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Improvisation and Related Concepts in Aesthetic Education.
Improvisation and Related Concepts in Aesthetic Education.
ScholarWorks@UMass Amherst
1-1-1975
Recommended Citation
Barron, Bill, "Improvisation and related concepts in aesthetic education." (1975). Doctoral Dissertations
1896 - February 2014. 3820.
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IMPROVISATION AND RELATED CONCEPTS
IN AESTHETIC EDUCATION
A Dissertation Presented
By
DOCTOR OF EDUCATION
August ]975
IN AESTHETIC EDUCATION
A Dissertation Presented
By
Acting Dean
Frederick C. Tillis, Member School of Education
Roland A. Wiggins ,
•'Member
August 197b
iii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS .
ABSTRACT
Chapter
I. INTRODUCTION x
Statement of the Problem \
Purpose of the Study 1
Approach of the Study 3
Background of the Study U
Educational Significance of the Study 18
Limitations of the Study 21
Source Materials U5
Definitions U5
Application of the Embellishments to the Melodic Model 5^
BIBLIOGRAPHY 13^
iv
ACKNOWLEDGEMENTS
effort when things got tough. They gave freely of their time to an-
swer questions and to read through the several drafts prior to the
to adapt and expand on a melodic model that he and Edward Boatner had
context. I have adapted it for use in the Jazz idiom. I would like
to thank both Roland Wiggins and Edward Boatner for their permission
Lexicon
I also would like to thank my wife Anna for her typing and
August 1975
formed the basis for the Embellishment Lexicon which is the result of
the present work. Among the impelling reasons for such an undertaking
is the fact that within the music theory classes as now taught in the
student learn how the basic materials of music can be expended in cre-
ative effort. Unfortunately, in all too many cases the emphasis in the
theory classes is not upon the creation of melody but upon the utiliza-
vi
skills
is traced to show what the underlying principles were that developed into
are contrasted with current usage, i.e., the evolution from a purely
that has remained rampant within the field ever since the attempt was
made during the Renaissance and Baroque periods to codify the profusion
not enough to guarantee a valid creation and that there is an unquantif iable
vii
are given that are used in the construction of the melodic model upon
which the embellishment patterns are set. The definitions for the em-
constructed over the different possible melodic motions, i.e., the re-
peated tone, the small leg.p up, the small leap down, etc. The harmonic
The examples are drawn from a wide range of representative works in the
setting. Examples are included which cover works from Louis Armstrong
to John Coltrane
facility
each chapter,
Chapter VII, after summarizing the main ideas in
ments are a means for disseminating standard operational forms that are
INTRODUCTION
which there can be found under one cover the principles of embellish-
student
the form of an embellishment lexicon for the creative music
cour-
and for music teachers who are currently teaching improvisation
form of creative music in the school system beyond the music apprecia-
tion level.
regular theory course. However, it can be argued that not enough stress
facility. The lexicon can be coordinated with the chord and scale
approaches to improvisation.
cure as follows
tend and offer another interpretation of the ways in which chords and
they can use to teach themselves and which can also be used to extend
the following:
lations
to a
ments occur within the lexicon (analysis section) will be limited
\
will be constructed
7. The notes used in the model to form the basic melody will be
a) Repeated tone
heard per-
awareness of a need or a desire to improvise like the men
I
very significant to me at the time : Hov did they learn to perform ex-
Jimmy Dorsey which dealt with improvisation through the study of chords.
music education was a typical one, with the usual emphasis on band,
the practices of the past with the role of the student relegated to
a dance band which was the only concession to current practice on the
sary for writing music; I learned to hear and analyze music; I learned
how to perform in groups of varying sizes. The school did not play any
appreciation class, and there was no mention in the music history class
music
tive writing and playing were made outside the school environment. The
the credit of the schools that in so many instances creative persons have
to pursue creative work outside the place designated to advance the indi-
vidual and thus society and culture. The following statement by John W.
priate :
Music (later Combs College of Music) in Philadelphia were much more re-
warding. There I studied composition under two very creative men, Leo
1
John W. Gardner, Self-Renewal: the Individual and the Innovative
Society (New York: Harper Colophon Books, Harper and Row, 1965)
pp. 4 5 -^6.
