Beyond.functional.harmony Wayne.j.naus v2

B

E

y

0

N

D

BY WAYNE

..J.

NAUS

F

H

U

A

N

R

C

M

T

0

I

N

0

y

N.

A

L

Dedicated to my wife, Mary

© 1998 AovANCE Musrc All Rights Reserved.

No part of this publication may be reproduced stored in a retrieval system, or transmi~ted, in any form or by means, electronic, mechanical,

photocopying, recording, or otherwise, without prior written permission of Advance Music.

International Copyright Secured.

Cover Art: lOeg Visual

Layout and music typesetting: T. M. Zentawer

Production: Hans Gruber

Table of Contents

CD INDEX .•••••..•• •.· . • . . . . • . • • . . • . • . • . . . • . . . • • • . . • . • • • • . • • . . . • . . . . 7 PREFACE • • • • . . . • . • . . . • • . . . . • . • . • . • • • . • . • . . . • • . • • • . . . . ·' • • . . . ' . . . . • . . . . 9 INTRODUCTION • • • . . • • . • • • • . . . . • • • • • • • . • • • . • • • . . • • . . . • . . . • . • . . . • . . • . . . 10 FUNCTIONAL VS. NON-FUNCTIONAL · · · • · · · • · · · • • • · · · • • · • · • · • · · · • • · · • • · · • · • · • • · · 11 ELEMENTS OF PREDICTABILITY · • • · · • • · • • · • · • • • · • • • · • • • · · • · · • • • · • · • • · • • • • • • • • • · • • 13

FUNCTIONAL FUNDAMENTAL CHARACTERISrtCS • · · • · • · • • • · • • • • · • • • • • • • · • • · • • · • · • • · ·14

Harmonic · · · ·· · · ·· · · · ·· · · · ,. · · · 14 • Harmonic patterns • Cadences • Deceptive resolution • Line cliches • Harmonic progression Key areas · · · ·· · · · • · · • · · · 20 Harmonic phrase · · ·· · · · ·· · · · ·. · · · · 21 Harmonic rhythm · · · 22 Rhythmic style · · · 23 Melody · · · ··· ·· · · 24 Solos · · · ··· · · · • · · · · 25

NoN-FUNCTIONAL FUNDAMENTAL CHARACTERISTICS • • • · • · · • • • · • · • · · · • · · · • · · · · • · • · • · 27

Key areas · · · ·· · · • · · · · • · · · · • · · · 27 • Established • Implied •Ambiguous • Tonality/Modality Root Motion · · · 32 Form · · · ··· · · · 36 Bass function · · · ·· · · · 41 Rhythm · · · • · · · · ·· · · ·· · · · ··· · · · 42 • Poly-rhythm • Odd time meters • Back beat displacement Melody · · · • · · · 43

Harmonic progression · · · 44

.Ainbigi.lous chord types · • · · · • 44

• Hybrids - Conditions - Voicings -Anticipation/Sustain • Incomplete chords Instrumentation · · · ·· · · · 49

NoN-FUNCTIONAL SYSTEMS AND PATTERNS · · · 51 Constant structure · · · ·· · · · 52 • Chords • Voicings • Melodic intervals • Sliding • Methods -Symmetric -Cycle 4-5 - Sequential -Random Pedal point · · · 60 • Tonic • Dominant • Double • Rhythmisized Contiguous harmonic patterns · · · ·· · 62

• II-V • Constant structure • Interlude • Endings • Modulation -Direct -Interlude/Contiguous Multi-tonic systems · · · ·· · · · : · · · 67

Reharmonization of multi-tonic systems · · · : · · · 69

• Chord substitution • Blues PART4 NoN-FUNCTIONAL TECHNIQUES AND CRITERIA··· 72

Tone row construction (8-note series) · · · 73

Chord quality criteria · · · 74

Melodic criteria · · · ·. · · · ·: : · · · : 76

Chord scale criteria · · · .' · · · 78

Development · · · ·. · · · ·· · ·· · · · ·. · · · 79

lNTRo/0UTRO PATTERNS · · · ." · · · · " · ·· · · · 84

NoN-FUNCTIONAL MELODIC APPROACH · • · · · 92

MELODY-BASS LINE TECHNIQUE · · · ·. ' · · · 94

NoN-FUNCTIONAL MUSIC EXAMPLES · · · • · · · 97

CD Track number 12- "The D.C. Gig" · · · 97

CD Track number 13 - "The Soap Braker • · · · 101

CD Track number 14 - "Pas de Deux" · · · 105

DISCOGRAPHY ... 110

1 Implied key (composer: Wayne Naus)

2 Ambiguous key (composer: Wayne Naus)

3 Back beat displacement (composer: Wayne Naus)

4 Anticipation-sustain (composer: Wayne Naus)

CD Index

5 8-note series example (composer: Wayne Naus; piano: Andrew Sherman)

6 8-note series example/samba (sequence/piano: Russ Hoffman)

7 Intro/Outro pattern 7

I

4 (composer: Wayne Naus)

8 Intro/Outro pattern [hybrid mix] (composer: Wayne Naus)

9 Intro/Outro ambiguous phrase, 3-chord repeated pattern (composer: Wayne Naus)

10 Intro/Outro pattern [melodic function] (composer: Wayne Naus)

11 Melody-bass line technique (composer: Wayne Naus)

12 "The D.C. Gig" (composer/sequence/piano: Ido Waksman; soprano sax: Norikiko Hibino)

13 "The Soap Braker" (composer/sequence/guitar: Yasuo Nakajima)

14 "Pas de Deux" (composer/piano:

AndreJ.

Spang -live performance)

1iacks 1-5 and 7-11 are sequenced by Andrew Sherman. Equipment used includes STUDIO VIsioN PRo., MAciNTOSH 9500, NoRD LEAD, SAMPLE CELL, KuRZWEIL 2500 and K25ooS.

NCIIONAL HARMONY

Special Thanks

T

he information in this text was primarily inspired by the contemporary jazz and fusion group The Yellowjackets. The techniques developed here, particularly in the Non-functional chapters, are in large part a direct result of listening to, analyzing and teaching the music of the Yellowjackets at Berklee College of Music. I would sincerely like to thank Russ Ferrante, William Kennedy, Jimmy Haslip and Bob Mintzer for their support and encouragement in helping to bring about the elective course on their music now being taught at Berklee. Their writing and playing has been an inspiration to me and to the many students that have taken and will take the "Music of the Yellowjackets" course in the future.

