Notes of Jazz musical harmony

Franco Ivaldi

M ail: franco.ivaldi@gmail.com

Cigliano February 14, 2022 Last modified 5 M arch 2022

Index:

1. Introduction

2) Connections betw een M usic and Physics

3) Improvisation in jazz, seen as an art form that interprets the world of the "phase"

4) Notes of Jazz musical harmony

4.1) Correspondence of the musical abbreviations: Italian - English

4.2) It all started with the Blues

4.3) Harmonization of musical scales: M ajor and minor harmonic

4.4) Secondary dominants

4.5) Rounds of harmonics, modal and harmonies with fourth intervals.

4.6) Situation of "Relaxation"

4.7) Situation of "Tension"

4.8) Some possible variations on improvisation

4.9) Texts to be reported

5) Conclusions

6) Bibliography

7) Publication

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1. Introduction

The art form of musical improvisat ion crosses t he hist ory of music of all t he most varied popular
t radit ions. Improvisat ion is a creat ive exercise for t hose w ho play and for t hose w ho list en, and
jazz belongs t o t his art form, w here it is import ant t o know t he rules, in order t o t hen be able t o
" escape" t hem w it h an improvisat ional t ast e. In this w ork some basic harmonic rules are exposed,
w hich can give good or bad result s; it all depends on t he sobriet y, t he int ent ion and t he t ast e w it h
w hich t hey are applied.

2) Connections betw een M usic and Physics

In t he past , music, physics and t he st udy of t he Universe w ere one, and t oget her t hey w ere
st udied, looking for t he connect ions, w here it is clear t hat from it s birt h t o it s final dest iny,
vibrat ions and resonances represent t he heart of t he physical st ruct ure. present from t he smallest
part icle, t o t he largest clust ers of galaxies.

The links bet w een music and science have at t ract ed excellent minds, from Pyt hagoras t o Kepler,
from New t on t o Einst ein, from Leibniz t o Goldbach, and have int erest ed musicians, such as:
A) The physicist and jazz musician St ephan Alexander, aut hor of t he book " The Jazz of Physics: The
Secret Link Bet w een M usic and t he St ruct ure of t he Universe" , connect s jazz w it h t he answ ers t o
t he " ult imat e quest ions" of modern and cont emporary physics about t he past and t he fut ure of
t he universe.
B) The great American saxophonist and composer John William Colt rane, had arranged t he musical
not es in a circle and had connect ed t hem w it h st raight lines forming a five-point ed st ar, w it h a
clear reference t o t he cycle of fift hs, (propert y of modular arit hmet ic in modulo 12), w hich
represent s t he relat ionships bet w een t he tw elve not es t hat make up t he chromat ic scale, w here a
" sharp" is added on t he sevent h degree in t he hourly circle referring t o t he ascending fift hs, w hile
in t he count erclockw ise circle referring t o t he descending fift hs, t o each passage adds a " flat " t o
t he fourt h degree.

M usic is an int egral part of t he Harmony of t hings in t he Universe, and t herefore finds
correspondences in t he Universal rules, such as t he one t hat regulat es t he evolut ion of t he
" Universal logarit hm ic - evolut ionary spiral" , w hich begins not from zero, but from + 0.5, and finds
it s explanat ion in t he evolut ion of prime numbers, let 's t ake for example t he pairs of prime
numbers:

5, 7/ 11, 13/ 17, 19, and w e w ill see t hat :

- 5 / +7 = 12
-11 / +13 = 24
-17 / +19 = 36

Where w e can observe t hat :

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A) The mat hemat ical space bet w een a pair of prime numbers and t he ot her is alw ays represent ed
by t he number t w elve, w hich is a fundament al element in Universal evolut ion.
B) The mat hemat ical cent er bet w een pairs of prime numbers is not on zero, but on + 0.5.
In t his view of realit y, w here past , present and fut ure are t rapped inside each ot her, w e can
deduce t hat at any point in t he Universe, each part icle know s " alm ost simult aneously" w hat
anot her part icle is doing, w hich is t he concept on w hich Louis de Broglie and David Bohm w orked
t oget her, and w hich w e also find in ent anglement .