7
Ornstein and Romeo Cascarino. Although the theory courses followed the
Dennis Sandole who alerted me to many things that were useful and cur-
rent.
forty years (1933 to 1973). During this span of time there has been no
the schools. The net result is that the questions I asked a number of
years ago are still being asked, and the same answers given. The ques-
be creatively productive?
pertinent to my questions?
music
he should like music, because there is an intuitive response to
at an early age. The young child sings and makes up his own music and
encour-
words. This natural creative phenomenon should be recognized and
aged from the nursery to the university level. Lawrence Kubie emphasizes
:
There are many students throughout the United States who have
relevant and important needs of this student body is not being ade-
nately, when the needs and purposes of the schools and those of the
student who must adapt. This may cause him to suffer serious material
on Cultural Resources
2
Lawrence S. Kubie, Neurotic Distortion of the Creative Process
(New York: The Noonday Press, a division of Farrar, Straus, and Giroux,
1961), p. 110.
namely the problem solvers and verbal reasoners. On the other hand,
divergent thinker who may be defined as the problem finder and intui-
For example, the college entrance examinations are not geared towards
tion of a test that could predict creative talent would most certainly
teachers will have to use their common sense to evaluate the candi-
and perform what they write. Finally, there is another group of stu-
coach and instruct the students in their areas of interest does not
ation.
teaching. Many of the works that have stood the test of time indis-
putably deserve to be heard, recorded and studied. The men who have
stood out in the history of music were those who understood the music
life of these men and the events that led to changes in the music con-
tinuum. The theory books are the repository in which the techniques
The main point in the above statement thus is that there were
people at some point in time who were engaged in creating music and
this very moment. During the course of time, the emphasis has shifted
away from the composer to the performer. A music performance major has
11
graduate level there are even fewer. Formal music education which
ever, it is important that the students not only play the standard
level, those students who manage to remain in the high school harmony
majors.
12
level for the work that takes place in composition at the college
level.
not, and should not, happen if the student's interests vere truly con-
sidered. It must have been situations like this which prompted John W.
and guidance in the area of their primary interests. However, the num-
ber of teachers involved in such work is all too small and, in many
cases , the instruction that they give is not part of the formal program
the methods employed by most music educators. I will give a brief ac-
position constantly looks to the past for guidance. The end result is
set rules.
in this group are Pierre Boulez, Milton Babbit, Allen Forte, and Walter
of creative music; however, the language and methods used are advanced
and too recondite for the average music student. And so the conditions
as they exist today are far from ideal, because on the one hand there
are the traditionalists who are always looking backward, and who in the
aspects of music , and on the other hand there are the very advanced and
abstract groups whose teachings can only be relevant to someone who has
studied long and hard and who has been prepared with the language used
provisation and composition seeks, along with the formal rules of com-
all the essential ingredients for constructing new models upon which
amine their products and the capacity of the market to absorb them.
mind, as they are the ones who have to pay the price for any errors on
the part of the teachers. The teacher remains on his Job, whereas the
student has to go out into the everyday world where he will be in for
priate :
'
15
works of many Jazz musicians have stood the test of time. A short list
would include Jelly Roll Morton, Louis Armstrong, Charlie Parker, John
of America and probably most of the world where European music is taught.
However, this is not the case for all cultures. Creativity in music is
Encyclopedia of Music :
8
Ibid.
9
J. A. Westrup and F. LI. Harrison, The New College Encyclopedia
of Music (New York: W. W. Norton and Co., i960 ), P- 331.
IT
To summarize:
tion, jazz composition and improvisation, but they have not had suf-
ficient training because they went through the standard music curriculum
18
which did not help in this area. These teachers are actively engaged
sicianship.
propagandize an issue which has evidently been decided for all times
by-step manner but instead, after one or two examples explaining the func-
senses; these impressions are used for inter- and intrapersonal commu-
nication which, in turn, includes human values and human relations and
1 '*'
10
William Boyd, The History of Western Education 8th ed. , re-
,
vised and enlarged by Edmund J. King (New York: Barnes and Noble, 1967);
Foundations of Education ed. George F. Kneller, 2nd ed. (New York:
,
20
a name, e.g. UUo vibrations per second is given the name "A". The
vere created by society to satisfy its needs and desires. The objectives
fine them
2. set goals
12
Taxonomy of Educational Objectives. Handbook I: Cognitive
Domain, ed. Benjamin S. Bloom (New York: David McKay Co., 1956), pp. 7
22
and
3. as a self-instructional unit.