Also a special thanks to Ido Waksman, Yasuo Nakajima, and Andre

J.

Spang, who have allowed me to use their class projects as examples on the CD accompaning this text; to Andrew Sherman for your creativity and many talents that went into and made your sequencing so musical; to Harry Maskell for your photographic artistry; to Matthew and Susan Nicholl for your special comments1 time and encouragement. To Fred Lipsius for hooking me up and Scott McCormick for your generosity, time and computer wizardry. Special thanks to Berklee College of Music for providing me with the opportunity to develop and teach my own course. As always, Berklee continues to provide opportunities for continued personal growth and development. This text is a result of those oppor-tunities.

Last, but not least, special thanks to my wife, Mary. This text could not have been completed without her creative talents, support, patience, hard work and love.

Preface

I

n 1993 I began developing a harmonic analysis course at Berklee College of

Music focussing mainly on the unique melodic, rhythmic and harmonic characteristics of the contemporary jazz and fusion group, the Yellowjackets.

In the course, a comparative analysis was also made with other composers such as Chick Corea, Wayne Shorter, Pat Metheny, Scott Henderson (of Tribal Tech),

Bill

Evans, Mike Brecker, and Eddie Gomez. It became apparent that the music written by these composers shared similar harmonic and melodic characteristics which made their style unique but much different from traditional standard tune-style composition. Having come from a more traditional background

my-sel£

I quickly discovered that the criteria which I used to identify and analyze the characteristics unique to standard tune composition was inadequate to justify and analyze the characteristics in tunes written by the aforementioned compos-ers. Through the process of teaching the Yellowjackets course, a new set of crite-ria began to emerge which more accurately reflected the characteristics unique to the music of these composers.

I was happy to observe that when students applied the new set of criteria and characteristics, their compositions began to sound much like the composer's music that we were studying. The challenge for students was not so much ing which techniques to use to create the sound we were after, but rather decid-ing which techniques to avoid. The techniques and characteristics we needed to avoid were the ones that were unique to standard tune composition styles. Inher-ent to these techniques were elemInher-ents of predictability and expectation - the same two elements lacking in the contemporary jazz and fusion music that we were studying in the classroom. By first identifying the elements of predictabili-ty and expectation inherent to standard and pop tune-style composition, I felt it would then become obvious that these would be the elements to avoid when writing in a more contemporary jazz and fusion style. Ideally, the strongest com-positions were those combining the techniques and characteristics unique to both standard and contemporary tune styles. For the purpose of the course and this text, I have adopted the term

functional

harmony to describe standard and pop-style tune progression and

non-functional

harmony to describe

contempo-rary jazz and fusion style harmonic progression. This text will identify the char-acteristics unique to both functional and non-functional harmonic styles. Through a complete understanding of both styles, the composer will have the necessary tools to compose in the style of today's leading composers.

Introduction

T

his book presents a system that creates melody and harmony and allows them to function outside of the normal dependencies governing the prin-ciples of diatonic harmony, melody and form. When correctly applied, this system should give the composer a departure point from the harmonic and melodic characteristics grounded in the principles of tonal, key related or func-tional harmony.

There is nothing new or revolutionary about this text. Everything here has already been said and used in one way or another by the great composers of the past and present. However, the principles outlined here are specifically designed to help examine, analyze and compose music written in the style of many of today's leading composers of jazz and fusion music. Because this non-functional system is a somewhat mathematical approach toward musical composition, the challenge will be to go beyond the system and create a balance between thought and feeling.

All great art is multi-dimensional, communicating to the senses on many levels simultaneously. All great art also has one commonality - it touchs the observer on a level that exists beyond words. Therefore the expression, "There are no words to describe it," is used many times to describe the indescribable.

Beyond Functional Harmony is a set of techniques that should only serve as a departure point. The composer's success at transcending the system and touching the area of art lying beyond the Written symbol depends on the talent and ability lying within.

This text should be undertaken in the same spirit in which it was written- an excitement of discovery, an enthusiasm for new ideas, and an ongoing pursuit for personal growth and development.

Functional

vs.

Non-Functional

T

he term functional describes chords in a harmonic progression that derive

their function from their relationship to a key center. Harmonic progres-sion used in the styles of standard and pop tune writing is most often that of functional harmony. Chords found in a functional harmonic context are usually diatonic (of or belonging to the key) and key-related (non-diatonic); these are chords borrowed from other parallel modes. Key-related chords are often referred to as Modal Interchange chords (M.I.). These two categories, dia-tonic and key-related chords, certainly do not include every possible chord, but are the most common types found in a functional harmonic context.

Chords lacking a perceived tonal center or key fall into the category of non-functional harmony. Harmonic progression used in contemporary jazz and fusi-on is most often that of nfusi-on-functifusi-onal harmfusi-ony. Chords in a nfusi-on-functifusi-onal context derive their function from established patterns, adjacent chordal rela-tionships, root motion and from a relationship to the melody. For the purpose of composing music in a contemporary jazz and fusion style- which is predomi-nantly non-functional but often a mix of both functional and non-functional styles - this text will identify and examine the characteristics associated with first functional, then non-functional harmonic styles.

D fuNCTIONAL HARMONY

Elements of Predictability

Functional Fundamental Characteristics

Elements of Predictability

T

here are a number of similar characteristics associated with both standard

and pop composition and performance. A number of expectations are associated with these characteristics. For example, it is expected that the dominant chord will resolve down a perfect fifth and that the melodic phrase will

be in two or four bar lengths that will be some variation of ABA. When these

characteristics and their expectations are repeated, not only in one tune but from

one tune to another, an element of predictability is created. Predictability is in

fact a characteristic of standard and pop style music. It is advantagous - but not

essential - that the contemporary composer be aware of the various character-istics responsible for predictability, since this major quality is inherent to stan-dard and pop music. Once aware of the characteristics that produce predictability, the composer will have an easier time writing in a more contemporary style, whose main characteristic is in fact a lack of predictability and expectation.

FuNCTIONAL FuNDAMENTAL CHARACTERISTICS presents seven concepts that I

feel are most responsible for producing the characteristics and predictabilities associated with music written in a functional harmonic style.

