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What Tools Do Contemporary Jazz Improvisers Use To Expand Their Musical Expression - Master Research Greg Torunski
What Tools Do Contemporary Jazz Improvisers Use To Expand Their Musical Expression - Master Research Greg Torunski
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TABLE OF CONTENTS
Page
5 Preface
Introduction word
7 CHAPTER I Why are jazz musicians interested in harmonic
exploration?
9 CHAPTER II - What is inside and outside playing?
10 CHAPTER III - What techniques of in/out playing are being used
by prominent improvisers in the field of jazz?
10 In General
13 In Specific
44 Different aspects:
44 Stretch of harmony / Shrink
46 Motivic work
48 Rhythmic outside, phrasing
50 Conclusion
51 Books
Introduction Word
can be reached by adding a II-V a half-step above the original II-V. This is what
the accompanying instruments often do behind a soloist, sounding like an
elegant note effect of passing chord leading to the intended tones. In melodic
terms, side-slipping is usually done quickly and for short periods because this
color can be easily recognized in repeatedly situations.
In my master research I would like to concentrate on tools/methods used by
modern jazz improvisers in order to expend their harmonic music world.
The need of in and outside movements inside the jazz harmony grew up
throughout the years, especially the last 30 years when the jazz education was
globally accessible, all materials such as transcriptions of solos, harmonic
analyses, books written by modern jazz players (Dave Liebman, Mark Levine,
John Valerio, Paul Rinzler) simplified and leaded to curiosity for many jazz
players. Nowadays, to express widely enough the modern improvisation without
bounding nobodys hands into standard changes, contemporary jazz players are
using more and more outside movements in improvising lines. To generally
explain it, we are looking for new tensions implying new harmonies over the
existing once.
This study documents and analyzes possibilities in playing outside using
mentioned techniques. The analysis is categorized in two distinct sections. The
first section is an harmonic analysis of the superimposed chords used ,the
second one explains other substitutions like Pedal playing, Stretch of harmony /
Shrink rhythmical aspect, rhythmic displacement, Motivic work, Rhythmic
outside.
The ongoing challenge of inventing melodies which are fresh, alive and full of
meaningful emotional and thoughtful content characterizes the need of enriching
developed harmonic language. Very often already a single repeated melody
harmonized in various ways results in different effects each time. The
improvisers knowing a large variety of harmonic colors can truly be spontaneous
on a daily playing level. It has its place only when the harmonic and melodic
structure of the outside line has to be strong enough to compete with the original
line. Otherwise its architecture would not carry to reach all tensions. All
harmonic superimpositions are giving jazz musicians freedom in music. Through
using superimposed harmonies jazz players are opening an unspecified qualities
of a promising nature in modern improvisation.
Creating new harmonic structures inside existing once gives new, powerful
interactions between members in the band. The use of a superimposed harmony
over whatever given tonal center forces players to create melodies which will
appear in contrast to the original tonal center. The superimposed key centers
become the source of the melodic constructions. In a situation of a chord player
(harmonicist) is playing the given cycle, the melodicist is thinking and playing the
superimpositions. Why is it happening?
Jazz improvisers used to be more and more interested in chromatic playing, the
increase of chromaticism is clearly visible through the development of classical
music (Schoenberg Emancipation of dissonance). Early jazz until bebop era,
has treated chromatic tones as passing notes. Already the blue notes were sort
of outside playing. Later on all the upper structure notes from 9,11,13 chords, the
flatted third becomes a sharp 9 while the flatted fifth becomes a sharp 11, on the
top of that scales including altered dominant, diminished whole tone, Lydian
augmented, whole tone scale made the chromaticism sound dissonant enough.
In the late 1950s modal playing and free-bop increased the use of superimposed
dissonant tones. The music of Ornette Coleman, Cecil Taylor, Eric Dolphy, Paul
Bley, John Coltrane, Miles Davis asks for increased use of superimposed
dissonances.
In the 1960s the chromatic sounds have found the way into fusion, world music
using electronics, synthesizers, computers techniques. Many musicians that
time are exploring widely free music usually based on the rhythmic concept and
instrumentation. Ornette Coleman introduces free bop linear counterpoint. Cecil
Taylor uses more rubato phrases defined as energy music. Miles Davis Quintet
together with Wayne Shorter and Herbie Hancock present time, no changes,
meaning steady pulse oriented lines without a specific root.
In General:
In order to generate new outside tensions during the solo, which called outside
playing to be able to reach the meaning literally, the performing artist chooses
improvising notes out of the certain chord scale. The whole art concentrates in
playing the wrong notes and making them sounds good (Leon Lhoest Muziek
Theorie). He claims further on it is necessary to play first inside with enough
conviction and eloquence, before going out.
