BY
WAYNE
.J,
NAUS
B
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BY WAYNE ..J. NAUS
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
Order No. 11225
Table of Contents .•••••..•• •.· .•....•.••..•.•.•.....•.....•••..•.••••.••.......•....
7
PREFACE ••••........•.•...••....•.•.•.•••.•.•...••.•••.... ·' ••..... ' . . . . • . . . .
CD INDEX
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
5
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 ABouT THE AUTHOR · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 111
CD Index 1
Implied key (composer: Wayne Naus)
2 3 4 5 6 7 8 9 10 11 12
Ambiguous key (composer: Wayne Naus)
13
"The Soap Braker" (composer/sequence/guitar: Yasuo Nakajima)
14
"Pas de Deux" (composer/piano: AndreJ. Spang -live performance)
Back beat displacement (composer: Wayne Naus) Anticipation-sustain (composer: Wayne Naus) 8-note series example (composer: Wayne Naus; piano: Andrew Sherman) 8-note series example/samba (sequence/piano: Russ Hoffman) Intro/Outro pattern 7I 4 (composer: Wayne Naus) Intro/Outro pattern [hybrid mix] (composer: Wayne Naus) Intro/Outro ambiguous phrase, 3-chord repeated pattern (composer: Wayne Naus) Intro/Outro pattern [melodic function] (composer: Wayne Naus) Melody-bass line technique (composer: Wayne Naus) "The D.C. Gig" (composer/sequence/piano: Ido Waksman; soprano sax: Norikiko Hibino)
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.
7
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 opportunities. 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.
PARTt
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 mysel£ 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 composers. Through the process of teaching the Yellowjackets course, a new set of criteria 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 deciding which techniques to use to create the sound we were after, but rather deciding which techniques to avoid. The techniques and characteristics we needed to avoid were the ones that were unique to standard tune composition styles. Inherent to these techniques were elements 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 predictability 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 compositions 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 contemporary jazz and fusion style harmonic progression. This text will identify the characteristics 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.
9
Introduction
T
his book presents a system that creates melody and harmony and allows them to function outside of the normal dependencies governing the principles 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 functional 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.
f.
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 progression 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, diatonic 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 nonfunctional harmony. Harmonic progression used in contemporary jazz and fusion is most often that of non-functional harmony. Chords in a non-functional context derive their function from established patterns, adjacent chordal relationships, root motion and from a relationship to the melody. For the purpose of composing music in a contemporary jazz and fusion style- which is predominantly 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.
11
D fuNCTIONAL HARMONY
Elements of Predictability Functional Fundamental Characteristics
S le
i.
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 characteristics responsible for predictability, since this major quality is inherent to standard 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.
13
Functional Fundamental Characteristics Chord Patterns
Harmonic ••••••••••••••••••••••
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 progression. 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:
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BEYOND FUNCTIONAL HARMONY
Cadence Cadential patterns usually consist of two or three chords which have the tendency to imply a resolution to a tonic I chord or point of harmonic rest. As with harmonic patterns, cadential patterns also derive their strength from root motion and harmonic rhythm. Usually occuring at the end of a harmonic phrase, cadential 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 following examples are typical cadences to the I chord.
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2
7
7
V7/ll-
11-7
V7/l
I
F#fll
B7(~9)
E-7
A7
D-7
G7
c
7
2
7
2
7
2
7
2
7
II
7
II
7
7
II
7
2
7
II
;z
2
7
II
7
II
c
111-7
2
2
7
z7
V7 /Ill-
7
2
z7
#IV"'
2
7
c
(V7 /1)
;z
7
7
11-7
L
;z
L
c
7
~VIA
7
7
c
(V7 /1)
2
2
G7
2
7
7
D-7
E~A 2
7
I
~II A
7
7
V7/l
~lilA
2
2
c
11-7
11-7
11-7 7
11-7
A-7
D-7 2
V7/ll-
2
G7
11-7 3
7
(V7 /1)
11-7 2
7
Ill ~7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
7
2
2
7
2
7
2
7
II 17
BEYOND FUNCfiDNAL HARMONY
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 recognized. 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
~
1C-
1-A C-A
••
0
1C-
2
£
0
~
1-7 C-7
~0
1-#5 C-#5
1-6 C-6
II
1-#5 C-#5
••
I+
I+
#o
c
c+
~
0
#o
••
4
17sus C7sus
17 C7
~ ...
