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CONTENTS
lntrocu rno n .7

CH AP TER t: HEL.ODY
Melo dy W riting . · .. 10
Tne Element s of z Melocy . . . . . .. 1:?
A Sou rce Ma re nals -.. . . .. . .1:?
5 . Th e me a nc Develop me nt . . , .. -,6
C. M elo dic Ccnrou - . . . , .. 16
D. Ba la nc e . , . .18
E POInI o f Chrn ax .19
F_Melod i, Form .19
G. Melo dic Rhyrhrr- · . .19
h. Perfo rma nce Directio ns · . .21
I. Tessuu ra / Key
Sl)"f .: 3
Me io d ic Srvle An alys Is . . 24
No n- Rom an tic !,f,clodr Examples _ ... . . . ... .2f
A. ld.cmaric An gu!<lr . .. . ..26
S , Idio m a tic Refe rential "
. .• _ 0

_. .2 7
C. Id io m at ic Pro g ra m m a tic
Rom a ntic M elod' es , .30
Exarnptes of tn e Use of Roma ntic Melo dy W n t ing . . . . .3 1
Tile Proto typ ica l Rom a ntic/ Idea l Meiod r . . ..34
Exam p les o f Rn ma n nc j Melodic j azz Co m po smons . . .. . .35
Conclusion of Cnao rer I · .37
Suggest ed Exercises 38
Spe c.al Proje ct: Folk MusIC Survey 40
Mei c crc Ar:alvsl5 Referen ce Gu ide · AD
Reco rd mp anc Read 'np .~2

CH APT ER It: REHARMONI ZATION -

Harrn omzarion «
Tnt c reptanned Meth od 44
T ht Pro ce d ures "45
Getting St a rt e ;:'
'-1a rm o " l~i "r G ,ve n Melo d ies
li,eh a rm on;: atiol'l _ .,
· .4 6

T ne j azz Com po se r's Pred.ca rn cnr

"
T he Tecn ruc ues
Subs titu te C ho re s "
. . ..51
A. Draronic Sub strtuuo ns · . .51
B Cn ro rna cic S ubstitu tio ns . . ...53
C. St yle
o Ha -m omc R h ~:,m . .5f
Rena rmcnizanon o · Ca d ee nial Area s .Sf
1. Cac ences , . .Sf.
:.'. Cvctes · .Sf.
_ . Turn a rou no s .59
Suosnturc Sym me tn : Patte rns .6 S
Cha ngmg th e -ra-rn omc Rtlyt nrT' o f Nor--C aden na ! ArC2 5 .66
Ar.a ngm £" ecn mq ues
Ren a rm c r uzauc n =>:a m p ies · .7 5
Rew o rK ing Th e Melo ar · .79
Con clusion o - Cnaace- H · .Eo 5
Suggesle d Sc.e n~i ses
.&6
Re-:ord in p anc Kfad ln g>
.86
C H APTER Ill : ?£N1J..TO NI CS

~cn ;"Hon lC Ccmoosmons · .8E

Vescn ;>:lo", and :'e;mlt'OI'"
I<.., nos o f ~~r.; ..ton" Com;l osi~oons ..,.
· .SE

r;t: n;a Lon, ~ M ~ l oG 'es ...

Creato nE- Pen:aton.: Source Scates

."
· .. .89
Sym m ~[n : Pen..aton ,c Scates · .9 1
Form anc S:vIe · .9f
H armo nca ric n and -t arm onir Rhyt;'rr. .96
Chord Selecuc ny-t a-mor uc Rhvm rn . · .96
Co mpos.ncr. S;a m pi es . ... .. 10 1
Extan;: Melod .es .. · .. 10 1
Folio:. in fl uenced Co rnposmons . . ... 103
Miscelianeous Pentatonic Co mpo smons 1 0~

Co nclusIo n o' Cna cce- III · .106

Record ings anc Read .ns:s · . 1(;7
Con~I.lSlor. a n::; ;:,r.al Comment! . .1013

ll.??EN D IC£S
Apoendi) I . . . · .11 0
Mouf,c :>eYdopm e n: . . .. · . .no
Art.e ulatlons and Effect! .11 3
A p pe n d j~ II . , . · .1 16
Tm one Subsmu nc... anc Acousncs .11 6
Sta r:m g Cho rds - Standa rds . · .11 7
~d,t.or. a· Re r,a rmo n,!at,or, - !'o~ ", Melod Ies . . . · . •1 112'
.t..ppe dl~ Iii . . . . . . . . . 122
us; of AI! Usab le Pen:ato"',c Scates .
lts: of All U sab le Mooe . . · .1213
Language L!snng .. · . 13 <1
M,~e'!,,,"eous Ma te"al ~ .. . . . · .1S 7
Palm X, Pla no sc e-e . . . . . •• . 1AO

A b o u: r ne Au tn o-
IN TR O DU CTION

The goal of v ol ume z or Moda!}-==::. Compormor. eni .~'t:M1J07T1' 1$ TO con tin ue the di sscmina -
non of mforma non that present5 a parh of srudv for rhe ~ririns: jazz composer. \l:'ncre
Volume 1 of th e boo k emphasized th e ?repariltlor. of a modal harmon ic (oll·orianoo. chis
volume will mrrocuce ':O:l;:ep~ or m elody \l':"innf an d a srudy of che styles of .jaz.;: com-
positions that are ..., intrinsic addinon to tilt w ~ tem?ora.:· J;,zz composer's repertoire Of
mreresr to rne composer/ arranger will be ::h e chapter on harmoaizanon and rcharmoniza-
Cl0 :; tech niques. as many of the ::on cepcr presen tee reflect an in fluen ce of Gil Evans, Duke
Elling-ton and Charles Ming us as well as m ost of Herbie Han cock. Addirionallv. m uch of the
harmomc mforman on of that chapter is based on the dia romc Il-v .!oyS t C1TI p roviding both
an in rro ducaon to, we review of th e subject, .
7'n o~eInt erested In securing a new venu e 0: a? ~esslOr. will find rhe chapter or. penzaronic
runes of parn cular IlHCreSL AicilougJ-. mere are rnanv extant pencaronic rur.es available to
ehe JiCZ performer, th ere are not m anyrhar are h armo nized with a modern modal harm oni c
[oun da zior; ~c!':?tJrtS a fes- rhar have been contributed by \'i:';l~'nt' Sherrer.
As ...' i± Volume 1 0: tile book. an a?~nci.n with addinon al peripheral informaaon is
in:::lu.:i.ec for the student .:ies:rinS zhecrerical explananon .inc. additional examples. This
volume will diner from Volu me 1 by tile inclusion of su ggcsted record.egs and rea3mgs ar
the en d of each chapter wu h spe cific co mpositi ons fo~ Iistcnmf, Wi th in th e text. A:: . usual.
there art suggested assignments and exercises mcluded at th e en d of each chap ter.
Hopefull y, hzvmS com pleted til e seed y of m e- materia ls of bo th volum es of th e book, the
sruden: will realize rna : th e- information ts presented to fo rm a holi sti c srudy, ~avmf
mastered th e modal harmonic foun dation of Volume 1 me stu den t should next stU ci~' melo-
dy ...-riring con :cpts ...-hich can rbe n be ap plied to :h e creanon of melodies in a variety of
srvles. f.r is add itionally imporran r th at the jazz an d p;:lp com poser be able to w ri t!' a ro man-
ti c melody • the subject is covered at ien gch in Chap ter 1.
Fi:-:ali" . the m elod y \lTicing proced ures are applied to the composInf: of pentatonic ru nes.
wh ich are ID C' harmonized wi th m e ha..t monizaaon techruoues gIven I f! Chapeer ll .
To repeat from Volume 1. the au th or's basi c incenrion is t C provide informauon in rhe pnm ·
ed form at tha r will expose and develop tnt student's larenr creative abilities as well as allow
him ·/herself [C' unabashedly expres s a true love of m usic - and of course to fulfi ll char which
he/s he go. Into music for to begin \l'1 tn - have fun !

• 7 •
, .'
Chapte r I

~
• ,

WOR DS OR CONCEPTS TO KN O W

1 Folkl Ar: Soectrum

2 Melodic Eierner ns
3 Tnm nic/ Tetra::oni:./ Pentato:lic
4 Harmonic Reference
5 Guioetoeea/Pivot POi:"\1
6 Motifi, Developmen t
7 Me lod ic Contour
8 Com Dr-essi D n,'Soan ~ on
9 Melod iC Balance
,0 Me lodiC Rhytn m
11 M elodic Cadence
12 Synco pa tion
13 Srarem em /Response
14 Ame cecem/C onseque naat
15 Idio ma: ic J-.:-straet
16 Idio ma tic Orogramm a:J'::
17 Ro ma no Ideal
18 Romantic Meio :iK
19 BinaryMe lody Fo rm
 MELODY WRITING

Prcrn a ?Ccagofical poi:n of VIew. rn eiody '>l'r1:mF I~ th e mes: com plex of:ne basic skihs of
th e COr:J.?OSI.': - t....ere are many reasons wh ~ this !5 so
Melody creaaon is rh e mas: personal of com posi: io::a2 aca via es and shews the Ic<LS:: degree
of success 01' rhe im ole mencanon of oed an nc rn ezhods . Al th ou~n there are "rules" ~we:; m
:r""::'ltlor.a! rexr boob for U7.I'S of crcaanc melodies. rhev in theiong run read to mhibi r
pers or:;J expressIOn ra ther th~"J promote frel.' creativrry. However, there ar e many mechcds
for develo mn r a melodic idea that whe n crafr fu liv im olemcnred. ..:a:: develop even th e m ost
urunsp rred ge~ idea I ntO a musical end pro duct..'T h e"m osr usable ? edago?caI systems take
rh.s app-oach. Cons ide rin g the en ormous variety of melodic expressio n, it :s und ~:stand abl e
:h..r most th eoris:iau rhors of SiVliflc;mce ten d to forc e a comprehensive presen ta tion of
m ~l oci~' wntlns- procedures. A~ a 'poin t of reference. on; of rhe s~SB!estec. ~:5 In Volum e l
of :h:~ book is The Craf. of MUJ!t:ll ;' Co moonuor: b.' Paul Hm derruth. or rhe : 33 pages of rhe
book. ~f: are p ven to the discussio n 0: me lody ";'tinn~ ...-ich t h e remai ning 205 pages devo r-
ed [ 0 concep:s of hum on )" and aco usti cs. Th is o ne exampie is typi.:aJ an d cn dersrandaaie.
Sr-ce cne emphasis of :his book 11' on J= co m pcsirion. the problem is n a rr o wed l:'. l :5 sco r
...,:! workable cuidelmes for melody wrranc can be i':s~lish ed. Another consideraaon
\l'b en is ce,..ai;iy ope n to cnricism is me beilef rh ar of the creati ve aca vin es of the co m-
PCSeT, melody ....:-mn~ IS :h e one mas: depend ent u pon m na re :':'\csical talent;

TH E R00 7S OF HELOD Y CREAT ION

Mus ic In general arid m elcay creati on specifical ly can be tra ced to a too: expreSSIon of the
human co n dra o n both as ur rerance (speech/sin gin g) and b ody movement (ciance,': h y::hm) .
A! this pnmevaj m usic evolved. the par hs became mo re diverse with a.~pccrs of each taki nf
a route that became further sepa ra ted m co paths which are no w categorized ir: gene ral as
folk mu sic and an mesic. Altho ugh each path has irs n es to th e o ~p r.aJ expressIon as spee ch
0 :" dan ce. an music shows a s:ronger connecnon ro a vocal q ~aht,. wirh folk music sho ....inf
a r rerio mman: tie to body mov ernen- expression. T his is cer:a.iniy :;. gcn e.ra.liza.:ion as there
:s art in dance an d there ar e many 3.0-:: compcsirioas rha: a:e base d on a prerrust:· 0: rhyrnmic
de"l'doprncn:: of course. m an~' of these are ballet music.
Po?~!ar (fo lk) music In rhe same way inc orporates rbe qualities th at are associated with the
seed develcpmenr of 3.0-:: musrc :..~.a: of lyri c sm, ro manticism an d "seriousness."

JAZZ .lo ND P OPUL AR H USIC

jaza is a m USK tha t evol ved fro m popular m u sic ami has in cnnsir ne s to fol k music. popu-
lar m usic being th e co ntempo rary form of folk music. Anoth er way of desc:.-ibin~ [ he differ-
en ces between a rc music an d folk music is th ar folk music's crcanon. rradi uon and cvoluaon
IS earned ou r b~ ' a rna reur or m :m m.alJv r-aine d m USICIans, 7:"', co nverse for art music is th at
its creators are highl~' trai nee an d expen d much of rh err life's ener gy C'f: the stUd~ ' an d ptp.
a ~lOn of mesIC. Jazz smce the 195(IS has beer: evo!vin f ir..w an ar.: music: :hI S:S 1:1. e"ldence
~. i:.s Crop ir: ?O?uja.,~' from that :ime onward. W-lth the aeve!oprneTl: 0: .i.u:: a.~ <IT: a..-r
maSI: cunc the reqUlrcmen.: 0: exteruive seriC'us s::u ci~ by th e ~pir::ns _;= :n USIC ar. - as. an~ '
s=-~ci e nt rcaciinf citis :ext will anest..

Alt:"'o ugr. .i:;z: has evo ived to a:: a:t music leve! its CO:1.nectlor. to folk mesic C:l.:mot be
ciel1led WlthO\.lt the music l osi n ~ irs inheren: passion or l::.s lucen: expressive ane communi·
~rlvt ql.lailoe.s. Ai:.;' ou gh ja::z harmo:l)' has a cine::: reference to Et.: rope.ar: art ml:Sic, its
:+t:'::hmic d~'elormem and :nore lmponan:lr for ::h1s chapter , man, of irs mcJ06: materi-
als have SUO:l£ .an a impor:.a l"ll tICS to folk music_Th e most ewert of the se folk refer::n ct~ are
ro cO ~ folk m usics of Africa. Br;'!.Zil and the Bri:is h ls leoS, As .1Q.Z2 cvoJve~ ane rOe world 's eu!·
::u~cs oece me more un ified . there a re an d will he mo rt oven: rejercn::es,

\I:lt n thr above i:1 m in d . tOt· senoill' c onccmpo:~- _la:::: co mposer n::ec!.s W Im ::ate' .; con;-
?rC~ er.sIV{ st'Jd~' oi th e wo:krs folk :,:,\usles. O nr sh{lulC p.I' particular a: ::m::IOO1 ::C' scalar
.s....:.l r:t ma te rial . mo::;.ii: d~d op m:::-.:._ p h rOl,s in £ _ me most lm po:-..a :lth-, me orf an: =.a:'lOn of
:. ;;Jcioci.' b~ · i::.!- 1':atemen.: l!I1ci res:oo:J,.<;e fo rmulas. There are m;;.n~· acidlt.!o::.a; eiem en::l- of ~
m do.:i\" ct.a: are [ c' t>e :onsl.:ieTeC ~"1 :J ::hC'" wjIJ be ~Ivcn and. di!>.:U5.<;r.."i l:m -::' in this :ha?te:.

on •
 HEt..OD Y WRITING

J.2l.ZZ .2l.NO ART HUS IC

A~ sta ted earlier, although jazz evolved fro m folk music, there arc many exampl es where th e
melodic con ren r of a jazz co mpos itio n closely compares wirh rhar of an an musi c melodv,
Al rhe poi nt in time where jazz composition starr ed its evoluti on toward bccomin~ an a;'
music, much of its compositio nal Stru cture Wa5 based on th e popular music of the rime
which we now call the "standard" repertoire . These song -form compo sitions were modeled
o n the an music of perhaps a cen tury earlier: the Romantic era, and show a dir ect in fluence
both harmonically and melod ically of the music th at is typ ical of Rachmaninoff and
Tchaikovs ky. to sta re obvious exam ples. In fact . mallYo f th e th emes of these great compos-
ers. being "borro wed" by po pu lar music's brigan d prod ucers beca me po pular music th emes
- examples indude "Strange rs In Parad ise," based on a th eme from Borodin's "Pcloversian
Dances." "Th is is My Beloved" and "Bangles. Baubles and Beads." both based on rh emcs
fro m the "String Qua rte t In D," again by Borodin. "Full Moo n and Emp ty Arms," is al most
a d irect extraction of a main theme from Rachmaninoffs Pian o Concerto No.2 . The re are
manr more examples that can be cited based on th e works of T chaik ovsky, Cho pin and
others. Th e point is th at the expressions of th e Romantic compo sers are very mucn a pare of
chc jazz composer's lexicon as a resu lt of jazz music's ties to th e popular m us ic of rh e 1930.10
t hrough the 1950.10.

THE SPECTRUM
T he essence of the above is that the melodies of the world's cultu res and for our in terest, jazz
melodi es fall somewhere with in a spectrum described by th e peripheral limi ts of Art Mu sic
wirh rom antic. lyrical melod ies at one end point and single-pit ched dance ori ent ed melod ies
at the oppo site. In add ition , d ifferem ph rases or sections of a melody can be described as
being ar oppos ite po int s of the spectrum, providing a clear sense of con trast an d develop -
me nc. This concept will be dis cussed and illusrra red In more d erail Later in th e cha pter.

STYL.E
Referrin g particularly to jazz melod y writing . m e composer, when defini ng h is melod ic geWs
needs to dan /)' the general sryle of the intende d melody. Style refers to the im plementation
of the demen ts of a rnclod v to conform to an h istoric, eth nic or id io matic d escrip tion. In
addition . the Style of a melody will predicr its placemt:nt within the arc/ folk spect rum. To
state all o f the above concisely, the composer. wheth er creating a melody or anal yzing an
extant melody must cons ider in tandem the sryle of a melody as defined by an historic refer-
ence, an ethnic/ folk referen ce, an id iomatic reference as to ehc melodic performance, and at
what po int in the an/folk spectru m the melody can be placed .
An histo ric reference refers to th e creatio n of a melody that sho ws an app licat ion of the ele-
ment s of melody wriring in a way chat conforms to the standard practice of a particular m usi-
cal era. Con trasting examples would be the styles of contempo rary pop ballads and hardbop
melodies. An eth nic reference is to rhe crearion of a melody following the scalar. ph rasing and
stat ement/response formulas peculia r to an eth nic source: basing a mclod~' on a model of
Japanese or Bulgarian folk melodies is typical. And lastly, devi sing a melody rhar is abstract. as
well as on e th at rakes advanta ge of the performa nce characteristics o f a particular insrrumeru.
is an idiomatic approach ro melod y writin g.

• 11 •
 CH l>.PT£R I: H£L.ODY

THE ELEMENTS OF A MELODY

T he elem ents of a melody are comprised of rhe foll owing grou ps: source m aterials. a m eans
of creation an d d evelop ment, phrase or ganiza tion , ressiru ra, con tour and expr essive devices.
In ad dition, a goal an d point of clim ax sh ould be devised fo r each section or phrase of a
melody.

A . SOURCE MATER IALS

M elod ies may be based on any of th e following so urces:
1. Single no tes
1. Trironi c scale fra gme nts
3. Tctraton ic scale fra gm ents (rcrra chords - sec Vol. 1)
4. Pen raronic scales
(a) di atonic
(b) altered
(c) add n ote (sexraronic]
(d) bl ues scal es
5. Diatonic and altered diaro nic m odes (sep raro nic}
6 . Symmetric scales
7. Hannonic references
(a) arpeggiarions/g c idero nes
(b) co mmon tones/pivot points
. (c) leading tones/ neighbo r to nes
8. Quotes
9. N on -western scales (o cra ro nic and m o re)

A melod ic source is the pitch o rgan iza tio n of a motif, phrase, section, or any area ofa melody
tha t shows m usical uni ty. A group of asym m crrically organ ized pitches num bering four o r
marc in a SCal M format can im ply a mo dality and its perceived emotional quality (St..'"C Vol. 1,
Cha p ter IV).
If an exam ple is nor scalar - having con secutive sk ips - in most cases it will have n otes in
common with a pa rti cu lar modality. It is possib le tha t if the ph rase is long enough , m ore
than one scala r sou rce can be d etected. In ad di tion, the modal qu ality of th e m otifor phras e
can be enhanced or obs cured by its relationship to the harmonic foundation of that part ic-
ular area

E XAMPLES OF MELODIC SOURCE HATERIALS

Th e fo llowing, lik e most of the examples fou nd in the remain der of the book. ar e excerp ts.
of a lengrb sufficient to illust ra te the defin ed concept. To put the e.xample in con text, it is
suggested the srudcnr re fer to the reco mm ended liseenings and read ings found at the end of
th e chapte r as a source of scores and reco rd ings for fu rth er study.

1. SINGLE NOTE
T he srar rinp poinr of t he ca tegories of melod ic sou rce materials , having no pitch co mpari-
son it is a mel odic device in wh ich the rh vth rnic d evelopment of rhe m otif or phrase creates
musical co hesion. Very eff ective in jazz mel od ies, it is a device that Ho ra ce Silver an d Jo e
He nde rson us e extensively.

Example 1.1 a : "Ca ribbea n Fire Dance" (B section ) by Joe Henderson

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• 12 •
 THE ELEME NTS Of" 10. MELO D Y

Examp le 1.1 b: "Sweet Swe et)' Dee" (A sectio n) by Horace Silv~r

.. ...
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2. TRlTO NIC
A s -no ee scal e fra gment. it is the bas ic structure of th e pentaton ic scale. Primeval and pu re,
its usc is found mosely in p rirrurrve and children's songs or in the more rhyrhmie secti ons of
jazz co m positions.

Example 1.201.: "Carib bean Fire Da nce" (A section ) by j o e Hend erson

A- 07 A- 07

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2 r: • •

Exam ple 1.2b : "Th e Girl From Ipa nema " (A section ) by Ant oni o Carlos Jobim

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1
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3. TE'TRATONIC O R TETRA CHOROlC
• > • • •

A a-nor e scale fragmem lo nf: enough to imply a m odality if rhe p itches ar e scalar (see VoL I,
Chapter II ).

Example 1.301.: " Rhapsodic Espagnole" by Maurice Ravel

Example 1.3 b: " Firebird" by Igor Stravinsky

4 . PENTATO NIC

A 5·00te scale consrrucred by the co mb inati on of ewe rri roni c scale fra gme m s. These
scales will be covered in d erail in Chapter Ill.

Example 1.401.: "Gibral ta r" byJosef Zawin ul

Ep-l 1
A

dt
,\ A

tb:
A
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• 13 •
CH~PT£RI: M£~ODY

Examp le l Ab : Sym phony No .6 (main theme) by Peter I. T chaikovsky

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• •
". -- • •

5. DIATO N IC AND ALT ERED DIATONI C MO DES

These are the m ost well known scalar so urces an d sho uld n eed lirrle explan atio n. Tho se not
fam iliar with th e altered diaro nie m odes should refer to Vol. J of this book.

6. SYMMETRIC SCALES
Scales whose eone/ scmieone formul as sh ow a pan cm of sym me rry. These are us ed prim ari ly
for effect or color ation du e to their harm onic and me lodi c oh scuriryInc lud ed 1!1 th is gro up
are th e ch ro m atic scale an d material s derived by i z -ro nc techn iques.

Exam ple 1.5a: "Touchsto ne " b y Ralph Towner

C !A ~

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,
I.. •
•

Exam ple 1.5b: "Last Illusion" by Ron Miller

F8~2 ~6 ( F~ Scale)
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; !
• p,.--- I I· b., • i
•
'

•
*
7. HARMON Y REFERENCED M ELO DIES

Arpeggiations
This is an area of a m elody that sim ply outlines pa rr if n ot all of a par ticular chord or chords
of a sectio n of a compos ition. O nJ ~· the most gifted of co m posers can u se th is device m us i-
call y. Pian ists and other chord oriented composers arc at risk of overu sing arp cggiario n as a
means of m elod y creati on.

Examp le 1.6a : "Ask Me Now" by Thelonious Monk

G- 7 C7 F~ - 7 B7 F- l l

W
." • •
• • F'" ,. J
•

Guide tones
Thi s m elodic source, based on th e voice-leading of a particular harm onic movem ent is useful
for obligato melodies but like arp cggiarion, sh ould be used with discretion for m ain mdodie-s.
Com mon to nes
Com mon-tone m elodies cons.sr of a sin gle pitch found in common over J n umber of ch ord
c han gc~ _ Cadenrial in nature. tht y can be eit h er su stained or have rhyth mic dcvclop men r
(sec Vo l. L p. 45).

" 14 "
 THE E L £HENTS OF A HE L O D Y

Pivot Point
Pive r poi nr refers to a com mon pitch that the m elody returns to every few n otes in a m orif
or phrase . A pivo t po m r cou ld be within o r wirh ou r the mo rific sha pe or phrase. Pivot poim
also affects a m elody's shape or COntou r as wil l be described later.

Example 1.6b: " Prince of Darkness" by Wayne Shorter

N.C. p D7sus
p p p p p
- - I
±, f-
• •
~v • • r; •
e? Y P
. , ,
I, 0
I • riT' ; T"i
o

Leading To nes an d Neighbor Tones

T hese have harm on ic in ferences due to thei r resol utio n tende ncies. A leading tom is the
pitch a semirone below the targete d cad ence p it ch: a n eigh bor to ne is u su ally a semiron e
above the cade nce pitch but coul d also be a whole tone fou nd eith er above or below. Th eir
relevance wi ll be given in late r examples.

8. QU OTES/CLICH Es
This refers ro th e use of extant material usually in th e fo rm of a monf or sh ort ph rase.
Q uotes show a di rect exrracrion fro m a doc um ented source and arc usu ally personalized by
the subsequen t com poser.
Cliches can be quotes but are gene rally recognized as common m elodic figures that are
found in m any mel odies by m an y co mposers us ual ly co ntained with in a styl e category. Due
to rhe ir referenc e to a style p eriod an d their overuse, th ey are conside red cliches . Examples
would in clude m elodic figu res that are foun d in abu ndance by m any di fferent composers of
beb op mel odies, fusi on and pop melodies o f a part icu lar era, or of t he m elod ic figures foun d
in common to man )' hard bop ru nes,
It \\;11 be pointed our in examples foun d later when quotes or cliches ar e fo und in th e
mel od y,
Example 1.7a : Sche rzo No. 1 ( ms. 16-17) by Frederic Cho pin

•
•
: .
G

Example 1.7b: "JC on t he Land" by Ron Miller

!i
Example 1.7 c: "JC in the City" by Ro n Miller

('1" O," ) E~Ll 11

., , I .-
9 . NO N·WESTERN M ELOD IC SO U RCES
Th ese are scales whose octave di visio ns pro d uce pi tches rh ar arc nor in conforman ce wirh
the tem pe red ru ning s~'s tem. T hey are reco mmended as source m at eri als for further investi-
gation fo r the ecleaic studen t. As m osr of th ese scalar so u rces ar e nor playable by fixed p itch
instruments, the ir use can be lim ited but are important nonetheless.
• 15 •
CH A.PTER I: HEL.ODY

B . THEHE AND DEVE L.OPHENT

Th e basic premise of a mel ody is the motif: A motif is rhe seed melodic crea tio n that is sub-
sequently given m usical crede nce b)' a."y of the followi ng means:
Repet itio n
Seq uence
Inversion
Retrogr ade
Retrograde Invers ion
Isorhyrhrn
lso arti cularic n
• Tru ncarion/Exrension
• Chsplacement
• Mutation

Th e previou s terms will be given further definiti on ~ . their u se in specific examples found
later in all chapters o f the book. For those who d esire a review or a clarification of the rer-
rrun ology, th ere are defi n itions and exam ples o n page 110 of th e appendix. And for those
whose back grounds req uire a mor e com plete study, there are suggestcd bo oks a r the end of
this chapter.
It sh oul d be po inted OUt now t hat for all melodic anal yaarions fo un d in this book. [h e ma in
poin t of in reresr is in what the composer did to create the beautiful and classic melod y tha t
will be included in th e followin g examples. Being overly detailed and scientific in an anal v-
sis is or less im po rtance than getrin~ [Q the core of the composer's creative an d develo p-
mental effoITS with sufficient unders tandi ng of the process [ 0 success fully m ea our own
efforts.

C. HE L.ODIC CO NTO UR
Contou r refers to the "shape" of a melody whether desc ribing it s direction, its inrervalic
tr end or irs nore values. Melodic contour is of particul ar im portance to this cha pter because
of its clear definiti on o f the emoti onal contenr of a m elody. As will be shown later, a
melod y's shape will show chan ges that were derived eith er by a sta tic or dyn amic mean s,
The following are the elemen rs of a m eloriy char refer ro its COntour:
1. Direction
2. Interval
(a) dia ronic
(b) ch ro rna rie-
(c) skips
3. Note Value
(a) augmenranon
(b) di m in u tio n
(c) compre ssion
(d) expansion
(e) art iculati ons
4. Balance

All of the above affect the em otion al quali ty of a melody in tandem. Keep in m in d that for
th e following dcscri pncns, any melod y has a n umber o f the elements listed. As an example,
rhc di rection of a melod y has certain qualities that arc en hanc ed or softened depe ndi ng on
whet her the mel od y is largely skips o r steps 10 addition to irs modal so urce. rcssirura,
rhyth m and other eleme n ts.

1. DIRECTIONAL CONTOU R
In general. a ph rase or section o f a melody th at has an upward moveme nt ui ll show an
emphasis of me em otional descriptions of its elcmcncs: increased modal definition. increas-
ed ten sion, an d enthusiasm.
In gene ral. a phrase or sectio n of a me lody m ar has a dow nward moverncnr will tend toward
relaxatio n and fin ality or resolution . Although the modal quality of [he mel ody is nor affect-
ed sign ificantly, th e remai ni ng eleme nts tend to be de-em ph asized.
 TtlE EL.EMENTS OF A. HEL.ODY

2. 1f'o.'TERVAU C CO NTO UR

In gen er.i.l. a ph rase or secti on of a melody that is diatonic is the mos t d efin ed by its modal-
irv and is relanvelv neutral in affectim:: the other elements of a rnelodv. Th e other dements
aiso have a less d:.unaric effect on dia~onic melodies. '
A ph rase o r section of a melody that is ch romatic has in creased tens ion and is da rker wi rh
obscured modality.
A phrase or section of a melody that has ski ps of a P4 or mor e will scongly emphasize the
other elemen ts. will be verr active, will in duce tension and be vr ry dramatic. Its modality \\111
be somewhat obscu red depending on its cadcntial pitch es.

3 _N OTE VALU E CO NTOUR

A chang e in nc re valu es of a section or p hra se has subtle emotional effects as well as a being
a means o f melodic and rnonfi c develo pme nt. T he.' no te value change.' can be by either a star-
ic or a dynamic ratio. O f importa n ce is the change in melodic rhythm relative ro the pulse
of the harmonic rhyth m.
A SGWc rati o is o ne in which all no te values au chan ged b}' the same am ount; a dynamic
ratio has cha nging n ote val ues by in creasing or decreasing a mounts. Th e following, probably
fam iliar to all is given purely as a form of review and to ma intain a co nti nui ty of presenta-
n on .

Augmrntation and diminution arc exam ples of changing note values by a static ratio. Alt ho ugh
mer are traditionally list ed under examples of mocific development. rhey are in cluded h ere
because of their ability to affect an emo tional change in the melody and as a point of com-
parison with compression and expansion.
Augmentation is the changing of the: nore values of a m otif or phrase by incr easing the
amount uniforml y. The emotio nal effect. al th ough subtle, is of relaxation.
Diminenon is the opposite. wirh the note values un iformly decreased causing a subtle
increase in tension.

Example 1 .8 ; Static Ratios

..
G Phrygian E a lt C Aeol ia n

, • •
• : • ;, • I" :
motif incrcrn"01 bj'l / S mOlif

Comprrstion and l!Xfh1t1Sion are like the above b ut wirh the note value increased o r d ecreased
~. a progressively changin~ am ount. Bam sho w a clear emorional effe:ct and can also be a
form o f morific development.
Compreuion is the dynamic decrease of me n a rc values of a phrase and shows an incr ease o f
tension with an emphasis of t he effects of th e other elements of a melod y.

Example 1 .9; "Seventh Sign " by Ron Miller

I
. .. 120

813 ; 4
8 13s U$ B1 3 $u$
A'/.7
> >

($: ;6'
.,
; .-==---.
Yj 6 -------J ~ ~ v6 _
f ;~ ~.
!
BeatS: 3 a
,
, 'I'

& /,.:i r.non is me opposite of the above , it is the in crease of the note values of a ph rase by a
dynamic amount. Its effect is that of relaxation and rc?Osc.

• 17 •
CH APTE~ I: MEL.OOY

Exampl e 1.10: " Ke pler' s Dream" by Ron Miller

.' • 180

G/ F:
--
FIG
- ,- EiG
- ,-
- .'
,
=-lB. • '>
"'- !t ! 7• ,! • ,t ' , ! • • ;·378
- !-
&tats; 3 7 3

-6•• ;..
EI./F D/F A~!ep G~/A;

,
-~
'F -- 't § '
~ = i3? ' ~
~

9 0 ... 5. A
3 3 7 3 3 , 2

A,"/ G

.. ( ~ J O '_ o- o · 11 0 · 0 -
ii
1:! _

Articulation s have me efferr of ch an gin g n ote val ues although the note's placeme nt in the
mel odic rhyth m does nor ch ange. For in stance. t he alteration of it. grou p of legato marke d
notes [0 sraccaro has an effecr similar (0 d im inution .
Exampl es and defini tions of arric ul ano ns are included in the appendix for furthe r review.

O.BALANCE
Balan ce in a m elod y refers ro rhe a esthetic requiremen t that a change rak e p lace wh ether in
direction, inrervalic quality, m elodic rhythm or an}" of the elem ents of a m elody that have
been im plem ented for a lenp: h of rime .
There are a nu mber of ru les given in trad itional text books for bal ancing a melody - an
example is that one sh ou ld change d irection afrer three consccunve skips. The problem wi th
ru les is that they aren 't always a pp licable to a spe cific aest het ic requirem ent. It is bcn cr to
look at m elodies rhar stand the test of ti me and sec how the com po ser so lved any musical
problems thar may haw occu rr ed in that particu lar example.
Essentially, balance can be- thought of as a m ean s of working with tension and release. As
s ta ted ab ove. m ost of the melodic devices are em otion affecting an d there is a poin t where a
mel od y as motif. phrase or section m u st change' its direction, irs rhythm, irs m odality or an y
of th e rem aining d em ents that have been in use for a tim e in or der to al low a cathartic
response fro m the listener. Libran in co ncept, balance exem pli fies co m plim entary proce -
d ures - the Yir. an d Yallg of melody writing.
The best way to create a balan ced m elody is by relri ng u pon o nes intuit ive ski lls when
making the de cisions that de termine the aesth etic result. Also , ho w a m elody is balanced. at
th e bas ic mo tific level. ro th e overal l fo rm , is the m ost im pon am conce p t to con sider and
unders tand when anal~'Zing a given melod y.
Sutemrnt and "JP QnJl.' is an example of th e use of balance wirh the r~ponse be ing the release
of the sta teme nt. T he sam e can be said o f antecede nt and consequential p hrasing The con-
cept o f balan ce is essential to all th e aesthetic aspects of co mposition: harmonic rh vr hm .
modal co ntour, rh~w mic develop m en t and of course. melodic m arerrals.
The levels of m elodic ba lan ce ar e from th e smallest, the motif, to the total form. It is with
m elodic rh j-rhm mar well thoug ht-our balance is m ost critical As we will set' in subsequent
examples, if a motifbegins with fas t melodic rh~'thm. it should be bala nced wirh a conrrasr-
ing:slow respo nse to irs cadence poin t - ph rases should be rrea red the same w ay.

• 16 •
 THE EL.EMENTS OF .l. M£ L.OD Y

E. POINT OF CLIMAX
T here is a po int in m e melodic conto u r whe re the emo tion al intensity is at its peak , usually
about 4/ 5 through th e com position. There are m ath ematical formulae to plot where rhis
poin t sh ould be bu t it is recom mended th at the composer determ in e the po int of climax by
relying on list enin g experi en ce and in tu itive skills. The point of climax and irs subsequent
releas e could be con side red t he gra nd stateme nt an d response of the compositi on and the
ultimate balancing of the composition al fo rm. Poi nt of climax will be discussed more in th e
analysis of mel odi es ro co me later in the chapte r.

F. MELODIC FORH

1. STATEMEf\.'T AND RESPONSE

Alon g wit h the ph rase qual ity ofa jazz melod y. the most import ant aspect is irs use of stare-
menr an d response. wich evoluuonary ties to African folk m usic, p hrasi nf a mel ody by a call
an d response fo rmula, whether in a jazz co m pos iti on or an improvisati on, indicates a clear
sense of melodic development wh ile maintaining a placem en t of the melody at a po int
cowards folk area. of m e folk/ art spectru m. Additionally, it provid es an effective means of
balancing a motif
o f course, th is tech nique is not important onl" for jazz com posi tions: its use will show clear
development in any melody wh ether pure folk or pu re art in its description. Srarem enr an d
respo nst' will be fu rther d efin ed by its extensive usc in the man y examples rhar will follow in
all cha pters of th e book.

2. PHRASE Q UAlITY
Th e main interest in the p h rase qualities of the m elodies in this book will in clud e t he
descri ptions of their symmet'0~ whet her th e compositi on o r a section o f it shows a phrase
or ganization that is sym merric or asym metric; and if there is ph rase balance by the use of
an teceden t/consequential organiza tion. Usual ly there is a correlatio n between a co m posi-
tion 's h armo nic seyle, its h armo nic rhyt h m an d its melodic phrasin g. Song form and puteat,
madtt/ compositions tend to have sym met ric ph rasing, with I:et"tlC41 modal, lmear mod.:Jl and
timmgNompored fonns havin g asym metric phras ing (sec Vol. 1, Ch apter I).
Cert ainly one may find excep tio ns to thi s. and the m ixing and contrasting of mel odic an d
h arm onic styles may be a method of creating un iqueness in a co m po sition. Overall, a
melod y's phrase quality will be relative to its po sit ion in rhe folk /ere specrrum with the h ar-
monic con renr having a quali ty of its own.
Mos t of th e melod ies th at will be analyzed in this book will sh ow a sym me try of ph ras ing
because of the ki nds o f composi tions and their har mo nic materials that arc [he emphas is of
th is volume. More will be said regarding symmetric ph rasing at that time.
Melodies wirh asymmetric ph rasing usually do no t sho w a usc of an recedenr /c c nscquen riul
organ ization and in general are vocal, melismanc , an d h ave a throug h composed quality -
all descripti ons of a linear melodic style.