This is not an analysis of large melodic form but rather a study of the
atomic aspect of melody, i.e., how a principal tone is divided and sub-
start something new. The creative ends sought in this approach are
is based that is
is an acceptance of the style around which this study
developments these
indigenous to Western music and that in spite of new
23
CHAPTER II
has not been underscored enough in the music classes from an ethno-
ment :
1Figuration
. all ornamental matter by whomsoever and in
:
which the original model is perceived. The original model has varied
change
2
Ibid.
25
and 18th centuries the principal types for which signs were used,
varying somewhat in different countries, were: trill, mordent,
appoggiatura arpeggio, turn, springer or Nachschlag. In later
,
was between the years 200 and 1300 A.D. In the following periods
sharp dissonant clashes between parts; polyphonic music was more pre-
nic implications. With the use of harmony, the control of the embel-
lishing tones became a focal point for theorists. With a chordal ske-
leton as a foundation, the notes that were outside the chord were dis-
3 I960, p. UT5-
The New College Encyclopedia of Music ,
26
Instrumental Embellishment
Prior to J. S. Bach and during his own time, the greater pro-
portion of the embellishments that were performed were not written out
but were left to a great extent to the performer. This created a mul-
the various embellishments until they had become a part of the indi-
some were used to represent more than one musical event and were there-
fore inconsistent; some were not clearly defined. Most of the texts
which made the performer an integral part of the music and not Just
There was no universal agreement among the theorists during the Baroque
tered on how to interpret the various symbols that were being intro-
28
more and more standardized, there were individuals who felt that in
History bears testimony to the fact that creative individuals lost the
T
Grove’s Dictionary, pp. 366-367.
29
ference among the theorists appears to lie in how much one wants to re-
however, but also around whether or not the tones considered to be non-
chordal are extended chord members . Extended chord members are the
30
In any given harmonic context there are tones that are part of
the prevailing chord, and tones that are extraneous to the given chord.
The notes that are not in the chord are considered to be the embellish-
second above or below the chord tone. The maximum number of embellish-
ments that may lie adjacent to any chord tone is four: a major and
minor second above, and a major and minor second below. For example:
1i a
11
-V H 9 h
• ts*
i
D
JL “ t
k m
M L- H
J Mrvq » T -f ] |
^
Q r"Mi
1. Passing tone
2. Suspension
3. Neighboring tone
h. Anticipation
5. Appoggiatura
6 . Cambiata
7. Echappee
8. Free tone
Passing tone
the space between two chord tones . These chord tones may be members of
diatonic and chromatic passing tones, may be used to fill the interval
of a fourth. A single passing tone may be used between the chord seventh
and root. The passing tone is usually of shorter duration than the chord
Walter Piston, on the other hand, thinks that the accented passing tone
,, 9
is "more corrently classified as an appoggiatura .
Q
Percy Goetschius, The Theory and Practice of Tone Relations
(New York: G. Schirmer, 1931) , P* 15^*
32
tones
Paul Hindemith agrees with the theorists who hold that there
Suspension
takes place. The suspended note becomes a non-chordal tone and then
10 Harper and
George Thaddeus Jones, Music Theory (New York:
Row, Barnes and Noble Books, 197M , P* 170.
i:L
Paul Hindemith, Craft of Musical Composition Book I, Theo-
,
retical Part, trans. Arthur Mendel, rev. ed. (London: Schott and Co.,
19^5), p. 171.
33
repeated tone occurring at a change of harmony and which does not be-
root of
acterized by the distance between the suspended tone and the
A 7-8 suspension
the chord over which the suspension is occurring.