Harmonic

••••••••••••••••••••••

Vl-7 1

c

A-7

£

₂

z

7 7 z 7 7 7 ~ 111-7 V7/ll-2 E-7 A7

~

7 7 7 7 7 7 7 7 #IV0 V7/lll- 111-7 3 F#l21 B7(~9) E-7

~

7 7 7 7 7 7 7 2 7 7 7 2 11-7 111-7 4

c

D-7 E-7

~

7 2 2 7 2 7 2 7 2 7 7 7

Functional

Fundamental Characteristics

Chord Patterns

As we have the ability to recognize individual chord types, it is also possible to recognize chord patterns. Chord patterns are usually a group of three to five chords that, when grouped together with other patterns, form a chord

progres-sion. Because of the strength of these harmonic groupings, due mainly to root

motion and harmonic rhythm, they are easily recognized as patterns. Composers have and still do rely on these patterns, which occur in most styles of music today. Some of the more common patterns are:

11-7 V7jl D-7 G7

c

7 7 7

/

7 7

z

7

II

7 2 7 2 7 2 7 11-7 V7jl D-7 G7

c

/

7 7 2 7

/

7 7 7 7 7 7 7 7

_II

V7jll- 11-7 V7 A7 D-7 G7

c

7 7 7 7 7 7 7 7 2

z

7 7 2 7

/

7 7 2 7

_II

(V7 /11-) IVA V7 A7 FA G7

c

7 7 2

:z

7 7 7 7 2

:z

7 7 2

:z

/

2 7 2 7

_II

IV V7susfl V7fl

s

_c

_{F G7sus G7}

_c

~

7 7 7 7 7 7 7 7 7 7 7 7

II

2 7 I I 2 2 2 2 2 2 2 2 ~107 11-7 V7/l 6

_c

C~7 D-7 G7

c

~

7 7 7 7 7 7 7 7 7 7 7 7

II

I 2 2 2 2 2 2 7 2 2 I 2 11-7 111-7 IVA V7susfl V7/l 7

c

D-7 E-7 FA G7sus G7

c

~

7 7 2 7 2 7 2 7 I 7 2 ;z 2 7 2 ;z 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 ;z

!I

0J7

/IV) Vl-7 subV7 fV7 V7susfl V7fl

8

_c

_{C7/B~ A-7 A~7 G7sus G7}

_c

~

7 7 ;z 7 7 ;z 7 7 7 7 7 7 7 7 7 7

II

2 2 2 2 z 2 2 2 7 2 I 2 2 7 2 2 IV 11-7 V7/l 9

_c

_{F D-7 G7}

_c

~

7 7 7 7 7 7 7 7 7 7 7 7

II

r 2 2 2 2 2 2 2 2 2 7 2 1117 IV IV-7 10

c

E7 F F-7

c

~

7 7 7 7 7

L;

;z 7 7 7 7 7

II

2 2 2 2 2 2 7 I 2 2 2

V7 /Ill ~lilA ~II A

11

c

E7 E~A D~A

c

~

7

BEYOND FUNCTIONAL HARMONY

v

I 1

_c

_G

_c

~

7 'Z. 7 7 7 7 2

,

2 2 2 2 IV V7 I 2 _{F G7}

_c

~

,

7 7 7 2 2

,

'Z. 7 7 2 7 11-7 V7/l 3 _{D-7 G7}

_c

~

,

'Z.

,

:z

7 2 2 7 I 7 2 7 I IV 4

_c

_F

_c

£

7 2 2 7 2 7 7 7 2 7 2 7 @) 11-7 subV7 /1 I 5 _{D-7 0~7}

_c

£

7 2 7 7

,

:z

2 7 2 7 7 7 @) N IV-6 _{F F-}

_c

£

,-'

7 2 z 7 2 7 2 7 2 7 @) 16 7 2 7 2 7 2 7 2 7 2

Cadence

Cadential patterns usually consist of two or three chords which have the tenden-cy to imply a resolution to a tonic I chord or point of harmonic rest. As with har-monic patterns, cadential patterns also derive their strength from root motion and harmonic rhythm. Usually occuring at the end of a harmonic phrase, caden-tial patterns create an expectation of finality. They may either resolve to their expected target chord or they may resolve deceptively, thereby extending the progression rather than ending it with a resolution to a tonic chord. The follow-ing examples are typical cadences to the I chord.

~VIA ~VIlA I 7 _{A~A B~A}

_c

7 I

II

~

2 7 2 7 7 7 2 7 7 7 2 7 7 7 2 7

II

~VIA ~II A 8 _{A~A D~A}

_c

7

II

~

7 7 7 7 7 7 7 'Z.

II

2 2 2 I 2 2 2 2

,

IV-7 ~VII7 I 9 _{F-7 B~7}

_c

7 2

_II

~

2 7 2 7 2 7 2 7 2 7 2 7

,

:z

2 7

_II

#IV0 (V7 /111-) 10 _{F#0 B7}

_c

7 2

_II

~

2 7 2 7 2 7 2 7 2 7 7 7 2 7 7 7

II

~lilA ~II A 11 _{E~A D~A}

_c

7 7

II

~

2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7

II

V7sus V7fl 12 _{G7sus G7}

_c

'Z.

,

7 2

II

~

2 7 2 7 z 7 2 7 2 7 2 7 2 7

,

:z

II

PMtt

Deceptive Resolution

The primary dominant V7 /I has an expected resolution to the I chord. When V7 /I resolves to any chord other than I, it becomes a deceptive resolution. The

following are typical deceptive resolutions of V7

/1.

11-7 (V7/1) _ Ill ~7 _V7/ll- 11-7 V7/l D-7 G7 E-7 A7 D-7 G7

c

~

7 I 2 7 I 7 2 7 2 7 L ;z 2 7 2 7

,

7 2 7 7 7 2 7 L ;z 2 7 2 7 2 7

II

11-7 (V7 /1) Vl-7 V7JII- 11-7 V7/l I 2 D-7 G7 A-7 07 D-7 G7

c

~

;z 7 7 7 ;z 7 7 7 7 7 7 7 7 7 7 7

II

L z 2 2 L 2 2 z 2 2 2 7 2 z 2 2 11-7 (V7 /1) ~lilA ~II A 3 _{D-7 G7 E~A D~A}

_c

~

7 7 ;z 7 7 7 7 7 7 7 7 7

II

2 2 L 2 2 2 2 2 z 7 z 7 11-7 (V7 /1) ~VIA ~VIlA 4 _{D-7 G7 A~A B~A}

_c

~

7 7 7 ;z 7 7 7 7 7 7 7 7

II

2 z 7 L 2 2 2 2 2 z 2 2 11-7 (V7 /1) ~VIlA I

s

_{D-7 G7 B~A}

_c

~

;z 7 7 7 7 7 7 7 7 7 ;z 7

II

L 2 2 2 z 2 7 2 2 2 L 2 11-7 (V7 /1) ~II A 6 _{D-7 G7 D~A}

_c

~

7 7 7 7 7 7 7 7 ;z 7 7 7

II

I 2 2 2 2 z 2 2 L 2 7 2 11-7 (V7 /1) #IV"' V7 /Ill- 111-7 V7/ll- 11-7 V7/l I 7 D-7 G7 F#fll B7(~9) E-7 A7 D-7 G7

c

~

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

II

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

BEYOND FUNCfiDNAL HARMONY 1- 1-A 1 _{C- C-A}

~

••

0 1- 1-#5 2 C- C-#5

£

0

#o

~ I+ 3

c

c+

~

0

#o

17sus 17 4 C7sus C7

~

...