G. MELODIC RH YTHH

1. T EM PO
Melod ic tem po refers to how fast or slow the pi tches o f a melody ch ange relative to the har-
monic rhythm. Melodi c tem po is on e of t he style defining eleme nts wh ether historic o r h ar-
monic. As an example, many blu egrass, country and Irish folk melodies have extended 8th
n ot e phrases over relati vely slow harmo nic rhyth m or a single ch ord (h o rn pipe). dem on-
srraring their common ties,
As with previous descripti ons. there can be a diversity of melodic te mpi within a composit-
io n wirh perhaps a fast moving me lody for the A sections and co ntrasting slow melodic
rhythm In th e B section. It all comes down to the importance of the co ncept of balance,
varien-, and COntour in a.ll as pectS of rhe compositional process, Due to its m usical im po r-
tan ce. bal an ce will be referred [Q repeatedly in this text.

• 19 •
CHAPT€ R I: HE L.O OY

2. CADENCE

Melodi c cadence is defined as the point wh ere me melod ic movement comes rc a srop,
either hr sustaining the lase note or b~' sim ply endinf th e motif or phrase and filling th e rest
of the section with a rest. \'rorkin~ in acco rdance with melodi c and harmonic tension and
release. melodic cadence is the puncruan on po int of motifi r and phrase organizatio n.
Th e ch osen pit ch for the cade nce poinr can affect m e overall style o f th e ph rase o r section
as well as the modal d efinition an d resolu tion qu ality. Th e fcllowiog order of cadence note
choic es is from the most relaxed 10 mosr tense. O rders of modal definicion can b e fou nd o n
va rious pages o f Volu me 1.

O RDER O F CA DENTIAL NOT E CHOICES

Relaxed RoO[
I P5 (perfect fifth )
M3 (major thi rd)
~3 (min or third]
M6 (major sixth)
~ 6 (;5 ) mi nor sixth, sharp fifth)
M2 (major secon d)
m2 (mi nor secon d)
M7 (m ajor seven rh )
~ 7 (min or se\'t'm h)
P4 (perfect fou n h)
Ten se ~4 (~ 5 )

A~ an example, if rhc modal ity of th e phrase were Ion ian, rh c most relaxed note choices
would in clude the root. 5th and 3rd wit h the M7 or P4 having the mosr modal defin inon.
Were the phrase in th e Phrygian mode, ~ 2 would have the most modal definition with the
root or the fifth being th e mos t cad enrial. There is much ro consider when selecting a
cadence note pitch an d th e besr guide is probably to ler th e melodic voice-leadin g rake p rece-
dence in no te selection.

3. CADENCE N OTE DURATlON

A cadence note's duration can be used in a way th at complimen ts th e mod ality of the har-
mon ic foundation of a section. For ins tance. the com po sition s "Maiden Voyager (Herbie
Hancock), "Follow Your Heart" (Toh n Mclaugh lin) and "JC on the Land " (Ro n Miller) are
compo sitions based largel y on Mixolydian susa chords. Listening to rhcse will reveal chat
th eir melodi es are balan ced with active, terse melod ic stateme nts followed by su stai ned
caden rial notes - melodic devices tha t comp liment th e qua lities of the Mixolydian mode.
In addit ion to usi ng long-held cad ence no tes to complime nt a mod ality, chey work well as
common-to ne pivot poin ts that connect a group of chords and focus th e list ener's atten tio n
to the harmo nic movemen t of the composit ion.

As a form of melodic and harmonic balance, long held cadence point pitches art particular-
lyaffeceive. Usua lly, th ere is active melodic material wh ich sets u p a degree of tension which
is effecnvelv released by the held cadence pitch. \1:'ayne Shorte r is a mas ter of th is concept
and U-'iCS it quire often in a variety o f h is compositi ons from th e earliest to h is most recent-
O ne recordin g th at has man ,. clear exam ples is Speak .""0Eoil:

• 2D •
 THE EL.EH £NTS OF A. HEL.O DY

Examp lel .1 1a: "Speak No Evil" [ ms. 9· 13) by Wayne Shaner

/wid c.uknct ~

,-, C9su§ 0-11 e p9s u§ A7~5

11

-
=<:
J: ~:
, ;0

- '0
II I u

Example1.11 b: "JC on the land " by Ron Miller

Aj,9; 11 A~!.u $ e it9l us B9sus

'p .
" "- ~ • B~ :
,,,-
j' r" "u
..
=6" (: ;; "

•f' v_·
Pi' < ~' I
I)

4 . SYNCOPATION
Mel odies th at caden ce often o n weak (up) bears are aggr essive and active. and if the motifs
ar c co nstructed so char most of th eir pitches fall on weak bears, the effecr is enh anced .
Syn copation is the term to describe that quality. Melodies that cadence o n or ha ve mo tific
constructions rhar start on str ong (do 'I1) bears, conversely are relaxed and pas sive. \\:'·irh
that in m ind, th ere is m ore to consider he n working on the emotional go als of a melo dy.
In ad dition, th e u se or non-use of synco patio n is another Jtyle descripti on.

5. RIFFS AND " LIC KS "

A riff is a sho rr melodic idea tha t h as rh ythmic id en tity. Usually based on a tritoni c or terr a-
to n ic source. it is repeated a number of tim es emp hasizing: irs rh ythmic q ual ity. Riffs ar e a
good example of an African fo lk in fluence in jazz melody writing.
L eks ar c similar to riffs but wit h more em p has is o n the techni qu e or performance requ ire-
men ts of th e melo di c figu re. Licks are also style defini tive and often are qu otes, taken fr om
documented or recorded im provisations.

H . PERFORM ANCE DIRECTI ONS

O ne of th e more overlooked melodic descriptions is the inclusion of per formance d irections
in the form of exp ression markings: arciculario ns, dynamics. effects and b reath ing cues. It is
these interp retive directions that give a melody a dyn am ic q uali ty.
Fo rrunately. th e language of jazz interp retation is learned largely au rall y and in most cases
a jazz melod y wi ll be performed as in tended by the co mposer without perfo rmance direc-
tions - provided that the perfo rmer "grew u p" with chat particular style. To assure that m ere
arc no interpretive problems. it is suggested that the compose r in clud e comp lete expressive
dir ectio ns with all h is melodies
A listi ng of expressive di rectives includes:
• Articulations
• Dynamics
• Effects
• Sound suppon ph rasin g
• Tcmpo markings

Definitions and examples of the above terms are included on page 113 in the appendix for
review and clari fication.

• 21 •
 CH ~PTER I : MELOOY

r I. TESSITURAIKEY
One last subject [Q be men tio ned before going on [Q style and melodic an alysis is m e qual-
I·
,, ity a melody has d ue teo its ressirura an d its key center. Due to th e laws o f acou stics, melo-
dies whose general range fall low in chc grand staff tend to sound "darker," "heavi er," an d
mate am biguo us th an those found in a median or high area. The op posite, most' melodies
wi rh tessirurae fo und high in the g:-anc staff rend to so und "brigh t," dear and min. In addi-
tion. there arc those who believe that melodies m at are cen tered in the "sharp" keys sou nd
brigh ter than chose found in th e "flar" keys. Th is is a good subject to discuss over a few beers
as it is subjective and prob ably has no docume nt ed pro of of its realrrv.One can possibly find
some examples that may work on stri nged insrrum enrs whose str ings arc tuned to "sharp"
pitches (E, A, D, G) as th e open stri ngs will respond to "sharp" keyed pitch es by resonan ce
(sympathetic vibratio ns). Th e sharp/flat key controversy will be fou nd again in Chapt er II.

• 22 •
 STYLE

Tnt' styles of jazz melod ies can be categori zed into two main groups:

ROMANTIC
Jazz ballads, bossa novas , bo leros and so me medium an d fast tempo songs have melodies
that are consrrucred followi ng the develop men tal proced ures that have come from rhe melo-
dic sryle o f T ch aikcvs ky and Rach maninoff b)' way of m e popula r music composers of th e
205 to the 50s. In clu ded are t he efforts of expert film com posers from rhc earliest rc con-
tem porar)' rimes. Wit h th is in mi nd . it is vel'}' imporran r that the jazz co m po~r as well as
those aspi ring to com pose for the pop ular market: CDs, radio , televi sion an d film s, be ab le
ro com pose a roman tic melody.

IDIOMATI C

Th ese jazz melodies ar t' constructed £0 conform ro particular q ualities that are defined try. an
historic era: bebop, swing. Dixielan d, hardbo p; a folk/ echnic referen ce: blues, Caribbean.
pentatonic, pop; or br the performance peculiarities of an instrument o r voice. Melodies can
also be described ~. an y noteworthy use of ehe eleme nts: angular. lyri cal, programmatic.
sym metric, terrachordic, or anr of th e others.

THE GENERAL MELOD IC STYlE CATEGO RIES

Rcmaruic/ Ideel: these melod ies/ com positions are based on th e Ro man tic per iod philo soph -
ically, melodically and to so me degree. har monically.
Romantic/ Melodic: th ese me lod ies show cons ist encies with romantic melod y writin g proce·
du res bur d iffer in philosop hy, ha rmonic materials and emoti on al goals.
Idioma tic/ Referential: modeled on me melodic descriptions of a style era, folk reference o r
ins trument / voice performan ce characrerisrics.
Id io matic/ Abstract these melodi es are con stru cted to have a quahry described as jagged.
smooth. conson an c, ch romatic an d similar depictions.
Idiomatic/ Programmatic: the construction of a me lod y to define an emoti onal, modal or
program matic goal: pas toral. energe tic, dark, mysteriou s and so fo rt h.
In the main.jazz melod ies ate either romanti c or non-roman ti c. The non-ro man tic melodies
are so diverse - having so manr variab les in their description s - th at a comprehensive repre-
sentation of how the elemen ts of melody ....Tiring were to be applied for each wou ld be
beyond th e scope of th is book. In add ition, there are many melodies that h ave mixed influ -
ences: fol k/modal, ri ff/ pen ta tonic, an d man r more.
Another poin t to consider is rha r many com posi tio ns have differen t styles of melodies in
different sections . Some exampl es arc :

SO NG SECfION STYlE - Coneasred an d Co mbined Melod ic Styles

Exam ple 1.12a : "Th e Girl from lpanem a" (excerpts from A and B s.ecrio ns) by Anton io Carlos Jo bim

IA1
~
_ "i« {o/i< IB I rom"m:lCf!vric:al
F6 9 B~7 : 4 A-' D-' G ,;169 511

. ,
:& r:
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•
B • £ "f •\ ,
• • • I

•
n

• i
!
l
II "~
"

• 23 •
CH APT£ l:< l: H £ L.O OY

Exa mp le 1.1 2b: " Passio n Dance" (excerp ts from A and B sections) by McCo y T yner

--Fs- --
4ng/iZar ' rlrycbm,r
Fsu s
,~
1038 .......... • ~ ;.
........
e

• • ~.
il .
.. >

,•I
•

4;
• iJ i. ,
•
I.,•
~
t, i.

Example 1.12c "Hoe Down " [excerp ts from A and B sect ion s) by O liver Nelso n

C ......lIjor

:@: •
e.
=
• •

• • • • •
a
: • •

. ~.
-
~ r : F• •
-- -
Add to th at the fact th at ma n~' jazz melod ies have ronrrasri ng har monic styles and fonn, it
shou ld beco me clear why the study of melody wri ting is a.\ difficult as it seems an d req uires
many years of study. listen ing and playing exp erience. Ir is th e diversity and overwhelmingly
comprehensive variety of melodi c com bin ations chat makes ch c task seem form idable.
The app roa ch to be tak en fo r rhe remaind er of the cha pter is ch at of form ing a me thod or a
guide to follow that will esta blish a means for resea rch an d analysis of exist ing melod ies t hat
ca n serve as mo dels fo r one's own mel odic goa ls. along with the actu al an alysis of existing
melodi es. Additio nal melod ic anal ysis will be found in each su bsequ ent chapter ofrhis book
along with h arm onic and form al analysis. Th e covert p rem ise for all of Volume 2 of t his
boo k is in fact melody writi ng .

ME L.ODIC STY L.E A.NAL.YS IS

Having established a srvlisric goa l fo r a melody writi ng project. rhe composer may want to
gat her some insights into the m ea n s of organizing the clem ents o f a melody to define that
style. Using the analysis guid e fo un d on pag e 40 of rhis book. follow these recommended
procedures:
• Transcribe or refer to documen ted examples re presen ti n~ the stylistic goal.
• Lisren to or play rh e exam ple making note o f the emotional quality of rhe mel od~' by
secti ons. Plot where you rh in k th e mel ody of each section falls on th e folk -arr spectrum.
• Usin~ th e analys is guide. .m al~'Zt a:: leas e two exam ples.
• List an y consistencies between rh c examples.
• Listen a~ai n and assimilare the melodi es and th eir srylisoc qualities.

.Alrhough th e main point of in reresr in this chap ter is melody writing. to understand a style
defi nicion. all the elem en ts of a composition m ust be looked at sim ulraneouslv
Analysis: hardbop style. including melody, harmony, rhyth m and form .
• ? lo •
 STYl.E

Typical Songs:
"O n the Ginza'' bv
, Wa.vne
, Sherrer an d "Nin eteen Bar s" bv, Horace Silver
Born com posi tio ns show use of the followi ng:

A. FOLK REFEREN CES

l . African
(a) srar ernenr an d response
(b) bl ues riffs and pen ta ton ic scales
(c) aggressive Afro/ Larin rhyth m ic concepts
(d) riff motifs and figures
2. Western European Reference
(a.) modah ry (melodi c and harmoni c)
(b) di atonic harmo ny
(cl divers ity an d conrrasr of harmon ic rhyth m
(e) dram a - extremes of tessiru ra an d dynamics

B, HI STORIC REFEREN CE

1. Bebop roots
(a) swing rhythmic co nception
(b) "fron t line" hom sound
(c) some melodi c style refer en ce
2_ Big ban d
(al form and development
(b) pred ominant "b rass" soun d
(e) arrange mems: backgrounds, "sh outs," tutti sections

C O NCL U S IO NS

Intri nsically bebop in referen ce, hardbop d iffers by th e co nscious stri ving fo r hi gh drama
and excitement by extre me con rrascs of dyn amics. harmonic rhyth m an d rh yrh rnic styles
withi n the compositi on : sh ifts fro m swi ng to Afro/ Latin to sh uffl e and hack. Addirionall j-,
There is extensive use of riffs, "kicks," breaks, and rhyth m ic mo tifs an d figu res played tu tti.
Hard bop sh ows evolutionary significan ce by the exten sive use of mo dalirv an d conrras rs of
harmonic rhyth m.
(See "Repos e/Transincn" in Vol. 1 an d last question on p. 14.)
Like bebo p, hardbop shows a de parture fro m jaz z performance as dance music or as a m u sic
whose purpose is [Q "serve" th e custo mer. Hardb op is jaz z with as pirations to ward "art. " It
is still en tertainin g, but u nd er the co m pose r/ per fo rm er's Set o f rul es rather than th e
cus tomer's .
O f particular interest is ha rdbo p's use of rhyt hm ic an d melodic materials and approache s
ass ociated with the folk ar ea of the art/ folk spectru m wh ile referri ng to European art m us ic
with its harmonic materials.
For th e remai nder of th e chapter, we will look ar a n umber o f m elodies in t heir enri rcry.
Srarrin g off wirh th ree exam ples of idiomaric (non-roman tic) melodi es of varyin g d egrees o f
diversity; and because of thei r im porta nce, the p rocedu res fo r wri ti ng ro mantic melodies will
be- em phas ized for th e la ter pan o f the ch ap ter with more spe cific non-ro mantic styles cover-
ed in later chapters.

• 25 •
C H ~PTER I : HE ~O OY

NON-ROMANTIC MELODY EXAMPLES

Of the following examples, as with prC\'lous excerp ts. o n l~' the most salient po in ts will be
liste d. Ir is su ggested that t he srudcnr . using th e analysis guid e fou nd on pag e 40 do a sub -
sequent comprehensive anal ysis as tim e al lows.

a . ID IO MaTIC a NG UL.a.R
Example 1. 13a.: " O ne Up and Down" (ms. 1-2 ) by Eric Dolpny, from Out ttl Lunch, Blue NoO' 84163

- , --------
•I • 92 --,---,, ,
,-----_ s_
e-
• ~ .. , . ~ R-----,
• ~~ A ,
; ; l' -
•
.... \ jl ~
•-====-'"
! fE :
•
•

This melody is clcarb- angular and n on-romantic. Ir stares off with a blues bas ed motif
defi ned ~. m e downward sk ip fro m the ~3 to the P5. balanced ~. an upward b tp of a rrir o-
ne to the ~ 2 of the key . The accen t on the seco nd bea r (the barkbe ar) additionally is blues
orie nted.
Exa mpl e l. 13 a: " O ne Up and Down" [ ms. 3-5) by Eric Dolpny, fro m Out ttl LMndi, Blue Note 84163

.. ., I6
'-.j.

Th e next th ree meas u res, inr ervalically an gu lar and rhyt hmically qui rky, ser the general tone
of the melodv Very chromatic, tense inrervalic skips and disjo inted mel odic rhythm suggest
rha r Eric was in fluenced by a 12-rone tech n ique sh aped by a blues scale when organ izing this
melody.
The last measure, very tense by intcrvalic skips and cad cnrial note choices is fin ally balanced
our by the final cadenrial resol ution to th e to n ic; the last three pi tches bei ng an arpeggia.tion
of a G 7 ~4 chord . .

B . IDI OMATIC REFERENTIA L.

Example 1.14a : "Ca ribbean Fire Da nce" (ms. 1-4 ) byj c e Hend erson

r - - - 5 -----, R -----,
.;
5 R-

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"

-
~
, '

: kp
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~,
• I• • ~ ;;s • • • ,' • ?J
i '

- -
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.......... , ' .- -.: !

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,- I ............
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I

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-=- .. . ,
[;1 . _ -5"
I I

Th e firs r four measures provide a great example of the prirmnve qualities a mciodv can have
when based on a rrironir so urce . Having on1r th ree pitches. the melody m ust be d eveloped
rhythmically - as this on e does. There is clear srarcmcnr and response . with much use srn- or
cop anon. Relative to the roots, the cadence pitches dcfi ne E~ Lyd ian modality.

• 2b •
 MON 'ROMANTI C MEL..ODY EX.lI.MPL.E S

Nerice rhc effect of metric co m pression by the eigh cll nore sh ift to the left of the response.
Of note also is th e inclusio n of the 0 non-harm onic re ne (nonmod al to E ~ Lyciian).J oe use s
th is tension inducing device often and it is foun d in most of his melod ies.
Example 1.14b: "Ca ribbean Fire Dance " (ms. 5-8 ) byJoe Henderson

~
A
.
•
-
, .

--
'

I ,,:

A
I
" •
I ~
. ~.
I
•
I

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-o •
I
•
I

,.I ,.I .'

I 'f •
I

Th e remai ning four meas ur es of th e first section balance ou t th e first fo ur as a cor,sequen-

rial phrase. Of note is the com pressio n of th e ph rase by the shifcing of the caden ce points in
the fonn of hemiol a. T he occurrence of the lase cad ence po in t on the fou rth beat of th e
seven th measure followed by silence (a bre ak) indu ces a great deal of tens io n which is reo
so lved by the pickup on beat fou r of th e last meas ur e of thi s section. Compare this with the
7th and 8th bars of "Speak No Evil" and many oth er melodies by ~'ayne Shorter.
Exam ple 1.14 c: "Caribbean Fire Dance '" [ ms. 9-12 ) byJoe Hend erson

,- - - 5, , r - - R2----,

--
, I- - - R' -----, 5, ----,
A > A
- . .
~

,
.. •
- , ,
.
.
I" ,
, ,
-=
I I, I G· ' F6' E7 ale Eio 6
9 D~~ ; 4 Ep6 9 E7 a1 t ,.'
, ~ , ~
I
, .,
l) "i
•
I, I ,\ I I
"
I I
,.
.,

<:»: P. ~6 ,,, ,. ' ~ . ,--,.g

,

Most significan t in th e 'e-bar b ridge is the usc ofa sing le pitch as a melodic so u rce develo ped
rhythmically for the firs t th ree meas ures. The' balancing: of the sectio n wirh a compressed
Ph rygian rerrachord in the last measu re is particularly effective.T he sraremcnr/ rcspcnse
organ izat ion of this secoon is sim ilar to m an)' bl ues runes with a stat emen t, a respon se, a
repeat of the first sta temen t and chen a n ew second resp onse. (5 1. Rl , 5 1, R1)
Th e co mbi nati on of the sim plicity of trironic and single-no te melo dic sou rce as well as the
implied pen tato n ic qual ity of rrire nics org anized rhythm ically prod uces a dance-like quali-
C). that defines th is melod y as idi omati c folk.

C. ID lOH~TIC PROGRAMHATIC
The program matic in tent of the next melody (Examp le 1.15) is [('I crea re a relaxed pas to ral
setting. In fluenced by Austrian folk music, this Ionian lin ear modal co mpos lt1on accom -
plishes its goal by:
• The overall me lody except ing one pitch is based on E Io nian .
Most motifs an d phrases Start and caden ce on pitc h es that either clearly d efine Io nian
or are cad enrially com plete d ue to their con so nance (sec p. 20).
Relaxed melodic rhyt hm and relaxed linear modal ha rmon ic rhyt hm. (see p. l3. Vol. I )
Use of st atement and fesponse along with asym met ric, -nelisma nc ph rasing.
, Th e melody h as a relaxed med ian eessicura.
• Balan ced co ntrasts in direction.

• 27 •
 CH :l.PTER I : MEL.OD Y

• A clear final cadence includes: down ward d irecti on, expans ion of in tervals by skips. starr -
in!= on the E. a m3 do wn to O . a M3 down to A. a 1'4 clown to E, an d finally, a PS down
to the caden ce pitch of B, Nonce rhar an A m ad is ou tlined for further consonance.
,.
Exa mple 1.15 ; " In a Silent W ay" byJosefZawin ul

•
, 2 .. • • '"
~

E9 sus E Ionian

•
~
;:; . ,. R
r;

Exa mp le 1 .16 ; "Ame rica n Hope" by Ron Miller

Vamp
I
• K 160 2nd" EI.6 9
15< 1< F13 sus >

t±k3. • • •!
L , ;;
.I

'.
\
• ,, ' -

(Vamp) F13s us

" e'" -. I ,
\

F13s us
, > >

#,; i/ IIo I
, .,
t·
- •
r.......!:4 ' ]' 0- if I I ' :::::: ,
if'zp -=:::::
C-l1

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• • • •
>
s,
~'-' (]
I
>

J
( - 11 D ~9su s E"9sus 69s",s

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.- : - --,:
...
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e "
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c ''''
...1

- B13s us
F- 9/ ( B ~ 13 5 U S
>
•,
- c: •
• • _ _ 0 .....

• 28 •
 NO N-R O MA NT IC ME LODY EXAMPLES

O"13sus

=
,,=~', _ 0 __ =,t I
if'
B~1 3su s A13sus B13sus A~9su s

ifzp • •
F13sus

_0- I
:. . .
.'
./
,,
7/1 _ 0 __ ....u _ _u _ _ 0

c-s
,
- > >

.S J ?- :11
p
;. ~ ['
i' F
Th is com positi on, like the previo us one, is p rog ram matic and influ en ced by [h e qu alities o f
folk m usic, In this case, th e in flu ence is Ame rican folk/pop as the following po in ts will
attem pt to reveal. In additio n, the com positio n is an another examp le of Ion ian linear
modal . provid ing a point of comparis on.
Co mments an d salien t po in ts inclu de:
• A non-harm onic picku p (0) to bar ] is fo un d also in bar 9. Co mpare it to the u se ofNH
ro ues by Joe Henderson (ex. 1.14) and T chai kovsky (Ex. l.20). In ad dition, th e moti f is a
quote, ta ken from Gersh win 's "Prelude No, 1."
• A G m in or ch or dal ou tlined openin g statement is balanced by a response whi ch ca-
dences on a conso nant held p itch . Com par e this with the cad ence po in ts in the previous
exam ple MIn A Silen t Way."
Fou nd in bars 9-16 is a met ric shift to the right and a compression of t he o pen ing sta te-
ment, wirh new material in its respon se (S I- R l, SI ·R2 j.
• Th e m otif in bar 13 is an extant folk/ pop cliche .
Parr II of the melody (bars 16-19) is b ased on a C m inor pe ntato n ic so ur ce, further
defin ing the com pos ition's fol k qualities.
Bars 17 and 18 include a triton ic statem en t which is respo nded by a triro nic folk/ por
cliche in a co n rrasrin g directi on. .
• Th ere is increased rhyth m ic activity an d rypical penraronic melod y treat ment in bars 20-
22.
• More folk/ pop extant ma terial in bars 25·27.
• Examp les of hcld caden ce pitch es over Mixolydian sus-s chords arc fo und in ba rs 29-3 1,
3J.-35 . 37-39, an d 43-45.
• The goal of the heigh tened rhyt hm ic activi ty along wirh the chromaticism of bars 4 1
and 42 is to significanelv increase the me lody's tension to emph asize a clear and final
caden ce pi tc h.
Th e usc o f a con son an t (5th of the hom e key) ca dence p itch (bars 47-50), further define s the
cadence's final ity and is deflni nve of Ionian Linea r Mo dal mel odies. No n ce that excep tin g
fo r the afo rementioned NH cones an d the shorr bit oi chromatic material foun d in bars 4 1
and 42, the melodic source of ehe mel od v is generally diatonic to Elo loman. Th e melody per-
formed monophon ically sho uld d efine E~ Ionian and be relaxed and peac eful , as Ionian is
intended.
O the r points of importance would in clude the melody's ressiru ra, morific developme nt.
melodic form. general mel odic rhyt hm. an d specific melod ic rhyth m j ust prior (('I cadence
points, Inveseigaee these po ints.

• ') 0 •
CHAPTER I: HELODY

ROMANTIC MELODIES

One usually associates ro m ant icism in m usic wit h the general era known as the Rom antic
Perio d (ca.. 1800-J900) and its as..sc ciared composers_Alth ough t hat era an d it.s composers
epi to mize our perception of ro m anticism in m usic, ir shou ld be po inted out rhar roman -
ticism as des cribed in th is book refers to a srvie of rnelod v wrinnc that can be found in
the works of Bach. M ozart, Ellington , Jarret~ an d Short~r as w;1I as Tchai kovsky an d
Rachmaninoff. Fo rtunately, the qualit ies that define a ro m an tic m elodic sryle are casy to
im plement into a pedantic formul a.
In orde r to be t ter clarify the goals of a ro ma ntic m elod y writing pro ject, a brief descrip tion
of ro m an ticism is in ord er. Ro m anticism is not merely a musical style perio d bur is an
aesth etic "po in t of view;" a m easu re of rhc degree of exp ressiven ess fou nd in any of th e for ms
of human endeavor in d ud in g the arts as well as day-co-dar exist ence. As an expr ess ion,
Roman ticism is easily recog nized in the works of writers, visual art ist s, dramatists, philo so-
phe rs an d co m posers having that "p oint of view" or of being of rhc Rom an tic period. T o
fullr gr asp the gen eral defini tions of ro manticism , it is su gg est ed rha r th e stud ent. if nor
already havin g do ne so, study and experien ce th e works of the Ro manticists in all areas of
end eavor. Listed nor by tim e period but by similari ties in inten sities of exp ression, a partial
listi ng includes the write rs Poe, Twain, Hawt horne , Goethe. Shel ley, Melvi lle. Coleridge, and
Byro n and th e pai n ters Kokos ch ka, C.D . Friedrich , D erai n , Van Gog h , Dclacroix an d
Ma tisse. No t including dra m a an d dance, it is st ill qu ite an un dertak ing - but is a st rongly
recom m ended regimen of study fo r the aspi ring com pos er.
D escriptions of the works of th e roman ticists and rom anticism in gen eral incl ud e:
• /I. con trived intern of d rama (m elodrama )
• A degree of p rete ntio usn ess
• Exaggerated expressiveness
• Seriousn ess
• Overly emo ti onal/ sentim emal/ personal
• A strivin g, yearning qu ality
• Enr aptured. beautiful , program m atic
• A quest fo r th e ide al: th e infi ni te

Depending on the listen er's background and musical tastes, the tr aits of ro mantic m u sic
cou ld b e interp rete d as bea utifu l, lyrical, ideal and perfect or contra rily co uld be thought of
as simplist ic. pedestrian . overdon e, rrire or "co rny." Un fortunat ely, due to the can caruriza-
non of the dem en ts of roman tic m usi c in film SCClreS, ma ny agre e with the lat er descriptio ns.
The author h as h ad b oth p oints of view an d at the tim e of th is wtiting is convinced that
roman tic m elodies are the mo st beau ti ful an d most sorely needed in roday's m usic.
T he followin g is a listing obtained by a carefu l compariso n of a nu mber of ro ma ntic m elo-
dies fro m all eras as to lie..... the clem ents of a m elody are worked to crea te a me lody wh ose
m ain go als are to dram atize, to overly exp ress and to create a sense o f st ri\'i ng fo r the id eal.
Fou nd in ro m antic m elodies ar e the use of:
1. Many upward skips (som e downward) of a m ajor or m ino r sixth . These skips arc very
drama tic an d a rc trad it ionally kn own as the "h eroic leap" or the "romantic sixth." Keep
in m in d that they arc co ns onant intervals and singab le.
.., Other in rcrvalic ski ps both up or d own for vario us degrees o f ten sion and dramatic
effect-
3. Fin al cadence pi tches usu ally are cons ona n t. the-genera l mr crvalic quality is Ivrical.
4. Use of mel odic ch romaticism as a tensi on inducing device, or as n on-ha rmon ic to nes to
em phasi ze emotional expression or to enhance cadcnri al resolution (sec N o. 7).
5. Balan ced th ree p arr m otifs with srar emenrs hmi ng slow m elod ic rhy thm co ntr asted by
a respo ns e with fast m elodic rhyt h m which then becom es sIO\\· again at the cadence.
Also. there are manr examples of rru ncared versions of th e abo ve: fast sta tem ents fol-
lowed by a SI0 \ \ ·, or delayed cadence.
6. In gen era l, man ~· repeated notes.
7. In particular, ma n)· repea ted notes thar beco m e n on-harm on ic tones th at arc su stai ned
and th en resolved ar [he appro pr iate emo tional "m om ent," Their direction of resolutio n
is d epen dent on th e directio n al con rou r of the mel od y pr ior to the non- har m onic ton e
• 30 •
 R O MJl.NTl C HEL ODt£ S

Of on rhe cad enrial quality of the rone. Usu ally, bu t not always. n o n-h armo nic tones
found in cadcnr ial reso lution s go do wnward an d no n-h ar m o nic tones fo und in m onfic
s tatem ents go upward
S. Simple bina ry fo rm :
Pa rt 1 - a n exposition secti on sho win g p redo minant usc of simp le di a toni c mo tific
State ment a nd devel o pment with them es clearly presen ted.
Parr 2 - extensive us e of repeated phrase s o r seq u en ces u sually developing u pward to
arrai n a sense of lo nging fo r t he ideal. This is the most d ra matic, em otio nally fcrve nr
port ion of th e melod y; al l the expressive effec ts a re used to the m a xi m u m.

NOH' m a t romantic m elodies and co m po sitions can range fro m be ing ligh t and hap py in
to ne to dar k and melan ch olic. Ot her romantic de fmmg devices in clude the u se of 3/ 4 m ete r
a nd the often fo und 1>6 pitch a t key caden tial points.
The following examples a re sh ore excerp ts of m elodie s from diverse so u rces an d d ispa re eras
which still have m an y romantic m elod y writi ng concepts in com mo n. In add mon , most of
rh c exam ples have a number of rhe above lisred descriptions of roma nti c m elo dy wri rin g
tech niques im p lemented in tan dem .

E XA.MPLES O F TH E U SE OF ROMA.N T IC MELO D Y WRI TING

Note chat in the followin g excerp ts (excepting t he jazz tun es) and all remaini ng exa m ples in
this chapter, the original harmon ic material h as bee n changed by utilizing th e rch armo n-
iza rion tech niq u es tha t will be given in Chapter II. You may find that by doing so, many of
the works from th e clas sical repertoire can be pe rformed in a j azz/ po p setting.

Example 1 .17a: " Pra yer" by Kerch Ja rrett [ Intervalic Skips )

(romal1rn:! ldw.mltlc)
G- 9 C- 9 G- 9

ia i • •
I

• • • • F
Measure 3 has a n upw ard s kip of a m 6, in addition. th ere ar e t hree repeated notes. Noel' th e
balan ced melodic rh vrhm.

Example 1. 1 7b: "W here Do I Begin" by C. Sigman

(romiJnric/ itleiJI)
G- 9 D 7/F~

&(,
.,
&
. : •
r i
. I p: • i 3 o
• • • • • • • • •
This excerpt has both downward and upwa rd ski ps of a m 6 in me asu res I and 2, m a ny
repeat ed no tes an d an upwa rd leap of a M6 (romantic 6th) in measu re 3.

Exampl e 1 .17[; "America n Dirge" by Ro n Mille r

(romami(/idwmaric)
G- 9 A/ G F~ - 9
, D-9

.. ; • .....:.
~
6; ;3 .. •
•,
", .
See ~ Las t Illusion" a " d «Romeo &Juhet"

Measur e 1 has a do wnw ard m 6, m easure 1 a n upward M 6.

• 31 •
Ct U,P TER I: MEL.O OY

Example 1.1 7d : A Th eme from "Samso n a nd Delilah" by Ca mille Saint Saens

10••
G-'
. ' P. • ;
F:" F-1 1 E. A13 D-'
~ .
• •
G-'
•
("
$.•

fast
: 'F
51,,",
a
•
f,.
- =- .
( Chon! -rrmbOO art' JU!J.mions. net jim..... '" tm "'W'".1 ,o mpoJlrum -J

This exam ple has man~' ro man tic devices:

• An upward ski p of a m 7, in m eas ure 1 and 3, it is more tense than the ski ps in the p re-
vious examples.
• Use of ch ro m aticism in measu re 1 and 3.
• Repea ted notes that beco me a non-h armonic to ne whi ch resolves downward fo und both
in measu res 1 and 2. and 3 and 4.
• A slowin g d own o f the melodic rhythm at cadence poin rs.
• And lasrlv, although an incomplete exam ple, it scares to sh ow th e typ ical develop ment
of pan:: rwo of th e m elodic form in which multiple rcperirions of p hrases or mo tifs in an
upward tr en d created a sense of yearni ng fo r the infini te.

Exa mple 1.18a : A Theme from "Samso n and Delilah" by Cami lle Saim-Saees (Melod ic Chromaticism)

F.' A- ' Dialt G. Op13sus C 9S U5 6- 11 E7

#: • ~ : • &• '. .. • ;. •
.,
>2

As introduced in example L l i d o f t he pr evious exam ples. the us e o f ch romati cism in meas-

ures 1-3 creates an em otionalism de sir ed in ro man tic melodie s.

Example 1.18b : " Prelude to a Kiss" by Duke Ellington

D13sus Dialt cr-

., Gi alt c-v- C7 \.9 A/ F B7ah e ~7 al !
..
A7 · ;:' A~7 ;4

! , i
'-, I
• • • .1
• • • ;;
From a co ntrasring source. ag ain chromaticism for em otio nal effect:

Exa mple 1.19a: " M ay Breezes" by Felix Mende lssohn-Bartholdy fro m "Songs wirhoc r W ord s"

(b.::anced ", dod/{" ~'finr.)

•
D7/ F;

•
.. •\ - • •
G

i
fast ~

As labeled in the excerpt. it has a symmetric bal ance o f contrasti ng melodic rhyt hms. The
fast rhvthm prio r to the cadence em p has izes the caden cal effect- There 15 in additio n. an
example of a repeated tone becoming a no n-harmoni c ton e that in th is case resolves up to
ehe cadence pitch.

• '\7' •
 R OMANTIC H€ LO OI ES

Example 1.19b: " Ana Mari a" by W ayne Sho rter

G, C-9!G FIG C - 9! G
, ,
,-
:6 I'
e
I
'---, ~
r • i.
, • JH it .e
" .~ f~,
'--- , ~
.ow (delll"'lid "adern::e)

From a contrasting source. balanced melodic rhyth m ....-rrh the- cad ence resolving dow n .....ard.

Example 1.19c: Adag io in B mi nor by Wo lfgang Amadeus Mozart

F; - B7

~,

'- - fast
- L - - fast

Illustrating the diversity of romantic melody sources an d rhar ther art' not tied to a specific
time peri od, this excerp t is clearly romanric as is th e whole piece. Co mpare it direcdv [0 the
Mendelssohn an d Sain t Saens melodies then cons ult a music h isto ry text for the working
time periods of these composers. In addition to ba lan ced and coneraseing m elodic rhythm ,
there Me repeated notes m at become non' harmo n ic ron es w hich resolve do wnward - own
roman tic melody ....'firing tech niq ues.

Example 1. 19d: The me fro m Sympho ny No .6 by Peter L Tchaikovsky

'0 E7; 9 F7/ A A-7 Ao o ts,c, (-, .- 9 '-9 D- qo

il
"
(,
F F ~
- F ~:i4i
I I
• • ,; ; •
!i
I
:
I
• •
,
ill
'---- fast ---' '---- "OW - '----

(Chord S)'mhQl.<",y Juggm ums, " 01 fmmd,in rht: anginal composmQM')

fil.~t ---' l-- stc....· ---'

Th e th eme from T chaikovsky's Symphony No. 6 ("Pathctiquc") is ano th er exampl e ....·hich

demonstrates m e use of a n umber of the previouslvlisrcd roman tic melod y con cepts.

• 33 •
CHJlPT£ R I: HELODY

THE PROTOTYPICAL ROMANTICIIDEAL MELODY

Th e fo llowin g m elody is a pe rfect example ro be referr ed ro fo r a romplcre unde rstanding of

the con cep t5 of roma ntic melody writin g_ Ir has rnos r of th e previously given rcchniq u cs
u sed in th e dearest ways; it is a m clod v that has become th e "classic' referen ce' and m usical
accompan im ent ro any rom antic im age wh eth er presented seriously or as a joke. In spite of
its caricaru rizauon o f all that is wro n g wit h the con.::ep t of rom anticism , it is non ethel ess
on e of th e mo st bea u tiful melodies ever- written. The melod y. of course, is:

Exa mple 1.2 0: Th e Ma in Th eme from "Ro meo an d Juliet " by Peter I. Tc haikovs ky

(Chur-d rymbols d r f suggesti"m, nOI found j~ me ongmal c;omposlIIo n.)