T sustained into the I
takes place when the seventh of the V chord is
as r epetition or g r p-
A Suspension is not obliged to appear
may enter^with any
longation of the preceding tone ... , but
’’unprepared Suspension.
reasonable skip (best from below) , as
inharmonic tone which belongs to
As the suspension must be an
to observe the following
the foregoing chord, it is necessary
preparation of the Suspension)
rule: the original tone (the
in the preceding chord.
must either occur in some other voice,
12 W. W. Norton and Co
Valter Piston, Harmony (New York:
19Ul ), p. 109*
: .
3U
For example:
"The appoggiatura tone is often (but not always) present in the preceding
chord. When not present, the appoggiatura is for all practical purposes
nil*
an ’unprepared suspension'.
13
Percy Goetschius, The Theory and Practice of Tone Relations
(New York: G. Schirmer, 1931 ), PP« lUU— U5
Neighboring tones
The formula for the neighboring note pattern is: chord tone to neigh-
boring tone back to the same chord tone. The neighboring tone is gen-
the upper or lower neighbor may be used. The direction of the return-
ing tone, i.e., whether it is below or above the chord tone, is depen-
dent on the direction of the next melody note. If the next essential
the next essential melody tone is downward, then the upper neighbor
is used. Examples:
=t 5S
0 .
• *
1=
•
*
n
L
& 1
HT
u
:
36
Anticipation
Appoggiatura
Cambiata
a third over its intended resolution and which then turns and resolves
o
t- c V I a j u- gi
Jl.
fw
7\
a
T
ft.
—PY #
r
\
cb
Li
\
i
\ \
, v
L3 l
l
h
\
ing tone that enters by leap and resolves by step. The essential dif-
self for its resolution. The cambiata would be called by many theorists
.
39
in which the direction of its entry is towards the primary note of re-
al , but the fact that the note in her example does not reverse direc-
17
Parks Grant ,
Handbook of Music Terms , p . 2
Free tone
The free tone is a non-chordal tone that enters by skip and re-
which it stands. Many of the theory books do not mention this parti-
cular embellishment. Hindemith divides the free tone into two cate-
21
gories : the accented free tone and the unaccented free tone. The
20
Parks Grant, Handbook of Music Terms , p. 271
PI
Paul Hindemith, Craft of Musical Composition , p. 173.
: — 1 A
Ul
Examples
ChajI
/ H-
\ Ji-
0 r
——
— rlT.
1 ^
L
i
\
AV)(,
1
V/v
. .
^
p.-r
\—
? A
—
\
TXo
\ \ ) J
y
J 1
1
O
9.
1
f- \
1
1
y °
\
The
which became conventions originated as intuitive perceptions.
exemplifications,
power of recognizing similar forms in widely various
23
intuition. The
i.e., the power of recognizing analogies, is logical
22
George Thaddeus Jones, Music Theory , p. 192.
23 3d rev. ed
Susan Langer, An Introduction to Symbol ic Logic,
(New York: Dover Publications, 1967) » P* 33.
U2
gical forms. Logic deals with the relationships between forms, i.e.,
with definite shapes. The patterns that were developed and encoded
use, but knowledge of all the possible permutations available does not
as the prelogical level. The thinking that takes place at this time
2U
Ibid. , p. 38.
images” and "mental experiences" which prolong the sensorimotor sche-
auxiliary source of knowledge, one that will take over when the ratio-
have fewer pressing thoughts and demands on their time and capacities.
cess.
Intuition Scale shoved that over ninety per cent of the creative people
. . . . 28
tested were predominantly intuitive.
error learning
of learning
28
Frank Barron, "An Eye More Fantastical", Training Creative
Holt,
Thinking, eds. Gary A. Davis and Joseph A. Scott (New York:
Rinehart and Winston, 1971), PP* 18U-85.
CHAPTER III
THEORETICAL FOUNDATIONS
Source Materials
Definitions
Melodic model
intervals
:
>46
Examples
melodic model has been built consists of the chords normally con-
1 . Repeated tone
Examples
Tin v
1
\
\ 1 _ -V_ v
V
\
Essential tones. Essential tones are the tones that are members
of a given chord; they usually cover one beat or one metrical unit, e.g.