0

Line Cliches

A line cliche is a single note line that moves by step (up or do~) through a series of four or five chords. The distinct sounds of these patterns are easily rec-ognized. They have been used so often that even the untrained listener quickly associates specific line cliches With familiar standard tunes. The single moving line usually begins on the fifthth - or the root - of the first chord in the' cliche. Tunes most often identified with the use of a line cliche are "My Funny Valentine," "Angel Eyes," "Israel," "Nice and Easy/' "For Once in My Life," "Charade" and "In a Sentimental Mood."

In example 4 below, Wayne Shorter creates a non-typicalline cliche beginning on the dominant 7sus 4 note. The example can be found in Shorter's tune "When It Was Now" recorded by Weather Report on the album WEATHER REPORT.

1-7 1-6 C-7 C-6

~0

_••

_II

1-6 1-#5 C-6 C-#5

••

#o

II

16 I+ C6 (+

••

#o

II

1-7 17 C-7 C7

~0

(~)o

II

PAKr"t

Harmonic Progression

Harmonic progression may be defined as the forward movement of chords through time and space. This perception of forward movement is governed by harmonic rhythm, harmonic phrase, chord patterns and cadential patterns. Melo-dy and rhythmic pulse are also factors. Harmonic progression is generally longer in length than harmonic patterns. The typical length of a standard tune progres-sion is 32 bars with a form of AABA, each harmonic section being eight bars long. Probably the most common 32-bar progression in standard tune repetoires is "I've Got Rhythm." Since this progression is constructed entirely of harmonic patterns and cadential patterns, it is not only considered a strong progression but a predictable one as well.

In the case of "I've Got Rhythm," the progression is predictable because of the presence of harmonic patterns, cadential patterns, harmonic phrase and form. This and other similar types of progression also become predictable through . repetition. Standard tune progression relies heavily on repetition to reinforce the melodic line and to create an extended harmonic forum for the soloist. This repe-tition of the harmonic progression is characteristic of standard tune composition but used much less in contemporary styles of music.

Chord Pattern Chord Pattern

r---,

r---,

c

A-7 D-7 G7

c

A-7 D-7 G7 7 7 7

I

7 7 7 7 2' I 7 I I I 2 2 7 2 7 2 7

I

I 7 2 7 2 7 2 7 L - - - · - - - - -1 L - - - J Cadential Pattern Cadential Pattern Chord Pattern

.---,

1.

c

C7

F

F-

D-7 G7

c

G7 L - - - 1 L - - - J 2 2

'

2 7 I 7 I 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7

Cadential Pattern Cadential Pattern Extended Dominant Pattern

r -E7 A7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 z 2 2 2 2 7 2 2 2 2 2 7 2 2

,

---~---·---~---, 07 G7

'

2 7 2 7 2 7 2 7

,

7 2 7 2 7 7 7 2 7 2 7 2 7 2 7 7 7 2 7 2 7 2 7

II

~

c

Same as first '~n A-7 D-7 G7

c

A-7 D-7 G7

'

2 7 2 7 2 7 2 7 2 7 7 7 2 7 7 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7 2 7

c

C7

F

F-

D-7 G7

c

8E'IOND FuNCTIONAL HARMONY

Key Areas

••••••••••••••••••••••

Vl-7 11-7

c

A-7 D-7

~e

_~

_r

_r

IF"

11-7 V7/l D-7 G7

~F"

D

r

F

E

20

0

--!*

j

In the non-functional section of this text, I break key areas into four categories: established, implied, ambiguous and poly-tonal modal. However in this section, we will consider the type of key area most often characteristic of standard and pop tune composition which is the

established key area.

A key area is established through the use of cadential patterns, diatonic .chord pattern, resolution, har-monic rhythm, melody and repetition. Within an established key area, there is no question as to what the key center is. Diatonic melody and chords are usually the two strongest elements which establish a key. The melody alone and the chords alone should be enough to clearly establish any one given pitch as the key center or tonic center. When the melody and chords are played together, they should firmly establish the key center.

Established key area:

(V7 /1) 111-7 V7/ll-G7 E-7 A7(~13)

IT

1r

r

r

F

c

I I

II

In a tune with an established key area, there is a sense of predictability and expectation that the harmony will not modulate or deviate far from the estab-lished key center.

The harmonic phrase results from - and coincides with - the melodic phrase. Whether the human voice or an instrumentalist produces the melody, they both share the same fundamental limitation: having to breathe. The necessity to take a breath naturally produces the melodic phrase and simultaneously the harmonic phrase. In standard tune writing, the harmonic phrase is most commonly measured in even numbered bar lengths, 2, 4, 8, 12. The harmonic phrase is also governed by harmonic rhythm and rhyme. In standard tune and pop style music the harmonic phrase is something we feel; we derive a sense of predictability from it. Harmonic phrase:

c

A-7

'(l

7 2 2 7 7 7 2 7 D-7 G7 7 7 7 D-7 7 I 7

'

2 2 7 7

Harmonic phrase supports

and coincides with the melodic phrase:

Phrase 1

c

A-7 D-7 7 2

Harmonic Phrase

••••••••••••••••••••••

'

~

G7 E-7 A7 7 2 2 7 7 7 I 7 2 7 2 7

c

7 7 7 7

II

2 7 2 2 Breath Phrase2 G7 E-7 A7

r

F

IFf

F;

r

1

r r r

r

D-7 G7

c

'

~

r

r

F

E

~ I I

II

j

BEYOND fuNCTIONAL HARMONY

Harmonic Rhythm

••••••••••••••••••••••

22

Harmonic rhythm is felt; it results from a number of beats

a:

chord is given with-in a measure and from the chord's placement with-in a measure relative to the beat . Standard tune writing expects a chord to be placed relative to each beat- depend-ing on the chord's function in the key. Chords within a measur{receive either a strong or weak stress depending on their placement. The relative strength of stress often determines or changes the chord's original function in the key.