F C7 F, ( - 11 B. E 7~ 9 A9 A13sus D 9 sus D7~ 9

t++
oJ
;f
1
1'/

I
i • • •i , ,J
• • • i • • • !
ti'5
1'/
i
•
I
•
I :;: .
See ULa 't II lu,;on"

'0

,.
Go C7 p ~ F ,
D ,IF" Ept G D/ F;

k OJ
• ...
,
I po-...-O :
...
-'
~ . ...
-'
•
;; ... • J , ;; •-'
A Aeolian A- 9 F7/A A-

t• , ... !J
G- Ev7/G ( - 9 80 E7 B- 11 E13
,
• I
• J :. • • •
i i
: ,
5" ,..,
, •
)
r- • •
: I' / "
..i
'0
B~/ D OJ,13 sus c s, », C13 e 7P , F (9 sus

5' J • • • r
~
i
,
• •
I
• ; .2
i

r i ~.
i:
,

'r 0

I
! i 2 •I •

F6 ( -11 B. E7 B ~7 ~ 4 Ai A13su s D9 sus D 7 ~9 Go Ov 9 C7

,
1;; •
~ F !g
,j
~;.
,
•
0 J ! •I I !
• • ~;
... iJC' _
•

t• , " . Ii

T he mel od ic form is m odified bin ary (two pa rr with a rcpc n con): an exp ositi on. th e dra-
m atic "yearni ng for the in fin ite" secon d part and a repetition of ch c first part .
Salient poin ts an d ro mantic devices include:
1. The m elody sta rts off wi th a non-harmon ic ron e whic h resolves up ward. Found III ms .
22 is the co nverse, a non-har mo ni c repeated ton e which th is time reso lves downwar d.
2. Clea r starem cn r (m s. l) and response (ms.2 ) wi rh th e o pen ing stateme nt having slow
m elodic rhyth m an d the respons e being fas rcr, p roviding ba lan ce.
3. The cadcn rial no te (F) o f measure three is con sonant an d final as arc most of the signi-
ficanr cad ence points.

• 34 •
 ROH~t-lTI C HEI...ODIES

4, Inrervalic skip s:
(a) /1.16 dow nward, ms. 1·1
(b) P4 in m s, 3. relaxed harm on ic/ m elodic resolution
(c) 1o.l6 upward. the classic ro mantic lea p in ms. 5 and ms. 1 7
(d) 0 5 d ownward ID S. 6-7, tense interval to set up cade nce
(e) P5 in ms. 11 -11 las t drama ric skip o r pa rr II, th e "yearn in g" portion of rh e m elodv
5. Chromaticism for emotional tension is fou nd in ms . 6 and i and m s. 9, 11, 13, 17 an d
2 1.
6. Repe ated notes are fo un d in m s. 9, I I, 19,2 1 and repe ated notes that become a non-har-
monic tone in ms. 22-13
7. N ote m e ressirura of parr Il . from a low G below m iddle C, the melody dramarirallv
build s tens ion an d drama wi th exten sive morific reperition by the use of sequence un til
me climax poi nt of the second 0 above m id dle C is reached This is a clear and class ic
example of how p ar t II of a ro man tic melody sho uld wo rk
The rem aining two co mpositions can be ca tegorized as romantic/melodic. or compositions
that have romantic melodies but differi ng harm oni c, and emotional qualiries.Tn particular.
the last composition. by Keith Ja rrett is a good m od el for a con tem pora!)' rom antic com-
position. It has romantic elem en ts in its melod y wh ich arc balanced try' me indu sia;'! of sym-
m etri c m elodic material, an d a rather stark sounding slash-cho rd m odal harmoni c scheme.

EXAMPLES OF ROMANTIC/MELODIC JAZZ COHPOS ITION S

Example 1.21 : "S.R. Ballad" by Ron Miller
..... ,.;
=ill'
A +/G
;=: : :l -
,. - - S •:-...,
C9sus F9sus

J.
,» CIA. B"/G,,

, ..
~
mp
• :>
9 ....

- g
--
~
o·
CIA" ,<;

Jd . 5C • 'C
G ph rygian ( A'p "'/ G ) F:- 11 (p 6)
(fi

• J oJ- 3 :,-,- , ]"d , .. I.

:
., "

Ep 9 ~ u s C9s us Gp/G F " / F~ FfF* G - ll

",,,
1) ",
l.l ~
..I i> . •
!
-s- • E' ~-- I

-.
B;'9sus e i>9 sus

1) •n:LS ~ _: :'
~
0
i
' -'.. J • •
FM C C- 9 Bi--9 A~- 9

• ~ . •

• 35 •
CH ~PT€R l: H E ~OOY

This melod y falls somewhere in betwe en romantic/ ideal and ro mantic/ melodic with .a typi-
cally rc mar mc melody, b ur a no r so d ifferin g harmonic founda tion. In; harmo ny probably
co uld he desc ribed as jazz-roman tic wi rh a few areas o f stark slash chon: formulae (set' p p.
96-106 in Volu me I ).
Ro man tic de...ices as labeled by letters on th e score :
(a) Repeated n ot es.
(b) Repeated n otes th at become a l\."H tone. resolvil1f: upwa rd.
(c) A ro mantic leap of a M6.
(d) A romantic cliche.
(e) The expansion and sequen ce of th e previo us cliche.
(f) ln rervalic expa nsi on in an u pward con to ur to create te nsion an d drama prior to a
release.
(g) Th e release of chc previou s tense expansion ; n is also an extant ro manti c cliche (a quote)
from m e pop tunc "lfl loved You SCI" and many others.
(h) Repeated no tes becomi ng 2 NH cone w hich resolves d o w a ward .
(i) More leaps of a M 6.
(j) Fou r con secu tive skips upward crearing extreme tens ion and drama fo r :he final caden-
ce. Th e final melodic resolution is byleediog tone.

OTH ER SAUE"'T PO INTS O F INTEREST

oTh e opening statement in bars I an d 2. of fairly fast melodic rh ythm, is balanced by a
slow response in bars 3 an d 4.
o Then~ is a transp ositio n of th e open ing motif in bar 5.

o A compression o f th e ph rase in bars i and s.

o A quasi st riving qualiry in bars 9 an d 10.

o Th e m ori fi n the beginn ing of bar 16 is inverted in retrogra de the end of bar 16 to Ii .

o Th e motif in bar 10 is sequenced and extended in bar 17.

o Bar 19 is a sequ ence of bar 12.

o Bar 23 shows a small com pression of the material in bar 2 1.

• Looking ar the mo tif labele d (d). o ne can iden tify a sequence of it at th e end o f bar Z3
to bar 25 .
• Th e figu re fou nd in bars 6 an d i relates to m e material in 15 and 16.

And so on... Q u ite a bit cou ld be po in ted out, but th e ma in idea is to iden tify rhe elements
of romanticism and strong melodic const ruction.

Example 1.22a: "Solstice" (ms. 1-4 ) by Keirh jarrerr

em
F/F:
.. •
.. •
D/F:

'. • • ! •
~
~
-
Rom antic an d salien t features includ e:
• Measure 1 has three repeated notes wirh th e las t becom ing. pan o f th e response in
meas ure 2.
o Measur e 2 has an u pwa rd skip of a 016 which is part of a romantic cliche; it also has

repeated notes (sec Ex. 1.170)_

o Measu res 2 an d 3 arc co nn ected br the top pivor po int pitch E. and there is an expansi-

o n of th e in tervals: a 016 ( G ~ to E). a M6 ( G ~ to E) and a ~ i (F; to E) al l con tri bu tin g. [Q

th e sens e of development an d defin ing romanticism .

o 36 •
 THE PRO TOTYPICAL. RO MANTIC/ IDEAL. HE L.OOY

Exa mp le l.22 b; "So lstice" (ms. 5-S) by Keith j arre rt

FI G AI G
.- 6 E'C
,
DI E A~.'E

,=JJ
e.
::,0 • • • iJ •
• • : . C?:'
"= - • 6 ;::= ... o•
• •

o Th e previous finally resolves to the 0 in measure 4; a picku p at che en d of rhc measure

iruriares a trun cated vers ion of th e material fo un d in measures I and 2 in meas u res 5·7.
o Measures 8 an d 9 offe r a rclief fro rn ro manticism by th e peculiar q ualiry of the symmet·
ric pattern of an augmented scale.
o All winds down wit h a return [0 romantic material in bars 10 thro ug h 11, wirh bar 1 t
containi ng a bea utiful cliche . and 11 a final seq uence of it.

Example 1.22c: "Solstice" [ ms. 9-12) by Keith Jarrett

FlO FiE E. j F D /F~

:§ P.
.. • I. .,2 •
, \ ,rg ;.
.'
i <. '
• • b• • •

T he very dark an d stark h ar mo nic fou ndation of this composi tion is balanced by its beauti-
ful roma ntic melody gi\1ng this composition an ingrariari ng qu ality wo rt h investigating.

Note: ct't h., rmonK ..n.. ~~ o f Ihts co mposi uon is 'ncluded o n p.,Ft 10 6 otvol""", 1 foT the:\« inl tfnlrd ." fu r.
tr.e. ~~ce ,

CONCLUSION

As ini tially stared, melody " Titing is a co m plex and comprehen sive subject. No amo u nt of
read ing or study can subsnrure fo r t he years of lisrcning to and/o r plar in g: of greac melod ies
chat is th e mosr ben eficial me ans ofleartung to con struct a good mel od y. If m e studen t does
n ot have a reperto ire of gr eat melodies of d iverse origins read ily available from memory
alon e. now is the time to starr a serious list en ing regimen!
Th e su gges ted exercises an d th e recommended listenin g list at th e end of the cha p ter is a
place to sta n . In additi on to relegating nu merous mel odi es to memory . one should be abl e
to play or sing the impcrran r themes in any key; it will be of extr eme benefit for bo th com-
posi tio n and im provi sa ric n. As suggested in Volu me 1 of this boo k for harmonic materials.
any ti me m usic is p rcSent, whether by car rad io, home sound syste m. cin ema, televisio n or
live perform an ces, listen an alyt ically. Gene rally, tl'J to describe a melody's q uali ty as fo lk or
art m fluc nccd. its so urce {trirornc, ch ro matic, modal); it s style descrip tion (romantic, idio-
mat icop rog ram matic); try co recog n ize how the melody is balanced. bo th a t the mo tifi c and
ph rase levels. Then determi ne if you like t he melo dy or nor, and why. T he next steF is to scl-
ecr a mel ody that particula rly affects you. an d an al ~'U' it, determ in ing what it is th at its au t-
her d id to create a classic.
In the nex t chapter we will return to the co ncepts o f harmony. Of importance are the tech-
n iqucs given to har mo n ize an extant melody. very m uch a part of rhe "n ew jazz" scene is the
reworkm g of materials from the "standard " repert oire. Wit h rha r su bject . we will co mbine
harmonization. reharrnon izar ion. a nd melod y writin g into ... un ified whol e.

• 37 0
CHAPTE~I : HELO DY

SUGGESTED EXERCISES

I. Listen to S melodi es of diverse srvles. B\· section. co m ment o n the followin g:

(a) Irs placeme nt in the folk/an spectrum
(b) Scalar source mareria1(s) .
(c) The- u se of stu eme m lresponse
(d ) Ph rase q uality
(e) Label th e melodi c swletrc manric/ideal. idioma ti c or others)
(f) Describe your emotional resp onse:.

EXAMPLES:
"Badia" by Joe Za winul, We.;ather Repo rt. from Tail Spl1lnm '
"One B~' O n e" by \l'a~'n e Shorter. Th ejazz Messe ngers, fro m Uger,lJ
Th e Adagio from th e Pian o Concerto in A by W.A. Mozan:
"Blosso m" by Keith jarrert. from & Iongmg
"Hoe Down " by Olive r Nelso n from Blue, and theAMtraa Tn4th
"Look ro the Sky" by ..\ monio Carlos Jobim from tra J'£'
"Rufus" by Arch ie Shepp fro m ,""·tu· ThmE at Nru -pun
"\l'ork Son s " by Nar Adderley, from wnnonball rn N~' l"or*

2. Com po se four melodies follo win g [he specific directions listed below; ha rm oni za tion is
optional but reco mmended.
(a) wirh a rrirc mc so ur ce. phrase a 12·bar melody wi cb [his st ate ment/ response
formula.: II 51. RI 1 5 1, R1 r 52. R3 JI.
(b } An g-bar fo rm with fou r bar s o f increased activity to a held cad ence p irch for the
remaining fo ur bars (see Ex. 1.11).
(c) A 3-bar sin gle pit ch mel ody. d eveloped rhyt hmi cally. balan ced by co n tr asting
material in th e fourth bar (see Ex.Lj ac, p. 27 ).
(d) Compose an 8·bar ro mantic mel ody whi ch sho ws a salving quality toward rh c
in finite. Label the use of mo eific developme nt (see h . 120. p. 34).

3. List ten melodies fro m the "standard," jazz. Larin. or po p repertoire that can be labe led
romantic.

EXAMPLES:
"Some Enchanted Evenin g" by Richard Rogers
"Mayaka" by Wayne Sho rter
" \~li th our You" br Irvi ng Berlin
"All t he Things You Arc" by Jerome Kern
"Something to Remem ber" by Leonar d/ Mado nna
"Bcaurv an d the Bcasr" by Menk en

4. Com pose aromanric melody.

(a) Fo liowing the fo rm of your choice (at least ten bars ).
(bJ Harmon ized in an y style. bur in clude at lcasr TW O areas of slash chord technique.
(c) In clude all performance d irectives: art icu lations, dynamics, ph ras in gs, etc.
(d ) Follo\\-ing the analysis gu ide fou nd on page 40. in clude a ro mp rehcnsive analysis:
label specific ro man tic devi ces rhar you used .

5. Refer [ 0 the "Adagio" by Tomaso Alb ino ni in cluded here. Com plccely analyze it using
rhe analysis guide. include a labelin g of t he roman nc devi ces which Me used.

• :\A •
 THE PROTOTYP IC).,L. ROH)" "'l"I C/ IDEJo.L. HE WO Y

Adagio by To maso Albinoni

slow a nd d i~t-l ; kt
,
ep-
- B~7 : 5
B,,7 , 9 F 0~- B;'/ Gi>

--
G • : ••
• • • • • '2
•

e p 1 3~u ~ e;'7P9 Ap- 13 Dp13 ~ u~ Dp7,9 B ;'/G~

t ,i, i
••
II ;
I,
E ::; • r•
J
a · •
S • • •
s
0 '

e, -/ Gp Gp6 Fc~2 B ' ~u~ 2

, J

-6 / ,'i ;; '"" •
.'
p
"
~
-
• • • •i C
r 0

Ap-
• 0

ep-/ sp
.±4
E:'7/ G
, ,,
t¥ 2 i ~.

g±c==-t4t'
- •~ ::J : r
I
• to
¥~, .", ",pi,
e.
:
p ••
,
--:
• .- •
,
:
s~ ~u~ ::!

.' % •- • :
Bp7 ~ 5
.r
e..-9

.' II

- 39 •
CH APTER I: MEl-D OY

SPE CIAl. PROJECT: FOLK MUSIC SURVEY

T his is a com prehensive project rh ar is relat ed to the ma terials fou n d in all ch ap ters of this
book - bu r In particular to the t hird : Pentatonic Com posi tio ns. It nee ds to be "in progress,"
wit h most of th e work be ing don e now. with review an d addiric ns raki n l,': place lat er in th e
study sched ule.
Research ing both texts an d recordings, selecr fro m the wo rld's folk m us ics, at least ten fro m
d ifferent pans of the globe, and analyze, paying particu lar arren rion to m e followin g:
" Sou rce scalar ma terial
" Statement and Response organizati on (SI R)
" Melodic rh vrhrn relative to harm oni c rhvthm
" Expressive devices an d pi tch var iations .

EVA LUATl ON

Select a number of th e melodies that you parnculariy liked. to be used later as a m odel fo r
your 0\1n melodies. Make a note abo ut th e peculi arities t hat endeared you ro any melody.
Make not e of an y quality char is fou nd in commo n wich m ost m elodies of all categories -
rhar m ay provt' to be a universal "truth" o f affecnve m elody wri ting.
It is su gges ted that me reader Start wi t h th e folk sources closely related to jazz co mpositions
than contin ue on ro personal or natio nalistic in terests. Srarr wirh th e following folk m us ics:
" Afri can
" Japanese
• Brazilian
• Ame ric an In dian
" BritishfIrish

Of the "new world " sources, try to determ ine th e percentage of native ro European infl ue nce :
for instan ce. what I S the real influ en ce or source of th e (Cuban) Clave?

MELO DIC ANA LYSIS REFERENCE GU IDE

The folk-owing is an outl ine of che clem ents of a mc lodj - char were covered in th e previous
pages of th is chap ter an d will be refe rred to in subsequent chapte rs. It should also serve as
an "in seam " gu id e ro be used whe n analyzing melodies as ass igned in this book.
A. Source Materials
1. Single no tes
2. Trito nic scale fra gm ents
3. Terraronic scale fragm en ts {rerrachords - sec Vol. 1)
4. Pen ra ro ni c scales
(a) diato nic
(b ) al tered
(c) add nore [sextaronic]
td ) blues scales
5. Diato nic and alt ered diato ni c modes [sepraro nic )
6. Sym m etri c scal es
7. Harmon ic references
(a ) arpegg.a n oos
(b ) gu id e £ones/com m on to nes
8. Quotes
9. Non-western scales [o cta to rtic and mo re)

B. M OTIAC DEVELOPMENT

1. Repetitio n
2. Sequence
3. In version
4 _ Rerrograde
5. Rerro grade In ver sion

. "" .
 6. lso rhythm
i . Isoarricularion
8. Truncation/ extension
9. Displacement
10. Mut ation

C. CO NT OU R
1. Directional
2. ln rervalic
(a) di atonic
(b ) ch romatic
(c) ski ps
3. Nor e valu e
(a) augmen raricn
(b) diminu tio n
Ic) co m pression
Id) decompression
(e) arti culations
4 . Poi nt of climax
5. Balance

D . FOR M

1. Stateme nt and response

2. Phrasing
(a) an tecedent/ consequence
(b ) sym m etri cal/ asym m etrical
(c) sect ional
(d) through composed

E.. MELODIC RHYTHM

1. Melodic tem po
2. Cadence points
3. Synco pan on

F. EXPRESSION

1. Artic ul atio ns
2. Dynamics
3 . Effects
4 . Sou nd suppOrt phrasing
5. Tem po m arkings

G. KEY/TESSITURA

H. STYLE
1. Dan cc/ rhvrhmic
2. Hisro ric/eth nic
3_ Idiom ati c
4. Mixed /sectional seyle
5. Voc.aljromantic

• 41 •
CH1I.PT£ R I: I'1E LoODY

RECORDINGS A.ND REA. D IN G S

As a listening so u rce for melody w~i ting co ncepts, almosr every available rec ording coul d be
a su itab le exam pie. T he followi ng lists the sou rces rhar are refe rred to in the text plus a few
m ore.

A. RECORDING S
M the Lighthouse joe Henderso n Milesto ne 90 28
Silver's Serenade Horace Silver Blue Note 84 131
WM Anto nio Carlosjobim A&M 30 02
Rhapsody Espagnole Maurice Ravel misc. record ings ava ilable
The Firebird Igor Stravinsky misc. reco rd ings available
Black Market Weather Re port Co lumbia 34 099
Zawinul j osefZawi nul Atlantic 1579
Ballads j ohn Coltrane GRP156
The Musicof Ron Miller Ro n Miller CPP/Selwin
The Sorcerer Miles Davis Co lumb ia 52 974
Samw n and Dellfah Ca mille Saint-Saens mise. reco rd ings availab le
Brook(vn Blues Da nn y Gottlieb Big W orld 2005
The Real McCoy McCoy Tyner Blue Note 4 56
ju j u Wa yne Sho rter Blue Note 37 644
Schizophrenia Wayne Sho rter Blue No te 32096
Out to Lunch Eric Dolph y Bl ue No te 8 41 63
Death and the Flower Keith j arrett Imp ulse 93 0 1
Get Happy Tony Bennett Co lumbia 30 954
Cinema LeGrand Mich el Legrand MGM 44 9 1
Songs Without Words Felix Me:nde lssoh n-Ba rrno ldy misc. recordings availab le
Symphonies No.5 & 6 Pete r I. Tchaikovsky mise. record ings ava ilab le
Romeo andjuliet Peter I. Tc haikovsky mise. record ings availa ble
Belonging Keith Ja rrett ECM 1050
Concerto No. 2 Sergei Rachma ninoff mise. record ings availab le
UberalArts Elements N evus 3058-N
Native Dancer Wa yne Shorter Blue No te 54 173
Speak No Evil Wayne Sho rte r Blue No te 32 096
Silver's Serenade Horac e Silver Blue Note 4 13 1
Adagio Cha rlie Mari ano LIP 89 24-2

B . REA DING S

Romantic Music Leon Plantinga W. W. Norton, 198 5

Contemorasy Harmony: Romanticism Through the 12-Tone Row
Lud mila Ulehla Advance Music, 1994
Changes Over Time: The Evolution ofJau Arranging
Fred Stu rm Advance Musi c, 19 95
Music Idioms G. Welron Marq uis Prentice-Ha ll, 1964
Eric Dolpity Simo ko & Teppe rman Da Ca po Press, 1979

• 42 •
Chapter 2

?
REHARMONIZATION

WORDS OR CONCEPTS TO KNOW

, Stand ard Reperto ire

2 Altered Moda lity
3 Substitu tion

•
5
Diato nic
Chroma tic
6 Funct io n
7 H armon ic Rhyth m
8 Caden ce
9 Cycle
10 T urna ro und
11 Ap pro ach Chord
12 Added Chord
13 Target Chord
,. Peda l Point
15 Stock
16 Origina l

• 4:5 •
CHA PT£ l< 2 R £H Al< MO NI Z),TIO N

HARMON IZATION

Ever)' so ofte n, a student ma~' inquire. Min the compositional process, is it bette r to write the
melody first o r [0 come up wirh a ser of chords first ?" Th e answer of course, depends on the
ind ivid ual composer; most. like the author, pro bably work wich rnclodv. harmony, and
rhyth m simultaneously, each influ encing th e ou tcome of th e others. O rren. a com positio n
rn3.Y de velop ou t ofa seed idea in th e form of th ree or four chor ds in a vam p, or from a pecu·
liar bas s figure. O rhcr rimes. a pamcula rly satisfying motif or melod ic fra gmen t m a~ '
ins pire the co m pletion of a section , or a com plete compos iti on . T he point is that the initial
ins pirat ion. in what ever form it em anates, is wh at really provides the basis of a compositio n
of wort h .
For those whose melod y wri ting skills are more developed than their harmo nic abilities -
usually ir is the sru dent wh o has h ad extensive training in traditional theory/composition .
b ur is relarivd y new [ 0 jazz composition and harm ony - rhe following art" some po in ts to
consi de r when attempting to create a harmonic p rogr ession 1'0 a gi\'en m elod y. Altho ugh the
techn iques an: mean t fo r usc wi th a melo dy origi nal to th e compo~r, th er could be app lied
[0 an extant melody o f any era.

T h ere arc t WO ways o f accom plishing the goal: rhc preplann ed and the intuitive, Th e intu i-
tive method seems less cffecnve in creati ng harm onies though . probably du e to t he dens ity
of and t he difficuln in "hearin g" ma n}' no res sim ultaneously.

THE PREP U NNED HETHOD

To be success ful .... -irh th is method. th e srudenr needs to be well accom plish ed with the mate-
rials fo und in Volume I of this rexr. In fact. the following could be though t of as a syn opsis
of the important features of Volume I. of particu lar im portance an: the abili ties to recog-
n ize and wor k with :
• Terrnchords, modes, an d symm etr ic scales and patterns.
• Modal chord co nstruction wirh the "grip" me thod.
• The- connection of chords b)' com mo n to nes and stru ctures.
• The conCep ts of harmonic con tour.
• The conCepts of momen tum.

THE PROCED URES

A.. M€ LODIC A.N..lo.L.YSIS

Using the analysis gu ide found on p. 40 of this volume, n o te an y peculia rities rha r mar P' v'
die t a h armonic defin ition , payin~ particular a n cnuo n to:
• lmporranr source mater ials - rrichords, ter rachords, overall consonan t, skips. symmetl) '
and so forth.
• The emotional con ro ur. cadence po ints , balancin g techn iqu es. and the poin t of climax
• The gener al style description: folk , har dbop, ECM.

a. exs s MEL.O D Y CR£A.T10 N

T he importance of a st ro ng , well developed bass melod y can not be overem phas ized - ir will
hold together the harmonic fou ndation of any composition , and will contribute to the
m usical develop men t of o ther areas. Co nsid er the foll owing wh en co m posi ng J bass
melody;
1. Con to ur:
(a l sym metric or asym metric no te derarions.
(b) direction, use of cou nrerpcinr to [he given melody,
(C)in rervalic trend .
(d) use of melody wriring procedures and development.

• 44 •
 HARt10N IZ ATl ON

2. Rhyt hm:
(a.) slow/ fast, su stained notes
(b) repose and transition , cadenc e an d pedal poi nt
(c) speed relative to th e given melody
(d) th e use of vamps

C. CHORD SELECT ION

1. Determine the general harmonic sryle goal .

(a) bebop, hardbop, ECM, po p/Latin. free form mod al.
(b) analyze a num ber of compositions in che select ed style (sec P' 24).

2. Review the descri p tions of modal h arm on ic styles:

(a) linear
(b) plateau
(c) vertical

3. Rev iewrhe concepts of modal co ntour fo r modal cho rd selecti on .

4. Select ch ords rh ar fulfill a modal conto ur goal. usc ofvgrips" aids in the process.
3. Crea te a chord-co ntour melody.

TO RE\lE\t', TH IS IS TIlE MELO DY DERIVED FROM ALL THE T O P PITC HES \'';?HEN
SPELUNG O CT TIlE CHORDS .
• Usc of co mmon tones an d structu res.
• Use of counterpoint, in cervalic and directional co n tou r.

GETTING SThRTED
This is the hard pan - unl ess a lot of prep lannin g has been do ne and the goals arc pret ry
d ear. There are so many possibiliti es, that unless one has composed a lo t and developed t he
decision ma king process to th e poi nt of being confi dent in the musical worth of one's
initial selectio ns. th e whole p rocess can be overwh elm ing [ 0 the poi nt of "givin g up."
Start by co mpo sing a b ass melody rhar follows the contour you feel best suits th e h ar mo nic
goal. Try a num ber of cho rds of varied modal qu alities for (h e first chord that wil l set the
tenor for the developmen t of th e remain in g chords. T he neat step is to add cho rds at the
cadcntial points, th en filling in with the re maini ng cho rds bcrwccn th ose po in ts accor din g
to a preplanned h armonic co ntour.
Unless yo u are evolving to the inr uia ve approach by th is time, much experimcmarion will
pro bably be needed . T rying many diffe rent cho rds an d h arm on ic conro u rs will requ ire
patience an d persevera nce . Being accom plished with [he "grip" meth od of chord construe-
tion will be of great assistance in this process.
In a nu tshe ll, this is m e order of st eps to fo llow to help organize your th oughts for th e har-
mo niza.tion process:
• Create a bass melody, foll owing th e prepl anned harmo nic contour and being aware of
bass melodic cadence.
• Select a " first cho rd" per section.
• Experiment wirh various chords thar satis fy both the preselected modal conrour and
cad ence resolu tions .
• Re-voice the ch ords to create a chord melody rhar confo nns to a p replanned melo dic
con tour an d cade nrial requ irements.
• Contin ue experimentin g an d tweaking un til both the aesthe tic and sryle defining
reqUirements are met.

The followi ng examples may offer some clarity and /or insig h ts inro the process. The co rn-
mcnrs ad dress the above step s in the order given , if applicable. The melodies o f the examples
were com p osed for illustra tive pu rposes wi rho ur an y concern for aesthetics.

• 45 •
 CH.\PTER II : REH b,RMO Nlz'\TIQN

HARMONIZING G IVEN MELODIES

H£l.ODY I

The so urce of this m elody can be iden tifie d as bc inf a d iatonic G m in or or Bt. m ajor scale.
Its directional cc n rour is gen erally down ward to the cadence pi tch. with the cade nce pit ch
not being bala nced by an addi tional pitch in contrary di rection. It has a final quali ty due ro
its melodic: rhyt h m.

Examp le 2.1; Harmon izatio n of a Diatonic Melody ( I) a nd a Chromatic Melody ( II)

I - Diato nic Melody II - Chro matic Melod y

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CO HH£ NTS :

HARMO NIZATION (a)

The Bass Melody - scans with th e same pitch as both me ma in and chord m elod y. crca r-
ins a d ear "harmonic stateme nt. " It then goe s upward in a d irecti on contrarv to the
main and chord melodies. with in tervals rhar get prop-essiveJ~· sm aller . provid ing ar:
increase of ten sion m at is resolved wi rh the final cadence pitch a n itene away. Its
general source. other th an the cadence pi tch . is dia ron ic to th e main melodic so urce.
The Chord Melody - starring on the same p rrch as th e ma in mel ody, there is then a I'S
skip downward to a cade nce pi tch, the n a nother skip tel a repose-cadence, defined by
the use of com mon ton es.

• 46 •
 H ill.R HO....IZ ill.Tl O N

The Chord Selectio n - the harmon ic rhythm is slow an d sym metric . wich m e ch ord selec-
tion based on a- ocee groupi ngs (tri ronics) of the ma in melody. Th e first triton ic - D ,
C, BI> - im plies Db major or G m inor and th e "first chord " choice ofG m in orfD is di a-
tonic.al l~· relative to th e melod y.

Th e second chord choice, diatonic to the A- G-f rrironic. g ives an effect of b eins bri gh ter
after th e first dark Aeolian chord. providing a sens e of h arm onic contour . The n ext chord,
the ronic. pr ovi des a resolu tion of rh e drama create d by the previous o ne.
The last chor d, con nected ro th e previo us by comm on tone. h as a subtle do m inanr qu ality
due to the mel od ic quality o f th e bass pi rch . Notice the alternati ng modal qu al ity o f th e
selected cho rds: dark/brigh t/ dar k.fb right. this p rovides har mo nic con tou r as well a s a vari ety
of modal description. O ther co n siderat io ns ma de in the selecti on process were me variety of
~ grips,~ and voice-leading.

HARMO N IZATI O N ( b)
Th e Bass Melody - scares with th e use o f pedal po int on the ma in melod y pi tch , showi ng
a repose/ tr ans it ion co ntour. Th e overall sou rce is a chromatic fragmen t wh ich im plies
Ph rygian with the Ek Irs directional contou r is upward in contr at}· motio n to th e
main and ch or d melod ies.
The Chord Melody - is the same as the m ain melod y due to t he use of parallel "grips" to
har monize the melody.
The Cho rd Selection - starting with a to nic Bi> (Gm lj D. grip selecti on was made to
incr ease th e modal/ spacing tens ion to th e E minor ch ord which reso lves to th e
f J3sus4 in th e form of a purod)' ~ ce.
HARM O N IZATI O N (c)

The Bass Melody - a simple chrom atic scale, d ownward ro the tar get F, starts on a non-
diato nic Ab.
The Chord Melody - starring: on a diatonic p itch. although its me lodic shape sho ws
obscured direction , it does m ove in co n rras r to t he bass me lody by gro ups of [WO.
End ing on a nondiaronic p itch. the source of this melody is Bb ma jor.
The Chord Selection - alte rn atin g non-do min ant [major 7) cho rds and dom inant (b7)
chords implies a modal cycle resolving to a dom inant o f the to nic Bb.

MELOD Y II

Th is m elody is pu rposely ch ro matic to in tr oduce the problems pecu lia r to rhar source: that
of selecting chor ds wh ose modality allow rwo or more pitches that are ch romatic. In a
general d ownward con rb ur, th e melody is resolved by balancing its d irect ion with an u pward
skip of a P4. A general modality of the melo dy cannot be de term in ed. b ur the cade n ce pomr
imp lies F or Bb major and their relative min or tonal centers.
In general, notice th e n ondiaronic quality of the bas s melod ies up to th e cadence pomts. Th e
cho rd selection an d spe llin g. n eedin g to in clude one the main melody pi tches. is m ore di a-
tonic, at least to one pitch at a rime. Other t han example (c), mosr o f the selected modal itie s
ar e ho mogeneous. These rrai rs ar e d escriptive of the means taken to harmonize a melody
mat is harmonically obscu red by having a ch ro ma tic source.
Bj- now, fur th er comments may beco me red undant. It is su ggested char a more detailed
analysis an d co m ments be co m pleted bj- th e read er. Th e subject o f h arrnonizanon will be
contin ued in Chapter III on page 96 under the subject of "H arm onization an d Harmonic
Rhy thm ."
Having created an inirial set o f chor ds for a given melody, o ne can fu rt h er develo p the skele-
tal harmonic ma terial by the use of rcharmonization techniq ues. Altho ugh t he reharmon-
izatioo process can be used to develop th e harmony of one's own compositio ns, it is mos t
often ap plied to the cho rds of the "sta ndard" j azz repert oire.

• 47 •
CH .llPT£Ol II: Ol£H.llRMO ~ Iv..Tl O t'

REHARMONIZATION

TH E JAZZ CO MP OS ER'S PRED ICAME NT

Essenti al to the repertoi re of the learni ng jazz perform er ar e a number of compositions
known as "standa rds ." These are the popul ar songs, ballads and dance run es of th e 20s to
the 50s that arc the basis of the traditional ist, bebop oriented jaz z performance.
Most jazz im provisors acqui re th eir craft b)' learning st an dards, blues tunes and a few simple
m odal com positi ons. Ha\i n g Invested so m uc h effo rt into the learn ing of the standard
repertoire with its tics to to nal harmony and the symmetric MBA son g fo rm , it is un d er-
st andab le rhar m any resist the selectio n of com pos iti ons with uncon ventional harmonic
material an d u nusual form for the p rog ramming of con certs and reco rdings. Add to this t he
fact that on ce t he vo ice-lead ing of the diatonic II-V-l cadence an d tonal harm ony is learned ,
it can be applied to all tu nes that arc base d on that system. Cons ider also, t hat mo st of th e
hi ppest "licks" an d melodic figu res having been learned fro m th e recordin gs of o ne's he ro-
of- the-day can be used as on e's ow n in an~' tun c ha ving the sam e ha rm onic foundation .
\X'hat it all means is that new m usic, with harm oni c and m elod ic m aterial uniq ue to its crca-
tor req ui res that the p erform er, if ot her than th e com poser , m ust lear n the n ew compos ition
and its im pro visation al m aterials with lit tle reference to already worked -out materials. Man)'
o f the more con scrvarivc perfor mers resist th is,
Anoth er cons ide ration is that of thi s wri ting, there is th e perceptio n that jazz is in dang er of
becoming like classica l music, rhar of a re-creative music: char th e th rust of jazz recordin gs
and performan ces is that of re-creating th e m usic of the pase to nal so ng for m composit ions
with ties to beb op an d hard bo p.
All th is presenrs a predicament for th e serious jazz co mp oser desiring an expression of origi-
nality an d crcar ivirc. How does on e get great players to play his tu nes without coercion , and
hOI\" doc s on e addres s th e trend to ward jaz z as a re-creati ve m usic?
O ne way is to have reco rded exam ples of his or h er works di srribure d widely enough th at
pl ayers hear t hem and learn to enjoy the m to th e po in r that they wan t to learn to play them.
O f course, one needs to be in an en viro nm ent where if one's compositi onal/ pe rform anc e
sk ills ar e known and ap preciat ed, an d rhe re is the possib ility of arra m ing fin an cial backing
fo r th e p rod uction of a reco rding.
A more flexible approac h is wor k within t he stan dard repcrr ci rc an d rework th e given m ate-
rials in a way th at the resu lti ng product reflects the com poser' s perso nal aes th et ic and crea-
tive abilities whi le allowi ng the imp roviser an ac cess to h is learn ed im p rovisational skills.
T hat is the goal of this portion of th e ch apter, to look at so me tech niques th at allo w th e
composer or composer/im pro viser to person alize a co m pos ition from the sta ndard reper-
to ire; fro m a mer e "fresh en ing up " of th e changes to th e creation of a roeallv new compos i-
tio n whi ch is a pastiche of the original. In ad dition, the techniques ca n be us ed alo ng wit h
the pr eviously given techn iqu es, to harmonize a given melody fo r those composers who pre -
fer to write m elodies and [hen larcr add th e harm on y. And lastl y, the tech n iques can be of
us c to the big band arranger who is desi rous of creasing an innovative version of an over-
worked sta ndard.
Th e info rm atio n given presupposes that the student has a workin g kn owledg e of ron al har-
m ony and the dia tonic syst em an d is aware o f cade nces, cycles. turnar ounds and m rone
su bsrnu rion . If not, cons ult th e books lisred at the end of this chap ter.

THE TECHNI Q UES

In ad dit ion to the tech niques or igi nal to the auth or , many were deri ved fro m an analysis of
the reco rdings of Gil Evans, the "stan dard " harm onic ap proach of He rbie Hancock (part i-
cularly from the Miles Davis reco rdi ng A~l" F Un/I)' Fill.CI1 fm e) , and fro m rhe merhods of the
m anr un know n ar rangers o f "easy listenin g" mu sic.
Alrhough rhc techniqu es can be applied ro esrah lishc d jazz com pos itions, ir is recom me nded
that student... lim it the first att empts to -srandard ' II-V-l songs as they are the compositio ns
th at most have a need to be personalized.

• 48 •
 REH l>.RMONIZl>.T10N

Th e techniques generall y fall into the follow ing categories:

A reworking of:
• che chords
• the harmonic rhythm
• the key, tem po an d rhyth mic sty le
• the form
• the melody

.l.. CHORDS
Th e chords given particular attenti on are chords that begin sections. urget chords. an d me
cho rds of caden ces, cycles and turn arounds .
Th e chords can have:
• changed m odality (alterati on)
• changed chord root (substitution)
Normally th e modality of a cho rd is changed when the root is changed.

ALTERED CHORDS
A ch ord alterati on is simp ly a change in the modality of the origin al ch ord with ou r chan g-
i n~ the original root . Usually the new modaliry maintains the fu ncrio naliry of th e origin al,
hut it is nor a soia requiremen t. If th ere is a number of notes withi n a ph rase of rhe ori gi-
nal melod y, try to derecr a te rrac hord or modal fragmen t to assist in determinati on of the
n ew chord's modality. If th ere is one melod y note for th e chord. using commonro ne rech-
nique (see Chap ter \11 in Vol. I) will allow a wid e variety of possib le al reraric ns.

CHORD FUNcnON
Th e junaum of a chord refers to irs property o f being at rest or desiring resolution. Chords
defi ned as non-dominant have little or n o desire to resolve. chords labeled do minant do have
a desire to resolve or are in association wich cho rds mat need [0 resolve (sec "Momenrum" in
Vol. 1). To maintain a function similar to the origin al chord. select an alrerari on with a resu lt-
ing modality within one to two chords above or below in the order of modal resol ution.