U8
in 4/U quarter note would be one metrical unit , and in 6/8 the eighth
or essential one; and of two, three or four quick tones that constitute
tial." He points out that this is only a broad distinction and that ulti-
mately the relation of the tones, whether short or long, depends on the
prevailing chord line. "This being the case, it is evident here again
that a melody must be designed with more or less direct reference to some
"The tones which agree with the momentary chord are the essential , or
cal embellishments are sometimes called 'unessential ' notes, a term which
suggests that such embellishments are superfluous, that they have no sig-
2
nificant function in the tonal composition. This is an erroneous notion."
extended chords quite often contain seven or more notes hov does
,
example: when the time signature is UA, the smallest unit is the
quarter note.
50
cally. Theoretically this includes those tones that are also the fun-
1. Passing tone
fill the space between two chord tones. The chord tones may be members
1
Percy Goetschius, Exercises in Melody Writing , 13th issue
(New York: G. Schirmer, 1928), pp. 67-^8*
:
51
This statement underscores the fact that the various chord mem-
bers may function in more than one set or class simultaneously. That
cause the active part, which in most cases is the melody, is related
tones. In the sixteenth runs the C, E, G are part of the min and are
also part of the harmonic element in which case they can be defined
2. Neighboring tone
entails three tones; the first one is a chord tone; the neighboring
one whole step above or below the first tone; the third tone is a
repeat of the first one. The neighboring tone can occur in a cluster
3. Suspension
of resolution into the time value of a new chord. The held-over tone
becomes non-chordal, displaces the expected tone and then resolves by-
step. The suspension usually resolves downward but can resolve upward.
pended tone is a stepwise motion and the only thing that distinguishes
second tone.
In this paper, the holding over of one metrical unit into the
rhythmic device.
k. Anticipation
5 . Appoggiatura
and
The appoggiatura is a non-chordal tone that enters by skip
above or below.
53
6. Echappee
- D"* 1
Ct 1 Gr“l
\s .
S.
^- s. ^
z ^ - _
- itf
o
^ i
\
1
*
\
L_l
\
:
1
: — ,
V
J
T
1
«
\
\
I
\
\
i
«.
— T
1
.1.
1
1*1 —
—9
1
I
-
1
IT
It*
G~ n QrO 6-7
) S.
” * - ^ 'n :
r » •
—
1
• 4 r-
L
1 >
*
y |
!
—
'
( V V.
,
\ \ \ \ L
\
2 1 ca.^1 1
'
\ uA 11
| \ \
<~J
2. A neighboring tone may itself have a neighboring tone:
Yr
£> ^Ti p «*<.(>
t 1
\ \ • — •
( —
(—
V-N
0^
1
\
1
Q;
\
-
\
*
\
*
Ar-
V
•
^ L
*
\
A
•
>
* . , \
r*
\
v "
(
\ „-=!
\
be placed to show
variable
1. The operation being performed by the independent
harmonic /melodic
(the embellishment) on the dependent variable (the
structure)
:
55
the examples will be as follows (the exact order having to depend ulti
mately upon the embellishment and the size of the melodic interval):
1. Anticipation
2. Suspension
3. Upper neighbor
U. Lower neighbor
AmT - BmT( 5)
AmT - CmaJ
AmT - DmT
AmT - EmT
AmT - FmaJ
AmT — GT
BmT( 5) AmT
BmT( 5) — CmaJ
BmT( 5) - DmT
BmT( 5) — EmT
BmT( 5) — FmaJ
BmT( 5) - GT
CmaJ AmT
CmaJ - BmT( 5)
CmaJ - DmT
CmaJ - EmT
CmaJ - FmaJ
CmaJ - GT
DmT _ AmT
DmT - BmT( 5)
DmT - CmaJ
DmT - EmT
DmT - FmaJ
DmT - GT
EmT _ AmT
EmT - BmT( 5)
EmT - CmaJ
EmT - DmT
EmT - FmaJ
EmT - GT
FmaJ AmT
FmaJ - BmT( 5)
FmaJ - CmaJ
FmaJ - DmT
FmaJ - EmT
FmaJ - GT
GT AmT
GT - Bm( 5)
GT - CmaJ
GT - DmT
GT - EmT
GT - FmaJ
57
CHAPTER IV
the chords involved, the melodic motion that is taking place on the
the harmonic structure within which the examples on that page will be
headings indicating the basic melodic motions that are derived from the
harmony, for example, the repeated tone motion, the stepwise motion up-
ward, the stepwise motion downward, etc. These headings will be written
out in full in those cases where there are only two words, e.g. , Repeated
Tone. Where there are three words involved in the heading, such as Nar-
row Leap Upward, the last word will be abbreviated. These abbreviations
are necessary to save space and to make for easy referral by making it
The Abbreviations
5>9
either two half notes or of two quarter notes followed by a half note.