Stress pattern:

S The first pulse is the strongest

W The second pulse is not as weak as the last s The third pulse is not as strong as the first w The last pulse is the weakest

Diatonic functioning chords have one of three functions within a major

key:

T Tonic

SD Subdominant D Dominant

Tonic chords (1, III, VI) are the most stable due to the. presence of either the root, third and/ or fifth of the key.

Dominant chords are the most unstable due to the presence of the tritone, which consists of the fourth and seventh degree of the key.

Subdominant chords have a level of stability in between tonic and dominant chords due to the presence of the fourth degree of the key but not the seventh.

In standard tune writing, it is stylistically expected that T & SD chord func-tions be placed on strong stress points while dominant functioning chord types be placed on weak stress points. Of course there are exceptions to this rule. In the case of extended dominant, the first dominant chord is placed on a strong stress (see the bridge of "I've Got Rhythm," Part 1, HARMONIC PROGRESSION p.l9).

Much of the harmonic ambiguity of contemporary tune style stems from a disregard of the basic harmonic rhythm characteristics of standard tune writing.

Expected placement of chords relative to stress points: Vl-7 11-7

c

A-7 D-7 Correct

'

2 7 2 7 2 7 2 7 2 7 I 7

s

w

s

11-7

c

D-7 Incorrect

'

7 7 7 7 2 7 2 7

s

w

V7/lll- 111-7

V7/ll-c

B7 E-7 A7 Correct

'

2 7 2 7 2 7 2 7 2 7 2 7 2

:z

2 7

s

w

s

w

V7/lll- 111-7 V7/ll-B7 E-7 A7 Incorrect

'

2 7 2 7 I 7 2 7 2 7

s

w

s

Rhythmic style is usually clearly defined at the outset and remains constant throughout the tune. The most common rhythmic styles associated with stan-dard tune writing are swing, bossa-nova, 12/8, ballad and jazz waltz. It is stylisti-cally common for many standard jazz tunes to change rhythmic style in the bridge and then return back to the original style to finish the tune form. Poly-rhythmic combinations are not usually used in standa:rd tunes but are very often implied for short duration by the rhythm section. Because new rhythms are being adapted from world music to contemporay music, rhythmic style has become much more ambiguous, and as a result, harder to define and categorize. Today, when the drummer asks, "What is the rhythmic style you're

lookin~

for?," the composer might reply, "Well sort of a swing, funk, Latin, rock, jazz shuffle feel." 7 2 V7/l G7

c

7 7 7 7 7 7

II

2 2 I 2 I 7

w

s

V7/l I G7

c

7 7 7 7

II

2 2 2 2

s

w

11-7 V7/l D-7 G7

c

7 7 7 7 7 7 7 7 2 7 2 7 2

:z

2 7

II

s

w

s

11-7 V7/l I D-7 G7

c

7 7 7 7 7 7

II

2 2 2 I 2 2

w

s

w

Rhythmic

Style

••••••••••••••••••••••

ll£roND fuNCTIONAL HARMONY

Melody

••••••••••••••••••••••

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A strongiJinelody must have three qualities: it must be singable, be memorable, and have repetition. We could add a fourth- predictability. Both in pop and stan-dard tune styles, melody has clearly definable characteristics. The first character-istic of melody is that it is normally sung or played in standard phrase length of two, four or eight measures. Second, the phrase or motif is usually repeated. This repetition can happen on the exact pitch level or on a different pitch level. The most famous example of this, of course, is Beethoven's Fifth Symphony.

Also characteristic of standard and pop tune melody is its continuous duration throughout the tune form. However, this is not the case in all contemporary tune construction. Regardless of style, individual melody notes fall into three catego-ries:

Chord Tone (C)-Any note that represents part of the chord, 1, 3, 5, 7, etc.

Tension (T) -A note that creates tension with the basic chord sound. Tensions usually occur a whole or half step above a chord tone. A chord's color can be con-trolled through a specific tension, i.e., #11 implies a Lydian color. Tensions on dominant chords can effect the chord's resolution, i.e., minor 13 implies a minor

chord resolution, ~13 implies a major chord resolution.

Passing Tone (P) - A note or notes usually found on the "and" of the beat and connect chord tones and tensions.

Melodic function: Bb7 C6

r r

I

r

r

r

~

r

T

c

c

p

_c

_c

p _T

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p Ab~ C6/9

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c

Most standard tune melodies are heard in relation to a key. Playing the melody without chordal accompaniment almost always suggests a particular key center.

Melody defines key center:

This is not usually the case in contemporary tune style. Obviously, much more could be said concerning melody, however, my intention here is to simply iden-tify the characteristics of predictability associated with standard and pop tune melodies.

The two most predictable aspects of standard tune soloing are soloing form and soloing order. The soloist improvises over the same harmonic progression used for the melody and/ or tune form. This does not usually vary from one soloist to the other. Each soloist takes his/her turn soloing on the same set of changes. There is also a tendency for every band member to solo on every tune, often in the exact order of a previous tune. This type of soloing format does not c:reate much of a "surprise factor" for the listener and puts most of today's young audi-ences to sleep.

Solos

••••••••••••••••••••••

Summary

Elements of Predictability

The following summarizes the harmonic, melodic and rhythmic areas covered in Part I that are responsible for creating the predictabilities and expectations asso-ciated with music composed in a functional harmonic style.

• Harmonic Patterns • Cadences • Deceptive Resolution • Line Cliche • Harmonic Progression • Key Areas • Harmonic Phrase • Harmonic Rhythm • Rhythmic Style • Melody

n>ND FUNCTIONAL HARMONY

Non-Functional

Fundamental Characteristics

Non-Functional

Fundamental

Characteristics

A

s with standard and pop tunes, contemporary jazz and fusion music have

their own unique characteristics. This chapter will identify and examine these characteristics that account for a lack of predictability and expecta-tion synonymous with standard and pop music. These characteristics also pro-duce functional harmonic progression. Since the characteristics of non-functional progression depend on - and at the same time create a lack of feeling of- key area, it is important at the outset that the composer be aware of, and for the most part avoid, the compositional techniques synonymous with functional progression (i.e., the use of II-V or cycle 5 style root motion). These techniques demand a shift in compositional approach from writing in a traditional standard and pop style. Since these non-functional techniques are primarily "sounds" available to the composer, it might take some time listening to music in this style before these sounds can be easily accessed by the ear. Composers grounded in a more traditional style might find their writing gravitates back to traditional, familiar techniques and characteristics, both on an intellectual and audio level.