CHORD FUNcnON CAT EGORIES:

Nondo minant - cho rds havin g a natural i or no 7:
Lydian 15
Lydian ~ 7
Lydian ~ 2
Lyd ian ~5
Lyd ia.n b3
lonia.n =S
Ionian ~5
Io nian b6
lo nia.n b3
susa no 7
5O$1 n0 3
maj 9n0 7
mi n9n0 7

Subd om ina.nt - can fu nction .1S either dominant or non-dominant

Dorian ; 7, #S
Do rian ;7, ~S
Dorian ~7 , bS
Dorian bi . ~
Aeolian bi , bs
Dori an b7, ~ 4
Dorian bi, ~ 4
Aeolian h7, ~S
Aeolian h7, bs
ph rygian ~i, ~s
• 49 •
CHAPTER II: -R£HARHO NIZATION

Dom inant - chords havi n~ a ~i or a ~ 1:

Mixolydian ;1 , ; .:
Mixolydian :;1,;4
Mixolydian ~6
Mixolydian ~1
Mixolyd ian ~. 4
Mixolydian ~ 1 . 4
Phrygian il6. ~
Phrygian ll6. 4
Ph rypan e. 1>6
Phryp an ~3 , 106
Lccrian q6
Locri an ~6
Locrian W;
Locrian ~4
Locrian t 4
Altered ~ 6
Altered lobi
Altered 10106, 10107
Mixolyd ian sus-t
Mixolyd ian no 4

Keep in m ind that it is n ot really necessal')' to select a m od ality that h as th e sam e function
a.... the o riginal. that the overall style of th e reharmon iza rion will dicr are th e m ode ch oice.
(see the po rri on on ~s tyle")

G£NERA.L PR1>.CTICE 1>.LTE~1>.TlON E XA.HP LES

ALTERED DIMINISH ED CHORDS

Diminish ed ch o rds an: nonm odal chords that can have a both a do mi nant and sub-do m i-
nan t functio n. D ue to their non modal character, thei r vertical rons rrucrion tends to create
an incons istency of sonori ty as well as spacing <J uality when used in COntext wirh modal
cho rds.
Diminish ed ch ords usually have a sub-dominant fu nc tion co II mi n or or sus -s ch ord s or a
do m in an t fu nction to I chords and are foun d both in cade n rial an d non-cadenrial a reas.
Th e following exam ple is a lis ting of su gg ested al terations t tl t he- bas ic 07 ch ord co create a
ho m ogen eous modal so u nd,

Example 1 .2: Altered Diminis hed Chords

~
..1
.,
p ;o-
G-'
2
..' F: ---{i ~5 G - i'
3
A-' A ;"- 6 11 G"
4
,.' F: o G9sus

8 ::::::::::::
~S I~
•
" S
Ie " I
I "
§ pEP .bil il <>

: :01 'ff 2 r
:
, ! :
"
a

;:0 :0

CO HMEI'lTS :

1 Trad itional resolu tio n and spe lling of the '''7 chord.
2 Alteration of t he tli 10 a Do rian ~.:; chord (sec Vat L Ch a pter 15).
3 Downward resolution . al te ration to a Dorian ~i (mi nor/major 7).
4 Usc of rhe Locria n ~2 . half-dim inish ed chord to a sus ch ord .

• 50 •
SUBSTITUTE CHORDS

A s ubsri ru te cho rd will sh ow a chan ge in the TOO t o f the ori ginal ch ord.; th e chord's m odali-
~ . is usual ly ahered as well.

The substitute root can be:

• a d iatonic subs rirunon \Ii th d iatonic cho rd sp cllmgs
• a diato nic su bstitution with ch rom atic chord spellings
• a ch romatic subsrirurion
• a "special case" substitution based on the arpcggia rion of a dim inishe d seventh cho rd
from the original root which incl udes the ch romaeicallysc bseieueed min or th ird and th e
trironc as well as m e diatonic substitution of che M6 (~~ 7).

a.. D IATONIC SUBSTITUTIONS

These reharmonizanon tech n iques have' bee n desi gned to be a ppli ed ro th e diatonic tonal
system. since much of th e harmonic macerial of th e original version ....-ill s how clear diatoni c
key centers.
A d iatonic subsn ro non refers to a change o f root that \\111 be di atonical ly relared to th e
Ionian mode of the key cente r of .a particular section if nor the entire co mposition.
As an example, if the ch ord bein g substituted is an FmaJ7 .9 and the k~' signature s hows th e
key of C. a po ssible substitu te root could be selected fro m any of rh e notes of m e C Ion ian
m ode.

D IATO NIC SUBSTITUTIONS . D IATON IC SPELL.ING S

When a diatonic subsriru ricn is made and the m elod y nor e is diatonic to the key of the sec-
tion or run e as a wh ole. the spelli ng of the new chord conforms to the d iatoni cally rela ted
m odality of the modes derived from th e origi nal Ion ian .
The following table. based on rhe key of C, gives a cross reference to all o f th e d iatonica l y
rela ted ro ots wi th diaton ically sp elled chords. The table is constructed by raking me seven
bas ic m ads constru cted fro m [h e seven differen t s teps of t he Io nian m ode and placing them
over each of the seven different Stc ps . As one can see, th is produces a combination o f 49
possible diato nically subsa rurable chords.

T A BLE OF D IATON IC SU BSTITUTI O NS;

Roots ; I . II II I IV V VI V II
Triads; C 0 E F G A 8
G
A-
G/C
(6
G/ D
0-9
E-7
E4/ 6 ,.
G/' G
G4/ 612 A-
A9sus4 G/ B
B Phr
80 Ct.2 j 4 0-6 E Phr F6 ~4 G7 AA~ Bo
C c D9s us4 EAe o Ftlno3 ( /G A-7 B Phr
0- C.lJ.6/ 412 D- E Phr F6 G9no3 AA~o Bo
E- cs D2/ 4/6 ,- F.... G6 A9no3 B Aeo
F F/ ( 0-7 E Phr r G9s u.s.4 AA~ B loe
preferred; G!C D9s us4 ' -7 ( I' G9sus4 A9sus 4 B Phr

D IATO NIC SUBSTITUTION S. CH RO HATIC SPELL.ING S

\lbe n the m elod y not e of t he origin al chord is nor diatonic ally related to the co mposition's
key, the chord spelling of the new ch ord also will be nondiaronic to the com p osition's key.
In this case. me new chord will be selected from o ne of the gfCIup of al rcred -draronic modes
wh ich has both the melody note and one of its puches in com mon.
Referring to Volume L the chords fo und in both volumes arc from the fol lowin g so urces;
unaltered parent Ion ian q3 ~ 7 (Io ni an )
alt ered no. 1 Ioni an 1>3 ,!j6 (m elodic minor ) ( '
altered no. 2 Io n ian 103, 106 (h armon ic mi nor) ~ 7
altered no. 3 10n:;;.'1 ~3 , 106 (h armo nic majo r] ~ 7
altered 00. 4 Ionian 103, :5 , 9 (m elodic minor ' 5 )~;
• 51 •
 C+-\b,PT€:R II: REHo\RM Or-lIV.TIOr-l

As an example, if rhe original melody note is A~ , and the o riginal chord is D Locrian ~2 (half.
dimini shed). and the key of rhe tu ne or section is in e majo r (Ionian) , any of the al tered die-
to nic source scale s and their modes m at have th e pitches of C Ion ian and A ~ in co m mon will
be workable substi tu tions.
Th ere are quite a nu mber of selections that will work
e harmonic maj or C D Eo F G (A~) B
e harmonic m inor C D E' F G (A~) B
F melodic minor C D Eo F G (A~) B
F harmonic mi n or C D~ 8; F G (A~) B
D ~ Ionian C r» EI> F G~ (A. ) B~
E~ Ionian C 0, EI> F G (A~ ) B~
A harmonic m in or C D E F (GC) A~ B

And so on _..
As w ill be covered in m or e detail later, me harm onic style and its bas s mel odic requi rem en ts
will help determ in e which so urce scale to select.
As an exam ple, some diatonic subs titutions for 0 Locrian ~2 include:

FRO M F M ELODIC M INO R ( REFER T O EX. 2.3 BElOW)

C Ion ian: e 0 E F GA B
F melodic minor: e D E F G (A~) ( B~)

G Phrygian ~6 . F Dorian I;i , E altered and C Mixolydian ~6 , ha ving roots in com mon with C
Io nian as well as an A~ in th eir chord spellings. arc selectable substi tutions for the ori gi nal
D Lecrian cz.

FROM f1, IONIAN

e Ionian: C D E F GA B
~ lom an: C D ( E~ ) F G (A~ ) ( B~ I

e Aeolian , F D orian , and G Phrygian 106, havi ng roo ts in common ....i th e Ion ian , as well as
the .4.1- melody nore in their spellings, are workab le substitu tions.

FROM A M ELODI C M IN OR:

e lo m an: e D E F G A B
A melodic minor: C D E (HI (G' I A B

e Lyd ian #5, 0 M ixolyd ian ~4 , E Mixolydia n ~6 , B Phrygian 1;6. and of course A Dorian ~i are
subsriru rable.

Example 2.3 : Spelled -Our Versions

, 2 3 4
Do G' e.' G Pll ryg~6 e.' c M'xol>6 F:o B PIl'Y£ ~6 e.'
#• 8 <> n
Ie
ft' !Ill''
~H 1t' t4 1m
li :!l If'
I,
=;>:
I, ~o
I
" 0 I) II II
;0 "
u
" " "
COH HENTS :

1 Th e original cad ence with 3 0 Loman ~2 .

2 A di aton ic substitution of a Ph rygian b6 for th e D ch ord WIth rhe G ch ord b eing an
alteration. bcrh ant draco nic to F melo dic mi no r.
3 Usc of pedal po int and a diaton ic su bs riru rion .
4 Su bs riru cio ns rh ar are diatonic ro A m elo dic m in or.
• 52 •
 SUB STITUT E CHORDS

As on e can see, there is quite a large vari ety o f selections to be m ade that are a wor kable
substitution for one mel odic n ote subsrirucion.
Where there is more th an o ne m elody note per ch ord. po ssibly a melo dic ftagme nr or motif,
the modality of that fragment will de termine the sou rce of substitution. If th e melodic fra g-
m ent docs n ot have a clear relationshi p rc an ~' modal ity (probably becau se it is svmmerri c o r
chromati cally di sjointed - although th is is rar e in to nal based harmonic system s), the h ar-
monic rhyth m must be chang ed by the addition of more chords. (This will be covered larer.)
To ass ist in the select ion process one should p a~' pa rt icula r a tt entio n ro rhe m elodic qual iry
of the bass part with the substituted chord 's ro ot s usta in ing a melodic consisrcncv with p re-
vious and later roots. or of a desire ro kee p the ro ms in in rervalic ratios of a fou rth or fifth .
An other consid eration to be made in the select ion of the new ch ord is the desire to m aintain
the functiona hry of the ori ginal cho rd. Th is sh ould narr ow down t he selection a b it.
Look ing at the pr evious table of ch ords listed by function, one can see that of th e listed
chords. G Phryg ian ~ 6 , G Phrygian ~ 6 an d E altered are som e selections th at one could make
ro confo rm ro th e original D Loman ~2 's dom inant function. In fact, G Ph ryg ian q6 is o ne
o f the most common diato nic subsri m oons for D Locrian ~ 2.
The nexr facto r to consider when selecting the s ubstirure chord is the overa ll styl e of the
rcharm onizarion . Style \\; 11 be covere d later in m e chapter, bur for n ow, one of th e gen era l
s tyles is that of th e blu es/u rb ane description. Th is is a sound th at is typical of th e works of
Mingus an d so m e of Ellingto n and is characterized by the extensi ve usc of all forms of the
alter ed (Locrian 1>4 and Leer-ian ~4 , 96) domin ant chord s. O ne' s cho ice of substi tutable
ch ords in this case' wo uld be limited to that gro up.

Examp le 2 .4 : "Yo u've Changed" (Turn aro un d, ms. 7-8 & 31-32 ) Blues/ Urb ane Style Alterations

Stan da rd Blues / Urbane

G -7 C7 ' -7 Galt Calt f ai t

I , ,
~

"
,,, , <if
' " ;b't' g
,
" ' 9
" " ,
, I
:
, 9

S , CHROMATIC SUBSTITUTIONS
This tech nique is fairl y easy for a cho rd with a sing le-note melody. Since it is a form of com-
m entone tech nique, one has a ch oice of all the po ssible chords that have th e melodic pitch
as a pan of their con struction.
Of course, the selection process is made m ore na rrow by excluding those ch ords that don 't
m eer a p articu lar sty le or fu nction requirement an d by being awa re of m aintaining the
mel odic quality of the or iginal bass line
T his method is sti ll eas), when there is a me lod ic fragme nt to comend wir h. if only becaus e
there are so many ch ords that will work.

SPECIAL CASE SUBSTIT UTIO NS: ROOT S O UTLI N IN G A D IM IN ISHED CH O RD

This refers to th e substitutio n o f a chord on any of the roots that arc rhc pitc hes derived
fro m an ar peggiucion of a di m inish ed seventh cho rd con struct ed o n the root of th e original
chord (ro ot, 1>3, bS, 1> ~ 7 ) . What this m eans is that ch ords that arc substituted ro those ro m s
seem to wor k part icu larly well. Inclu ded with the ~3 and t he natural f (~ b 7) is the very use-
ful su bst itution of the anginal with the : 4, bs or rrirone. Tn ronc su bs titu t ion is common ly
found in alllevels of reharrno nizati on efforts as any read er of th is rcxr is well awa re.
 CHAPTE R II: REH ARHON IZATION

As with previous exa mples, ch oice of modalirv will be determined h~ ' sry le and functi o n
req uireme n ts. N ote that the dim ini shed 7th cho rd sym mc rricallr divid es rbc oct ave.

Example 2.5 a : The Roots of t he Diminis hed Seven th Chord fro m the 4th ( Key of Bf,)

11
II

r ri to n e

Examp le 2.5 b: Substitution Examples

~ ('
, ~~
p
"
a
~ IfA -o
£
fdft ~~
:-9
,
F? (. 'p •
•
,:!, 0
: a ,;
•
Bb : IV V II V7 Vile I. f,V113 V7 ~ 9

COMME NTS:

Bar 1: The ba sic IV- V cadence

Bar 2: Substituted root (C) a th ird down
Bar 3: A new root a rmonc down [A ]
Bar 4 : Sub stitu ted root a 1'.1 6 down (G I.)

Example 2.5e: The Roots of the Dimin ished Seventh Chor d fro m t he 5th Including Tritone Substitution (see page 116)

~): : o o
l rito".
tri to n.
V . III ~II WII

Exam ple 2.5 d : Substitution Examples

.
, "\,, ...
,

I
• v~
1f b ii p ii $ ~ r. :. t r'':
"
";
"
..
, , ,
V7 I. f.Vllsus I; "
11lL\. oj- I. •
f,1l7 I.
•
bVl- vll7

C OMME NTS :

Bar 1: The basic V -I cad enc e

Bar 2: A subs tituted b\11sus chord fo r the \7
Bar 3 : A su bs rinned IIl.1.· fo r t he \ 7
Bar 4: A m ro nc substitution for the \ '7
Bar 5: An added 11 cho rd to the rriro n c su bs tit utio n
l t is suggested t he student conrinue the above process from th e "J degree an d fro m th e ro m .

• 54 •
 SU B STITU TE CHORD S

C.STYL£
Th e first co nsideration when scarri ng a reh armcniza cio n project is to establish a stylis tic
goal. Th e style of th e rchar mon iza non will de termine th e cho ice of chord quality and/ or
fu nction of alterations and sub srirurio ns, the amo unt of change in tn t' h armonic rhyt hm ,
the selection of key, rhythmi c concep t. form an d any o th er of th e p reviously cited arranging
concepts. Style is most clearlv d efined by what reh armonizati on processes ar e used at cad en-
rial ar eas: cycles. cadences and turnarou nds.
Gene rally speak in g, there are five bas ic sryies:
'l • Stand ard - as the composer intended. us ually having:
(.a) traditio nal dominant/non-dominant resolutions
(b) sym metric harm onic rhyth m
(c) similar modali ty and key"quality"
(d ) limi ted rcharmo niza tion - simple tweaki ng
(e) lim ited ch ange in form

2. Blues/Urban e - similar ro th e so und of the Ellington and Min gus sch ool:
(a) extensive use o f altered or dom inan t 7th cho rd sub sriru ric ns for all mi nor ch or ds
fou nd in caden rial areas
(b) selection of darker so u nding " flu" keys
(cl lower ressitura
(d) use of bl ue no tes in melodic variations
(e) "dark" colorron es fou nd at melodic cadence poin ts

3. Newbop - bas ed on the style of Ch arli e Parker's rC'\lTirin g of "standards' bur moderar -
ed [0 con fo rm ro a more conrempo rary harmonic/melodic approach .
(.a)extensive usc o f rri ron c su bstitution
(b) extensive use of pa rallel I1-Vs
(c) sym metri c harmoni c rhyth m
(d) lim ired usc of rcwri rren melod ies in a mo derated bebo p style

4 . Po p/ Diaton ic:
(a) extensive u sc o f diaro nic scbsn ru n ons
(b) use of dom in an t sus-t ch ords at all cade ntial areas
(e) selection of bri ghrcr key cente rs
(d) relaxed sj-mmerric harmo nic rh yt hm
(e) use of di atonic slash/c ho rd co ns rrucrion (see T.able of Diaronic Substi tutions, p. 5 1)
(f) use of relaxed, Brh-n ore subdivided rhyt h ms

S. Modal :
(a) use of rcpose /rran smon harmoni c rh ythm
(b) exte nsive use of pedal po int
(c) exren sive usc of th e exotic m orbi chords
(d) use of n ondi aronic slash cho rds

T hese general descrip tio ns will be furt her illus trated and exp lained in subseque nt exam ples.

• 55 •
CHl.PT£ l=l II : REHl.RHON l ZATION

D . HA.RHONIC RHYTHH
This refers to the spee d o f th e occu rrence of the or iginal chor ds - whe re an d how o fren
cho rds occur relarive ro th e pulse of the composition . Th e harmonic rhythm of composi-
tions of m e "standa rd" repert oire based on th e song form usualh- is slow and sym metric.
T he goal of the rewo rking of the harm onic rh ythm is to give it a more dynam ic q uah ~' by
offering: a conrrasr of slow and quick movem en t and by offering a con trast of openness and
d ensi ty. In addi n cn. the resol u tion quality of caden nal areas can be en hanced ~. the judi -
cious use of increased harm oni c rhythm im medi atel y prior to th eir resolu tio n . Th e speed o f
the h..rm onic rhyt h m is in creas ed b~' m e addi tion of chords and is decreased by the deleti on
o f chords o r by th e use of ped al po int. Refer to th e co ncepts of Ikpow and Transuton given in
Volume I of this book.
Murarions of a com positio n 's harm on ic rhyth m art' found at two ar eas:

CA.DE NTlJl..L. 1l.R £A.S

Caden rial areas are sections of a tonal harmonic scheme which sho w an active movemen t
re ward a resolution gO:11. Cadennal areas arc com p rised of cycles. tu rnarounds and cadenc-
es. In addition to having roor mov ements that are diato n ically rela ted and move by fou rths
or fift hs, th eir defin ition is det ermi ned by the functio n and / or modality of the individ ual
chords. The harmo n ic material of cadential areas can be of additional use in rags and
endings - always a problem area for both th e co mposer an d performer.
'l . Cad ences ; Ch ords followin g the fu n ction formula of domina nt to no n-dominan t. The
fo rm ula is rhar of the V-I, IV_V_I and the ub iqui to us 11-\ , -1 with its im plied modality of
Dorian -M ixolydia n-Ionian,
2. Cycles; A gro up of chords having th e same fu nction and/or mo dal ity, or sho";n~ a svm-
merry of fu nction and/ or modality
3 . Tu rnarou nds; A group of chords o f m ixed function/ modality that are organi zed to
resolve to a target starrin~ point, us ually co the starr of a section if nor the begin ni ng of
the composition .

N ON O OENTlA.L 1o.RE A.S

Those areas in a set o f chords where the harm onic rhythm is slowest, usuaJl~· by having o nly
one cho rd for a measure or two . or where there is fo un d a f("\\· passing cho rds that have a
non-functional role.

REHJ<RMONIThTIO N OF CJ<DENT IJ<L J<ROS

Most of the har mo nic COn tent of a ronal based composition is made u p of cade nrial form u-
lasIn addi tion. most of thi s materi al is directly in terchangeable with all com positio ns based
on that syst em. \'(lith t his in mind, it is advantageous to have a n umber of variation s (rehar-
monizarions] of cadennal ma terials at the d ispo sal of th e jazz com poser/im provisor. T he
followin g is a partial listing o f examples of cadential reharrnc nizarions wi rh explanation s of
the process. In addi tion to changed harmonic rh ythm , the techniq ues u sed wi ll inclu de alter-
anons. su bsti tutions . and permutations of the three. By now the stu den t should be abl e to
recognize that rritc ne su bstituti on and some of th e special case ", su bs tiru rions art chro-
marie and only those whi ch ar e n ot of m ost' group s will be po in ted out in t he co m men ts.
Note th at in man y cases the melody note or n otes m ay need to be changed to con form to a
cadenrial r eh armc rn zari o n Th ere is n o harm in doing so and usuall y the end resul t is aesrhe-
ricaBy viable.
A "t arget chord" is u sualh- the firs t chord of a sect ion or of a phrase. It c scallv is identified
by its being th e release po int of a tension/ release cade nce or its being the obj ect of a grou p
of cho rds in a modal tension COntou r.

1. C1o.DEf'lC f S

Th e most bas ic cad en ce is the V-lor ch e more defi ned IV· \ ·-!. Takins: the 1\'·\ '-1 as a skeletal
searnng point, the following example illustrates som e of the above given tech niques.

• 56 •
 SUBSTI TUTE C+lOR DS

Example 2.6a: Ca dentiaI Reharmonizanons

B' IV I V I I
f I f f f f f f f I
1 I Eb I F B' I
2 C-7 I F7 B'~ I
A. Dalt G-9
I 3 [,-"=-- - +--=-=- - c-----::'--'----- --7--- -
G, 7

Rl
F7 BIot.9

N- G" c- F7 BI.t.9

I 6 0'- G" FI- B7 B'~

C- G" F7 B7 B'~

8 I C- F7 FI- B7 Bb,
EI.- 9 F7109 B '~

10 I C. I F719 I B' ~ I
I" I GIo 13 I F719 I B'~ I
112 I F9sus4 I Of F I B'~ I
13 i Eb IF I GI.+ IF ! BI.t. / F I
14 i c-~
I F9sus4 I BI.~9 I
, Ft3 sus4 0-9 G-9

COMME NTS:

1 The bas ic skeletal cadence.

2 The diatonic substitution of the II for the N.
3 Tnrc ne su bstitu tion o f the VII chord for the IV, diato nic su bstitutio n for t he remai ning
tWO, all three ch o rds ha ve alrered mod aliry - the result is a cade n ce to the relati ve m in or
key.
4 Trnon e substitutio n of t he II cho rd wirh alt eration.
S Increased harmonic rh yrhm by the ad di tion of cho rds th rough the usc of 11·\'s.
6 T rirone substitutio n of th e C- F7 (V) ch ords.
7 Upper n eigh bor approach chord ro rh e target F7 and Bioi
B Trirone su bstituted II·\' fo r the V cho rd.
9 Alteration o f th e 1\' chord to mi n or.
10 Alteration of the II ch ord to Aeolian 1.5 (Half-di m inis hed] .
11 Uppe r n eighbor approach chord to th e target v ; with slo wer hannonic rh yt hm.
12 Slower harmonic rhythm by th e usc of pedal point.
13 Mo re usc of pedal poi nt, usc o f a T.\'!" to an altered V to aI/\'.
14 Resolution by the inn er vo ice-led B: in th e C mmor chord to the 8 1. of the F9sus 4 chord.
15 The "Small Fears" cade nce (see pg. 8 1).

Not e the dim inish ed 7t h chor d ou tline of the roo ts of th e first ch ord of th e first four cadenc-
es - thi s illustrates [he use of [hat previously given conc ept.
The above lisrmg co uld be inc reased significandy as could the fol lowing examples. The stu-
de nt. havinf un d ers tood [he roncep t should connnue the procl.'Ss_

• 57 •
CH APTER II: -R£HARMON IZATION

Example 2.6 b: Selected Spelled-Out Versions of the Cade nces

4 6

: j, '

(~ro
8
I ~
dJ

II,
o
o
po
! il'·
,: p~
,.---- 5_

7 12 13
,

I" '", I"ff ,~g'

v
p 0 P<P ,: 1l' ?J tl
"
:
•
I l ,h Ih I
" " .-. v r ,• ,- " e , I '-"

2 . C YCLES

Cycles are a fonn of turnaround; the skeletal form has roots moving in a series of fifths with
chords of all the same modality. The reharmonizarien process is purposely simp le to main-
tain a cycle's modal definition.

Example 2.7: Reharmoniution of Cycles

II I II I I I II I II I II I
, I E9 A13 109 1 GB I C9 I F13
I
2 I B~ 1 3 A'3 I A~13 1
GB I G~ 13 1m
3 I Gj E7 I FI/A7 I F/ 0 7 I El G7 I E~/C7 1 0 j F7
4 IW E I G/A FlfD I F/ G I EI C I H IF
5 I BI E I EjA NO I DIG I GIC I C( F
6 I O/B , I G.' A I CIA~ I F/ G I B~IG~ IW F

7 I E7. 9 l AB 1 0 7;9 1 GB 10 '9 1m

Is I B- 11 E7 I E-11 A7 I A-11 07 I 0 -11 G' 3 I G- ll a I c- u F7 I

19 I F-9 B~13 I B~-9 H 13 I H -9 ";13 I "; -9 0~13 I OH G" 3 , G,-9 c" 3 1
10 I A/B S/E I D~/E~ EJ,/Alo I G IA NO ! B/ O O /F; 1 FIG GIC I A-B BIE I
III I DIE I E' IE I c /o 1 0 ' 10 I "'I C I B;C I
I AID
" II
13
B'E
E7 B~13
I DbIH
I A13 E,7 10 7 A' 13
I B-'O
I G13 Db7
I G'C
10
! AlB
Gb13 I F13 B7
i
14 I B- E7 I F- B, 7 i E- A7 I B'- m I A- 07 IH- Ah7 I

• 58 •
 suesrrrure CH ORDS

CO MMEI'\'T$:
1 A bas ic skel eral cycle of do m inant chords.
2 T rircnc su bst itu tion of the Ist. 3rd and Srh cho rds.
3 Altered modal ity of th e basic cho rds.
4 Alrem a ring change offunction an d modality: Lydian au gmented to su~ chords by slash
chord construction.
S A non-do minant cycle of slash cho rds.
6 The con verse of N .
7 Altered dcminanr cycle.
S Increase ofh.umonic rhyt hm by the use of ll -Vs.
9 As abo ve ....-irh rri ron e substitution.
10 Altern ati ng modal ity/ fu n ction , slash chord construct ion: no te the pattern of bo th the
bass line an d the up per structure triad in al l th e slas h chord examp les.
11 Partial pedal poinr, slower harmonic rhythm.
12 As above wi th d ifferent modality/ function.
13 Added rri to nc sub st ituted app roa ch chord.
14 Use o f Il-vs. shifted harmonic rhy thm.

3. TURN AROU NDS

Th e selection of the skeletal tu rnaround d epends on the ta rget starting chord's roo r place-
m enr relative co the key of the sectio n of the co m position . Most compositions of th e "s ran -
dard" reperto ire sun on a I chord. a III cho rd (diaton ic substi tu tio n of the I), a VI chord or
a II chord. o f course , m ere is rhe possibility cffinding a rune wirh a ch ord's root st.uTing on
a nondiaronic nore bu t upon closer investiga tion it wi ll IikeIr be fo u nd m at it had been
reh arm onized at som e po int before docu mentarian. See the append ix for a partial listing of
tun es and their starring chord roots.

Exa mple 2.8a : Reharmonization of Tumarounds ( Fro m a I Cho rd to a ' Ta rget Chord )

c II IVI I" Iv ] I (u.'l!e~) I

II I II I II I II I II I I I
1 Ie I A- I0 - I G7 Ie
2 I E- 7 I A- ' I0 -' I G13 C..
3 I E7I9 I A7~' I D7f9 I G7it9 a9
4 I Bb13 I, A13 Ab13 I G13 1m
5 I F-' B" 13 I E- 9 An I Eb- 9 Ab13 I0- ' G13 1m
6 I F-9 Bb13 I Bb- E>7 Eb- 9 Ab13 I Ab- ' O~13 [ css
7 i 6- 9 E13 I E- ' A13 A- ' 01 3 I Ab- ' o b13 [ css
8 i F~ - 9 613 1 6H Eb 13 I Eb- 9 Ab13 I AH Db13 la '
i' I F13 Bioi I An Eb7 013 Ab13 I G13 0 >7 a'
10 I 6- ' En I 6~- Eb7 A- ' 07 I A~- Db7 C..

" Ia F9 I E- 7 A7 I A- ' 07 I Ab- Db7 1m

I" I
(;
I Eb9sus4 I A~" 1 0 ..6 , Ia 6, ,

COMME NTS:

1 The basic skeletal I·VI-II·V turnarou nd.

::?: Diaronic subsrirunon of a III for the I chord - all ro ots in 5ths.
3 Altered modality of No. 2 above in a bl u es/urbane style.
4 Tritone substitution of the III an d II chords.
• 59 •
 CH ~PTER II: REH ~RMON lZATIO N

5 Increase o f th e har monic rhythm of t he above br the us c of Il-Vs - this an d the ncxr (6)
are in a bebop s tyle.
6 Tnrone subsricunon of the IJ-Vs of me asures 2 and 4 above.
7 li se ofll-Vs and rriron e subs titution.
S A vari a tion of th e previous exa mple.
9 The F cho rd h as dom inant fun ctio n to the Bh7 rriro nc s ubs titution approa ch chord to
the A 13 ; th e rem ain mg ba rs conrinue t he process.
10 An othe r var ia tion on s wit h the us e ofll-Vs an d rrir onc su bsrirurio n.
11 O ne m ore va riatio n
12 Slower ha rmoni c rh yt hm in a moda l Style, chromatic subs titurio ns .

Example 2.8b : Appl ication of Metho ds to " I Can 't Get Sta rt ed" (ms. 6-8 )

•,
I
•

@(.
u
if'
<>
t
• ~~
•
I ,~ .,• ~, • i .1
•,
". .: ~:
.
"
i
I,
.. I I
I
,
, <> I "0

.
.,
A ,
- , , , ,

2.
I
j
I ~
<>
I ", ,
p

, ,
: e (; Q
, t.<: !5 ,
, T

•
,
, ,- , ,
-
:=-;;;-,. • ' p> .

,f'] i
,
" I , 9 .. •,
I ' b,
3. I
Wop I ~:
il , , , ,- ,
j'
, ~t ,
II: '
[J ;,: : Ii:
;
• ,

A , , ,
•1 , DP ' • : -J1-'- t;>.. "
•
[I
;
4. I
I ! I
: . • - J

, •
fJ .
• , I
I

COMME NTS:

, Stock t urnarou n d, ta rget Ili c ho rd a pp ro ac h ed by an u p p er n eighbo r n-no nc

subsriruno n .
2 Alrcra uon s in a blues/ u rba ne sty le.
3 In creased ha rm onic rhythm by the addit ion of Il-Vs.
4 Pa rallel Il-Vs - bcboppish in Style.
• 60 •
 SU B ST ITUTE CHORDS

Examp le 2.Sc: From a r Chord to a Target II Chord

c ! (VII) I III
.I I II I II I II I II I I I
, lc I E- 0-

1F7 I E-7 10 - '

3 I FI- 9 I B7 I E- I A7 10- 7 I
4 I e. I A13 I Em I A13 0- 11

5 I e. I F9 I B~ 1 3 I E~ 13 10- 9

6 I Flo I 67'9 I B~719 I E~9sus G9sus

7 l e 13 I A~/ B7 I B~ 13 IA9sus G9sl.ls

B I G- C7 I BH E~ 13
I F- B~ 7 I B~- m 0 -1 1

9 FI- B' I e - F7 B- E' I E- A7 1 0-9

10 Al B I A~ IB GIA I G~/A I Fl O
Example 2.Sd: Application of Meth od s (0 " Body and Soul" (ms. 6· S)

A- 9 D -9 G7 CA

I", . , -
Ta rs er: 11-(9 /11 )

r~ <>
" if'
I ;?P
1. i
I I
-.
I I 1

Q
i u

• ,
~.

,J • ... . -~"- iII'

I I I I"
2. 1 '
i , I , lh
,
p.
, i.• !
I'

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,. I
i ua ' i
, , , ,
-,
~

,
3.
,
,
,
,
I' I
Q

, Ie
,
, , 0

CO MHENTS (ThBLE a.eei.

1 The bas ic turnarou nd.
2 Added d omina n t upp er app roach cho rd to the targ et III chord. also the cri ro nc
substitution of th e do m inant VII chord.
3 Trirone subs tituti on a nd alteratio n of the I ch or d. also the II chord of a u -v to the
target III chord - bebop style.
• 61 •
C+-IJIPTER It : RE+-I JlRHO NIZJo.TlO N

4
Altered m odality.
5
Tnronc substiru ncn and alte ration o f th e III and VJ chords.
More substitution s and alterations - Mingus/bl ues/ pop .
6
7
Another variat ion of =6.
Increased harm onic rhythm by- th e u se of Il-Vs, rh e G ~ 7 is an up per neighbor ap pro ach
S
ch ord to the target F mi nor. .
9 A IJ·\ ' an d alt ered version of ='3.
10 Use of ped al po int to slow me harm onic rhy thm.

COMMEN TS (E X.ll.MPLE z.ac. -S O D Y .ll.N D SOUL" ):

1 The sto rk variation with a criron e su b ap proach chord to the JIJ cho rd in ms. 8.
2 Add ed h armonic rhyth m, blues/ bop in style.
3 Sim ple chromatic bass line, bl ues Style alterations.

Example 2 .81": From a Mino r I Chord to a Target Mino r I Cho rd

F- I I VI II V

I I II I II I II I
1 F-9 I Do G13 I Call
2 F- 9 I Ab13 Galt I Call
3 I F- 9 I Ab13 Db, G~ 13

4 F- 9 I Da il G0~2 Ca lt
5 I F- 9 I Eb 69 I N 69 IC7 ~9

6 I F- 9 I Eb- Ab7 I Ab- Db? I Db- Gb?

? F-9 I Ab/ B? i Bb13 IA9s us
8 C_7 b6 1 ( -9 C!l.15 I Bb13 sus4
CO MME NTS:

1 Th e basic turnaround.
2 T rironc su bstitution of rhe VI ch ord . alr crario ns.
3 Alterations and rrir on e su bstitution for the II-\' cadence.
4 Alrerarions in che M ingus /b lues style.
S A pop/ b lues style. i.e.. "Hi r The Road Jack."
6 In creas ed harm onic rhyt h m , closer to a be bop style.
7 Obscure m od al variation.
8 A modal/ pedal point variation .

Turn arounds and cycles are of extr eme im portan ce for both rhc com poser and th e im pro vi-
so r: a thorough unde rsranding of their co nstructio n , voice-leading and functi on is a to p
priority in th e learning process.Jr has bee n srared (by Kenny Wern er) th at knowled ge of, and
th e abiliry to im provise over rumarou nds will as sure t he asp iring jazz artist "gigs galore."

• 62 •
 SUBSTITUTE SYMMETRIC PATTERNS

This is a rnc rh od of reh annonizing a caden rial or turnaround area by s ubs nruring all of the
roots of the origi nal with those rhar are derived from a crcared symmetri c pattern. The goal s
rhar are usually m et are that th e subs titu ted gro up resolve to the tar get ch ord in the sam e
cadennal man ner as me original an d chat the stMti n~ chord 's root be me
sam e. T her e is
quite an increase in harmonic rhyth m with th is tech ni qu e so experi m en ta tion m us t be d one
un til the resulting number of chords works wi th the specified te mpo. o f cou rse, rhis tech-
ni que will require that the melod y be Altered , recom po sed or even d eleted for that section.
Subsriru rc symmetric pattern s can be of m usical use at final endings or codas where there is
alWd~'S th e problem of red un dancy at the leas t, and ind ecision at the mosr. And in so me
cases, wh ere me panern is lon ~ en o ug h. on e could subs titu te an enti re section , usually the
b ridge, wi rh svm merri c materi al.
This me thod is m os t represen ted b~' the rdu nnonizarion efforts of Joh n Co lrrane, Joe
Hen derson and Jerry Bergonzi and because of rhe intrinsic qualities of symme (~·. th e
. . and ....-irh cau ti on.
method sh oul d be used on lv occasionallv
There ar t' two methods of creanng sym metric patte rns for use as su bs titu te roocs in cade n-
ces an d turnarounds . A simple. yet effective m eth od is to merely set u p ta rget pitch tonali -
ties th at symmetrically divi de th e oc rave, then add cade n tial material that defines the target
tonalities. The (\\'0 consideranons to be m ad e are th e resulting harmon ic rh yt hm and ove r-
all direction of th e targer ton ality p itches. For instance, yo u can divide the octave in an
u pward or d own ward direcr ion the foUo wi ng ways:
Symmetric Divisio n To nal Centers Measures
~4 . rrirc ne 2 2-4
M3. augmen ted 3 2-4
m3, d im inished 4 4-8
M2. wholerone 6 4-1 2
m 2, chrom atic 12 6-24

The fewer to nal centers involved the less de nse the harmonic rhythm and num ber of m ea-
s ur es, and the more sim ilar the new m ate rial wi ll be in fu ncti on to th e origin al. Selection of
the octave divi sion will depend on th e numbe r o f me asures to be reharmo nize d an d the
nu mber of chords to be included in the skeletal ha rmonic rhyt hm . Having establ ish ed the
skeletal material, the next st ep is to add m aterial to chan ge th e harm oni c rh ythm. change
m odalities. or to reharmonize as in previous examples tel meer a style goal.
For a mo re co mpreh en sive app roa ch to cre ating sym me tri c patterns, refer to Chapter XlII.
p.9S of Volume 1 of rhis book.

Exa mple 2. 9a: Su bstitute Symmet ric Patterns

Tor ~ ti"~i>cm (mw~) ofti1r otUvt, ~"" does II« 4fra tiK muIr. 11n1u '" U1r>CW rwo to fuur b.n nJ.mpk,
th.;r u-:J br " p»d fi.....! mti'ng

COMMons:

1 T he skeletal turnaround ....'ith its two tonal centers an d basic dom inan t chord s.
2 At: increase of harmonic rhythm by ad ding the II chords of the \ 7J..