Engineer Francesco De Sant is ident ifies t his " universal realit y" t hrough a t heory according t o w hich
every ent it y of t he physical realit y of our Universe evolves over t ime according t o a mat hemat ical
procedure derived from t he " modus operandi" of Fibonacci's formal spat ialit y, see : De Sant is F
and Ivaldi F, 2021 ; and he also discovered t hat it is w rit t en bet w een t he folds of t he spiral shapes
of nat ure such as flow ers and plant s, w here t here is t he w ay in w hich a hidden dimension evolves
mat hemat ically, so t hat every event is made up of t he sum of t w o component s, of one of w hich is
inert ial plus a very small amount of t he fut ure, charact erized by having negat ive t ime w hile t he
past is posit ive: De Santis F, 2020.

This vision of t he universal reality described above, represent s t he lifeblood of every form of art ,
w here in subst ance t he creat ive art ist is in " Resonance in real t ime" w it h t he great universal mind:
Lee J, 2017. The connect ions bet w een music and physics can also be deduced from :

A) St ring t heory, w hich sees t he vibrat ion t hat const it ut es t he st ring it self, as a pure self-referent ial
movement ; w hich finds reference w it h t he Vedic cult ure, w here t he vibrat ion t hat produces
sound, and t herefore also t he w ord, are considered t he root of creat ion and t he sust enance of t he
universe.

B) A group of researchers, belonging t o t he Universit ies of: Helmholt z-Zent rum Berlin, Oxford,
Brist ol and t he Rut herford Applet on Laborat ory, show ed a hidden symmet ry t hat governs t he
behavior of mat t er: W heeler E, Tennant A, 2010. The researchers focused on a part icular
magnet ic mat erial, cobalt niobat e, in w hich t he at oms form a chain t hat behaves like a magnet ic
rod w it h a t hickness of only one at om. By applying an appropriat e magnet ic field t o t he aligned
spins, t he magnet ic chain passes int o a part icular crit ical st at e, t he syst em reaches a quant um
uncert aint y, a st at e of superposit ion, like t hat of Schrödinger's cat .

By carefully adjust ing t he syst em, t he researchers observed t hat t he chain of at oms behaves like a
guit ar st ring, w here t he t ension derives from t he int eract ion bet w een spin t hat is placed t here t o
resonat e magnet ically. In t hese int eract ions t hey found a scale of resonant not es, of w hich t he
first t w o show a relat ionship t hat leads us t ow ards t he Golden Rat io 1.618, w hich represent s t he
focal cent er of t he golden t uning, w it h t he A at 432 HZ reaching a C of 256Hz, w hich represent s t he
planet ary arrangement of our solar syst em. M any are t he support ing art ist s of t he so-called golden
t uning, see: M ozart , Pink Floyd, M ick Jagger, Ananda Bosman, Flavia Vallega, Andrea Doria,
Riccardo Trist ano, Verdi, Pavarot t i and Placido Domingo.

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3) Improvisation in jazz, seen as an art form that interprets the world of the "phase"

The art form of musical improvisat ion crosses t he hist ory of music of all t he most varied popular
t radit ions, ranging from India, flamenco, baroque, organ m usic, rock, jazz et c. Improvisat ion in
music is a creat ive exercise, w hich t hrough an acoust ic universe, represent s a new vision of t he
aest het ic, et hical and polit ical organizat ion of our lives, and as such it represents a philosophical
pract ice in all respect s, since for t hose w ho play and for t he list ener, it is a t ransformat ion of the
w orld, and of ourselves: Cobussen M , Frisk HA, Weijland B, 2009.

Jazz belongs t o t his art form, w here it is import ant t o know t he rules, in order t o t hen be able t o
" escape" t hem w it h an improvisat ional t ast e. The mind of a jazz player int erpret s emot ions in real
t ime in a very precise met ric, w it h a pulsat ion t hat brings us back t o t he concept of cent ral
oscillat or. In w hich, in his oscillat ion in t he form of an exponent ial spiral present in t he w orld of
t he " phase" , t he art ist ident ifies himself, w ho t ends t o put different charact erist ics of realit y
beforehand, and synt hesizes t hem so t hat at t he end t he w hole w ork is great er t han t he sum of it s
part s, see: Palmer CM , 2013.