The main difference between functional and non-functional music is that the latter is not about II-V or cycle 5 style progr~ssion. This is a difficult style to

break from, especially if a composer has

invest~d

years perfecting it.

The key areas can be divided into four categories:

Established

An established key area is one in which there is no question about the key. A key

area can be established through cadential patterns, diatonic patterns, harmonic rhythm, melody, chord resolutions and repetition. Standard and pop tunes most

often have an established key area (see KEY AREAS in Part 1, p.20).

Key Areas

~DFUNCTIONALHARMONY

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In implied key areas, chords and melody suggest a key but there is no resolution to a tonic I chord. This type of area can still feel established but slightly ambig-uous when compared to the established key area. In the following example, there is no resolution to the I chord. The entire tune is an example of an implied key area. What key do you hear implied?

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Suggested listening:

"Sightseeing,"

The Yellowjackets

on FouR CoRNERS; MCA,5994.

"Postcards,"

The Yellowjackets

on FouR CoRNERs; MCA,5994.

;'Ana Maria,"

Wayne Shorter

on NATIVE DANcER; Columbia, 33418.

"Toy Tune,"

Wayne Shorter

on ETCETERA; Blue Note.

"Prayer for El Salvador,"

The Yellowjackets

on THE SPIN;

II

BEYOND FUNCTIONAL HARMONY

41

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Ambiguous

In an ambiguous key area, no particular key area is established. A few chords or patterns hint of a particular key area but most often resolve deceptively, creating a constant change in harmonic direction. In the following example, letter A would be considered an ambiguous key area. Letters B and C can be heard in the key of C minor. The end of the C section becomes transitional, leading the tune

back to letter A W. Naus 0-7(9)

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Suggested listening:

"The Necessary Blond," Tribal. Tech on PRIMAL TRACKs;

Blue Moon R279156.

"Galileo," The Yellowjackets on Pourrcs;

MCA6236.

"Indigo," The Yellowjackets on FouR CoRNERs;

MCA5994.

"The Hornet/' The Yellowjackets on YELLOWJACKETS;

W.B. 3573-2.

"Infant Eye," Wayne Shorter on SPEAK No EVIL;

Blue Note 46509.

"Pinocchio," Wayne Shorter on MR. GoNE;

Columbia 35358.

"Toy Tune," Wayne Shorter on ETCETERA; Blue Note. '~Invisible People," The Yellowjackets on GREENHousE; GRP.

PAKT2 B~-7/F B~-6/F

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Root Motion

••••••••••••••••••••••

Tonality /Modality

Although more of a hypothetical possibility, tonality/modality occurs when the melody implies one key, or mode, and the chords imply another key or mode. The following melodic/harmonic combinations are possible:

• D Ionian & C Ionian= polytonal-unimodal • D Phrygian & C Ionian = polytonal~polymodal • C Phrygian & C Dorian= polymodal-unitonal • C Ionian & C Ionian= unitonal-unimodal

In standard tune writing, chord progression and, therefore root motion, is most often down a fifth or in a cycle 5 movement. This movement creates progression . with strong forward motion that at the same tiine feels extremely grounded into a key area. This type of progression and root motion also has a high degree of predictability due to the implied resolution of the II-V and other standard caden-tial patterns. One of the main differences in contemporary versus standard tune writing is that the contemporary style most often does not contain cycle 5 root motion. As the root motion gets smaller, the progression takes on a lighter feel. The grounded feeling established in cycle 5 root motion is replaced with a float-ing feel, especially when the key area is ambiguous. This technique is especially common in contemporary style writing. Root motion can be seen in the follow-ing ways:

• Down perfect fourth

• Up or down a major third (symmetric) • Up or down a minor third (symmetric) • Augmented fourth

• Descending by step (inversion) • Ascending by step (inversion)

Root motion which ascends or descends by stepwise motion (half or whole) is most frequently created through the use of inversions and disminished chord

patt~rns. The following examples demonstrate root motion ascending and

descending by step.

Recommended listening:

WALTZ FOR DAVE, Chick Corea

THE LooP, Chick Corea

THE ONE STEP, Chick Corea

ETERNAL CmLD, Chick Corea ELEGANT PEOPLE, Wayne Shorter

THE THREE MARIAs, Wayne Shorter

A REMARK You MADE, josef Zawinul

LIKE A RIVER, The Yellowjackets

Ascending and descending root motion by step:

IVA #1Vo7 1/Sth #V07 Vl-7 ~v1o7

If

5th #1Vo7

B~A Bo7 _F/C C#07 D-7 D~7 F/C Bo7

~~

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:z

7

:z

7 7 7 7 7 7 7

2 2 2 2 7 2

,

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,

7 2 2 2 I 2 2

IVA IV-7 Ill- V7/ll- 11-7 /~7 V7 j3rd

B~A B~-7 A- D/F# G-7/F C7/E F

~~

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ll

2 2 2 2 7 2 2 2 2 2 2 2 2

,

2 2

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5th #V07 VI- ~VII

V7jVI-3 C/E F D7/F# CJG G#07 · A- B~ E7/B

~

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 2 2 2 2 I 2 2 2 Vl-7 /3rd V7/V ,,, 11-7 V7 /3rd A-7/C D7 D-7 G7/B

c

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7 7 7 7 7 7 7 7 7 7

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V7 #V07 Vl-7 Vll-7 /~7 #IV !II IV- 1Aj3rd ~Ill 07 11-7 subV7/V 4 C7 C#07 D-7 D-7/C B!ll B~- FA/A A~o7 G-7 D~7

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7

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7 7 7

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2 2 2 2 2 2 2 2 2 2 2 2

BEYOND FUNCfiONAL HARMONY

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7 7 7 7 7 7 7 7 7 _~ 7 7

II

2 2 2 2 2 I 2 2 2

,

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IA/9th V7/VI IVA ~1Vo7 Vl-7 /~7 ~07 Vl-7 Vl-7 /~7

