A Project entitled A preliminary study of Jazz improvisation through Horace Slivers piano playing

Submitted by

Cheung Hin Wing (06061458)

Submitted to The Hong Kong Institute of Education For the degree of Bachelor of Education (Honours)(Secondary) in May 2010

Declaration

I, Cheung Hin Wing (06061458), declare that this research report represents my own work under the supervision of Dr. Lai Sheung Ping, and that it has not been submitted previously for examination to any tertiary institution.

Cheung Hin Wing

21st, May, 2010.

Abstract
Improvisation is essential in Jazz performances. However, Jazz improvisation has not been included in the curriculum of music education in Hong Kong. This research project is a preliminary study of Jazz improvisation through Jazz Master Horace Slivers piano playing.

There are many books about Jazz history and Jazz musicians, and some good books on Jazz music theory and Jazz piano playing. However, very few focus on the analysis of Jazz improvisation. While transcriptions of music by some other Jazz Masters such as Charlie Parker and Bill Evans are available, no transcription of Horace Silvers piano improvisation is available.

This project involves original piano transcription of two tunes by Horace Silver and the analysis of the transcription, which would contribute to the subject knowledge of Jazz studies. Terminologies of Western Classical music is used in the analysis to help Classical musicians better understand the concepts of Jazz improvisation.

Music students with Classical background could easily relate this analysis to Theme and Variations and understand how the improvisation is being done. Secondary schools music teachers could even use this analysis as teaching materials in the classroom to demonstrate Jazz improvisation.

Dedicated to Dr. Lai & Dr. Taylor

Contents
Abstract .3 I. Introduction Biography.. .6 Literature Review...6 Methodology..7 Action Plan.8 Consultation...9 Transcription..9 Analysis and report.10 II. Analysis General Analysis...10 Liberated Brother"..11 Gregory is here......13 Form..15 Phrase....16 Chord.18 Rhythm..21 Ornaments.....21 Scale..22 Non-chord tone.22 Passing notes.23 Appoggiatura.23 Neighbor notes.24 III. Conclusion 2 4

Appendix A: Lead sheet of Liberated Brother.....26 Appendix B: Transcription of Liberated Brother...27 Appendix C: Lead sheet of Gregory Is Here30 Appendix D: Transcription Gregory Is Here...32 References35

I.

Introduction

Biography
Horace Silver is one of the biggest names in hard bop because of his outstanding work as a composer and bandleader. He also developed an original and substantial piano style. Succinctness and clarity are far higher priorities than speed and agility. His ideas unfold with a logic that is apparent even to the novice listener. His improvised melodic figures are executed in a very forceful, percussive way. His solos are like his tunesfilled with simple ideas that are hummable and easy to remember (Gridley, Mark C., 2000).

Literature Review
There are many books in the past decade talking about the history and the lifestyle in Jazz era. However, very few focus on the analysis of Jazz improvisation. In fact, music itself reflects the character of a musician, and the continuity on development of a music style. This project will be a research that shows the talent of Jazz musician. It reflects the creativity and mature ways of using harmonies in a Classical music point of views. (Taylor, Billy, 1982)

As a Jazz amateur and Jazz pianist, this research is a significance material for them to study Jazz music. It is also a good reference for people to do similar research in the future. Music students of Classical background could easily relate this analysis to Theme and

Variations and understand how the improvisation is being done. Secondary schools music teachers could even use this analysis as teaching materials in the classroom to demonstrate Jazz improvisation. This research is also an honor for Jazz musicians of their unique talent and their whole-hearted devotion to music.

The research questions are as follows: 1. What are the characteristics of Horace Slivers piano improvisation? 2. How can these characteristics be explained in Classical music terminologies? 3. What can we learn from Horace Slivers piano improvisation?

Methodology
In this study, music analysis will be used as a tool for in-depth studying of Horace Silvers improvisation. Music analysis is an objective way of studying music, and it shows how the music works. Music analysis is also the way to understand the characteristics of a music style. In usual practice, the music analysis is based on music notation. Music notation tells us the style, articulation, dynamic, phrasing, form and harmony of the piece. These information comes from the analyzing the music, and it tells us the composition skills and creativeness of the composers.