4) Notes of Jazz musical harmony

4.1) Correspondence of the musical abbreviations: Italian - English

C = Do / D = Re / E = M i / F = Fa / G = Sol / A = La / B = Si

4.2) It all started with the Blues

Thus could begin t he st ory of t he hist ory of Jazz, w here t he Blues represent ed t he popular music
of t he black slaves of America, w ho sang songs similar t o lament s, accompanied only by some lut e
or guit ar, in t he era bet w een t he 19t h and t he 19t h cent ury. 900. The Blues t hrough it s gradual
harmonic development came t o influence and inspire great musicians such as: Amst rong,
Gershw in, Parker, Colt rane et c. There is also a theory t hat claims t hat t he Blues arrived in t he
sout hern part of t he Unit ed St at es, coming from India, aft er having crossed Europe, Africa and t he
Arab w orld.

In pract ice, t he Blues w ould be t he musical soul, w hich represent s t he sufferings and vicissit udes
of peoples from all over t he w orld. The original American Black Blues w as much sim pler t han t he
current harmonic form reached from t he 1940s onw ards. Blues at t he beginning of t he cent ury
w as also ident ified as " out of t une music" , due t o it s " Blue Not e" , charact erized at t he beginning,
by t he int ervals of t he t hird and minor sevent h, w hich over t ime t hen expanded t o t he int ervals of
t he fift h. and nint h m inor.

Cont emporary jazz players, w hen t hey t hink of t he Blues, immerse t hemselves in a part icular
at mosphere, w hich lives w it hin a basic scheme formed by t he fam ous " Tw elve bars" , in w hich
anyt hing can happen

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The import ant t hing is t hat t he musicians are " t uned" t o t he same " Blues environment " . Let 's see
t he not es t hat can be used in a Blues scale, w hich as already ment ioned above is charact erized by
t he “ Blue Not es” ; and t hen t aking a scale of C, it follow s t hat t he fundament al not es on w hich t he
modern Blues is based are: C, E b, F, F #, G, Bb, C.

From t his basic scale scheme, all t he support s can be considered valid w it h t he insert ion of t he
passage not es such as t he Db nint h flat , t he D nint h nat ural, t he E, F, G, and t he sensit ive B nat ural,
not diminished. The result is t hat a chromat ic scale comes out ; t he import ant t hing is t o dw ell in
heavy t imes on t he " Blue Not es" , w hich w ill be t hose not es t hat charact erize all t he phrasing. On
t his t heme, w e see t hat t he " Blue not es" are oft en associat ed w it h t he int erval of t he excess
fourt h; for example in t he melodic minor scale (oft en used in jazz), t he fourth degree is raised, for
example: in melodic C minor, t he F # becomes our not e. This int erval made up of t hree exact t ones
is foreign t o t he human ear, as it does not exist in our nat ural major and minor mode scales.
Precisely for t his reason, of harmonic openness, in cont emporary Jazz, Blues is considered as a
" modal" t ype of music, int ended as a simplificat ion of Harmonies t o t he essent ial.

Example of a simple Blues Harmonic t urn in Bb, applied in t he famous Blues " Blue M onk" by
pianist Thelonius M onk of t he Bop era.

Bb7 / / / / - Eb7 / / / / - Bb7 / / / / - Bb7 / / / / - Eb7 / / / / - E dim / / / / -

Bb 7 / / / / - Bb7 / / / / - F7 / / / / - F7 / / / / - Bb7 / / / / - F7 / / / /

Example of a more complex Blues Harm onic Turn in F, int roduced by Charlie Parker in t he 40s in
t he era of " bop" , in his Blues as " Now 's t he t ime" .

F6 / / / / - Bb7 / / / / - F6 / / / / - Cm7 / / F7 / / - Bb7 / / / / - B dim / / / / - F6 / / / / -

D7 / / / / - Gm7 / / / / - C7 / / / / - Am7 / / D7 / / - Gm7 / / C7 / /

4.3) Harmonization of musical scales: M ajor and minor harmonic

Wit h t he t erm harmonizat ion, w e mean a sequence of chords t hat develops for t he ent ire durat ion
of t he piece. An easy w ay t o harmonize is t o combine t he not e of t he melody w it h ot her not es t hat
enrich t he melody, alw ays keeping t he melody as t he highest not e.