6

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~~~b

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 7 2 2 2 2 7 2 2 7

~IV" subV7 /Ill- 111-7 111-7 /~7

.---,

Contiguous I

A" A~7 G-7 G-7/F E" A7(~9) F-7 B~7 E~

~~~&

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

II

7 2 2 2 2 2 7 z 2 7 7 7 2 2 2 2 2 2 2 7 Non-functional . .

.---7

A7 A7/G 0-/F A7/E B~/0 F/C E7/B

~~

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 2 2 7 2 z 2 2 2

---.

1Aj3rd IV- V7sus V7/l

G-/B~ A7 A~7 G-7 G~7 FA/A B~- C7sus C7 F

~~

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r r

2 7 2 7 z 7 2 7 2 7 2 7 2 7 2 7 2 7 7 7 2 7 2 7 2 7 2 7

,.

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,

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8 Non-functional

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,

7 7 7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 7 2

---.

7 7 G-/B~ A7 0- B~-/0~ 7 7 7 7 7 7 7 7

~

2 2 2 2

,

2 7 2 G/B 2 34

Root motion by step is often used as an effective reharmonization technique. The

following four examples demonstrate root motion by step as a reharmonization

redmique. Original Fd A7 D-7 Reharm. Fd _{D-7 I F/C} Original E~d F-7 B~7 I I l"""'l @) I Reharm. _E~d G7/D I C-7 C-7 /B~ F/A A~-7 I I @) Original Fd A~/E~ Reharm. _F C/E : A~/E~ 07(~5) Original F6

'

@)

_~

..,_

..

•

Reharm. _F6 C/E D-7 C7 B~ F/A G-7 F7

'

@) PAKT2 B~-6 _etc. I G/B B~-6 etc. G-7 C7 F- _etc. G-7 G~7 I F- etc. etc. etc. B~ etc. 1'-.J' B~ etc.

Form

••••••••••••••••••••••

Examplel Intro 1

'

Solo 1 Interlude

'

Example2 Intro

'

Solo

[9

'

In contemporary and fusion style writing, the objective of form is not repeating something the listener has heard, but taking the listener into an area which is new, creating an ever-changing harmonic, melodic and rhythmic landscape. This approach to form is different and much more challenging than the standard AABA tune form concept. It requires that the composer link areas of the compo-sition together with interludes, new harmonic material and various melodic ideas rather than rely on repetition to hold the form intact. Repetition is used in con-temporary and fusion music, however, it is not a primary technique of the stan-dard AABA tune format. In contemporary tune form, the introduction is used many times in the form as an interlude or outro section. It is also common to use the chord changes from the introduction for the solo changes. An interlude com-monly separates the soloist. This interlude can be material from a previous sec-tion of the form, on cue, or new material specifically written as an interlude to end the first soloist and begin the next. When the solos have ended, a new section of the form should be written to serve as a final statement before returning to the melody or proceeding to the outro. Occurring approximately 3/4 of the way into the form, this section is most often the peak or climatic point of the entire composition.

The following are 20 typical form layouts characteristic of contemporary jazz and fusion music. Sections designated Al, A2, A3, etc. are repeated sections with slight variations in length, melody/harmony relationships and melodic content.

Intro2

[A]

Interlude

Solo 2

[ID

Outro

II

1M]

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[ID

1M]

_~

Outro

PARr: Example3 Intro

[M]

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Interlude

~

Solo

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Outro

~

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Example4 Intro

[A]

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Solo

[Q

Outro

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ExampleS

Intro 1 Intro 2

[M]

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Interlude

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Solo Interlude

~

Outro

~

!I

Example6 Intro

[M]

~

Interlude

00]

~

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Solo

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Outro

~

II

BEYOND FUNCflONAL HARMONY

Example?

Intro

[M]

_~

[ill

Solo 1

~

Solo2 Interlude

[M]

_~

[ill

~

II

ExampleS

[A]

Solo

[ill

[Q

~

Solo

lm

Outro

~

II

Example9 lntro

[M]

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_1M

[Q

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Solo Interlude

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[A]

Outro

~

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ExamplelO

Intro

[M]

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Solo

~

[ill

[Q

Solo Outro

Example 11

Intro

[A]

[A]

[ID

_liD

~

[Q

[Q]

Solo

_[Q

Outro

~

ll

Example 12

Intro

[A]

[A]

_[ID

~

Solo 1 Solo 2

[Q

[ID

(Outro)

~

11

Example 13

Intro 1 Intro 2 Solo

Interlude Solo Outro

!I

Example 14

Intro

_~

[;g

[ID

[Q

[Q

~

Solo 1 Solo 2 Interlude

[Q]

Outro

BE'I'OND FuNcnONAL HARMONY

Example 15

Intro

~

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Solo Interlude Outro

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Example 16

Intro 1 Intro 2 Intro 3

[A]

*

Interlude Solo

[A]

Outro

*

II

Example 17

Intro

~

[;g

00]

*

Solo Interlude Solo

1M

*

II

Example 18

Intro

[A]

00]

[A]

*

Solo

[A]

Solo Outro

Example 19

[A]

[ID

[Q

~

rnJ

[!]

Solo

~

Example20 Intro

_1M

[ID

~

[Q]

Solo

_[Q

(Interlude)

~

For many years, the bass' function was primarily to keep time. As the technique of bass players evolved, the function expanded to include soloing. In contempo-rary fusion and jazz, the instrument is also a melodic voice. It is common to see the bass in harmony or unison with guitar, sax or synth, playing melody or a counter-melodic line. Contemporary use of the bass as a time keeper relies more on the use of space rather than on a constant and even note pulse that is charac-teristic of standard jazz styles. With the advent of sound-enhancement equip-ment, bass players have the ability to fine-tune their sound, making it more per-sonalized and recognizable to that particular player.

I would like to add a personal note here concerning a trend associated with many young up-and-coming bass players. Because of "monster" technique and bass players such as Jaco, there is a tendency to approach the bass as if it was a

guitar.

If

these young players could eliminate the bottom two strings they would

because they rarely use them. Always remember there is a reason why they call

PART2 Solo

[Q]

[Q]

(Outro)

ll

[Q

~

Solo Outro

il

nction

••••••••••••••••••••••