Traditional analysis of European Classical music relies heavily on complete music notation. Score analysis alone could reveal the structure and style of a composition. Jazz notation, on the other hand, is based on lead sheet, which only provides a melody with chord symbols. The art of Jazz performance is to improvise based on the chord progression. Therefore, transcription of Jazz improvisation is surely one of the best ways to study Jazz music.

Transcription of Jazz improvisation is one of the best tools for learning to improvise Jazz. Like many other arts, learning Jazz improvisation owes much to imitating the Masters. Every great Jazz artist can list those they imitated while learning to play. These artists developed their own unique voice while emulating someone else. Historically, imitation was the only way Jazz was passed on from one musician to another and from one generation to another. Books about Jazz came later (Ligon, Bert, 2001).

Action Plan
This project can be divided into three processes: Consultation Transcription Analysis and report

Consultation
Analysis Jazz music is not an easy task. The one who analysis the piece should have some basic background about Jazz music as well as some analysis experiences in the past, and it is much difficult for a student who have little experiences on Jazz music. Therefore, the Jazz improvisation should be capable for beginner to transcript and in depth analysis. Several consultations will be held before the project start in order to make clear the progress of the project and the analysis materials. This project chooses two standard Horace Silvers tunes, Liberated Brothers and Gregory Is Here from his recording In Pursuit of the 27th Man are chosen for the analysis.

Transcription
Due to the severe limited research materials available on the topic, the research of this project is conducted by music analysis based on original transcription of recording. At the beginning, the melody part is transcript by using notation software finale, checked by the playback function in the software to match with the tune on the recording. In order to ensure the accuracy of transcript, Dr. Taylor is invited to further checking up. Dr. Taylor is an expert in both western Classical music analysis and Jazz music. He is willing to take part of the research and give advices and suggestions in different stages of the research. At Last, the chord progression is also transcript and Dr. Taylor will check all the details in the transcription.
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Analysis and report

Jazz Masters used many complex music theories their improvisations, and somehow these ideas uneasy to explain in text. Therefore some books on Jazz music theory and Jazz piano playing were used in the project as references, and these books help to expending Jazz music ideas in the terminology of Western Classical music. The analysis of the transcription focuses on voice-leading of the harmonic progression, scales, rhythmic patterns and melodic variations. Score extracts will be put in the project in order to further explain the Jazz theories and the application in Horace silvers improvisation. The report will be easy to understand and user friendly to Classical students and secondary school teachers.

II. Analysis

General analysis
Although Jazz improvisations in every performance are different, they are similar to variation, and it refers generally to the melody modification. Before discussing the details of the analysis, the following analysis gives the brief idea of the melody variation and modification in improvisation, including the use of ornaments, non-chord tones, chord progression, scales, rhythmic patterns and compositions devices.

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Liberated Brother
The piano solo started with a stepwise phrase in m.2, and then the first phrase was imitated and developed through the use of sequence until m7. The second phrase began in m.9 using turn and the notes used are based on Bb minor blues scale. The fragment in phrase 2 repeated in m.11 with A7#5 and D7sus chord. The percussive rhythmic pattern is introduced in m.13, mostly used 4 and 3 notes in the key of G minor. The rhythmic pattern imitated in the m.14, mostly used 4 and 3 notes in the key of F minor. The section ends with a simple melody based on chord notes of A7#5 and D7#9. Bb minor blues scale fragment in phrase 2

The second section started in beat 4 of m.16 with a descending melody. The melody is repeated with a perfect 5th lower and becomes a sequence. It is imitated by the following melody, and started with a percussive rhythmic pattern (groove) from beat 4 of m.20 until m.24. In m.25, there is a stepwise arpeggio base on Eb major scale (or Bb Dorian scale) and followed by a step-down melody with grace notes used chromatic passing note between G and A. The phrase in m.27 responded to the pervious melody with same rhythmic pattern. In m.29, the first 6 notes of the melody were based on G Dorian scale and the rest of the notes

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were based on F Dorian scale. The section ended with ascending melody with chord notes of A7#5 and D7#9.