Four-not e C M aj scale harmonizat ion example:

Not es: C, D, E, F, G, A, B

C, E, G, B = Chord of C M an 7
D, F, A, C = Chord of D m in 7
E, G, B, D = Chord of E min 7
F, A, C, E = Chord of F M aj 7
G, B, D, F = Chord of G 7 of Dominant , or Harmonic resolver
A, C, E, G = Chord of A min 7
B, D, F, A = B m in 7 / b5 chord, also called semi-diminished
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4-not e harmonic C m in scale harmonizat ion example:

Not es: C, D, Eb, F, G, Ab, B

C, Eb, G, B = Chord of C min 7 M aj
D, F, Ab, C = Chord of D min 7 / b5, or semi-dim inished
Eb, G, B, D = Chord of Eb M aj / + 5 (excess)
F, Ab, C, Eb = Chord of F min 7
G, B, D, F = Chord of G 7 of Dominant , or Harmonic resolver
Ab, C, Eb, G = Chord of Ab M aj 7
B, D, F, Ab = Chord of B dim

4.4) Secondary dominants

The " Dominant Sevent h" chords, also called " Resolvent s" , represent t he sonorit y w hich at t he end
of any harmonic round alw ays ret urns t o t he basic " Tonic" chord. Somet imes in our West ern
music, in some pieces of music t here are isolat ed “ Dominant Sevent h” chords here and t here, or in
sequence w it h each ot her, not belonging t o t he basic t onic scale of t he piece. These chords are
commonly defined w it h t he t erm " Secondary Dominant s" . A t ypical example can be seen in t he
harmonic cycle called “ Anat ole” , invent ed by t he great musician and composer Gorge Gershw in. In
your musical piece " I Got Rhyt hm" , in t he key of Bb in t he first part , t he harm onic sequence is
experiment ed on a major scale of t he degrees: I, VI, II, V, I (Bb M aj 7, Gm7, Cm7, F7, Bb). In t he
second part , inst ead, a series of " Secondary Dominant s" are experiment ed: D7, G7, C7. The
" Secondary Dominant s" t herefore represent a w ay t o creat e point s of " Harm onic Tension" ,
out side t he basic Key. On such " Secondary Dom inant s" it is good t o improvise using t he harm onic
minor scale referred t o it s t onic, for example on a " Secondary Dominant " of E7, you can use t he
harmonic A m in scale.

4.5) Rounds of harmonics, modal and harmonies with fourth intervals.

A) Harmonic t urns: II-VI, Anat ole, Blues et c., w here everyt hing is cent ered on t he " Tonal cent er" ,
represent ed by t he chord built on t he 1st degree of t he scale in quest ion, also called t he " Tonic"
chord; w hich has t he funct ion of a magnet , w hich at t ract s t o it self t he ot her Chords built on t he
ot her degrees of t he musical scale t aken int o considerat ion, w it h t w o different sit uat ions t hat can
be defined as follow s: in a sit uat ion of " Relaxat ion" , w here t he chords relat ed t o t he t onal cent er,
and in a sit uat ion of " Tension" , w here t he ot her chords t hat creat e t ension w it h respect t o t he
" Tonal Cent er" coexist .

B) M odal: In t his part icular t ype of harmony, launched by t he great M iles Davis, each chord has t he
funct ion of " t onal cent er" , and t herefore in t his case t here are no sit uat ions of " Relaxat ion" and
" Tension" . Generally t he “ M odal” t ype Jazz pieces are built on very few chords: see for example
“ So What ” by M iles Davis, all based on t he D m Doric, underst ood as t he second degree of t he C
major scale, and t he Eb m Doric.
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C) Harmonies w it h fourt hs int ervals: From Jazz " bop" onw ards, w it h t he great pianist Teolonius
M onk as head of t he school, t he harmonies w it h fourt hs int ervals w as developed. For example, on
t he C M aj scale, a chord w it h fourt hs int ervals, built on t he degrees of " dist ension" (first , t hird,
sixt h), it could be t he sixt h / nint h chord of E, t he result is an agreement w it h: E, A, D, G. In t he C
M aj scale, a chord w it h int ervals of fourt h built on t he degrees of t ension (second, fourt h, fift h and
sevent h), it could be an agreement w it h: D, G, C, F. It follow s t hat t he harmonic environment t hat
is creat ed t hrough t he use of harmonies w it h Fourt h int ervals, it no longer has w it hin it t he play of
sounds t ypical in t he sit uat ions of " relaxat ion" and " t ension" described above. The art ist t herefore
ent ers a complet ely different harmonic expressive sit uat ion.