Possibilities
Example 1:
Leading a melodic phrase from inside to outside related to the harmonic
environment of the original. Example:
Improvised line
Example 2:
Starting with an outside phrase, ending with an inside. Example:
Improvised line
Example 3:
Starting with an inside phrase, reaching an outside in the middle (increasing the
tension), finishing with an inside phrase. Example:
Improvised line
Example 4:
Starting with an outside phrase, reaching the inside in the middle, finishing with
an outside phrase (rarely seen). Example:
Improvised line
Depending on using each example, the inside , -outside phrases are functioning
differently.
In Specific:
There are several techniques in reaching the outside phrases based within
harmonic aspect as well as different once.
Harmonic aspect:
- Superimposed notes
Tritone superimposition
In tonal harmony, the tritone is the interval between the 3rd and the 7th of a
dominant chord that must be resolved in the cadence to the tonic.
In a language of bebop and post bop, the triton substitution is a very useful at
cadencial points of V-I, II-V-I or III-VI-II-V-I.
Analyzing the chord changes, jazz players used to create a special tension
through using an triton substituted chord instead.
In that certain example John Coltrane creates a triton substitution (A7) leading
into the subdominant (Ab13)
Shifting bars
One of the next outside technique used among such players as Cannonball
Adderley or Phil Woods is bar-line shifting, improviser then plays intentionally
the chord from the measure before or after the given chord, that technique
causes extra tensions inside musical phrases.
An example of a "very intentional" bar-line shift may be found on Clifford Browns
solo on Split Kick, in which he deliberately enters and exits the bridge early,
causing considerable tension(melodic line over Bb chord).
At any rate the person who analyzes should always look at the chords both
before and after a point where an error is suspected, before jumping to a wrong
conclusion.
Types of Cadences:
Cadences presenting the various ways to resolve a dominant tonic
progression (V-I)
Delayed The V chord moves to an unrelated key, before finally resolving to the
tonic.
Anticipated The V chord moves to a chord which includes the I n it, before
actually resolving to the tonic.
False The V chord resolves to an unrelated key.
Deceptive The V chord moves to a chord that is closely related to the I.
Suspended The V chord contains the rood of the I in its voicing.
Coltrane created tunes to train this way of playing Moments Notice ,training
the out, -in movements. transcription
The progression for this turnaround was first used by Tadd Dameron in his 1947
jazz standard Lady Bird. The chord progression for Lady Bird is shown below in
the original key of C. The last two bars of this sixteen-chord progression is
referred to as the Dameron Turnaround.
CMaj7 / /
////
/
CMaj7 / /
////
/
AbMaj7 /
////
//
G7 /
Dm7 / / /
//
Fm7 / / /
Bb7 / / /
Bbm7 / / /
Eb7 / / /
Am7 / / /
D7 / / /
CMaj7 /
EbMaj7 /
AbMaj7 /
DbMaj7 /
One of the characteristic aspects is the unexpected modulation down a major 3rd.
This was an unusual harmonic change at that time.
Already in bar 3 and 4 there is a superimposed II-V relation F-7 to Bb7 (instead
of D-7 G7), that substitution is considered as a backdoor resolution, which is a
IV-bVII going back to I.
Bars 7-8 are illustrating another backdoor resolution of II-V progression Bb-7 to
Eb7.
Following bars 11-12 provide an surprising modulation A-7 D7 which resolves to
unreal I (D-7 G7), to reach in bars 15-16 is typical Lady Bird turnaround Cmaj7
Ebmaj7 Abmaj7 Dbmaj7 (triton substitutions).
Coltrane changes
In the article Chromatic Third Relations in the Music of John Coltrane, David
Demsey presents a practice of root movement by major or minor thirds in chord
progressions. Demsey claims that John Coltrane uses chromatic third relations in
compositions such a Giant Steps ,example:
Giant Steps
The Coltrane cycle and its variations are a well known substitution device.
The Giant Steps cycle was an early example of chromatic superimposition. In
recordings from that period, the rhythm section actually played the substitutes
along with Tranes lines.