chromatic passing note in m.26

The section repeats at the third time in m.33, played by triplets of arpeggios using extensions of Gm7 and Abmaj7 notes, followed by neighbor note and chromatic passing note in m.38 and m.39, and ended in m.40. New phrase was introduced in m.41, based on Bb minor blues scale. The phrase was repeated in m.43 harmonized by A7#5 and D7#9.

extensions of Gm7

neighbor note and passing note in m.38 and m.39

Bb minor blues scale

Improvisation based Bb minor blues scale in m.41

The improvisation ended with the arpeggios based on A7#9 in m.47, and the last note of the improvisation is the common note of D7#9 and A7#9.

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Gregory Is Here
The piano solo started with a stepwise phrase from m.2 to m.6 with the chord Cm 9 and B7b5. The C Dorian scale is used on Cm7, and B Lydian b7 scale on B7b5. B Lydian b7 scale C Dorian scale

In m.7, the phrase was gradually step-down, with the first note of the following phrase lowers than the first note of previous phrase until the beat 2 of m.9. The last note of the phrase is an octave shifted-up and functioned as a passing note of F# and Eb of the chord D7(9b) . The phrase ended in beat 2 of m.10.

the passing note F between F# and Eb

New phrase started in m.10 with a stepwise arpeggio and step-down with chromatic passing notes until m.14. The section ended with arpeggios with syncopated rhythm.

The 2nd section was introduced using arpeggios based on B Lydian b7 and C Dorian scales and ended in m.20. The following phrase used descending C Dorian B Lydian b7 scales with chromatic passing notes and ended in m.23. Syncopated rhythm started from beat 4 of m.23 to m.25, continued with long melodic line, which was the first note of the following

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phrase repeating the last note of the previous phrase. The section ended with arpeggios with syncopated rhythm.

the following first note of the phrase repeated the last note of the pervious phrase

The section started with a simple melody. The next phrase imitated the rhythmic part of the first phrase with ascending stepwise progression, and then it came to a descending sequence based on Db major scale until 38. The phrase ended with arpeggios with syncopated rhythm.

In m.41, the phrase starts with repetitive rhythm until m.44, followed by ascending sequence based on B Lydian b7 scale and C Dorian scale. In m.49, the appoggiatura is used, and when it comes to the second phrase in m.50, a grace note it added on the beat 1. The phrase continued with a step-down melody, beginning on the last note of the previous phrase. The piano improvisation ended with arpeggios with syncopated rhythm.

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Form
In Classical music, there are different kinds of form such as Rondo form, Sonata form, binary form etc. The function of form helps musicians to understand the structure of the music. In Jazz music, there is a common practice for the structure. The form of Jazz music can be described as follow:

Introduction + Head/ Head improvisation Head

Before the Jazz performances, every instrument players would receive the lead sheet, which includes the melody of the piece and the chord progressions. The piece can either starts with an introduction or not, depends on the performers preferences. Then the Jazz band plays the melody once, which is called the Head. In the improvisation part, every instrument players have the chance to perform their own solo. These improvisations are based on chord progressions of the tune and the players are free to improvise as long as they can. After the musicians finish their improvisation, the head will play one more time and the piece ends.

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Phrase
Phrase analysis is a significant way to understand the idea of Horace Silvers improvisation. As a composer and pianist, Horace Silver has developed a systemic and logical way to develop his improvisation with simple ideas. The list below reviews some of the common compositions devices that are being used for improvisation development:

1. Repetition: The theme must recur for it to be a theme. What elements recur in the improvisation and how are they similar or different. 2. Sequencing: Transposing to other pitch levels in a repeating series. 3. Imitation: Musical gesture is repeated later in a different form, but retains its original character.