• 63 •
 CHlIPT€R It R€ HlIRMONIZ.lITlON

Exam ple 2.9 b: Augme nte d Upwa n:l

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:

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2
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b

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p.
60: •
•
, 0
I

T he th ree-parr division of th e octave (au gm ented). T he use of th is d ivision of rh c octave is

fou nd in man)' reharmo nizarions due [0 its extensive usc by. a nd s ubseq uent in flu en ce of
John Co ltr a ne .

COMMENTS :

, Key centers establishe d by the skel etal pa ttern.

2 Added II- V ca dences .

Exam ple 2 .9c: Augme nted Downwa rd

,
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e
e
2

-.-
I
-
,

.
,
",
,
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'f · t. ' :-
•
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,~

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CO MMENTS :

1 Ke)' centers esta blis he d by the skeletal pa ttern .

2 Add ed II-V cad en ces.

Exam ple 2 .9 d; Diminis hed Dow nwa rd

,
0 ~O
P pe
G
2
, ,
-f'

• • •
()

• 64 •
 SUB STITUTE SYMMETRIC PATTERNS

COHHENTS:

1 K~' centers establish ed by the s keletal pattern.

2 Add ed II- V caden ces.

Examp le 2.ge: Diminished Upwa.rd

(I
Ii
PO

• , , , , , , ,

, .I
" l> "
---,..
~" :. • Ii'
!
, , I I
V' (. ,; ; ..
' :
I'·
!
•• ,i i
• • a
• !
(I
!
• ne

CO HHENTS:

1 Key centers establishe d br the skeletal pattern.

2 Added II-V caden ces.

The fou r-part divisio n (d imi m sh ed) can get quite active wi th rhe increas e of h ar mo nic
rh yth m.
A5 m ention ed be fore. on e sho uld be carefu l when working wnh sym m etry , as it can sou nd
conrrivial with over -use .
The above exam ples bei ng s keletal co uld be further reharmonized by changed m odality, tri-
rene substirunon. or by inc reasi n g the harmonic rh yth m wi rh the add it ion of m ore II-\'s o r
by slowing it dO""%1 wirh the use of pedal point, o r use of an )' o f the tech ni ques that were
demonstrated in p revio us exampl es.

• 65 •
C+-I APT£-R II : -RE+-IA-RM O ~IZATlOr-l

CHANGING THE HARMONIC RHYTHM Of" NO N-

CADENTIAL AREAS

As stated ead ier, this is the changing of the harm on ic rhyth m by the addi tion or d eletion of
chords in the ar eas of a to nal-bas ed composition th at are nor defin ed as cad enrial. T hese
areas can be o ne or rwo m easu res of the same chord or areas wh ere th ere is par allel ch ord
movemen t coward a target chord or section. De pen di ng on the te m po of the co m position,
the techn ique for in creasin g the harmo nic rh yth m can in clu de the sim ple addition o f a
chord immediately p rior co a targ rr chord to t he add in g of as many as eight chords to a
m eas ure (in 4/ 4 tim e). Also of u se is the addition of cycles an d cad ence s. The slowing of the
harmo nic rhy thm is acco mp lished by eith er deleting chords or b~' the usc of pedal-poin t .
Arranger/ composer Gil Evan s use d these techniq ues extensively, as a bi t o f listeni ng to hi s
wor ks will reveal Th e rhvr hm section team of Herbie Hancock and Ron Carter while with
M iles DaVIS also us ed this techniq ue often whe n perfor m ing "standa rd s" although to a les-
ser deg ree th an Gil

THE TECHNIQUES:
The sim plesr change in harmonic rh ythm is to ad d a ch ord im m ediately pri or to a m rget
ch ord. These rarget-seeking chord s are called approach ch ords.
Approach cho rds can n um ber more than one an d are often used in gro up s of rwo or th ree
d ependi ng on the te m po of rhe co m positi on. T he use of m or e than three ch or ds fo und prior
to rh e target cho rd p roduces the perceived effect of bei ng parallel "added chor ds ."

In ad diri on, ap proach an d ad ded ch ords us ual ly are o f rhe duration of a ha lf no te or less
d ependent upon tem po. The roo t select ion of che added chord(s) is de termined by t he
m elod ic quality of th e bass line; the desire to ad here to the m odality (di aronicism) of the
phrase or section or the des ire to usc free-for m chromaticism. If one ch ooses to ins ert a cycle
or cade nce, th e root mo vement is p redetermined as skips of a fifth or four th.

Example 2.' Oa: Added Harm onic Rhyth m (" I'm Geu ing Sentimental Over You," ms. ' -5)

k/) (.
<! m
E'

E ~~ 9
0
0
I ~
D6
,.

A-9 D13
-
0
.l r v-
D~ 6

G ", ~2
0
,

" ~" "

C7

G - l1 C,
h"
F7

•
F13
oli' •

.
I ED6 9 ( -9 Bv- 9 A -11 Ap13: 11 G e ~2 G-l1 Ci ~ 4 ( -9 F13

2 r7)' (. il a

I
E:;;. Q 1m 0 ; ?; 12
I
"
Ep~ Da le ( -9 B~- 9 Ao Dalt G alt D ~13 C13s us G~13 F13sus

3 ~

Ap13 G 7 ~ S D~ 13 F13;4
E' C-9
,
Bp13 A-9 Da lt G ail Calt

4
~#, ".- •
;~ ; :,2 0
0
0
.. 0

A - 11 D 7 P9 G 7 ~ 5 Del Bsus C9su s B- 11 Bp13 Ao A~- 9 D p13 G - 11 C7 ~ 4 ( -9 F13

5 5h · 0
• ;. "- -. ;. 0 i,e: ;6 , '? 0
0

"
• 66 •
 CH .lo NG1NG TH E H .loR MO N1C RHYTHM OF NON-C.loDE NT I.loL .loRE"loS

'V:rith the above in m ind, one could app roa ch the target ch or d by eithe r a hal f or whole step
above the target (upper neighbor). or a half or whole ste p below the target (lower neighbor).
The select ion of the ap proa ch chord 's modal ity d epe nds on the n eed to define cho rd fun c-
tion, maintain a homo geneous m odal con to ur or jus t to san sfv one's perso nal preferen ce. In
m ost cases an approach ch ord 's m odality will be th e sam e as that of th e target chord.
For subs equent example s the term o rigin al will be used to refer to th e ch ord s that are pre-
sum ed to be th e com poser's; th e te rm stock w ilt be used to m ean the ch ords that arc foun d
in "fake boo ks" an d co m mo n pr actice performances.

CO MMENTS (EXll.MPLE 2.100 ):

Th e o riginal D6 and C7 made into a II -V, rri rone substitution of th e Db6 with a modal
alterati on.
2 Two added approac h chords of the sam e mo dality j ust pri or co th e firs t targe t cho rd
A- l l , an added u pper n eigh bo r (rriron e subsri rurio njc hord prio r to the G half-di m in-
ished ta rget ch ord.
3 One mo re ad d ed cho rd, D Altered , co m pleti ng th e gro up of app ro ach chords to mea -
su re 2; the use of the D. G Altered, th e added upper n eighbor D~1 3 and Glo B p ut this
version in a "bl ues/urbane " sty le.
4 Starri ng with rhe diaton ic subsnrurion of a C m in or for the p revious Ao ch ord. rh e
approa ch ch ords n ow have a n ew target. The Ab7 act s as an u pper neighbor to the G7
in addition to being a rriron e of th e Ab ch ord of th e pr evio us versio n; th e G7 [ 0 Db13 is
an added cycle to the target C-9; the B~ 7 is an upper ne ighbor to the A~9 with th e
remai ning chords a dominant cycle ro th e prim ary targe r F ch ord in a b op(blu es style.
5 The final version is in a qu asi-m odal style with the alte rati on of t he C- 9 to a C9sus4 an d
[he addition of th e B- 1!. Measures 3 an d 4 sh ow the us c of parallel II-Vs in a bebop
style. Note rhe overall di ato nic relat ion sh ip of rhe bass m elod ies of each versio n to Eb
Ionian. the song's key. :\150 , th e bass mel ody mo ving in gen eral ly co m rary m o tion dra-
mancally increases the tens ion until resolved by the target ch ord

Exa mp le 2. 1 Db: Spelled-Out Examples of Versions No .4 and No .5 of Example 2.10.a

•
Pj O. •I i •
I • eu
4
h

O. I I I
I

5
"ii -"
•
•
See pg. 118 "Semi-Mental."
T hose who have played "Yesterd ays" know of the problem area of me asures 5-8 where the
harmonic rh y.hm is wry slow as co m pared to th e melodic rhyth m. Th e following sh ows rwo
ways to resolve th at problem.

• 67 •
CHAPTER II: REHARHON fZATIQN

Examp le 2 .10c: "Yesterdays" (ms. S·S , sp elled o ut ) byJerom e Kern

2 3 4
Origina l: D- G
••, I
E7

r63' • ..• ;J:. ,I. ,

:: " ,.;: -------!-i" ;:' t . •
()

: .
~l
~
I 0 ~;.
0

,
§§. • P. • :: "
~ ., • I'· :• (I ..
I •
I
Ii _

I
:'
u

Re ha rea.: D- c}..- (- 11 .", B~-9 A-' A~ 9 G -l1 F9 sus E9 5US

CO HHE NTS:

1 & 2: Parallel ch or ds o f the sa m e m odahw as the first in me bass m elody in contrary

m erion to the m ain mel od y. The B a hacts as a dom inant chord to the urget B~-9 .
3 & 4 : The F9sus4 is a rri ron e su bs n ru non of th e Be . wirh a ch ang e in modalirv; it als o is
an uppe r ncishbor dominant ch ord to the E9sus4 urget.

Examp le 2.1 0d : "Yesterd ays" (ms. 5-9 , spelled out) by Jerome Kem

5 6 7 8 ,
D' ,
BaIt
,
F9su s E9s us
• •

r: : lie ~~ ;:"!'r : ~. ~
• •
I
t?$' :; g" i
F ' 0I "I
•

CO MMENTS :

5 & 6: Harm onized by two-not e melo dy gro u pin gs wi rh pa rallel Lyd ian au gm ented
ch ords, th e Style is co ntem po rary-modal. T he second half of the phrase is the sam e as
the previous example.

In Examp le 2_11a (next page). notice that th e selected subsriru rion s for m e original B~ are
from the previously m en tioned "special C35(''' Ci ch ord: S·O-F-Ab. T he sclccred subs titu te!'
ar c then p ur over the dominant Bb peda l poinr producing an in creasing tension that will
ultim ately be resolved when the Bb becomes an E~. Part II is of slower harmonic rhvrh m -
alrh ouph t here is no melodic movem ent in the bass part, the upper str u ctures do affect th e
overall harmonic ten sion/ rhyt hm.
In Exam ple 2. 1 1 ~ (I) the selected pedal poin : is the tonic and has a lesser n eed for a bass
melodic resolu n cn and tend s to be sligh tly mo re relaxed man pa..-r Il. Notice that the origi-
nal an d the su bsti ru red ch ords in th e las t measure ar e diato ni cally in com m on wnh Ab
m elod ic minor (_"'~ Dorian 7). The chord in measu re 2 of II is derived from harmonic m ajor
(Io nian 1>6) for thos e no t ha\i ng studi ed Vol. I of th i~ text.
Before £o inf: on ro the final gr oup of rehum on iz.a tion techniques. we will look Olr an
example whi ch includ es vari ous versions of a complete com pos ition that utilizes all of th e
methods discussed previ ousl y.

• 68 •
 CH A.N G ING HIE HA+:lMO NIC RH YTHM or t-lON <:ADENTIAt.. A+:lO S
Examp le 2 ,11 : Slowed Ha rm onic Rhythm , Excerpt from "Night and Day" b y Cole Porter

• •r .- - 7- -, E.'
¥; (.
','
iJ.
j
01 ;0-
,
-., b . 0;- 0 _ 0 I
(a) FOIBp G / B~ 0 / 6.. E ~~ 9/B~
•
,

" ,- ., PPo
I
I
"
,
I
:
- ,

( b) Be. Ph ,»!,a n Ept.9/ 6p

,

.' I",-<
,

' ~-"
" ~ -_

,
-~
-.:fr u _u
!
' I, I, I
: ,
0 0 ,
! p. '

Slo u,~d b4rmo" ir rhythm ~' tbf IISf O[ l' fd4ll'0m: (see pg. 120 and PS' 80).

Example 2.12: Excerpt from " Danci ng In Th e Da rk" by Diera a nd Schwa rtz

E., ,-, F"U

. •-:
,

# ;%;:;;-:-E J 72
'"
(a l
'

E~~ ; 4
; ~
•• • ; 0 _
-- i
.; P.
D/ E;'
,
;=
:-

F - 9/ E~
!
D ~13 : 11 /E ~
II _

•
I ,., ..
,
.J ~
I VI
I
~
I ,1
I,n
be
:
,,I ' , , ,,' , • p, ' , po ' , , ,
•
V "I
0 0
V I V I V I V "I V I V I V
(b) 6:>6(11 ) 6~t.~6 BC.13sus Bp Phryg,an il6

'"
..
:
, , I ! I' b....
, I , I , , , , ,
Slowcd bsnnonic rlrylh", ~- thc USf o.Fpcd.zJ pomt.

• 69 •
CH APTER II: REH ARHONIZATION

"Autu m n Leaves" is an ap pro pn ate first example in that its harmon ic construct ion includes
exten sive us e of cycles and tu rn aroun ds. Add itionally, ir is a very po pu lar harm onic fo rm u-
la am ong im p ro viso rs. com posers and the lis tening pu blic. T here are m any recorded ver-
sions of the tu nc; the m ost sophisricared is prob ab ly by M iles Davis. The harm on ic ma teria l
seem s to have tics to fol k music, prob ably of South ,""'estern Eu ro pea n so u rce. Refer to [h e
"T heme From M.A.s. H." and "Euro pa" (Gam Ba rbieri ] for other songs based on the ch ords
o f ~ Aurum n Leaves."
Exa mple 2.13a: "Aut umn leaves," b y Kosrna/ Preverr [ Reharrno nizario n Table)

B. A sections

Style / / / / 1/ / / / 1/ / / / / / / / 1/ / / / 1/ / / / / / // 1/ / / /
Ic- I",
Stock
I" '" ,,- ,lA' I G-
07 G-9

Bop c- Gb13 !P, B7 IBb.1. E7 ", M 1

ni 07 Ab7 G-9 Ga it

2 I Bop 0 1.- Gbi Ic- F7 B- E7

;
!B~ - Hi lA' Eb13 o sos Ab: 3 G-9 Gail

3 Pop IGb9sus IF9sus Esus IAsus l o sus IGsu~ G" Obl us

4 Modal F9su, 10 / F b us IAsu, 10 Phrygian I ;/. n Aeol,an ;/.

Bridge
I
Stock A, 107 G- 107 c- !Fi Bbt. I n t.

1 Pop n? ~ l l I 0 9sus Db9su, Ics ,«, G ~ 13;1 1 F9sus E9su~ t A9sus

2 I
Mo dal 0 Pt" nian ;/. D Aeol'an
I
;/. F~u s
I
;/. f 9sus I ;/.
3 IModal FI Do r 15 G oc- rs Oa lt I Dh us fait f bsu5 0." IDalt~6
4 Blues lA' f bi I Dalt Ab13 Ga lt I IC-
Dbalt G~1 3 p,#9 6 13 B~t. E7 I",
5 Bop 1,,- f bi A.- 07 ,,- Db? IG- 0 C- " I FI - B? I", E7 I",
IC secti ons
Srock lAo 07 IG- C7 ,- 6~7 Ine 10 7 G- G-

1 Pop H 9sus D9 sus IC9sus ;/. Eb9sus o s scs c s sos ;/.

I
2 Modal j H 9sus D Phrygian IC95US Bbt. IBh us Asus A~ 1 3#11 Ao Dalt G- ' Galt

3 Pop IAal[ IDah I '-9 IF9susB-9 Eb9sm u ses D7~ 9 C9sus

I
4 Bop ,,- m A- 0 7 [c- Ca lt I E? B- ef- A- 07 G- C7 IAb- O
"
5 Bop E ~9su5 A- 07 I Ca lt
G- r- B"a lt Ek us
'" I A- 07 10-9 Galt

The co m men ts for th e above an d subsequent examples will includ e only th e m ost salient as
bv now the reader win ha ve become qu ite fam iliar with the te chniques.

CO MMENTS:

A SECTIONS:

1. The use of the G altered in rh c turnaround of version 2 provides a stro ng dominanr

fun ction to the II m inor srarnng ch ord.
2 Version three wit h its parallel II-\ 's is a popu lar one among the bcboppers an d is hearc!
ofte n at concerts an d "[ams."
3. The us e of sus-t, Ph ry'g-ian and Aeolian chords in slow harmonic rh yt hm , as well as [he
USl' of ped al p oi nt, easily de fines version 5 as a m odal reh arm on izarion .

• 70 •
 C H;b,NG ING THE HA,RMONI C -miYTHM OF NON-C;b,OENTI1l.L., A,RE1I.S

B ridg e sec t io ns:

1. Version three provides an affecti ve balance to a "busy" bop version such as version 3
ab ove. with the usc of pedal point and m od al chords .
2. Version 4 is of interest due to rhc use o f chord s from th e unusual source, m elodic mino r
$5 (Dorian : 5 &: alrere d ~6 ) .

Example 2.13b: " Aut umn leaves" (Illustrat ing a Combination of Ma ny of me Abov e Given Rehanno nizari on Tec hn iq ues)

( -7 G ~7 F13sus 613sus B"6. ~ 5 E9s us EPA : 5

)rbe :r :•
I I

~ .------ O.
I "~ :r . .•
: ,~ : • !
j

,~: U
P.
•

~
I' I
I " I::- I
d
Ev9su s D9 su s D' D<>1 3sus C 9 sus G9 sus G~,
, oP-9 G..13 C -;' F13

);, "r ~
I
.
p -e
I·f -
I
"""I.
'I

• • ,
B-' Bb-7
, E, 7 Ao Ep9 s us D9sus Dalt
I
G-'
-
:': • ~

I, I boP= 11
-i
D ~13 sus
. . Dalt
, , Ealt Ev9sus
,
,
•
r ~
,
,- , I

Ii "
··
I ..
r

,b.. I ,"'- I, bn
,
Dalt ll6 C7 ~ 11
. D9s us
, , , B'- 11 E"13; l1 D 9sus
, , Dalt
G-9
, , ,
F- 13 8;'13
,

-
I r

, .,
..-
,

1, I"
,J
I I I I , I
r ~o I, l I
,, ·· , , :;J5
I
~ •
,
; 116
, Ii

E..13sus D9sus Dalt D;'9s us Galt G;'13sus F13s us

, I

~, " - p p Ii
,I
p ..
l~
I
I I I
. I

0
,
PO 0
=
'C~, 19~' b,- Enocn& C~ .. ~
~ Cop..onp, '!I S<' br
Ed........ Ma_ 6m0l1. " _ " ; r." ~n<!

• 71 •
CH l. PT Et? II; R€Hl.RI1 0N IZ z..TlO N

It is su ggested to the playen r e adin~ this book t ha t for thi s an d other mulri-vcrsione d rehar-
rnonizarions char a pe rfo rmance in clu de a di fferent vers ion for each chorus. As an exam pl e,
the au thor uses th e follov.mg format when per fo rm ing th e tu nc:
[AlJ version 2. (A1J version 3, [BJ version 3 and/o r versio n 4, [C] version 2 an d/o r ver-
sion 3

Of course, alternating d uring the "b lowi ng' choruses is also suggested.

COMMENTS ;

ASEcnON
Bars 1-4 : A combi narion of me reharmonizario ns No.1 and 3 found in Exampl e 2.13.1
Wove. The ind us ion o f the Lydian augmented ch or ds gives it a contrmporur modal
sound as well.
Bars 5-8: like 1-4, a combinati on o f versio ns 1 and 3 above.
Bars 9-12: A bit more bop-like wirh the included II·V$.
Bars 13 -16 : Similar to reh arm oruzarion of version 2 from above..

TH E BRIDGE

Bars 1 7-20: Spelled-cur example of version 3 abov e.

Bars 2 1-24: Conti nuation o f versio n 3 above,

C SECTl ON
Bars 25-28; Like version 5 from Exam ple 2. 13a
Bars 29-32 ; Co n rin ua no n of vetsion 5.

• 72 •
ARRANG ING TECH NIQUES

In additio n to changin f: th e chords, harmonic rhythm and mel od y o f a preexisting co m-

posi tion to meet our cr eanve goals, a number of methods can be applied mat fall with in the
category 0:arranging reebniq ues,

CH 1<NGE OF KEY
An often overlooked b ut effective modification o f a "standard" is to simply pur it in a key
that is rarely used for that particula r song_In most cases, wha t is referre d to as the original
key of a sons di ffers from the origi nal since it is ra re- to have access [ 0 ori gin al documen ta-
tion of the sou rce "standa rd " wheth er in written or reco rded fo rm. A good example is chc
composit ion "Stella Bj-Starlight." "Stella," a beautiful although over-played jazz stand ard is
the mai n musical theme of the movie Thr Uninrued. T he original version. quite differen t
fro m the fam iliar jazz version , is a rhapsodic, roman tic theme in the key of D major. Most
jazz performers play "Stella" in the key of Bb major. The change of key was most likely due
to th e d esire to put it in a key that works well for trumpet an d tenor saxo phone. bo th 51,
keyed insrrumenrs. Since co ncert Bb is m e wrtrten key of C fo r tru m pe t and tenor sax. the
new key cho ice is probably related to a desire [0 ease the improvisanon difficulties of what
can be a difficult tune in an y key.
Rath er than change the kcy to accommodate an y perceived Instrumental problems, attain -
ing a fresh ness of so und or a sense of an improveme nt o f the o rigin al sho u ld be the prim ary
purpose fo r a key change. When selecti ng a new key, consider the following:

BRIGHTNESS/DARK NES S
Although open to dis cussion , man y respond to t he the sharp keys as bein g b right-soundi ng
with th e flat keys so und ing dark T here may be some validity to thi s pe rceptio n with
stri nged instrume n ts but it best to ma ke your 0"" judgmenr by experimentation.

TESSITURA
"Tessiru ra" denotes m e general placement of the range of the sons wirhin the grand staff.
this has a cleare r effect on th e- b righ t to da rk qualiey of a rune d ue to the laws of acoustics.
If the selecte d new kC}' places the overall range o f the tunc much lower or hi gher than it was.
it affects ho w the fun damental o f each cho rd is perceived whi ch subsequen tly affectS m e
sonority of each chord (see Vol. 1 appendix )

STYL.E
Select a key that en h ance s the stylis tic qualiti es of th e rcharmoniza tion: a ligh ter, higher.
brigh ter key for a pop style; a lower. darker key for the Mingus/urbane s::ylc. You will find
[h at [he key choices mat work well for the Mingus/u rbane are Bb, Db. Eb and Gb with C. D,
E, F, G and A for a lighter style.

INSTRUHENThTION
If you are reharmonizing for a specific ins tru ment. consider the sound characteristi cs of th at
instrumen t by regist er and select the kq ' rhar bes c sati sfies tha t goal. Th at the kevs of Bb and
Db tend to sou nd dark an d warm on ten or sax mar be a partial explanation for the use of
those keys with the urbane style.
All of the above bein g subjective. the besr app roocb is again - experimen tation. Plar th e
alread y rcharrnonized chords in various keys keeping rhc stylist ic goal in mind. If rh cre is n o
strong stylistic goal. stan br selecti ng a krl" that is opposite in q ua lity from the reference key.
If th e reference key is dark and IQW 35 in Bb m inor, t~ ' E or F; minor. If the original ker is
Elo or F maj or, trr A or B major. A~ an example, the autho r, tired of playin g "The Girl From
Impancma " in F major at as ehe us ual mediu m paced bo ssa nova put it in B majo r to be per-
formed vel')' fasr in a swing style. the result was a renewe d an d exctring so und. T he new chord
voicings took on a refresh ing brigh tness due to the chan ge of ressuu ra, particularl y the !:J.6,'9
an d su s':: chord s. The bridge, now in C major also rook on a who le new quality.

• 73 •
CH APTEt:! II : REHA RMQ t-llZJ.TIQN

HO D ULA,TION
Th is term den ores chc changin!; of th e key of a section or all of a composition wit hin irs
arrange ment. Mod ularion can provide a dramati c effecr if the new kt:1s j arc bnghrer an d/or
higher than th e starting key. It is common [0 find a mod ulation up a who le ro ue or a third
for the lasr cho rus of an arran geme nt. Nor as co mm on. bur recommended is mechan ging
of th e kel'~' section: the first key AAB, with a higher key 12St A Or p ur rhe bridge (B) in a
d ifferent key: first key M. new key B. first key .A.. The re are so many possible variations of
the use of modulatio n you must again - experimen t-

RHYTHHIC STYL£fT£HPO/HET£R
Anoth er non-harmon ic/non-melod ic varia tion char can be mad e is to change the rhythmic
style of the original version. Thi s can be a chan ge in the tempo, th e meter and/o r the in tend-
ed performance style (swing, bossa nova. Afro/ u tin). A chang e of tempo is th e sim plest to
accomp lish: playing what is normally an up-tempo as a slow ballad . Or both a change in
tempo and seyle: a slow bolero played as a vet)· fast s"~ ng ru ne. Lastly, changin ~ the meter
can be an affective means of creacin;:: a "fresh" version of a "ti red" overdone stan dard, Trl'
cha ngins a 4/4 swing rune to 3/ 4, 6/ S or rhe mo re exotic 10/ 8, 7/ 4 or 11/ 8. Of course you
m ust consi der th e chan ge in harmonic and melodic rhyth m as a result of th e changed meter.
Even mo re exotic is the changing of th e meter b;o' sections: AA 4/ 4. B 7/4 , _A,. 4/4 . The pos si-
bilities are extensive - so imagine and experiment!

FORHITI HaRE
These two are the last items to inveseigare to complete th e p roject ro a finished end-produ ce.
wharevcr the for m of th e original sou rce material (most will be song form M BA). the
ad ding of extra sections will allow the composer to exp ress his/ her most personal creative
ab ilities as th e new material wilt be mo st or iginal to th e co mposer. Cons ider adding to the
basic form an int rod uctio n, a coda. interim linking sections with in rhe arran gemenTan d
totally new unrelated sections if desired. T he new sections can be based on th e original
SOUTce material or complet ely new.
TImbre refers to inscrumem selection for the ulti mat e performance. Scoring. orchesrrano n
or insrrumen raricn sho uld be considered in tan dem with style, rempo and key selections ; all
combined together toward an end-p rod uct. Otches rration is beyond the scope of th is boo k
and It is assum ed that th e general reader has some background study in insrru mentation. If
nor consu lt the recommend ed readings at the end of th e chapter.
At this point , muc h in formation has been presented which can be ap plied to the task of a
rcharmonizatio n project. Realize that not all the techniques will be used at one time bu t all
cert ainly sho uld be cons idered.
Th e 101.<;( subject of chis cha pter is the reworking of the melod y of the original source song.
Melodic alteratio n could include th e simp le tweaking of a few notes to ma rch a cha nge in a
chord ro the co mposing of a whole new melod y 2S in bebop compositions. Bur first we will
loo k at a number of reharmonization examples which " ill include commen ts regarding
their mos r salien t features.

• 74 •
 ARRAN G ING T£C t1NIOU£S

R£H~RHON IZ.l:l.T I O N £X~H PL.£S

Exam ple 2.14a: "Body and Sou l" byJohnn}' Greene

(o riginal key: C, new key: m )

D~ II
,
I I I I I I I I II I I I II I I I
1. Stock I&-9 ~, 15 !<>-9 An
I"" EHI Ie-; E"
2. Urba ne 1,,-, Bo'-'5 i A13, u, FI"" I Gr
11 Fl- l l IFa it B~a l[

3. Modal l ""su5 Bo/AI- I G- 9

,
0 '9 IF-' FlSl.Is F-9 6~su s

4 . 'Tra ne's ! A/osu5 va mp' , F/147 IDt.d,IA" A ~ /A~ Do/A . E- 9 A13

It.
I I I I II I I I II I I I II I I I
1 . Stock &-9
,I"
1,,-, Alo7
I'" H

12. Urbane '"

~-9 G l~Cc> ";9
I'H Alow, [00' Al C B~us Bio:i'9

.....
I &-9
, Bo- 1m,
3 . Modal & -9 Dto-'J G 13, Co A<> Oil.l: IGe B9sus Bkus;

4 . 'Tra ne's ! A>.suSVilmp· - I"""", e. F7~9 1 F+i Al- G- ;"" IE~//JJ, ~/" ()I.j, E- ~
,
t 2.

I I I I I I I I II I I I II I I I
1 . Stock 0' E-9 A7 0' '-7 A7 0' G- 6 10' E-7 A7

2. Urban e 0'> AlC ",." ,

DA!A A9sus DIJ./A A Phryg. 10 "lA "'.,
3 . Modal 10.!J. ,-, AB
1°' A Pnr.Gsus Po Arol. "., ~US I Akus Aloe ~us
14."Trant 's I"" ' -9 A13liD~ ' -7 R-9 G-9 10 ,
"
, 0, 0"

II I I I II I I I II I I I II I I I II I I I
I,.Sto ck 10 , 0-7 G7 Ie> ". 10-- 7 G7 10 B7 807
12. Urba ne !DIJ./A "'., FIG E/G I C"IG BIG FIG E,IG 1C13 6 13 1\I.13sus BloT
3. Modal 0' Asus Al.SU5 G~ "G Ie, B"~' &7 A\.IJ. 6~us E!l G7IC 13 613EJl.9YJs

4 . "r reoe's G.t> A13 Dj,9 E- 9 !Oo G7 ·

9
1 CIJ. E. 13 Al-IJ. 67 ~ G7IC13 613 esu
(.. sec Ex. ! .14b)

COH MENTS:

VERSIO N ;;'1: (ST O C K)

The reference set of cho rds and key for this ru ne is th e generic "fake book" chan ges. Th e
ori ginal key is C bu t jazz performers prefer Dl- which is great for tenor saxoph o ne as well as
for the dark qu ality that the key im plies.

VERSION ~2; ( URBANE) see pg. 83

T he overall style- showing the influ ence of Mo nk and Mingus, is the u rbane srylc. Th is is a
rcha rrnomza rion by the autho r and is the harmoni c bas is of the co m pos ition "So ul rood "
rou nd later in th e cha pt er amon~ the examples of rchaemonizarion s with a new mel od y.
The amount of nondiaron ie su bsri rurion req uires [hat a new mel ody be in cluded. Note the
d egree of ch ro maticism in the bass melody. Th e use of a rrironc substitution for [h e Bb7;5
in bars 1 and ~ would have made the bass melodr almost complereh- chromatic. The pedal
poi nt bridge offe rs a dear contrast [0 the bass melody o f the A secncn bo th melodically and
with its harmonic rhyt hm. Th e extensive usc of altered, 7,"5 and 71.9 cho rds is typical of th e
bl uesl urbane style.
• 75 •
CH APTER It REH ARMON IZATION

VERSION # 3: ( M O DAL)

T he prominent use of su s-t chords as well as the in clusi on of Phrygian and Aeolian chords
s uggesrs a modal style. The m odality is moderated by the use of altered , ha lf-d iminished and
mino r/major seventh chord s: ch ords found in usc with the urbane sryle. T he Coltran e sym-
m etric subsrirunon is found at the last ha lf of rhc bridge.
Of n ote is th e foll owing:
• The G-9 to C 7~9 is a II-V to the d iatoni call y su bsti tuted F-!> for the D ~.6. in bar 3 .
• T he B~/A~ acts as an up per n eighb or d om inant chord to the G-9 .
• The usc of the ~\ 'I J o lower neighb or to the V9sus 4 (Go to A~9sus4) in bar 7 and 19 (A ~ 0
ro A9sus4 ).
• An added chord D9sus4 in bar 18 .

VERSION ~4 : ( T RAN E'S)

In cur rime, Joh n Coltrane's version has exten ded use of a pedal poin r vamp in the A
sec tions; th e use of whole- to ne h arm ony at th e turnaro unds, (note the aug m ented triadic
u pp er s tructu res m ovi n g in wh ole ton es) an d of course t he usc of th e sym m etric
subs tit ution pattern in the bridge area. O n the record ing, there is an opening vam p figure
and an our-of-tempo reading of the fin al turnaround before going into an in -te m po coda
(s hown below).
Exa mple 2.14b : Absus Vamp

AP 13sus4 ,4 \3

•
T
Coda: o b.6. I F.6. I At::. I Eb- 9 A ~ 7 I D ~!> GI,.6. I F-9 Eb~ 9 I Db.6.

Note me outline of me au gmen ted triad for the firs t three roots.

Examp le 2.14c: Version No. 3 (Spelled O ut )

A~ 13 s u s G-7 C7 ~9 F-" F- 1 1
I

I •J I ," • ,~
'c ,• I P, <P ;

I I I I I ! f
:

E~- 1 1 D~- i1 ( - 11 B~- 1 1 Aa Go A~su S Bs us B~sus

,
. , ,.
' b. • p V~ ~ji b' iP ,~
.
....
~.

fJ ~:

:
, I
I I
,I ,I
--. ~
I , l <>
,
---..
--..; ,• ,,
,

' <> b. I , p"

• 76 •
 AR .a. NGING T£ CHt-lIOUE S

D Phrn; Dsu s C9sus D 9s us Asu s

, , , ,
, I •

I .'
:
II " -0- PI ~, '.
I
'" 'r •I• ·~ S
,
I
.;'j~
.,
'.
,
I
p-'I I r:~

• , , ,

Gsus G ' 3~9 Bl.- ei.-7 B13 G13 en 61 3 B~13 A 13sus

A , I

.. '--i>
:. - ,• •
I .~

!i
:
'"
I
T
I I I
p .. .

"I ' ~

I
'::, '"
I , I 'j 'I I
e-..+ ' I
i
.
, • , I I

"Srella by Starlight." a vcr}' po pu lar standard in the jazz community. has a beautifu l mel od y
and great "blo wing" changes. As men tio ned p reviously if is another son!' rhar carne from the
pen of of a movie composer. It became popular after Frank Sinatra recorded it and Miles
Davis under Sinatra's influence subsequen tly took it as "h is O \\TI."

Example 2.15 : "Stella by Starlight" by Vict or Young

, •
1. Original
I...• 1"0 I'" In'S 1,-,
1 . Generic IE. ! A7~S [c-e IF9s"s B 13sus IB~13sus
3 . Miles I Eo j Aa lt
,
Ic-s ( ot. - 9) i, F9w! B 13sllS I~13SoUs
4 . Herbie I ( fjp rt5 ezmO>l5lU't 9)

• , s , w
1. O riginal IBio71>5 15 6,9 1&-, BIo(A) /F B~/;:i Eo

2 . Generic ! l»13\.9 1&. "'"' 1""1lw. 6/80;,-9 G- 9 F-9 I Eo .......J,.5

3. Miles I Yo 1&. Al 3sus I AIo 9. , 1 ,0> lEo ",,'

4 . Herbie I , I... I Eo
"'"
H H

t . O rigina l 10- I[>1" J Fie 1 8~-A6 I"" I""

, 2. Generic 0-" e-' 1. .- , &~ l B /A 07" Ie.... I&!kus ID9sus O,J-9 ,
3 . Miles , 0- ,
, - - , I
I
(6 11k-

I
! 4 . Herbie !A-9 D-Oal
r, rv -
I,.O riginal IG715~9 Yo i c-s I Yo 1,,-"
2. Generic
I"" Yo I c-e IG-' <-, IE.
3 . Miles
I"" I Yo I e-, I Yo 1& ...613 I
I (-9/G F-9/G I -. 1
CH1>,PTEI< II : REH1>,I<MOH lZATl OH

, zs -" -
i . Orig inal I /. 10--;-"6 I" /. : o;._6J<U5 I /.
2. Generic Io -e 6 I i:>7 ' 9 IG-9 H : £- 11 I A13St1S

3. Miles I /. j Ec07 Ist 69 'F If - l 1 IA13Wl.

4. Herbie IG A G A' I,.., I Blo6 /F IE- 13 !A Phl')1'Cn
-,
" - .n
1. O rigina l
I"'" IG7 Co I,," I.. 1 /.
2. Ge neric iA/.13 su, ' IG13..." G~13su s I,," I"A A-9 G-l1 F-ll

3 . Miles I""~, A~alt G Pnr, Gal: eo, IFait IB~13 a, 13 B~ 1 3 F- l l

4 . Herbie I N-13sus Ga lt 10>-9 GU I FaltfC Fait I~'e;. "'9 , /.

CO MMENTS:

VERSION ~1 ;

. Th e origi nal ch ords as heard on the movie sound track, transposed [0 B~ for referen tial pur-
poses. Th e original key is 0 major.
VERSIO N #:' 2:

A slight enh ance me nt of the stock "fake book " sou rce changes, pu t more inro an op en
modal style - importa n t points are:
1. Usc of rh c II min/maji ro V9sus4 in bar 3 to 4
2. Use of upper neighb or ap proach chords in bars 4 an d 7. and increased harmonic rhyth m
br add ed cho rds in bars 1L 10, 24, 31 and 32
3. An exam ple of a rrirone substituted susa chord for a ha lf-diminishcd in bar 29.

VERSIO N # 3 :

A generaliz ed co mpilation of what occurs on the Miles Davis recording "M,. Fu nn r

valen n n e." There are so man~' variarions br each chorus th at the whole perfo rmance would
have to be represen ted to be complete. For instance, whe n the ba nd goes imo double time
th e harmonic material shi fts into more of a bebop scylc with th e use of sid e-slipp ing II-Vs
and less use of modal chords.
1. The usc of app roach sus4 chords and/ or ad ded chords - ba rs 4, 7, 11. 12 an d 14.
2. T he use of bluesy alte red chord cycles - bars 13, 16-7, 29-32 .
3. Use of modal chords (sus 4, Aeolian , Phrygian} in bars 4, 5 and 26·28.
4. In essence, t he rcharmoni zation sh ows th e influence o f Herbie Hanco ck-

V ERSION #:4 :

This is Herbie Hancock 's solo and clearly reveals the dep th of his h armonic sophistication
d ue to his musical education as it has overt ties to classical musi c as well as jazz.
1. Extensive use of modal chords - the use of a an diminished chord altered to sound
modal in bar 13 and 23; Aeolian chords in bars 14, 15, 19 an d 20; Ph rygian in bars 19.
20 an d 26, sus-ss in 17. 18, 21. a Lydian augmented in bar 22 and a. Lydian e in bar 31.
2. Still some refere nce to th e blu es in bars 11 and 12 , and 30.
3. Use of pedal point in ba rs 17 to 21.

