl From Ipanema'
Take the A train uses the chord progression that I am focussing on. In analysing the left-hand the solo reveals a walking bass line consisting entirely of crotchets with chromatic approach notes. In establishing methods for my guide, this type of left hand pattern could be one example of a stylistic accompaniment to use. An example of me improvising over it can be heard by clicking on song one- (If the player doesnt work then right click the link and left click'Open in new window'
Song 1
It is important to identify the range of left-hand methods that can be deployed when using the left-hand, as it is recognised that different artists have different approaches. The Girl from Ipanema’ from ‘Great Jazz Piano Solos Book One’, uses the same chord progression. The left hand, however is characterized by four note chords and rootless voicing’s; a completely different approach to that of ‘Take the ‘A’ Train'. Therefore, this research informs me that in the production of the guide, I will include the various lefthand styles that can be included. These are justified by professional musicians usage of them as shown in the transcriptions. What can also be heard in 'The Girl from Ipanema' is the use of altered chords within the context of the same chord progression. Again, by analysing this it reveals another key component of improvisation, therefore acting as valuable research material into improvisation theory which is what the first objective is concerned with. This research helps build a framework for the delivery of concepts which directly relates to task 2 of objective 1:Formulate an appropriate analytical framework which will form the basis of gathering information from research done on existing improvisations.
To hear an example of me demonstrating these components,click here- Song 2
What is also apparent from studying the Girl from ipanema is how to integrate the left-hand with the improvisation that the right-hand plays. For example, the chords that I play in the recording are exactly as notated in the transcription. It is harder to keep time with this more rhythmic left-hand pattern than it is perhaps with just playing crotchets in the left hand. One of the research questions proposed is, What methodologies can be used to aid learning within the context of a self development method? Upon considering this, it would perhaps be appropriate for the left-hand not to be used at first when improvising. This way the learner is not having to cope with two new concepts at the same time. When the left-hand is introduced, it would perhaps be appropriate to introduce a bass line such as that of 'Take the A Train' first, before moving on to harder ones like that of 'The Girl From Ipanema'
Thursday, 5 January 2012
Research considerations- Pre production tasks
What difficulties does a classical musician face when improvising and how can these be addressed?
Understanding what difficulties the intended audience face and how might these be addressed, forms the justification for this project. The first logical research area involves understanding what skills are needed for effective improvisation. What are the key aspects of the theory of improvisation and how is this applied practically? In order to answer this, guides on improvisation by professional pianists and books on jazz theory will be studied in order to detail what skills are needed. Once this knowledge has been determined, it provides a suitable framework to measure a classical education against. By researching current classical education methods, the following questions can be raised: What are the characteristics of a classical training? What elements of a classical training are missing in order to develop the ability to improvise? Are there aspects of a classical training that relate to improvisation? This is intended to highlight specific areas of development that would be required for a classically trained pianist to improvise. As the project is a self development learning guide, there is a need to research relevant aspects of pedagogy. What methodologies can be used to aid learning within the context of a self development method? What is an appropriate format for the guide? What are the needs of the audience? Researching how people learn will therefore be contextualised according to the essential concepts of improvisation that have been identified and the requirements of the user. Musicology will be studied to analyse what role psychology plays in improvisation. “A free improviser always starts from some state of consciousness in which there is some residual influence of previous events”. (Clarke,Dibben,Pitts 2010 P49)
Understanding what difficulties the intended audience face and how might these be addressed, forms the justification for this project. The first logical research area involves understanding what skills are needed for effective improvisation. What are the key aspects of the theory of improvisation and how is this applied practically? In order to answer this, guides on improvisation by professional pianists and books on jazz theory will be studied in order to detail what skills are needed. Once this knowledge has been determined, it provides a suitable framework to measure a classical education against. By researching current classical education methods, the following questions can be raised: What are the characteristics of a classical training? What elements of a classical training are missing in order to develop the ability to improvise? Are there aspects of a classical training that relate to improvisation? This is intended to highlight specific areas of development that would be required for a classically trained pianist to improvise. As the project is a self development learning guide, there is a need to research relevant aspects of pedagogy. What methodologies can be used to aid learning within the context of a self development method? What is an appropriate format for the guide? What are the needs of the audience? Researching how people learn will therefore be contextualised according to the essential concepts of improvisation that have been identified and the requirements of the user. Musicology will be studied to analyse what role psychology plays in improvisation. “A free improviser always starts from some state of consciousness in which there is some residual influence of previous events”. (Clarke,Dibben,Pitts 2010 P49)
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