4.6) Situation of "Relaxation"

Let 's t ake t he harmonizat ion of t he C M aj scale as an example:

The degrees of t he scale in a " Dist ension" sit uat ion, w hich can also be replaced w it h each ot her,
are: 1st , 3rd, 6t h, w hich harmonizing t hem w it h 4-not e chords become:

1 °) C M aj7 = C, E, G, B (Chord of C M aj w it h t he m ajor sevent h)

3 °) E min 7 = E, G, B, D (E m sevent h chord)

6 °) A m in 7 = A, C, E, G (Chord of A m sevent h)

4.7) Situation of "Tension"

Let 's t ake t he harmonizat ion of t he C M aj scale again as an example:

The degrees of t he scale in a " Tension" sit uat ion, w hich can also be replaced w it h each ot her, are:
2nd, 4t h, 5t h, 7t h, w hich harmonizing t hem w it h 4-not e chords become:

2nd) D m in 7 = D, F, A, C (D m sevent h chord)

4t h) F M aj7 = F, A, C, E (Chord of F M aj w it h t he m ajor sevent h)
5t h) G 7 = G, B, D, F (Chord of G M aj dom inant sevent h)
7 °) B semi-diminished = B, D, F, A (Chord of B semi-diminished, also defined as minor sevent h
chord w it h a dim inished fift h, or flat ).

4.8) Some possible variations on improvisation

1) When you im provise in a sit uat ion of " Relaxat ion" , for example on t he C M aj scale; on t he first ,
t hird and sixt h posit ions (C M , E m, A m ), you can use all t he not es of t he major scale except t he F;
if ever you can use 11+, w hich is t he F #, w hich creat es no t ension.

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2) When you improvise in a sit uat ion of " Tension" , for example on t he C M aj scale; on t he second,
fourt h, fift h and sevent h posit ions (D m, FM , G 7, B semi-dim inished), you can use all t he not es of
t he major scale, t rying t o emphasize t he st rong t empos, t he not es t hat creat e t ension: D, F, G, B.
To creat e even more t ension, you can ent er t he flat fift h and sharp, and t he flat nint h and sharp. A
good scale w here all t hese dissonances are present is t he " Superlocria Scale" . Example: playing in
C M aj, w hen you are in a t ense sit uat ion, for example on t he G7; if you w ant t o hear t he fift h and
nint h sharps and flat s, you can use t he Superlocrian scale of G; w hich corresponds t o t he melodic
minor scale built half a t one above, t hat is t he melodic Ab minor; w here you find t he not es: G
(t onic of t he Superlocrian scale of G), Ab (diminished nint h), A# (exceeding nint h), B (major t hird),
Db (diminished fift h), D# (exceeding fift h), F (sevent h), G (oct ave). Wit h t he sequence of t he
int ervals in t ones of: 1/ 2, 1, 1/ 2, 1, 1, 1, 1.

3) Of fundament al im port ance are t he " dynamics" , w hich you use t o express yourself. Where, for
example, t he good use of " musical breaks" are useful in order t o give " breat h" t o your solo. Just as
t he " Plans" and t he " Fort s" are import ant , w hich give " Color" t o your musical expressive form. To
express yourself, you could even use a chromat ic scale; w hat mat t ers are t he not es t hat you w ant
t o highlight on t he " st rong t empos" , w hich are t he foundat ions of your solo. Not es w it h a Tempo
value from 1/ 8 dow n are never considered as Fundament al Charact erist ic Not es of a Harmonic
sit uat ion, more t han anyt hing else t hey are considered as support or passage Not es.

4) Anot her import ant rule are " Subst it ut ions" . In Jazz t o have more sonorit y available, any chord
can be replaced, w it h anot her chord placed on t he upper fift h flat . How ever, t his rule applies
especially in " Tension" sit uat ions, such as playing in C M aj, t he G 7 you can replace it w it h a Db 7,
et c.

5) To obt ain good art ist ically expressive result s, it is import ant t o know how t o divide t he st udy
t ime, w here w e use t he rat ional right part of our brain, w it h t he t ime in w hich w e play, w here t he
irrat ional left part of our brain must t ranslat e t he our em ot ions, making use of t he rat ional t ools,
w hich are locat ed in t he right side of our brain. Finally, t he harmonic rules, from t he simplest t o
t he most complex, can give good or bad result s; it all depends on t he sobriet y, t he int ent ion and
t he t ast e w it h w hich t hey are applied.