BEYOND fuNCTIONAL HARMONY

Rhythm

••••••••••••••••••••••

E-7/A

,!l. /

7 2 z 7 2 7 7 z

Poly-rhythm

Contemporary fusion andjazz often utilizes many poly-rhythma, the technique that allows the listener to perceive the time on more than one level. It is not uncommon to have two or more time levels simultaneously, thereby creating an ambiguous time feel. Most often this poly-rhythmic time feel is attained through a 12/8 or 6/8 time signature.

Recommended listening:

"Sightseeing," The Yellowjackets on FouR CoRNERS; MCA5994.

"Avance," The Yellowjackets on PoLrrrcs; MCA6236.

Odd Time Meters

It is common in contemporary writing to see tunes written with odd time signa-tures. "Odd" means time signatures other than 4/4. In the 1960s, one of the first American composers to extensively explore the possibilities of odd time meters

was Don Ellis. A good example is the tune "33-222-1-222" on LIVE AT MoNTEREY,

Pacific Jazz ST20112. In the 1990s, the English pop vocalist Sting, with drummer Vinnie Colaiuta, uses odd time signatures very effectively in many of his tunes.

Recommended listening:

Cuts 2 and 4 from MERCURY FALLING, by Sting, A&M; and

Cuts 2, 5, 6, 7 and 10 from TEN SuMMONER'S TALES, by Sting, A&M.

Back Beat Displacement

The idea is to make beat #1 of the measure ambiguous to the listener. This is achieved by anticipating or delaying the back beat accents of two and four. The metric duration of the anticipation or delay is usually that of a 16th note.

W.

ivaus

G-7/C 7 2 2 7 7 7 7 7 7 7 7 2 7 7 7 2

In fusion and contemporary jazz, melody is less singable and therefore less memorable than in standard jazz and pop styles. This is mainly due to the fact that fusion music is primarily instrumental (as opposed to vocal). Since instru-mentalists are not confined to the same range and intervalic limitations of most vocalists, melodies have expanded in range and intervalic flexibilities to accom-modate their technical abilities. In addition, in contemporary jazz and fusion, the melodic phrase does not always coincide with the beginning and end of the har-monic phrase, although it usually does in pop and standard jazz styles. The melodic phrase often begins one or two measures after the beginning of the har-monic phrase. This type of melodic treatment creates melodic holes and spaces in contemporary tune writing which are usually filled by rhythm section groove or by a melodic counter-line.

Unlike bebop melodies, which are characteristically eight-note oriented, con-temporary jazz and fusion melodies are more often long, sustained notes which are held throughtout a changing harmonic area. This produces a change in melodic function which can be felt each time the chord changes.

In the following example the melody note "G" changes function with each new chord change.

A~il A-7 B~il

~e~

j..

J)

I

,o

_I

j ..

7 ~7 13

D~il D7sus E~7

~

j..

)!

_I

,o

_I

J.

l

~ 11 4

3

Text examples:

(Part 4, NoN-FUNCTIONAL TECHNIQUES AND CRITERIA, Ex. T16 p.80).

In this example the melody note

"BV

in bar 12 changes from a tension 13

func-tion on the D~7 chord to a chord tone function ~3 on the G- chord. In measure 15,

the melody note "C" changes function from a tension 11 on the G- to a tension 9

on the B~-7.

(Part 4, INTRo/0UTRO PATTERNS p.84).

Recommended listening:

"One Voice," The Yellowjackets, Pouncs; MCA 6236

"Sightseeing," The Yellowjackets, FouR CoRNERS; MCA 5994

"Geraldine," The Yellowjackets, FINE WINE; CRP 9667

"Man Facing North," The Yellowjackets, LIKE A RIVER; GRP 9689

"Greenhouse," The Yellowjackets, GREENHOUSE; GRP 9630

"Invisible People," The Yellowjackets, GREENHOUSE; GRP 9630

Melody

•••••••••••••••••••••

Cil

)!

I

, 0 5 E-7

~

J

I

, 0

J

' ~3

~NO FUNCTIONAL HARMONY

Harmonic Progression

•••••••••••••••••••••••••••

Ambiguous Chord Types

•••••••••••••••••••••••••••••••

The main difference between contemporary jazz and standard tune harmonic progression is that the former lacks the expectations, predictabilities and forward motion characteristic of standard tune harmonic progression. The sensation of forward motion is lessened because of the smaller intervalic distance between one chord to another. This produces a "floaty" feeling rather than a strong for-ward movement characteristic of standard tune harmonic progres-sion. With lack of sustained key areas, expectations and predictabil-Itles are drastically decreased. Contemporary harmonic progression moves freely in and out of different key areas. These key areas can be either established, implied or ambiguous, most often the latter. Another important characteristic in contemporary harmonic progression is the frequent disregard for the traditional principles of harmonic rhythm and form mentioned in FUNCTION-AL FUNDAMENTFUNCTION-AL CHARACTERISTICS. When these characteristics are combined with ambiguous chord qualities, harmonic progression takes on more of the non-functional characteristics synonymous with contemporary and fusion music.

A chord becomes ambiguous when its quality (major, minor, domi-nant, etc.) becomes disguised or difficult to determine. Hybrids and incomplete chords create this ambiguity.

Hybrids

A hybrid does not contain a major or minor third above its root. In a way, they are similar to ?sus chords. There are a few conditions needed to create hybrid chords;

Conditions:

• No major or minor third above the root of the chord.

• The melody note should function as 1, 3, 5 or 7 of the upper structure.

• The root of the chord should not appear in the upper structure. • The upper structure's notes should come from the chord scale,

which is determined by the function of the chord.

The chords in the following five-bar example are analyzed to determine their function and resulting chord scale. Once the chord scale is determined, the chords can then be converted into hybrids by applying the above conditions 1-4. Once the specific hybrids have been chosen, the progression can be voice-led.

PART2 Ballad B~Ll A7alt. D-7 D~7 C-7 F7(~9) B~

4P

B

r·

J

_I

r·

J

_I

j

j

_I

j

&J

_••

_!I

ILl B~Ll (Lydian)

Analysis chord scale:

~

&o

h 0

••

!I

&-u-

_-o- 0 0 ( ) V7 /Ill-A7alt. (Altered)

~

_&o

_••

0

••

II

-o-

&-u-

-o-

#-o-111-7 D-7 (Dorian)

~

0 I I 0

_II

••

0

••

0 0 subV7 /11-D~7 (Lydian ~7)

~

&··

&o

lz

~ t

&o

II

&o &o

••

0 11-7 C-7 (Dorian)

~

&o

I I

II

&o

••

0

••

-o- 0 V7/l F7(~9) (Mixolydian ~9)

~

&o

0

bn

0

II

&o

••

••

( ) I B~ (Ionian)

~

&o

_II

&o

••

0

••

&-u-

-o- 0