The cyclic patterns used by John Coltrane concern a progression of intervals that
divide one octave into equal parts: the triton progression (augmented forth), the
ditone progression (major third), the sesquitone progression (minor third), and
the whole-tone progression (major second). Following example is taken from
Mars (1967) where John proceeds the cycle of perfect four intervals (or its
interversions-perfect fifth):
COUNTDOWN
The main concept is to divide the octave into three equal parts:
| CM | AbM | EM | CM |
Approaching each major chord with its V chord (to do this in the second half of
the preceding bar) gives the following result:
| CM Eb7 | AbM B7 | EM G7 | CM |
Making the first chord a Dm7, it provides a structure which has the look and feel
of an elaborated II-V-I cadence and can be played as a substitute for a straight IIV-I in C. It is a II-V-I with the II, V and I chords shoved to either side to make way
for the elaboration chords:
| Em7 | A7 |
| Dm7 | G7 |
| Cm7 | F7 |
| Em7|F7 |
DM | CM | BbM | BbM |
/ | / | / | E7|
| Em7 F7 | BbM Db7 |GbMA7 | |Dm7 Eb7| AbM B7| EM G7| |Cm7
Db7| GbMA7| DMF7| | Em7 | F7 | BbM |
DM | CM | BbM| Eb7+9 |
Coltrane choses to leave the final four bars unaltered (the chord on the final bar
isnt structurally incorrectly significant). Trane continued to apply his Giant Steps
principles to lots of different standards, sometimes writing new melodies on the
reharmonised changes the two most well-known examples are 26-2 (based on
Confirmation) and Satellite (based on How High the Moon). He usually allowed
some of harmonic relief by leaving part of the original harmony unchanged.
Incidentally, on the rarely played coda to Countdown, Coltrane moves the
harmony by major 3rds, between D, Gb and Bb. These are exactly the key
centres from the first three four-bar phrases of Tune Up and performed a
complete tritone substitution on the whole of the second phrase.
Turnarounds
Turnaround is a chord progression at the end of section which leads to the next
section, it can lead either harmonically, as a chord progression or melodically.
Typical turnarounds:
VI II V - I
V/II - V/V - V - I
IIIo - II7 - V7 I
VI - VI711 - V I
V IV I
I VI II V I
In the blues aspect, the vi chord would be a minor chord (min, -7, -6, -(6),
etc) but here the major third allows for a more interesting modulation.
In C major: C - A - d min - G (dom) . The third of the VI chord
(in this case, C) allows for chromatic movement from C (the root of I)
to C (the third of VI) to D (the root of ii).
Similar chromaticism and harmonic interest can be achieved by the use of a
secondary dominant, which are also useful for turnarounds. The simplest
example is V7/V - V7 - I, instead of ii - V - I. Another popular turnaround which
may be considered as a secondary dominant analysis is ii - V/V (or II) - I ,
which is a variation on the standard ii - V - I turnaround.
Using bV/V instead of V allows for a smooth chromatic descent. In key of C the
original turnaround would be d min - G (dom) - C, while the modified would be d
min - D - C . The obvious chromatic movement is thorough.
It is apparent in the roots (D - D - C), thirds (F - F - E; F is often used as a pedal
tone), and fifths (A - A - G).
Rhythm Changes
In 1930 George Gershwin wrote a song called "I Got Rhythm". Since then
countless jazz compositions have been made that use the chord progression of
that tune in one of its many modifications. The chord progression is known as
Rhythm Changes.
Rhythm changes started to be popular in the swing era, but got even more
popular in the bebop era. Lots of new themes were written over this chord.
Rhythm Changes are a 32-bar chord progression in the AABA form. The basic
progression is following:
|Bb
Bb7
|Bb
Bb7
|D7
|G7
|Bb
Bb7
|D7
|C7
|G7
|C7
Gm7 |Cm7 F7
|Cm7 F7 |
|F7
F7
|F7
|Bb
|Bb
|
F7
|Bb
The basic building block of the A part of a rhythm changes is a simple diatonic I VI - II - V progression. In bar 5 the Bb7 introduces the IV in the 6th bar. The IV
changes to a IVm. In order to follow Rhythm Changes in fast tempo there is
point to use limitations, such as playing in a simple way using less changes.
There are several techniques:
Bb major scale
F bebop scale
D minor pentatonic
Arpeggio's
In the swing era there was common a variation of chord from original Rhythm
Changes :
|Bb B7
Bb7/D
G7 |Cm7
G7#5|Cm7
F7
F7
| |Bb
|
To explain it widely:
The Gm7 in bar 1, 3 and 7 is substituted by G7
Bar 1: the G7 is substituted by B7 (=G7b9) to get the chromatic line to Cm7
Bar 3: the Dm7 is the II of G7
Bar 2: the C#7 is in fact A7b9 (the V of II) and continues the chromatic line
initiated in bar 1.
The following variation of the A part became popular in the bebop era and is the
version that is used the most often today:
|Bb G7b9
Fm7 Bb7b9
G7b9|Cm7
G7b9|Cm7
F7b9 |
F7b9 |
The diminished chords of the previous version are changed for the chords
they were substitutes for, the dominants. The dominants are all altered or b9.