4.9) Texts to be reported

1) Forw ard M ot ion: Galper H, 2003

2) Jazz Theory Book: Levine M , 1995.

3) The comm on sense of t hings, t he w orld of " force" and t he w orld of t he " phase" , im provisat ion
in jazz seen as an art form t hat int erpret s t he w orld of t he " phase" : Ivaldi F, 2022.

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5) Conclusions

The connect ions bet w een music and science, t hroughout hist ory have at t ract ed t he int erest of
sublime minds, such as: Pyt hagoras, Kepler, New t on, Einst ein, Leibniz and Goldbach. The links
bet w een music and science have also involved great jazz musicians, such as St ephan Alexander
and John Colt rane, see " M an, sound and music" : Bertirotti A, 2003.
In t he hist ory of music in t he West ern w orld, w e see t hat t he first st udies t ook place at t he
Pyt hagorean school, w here sound sensat ions w ere linked t o rat ional numbers, so much so t hat
Pyt hagoras defined t he geomet ric forms of nat ure as " forms of cryst allized music" , see: Camiz P,
2008.
The w orld of t he " phase" represent s t he " evolut ionary arrow " inherent in Universal harmony,
w hich manifest s it self for example in Life, w hich evolves t hrough an algorit hm, also present in all
forms of art such as musical improvisat ion.
Jazz music is cert ainly one of t he most sublime art forms, as it uses musical language t o express
emot ions in real t ime, w here t he " final result " is w hat mat t ers. To obt ain it , t he art ist oft en put s
feat ures t hat are different from rat ional realit y, synt hesizes t hem, so t hat at t he end t he " final
result " is great er t han t he sum of it s part s.

6) Bibliography

Bertirotti A, 2003. L'Uom o, il suono e la musica:

ht t ps:/ / w w w .researchgat e.net / publicat ion/ 307607566_L'Uomo_il_suono_e_la_musica

Camiz P, 2008. Fisica e M usica: ht t p:/ / w w w .saveriocant one.net / ssis/ ssis3s/ seminari/ pist oia.pdf

Cobussen M , Frisk H A, W eijland B, 2009. The Field of M usical Improvisat ion:

ht t ps:/ / w w w .researchgat e.net / publicat ion/ 262491379_The_Field_of_M usical_Improvisat ion

De Santis F, 2020. Accademia di Flora:

ht t ps:/ / w w w .accademiadiflora.it / camellie-mat emat iche.ht ml

De Santis F and Ivaldi F, 2021. A Tribut e t o t he publicat ion of Fibonacci's Liber Abaci 820 years
ago. The Fibonacci-Lucas Sequence of Sequences and t he formula of it s generic t erm S m ,n
ht t ps:/ / w w w .researchgat e.net / publicat ion/ 355773488_A_Tribut e_t o_t he_publicat ion_of_Fibonac
ci's_Liber_Abaci_820_years_ago_The_Fibonacci-
Lucas_Sequence_of_Sequences_and_t he_formula_of_it s_generic_t erm_S_mn

Galper H, 2003. Forw ard M ot ion: ht t ps:/ / w w w .academia.edu/ 36597447/ Forw ard_M ot ion_pdf

Lee J, 2017. Quant um fields as deep learning: ht t ps:/ / arxiv.org/ pdf/ 1708.07408.pdf

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Ivaldi F, 2022. The common sense of t hings, t he w orld of " force" and t he w orld of t he " phase" ,
improvisat ion in jazz seen as an art form t hat int erpret s t he w orld of t he " phase" :
ht t ps:/ / w w w .researchgat e.net / publicat ion/ 358590432_The_common_sense_of_t hings_t he_w orl
d_of_force_and_t he_w orld_of_t he_phase_improvisat ion_in_jazz_seen_as_an_art _form_t hat _int
erpret s_t he_w orld_of_t he_phase

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7) Publication

ht t ps:/ / independent .academia.edu/ IvaldiFranco

ht t ps:/ / w w w .researchgat e.net / profile/ Franco-Ivaldi/ publicat ions

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