Th e rema in der of th e sole, going into dou ble time, changes harmon ic style with qualities of
both blues/ urb an e an d bebop. It is su ggested the interest ed student study the tra nscript io n
as fo und In the book Hr:J-bie Hancock: Q assic Composui ons e- Piano SOIOf br Bill Dobbins.
Advance Music .

• 78 •
 REWORK ING THE MEL..ODY

Having completed the reworking of the harmonic material and any ch anges and addit ions
regardin g key, form. te mpo a nd meter, it is rime [0 co n sider the treatmen t of th e mel odic
m aterial. Of co ur se, it is ass u med th at some m elodic go al was estab lished wh en the proj ect
was first initiated. Dependin g on t he project goal, th e changes to the o rigin al m elody could
include basic tweakin g chores, par tial new m elodic m aterial or a complete new m elody
having a variable degree of referen ce to t he or igin al.
Bas ic twea king in cludes:
1. A realignm ent of the m elody to con form to any sh ifts in the harmon ic rhythm.
2. The changing of a few pi tches to match any ch ord substi tutions or altera tions.
3. Ch anging the m elody to con form [0 a style change. For example, ch anging what was
originally an 8th note su bdi vid ed bossa nova in to a swing tune wo uld requi re the u se of
syncopation and triplet subdivision.
4. Parti al dele tion of th e melody. Deletion of so me sections of the mel ody is a common
practice particularly wher e the re is exte nsive use of substituted sym metric pa n e llS. T h e
b ridg e to Col trane's "Body and Sou l" is a typic al exam ple.
5. Partial new mel odic material Most com mon ly fou nd is th e add ition of n ew mel odic
ma teria l in a few phrases or sections. Th is parti al m elod ic rest ructuring m ain tains a
dose alliance wit h th e origin al versio n wh ile dem ons trating the m elody "Titing sk ills of
the rehar mo nizing composer. This mel odic rreatmen r is typical o f the ha rdbo p style.
6. Com plet e ne w melody. Fina lly, there are reharm onizarions that have completely ne w
m elod ies with the ir only ties co the origin al being the skeletal harmonic reference. Ther e
is variatio n in the d egree of dep art ure from th e ori gi nal as well, with m e mosr extrem e
havin g no identi fiable referen ce to m e origin al except wi rh the harmo n ic structu re of
the "bl o w-in g'' ch anges. Any further dep ar ture would put t he final pro d u ct beyon d th e
definit ive lim its o f a reh armon izar ion project.
lWEAKING TH E M ElODY

Examp le 2 .1 6a : " Body an d Sou l" (ms. S-8 )Jo hn Co ltrane's Version

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Examp le 2. 16 b: "W ithout a So ng" (ms. 1-7 ) Jo e Hen derso n's Versio n

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Example 2.1 6c: " Night a nd Day" (ms. 1-8) Jerry Bergonzi's Version

I I
0-9 Dp-9 G ~13

.' , I r- '. • 79 •
 CHllPTER II: R£Hl>..RMON IZllTlON

Befor e we look at som e reharrnor uzano n exampl es wit h al tered or n ew me lodi es it shou ld he
pointed o m tha t rewriting the melod y over a set of sta ndard chan ges is in rrinsic [0 the
bebop style. It is su ggested that in order [0 create a mo re conlcmporal)' end-prod uct , one
sho uld stri ve to limi t anr referral to a bebop melodi c style when rewri ti ng th e melod y.

1'lE WTm.£ S

~ ard.i n g the project's c e le. most com poser/ reharmonizers tend to in clud e some verbal
reference ro the ori~nal title In the new tid e. How cryptic an d clever the new ti tle ui U be can
be one of the more "fu n" chores o f the reharmonieanon project. If th e degree of departure
fro m the original is sub tle. th e o riginal rid e is us ually kept.

£ XA.MP L.£ S OF R£WORK£ D M£L.ODI£S

Example 2.17 : " Da rk Danc e" by Ron Miller

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• 80 •
 REWORK ING TH£ HEl,. O D Y

M ELODIC FEATIJ RES

Based on the sh ow ru n e "D an cing In The Dark." th e mel od y is partially rewn rccn wirh alrer-
nacing sections of new mel od y and velYsligh dy altered o rigin al mel ody. In addi tion . the new
melod y falls in the ar eas wh ere the rchannoni zarion sh ows th e most departure fro m the ori-
ginal.
The sections of new mel od y ar e typi cal of the melodies of the hard bo p seylc of reharmon-
iza rion melodi es: dram atic skips. rhythmic morifs , tens ion ind ucin g cadences and coven
bebop ornamenta tio n. Note th e use o f ch ro maticism where omamenraricn is used.
Harmoni c features in clud e: (see Ex. 2. I I , P 69 )
• U~ of pedal pcin r (slow harm on ic rh ythm) ms . 1-S, 17-24 wh ich enh ances th e co n trast
of the fast ha rm on ic rh yt hm of th e swing secti ons - ms. 9-16, 25-32. Th is is typ ical o f
the hard bop style.
• Mor e of a bebo p style of rehar moniu cion at th e swing sectio ns.
• Sub stitution of th e fina l target I cho rd with a ~ II - E Lyd ian.

Example 2 .18 : "Small Feats" by Ron Miller

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• Bt •
CHAPTER II: REHARHO NI ZATlON

M ELOD IC FEAT URES

T hi s example has a completely new m elod y In a dia ro nic, relaxed and lyrical style. Based on
the jazz standard "Giant Steps" by Jo h n Co ltr an e, the composition is the resulr of th e
a uthor's need to provide an example of th e u sc of extensive dia to nic substitutions for th e
jazz composition class at the Un iversity of Miami. The resulti ng rch arm onizarion sounde d
s o good , the process was co mpleted by the inclusio n of a new mel od y. The lengthened har-
m oni c rhyt hm allowed th e creation of a more relaxe d and lyrical mel ody as com pa red to rhe
o rigi nal whi ch is esse ntially a cho rdal-outline syrn m errir pa n em as fou nd in Slo n ims ky's
Thesaurus of Scales and Melodic Patterns. The m ost salien t feature of this melo d y wh ich is a
resu lt of the di a tonic q ual ity of th e rcharmonizarion is th e extens ive use of triad ic moti fs.
Triad: C~
Measure: 2
B~
5
E~
6
G
7
D
9
G
10
Cb
14
D
21
G
22
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F~
24
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29
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Most of th e rem aining melodic materi al is based on rriro nic source m at erial main taining a
consistent s im ple quali ty. (sec Ch ap ter 1, p. 13 )

R£H AR MO NIZATION f £ATURES

The p rominent techniq ue u sed is diatonic s ubstit ution. T here is a s han a rea of pedal point,
b ut mostl y the rch ar m oniza n on follows the sym metrical harm o nic rhyth m of the origi n al.
T h e bigg est difference is in th e doubling o f the ha rmo n ic rhyth m wh ich allows both a more
lyrical melody an d an eas ier time-of-it d uring im provisatio n. O f not e is a series of rcharmon-
izcd 11-\'-15 based on diaron ic su b stitutions where t he n is replaced by a V9sus4, t h e v by a
iv m ino r/majo r 7, and the I by a III m inor or a III altered (m s. +5, 8- 9. 1O-l 1 an d 1+15).
Both the original and the new versi on 's cadcmial areas m ove towar d targer roots based o n
a n augm ented triad . The impo rtant point is no r to de part too much fro m th e original's
s trong target cadcn c al a reas ; it is the m eans o f keepi ng th e harmoni c inr en r of th e or iginal.

Exa mple 2.1 9 : Ron Miller's Reh a rmo nizatio n of "Gi anr Steps" by John Colrrane

Original: B6 07 B~13 A- 7 07
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• 82 •
 R£WORi<ING Hi£ HE W OY

Examp le 2.20: "So ul Bod " by Ro n Miller

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MEL ODY - IMPORl1l.NT POINTS:

o Th e melodi c cadences resolve [0 "darker" m odal character tones: MI-#5, M2 -~9 &13,
M3-~5 , M4-~ 6 and M6-~5 and 13.
o A GI> (FJ} acts as a pivot poi nt fo r most of the melody.

o A low ressirura en hances the mel odic's dark quality.

o Upward skips in Ms. 1, 4, and 8 are dram atically resolved in the 2nd cndin g. Th e upward

skip s at the 2nd end in g set up a clima ctic release to the brigh te r key o f D majo r.
• Usc of the deleted-melody meth od for the bri dge.
REHA RMON IZAT IO N - IMPO RTA NT PO INTS:

o The A sections arc reh annonized in a darke r, bl ues/u rbane style sh owing an in fluen ce
of Monk and Ming us.
• Con tr asting brigh t pedal point /m odal style of reharmonization in rh e B (bridge) sec-
tion.
o Refer to Example 2.] 4.1. version .t'2 fo r more detail s.

The las r co m positio n in clud ed as an exam p le illusrrares rhe use of a melo dy tha t has n o
overt ties to [he original; the onlv clear referen ce to th e origina l is the "b l owi n g~ chan ges
which an' only slightl y reharmonizcd.

• B3 0
 CHAf'TEi< II : i<EHli.J<MONIZAnON

Exa mple"2.21 : " Meeti ng AtTerm inus Corner" b y Roland Kirk

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Fu. D. u~ i;l n d, GUS u nci os<.u rop ~l", n< l 'm d. " CHA"PELL & CO GM BH " H ~ m b u'B

TH E MELODY

T his melody, like "So ul Bod's ." has a quality tha t de fines it as an ob liga to m elo dy or pe rhaps
a bass line , The m elody of "So ul Bod " was in fact written to be a tenor saxophone coun rer-
melod y in a two horn arrange m en t. One can specular!' that th e m elod j- to "Termi ni's
Corne r" possibly ha s irs genesis in a similar manne r. \1;'hatever th e composer's motifs, the
m elody has licdc resemblance to tile original whic h is "O n Gree n Do lph in St reet." No n ce
that the last two bars outlin e a turnaround to th e key of Bk

• 84 •
 ~EW ORKI NG H iE HE W OY

TH E REHARM O N IZAnO N ( BLO W IN G CHANGES)

As pointed out above. this compositio n is based on "On Green Dol phin S n -eer," a popu lar
jam sessio n tu ne, recorded extensively by Miles Davis. The original key is probably C majo r.
Most jazz versio ns are in Ef. major or C major. Roland Kirk's as you can set' is in Bb major.
Ofinreres e is the use of do 1.1II 13 (Db13) subsn rurio n for what is usually a 1- 9 (BI.-9) in bar
3. Ban 5 th rou gh 8 sho w the use o f a chroma ric tu rnaroun d to th e target C-9 chord of bar
B. Th e rest of th e harmon ic material is close (0 bo th the o riginal and o ther jazz vers ions,

P IAN O ARRANGEMENTS

A recommend ed rcharm on iza no n project to u nd ertake is that of an arrangement for solo

piano. It has the added meri t of being a condensed sco re to be used for poss ible expansion
by orchestration.

CONCLUSION OF CHAPTER II

Much inform ation has been p resent ed o n rh c pr evious pages, h ope fully no t so much as to
be overbearing or too lit tle (0 be unclear. Bear in mind that not all rhe tech niques will be
used in anyon e project and rha r th ere sh ould be some perceived referen ce to th e ori ginal
song by t he astu te listen er. Th e following su ggesti ons will help to accom plish the desired
result.
o Have a stylistic goal in mind before starring th e project. Some tim es you may change
styles with in che project by secti on.
o H.a\'ing established a stylistic goal, select a ke,. and tessirura rhar is ap prop riate for rhe
sryle selectio n.
o Reharmonize the turnarounds and cadences.
o Add only a few ch ords p rior to target chords ar first. Extensive playing of m e p roject ar
this po int will help determi ne how ma nr more chords can /s hould be ad ded.
o T I')' to keep the original cadence points and chord function at [hose poin ts. Keep the
reharmonizacion sim ple at these area s.
o Do n't overlook the strengths of modulation and add ed sectio ns.
o lf keeping th e original melody, do n'r be afra id to make slight adj usemcnes to match any
change in chords.
o Don 't let the project become too ab stract - get roo removed from th e ori ginal. The
aesehen c problems th at have been revealed in a nu mber of stu dent reharmonizarion
efforts have been t raced to me u se of tOO man )' techniqu es and n ot following th e COlden-
rial and modal con tour o f the ori ginal. So edir the project and keep it simple.

Man y of th e songs rhar have become pan of the jazz repertoire wen: introd uced (Q the
listen ing pu blic by vocalists. It has been wri tten that much of th e Miles Davis repe rtoire
cam e from the Frank Sinatra song book. It is recommended m at th ose seeking "good " so ngs
(Q add to th eir list listen (Q th e recording s o f Fran k Sin atra and T ony Bennett; an ad ded

benefit is that rhc arrangements are of th e h igh est quality incl ud ing th e reh armo niza rion s.

o 85 0
C H A.PTER II: REHA.~HONI Z.ll.TlON

SUGGES TE D E XER CI SES

I
1. List at leas t twe nty tunes by their starring ch ords: I maj or, I m inor, II mi n or, II dom i-
nant, VI m inor and so fo rt h.
2. Referr ing to th e tables of reharmoruzed cad ences, cycles and ru marounds, continue by
add ing ar leas t 10 mo re examples ro the [able of tu rnarounds, a I to a I and a I to a IL
REHARMONIZATION P ROJECT S

1. Select a st andard ru n e of a medi u m te m po and reharmon ize accord ing to a preselected

goal; alter the m elo dy to some extent.
2. Select a stan dard with a slow tempo and rcharm onize followin g a vertical m oda l m od el:
use both ped al poi nt and m an y ar eas of ad ded chords.
3. Include comments ab our goals, procedures and anything else that was co nsidered when
ini tiating with th e project.
E XTRA

Listen to the Jerry Bergo nzi version of "j ust Friends " from the CD Standard Gonz - wh at
Co ltr an e ru ne provid ed the model fo r th is rcharm on iza rio n> List the sim ilar ities.

RE CORDINGS A ND READIN GS
From the m id 80 s to th e early 90s, almost every major an d man)' m inor jazz performers had
reo present a CD of "s tan dards ." T he re is no pr oblem findin g lis teni ng material fo r this sub-
ject. The followi ng lise is a go od place to stan - each is of th e hi ghest quality an d hi gh ly
recom m en ded .

A . RE CORDINGS

Alone Together Cla re Fischer Advance 9709 00 3

Setting The Swndard Dave Lieb man RED 235
Standard Gonz j erry Bergo nzi BN 936
My Funny Volentine Miles Davis CK 488 21
Quiet Nights Miles Davis/Gi l Evans COL
Mile5 Ahead Miles /G il Eva ns CK 53225
Co ltrane'sSound j oh n Co ltr ane ATL 14 19
Portraits From The Post Frank Sina tra BRM 10 1
J'~ To ny Benne tt CBS 4042 4
Ballads Joh n Coltrane GRP 1 56
Standards uve Keith j a rrerr ECM 13 17
Dancing In The Dark Fred Hersch Ches j D90
Domino Rolan d Kirk MG 20 748
Cinema LeGrand Michel Legra nd MGM 449 1
Something Ton)' Bennett C0L30260
The Kicker j oe Hend erson Oj C 46 5

B . READING S

Clare Fischer: Alone Together/J ast Me

Bi ll Do bb ins Advance Mus ic
Herbie Hancock: Classicj azz Compositions e- Piano Solos
Bill Dobbins Advance Music
jazz Harmo'!.l' Andy Jaffe Advance Music
Ch ord Scale Theory 0 j azz Harmony
Nenles / Craf Adva nce Music
Hearm' The Changes Coker/ Kna p p/V ince" t Advance Music
Changes Over Time: El'olution o{jazz Arranging
Fred Stu rm Adva nce Music
Miles Dav;s Ia n Ca rr Qu ill
Giants ofBlack Music Rivelli & Levin DaC ap o Press
Inside, Outside Rcese/Ma rkewicb New Yo rk
World's Greatest Fokebook Chuck Sher Sher Music
Melody Writing Ka sha & He-s ho rn Son gw rite rs
j azz Keyboard j erry Co ker CPP/ Belwin

• 86 •
CHll.PTER II I: PENThTQNICS

PENTATONIC COMPOSITIONS

DES CR IPTION AN D DEFINITION

Fo r th e composer who is looking for an un der-represemed m od e of expression - a me ans o f
artai mn g a "fresh " so u nd, pe ntatonic com position s are a recommen ded source [Q p ursue.
Certainly, th ere are many recorded or documented jazz compositio ns bas ed on a pentaton ic
scale, but on ly a few that either ar e bas ed on alt ered pen ta to n ic sources, or are harmon ized
with ad vanced modal techniq u es. Also, with pentaton ic compositions, th e emphas is is o n
m elo dy writing - continuing the coven prem ise of thi s vol u me,
That is the goal of this ch apter - th e creation of a composi tion based on a sim ple, lucid
pentato ni c source wh ich is balan ced by a contrasti ng complex ha rmonization. T he sim plici-
ty an d puri ty of th e folk -based pe ntatonic m elod y, particularly when o rganized fo llowing
folk m elod ic proced ures, seem s in stan tly to endear the listene r; ir is hard nor to compose a
good melody based on a folk-music m odel.

KINDS OF PENTATONIC CO MPOS ITIO NS

There are th ree general categories of pentato n ic com positi on s:
1. Harm oniza tions of do cumented ext a n t p entaton ic folk m elodi es.
. 2. A newly composed me lody based o n th e motific and ph ra.~in g form ula e of extant fo lk
m elod ies.
3. A compl etely n ew m elody with little reference to an existing m elodic shape or o rganiza-
tion, bur sti ll being based on a pcnrar omc source scale.

To as sist in reader comprehe nsion , a few represe ntative composit ions fr om each gro u p
in clude:

Reharmonizarions of an ex t ant composition:

"O rienta l Folk Song," by 'i1:'ayne Sh orter, N ight Dreamer
"Yaqui Folk Mel od y," by Keith Jarrett, Treasure island
"Gula G ula," by Jan Garbarek, 1 Took Up The Runes

New melodies based o n fo lk orga nization:

"Badia," by josef Zawinul. &30
"P ence de Areia ," by Milton Nasciemc n ro. N ative Da ncer
"T okyo Blues," by Ho race Silver, Toky o Blues

New melodies , pen taton ic so urce sca les:

T h is category is q ui te exten sive and inclu des all t he com pos iti ons that are n or mally rh oughr
of wh en referring [Q a pen raconic composit ion. T hey inclu de m any tun es rhar are foun d on
rh e Blue Note label of the 60s era, many pop tu nes, and many ru nes th at ar e ass ociated with
John Coltrane and McCo y Tyner.
T he m ain distincti on between these composit ion s an d rh e pre vio usly listed is rhar th e har-
rnonizano n is us ually qui te simple or "com m on practice ," an d rh e pentatoni c source scales
are usually rh ar of rhe u nalrered diatonic grou p: the simple mi n or pcruaro ni c or sometim es
th e m ajo r pentatonic.
Rcprcsen rarivc compositio ns in clude:
"Search Fo r the N ew Lan d," by Lee Morga n, Search For The l'ieu,!And
"Pu rsuan ce," by John Coltra ne, A Love Sup reme
"Sm itty'S Place," by Mc Coy Tyner , Exp ansions

T o mee r th e go als of this chapter, that of creat ing a work th at has a ba lanced co n tras t
betwee n rhc pori!")' an d si mplicity of a folk-m o deled mel ody with the an quality description
of advan ced modal harmo ny, the two compos ers who se recor ded works deserve investiga-
tion are Josef Zawinul and Warm Sh o rter - parti cu la rly with th eir con tribu tio n s to th e
• 88 •
 /
Chapter III

8 Pa lindr o me

9 Si R Fo rmu la

,
.' " /Y
10

11
Li near Pent ato nic

Vertica l Pe nta tonic

-J
", ,(
",,/
.'
/

12 P la [ea ~ Pen ta tonic

 P£HThTONIC C OH POSlTI O NS

~('> up \'I:'eather Repo rt. Joe , in particular and at preSent ti me shows an affinity for fol k-based
an d "wo rld music," and should be a firsr cho ice for stu dy.
At this point in t he chap ter, the reader sho uld review the conceprs of the placemen t of music
in gener al. and mel odies In particular, wit hin the folk/an spectrum. (sec p.ll). In addition ,
the reader sh ould have co mpleted the special assig nme nt found o n page 40.

PE NTATON IC MELODIES

SCA.LE SOURCE.. D£.FINITION A.NO CONSTR UC TIO N

Definition:
As the name im plies, a penca ronic scale is a grouping o f five diffe rent pitc hes withi n an
octave; a s -no re scale fragment. Because there are m issing pitches , m odal ity is obscure or
im plied. or more tha n one parent mo dal ity is represented.
Th ere are some melodies chat altho ugh based on a pen tatonic source, will be seen to have
added pitches at key cad enrial points. The)' will be referr ed to as added-n ote penraronics in
subsequent exam ples.
Pentatonic source scales and subsequently, a composition 's descri ption, fall in to tWOgroups
- th ose based on an unaltered source pentatonic and those based on an u n de r-used al tered
pentatonic. It is reco m mended char an emphas is be placed on a consideracion o f using one
of the alte red pernaronics for attaining a desired "fresh " so und. Most well kn own pentatonic
com positions ar e based on the common-practice min or pemaronic, as t he examples given
late r will reveal An unaltered pentatonic source will be referred to as a co m mon-p ractice
so urce scale.

CRE>.T1NG PENlATO NIC SOURCE SC>.L ES

There are th ree ways o f crea ting pentatonic source scales:
1. T he delete no te method
2. T he combi n ed tric hord meth od
3. Th e sh ape creati on met h od

THE D£.LETE NOTE HE THOD

With this tradi tio nal method , one simply deletes an)' rwo p itches of anyo ne of th e 2 10
u sabl e modes, (see page> 128 in the ap pendix) red uci ng wha t was a seven pitch scale to a five
pitch scale - the resulting modal definit io n is de pend ent upon wh ich pitch es are deleted.
The resulting "sh ape" of the truncated scale also sh ould be consi dered with th is method. We
will look at that concepr in more detai l when covering sh ape creatio n later in the ch apte r.
Th e usual notes deletion procedu re is to cxrracr the pi tches tha t make up the in te rval of a
rriron e - so me altered modes have two or m or e sets of mroncs. Looking at me major scale
(Io nian mode), the rrirone is found o n th e fo urth and seven th degrees. Erasi ng those pit ch es
creates rhe major pentatonic. Th e melodic quality of this pentat onic - irs harm on ic defini-
cion and pitc h resol ution qualities - will show a sign ifican t change; refer ro penraronic
scales in the appendix.

Examp le 3.1a: The Una ltered Major Scale

Source Mode Pentatonic Result

a -g
• e U 0 • o .. • (I
o . (I I

• 69 •
CH AP TER II I: ;:>£NTATON IC S

Exampl e 3.1 b: Altered Diatonic No . 1

b
=6 • Ii • II
o 11
II
i
.'
(')
0 !JO o
0

Exam ple 3.1 (: Altered Diatonic No .2

c
.
:=6' 0 0 . 0 • 1 0 Ii t_ (J

.. (j Pe 1 0 11
(I

Examp le 3.1d: Random Deletion of Pitches

d J)
• i 0 • vo • In.. .- ('
0 II
I .. . 030 (I 0
(I

II

Exa mp le 3 .1e: Random Deletion ofPirches

e
1d .. • M •
0
(I

1.-. 0 II
!
.' 0 PO
0 0 . 0

Traditionally, once a source pentararcnic is created by the deleti on me thod, the remain ing
diatonically related pen raronics are created by pitch transpositi on.

TH E TRITON IC COMBIN A.T ION METHOD

Th is met hod is the corolla ry of the rerrachord m ethod fou nd in Volume 1 of th is text. Like
the creation of the modes, creating penraronic scales by thi s meth od also gives an ord er to
the created lise. A order o f brightes t to darkest is ap parent as well as an im plied order of
modality. \t'here in Volu m e I rerrachords were combined to creat e modes, WI' will n ow co m-
bine rricho rds to create p entatonic scales, Like the crea tion of mode'!' by th is me th od , the
procedure requ ires that the sum of the tones, sem ironcs and the "connector" pitc h should
equal twelve, The difference in th is cas e is that the number of different pitches will be five.

Tric hord (triwnic, set p, 13): pure , p rimeva l, natu ral a nd singable, a tricho rd is a
three-note scale fragme nt and is the sim plest of melodi c sh a pes; it is t he bas ic
melod ic stru ct ure cf rhe pen tato nic sca le.
If the rea der were to construct a simple two string ed lute-like ins rrumenr our of a box and
sp are wood. then by plucking an open String an d then stopping the stri ng wirh one finge r
rh en plu ckin !=- m e string again followed br plucking th e next open suing, rh e result wou ld
be a rnchord. This even t, were ir to have happened in ear ly history. su ggesr:s the process for
the ad vent and evolution of scales. Notice that many rric hords are the lin ear represen tati on
o f stru ctu res: the su.s2, sus-t, Phryg ian , and more. We will rerum to this when covering har-
m onization tech niques.
Th e foll owing is a listing of all rhe rrich ords that wh en com bi ned will produce a set of
usable pentatonic scales .
Th e cable below is organized by interval formula. ir cou ld be reorganized by o rder of in creas-
109 bri ghtness co darkness If desired The checked ("\') u ems are mchords char arc nmctxrrs.

• 90 •
 PENThTON IC CO MPOSITIO NS

Exam ple 3 . 2: The Ta b le ofTrich o rds

1 ) 3 semicon es (m3 rd )

¥3 ..
,j 0 ~o I .. ~o '0 il
2 2

2) 4 se miec nes (M3'd)

J,;
'"
e po
3
:0
,
Ii .. 2
qo
2
0 !$1o 0 ~ 3
3) 5 sc miwncs (P4)
r .f
J,; ..
'"
bE
4
..A .. .. '0 I ..
2
(0)

3
II

3 2
()

4
:0 I) i
4 ) 6 sermrones (:4 , b5 )

J,; ..
' J
1
bo ~ o
5
I .. M .. ~ QI .. ,
2
0
4 3
~o
3
0
2
~ .. 5
()
'0 ~
5 ) 7 scmiro nes ( P5) .f
J,; ..
'"
bE
6
0 Ii
.. I .. '0 I ..
2
~o
5
0

3 4
0

4
\ 0

3
0 I .. 5
I)

2
0 .. ~"
6
Q

Th e creation of pcn raro nics by che co m bination m ethod requires that there be five d ifferent
pitc hes, and includi ng the con nec to r pi tch , th e su m o f the inte rvals equal twelv e. T he pro-
cess is to place a rrichord go ing upward on th e ton ic pitch an d a [rich a rd going do wnwar d
from the pitc h th at is found an octave ab ove the tonic pi tch. The con nector in terval is foun d
between th e two. Care m ust be tak en char th e s um of the rwo selec ted rrichords d oes n or
exceed eleven; there n eeds to be ro om for at least a single semi ron c "co nn ecto r" pitch .

Examp le 3 .3: Creat ing Penratonics By Th e Co mb inati on Me thod

t& .. . zI':'S
'0
-- ---
II

Ri Ii ~o

--
0
3 2 e
" 3

{5 1
2

• {2 1 • {51 - 12
3

{5 1
2
(1) + (6 ) 12

Kot e: A comp lete listing of all us.able modes and pcnl;<lwmc scales is found In th e appendix on page 122. Th ese
hsn np WCIT created b:- a com pur ec program - the C programming la nguage ll ~tln!: i~ inclu ded On page 13-1 as
"..,ll
for Inc in terested computer-litera te reader.

SYMMETR IC PENTATONIC SCAL.£S

These arc scales char either arc de rived fro m symmetric scales or arc themselves svm m emc
in their intervali c formula. ' -
To create a pentato nic scale wh ich im p lies the sonoric qu ality of the sou rce sym metric scal e.
the pro cedure IS to write our the source scale and th en delete the num be r of p it ches that will
produce a 5-nore scale. The prim ary cons ide ration is the resulting shape and m elod ic qu ali-
ty o f th e created scale and h ow well it defines th e son oric defin itio n of the ori ginaL

• 91 •
CHAPT £R III : PEN TATON IC S

Ano th er me thod is to combin e tric hords in a way tha t the res ulting tone to scrnir onc for -
m ul a shows a sym m etri c pattern. An interestin g gro upin g am ong these is the pa lin dr o m e -
a n u mber of th ese will be in cluded in the follo....; ng exa m ples.

DEL.ETE D NOTE

Exam ple 3 .4 a : So urce Symmet ric Scale - Domina nt Dim inished

=&
2 3

~ " eo
4

E"
5 6 7
II
8

"
.
9

oJ " 1
1m
2 2
"
2 2
!
Cr eated pe ncaro nic sca les:

.. . " "
n
.. " "
..
" " Ii
Delet ed: Z, 5, 8 3, 7, 8 Z, 6, 8 Z, 3, 7

Exa m ple 3 .4 b: So urce Symme tr ic Scale - Augme nted

o
II
IJ
Ii
oJ ..
3
" 3 1 3

Crea ted Pe nra ro mc Scales:

(Aeo lian ~7 , 1>6 F Aeolia n 1;7 ( Harm on ic Mino r)

II
o (I II

" &0--0
2 6

SYMMETR IC B Y I N TER~L.

It rna? be th a t th ere is o nly one usable penra ronic which is fo und in this ca[ega l)~ p erh aps
the as tute reader mar fin d mo re. The on e listed is ah a a palindrome. O f course, if we were
allo wed to br ea k the bo unds of the octave, the lis t wo uld inc rease significantly.

P;h.LINDROMES

2
u
3
.. "
(I

2 3 2

These are symmetric pa tt erns in wh ich t he pattern is a m irror im age fro m th e center pitch
to both th e left and rig h t outer limits. O r it is a pattern rha r will read th e sam e fro m lefr ro
righ t, or from righ r to left.

• 92 •
 flENThTO N IC COMPO SITIONS

Table of Intervals for Pentatonic Palind ro mes

Trichord «) T richo rd

1
2 ,
2 6
6
2
1 ,
1 3 4 3 1
3 1 4 1 3
3 2 2 z 3
2 3 2 3 2
2 2 4 2 z
4 1 2 1 4
1 4 2 4 1

Note rhar like the previous examples of constru ction b)' the combmanon merhod, th e (On es
and semno nes add u p (0 1.2.

Example 3.5: Palind romes ( listed in the sam e o rder as in the a~ ta ble)

G Aeolian C Phrygian ~ 7 , ~3

~o=t~
1
;, o~
2 6 :1:
e
2
0 , po 6 , 3' 4 3 1

C Altered 1>6 F Mixolydian 1 1 C Mixolydian sus

.. o i: ..
o ,li n o-- ~-G--'
4 1 3 2 2 2 3 o
3
o
2
o
3 2
3 3 2

C Mixo 1>6 c Pnrygian ~ 7

0 ----0 o .. 2 4
o
:b¥=k=" 2
o
4
2 4 4
2 4

By havi ng covert sym metrr , palindro mes offer an organ izational model rhar can create an
interesting and musical resu lt - ther should be con sidered when organizi n g an}' or all th e
elemen ts of m usic harmon ic rh yth m or mode selection, counterpoint, and fo rm , as well as
scale creation.

CRE1<TION OF PE NTATON ICS B Y SH 1<PE C~ E1<TION

Th is process actually duplicates the previous two but differs by its goal an d procedure. O ne
of the attri butes o f a pen ta ton ic melody is its clarity of con to u r. The id ea h ere is to visually
dra w-out a con tour, or shape and man ip ulate the pitch es to co nfo rm to it. This is anoth er
example of wor ki ng with th e concept of bd.:Jncc; it is also a techn iq ue that is intuiti ve and
requ ires that th e co m poser b e con fident in decision-mak ing abilities.
Lookin g at th e sbt:.~ of a penta tonic scale created by one of the previously given tech n iqu es
is a recom mend ed editing acriviry. T h e contou r o f a crearcd pentatonic scale should nor be
so asymmetr-ic or jagged tha r it loses its folk-like simplicity. More will be said about th is
late r.
Ano ther form o f shape-based scale conscrucr ion process is to rake th e unalte red maj or
pen tatonic, and add a num ber of sharps and/ or flats to cr eate a desired shape.
Note thar the th ree mea ns of crcaring pcmate nics overlap - [hat cach merh od creates penta-
tonics th at can be created by rh e other. After crea ting: a number of penra ro nics with me
me thods given on th ese pages. tum to the llsa ng in the appendix to ve ri ~· [ha t th e created
scales are indeed listed there - all usable pen ta to n ic scales sh ould be in cluded.

• 93 •
C HAPTER 111: PENTl\.TQ N ICS

Clarificati o n and Listing o f the Com m on-P ra ctice penra to nics

Majo r Pentato nic C D E GA C
Sim ply, the' major scale witho ut the rr iron e inte rvals ( F and B).
Mino r Pentato nic; C Eb F G Bb C
A transposition of a m ajor penraronic - not [Q be confused with the foll owing m in or
pentatonic.
Do rian Penta to nic: C D Eb G A C
Th is is deriv ed fro m the Do rian ~ 7 (m elodic minor ) mode. N ote that a rrirone (Eb an d
A) is st ill p resent - the deleted rricon c is F and B. The Eb an d A ar c defiOlnf pitch es
of a Dori an modality, th e A be in g th e ~6 . T his is often cal led t he mmor pentatonic -
but for co mpositional purposes , we will refer to this one as the Don an pentatonic,
an d th e previo us one as the m in or pe ntaton ic.
Blues Pentato nic: C Eb F Gb Bb C
This pentatonic is de rived from th e Eb melodi c minor scale, t he bS gives it a blu es-like
so un d, it also has many pitc hes that b elong to a Co (Locrian ;2) chord , the 6th mode
of Eb melodic m inor.

More common-practice pcnraronics will be found in subsequent exam ples.

Havin g pi tch materials with which to work, rhe ncxr step is to o rgani ze them into a musical
produ ct.

ME L-O DIC ORG.ll.NIZ.ll.TlON

Keep in mi n d th at the mai n go al of p entato nic mel od ies is to m aintain th e purity and sim -
plicity that is the en dearing ch aracteristic of folk m usic . The- best war to meet that go al IS [Q
organize yo ur mel ody base d on particul arly e-ffective exta nt fol k mel od ies.
This is one of the reasons behind the su gges ted assignment fo und in Ch apter I on page 40 .
Th e m ost im portan t m eans of organ ization is motifi c and phrase balance.
Havin g completed a study of folk m us ical exam ples it will be fo und in m ost cases that th e
balancing of phras es and m otifs is d ear and sym m etric. At th e m onfic level, of im port ance
to us is the balancing of an open ing st«tement with a complimentary response.We will refer to
this as an SiR form ula Within and wirh ou r this text, th is m elodic device will also be refer-
red to as c.J11 and resp o nse and srar cmc nr and ans wer. T hc im portant concc pt is that ma ny
of the more accessible fo lk melodies haw the sam e or similar co mb inations of S/ R relation-
ships. One of the most used is: S/ R/ R - a s tatemen t, a resp on se, an d a repeat of the sam e
response.
Phr ase orga nizati on is the same bu t o n a larger scale: lon ger in length b)" m easu res ra ther
than by p itch es. Most phras e organizatio n fo llows a simple anteceden t to cons equence for -
mula, wh ich is a larger version o f a stateme n t and resp on se. The pomt is to strive for cla rity
an d acccssibihry to assu re that the aesthetic go als of pe nraronic m elody creati on are to be
m et.
Ano ther point [Q consid er is how the directional contou r (sh ape) of m otific materia l affects
the desired perception of sim plicity. It is suggeste d that for eit her th e statem ent or the
answ er portion of th e moti f, that rhc basic triton ic stru cture be clearl y pr esented . In oth er
wor ds - do n ot change d irection within a morific shape until the tricho rd is defi ned.
There arc a few melodies in wh ich that is nor the case - eh cy ar e grea t m elodies, b ur are less
simple and folk-like . A sh an listing of tun es in wh ich the rriro nic is n ot d earl y pres ented
inclu de; (1) "Ponte Areia," an d (2) "Boogi e Woogic Walez.' Th ese co mpositions will bc
included in the analyses found lat er in th e cha pter.
Ano ther mcans of phrase or mo rific organiza tion - althoug h a bit eso teri c - is to follo w the
sp ok en rhyth ms ax suggested by th e po etic me tri c for ms: iambi c, tr och aic, anapestic an d
o th ers.
And lastly, as pres en ted in the cha pter on mcl odv wr iti ng. a bal an ce in melo d ic rhy thm is
highly reco mmen ded - contrasting a slow st atemen t \\;tn a fasr answer, or the converse, a
slow srarcm cn r res pon de d with a fast answe r is m us ically effecti ve.
The follo\\'i ng exa mples will de m onstrate the orga nization of rwo alrcrcd source scales with
the well-us ed S l / Rl /R I forrnar.Tn ad dition. m aintain ing a clear exposit ion of the rrironic
an d a balanc e of d irectional contour an d mel odic rhyt hm will be sh own .

• 94 •
 P€NThTON IC CO MPO SITIO N

Exa m ple 3 .6a : Altered No. 1, No , 93

5 - - - - - - -- -------,
E, l1 OP9su s AlB

#; I: • :. , ;; •
: _. , i

,--- - - - - R R- - -- - --,
I
B~-9 A:.- 9 G 9sus A~13sus AlB

.. •
•,
tl
I
,; .
• II :1

Add ition al examples of th e use of the previou sly given techniques will be pointed our later
wh en a number of pentaton ic compositions will be anal yzed.

• 95 •
 CH~PT£~ Ill: P£HThTO N1CS

FORM AND STYLE

The only de fining fact or tha t must be m er with a pcnraro nic composition is that the melo-
dy be, and d early sho w th e attributes of a pentato ni c sou rce scale. Other than that, any har-
m onic, rhyt hmic and fo rm al presentation is possible. Conside rin g the p recepts of balance,
contrasts of har m onic, rhythmi c an d orhcr musical clem ents arc recommended.
There are pen caronic compositions t hat ate based on only on e so urce scale an d on e chord ,
to com positions that have rwo Ot m ore sou rce scales wirh as few as two m elody p itches pe r
chord. In ad dition, th e co mposition ca n be of an y style catego !'}~ ECM, hardbop. swin g, Afro-
Latin, rock/po p - you name it!
The following is a b rief description of some of th e grou ps:
Homoge neo us: T he entire co mpos ition is in one Style - harmon ic, rhyth m ic, or an y of
the descr iptions of pop, hardbo p an d the others.
Mixed : The m ost interesti ng, o ne finds com binations of Latin sect ions and swing.
Concr asr ing harmonizations , or any con tras t on e can imagine . Often, a general style
goal will dicta te the combination. As an example, man y ha rd bop p entaton ic ru ne s \\111
Starr with an Afro-La tin style and ccnrrasr that with a swing. II-V type bridg e.