Liberated Brother
Measures 3-7 9-11 13-14 15-16 16-18 18-24 25-28 33-38 41-44 Composition devices Sequence Imitation Imitation Imitation Repetition Imitation Imitation Imitation Repetition Extent the previous phrase with similar rhythmic pattern Pitch level retrograde with same rhythmic pattern Triplets with Arpeggios and similar rhythmic pattern Phrase is included blue notes Remarks Extent the previous phrase. Step down phrase with same rhythmic pattern Using blue notes with same rhythmic pattern Step down phrase with similar rhythmic pattern Pitch level retrograde with same rhythmic pattern

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Gregory Is Here
Measures 2-6 7-8 12-14 17-18 19-20 21-23 32-35 36-38 41-44 45-48 53-54 Composition devices Sequence Sequence Imitation Repetition Imitation Imitation Imitation Sequence Sequence Sequence Imitation Step down phrase based on previous phrase Step down phrase with chromatic passing notes Same rhythm with different pitch level Step down phrase used Db major scale Step down phrase stepwise phrase with syncopation notes Step down phrase with same rhythmic pattern Remarks stepwise phrase using C Dorian scale and B Lydian b7 Step down phrase and extent the idea in m.9 Step down phrase with chromatic passing note

The table above shows the phrase content of Gregory Is Here and Liberated Brother. Repetition, Sequence and Imitation are frequently used in Horace Silvers improvisation. There are some common characteristics of the compositional devices used in Horace Silvers improvisation in the two pieces:

1. Imitation phrases were widely used in improvisation with the same rhythmic pattern. 2. Repetition, Sequence and Imitation are used by adding non-chord tone, blues notes. 3. Repetition, Sequence and Imitation are based on modal scales.

What is the function of using compositions devices? These devices are used as an extension of a musical idea. There is an example in Liberated Brother started from beat 4 in m.16, which begins on downbeat. This phrase was imitated with similar rhythmic pattern until
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m.20. Then this idea continued to develop into a long phrase with repeating rhythmic pattern. It ended in m.24. By making good use of compositions devices, improvisation can be extended largely.

Liberated Brother m.16

Liberated Brother m.20

Chord
Before discussing the characteristics of chord progression in Horace Silver improvisation, it is essential that there are different perceptions on chord between Classical piano and Jazz piano. In Classical point of view, chord progressions are based on four-part harmony, and therefore the bass line is important and parallel 5th or octave should be avoided. However, in Jazz band practice, the bass player is required to play the bass line of the piece, and the rest of the chord notes are played by the pianist. For Jazz pianist, their utmost concerns are voice leading and the enhancement of the basic chord by adding notes and extensions.

For chord extensions, doubling the root and 5 sounded heavy are redundant, as the bass was playing those notes already. So the pianists would replace the root and 5 with extensions to the chord, such as the 9 and the 13, even when those extensions were not indicated on the lead sheet.

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In Major and Minor 7th chords, the 9 is often substituted the root. Gm7 Gm7(9) Cmaj7 Cmaj7(9)

Written

With Tension 9

Written

With Tension 9

In Dominant chords, the 9 is often substituted for the root, and 13 of the 5. C7 C7(9,13)

Written

With Tension 9 and 13

Besides adding extensions, good chord progressions also depend a lot on voice leading. Voice Leading is crucial to the success of a musical passage. Voices sound more musical when there are smooth motions which avoid awkward leaps. Good voice leading makes the music seamless and propels it in a linear fashion.

How Horace Silver managed the chord progressions?

In Liberated Brother measure 1,

the chord moves from Gm 7 to C maj7. Without adding extensions and checking voice leading, the chord progression is shown as follows: Gm7 C maj7

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After adding extensions, the 9 of Gm7 substituted for the root. As the 9 of Cmaj7 substituted for the root, and 13 of the 5. Gm7(9) C maj7(9,13)

In order to create smooth voice leading, Gm 7 and C maj7 sets into another inversion. Gm7(9) C maj7(9,13)

Looking back to the transcription of Liberated Brother and Gregory Is Here, it is easy to find these chord progressions in Horace Silver improvisation. How to improvise with these chord progressions? When moving from one chord to the next, try to minimize the motion. Look for common notes between the two chords, and when a voice must change, move to the closest note of the next chord. This motion of the voices is called common-tone voice leading (Neil Olmstead, 2003).

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Rhythm
There are lots of examples to demonstrate percussive and forceful rhythms in Horace Silvers improvisation.