In either case the first two beats will represent the first chord and
the second two beats will represent the second of the two chords on
example, if the melodic motion is Stepwise Upward and the chordal frame
appear as
or
|£»0 DWl
1 U- 1
—
60
note which is D, because the stepwise motion upward takes place there.
In the second example the stepwise motion upward starts on D, and the
point. In the third example the stepwise motion upward starts on the
each of the three examples will produce different results because the
0 c p. Dr*i c..p, 7.
-7.
.
'-1
~r.
-T-
11
—
-^-<5—
. 1 , >
\ \ \ \ 1 1 \ \ 1 I
r > v
*'1U * a 11
Additional examples are given below of some of the other possible com-
D - E "1
7V- —j—j— —
h n
^ \
i
J\ \
--ci o>
\ \ 1
x —m— — —
r> O.p.
r—\
— Ha
\ *
T~\
(d n
s
0 \ i » bn M-
.
6l
Exceptions
to insert a chromatic passing tone between two chord tones that are a
half step apart. I.e., between the tones F and E it is not possible to
O™1 *
the embellishment is not possible, the heading will be left over the
space where the example would normally go, but the space in which the
in a simultaneous up and down sense. That is, when the melodic model
melody
being embellished is the Wide Leap Up, Down category, then the
or the
may consist of a single wide leap followed by any other interval
simultaneously or
melody may be two wide leaps which may be embellished
individually
:
62
Example
D rv\~l
^
*)
l\ r« ") r»
|)
— —
: — 4 — *
ALLztk vJf 63
£_ZX —
+
££h^-ilfhARD *•
+
C.P. r.
-
Zaa*. S ‘ £USf .
r + .— r—rcr 4r ^4 r*
3Z
^.'JLLj.j -a4V
*- 3
ii. E. * / fat
he:
i?
=£
/
fL&.AUL M F.S.A'.P. M.L. UPW. . AHh M. SUSP.
BE
—
S^fEE
f-
J1
^
•«5
t—t"
1
r
J J_
— «. i
y
v*
j
—-r^-"
••*
T «*•
r
HE Ht
T* ?-
C-
’’*• A X.
Hf. & ft- H7. A.:. V/- yr,
e
EEHE=XEZ=E
A/5f
1-
HEpiti HHLET
f iOi'
J—E- “nzc nrn
Zi_ et:::
/M- */.
<f. f*
f
j ——f-^
—\i*
! — -r , , -*-£
:3
*
1
r
'spozsztz^n
r
-e —
l,
*•» C J• * NO
I1« • •* * T '
MO D I • 12 iTAVI
—
E u 1 : ^ ; 4
{ —
614
^
A1 zJLSl.
ElP. TV. \'£ A.W. A. SUSP. ./
1. <r
^ /-A/.
z zzzizzzzz — '
i— — —
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NO II IT4VI
105
CHAPTER V
CONTEXTUAL EXAMPLES
styles extending from the work of Louis Armstrong and Coleman Hawkins
tracts from transcribed improvised solos and written works by Jazz com-
the solos have appeared in the Workshop Section of the Down Beat Maga-
zine.
On the other hand, the improviser must practice scales, chords, embel-
106
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1.
CHAPTER VI
opment have been considered. If the main purpose of this work were Just
often than not the student writes out exercises and very seldom hears
them performed.
this chapter is to suggest ways by which the instructor might teach the
himself.
improvisation needs to take note of the fact that the art of ornamenta-
lads. The common tendency is for the students to listen to music with-
ments, the chords, and the scales is merely a means to an end when it
nical process. However, the mechanics are a very useful device to have
The minor augmented and the diminished chords should be practiced the
same way
ally, and then the various types should be mixed systematically after
which they should be applied in the context of selections from the stan-
dard literature.