HARMON IZATION AND HARMO NIC RHY THM

T he har m onic acco m paniment of a pcnca ronic melody can vary from a single chord for the
enti re pen tato nic mel od y ro as many ch ords that th ere wo uld be if eve!'}' [\VOnotes of m elo-
dy were harmonized. In addition, there cou ld be chords wit h non-diaton ic root relatio ns hips
and areas o f tonal harmony. The goal of course is to balance the quali ty of the mel ody with
contrast ing ha rm onic m aterials.
Wirh th e harm omzarion process of pentaromc com positions, we ne ed to differe ntiate th e
desc rip tions of m elodic sources, harmonic rhyth m and ch ord sele ction, Th e categories are:
lin ea r pen caro nic an d platea u penraronic - th ese relate to source scale selecti o n with linear
m odal, p lateau m od al and ver tic al m od al referring ro cho rd select ion .

MEL ODIC DESCRIP TIONS

1. Linear pcnr aronic refers to there bei ng one so urce scale for the entire sec tion or the
entire co mposi tion.
2. Plateau pcnraronic refers to there be in g diffe rent so urce scales fou nd in symm etric
organi zation regardi n g me as ures - usually one scale p er two o r four meas u re division.
In most cases, the ch ange in key cente r rather than a change in sou rce scale.

There is no description fo r m elodic vert ical p entatonic since changing the melo dic source at
roo fast a pace wo uld negate th e pre mise an d goal s of th e project.

CHORD SELEC TION/HARMON IC RHYTHM

LI NEAR MOD AL

\Vh en t here is one so urce scale for th e en ti re composition or section, the key cen ter of a
selecte d cho rd coul d be eithe r diato nic to the pcnraronic pa ren t so urce o r non-d iato n ic. an d
due to their mi ssin g pi tches , pe ntato nic scales can have m ore th an one pare o t source. u sinf:
rhe ubiq uitous and sim ple F minor pen caronic as an exam ple, th e followin g is a partial
listing of parental source m odes or chords.

Diaton ic Roots
Sta rt by select ing roots th at have the same p it ches as th e source pentato n ic. Com parin g al l
pitches of the scale with each root p it ch . the accumulated intervals d efine a set of color
to nes, Only the most de finitive are lis ted.

Th e Pentatonic; F A~ Bl> c E~ F
Roor.s Color Tones Modes/C hords
F b3, 4, b7 m in 11, Dori an , Aeo lian, Ph rygian
A' 6, 9,3 fj,6/ 9. m ix sus, ~~4 , .6.#5
• C}.( •
 FOR M JlNO STY LE

Bb 5, 1>7, 2 Mixo sus, Doria n , Aeolian

c 4, 1>6, ~ 7, 1>3 Aeolian, Phry gian
Eb 2, 4, 5, b,6 Dorian, mel odic m in or, Mixo sus

SECON D L EVE L D IATO NICS/ NO N·D IATO N1C

There au a number of roo ts that although not d iatonic to the so u rce pentatonic. are diato-
ni c ~' chord im plication or by being a m ember of a ser of m od es th at are transpositions of
one of the diaromcally relared modes/ chords .
As an example. if the root is A I> (see above). one of th e modes is A~ Mixolydian , which is th e
fift h mode ofD\> Io nian - so , any o f rhe modes (tr anspositions) of [)i. Ionian will be diaro-
niea ll}" rela ted to th e source F minor penraronic and be available to harmonize anr of the
five source pentatonic. Usable examples incl ud e: Dk~6/9, Gj,~ 6/9, and Aj,9sus4.

Selecting O ther No n-Diaton ic Ro ots

There ar e so me other roots char have obli que tics to the source penraronic. Again . loo k at
th e modes de rived from an £j, rom: one is melodic mi no r.Taki n g a.
melodic mi nor as a
parent source, rwo modes/chords m ar work ....'ell are G\.~ ~4 and 0 altered. Others in clude:
G \.~ = 5 an d BI> Mixolydian 106.

Bear in mind that all of above is in reference to rhe simple F m inor pe ntatonic, and one can
sec that the chord selection process can get q uire co mprehen sive and co m plex.

As has been seen in previous chapters. rhc creation of a so-onE: root melody helps to narrow
down the selecti on process a bi t. The co m mon pra cti ce root/cho rd selecti on fo r F mi n or
pentatonic wo uld include: F- ll, Dj,~6!9 . EJ, ~6/9 and Bj, Mixo sus, ....-irh D altered and AI>
Mixolydian sus having a secon dary usage.

Example 3.7: F- Pentaton ic wi th Selected So urce Modes and Cho rd s

F Mino r Pentaton ic
,
4 .. C1
ill 1 o

osn E;'9 sus F-l 1 B~- 9

So urce , Dj, Ionia n AI> Ion ia n

To realize th e m us ical value of this example. have someon e sing or play the scale whilr you
play the gi ven ch ords - you m ay "hear" a tune in th e works.

PUTO U MODAL

In pen tatonic co mpositions. chis refers gen erally to a sym m etric organization of the har-
m onic rhythm, or to there being eit her a new pentatonic so urce or a ne w ro nal cen ter for the
ori gi nall~' selecred pen tatonic source. at svm me cricallv assi gne d m eas ure intervals. Usuall v
the~re is a ch an ge a r a. two , four o r eight bar in cerval. C'hord ~lecrion is by the same method
as given above .
• 0'1 •
 CtU,PT£R Ill: P£:NT1<TONICS

VER TICAL. MOD1>.L.

This refers to [h e harmonization process in w hich [ here is a new chord for every rwo or three
m elod y n ot es - depending on the tem po of the performa nce. Because there are fewer melody
pitches to h armo nize, there can be manr cho rds that are non-diatoni c to the source penta·
to nic. Because of the impo rtance o f the rn tonic shape in pcn raronic melodies, most chord
chan ges cake place at a th ree pitch gro u pin g;. And as lon g as the tri to nic is pre sent in the
melod y. two pit ch chord changes arc quire affective, and arrualh- ten d to create a clearer
cadcncial qu ality, T he harmonization process is th e same as previously given , but wirh more
im po rtan ce assigned to th e melodic quality of th e ro or-melodr. And because there are fewer
pitches to find char are in com mon with t he m elod ic fragme nt, there will be m any more
chord spe llings that are accessible for selection .
T o list all pos sib le chords that will "work" for a three pi tch fragm ent, i. is sugges ted that you
Sl"£me nt the pen ta to nic source into thr ee-pitch srrucrures, These arc the structures that were
introduced in Vol. I and were referred to asupperm-uctum (Sl-"C Vol. 1). Havi ng th e srrucrures
listed, comparing each with all roots of t h e chro matic sca le will reveal all possib le
mod es/ chords availa ble for selection. The process is the sa me for rwo-pirch melody frag-
men rs. wi rh th e resulting list being much larger, making the m usical choices chat m uch
m ore difficult. To restate, the melodic q uality of the root selections will focus the resu lts.

THE PEN~TON IC STRUCTURES

Exam ple 3.8 : Cho rd Selection forThret-Pitch Fragments

d
F M ,no~ Pentaec nsc

,J
. o

b.
,. e

, \OO 'C1 ngs

5 1.15 _

, , c. e.
- ..
a,
"l 1 I
-f;
- PO

"
rriro nics b. f.
. "l I ,I d.

r
o . (I ,

For selected srru cru res:

structure A I A I> B\. E1> st ructure B I

root
F
co lor t ones
~ 3 , 11:4, 1>7
mod e/chord rccc
FAb
co lo r t one s "' mo de/ ehord
min 11
m in'1 F ', 1>3, b4
E _3, ~4 , ~7 Lydian E 1>2, ~3 ,'4 Altered
n, :4, 5, 1 sus4 , n0 7 E1> ~2 ,D4 . ~5 add4
D ~S . 1>6. j,2 Locrian D ~3 ,' 4 , ~6 Alte~d
Db ~ ,~6 , ~2 6/9 DI> u . ~4 , =6 es
~6 ,;'7,1>3 ~ , 1>6 , ~7

..
C Aeolia.n C Aeolian
B b 6 ,~7 ,~3 Ionian B "4 . b6 ,~ 7 lvc!,an

..
A

G
Gb
1>7, 1. ~4
~ 7 , ~2 ,
1, ~2 , lI;4
1>2,1>3, 1>6
42, ~ 3 , q6
1>5
MiKo 5Us4
tocriae :;7
add 2
Phrygia.n
"'
A

"
G
Gb
04, 107, 1
1-6, ~7 , ~ 2
b6 , 1 . ~2
107, 1>2, 1>3
~7 , ~ 2 ,~3
Mixo sus4
locrian ~7
6/'
Phrygian
Ionian
6/'

• 98 •
 FORM .l>,ND STYL..£

Ir is suggested tha t the reader continue th e process for all found structu res - it is a tedi o us
activity b ut mar be worth the effon to understand th e ha rmon ic fo u ndation of rh e sou rce
scale an d [0 have a listi ng of all "wo rkab le" ch ords . Co nsul t th e appe ndix for addi tio nal
information and examples of scale to chord derivations.

Example 3.9: Selected Chords - Th ree-Pitch Stru ctu res

c.
. b.
I
,a
., 1'0

I
G ~t>. ~4
. F- 11 Da lt B,13 sus G alt
I F13sus O;'!r. 9 C 13sus

" I)
11 ,&§ I . :;0 go' g~
'0
I'
0 u
I
,, I I
.0
: -

Example 3 .10: Select ed Chords - Two-Pitch Structures

• ,

<! I ,

A, 13sus F13su s B.... ::4 A7 : S E;'9su s

., ,'ij ~

:
f~ J P'lt"
"I I 'I - 'T %"~

I ~ I i i
~ '"I
Do ~2 Galt Al>9sus Calc D ~" E~13su s
,

.
..
:, ".
" b:;O
J :i
~

I
: ..
U ~" _'Z7
'"

Occasionally, one ITl3.y want to h ave iI new cho rd fo r eveI')" different pi tch o f the m elody -
usually to i.'CTC25e tension J USt prior to a caden ce - this chord selecuon process is most
depe nden t on 2. strong root melody. Note the u se of co ntrary morion and counterpoint to
the melody in the folIo\l'ing: bass melodies.

• 99 •
 T he followi ng guide is m eant to assist in organizing the harrnoniza rion procedure, als o refer
to th e har m o nization process in rrodcccd on pa ge 44. T here a rc add itio nal examples of
single pi rch harmoniza tion in t he appendix.

H~RHON IZ~TJON PROCEDURE

1. ldcn nfy;
(a) The pa rent so urce m odality and chor ds of th e pentato nic melody.
(b) T he im pl ied an d secondary dia to nic chords and m odes.
(c) Th e trichord s, structures an d "grips" foun d in the melody.

2. Sele ct Harmonic Rh ythm:

(a) Linear I - one dia to ni c mode or chord fo r entire m elody.
(b) Line a r 2 - many c ho rds an d ro o ts ar e diato nic to the m elody.
(c) Linea r 3 - one n o n-diato nic m ode/c hord for the entire mel od y.
(d ) Pla teau - m an y chor ds per melod y, organized in to sym m etr ic groups: usu ally 2. 4 or
8 ba rs each .
(e) vertical > fas t, asym me t ric , non-diato ni c roots, from one melody pitc h per ch or d, rwo
m elody pitches pe r chord, or om" cho rd per rrichord. us c of repose and transition .

3. Create a Roa r/ Bass Melod y;

(a) Organize by m elod y-writi ng pro ced ures given in ch apter o ne.
(b) Try to usc thirds in terval s followed by fo urths a nd fift hs, th en connect with ch ro-
m at ic filler pitc he s if ne eded.
(c) PIO[ cad cnri al poi n ts, set directi o na l co nrou r.

4. Sclecr the Chords :

(a) Select a "fir st chord" tha t sets th e em otional goa l of the co mposition .
(b) Select ch ords for the target cad cn cial a reas.
(c) Select th e rem ain in g cho rds to fu lfill a modal conto ur.

5. T weak:
Play thro ug h th e p roj ect, notin g an )" cho rd select ion, bass m elod y or ha rm onic rh yth m
th a t offe nds yo ur musical tas tes, adj ust and try aga m.

No re: There is a ha rmon ization exam ple foun d in th e a ppendix. as well as In the following
com positional analyses.

• 10 0 •
 COMPOSITION EX.lI.MPL.ES

The following examples rep resen t a vari ety of srylcs th at are avai lab le on recordings.
Unfo rtunately, there are few recordi ngs wit h examples that in clude co m pos it ions with an
altered pentatonic source. In a war, this co uld be fo rtuitous as it p rcscnrs a vacuum tha t
could be filled by the forward-looking composer. T he m os t rep resentative reco rded exa m pl es
are fro m th e V;'ayn e Sho rt er CD Etcetera - the source scales on a number of the compositi on s
are q uite exot ic - bur n o, truly pentaton ic.
Th e comme nts for t he following will refer to the m elodic source. rnorific an d ph rase o rga n i-
zation , a nd harmon iza tion. Only salient and pertin en t points will be made, all owin g the
in teres ted reader to delve deep er if de sired.

EXTANT MELO D IES

Exa mple 3.1 2a : " O rien tal Folk So ng" (Tradi tional, Reharmo nized by W ayne Shorter )

..
so urce s cal e
o a
o
o

5
0 - 11 B~13 C7
E"
& i i. · ., ;": i. ·
(!
n~
I;

.c i :i !I

R R
I I
A~ 13 e -n A~13 o- u

1s" i
r:; ~F • ¥~ e I n
: ~;
I
ot I,,: e I

COM MENT S

Melody
• Based on a Chinese folk mel ody, th e so urce scale is a common-practice G mi nor penta-
to me.
o Mos t significam is the Sj R o rganizarion - S(s-r)jRjR, the often-found a nd acce ss ible

S/R form ula.

o The motif is well balanced with the o penin g statem ent (5) in an upward direction, rc-

leased by the reversa l of direction with rhe resp on se (r). T he la rger SI R is balanced by a
con tras t of fas t melodic rhyclt m of the statement (5), and slo w mel odic rh ythm of th e
[\\10 responses (R). Of im por tan ce is th e clear o utlin e of the rrrr onic (slls2) shape s fo un d

m ms. 1,3,5 , a nd 7.

Harmony
• Wirh ou r referring to a mode/ chord listing, it is clea r that m ost of the chords a re di a-
to nically related to the G mi nor source scale - o r its transposition - a Bh major penta-
tonic.
o The harm onic rhythm is m osrlj- sym me rric , wit h a har m oniza tion by rwo m elody

pitche s, except wh ere an increas e of tension is desired fo r cadc n rial de finitio n .

o The AH3 is a rr'it one substituted dominant chord to the G m ino r tonic, ....irh th e A7

being an upper nei ghbor do m inam to the At. cho rd.

o 101 •
CH ~PTER Ill : PEt-lThTOl'l tCS

Other points
• As always, \'I:'a yne ch oose s [0 rcharrnon ize by sectio n, ad ding a few new cho rds [0 th e
second parr, rhe rebv en larging th e form beyond a mer e repe tition.
• T he orchestration o f thi s and all tu nes fo un d on th e record ing is very art istic and
th oughtful - make n ote of how the two horns relate regarding un ison , interval and
octave asSignments .

Exam ple 3 .1 2b: "Ya qui Ind ian Folk Melody" (T raditional)

so urce scale
o
J1 o • I:

5, 1
R, - - - - .1rl - - - 5, - - --.1rl - - - R, -----,

,. .
F~- 1 1 B- 9

..
A (2) E9
•,
tM ~ ~
• r ,
C •
I • •
1
• J i,
"
5, 1
R,

t~
F:-9

• •
2 .. •
G Lydia n

• • ; -. 3 k B- 9
,
• • •
E9s us
~,
•
A (2)

o·

This beauti ful m elod y is from an Am erican in dian source: the Pascu a Yaqu i rribe of Arizon a
- d escendants of th e an cient Tolr ccs of Mexico. This m elody is fo und as a main th em e in the
"India Sym pho ny' by Carlos Chavez. The exam p le is from th e Keith Ja rrett CD Treasure
l slawd.

COH HEI'lTS

Melody
' T he sou rce scale: m ajor p entato n ic wit h a passing add -p itch ( d~) .
' Th e SIR is symmetr ically or ganized .
' Clear rrichord sh apes arc fou nd in m s. 2 and 4.

Harmo nization
' Sim ple di ato nic harmon y is mo st effective ly us ed.

Other points
' The con sequence phrase (ms. 5-8), ShClWS a nic e balance by an in crease of m elodic
rhythm .

Exam ple 3 .1 2c: "G ula Gula" by Man Beine Persen

so ur ce scale
o
o II o
II

5
A5

• • ~' • • •
i
' - -. ,
, 7
• 102 •
 COMroSITION £ XAH P L.£S

II R R
G; 5 A-
, " 2

t• n
tJ
,
•
F r• 1 •
,,
• • • • • •
g • 1 !
I
• 4'f I
Altho ugh n ot menti oned on the CD, thi s melod y has a qu ality rh ar su ggests an In dia n in flu-
ence - possi bly Sami in origi n.

COMM£NTS

Melody
Like "Caribbean Fire Da nce " in troduced in Chapter I, th is is a p rim itive b UI peacefu l
melod y bas ed on .a rrirc nic ressiru ra. There is a sus2 srrucrure oudin ed in the response
po rtion [ms. 7·10). And most im po rtan rlj-, there is use of th e S:'R,-'R fonnula.

Harmon ization
Th e ma in theme is very sim ple in its harmonic material, me rely a conic o pen fifrh inter-
val wh ich goes to a G ~ open fifth as ind icated o n the m u sical example. T here is addi -
tional harmonizatio n in late r mel od ic state ments - a synopsis is also p rovided on the
exam ple.

FO LK INFL UE NCED COMPOSITIONS

Example 3.1 3a: "Badia" ·by JosefZawinul

so urc e scale

;!
jj

II

.,
....... •
I J - >

P. ... .< .;;;= """ e - 'f b#3

C-7 ' -7
':5>. 12 ·

sou rce sca le

S
d -o s ' :::
:11 -- Z
bo 5 ?
{
bo
:
,
, 0::::;:/'
3 , 3 ,

.'
A sect ion; A very sim ple sra rem cn r an d responsr - clear and fo lk-like.
B section : An exotic balancc, alm os t like an Eas tern- European melody.

• 103 6
CHA.PT~~ 111 : P£NnTONICS

Example 3. 13b: " Palm X" by Ron Miller

s.ource sca le
n
n • im

s r-
, , , ,
j; {'
•
IF(4 )

• " ,,!, • : ;; ; . ; . ; '3

,
~

~. ,--;,
,
5
I' •
'2 ; , ; .- r·
~

R
, R

#t ~;' <G
". .2 ,,: '\ i:
.'
• _ _ $ ..... = 0

• A sim ple minor pemaromc - the- program matic in tenti on of the ru ne. if one h as been
there, is of th e crazy expe rience of dfl ving the palmetto expresswa~· in Miami . Cov ertly
H ispanic, ho t and ferven t. is the messa ge!
• Of note is me reco m mend ed S/ R/R organization, like exam ple 3.12a.

HISCEL.L.ANEOUS PENlATON IC CO HPOSITIO NS

Examp le 3 .14a: "Ponte de Ariea" by Milton Nes cieme mc

so urc e sca le
n
o o
II o a

'"
G- 7

- - C95 U5 G -7 C 9 5 US F (2)

:::
> >
,
t&fg~=*=f:=r
I
It ' _ ~
~ F • • rJ F-J£&=% , ~
j !
2-J • ! EM
T his beau tiful mel ody is pcn raro n ic, b ur b ecause o f its organiza tion an d shape, is nor readi-
ly identifiab le as su ch. Co mp are thi... melody (0 ochers o f a Brazilian so urce. Are th ere sim i-
lari ties?

• 104 •
 CO MPO SITIO N £ X;a. MPL.ES

Examp le 3.1 4b : " Boogie Woogie waltz" byJo sefZawinul

source scale
po
iI..

E;"" l
,
£'$ !i

Joe w as wit h Miles at th e time of this recording an d Miles' infl uen ce shows: m ere is m uc h
use of space - a lot of rransperency, bu t our m reresc is in the pentatonic quality.
Th e first material is of a simp le dia tonic so u rce, in a clear exposi tion - the tri reme is evident,
the direction is dear.
Th e main theme can alm ost be descri bed as angular, but its rhyth mi c org:anizacion is alm os t
h~'Pnocic. Th e author includes this tu ne in h is repertoire and can arres t chat (Inc can play
this theme over and over again without its losing irs hypnotic effect - t l') ' it, you' ll like it !
It should be pointed out, there are con trasti ng sections to balance the pentatonic mel odi es,
bur the,.' are mosrlv in the form o f harmon ic, rhythmic an d textu ral materials.
CH.l>.P TER Ill: P EN ThTONI CS

CONCLUSION OF CHAPTER III

Th e usc ofa pentatonic source or m e organization of a melody based on a folk model is nor
new to the com po sitional process - m ost clas sical composers of note sh ow the use of the
aforemen ti on ed in fluences in addition to acrually u sing extant ma terial. An additional perk
is that it is a means of establish ing a nationalistic qu ality to composition .
To name a few exam ples:
Peter I. Tchaiko vs ky - the- pentatonic th eme in the ls t mov ement of the Symphony No. 6
(see p.3 3).

Examp le 3 .1Sa: A Promi nent Th eme From "The Firebird " by Igor Stravi nsky
5 R - -, , 1' -- - R

- - -•
J) 1 ~ .
0;
• • •
:
• • f .-. • ;.
• s:
•
'.
- #.-2, • ' OC=• .
f
,
i

Exampl e 3 .15b: The "Shak er Hymn" from "Appalachian Spring" by Aaron Copland

I 5 R

, , ~
g ..~? :-
-.
~

i .....
j,) ;":,P
=- --
..... ,
~ .
I:

Example 3.1Sc: "Scherzo No.1 in B Mino r" by Frederi c Copin

• • •

The usc o f folk eleme n ts is what makes Bartok sound H ungarian, Gries soun d Norwegian,
Gersh"," so un d American, and Stravmsky sound Russian. Th e po int is thar the classical
repert oire IS iI good source of srudy for t he use of fol k eleme nts as, well as the u se of har -
monic and melodic materials as suggested p reviously in Volu me 1, and earlier chapters of
this book,

• 106 •
RECORDINGS AND READINGS

Although there arc not m.an~' jazz recordings wi rh the kind of penta to nic com positions
referred (0 in me rexr, there is an extensive n umber ofborh recordings an d books that refer
to th e world's folk musics - only a few are listed - but it is easy to find more.

:... R£C~ D I N G S

Na~ Donut Wayne Sho rter Columbia 4 61 59

I Took Up The Runes Jan Garbare k ECM 21 41 9
N ight Dreamer Wayne Shorte r BST 94 173
Eueura W ayne Shorte r BST 21 4
Juju W ayne Shorte r BST 37 64 4
Tok~vc.> Blues Horace Silver BNS 4 134
Blackjack Donald Byrd BNS 84259
Search For The New Lnnd l ee Morgan BST 84 169
Tail 5pinnin' We at her Repo rt Co l PC3341 7
8:30 Weat her Report Col PC3606 0
A LDvc Supreme Joh n Coltra ne Imp ulse 133
&,Pansions McCor Tyner BST 84 33 8
Treasure Island Keith j arrert Impu lse/ MCA 391 06
Appalachian Spring Aaro n Copland m isc. reco rd ings available
(hind in 50ngand Dance Natio na l Folk Ense mb le Brun o 50062
AllthenticMusic ofrh e Amen''''1 Indian various Legacy 3 12
Whooo So,...! Justi n Wil son SM·11 81S
Indl4 s;'vmphoftJ Ca rlos Chavez m isc. recordings available

6. ~E.l.D tN G S

Brazi/jg" Music Worf<shop Anto nio Ado lp ha Advance Music

PenUlumia Jerry Bergo nzi Advance Mu sic
folic. Music o{ChiM Srephan Jo nes Oxford Unive rsity Press
Ko"kama LApp Distria Raben: Pehrson No rsk
Tk Africa" RootsOfJlllZ Kaufma n & Guckin Alfred Pu blishing
Merengue Paul Ausreriitz Temple Press

• 107 •
 CONCLUSION AND FINAL COMMENTS

Taken togeth er. the materials presented in Volumes I and 2 sh ould prove to be su fficient in
es tab lish ing a seri ous regimen of stu dy for th e aspiring com po ser of any level of expertise.
O nce again. the importance of muc h listening, to all kinds of m usic, with del iberate arrcn-
non. cannot be over stressed. In fact. if one's Mears" arc good enoug h, and one has the rime
and d esire, and pursues a srringenr listeni ng career, o ne rC<LUy doesn t need these t ext books
- bur it would rake years of vt"l'y hard w ork to d o it th at way!
There ma~' be m uch info rmation in bo th volu mes of th e book - bu r men: is m ore to cover
yet. Fu rther seudy would cover. more melody-writing procedures w irh th e extensi on of pen -
tat onic tune s to the scud~' of blues runes and avanr-gardc composirions; More in-depth
study of to n al (II.V) ha rmon y and form with the works of Ho race Silver, Th d o nious Monk,
Charles Mingus and early \'('ayne Sherrer. And more specifics regardi ng "movements" and
style br loo king a t the compositio ns of "gro up" efforts like \l'eathcr Report, Return to
Fo rever, Oregon and th e ECM style. an d a dl er significant documented con trib ut ions - all
possible subjects for a con ti nuat io n of th e book series to a Volume 3.

Ron Miller 1997

• 10 8 •
APPENDICES
APPEN DIX 1

APPENDIX I

MOTIFIC DEVELOPMEN T
Th e foll owin g is incl uded rnerel v to provide an ac cessible source for review - it is as su med
th at the reade r ha s been exposed to the techniques of morific d evc10pm em in pr evious read -
ings or traini ng . Essentially, a ch ange in th e original motif can be described by a d ifference
in inrervalic d irection (u p or down), rac e (sem i-tone formula), or melodic rhyt hm (no te
du ra tion ).

Examp les:
(a) Seq uence - this seem ing!)" sim ple de vice of repeatin g a motif starri ng from an other
pitch ha s p roved effect ive for cen turies . Usually, the in terval structure of th e sequence d
motif is al tered to fit scale and h armony.

Motif Sequence (tonal upward, key of Eb or AI»

I • ,
i~ Ii I,;; w
. ~ I

.'
.0 ' ,- :; 0

(b ) Inversion - the ori ginal serni ro ne formula st ays the sam e. b ut the directions ar e rever-
sed: wha t went up now go es down , an d what wen t down now goes up.

Original Inversion

=£.!
(. ; 1,. w. ; (I J: II

Interval: m2 M2 P. m2 M2 P4
Direction: 1 I I I i

(c ) Retrog rade - both the direct ion and th e im crvclic form ula are reversed.

Original Retrograde

Ji•!
(.

Interval:
• I>..
m2 M2
,;
P.
• .. .. ,;
I

P4
I,. I
M2 m2
j, : ~a

Direction: i I I I

(d ) Retrog rade Inversion - this is like a palind rom e, the change reflects a "m irror -image" of
th e original. nor merely a change in direct ion .

Original Retrograde inversion

,
• "-=-" «) ! .-
Interval :
Direction:
m2 M2 P4
, P4
!
M2
i
m2

• 11 0 •
 A.DD ITIO NA.L. HA.T€RIA.L.S

(e) Isorhyt l1m - an importa nt tech niq u e in jazz ori ented melod y ....TitinS, the d~cloped
motif shows a tie to the original hy ha\;ns the same note values (melodic rhythm). hut
wieh different pitch es or di recti on.

Motif Same rhythm

_. ;771 ! :.
Q;. ~
g iJ·
~ ~

-
~

:M
., • •
--= <2
;2 i

(f) lsoarricclauon - like the above, but th e ti e to th e ori gin al in this case is br commo n
articulations.

Phrase

.'
S;ame ;arti<;ulation

.-
. .~

(g) Tru ncation - as th e name im plies. th is shows a dele tion of some of th e pitches of the
origi nal motif, usually at th e en d of the mo ti f. but n ot n ecessarily. Alt hough other qual-
ities of rhe original also can be ch anged, it is best to keep th e o rigin al shape to cla rify
th e musical developm ent.

Example: " Ida u,pino" by Carla Bley

Motif Cut short. invenC'd

G C/G

•• • .. . • • •
.' I
M2 m3 m2 M2 (m3 ) m 2

! ' !
(missing)

(h) Extension - th e o pposite of above, the d eveloped motif is length ened by additional
melod ic material . As l on~ as a clear n e to th e original is evid en t, other developmen t tech-
ni ques can be used as well.

Example: " Lost Illusions" by Ron Miller

Morif
F6; 5 Elongated 8< displaced

J,; (. e ::,;
, ;. • • -.'
,
a ()

• 111 •
APP£NO IX I

(i ) Displacement - this refers to a s hift in~ of th e melod ic rhyth m rela tive ro the harmonic
rhyth m: a sh ift of where the new motif occu rs in th e measure com pared (('I th e original.

Example: " Men in Whi te " by Ron Miller from the CD G/idi17g

Motif Disp laced & seq uenced

B; 13su s A13sus I C l3s us

Jif' J. :: 1L.
I

b -- i
• T~
"

• • ". • I'
•• •

til M" u ,'o" - chis term is used '0 describe an r an om alous change sho wn in the new rnorif
which still can be id entified as bein g relative to th e original.

F13sus E9su s G 9sus A form ofi nvers ion F;:- 11

~ .. I
. ,
3

- -
• ••
(~
•

Th ere are many more d escriptions of techn iqu es for develop ing an ori~inal moti f. b ut in th e
interest of clari ty and simpli c ry, th e above is sufficien t. Keep in mind that when analyzing
melodies, our m rercsr is in id en tifying what th e composer did to develop the melody m usi-
cally, n ot in getting overly scien tific or pedantic.
 ADD ITION A,!. HATERI.r..L.S

l<RTIC ULl<TIO NS l<ND EFFECTS

This subject is beyon d the scope of this book - one re.ally sh ould refer [0 an orch estrati on
or arranging ten for this. bur to provid e a q uick access an d a review , rhe fo Uowing descrip-
tions of arricularioll5 ar e incl uded.

.ll.RT IC U l,.ATl O NS

It has been s tat ed that for a jazz pe rfo rm ance , only tW O articulation s arc ne eded: sracca ro
and rcn uro - there is no need [0 be so spartan .
To revi ew;
SU:UX4toand trn uto refer to note len gt h - how lo ng: the p itch is held - wirh no ch an ge in vol-
u me or em phasis.

Stacca to
wrrtt en interpretatio n voca lizatio n

.' 2. 2.'
*' <: • :, i: ~
'
I:
~"
,
~
~ ~
I
I F ~ ~ I
'" bit

tenuto
writte n interpreta tion voca lization

:#; <: • • • •
F ~
I
--- • I •
I
~
'" b. o

Ten/Ito/ staccato is a co mbi ned arnculario n found o ften in big ba n d and h ardbop tunes, ir
creates a vcr)' d ram acic effect.

temn o/ staccaro
wn rten inte rp retation vocalization

""6i (. :
F F I
ba ht!

Accents di rect the performer to emphasize or increase the vol ume of the selected pitch or
pitch es with it sligh t vari ation of pitch duratio n.

interp retation vocalization

51 1

I
-

ba h ~

int erpretation vocalizatio n

ji P .'
r • 113 •
 EFFECTS

Effects arc id iom atic expre ssive devi ~es peculiar to in dividual insrrum cnral groups. Man)" ar e
general to all ins trum ents an d voices. Again , beyond th e scop e of thi s book. keep their use
in mi nd wh en composing a melody. Con sult an o rch estratio n bo ok for an in-d ep th review.
Kno w how to include th em in yo ur scores; so me you should use include:

tri lls glissandos

tremolos slu rs
scoops slaps
ben ds falls

There ar c m an y m ore, th e import ant poim is to keep them in m ind while writi ng out you r
melody. It is reco mmended that you consult fellow pe rformers to demonstrate all the effects
that arc possible o n h is or her instru m ent or vo ice - it ma r give- you ideas for you r m elod y
if no t for a whole composition.

SOUND SUPPORT PH R.l>.SING

Th e last perfo rm ance directive to cover is quit e important. an d o ne that is ofrcn overlooked
- that of sound su ppOrt phrasing - th e direction as when to stan an d when to swp produc-
ing a sound irrelative to pit ch ch ange .
Whether the sou nd is pro duced by bl owing, plucking, scr appi ng or h itting, there is a poin t
whe n the pe rformer needs to take a bre ath , raise th e arm , or m ove the bo w to a sraning posi-
tion: all men the phrase qu ality of a m elody. T her e arc rwo cons iderations the composer
m usr ma ke: (1) how lo ng th e sound production can las t depen din g on the tempo of th e
pe rformance and the ab ilities of the p erforme r, an d (2) ho w will th e pause to take a breath
or rai se a bow affect the phrasing of rh e mel ody . Careful pre planni ng is requited to ass u re a
successful in rcrp rerario n of your melody.

• 114 •
 A DDITIONAL MATERIA LS

There arc rwc ways to di rect the performer of your melody regarding so und product ion :

1. Breath marks - a sim ple single quo te (') specifics rhar th e player is to take a breath , or
restart the so un d pro d u ction at char po int. It h as th e effect of ending a phrase an d
sho uld be considered for use as a ph rasing d irecti ve.

Example: Breath M arlo: Phrasing

• .
/) (!
<I
• •
I
• p;; • : •
!

CO HMENT:

Th e placemen t of the breath mark has th e effect of a slight pause between the conse cutive
quarter notes, creati n g a second phrase.

2. So und suppon phrasing - these are phrase marki ngs thar are in addition to melodic
phrasings - chey are meant to di rect sound produ ction, bu t because of me pause rhar
OCCUt:5 when the performer takes a brea ch or in an y w ar restarts a so und, the effect is
that o f melodic ph rasi ng and/ or pun ctuation , an d has a sim ilar effect as breath marks.

Example: So und Support Phl"asing

~H ii "

COMMENT:

The player, whe th er or not taking a breach, will resra rr the so un d production , creating a n ew
ph rase.
Be aware of all t he afor emention ed di rective and melody interpretive d evices In your
listening sessions and take note of t hose that arc p articularly musically effecti ve.

• 115 •
 APPENDI X II

TRI TO N£ SUBSTITUTION AND ACOUSTICS

Trir on c subsriru rion is a phenomenon that is a resu lt ofrc mpe red tu ning. Although it work s
for non-fixed tun ed in strum ents, it is probably d ue to perfor mance adj ustments fro m years
of plari ng with fixed pitch ins tru me n ts. Looking at the over to ne series, one can sec that
enh arm omca lly spelled in tervals sho uld resolve diffcren rlj-, Bur with te m pere d euning, the
differen t s pellings nonetheless sou nd the same.

Exam ple:

1. 2. 3. 4. 5.
, , -, s -

•• ... ..
. - -
i
.
-

I , .. 3
..
-
: --
.

1. Th e overt one series bas ed on C with the pa rti als num b ered.
2. The 7th and 5th part ials creating a rriconc Inte rval ~ sub trac tin g the 5 fro m 7 gives the
differen ce ron c, th e ro nic of th e trito n e.
3. &. 4. The sam e p roced ure' for th e series based on H , a rr irone from C.
5. T he up per stru cture rrironc intervals so und the same an d as a sou nd , can resolve the in
[he sam e war - producing th e effect char the roots are subsriru tab le.

• 11 6 •
 ~DD ITl O N~t. t1 UER I~ t.S

STARTING CHO RDS - SThN D1l.RD S

Tu nes that start on :
A. I Major or III Minor B. II Minor

Here's Th at Rainy Day Wh at a Difference a Day Made

The Girl From lmpa ne ma Satin 0011
Th is Nearly W a5 Mine Body a nd Sou l
My Foolish Hea rt Autu mn in New Yo rk
A Foggy DOl!, Its You or No One
You Stepped Out of a Drea m Prisoner of Love

c. VI Minor D. IV Major o r Domin ant

My Funn!, Va!enti ne After You've Gone

All Th e Th ings You Are JUSt Friends
Alone Toge th er Love For Sa le
If I Sho uld Lo se You H ow Insensit ive
Lover Ma n

E. No n-Diatonic or Miscellaneo us

Night and Day bVI

Lover I do mina nt
1 Cover the Wate rfront II dominan t
Prelude to a Kiss VI domina nt

The reade r is urged to fill the empty lines.

• 117 •
 A,PP(N D IX II

~DDITION~L. REH~RMONI Z~TION - NEw MEL.O DIES

Included for additional study Of a... a source of comempOfa.ry· restyl ed s ta ndards to play ove r
Of [0 add to )-·our repe rt oi re.

A. II" rcharmo nizarion of "I'm Ge ning Sen timental Over You" with a partial new melod~ ',
there is a rerum to the original m eledv ar th e second bar of the B section and the las r
three measures of me th ird cnding - gi\i.ng impe tus to a partial new title.

Example: "Getti ng Serni-Me nral" by Ron Mille,-

, A-' , ,• I 07
(7 ; 11
E p~
,.......- .-:- > • A.- 9 Dr.7 G - 11
>

-A , .
, oJ
(i
~
,
. '\ , ~o::.. £2-
- I I
' ~'
;:J=r
,
•
b_
, •
\ ,
•
>~
I

.' fk 2
,
>
•? I

~ I,
Bait G/ak7 A-lt 013 D~13su~ Br.13sus
II' o l>sus

13
' oJ
•
,

,
~ .. "
~\
~?J
I I
•• •
,
\

~
:

.' .' .-
,
\

~
t-
"~ ",
J) , :' I
~ ", 'r~ PH

-&~
". '
C9s us

•
• •
,, - 9" •
>

.'Z ·,
D9sus
,-- ' ~

• • '7
E~ ,",s

!l S
sscs
I.. ,
i
=
C9 s,",s

' ..
6.-.

A, I

,. ,' ,-
10 7
A- 07 G-' C7 ai-7

:& .' I
,- , ~
'--, ~

~ Ei>~ A.13
,G- C7alt '7

13 . ;; = - 0; ~;
i l , I,J;:; ~,

;;3 ::: .. ;.
» e.. '
• --. P'. p" • •

,.
&7 , 13

=6 , I

• • == :6' • ::
.1' If>
•• 8'" - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - '
I

B. Only slightly reha rm onized version of "Sweet Georgia Brown," bur wirh a qu irky and
angular new melo dy. Th e tu ne is m ean t to be a "burner" - it fu lfills its prem ise.