In m.21 of Liberated Brother, the rhythmic pattern looped mostly based on C, Bb and A

In m.45 of Gregory Is Here, the rhythmic pattern is introduced which mostly using syncopated notes.

Ornaments
Grace note is used in Gregory Is Here improvisation m.10, which functions as a passing note from F# to Eb of the chord D7(9b)

Turns is used in Liberated Brother improvisation m.9 to 11. Horace Silver used turns by adding Db, which is the blue note of Bb minor blues scale.

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Scales
Jazz music have used unusual scales to improvise according to the given chord progressions. In Gregory Is Here, the piano solo started with a stepwise phrase from m.2 to m.6 with the chord Cm 9 and B7b5. The C Dorian scale is used on Cm7, and B Lydian b7 scale on B7b5. B Lydian b7 scale C Dorian scale

Scales have a negative connotation for many people, because they conjure up the image of a Classical pianist banging away in a rote fashion for eight hours a day. It is certainly to practice scales in order to use them in improvisation, but the best Jazz musicians think of them more as an available pool of notes to play on a given chord, rather than as do-re-me-fa-sol. Take D minor seventh chord as an example. When someone plays a D minor seventh chord with the left hand while improvising on the D Dorian mode with the right hand, the dissonance cannot be found because the scale and the chord have common notes (D,F,A and C), therefore the scale can be applied to the chord (Levine, Mark, 1989). D Dorian scale

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Non-chord tone
There are three types of non-chord tones that are frequently used in Jazz improvisation: Passing notes Appoggiatura Neighbor notes

Passing notes
In m.25 of Liberated Brother, there is a stepwise arpeggio based on Eb major scale (or Bb Dorian scale) and followed by a step-down melody with grace notes used as chromatic passing note between G and A.

Appoggiatura
In m.10 of Liberated Brother, G note on beat 1 is an appoggiatura, leaping from C, and then resolving down to the F.

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Neighbor note
The section in Liberated Brother repeats at the third time in m.33, playing with triplets of arpeggios used extensions of Gm7 and Abmaj7 notes, followed by using neighbor note to D in m.38

III. Conclusion
Jazz music has become an important part in American history for many years. However, its importance is still unrecognized in some Classical-approach conservatories. Even some of the conservatories in United States refuse to teach Jazz because they think that it is something irrational.

This project had shown the unique talents of Jazz improvisation, and it can also be explained by terminologies of Western Classical music. Jazz improvisations are not just melodies with lots of chromatic notes .The improvisation is backed up by many music theories. . Jazz Masters have good control in voice leading in order to project a good harmony voice. Furthermore, Jazz Masters use mixture of various composing devices, ornaments, non-chord

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tones and scales etc., in their improvisation. Through these improvisation techniques, the music becomes full of flexibility and variations.

By using terminologies of Western Classical music, Classical musicians could understand the concept of Jazz improvisation, hence they could recognize the importance of Jazz music in music history.

If Classical music students should study 20th Century music such as atonal music, tone clusters or chance music, Jazz music, which is being backed up by many musical theories, is also worthwhile to be studied, and it should be included in the music curriculum and being taught to music students.

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Appendix A

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Appendix B

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Appendix C

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Appendix D

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References:
Ligon, Bert (2001). Jazz Theory Resources (Vol.1 & 2): Tonal. Harmonic, Melodic & Rhythmic Organization of Jazz. Milwaukee: Houston Publishing Inc. Gridley, Mark C. (2000). Jazz styles : history & analysis. Upper Saddle River, NJ : Prentice Hall. Lee, Bill (1976). Horace Silver's Greatest Hits. Charles Hansen Distributors Educational Sheet Music & Books, Inc.: New York. Levine, Mark (1989). The Jazz Piano Book. Peraluma: Sher Music Co. Neil Olmstead(2003). Solo Jazz Piano : The Linear Approach. Boston: Berklee Press, Silver, Horace (2002). In Pursuit of the 27th Man. Blue Note Records: RVG Edition Taylor, Billy(1982). Jazz Piano: History and development. Wm. C. Brown Company Publishers, Lowa The Fakebook (Publisher unknown)

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