The passing tone . The passing tone is the easiest of the embel-
the passing tone is seen in the role of filling in gaps between the notes
seconds with the chordal tones, the passing tone is heard as a dissonant
sound. When all of the spaces in a chord are filled in with passing
tones, the resultant is a scale. The scale to be played with any chord
the key of C major, the scale that would be played with a C major chord
(triad, major 7th, etc.) is the C major scale or the Ionian mode.
called, the dominant chord scale. In the key of G major, the C major
hord appears on the fourth scale steps and takes the form of the lydi-
an mode. Viewing the chord tones and the passing tones as a single scale
sing tones. It is best to point out the fact that the notes in a scale
The passing tones that are connecting the chord tones may be diatonic,
chromatic scale.
exercises. The viewpoint should shift when practicing the scales from
tones. This would involve the application of the returning tone to all
ples :
118
ment that enters by leap and resolves by step. It should be pointed out
so that the student will not experience difficulty in handling it. The
(Unprepared suspension and appoggiatura are two names for the same melodic
Prepared form
119
atic way . It should be covered in the same method as the other embel-
lishments , i.e., on chords that form series in half steps, whole steps,
etc.
they are best practiced in the rhythmic or harmonic form, and only a few
(
h
120
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130
XL
CHAPTER VII
SUMMARY
the student's awareness of how a melody can grow from the bare harmonic
base.
existence during the Baroque period and the resulting decline of the
used in this dissertation and the basis for the melodic model upon which
appear within a realistic context. The examples are drawn from transcribed
American music.
variety.
structure by adding a dynamic dimension to it as well as
.
]33
available another approach. The analysis of the chords and scales and
embellishments
the opportunity to gain the knowledge they want. To this end the function
BIBLIOGRAPHY
Babbitt, Milton. Past and Present Concepts of the Nature and Limits of
Music Perspectives on Contemporary Music Theory Edited by Benjamin .
Boretz and Edward T. Cone. New York: W. W. Norton and Co., 1972.
135
Deeae, James. The Psychology of Learning . 2nd ed. New York: McGrav
Hill, 1950
Forte, Allen. Tonal Harmony in Practice and Concept . New York: Holt,
Rinehart , and Winston, 19^2
Gardner, John W. No Easy Victories . New York: Harper and Row, Harper
Colophon Books , 19^9^
Press , 1967
• . .
136
• Music Theory . New York: Harper and Row, Barnes and Noble
Books, 1974.
Miller, Hugh Milton. History of Music . 3d ed., rev. and enl. New York
Barnes and Noble 19^7
,
• :,
137
& Nettl , Bruno . Folk and Traditional Music of the Western Continents .
-J^Paynter, John, and Aston, Peter. Sound and Silence: Classroom Projects
in Creative Music . London: Cambridge University Press, 1970.
138
1. 5-3
2. 5-9
3. 5-29, 5-30
U. 5-32
5. 5-35, 5-50
6. 5-31
7. 5-10
Duke Ellington's "I Let a Song Go Out of My Heart." The Great Music
of Duke Ellington. Melville, N. Y.: Belwin-Mills Publishing
Corp.; American Academy of Music, 1966.
lHo
9. 5-7
10. 5-17
11.
Curtis Fuller's solo on "Bongo Bop." Transcribed by David Baker
from Fuller's album Sliding Easy. United Artists (UAL UoUl).
Down Beat , January, 1973.
5-26, 5-^2
16. 5-15
by Greg George
Freddie Hubbard's solo on "Killer Joe.". Transcribed
from Quincy Jones' album Walking in Space (A and M 3923).
Down Beat , May 1973.
Freddie Hubbard's solo on "Shutterbug. " Transcribed by David
Baker from J. J. Johnson's album J. J. Incorporated.
Columbia (CS 8 H 06 ). Down Beat . February 1971.
20 . 5-53
2k. 5-12
26. 5-22
27.
28. 5-^0
29. 5-11