• ll R •
 A.O OI TIONA.L. HA.TE~ IA. L.S

Example: "Sweet GB" by Ro n Miller

new bop F7

---
. ~... -.- ~ ...

• •

,I
•

.,
B.7

~ ... ,
- - . ," >

-
---
- ,. '--C- .
•
::-."
'.
,
A
: . • •
.

. ;. - ; • -•-• -
>
,

G
>

:~. )
; . t,'-
I"" ' P'
I
: l,• .
: n
>
~.
F :
i/ -
• . .~
• • d ~m ~o - - - - - - - - - - - ----- - - - - - - --. -- - - ------ - - - - ------.
..
• ..-
- --
I p• f.' '''
;

:
I
"
u ,

B F- G, 13 F- Glon G~1 3

•
- >

'" ,. I~
swing 4

"
Ap1 3 G13
,
G ~l ::; F13 B. 7

a!
> >

. 8
:t..4 .= -
~.
-c .. j
'~

W:7
'

Z /
, 7 / z=z
•
, 7
7 7 7
I
" s o los : "Swee t Georgia S rown N

• 11 9 ..
,lI.PP€N OIX II

C. An oth er reharm oniaario n an d new melod y of r'Nigh r an d Day" - thi s rime by David
Liebman. Comp are ir to versions foun d in Cha p ter II.

Examp le: " Day and Nite" by David Liebman

( q -7

,- 0
, \
=,.

Bj,7al t Ev...~ 5

• I
- , •
~' ~ f: ~: (I II

A. ( A~/ A) Ab- 7 (G/ Aj,) G- 7 (Gj,jG) F; - 7 ( FI f~)

t&4
e.
• , _§
;~r ~ "--"'-
4 e.' Rp"" t; ,..
,
I
••
~

~F
0

p . i ,;::;
F- 7 e;... ~ 5 (D/E l.) Ej,... (q - 7 F;:7)
~. 1.

=6" • i,•
I I
•
;. •
,
1,[-
UT "0

• !

C ; - 7/F~
,- '
•
Bp- 7/E b

q - 7/ F~ B~ - 7/ E P

k~
f,; !
, - U • •
1

b·_
,

..
A. G- 7 F~ - 7

t.'.
,
;. II

' -7 E...~5 '"

( D/ E~ ) E~...b5 (q -7

:#; • i". • • • •
I
15 1 ~~U:r ,'0
f. :>

Ii

• 120 •
 1o. DDITlON1o.1. H1o.TER IM .S

D. A new-bop modal rch urmon izanon of. an d n ew melody for "'V:'h ar Is Th is Thing
Called Love."

Example : " love Thing" by Ron Miller

va m p
C Pht')gia n C Aeolia n

.. •

-
• > •
•
\
..... \

c:AJ
J; ,:
C Phrygia n

,. r ~i t r ••I
C Aeolia n
>
i, ~
,
-:: J
>
F- l 1/C

:~
-
; j M
, • Ii

r sfz r
F; ~ us G: sus Gs us ' /G ' IC Al B (head only)

---- ~

~~ 515fR4 ~ .
t
I
, --; :1
• •••
•

ge
D/F7

g - ,;
> >

., ! ~
Q ;;
~ n ! .':]
•
.fP
E ~u s Esus F; sus Al.sus B~us

"_, ~
,
~ ;;. •

• 121 •
APPEN DIX III

APPENDI X III

T he following materials are incl uded for further study, reference, and clari fication.

L.IST OF ALL USAB LE PENlA.TON IC SCALES

T his listing was ori ginally crear ed by a com puter program (included la ter) and spelled out
in a mort musical lan~gc here; the lim its of the list are that there be no interval greater
than a rrirone. This is to arremp r to lim it the nu mber of created scales that mar have too
many adjacent semi rones - any modality within the scale wou ld be too obscure, and th e
shape of the gen erated pentatonic wou ld not be musical.
Th is listing is to be referred to as a sourc e o f altered pentaronics and to cross-check an~'
pen rar onics created by the combined method.

10.1..1.. PENUl.TONIC SC1o.I..ES WITH NO INTEQVZl.L l.A.RG£Q TH1o.N A. TQITONE

1. 2. 3. 4.

~ fl
;:«.--0
.
,I I I
"
II

fl
:0
"
o " II
vo I)

fl
;: '
.. e Ii e II
o "iT$o
,
I)

• 3 • 2 2
• 2 2 •
5. 6. 7. 8.

.. ~o
" "
II
.. o a" "
IJ ,:
"
• 2 2 s , S 2 3 s 3 ,

9. 10. 11 . ' 2.

S 2 3 S 2 2 a S 2 2 2 S 2 3

..
13. 14 . 15. '6.

Ii
(1
" I)
(I

.. "
II ~o

, 2 a 2 S 3 , S , 3 5 :> :> ,
17. 18. 19 . 20.

:,"
" fl
S , , 2 s S 3 2 , s

21. 22 . 23. 24 .

n
o ~ ..
e (I

•• u in. "
I)

e " e I) ;10
u Ii

,
~,

, , , , , , , , , 3 3

25. 26. 27. 28.

II II II
" II
o o

, , ,
" fl
,
"
3 2 .4 :> z 3 z 3 a
• 12 2 •
 A.DD ITlONA.L HA.TER IA.LS

29 . 30 . 3 1. 32.

u .. i", e .. u
o i... Po II

o o "
u
u II
Ii
:
, , 3 , , , , 3

34. 35 . 36 .

u ~ ..
110 PO
u :'" .. o II u II

4 , , 4 3

37 . 38 . 39 . 4 0.

o II
lilt .. .. o " j
o
o lI l • Iko .. o " ' ", 0 "
4 3 , , • , 3 , 3 a

4 >.

..
43 .

o ~ ..
o ill I .. .. o rU=-"'
(f
u
..
, 4
• , 3 , ,
4 5. 4 6. 47 . 48 .

,
u II

,
o t".
,
II

, , , ,
o=i>i I)

q o-- C! u

3 6

49 . so. 51. 52 .

II ~o u .. o II
.. -e- orO
, II
o o "
3 , s , a 3 ,
53 . 54 5 5. 56.

~O !
II
,. II u

1 , 4 z 1 , , •
57. 58. 59. 60 .
,.
o o e :::U_()- O II II
o II
ii
s • 3 4 , 3 z 1

61 . 62. 64 .

~o
"
II
,. o ~o II
ill , o II
II! , II
II
II "'

1 1 , , 1 , 1 , 3 3 ,
65. 66. 67. 68 .

I' ll
II
: -e- ~ O II "
II!! o o bll 'd
, 1 1 , 3 , 3 ,
7>' 72.

" I :... ; 0
II
II

"
u

1 , 1 a 3 3 z 1 ; a
.ll.PF'£NDI X III

73 . 75. 76 .

!.
-0 PO
.. II
10
II
II
II

, , , • , , r , , , , a : z , , , ,

..
77. 78 . 79. 80 .

: ~ l II
til l .In== o II
II
III
ill I 1> 0
, H .. 0 o ;:"
, a , • , , a , • , a

81 . 82 . B3. 84 .

o illl=tbi=ii
o 1> 0
o "0 ;;::::1,..,
, s , a • a , , , , a •
86 . 8 7. 88 .

II
.. .. ., o :/1 , II

a , , , a a a , , , s a , , •
8 9. 90 . 92 .

II
II
0 -_( , --9<9

a , a a , , • , , , z s

93 . 94 . ss. 96

II II
~O
II
o o u
o 1'0
, , • , • a , s , , ,

..
97. 98 . 99. 100 .

~ 0
o
~o II

(I
o ;:0 = --+
, , , , s , , , s ,
101 . 1 02 . 103 . 104 .

.-, o PO

z
II

s ,
II

,
(j " ::0
fO t.

, s
=
,
<)
~II
\

•
o

•
o II

a
o
, • ,
105. 10<. 1 07 . 108 .

II II
fO O

o o
z ; a • , a , , , , 2 • , , , a

..
1 0 9. 110. 1 11. 11 2 .

,. e <) pO:=U
.. ()

o o ~O
o II

o
O=VI I

-: , s a , , • • , s

11 3 . 1 14 _ 115_ 116.

Iio II
o
o t. u:=:!:.'l
o
z • , : , ; , , a , , , , :
• 12 4 •
.Il.PPENDIX III

161 . 162 . 163. ,...

II
II

(> 90
II po II
II
o .. II
o ..
. ' -6
, , , , , , s z , •
'06. 168.

..
1 65 . 1 67 .

II
o
i ll
o
II
-6 P~

• s a , a , , ,
169 . 17 0. 17 1. 172 .

-6 PO
'"
II
o o II
" ..
, , s • • • • z •

..
173 . 174 . 1 75. 176 .

13• o co
.. II

o ~II
PO u
o o o

a • , , • , , , • , a • a

l i i. 1 78 . 179 . 18 0.

o o II
(') :'0 o 11 .
, , , • • a a ,
181.

• -6 p o~ "
. .. o ~ '" II

s a z s , , .e , , • , , ,
18 5 . 186 . 187 . 18 8 .

e po
• ,:3 1 1 o .. C1
:11I .. a ~ ..
Jl
.. II
:
• , , •
-6- PO
, , , , ,
• a a

189. 190 . 1 9 1. 192.

.. Ii
!i
.
o
PO
, ,
'6

a • , , z , 3 z • a ,
193. 195. 1 96 .

..
'94.

!Ill o II

EO &0
o .H,
o po
o II o .. <0 PO ;: . .
II o
'4
• , , , ,
z s • e s z a

19 7. 198. 199 . 200 .

'I.' e po -0 PO ;u:=
. , _ _ 0 __.0

e :'0 o &0 .. o .n
If

, , , , , • , , , z ,
20t. 202. 20 3 . 204.

.. ' .,. DO
..... po ~ a--u5
<0 po

• a , , • , , 3 , 3 , ,
• 17,<, •
 A.OOITlOMll.1,. MA.TER IA.I,.S

117. 118. 119. 120.

co co II

0 -0 •
till 1" "
o o
II
...
, , a , , a , • , , , , , , , a , ,
121 . 122. 123. 1 24 .

1/11 " II

, • , a , , , • s , , ,
125. 126. 127. 128.

u
eo plI
H

o
o u
II

o •>" "
II
.. o
iI " PO
. ' oR
, , , , s , , , • , , • a z ,
129.

U ~D
(I o .. 130 . 13 1. 132.

'd
, • , , , , , • , , , a , a , , ,
133 . 13 4 . 13.5. 13 6.

.. .. .. uN
" ~ .. ::-0
u o CI II
o
II
o "
," , , ,
o o t o
, , • z , , , , , , z • z

137. 138. 13 9 . 140.

o
, ,
o
j,"
, , , , ,
.., , "
II

o
,#U ...
,
il i l

• z s s z •
141. 142. 14 3. "4.

II
Ii
II o o o p ll ; 0
o
'" po '" po o

• z , , s , , , a

145 . 14 6. 147 . 14 8 .

, s , , , • • , • , , , • , ,
14 9 . 150 . 1.5 1. 152.

..
.- a
"
s
o

, ",
o "
III

•
II

,
o
a
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a ,
o

,
<:I

a
Ii

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o
«I

153. 154 . 1.5.5. 156_

Ii
01 po (I o ~ II o n IB '" I
<:I

, , , r , , s , , a • , • a

157 . 158. 159 . 160.

t. - , , s , , , , , a s , • •
• 125 •
 ll..OOITIONll..1.. Hll..T€RIll..L.S

20 5. 2 06. 207 . 20S .

4) II
1) ( ' ~o II
-" == I: e po Po .. d
.'
II
PO 0
0
e PO 0 ;> o--e "
0

; , , a , , " , , a , , z s

211 .

,0,
209 . 210. 212.

% II
I '0 ~ o 0 .. II
!e &
... ~o
ilo=j><'
II

PO
II 0
"i
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0
, ,
e
, ,
a z • z s z

21 3 . 214 . 215. 21 6.

=fa ' 111 ~>o I)

II ~O II
;:« ill '
II
opg
• 0 PO
0

,
e (10

,
0

, "
PO
, ----9
e '0s , ,
s a •
217. 218 . 219. 22 0.

t• " &0 ;11 , 04> 0 , II

"
;;0 10 ~ I! 0 "~
~o==o--o
tIll 'd'
-e- '0 .. eo ,
II
II

\
s , s • , • , a

2 21. 222- 22 3 . 22 4 .

:fa '0 " Po II

ug illl °4
.' • , I" va
0 0 0
-o- u 0
0

, , , ; , s a , ,
22 5. 226. 227. 22 8.

% 0 .. .. .. ~o " i PO ~ o .. ..., II

tit u " ~
• e bo
,
u lu
, " '0, , " , ,
EJ O ~n

• s • a s

229 . 230. 231.

-e- ,0=:;0 0
I", II

-e- bo po 10 II
.. i!
.o bo ;.0 .. PO ug
.~

• , , s , z • ,

. ,.,,, .
ll.P-PE NDll( III

i.isr OF xu, USA-BloE HODES

Incl uded as a point of comparison for rhc pentatonic scales and as a sour ce for creati ng
pencaromcs by the d elete method. an d as a general so urce of study for co ncep ts of rnodaliry.

1. 2. 3. 4.
;

Z ,· . •. R

5. s. 7. 5.

-- . F'-+

•• 10 . 11. 12.

.
•
•7
.1 ·. ; •
~ ,.............. ;-
; I _
If
Q"!:'t
.... e--p
, .

13. ".
.--• .
15.
"
• • ~;
~~
i • •J • • • PI' i. k-
•
I •; . •
;;g. ~,. H
"

22. 23. 24 .

.;- I

25. 26. 27. 28 .

• · ;
~.
•
;-k ,
·;'· 1
•• '.
29 . 30 . 31. 32 .

. .. •~
I
; . !" .li>. -
• r
;, -- -~

33 . 34. 35. 36.

--*-. -- •.
• ....-1-
. ~.-M
~
!
, • •
• ," I' ..--;-.
..=
• 12 8 •
 AODITION"' L. H ATf:R IAL.S

37 . 38 . 39 . eo.

:#; • 1" .
..
• • • • ,-...-'

41. ....
• P. • •
• .. 'I '
~
.
• • :;- F
. . •
......... ,; • •

<S.
,
-s. ". <S.

t• • • P. I.. II ' Apd • • P.

,
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• • • r • ~q:;:- Ff==j
,

49 . so. 51 . 52 .
,
J; • •
•
.U. ,. F--· •
•• •

53. ,•. 55. 56 .

• • • • .. • • •
;. ;, . ~ .
i
. . .. .
57. 58. 59. 60 .

;;;-. I • ;=;=; I ' :. F • • • w--=·-~;-M

•

61. 62 . 63.

66 . 67 . 68 .

• ; • ,. F i ~~--:.,; •• I, • .n-:i> ~:;::il ..~W

•

• 9. 70 . 71. 72.

·.
; . I
; . ;! . - i I ' - '
,

75 . 76 .
,
~ .. '{1

• 12 9 •
APPENDIX III

78 . 79 . so.
.. I ' p_

81. S2. S3. ....

.- jl ~
• •
.- .-
85 . es. 57. 88.

~ •
,
,

'$ • •
i,. ll _
,
- ; ;:p;--:-.:g
• • • • • • i • • ,

89. 90 . 91 . 92.

1,hfR=t?;.:,.;.
i :

•• l o=ti~:'
, .
_ I'M "'- - iog
,

. 95 . 9 e.

.- • ll _ ~
!~ ."
r

97 .
,
98 .
". 100 .

¥; ' .-=-?'"
.. ~ ; 'Ii;
• & .-I;' . ,'-~,
, t_ • • M
.' • ~
• • ~ .-
• • r l>'-- ·

101. 10 3. 104.

,
.' . .. -I>.-'

10 5 . 106 . 10 7 . 108 .

t• • .-, I• •
,
p _ :;, J~
, •
;;;;;; - j, ~
I •
!
•
;:;;;Ji. • :,.:\
i~ . 'j
11 0 . 11 1. 112.

• :;> - - • p-
.- p ~

113. 11 4 . 115. 1 16 .

• .- P. --.-'
........ ,

• 13 0 •
 A D D ITI ON A l,. MATERIAL S

11 r. 11 B. 119. 120 .
, ,
:}; Z ;-="'
: • :,. , , 94i51J},
. ·+=' p~ :k:;;;;; ' • I
• P. ;" ~ .' , .
p.
p_ I
• • '
• p"

121 . 122. 12 3 . 124 .

'iP• , • •
• p•

125 . 126. 1 27 . 12 B.
_l> , •
, tI.
;;>. II .

129 . 130. 13 1. 132.

• , .~

133. 134. 135. 136.

=6 •
0
p. , ;p;i>#7 F • p, , , , •
!
,
p, •
• &
. , ;j.-.;.
, •
•
: p. P ... ~:: :•, 4
138. 139 . 140.

• • • j i 0 ~ J :. . ~ . .. ~
• • p ,

1 4 1. 14 2. 143. 144.

I
• ' • i . .' 1' 3
-

145. 146 . 14 i . 148.

:{) , p. P.
i,d ... ::u- ,! ,• l). ' P. il . ~ . i" ~ .
,
~ :
I b...... -
::Jl·
, J~F
,
,p" p. 1,. P'"
11 _ .....
, S
• • •

149. 150 . 151. 152.

..

153. 154 . 155. 156 .

=(i
· ". .
, ~ !, -?f?=l
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• 131 •
AP PEr-l DlX III

15 7. 158. 159 . 160 .

'I :, $. &.

16 1. 162 . 163 .

I ;; !

• •

165. 166. 167. 168.

t ; t. • • • • ,;::U; • j,,.;!ii. • • • ;z· • ':+ ::z;;;; , P' •

0 • I' ~ ' 1" jl
• ". •

169. 170. 171. 172 .

Ji • ".
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•
• ,.---. • I>. ... ii. •
, • " , - -'
a . F . ,,-
----.=:t
1 • •; . • , •

173. 17 4. 175. 176 .

o
. ",.
i ~ . ' ~. .i, l. ·
~

1i7 . 178. 179. 180.

18 1 , 182 . 18 3. 184.

.~~'.=r

18 5 . 186. 18 7. 188.

t0' • ;. - •
I • JJ '
I;. •
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• ~rl' · •
; ~. " . i. ;H;.
: ~.
, "8 •I &,~ .
I 1/•
, JZ:~
,
~

190. 191. 19 2.

<r . -'" , · ,;:t>:.:u.

193. 194. 195 . 196.

• ;I .--f>
~ -:i!'. • p;i;.

• 132 •
 ADD ITIO NAl. HATERIAI.S

197. 198. 199. 200 .

1
• • • 6 .~ •• e

201. 202 . 203. 204 .

~ e
li. p.
• I • • •

• - pe .. V ,

20£ . 206 . 207.

• i>. • •
.. v..-.
~. Je : •

• 1:33 •
APPE!'lD IX III

L.A.NG UA.G E L.ISTING

The actual C language listi ng of th e program that crca red the lis t of us ab le m odes. this is
incl u ded for an y programmers tha t may wa nt to m odify it to create ot her scale iistings. Th e
program is purposely in elegant [0 provide more portabili ty [0 other platfo rm s - this was o n-
ginally wri tten for th e Acari 1040 ST (Moto rola 681') an d co m piled wirh the Lase r C devel-
op m ent pa ckage - the ver sion p resented h ere is full y ANS I co m pliant an d sh o uld co mpile o n
jusr a bo ut any system. A more developed program wou ld include graph ic represen ta tio n of
the scale dara by notes on a staff, saving th e scales da ta or MIDI da ta [0 disc, being ab le [Q
demonstrate an y selected scales either by M IDI ou t pm or by mon itor speaker, be ing able to
pri nt the graphic not es/ s taff screen an d allowing us er input o f data to create all po ssi ble sca-
les with no particu lar lim itations - all with m ouse, windows and men u interface o f co urse.
This does exist - con racr th e a uthor fo r more in forma tio n.

...
• • • AN ALGORITHM TO CREATE ALL MODES \'\'ITH. NO Il\T ERVAL G RE.Jl,TER THAN

..... A.'" AUGMEl\.TED SECOND BY TH E T ETRAC HORD MET HOD - R Miller 1995 · ...
. . ... . . .... . ..... ... ....... . . ................ . . . ..... . ...... ... ... . . . ......... .... . . . . . . ... . /

l'i ind ude vstdio.h>

s include <srdlib .h >
einclu de <srring.h >

e dcfinc SIZE 600

e d efine L 3
.. defi ne \~ ' 2)

inr lOW:

; . retrachord d ata·;
in: mray[ L)1\l;1 ~
{
( 32 ,1, 3,l..1, 3,1,1, 0,0,0 , 0,0,0 , 0.0.0, O.O.O },
( 2,3,1, 22 .2. 2.2,1, 2,1,3, 2,1,2, 2.1,1, 0,0 .0 J.
1 1.3.2. 1,3,1, 1,2.3, 1,22, 1.2.1, 1,1,3, 1,12 }
I.
inr mode[SIZEl[10 ];

char " notcsjS] ~ tC" , "D",~ E'· ,~F" ,~ G ",~A ", " B","C'· l;
int vajucjg] - { O, 2, 4 , 5, 7, 9, 11, 12 }:

void main(void)
{
mr x. y. z: W , p, G. d one, a. A.B,C,D .E.F,G,H, T - L· W;
chat kej-;

[Op: a- roral- donc - key-u;

pri :J.tf{"\nsclect screen info.'(n hit 'd' to sh ew data - \

hit 'spa ce' to co mpute on1y\n\n \n "):
I\"hi le(!(key ~ £crcharO» ;
if(k("~' - ~ Ox2 0)
prim f("\n \n ~ com pu ting dan - \n \n"):
wh ile(ldoncll
for {J- O: ~'< L: y" ~ H
fo r( , ~ O; a-L; z-" ){
for fx- D; x <\I;'; x· · 3 ~
fort w- O: w-; W; W .. - 3){
l" £~ mng th e sum of rcrrachords *1
if(anaj'[z][w]){
p-arra~'lyllxl " arraylyJ[x" lj " arra~'[yHx " 2] ;
• 134 •
 A.OOITl O NA.L.. Hl,TER lALS

'i~ aITa~1 z11 w] - array[z][u- I] - an-ayfzllw" 2J;

I
,",
r-q·o;
r if su m of rerrachords c l Z . ,
if( p) && (q) &.& « p..q).;12)){
Ae mode ]totalJ(Oj· 0;
B" model tot alJ[ l ]..array[yJ[>;1;
C<mode]rotal)[2]· arrayU'J[x- I J;
De m ode] tor.alll 3] * arra~iY] [x+2 ]:
F- m ode l total ] [5]-arra~1 z][ w];
G- mode(totalJ(6]· = yfzJ(u"'I ];
H - mode]row ] [ 7] · =~1 z}[ w - 2};
E-mode[tor.alJl4)- 12-(A" B- C" D - F- G- H );

r screen dis play · '

if(key -. 'd'){
prinrf( ~ [%3dJ ".toal- I);
p t in tf("%2 d ~ , B) ;
p rinrf("%2d ~, C);
p rintf("%2d ".D ):
prinr:W ['102d I ",H) ;
printf{"%2d ~ .E);
prind{ "%2d r,F);
printf{'"%2d \ n",G);
} r ker ." 13 '"

if(a ~T && (B--3 &.& C- -2 && 0·· 1»

do n e .. true~l. test for 151: te rrachc rd . ,

- ..a:,j. in crement ma in cou n ter ..,

if{k~'''. OxlO && a'" 120 - - 0)

prinrf("\ncyd es completed; %"; d " .a.);
Ifta ~ SIZE)
-d o ne e L;

I r end fo r{I.\'.· '

} r end [or( >;! 'j
I r end for(z:.·'
lr end fl;lr }'.· '

)10 end while· · . -.-.-.-_._..._..- ••-----........- ••- ......- - - - . - - - - ••••- - - • •/

printf(" \n\ n\ n - All Done ! • T otal Scales Created: '103d\ n\ n r .to tal );
prin tf{- ,n- hit 's' to save output to dis k and quit, 'd ' to do again . \
'q' to qUI[ -\ n- );

whi le(l(ker .. gercha r{))};;

swirch(kcy l{
case -s':
prind'{"\ n\n - saving da ta as 'scales.rxr m t he default directory\ n\
existing files will be overwria:en~\n\n " l ;
UTlt C"_to_diskO;
exit(l):
break:
casetd':
gore to p ;
break:
case 'G':
o 135 ..
t, P PEN D IX III

exit(l ):
b reak;
d cf;aul e
b reak;
I
r end of main •/

void write_Io_d isk(void)

{
in t :I:,r,Z, A.B·O.C.O,E:
char prh ufl 34J:
FILE "chefile:

the file • fopcn("scales.txt" , "w" ];

if(rh efile !a. NULL)!
for6- 0~" [Otal;~ ...- II
if6. ~ to tal)
break: r if cyck over O~ abo rt desired . /
e-o.
ift.modell'1I 2} && r' SIZEX
fp rinrf( the file,· 'li.3d : C· ~"' l»;
forfx e l ; %<8; x-·x r convert n umeric da ta to alp ha . /
E-l'a1uc[x};
C·modeLvJlxJ;
D · · C:
if(O ~ 12) 0 · 11:
' s·
fp rintf( thefilc. .nor cs]x]);
if(E< D}{ r check for enharmonics ·1
if({O- E).- 2) fp rin rt(rhefilc: '%s",v# K);
else- fprinrf( thefile,"%5-t ;:- ");
}
if{E~ Dt(

if{ (E.O )·a.2) fprin tf(th efUe,""'lDs*,""bb I:

else fpri n tf(thefl1e,"'!l>s",~ ''):

I
if{E.... O j
fprinrf(thdile, ""los"," "):
~ r end of forlL....· /
I r en d o f if(mode.•.· /
fprimHrnefiJe."\ n");,'· new (jnc·;

r
J end of fc rfy- rc ral ._. /
fclcsetrh cfile];
p uu(":ill" successfully wrirren'm" ];
I /" end of if(fopen.-j· /
oJ><{
prin tf\'\ncould »c r open fli t - press kcy_ ");
gercharO:
I

/ • ..... . . . ... ... ..... . - END OF LISTING -- - -- /

 .!.DDITION M. H.!.TER IM. S
MISCEL LANEOUS MATERIALS
1. Com puter gene rare d harmonizations o f alte red pe nta tonic scales, one ch ord per each
scale pirch.

'd

'd , .... 4
,

)~ :: '~ . ,
b;

I~ ,:
,.!
: ; ;i$ ";;
. , i~ o~ , " ~ :: '~

:i
ie, M i

~
'

~: II
i1 ll tu .
0 0
.. Ii
! ?
" .' I 0

e cs 'd
~ ,; ~ : ;1 ~

..
''''' ,...

,... & . 10

• . !>

&. 11 & . 12

~) ..*..
,
.•

:
';):
o
..
• 13 7 •
 1l.PP£NDI X II I

2. Another exa m ple of har mo nizing a pentatonic m elod)',

s I I R I
( -11 B~-11 A~ 13s u s GI> Lydran

w&• i •
: p:
•
, • • ;~ • ,: ,;
: 'J
( Ph rygia n
I B~ Phryg ian
I Galt GJOS us [I
!

i
=1 :
F Phryg ian Ep- 11
I D alt DP!; U5
I!
"

, I

L. .
o;.~9
I C - 11 B7: 5 B ~9sus

, - -- - - - R, - - - - - -----, R, - -- - -- ,
F Ph rygian Ej, Do ria n A~u S Dsus DPsus
•
,•
• ,
u
,
F Phryg ian C /E ~ d I E, o Aeo ljA lt C/D ~ diD~
I
:
,. 0
"F Phry " I

:
C o~ I
I
Al'l l ~6
I" G" Al'SUS I
I
#2

Ap9sU5 (9s us Ai>13 C 9 s us I

, F%7 1 I
:

• 138 •
 1>.OO ITlON1>. L H1>.TERIA.LS

3. Exam ples of penraro mcs crea ted by the altera tio n me t h od .

a ) = 56: 104, ~5 - Altt,ro (Modt s of: D~ Mel Mino r) b ) "' 11 3 : J4 , ~ 7 - M ixoJ4 . Dorian14
(Mod" of. G Mel Minor, G Harm MInor)

In l
eI
Ii e
po eI

c) 1037: \.6, ~ 7 - M i~0 ~ 6 P hrygi a n~3

(Modes of: F Mel Mino r/ Harm Mino r)

Ii
,t el
I)
o

d) ~7 9 : Major Blues 1') # 14 1: Dori a n

e u o Ii
o lJ

f ) ~ 1 5 5 : Ion ian\.6 g) =22 4 . Phrygian U

o e o I,. .. Ii o ,. If

h ) Io nia n ~5 i) Ionian ~ 2 . ~6

(0) o
. .. ;
':! -
o e :,. I)

Ii

j ) Aeolia n k) Altered

.- I,. 11
o
0 ----;;> ·

• 13 9 •
 AP;:>£N OIX III

4. Piano score of vpalm X" for extra stu dy and performance usc.

PALM X
", A
comp./arr. Ron Miller

%+ . ~ .. ;'[ :0 ~ ·M .
,I
.
~

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.t•
> A
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> >

::: :
:'lJ

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,
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>

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r" ~-~
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>

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,

.'
f>
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. > A

,
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[Q c -s
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>
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. > A

,
.-.
,
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.-. - • ,
,
,
"i

:
I,
,
p

•• ;
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k~.
~ ,

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A

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,

E. - 11
,
e- > , ~
, , >
> >; ,
-"
"- i ----rr~
;....-.
__ · •
':
!I•e- •, '"'!v j
I
•
i' II
p • • =--.:
. ::::-- ,•
,.

p
A
r > ,
> > >
! "
, •, •
, K I
" ,. ' r. v.
° 140 °
 Il.DDITl D N AoL. HIl.T£ RlAoL.S

ABOUT THE AUTHOR

Ron Miller, Professor (Stu d io M usic an d jazz), received a B.F.A, degree fro m Florida Ad amic
Univers ity and a M.M. degree from the Univers ity of Miami. H is com positions have been
perform ed wo rldwid e, in cluding th e jamcy Aebcrsold Camps. an d have been recorded
and/ or perform ed by notables the likes of Red Rodn ey, Hal Galper, Joe Lovan o, Billy Han ,
Kenny Wlern er, Ira Su llivan . Stan Getz, Ma rk Egan and Danny Gotd ieb of Elements.
Ron 's composition students have in cluded, among oth ers, Pat M ethen y, Bobby Watson, " T"
Lavirz, Bruce H orn sby, Mark Egan, Jon Secad a an d Gil Golds tein. He has given jazz pia no
perform ances with Ira Sullivan, Allen Eager, Rick Margirz a, Mark Egan, and Pat Metheny,
and has backed u p m any show business pe rson ali ties as well.
M any of his studen ts, unde r his directio n , h ave b een gran ted the prestigious D own Beat
awa rd either as in dividuals or in a gro up effort. Th e Best Smal l Ensemble award went to the
Fusion En sem ble in 1979, Priority In 1988, and the Monk /Mi ngus Ens emble in 1997.
In dividual awards of Best Soloist wen t ro Reed Arvin in 197 9, and Rick Margitza in 1984. o f
th e Down Bcar.Ou rsra nding Perform ance awar ds, the Avant-G ard e ense mble won in 1980,
1981 an d 1982, th e Fusion Ensem ble won in 198 1 and 1982 . an d t he Monk/ Mingus
Ensemble received th e award in 1984.
Ron's compositions can be fo und on th e follo win g recordi ngs: Brooklyn Blues, Dan ny
Gorclieb: FreediJm Tower, Mik e Orca: Dialogs, H al Gal per; Seventh Sign, the UM Concerr Jazz
Band; Liberal Arts, Blemcnrs , Blues fo r the Old N ew Agc, Gary Keller; Lond) ' in a Crowd, Bar ry
Ries; and Gliding, St an Samole with Elements.
In ad di tion [Q tea ch ing jazz compositi on, adva nced im p rovisation , an d jazz piano, Miller
di rects th e Monk/ Mingus ense mb le, the Avant-Garde ensemble, an d th e H orace Siiver
en semble.

Ron can be reach ed at rmillerO@bellsou th.net.

• 14' •
 a r r a It gi ll g / co m p os ing / h arm on y / t h eo ry

M ... '1f E. BO LIIII; I Eo rTEO r:' 1£l1 1!Y (OU I

The Jazz The ory Workbook
• O~H . No. 112 0 1 h2 5-U(, [ BOD. '
Th;5 bDOk is e primer in jazz theory, intended 10 prepare t he student lot t he seriou s sludv o f jan tmprcesanc n.
arrange ment and com positi on .
Inclu ded are many mu sical examples ant! w ritl en ass ignm ent s for crec uce in the theo reti cal skill s. Apploprial e
exercises are prov id ed to rein force Ine ur etka l concept s by immed iat E' app lication to th e instrum ent.

J r f' IlT Caron ' BOB K","pp ; l ... II: H V t llUI< '
Hearin' the Changes
• O ~ H' Jj o. 14 2 7° (I02' H U aoor,

BILL 0 0 5 5 111 $
Jazz Arranging a nd Composing: a linear Approach
• 010 [ 1 N o . 113 05 ( 1 5 2 - ' 4/0[ BOU ,, ' t o)

Jazz Arrangeme nt und Komposition: ein lmeares Konzept

• BtsH H ·N • • 11 ] 0 6 (l u c" / c~ l

Arrangement et compositi on de Ia musiq ue de jazz: une app roche lina ire

• (O MMAN Of 11 ) 0 7 ( ~ ' VPl / C D J

Arreglos de Jazz y compcslclem un metoda linea l

• O~ 1l 11 N o . 11 ) 0 9 ( ~oo K / co l

_Many d;ff~renl ~~;biliti~~ for ha rmoni Zing t he sa me m~lody are illu~raled and analys~d, usin g led'!n;Ql.le~ bv sl.Ich
influentia l arrangers and composers as Duke Ellin gt on, Billy Slrav!tOm. Olivt' r Nelson . Gi! Evans and (lare Fischer.
~Tecn n;Q ues of f!lt'lodv harmo n isat ion. ~nea , wr iti ng and counterpo int for 2. J.'" and S homs.
_A chapler on wr it inr fo r t he rlTy'lhm Sf'C!lon clea rly illustrates tre lech niql.les common ly us ed bv iazz arrang ~rs arld
composers.
_Sio. oomplfle scores in concert k" are i~al for analysis. lor playing tee horn parts on 111t' piano or for fol lowing !!'It-
pe rfor mances on Ih~ ( 0_
_" n eXl:ens~ Cl\<lplf' on fo rm and d _ Io omen: d eals wi!h e.llendf'd compo sitiona l forms and the use of compo !>itional
techniouf'S In wrilinS fo r tne small ian ensemb le.
_A useful d iscography is indude<l.al the end or ead1 chap l er.

-J= Arronging ond Composing is file firsr boo * to pro~idl' 0 cleor ond Iogico l ori dgl' from the marl' bosic techniques of
o"onging ond mt/oo y hormoni50rion /0 thf> more advonced linear memoos employe d by same of the mo st irll ernring
I- on d in{luerlliol ;011 arrangers and composl'f'S . / hove lo ng know n Silts un iq lH' abilities as 0 gifltd pionist ono composer,
ond I hig hly recommend thi s book ro kur wri ters 01 oll ieve/s of experirmce. " (O ore Fischer)

G I~ GO l O~ "E1~
Jazz Composer's Companion
• O ROU No . 11 ) 04 (t 1l. .... G1 BOOl)

The boolr. rs div ial!"Cl

ete thr ee mai n sect ion!>: Me~ Rhyt hm. and Harmony. Do.zens of mu~cal ~..ampl~5 i?S well as
wmpllsitions by BiU hans lpi.anistl. ieee eastoncus. Jim Hall Ratph Town!' r. SI~ Swallow. Pa: M eth eny. M ich~
Gibbs. a.c. ere included in c ecer 10 illust rate specific compositiona ltecnniQues. An e~ll!"l'lsivt chaple< on lhoe comPO~ ·
t icmal prOCI'SS featu res intl'rv~ 'IWiIh ian compos.ers Bill Evans , Calia Ble~ Geor gI' Russel:" Horace Si~r. Pal
Met heny. ( hic k Corea. l vie MayS., Anth ony Om s. Herbie kancock. Ricn it' Bf'irach, Ralph Towne r. a.o .
,WillI'! '"Gil does c servoct hf're on c hig h ~I. Tnt" COnCf'p C5 he offers impo~ no SI.'IIe ond thUS, can bf' used ond e...renDt d 10
/ifIll l'flrich ony musician s vocabulary. The I'l'sr is up to you. " (Bilt Evons)

A llOY Jun
Ja zz Harmo ny
• O ROI' ~ C . 11 2 1C /2 C C·P " (, 1 "ClO r.}

2nll edition. co mp lel elv revi sed and enla/ged. I~ chapl ers includ ing exercises anll assign ments: Intervals. Chor ds.
Inversions. a cces. Diatonic And Moda l (hord Pfo gression s: Tite Blues ; Song Forms and Melo dic Vari atIons: Second ary
Dominant (nord !>; Substitute Domonant 7th (hords and Tritone Subs : Mi no r Kev Ha'monv; Moda llnt ercnangt and Min or
Blues : (omm on Chord Progressions and VoiCI' ·Leaoi ng; Mod uial ion; fo'entatonics and Dtner Svmmel ric Scales: Blues
Vari at ions: Rhyt hm (ha ng~: COltrane' S )·lonic System; Slash (hords and Hyb<ic (hord Voic;ngs .

-" -..
"]au I1<Jrmon y is 0 brilliont oddirron to thf. {",'d at jazz theory II is _ II-w:-;tten ond bf'Quriful/y organized. onr: the iIlfor·
motion i: COfIlo;ns is t noroug hly rtSftJIrlttfj arid outhl!"",icol'~ orestmtd_/ recommend it high~ · ( David 8tJktr)
"Wnelt>1!"· """u Orf' II Il!'I1Cn~ c studtn:. C ~ or 1i5l ener wno won:s to kooll' wno~ ro list en tor in C kur ~rformonce•
• Anal' Joffe's Jazz I'IOrmony wilJ /Tt/P )'Ou 10 do wh<tr YOI' 0 0 betttr. CMl:~ it out'" (Billy 1Dylor)
" "£~ryone in IOZZ Srudies shaull: own jQZll1<Jrmon }; by Andy JO{ft. • (Bi/I Russo)