There is more movement in the 5th bar where the V of the IV gets its II
The Ab7#11 in bar 6 is the tritone substitute for D7, the V of G7 in bar 7.
|D7
F7
|
|
|G7
|
|C7
In the bebop era there is in use very often the II in front of the V - back cycle:
|Am
|D7
|Dm7
|G7
|Gm7
|C7
|Cm7
|F7
Dameron Turnaround
(IMaj7-bIIIMaj7-bVIMaj7-bIIMaj7)
The progression for this turnaround was first used by Tadd Dameron in his 1947
jazz standard Lady Bird. The chord progression for Lady Bird is shown below in
the original key of C. The last two bars of this sixteen-chord progression is
referred to as the Dameron Turnaround.
CMaj7
Am7
Dm7
G7
CMaj7
A7
Dm7
G7
CMaj7
A7
D7
G7
CMaj7
Eb7
Ab7
Db7
-Tritone Substitution
CMaj7
EbMaj7
AbMaj7
DbMaj7
Some players perform this starting in the parallel minor and then follow a
descending bass line. In the original key, this is: Fm7 C7/E Ebm6 Dm7(b5)
Dbmaj7. This is not necessarily an improvement over the original however, it is
a bone of contention between the more rabid players. In either case, the Dbmaj7
skips down two minor thirds to ii7 (Bbm7 to Gm7), proceeding to V7 I."
Diminished Approach
Superimposed forms
(For example an improviser plays the different blues form then the rhythm
section plays,
- using for example different II-V-I relations,
- improviser plays minor blues, rhythm section plays major blues)
Audio example
Pedal note
(as a part of superimposed forms)
Creating the new form using pedal note/chords.
During the 12 bars form: Using the pedal note e.c. D min for 8 bars, further 4
bars Eb. Important is to keep the common connection, common notes, common
chords, cadenzas should be always a way back -in and out.
Replacing a whole form of for example Blues or Rhythm Change
simultaneously to relating a single chord on the original chord on the moment.
Concept with the Hyperdoors (Claudius Valk)in and outside.
Outside line
Hyperdoor
Hyperdoor
Inside line
The alto saxophonist and composer Steve Coleman's first set at Zanzibar
on Wednesday night featured his group Five Elements, a band that
merges jazz improvisation with a highly sophisticated use of a funk rhythm
section. Mr. Coleman has been doing this for a while now, and it was
fascinating to see how far he has taken the idea. His formula has stayed
the same, but he has made it all more complex and pliable, with pieces
weaving in and out of one another and inspiring fervent improvisations. But
its limitations have stayed the same.
At the opening of its five-night stand, the band -- featuring Ravi Coltrane on
tenor saxophone, Andy Milne on piano, Reggie Washington on bass and
Gene Lake on drums -- never lost some of the chill that Mr. Coleman's
music often has. As able as the musicians are at playing the music, with its
difficult meters and distinct rhythmic conception, the group rarely raised it
above the level of a musician's exercise, technically interesting but mostly
mute emotionally.
In part it was the set's fault: Mr. Coleman and the band were fooling
around, trying to merge odd pieces. One piece mixed one of Mr.
Coleman's originals with "Stablemates," and Mr. Coleman suggested that
Mr. Coltrane join in on "Chelsea Bridge," a tune that Mr. Coltrane didn't
appear to be completely at home with.
But Mr. Coleman is clearly trying to expand the emotional range of the
music, and as it stands it's unfinished business. This kind of intelligent
work falls outside any easy definition, and for that sort of bravery, and his
own increasing improvisational power as a saxophonist, he deserves
respect.
Different aspects:
Motivic work
Chromatic Motivic Development
The duration and beat placement of any given note in the melodic line.
In Constructing chromatic lines, varied rhythms and syncopations can affect the
final result each time in an entirely different manner.
Into the time played on the beat or in the middle of the time; or slightly
behind or ahead
Against the time meaning a Cross Rhtythm which groups beats over the
established quarter note, or a Polirhythm which after several repetitions will
be placed with the first beat of the continued beat cycle.
Over the time played in rubato, a-rhythmical manner, ignoring the beat,
simultaneously being aware to return to its origin.
Phrasing is how the individual comes forth. The goal is that each artist explores
these areas and finds his own solution in picking the various aspects of phrasing
with chromatic playing. It characterizes the modern jazz improvisers, that area
used to be still undiscovered, there is still a great room for individual approaches
to that very specific challenge of phrasing.
Conclusion
These are analyzes of in/out architectures used by stile creating improvisers.
All of them are reversible means an improviser can use all of them to create
own in/out lines within his personal melodic language.
Including this in his unique way of creating and developing melodic ideas will
enable him/her to expand his/her skills of expression and to get a big step
forward in his/her personal exploration into improvised music.
Books:
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