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#o
16 C6
3
1-6 C-6
0
1-7 C-7
~0
#o
II
(+
II
17 C7
(~)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. Melody and rhythmic pulse are also factors. Harmonic progression is generally longer in length than harmonic patterns. The typical length of a standard tune progression 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 repetition of the harmonic progression is characteristic of standard tune composition but used much less in contemporary styles of music. Chord Pattern r------------------------------------,
c
A-7
7
2'
I
D-7
7
7
7
I
I
Chord Pattern r------------------------------------,
c
G7
7
I
7
I
7
2
D-7
A-7
7
2
7
2
7
2
7
I
7
I
Chord Pattern
'
2
F
C7
7
I
7
I
7
2
7
2
7
7
2
7
2
2
7
1.
F-
2
7
2
Cadential Pattern
Cadential Pattern
c
7
2
L-----------------J
L - - - - - - - - - - - - - · - - - - -1
.-----------------------------,
G7
D-7
7
2
c
G7
7
2
7
2
7
2
7
2
L--------------1
G7
7
2
7
2
7
2
7
2
2
L-------------J
Cadential Pattern Extended Dominant Pattern r-------------------------------------------------------------------------------Cadential Pattern A7
E7 2
7
z7
2
7
2
7
2
7
2
7
7
7
7
2
7
2
7
2
7
2
7
2
7
7
2
7
2
7
,
7
-----~-----------------------------------------------------------·-------~------,
G7
07
' ' '
2
7
2
7
Same as first
~ c 2
7
7
7
2
7
2
7
7
7
2
7
2
7
D-7 2
7
2
7
7
7
2
7
2
7
2
7
2
7
2
7
7
7
c
G7 7
7
F
C7 2
,
2
7
2
7
7
7
2
7
2
7
2
7
II
'~n
A-7
c 2
2
2
7
7
7
Fr7
2
7
2
7
2
7
D-7 I
7
2
7
D-7
A-7 2
7
2
7
7
2
7
7
2
7
2
7
2
7
c
G7 2
2
G7
2
7·
2
7
,:z
2
7
2
7
II
8E'IOND FuNCTIONAL HARMONY
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, harmonic 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.
Key Areas ••••••••••••••••••••••
Established key area:
~e
Vl-7
11-7
c
A-7
D-7
~
r r
11-7
G7
0
IF"
V7/l G7
D-7
~F"
(V7 /1)
D
r
111-7
V7/ll-
E-7
A7(~13)
1r
IT
r r
F
c
F E
--!*
j
II
I
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 established key center.
(
20
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 ••••••••••••••••••••••
Harmonic phrase:
c
'(l
2
7
A-7
2
7
7
7
D-7
'
2
7
D-7
2
7
7
I
G7
2
7
7
7
2
7
2
E-7
7
7
A7
7
I
7
2
7
2
7
c
G7
2
7
~
'
7
7
2
7
7
7
2
7
2
7
II
Harmonic phrase supports and coincides with the melodic phrase:
c
A-7
r D-7
'
~
Phrase2
Breath
Phrase 1 D-7
G7
F IFf F; r
1
A7
rrrr
c
G7
r rFE
E-7
~
j
II
II
2:1
BEYOND fuNCTIONAL HARMONY
Harmonic Rhythm ••••••••••••••••••••••
Harmonic rhythm is felt; it results from a number of beats a: chord is given within a measure and from the chord's placement in a measure relative to the beat. Standard tune writing expects a chord to be placed relative to each beat- depending 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 W s w
The first pulse is the strongest The second pulse is not as weak as the last The third pulse is not as strong as the first 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 functions 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.
22
Expected placement of chords relative to stress points:
Vl-7 A-7
c Correct
Incorrect
Correct
Incorrect
' ' ' '
2
7
2
7
2
7
2
7
7
7
I
7
2
V7/lll-
7
2
7
2
7
2
2
7
2
7
7
2
7
V7/llA7 2
7
2
w
:z
2
7
w
7
7
2
7
s
Rhythmic style is usually clearly defined at the outset and remains constant throughout the tune. The most common rhythmic styles associated with standard tune writing are swing, bossa-nova, 12/8, ballad and jazz waltz. It is stylistically 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. Polyrhythmic 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."
2
2
7
w
I
7
7
7
II
I
7
2
7
7
7
2
2
7
II
w V7/l G7 7
7
7
7
c 7
7
w
11-7 D-7 7
7
c
11-7 D-7 7
2
s
s
V7/llA7 2
I
s
s
I
7
V7/l G7
7
111-7 E-7
V7/lllB7
s
2
w
s
7
7
2
w
111-7 E-7
B7
7
2
w
c
2
7
11-7 D-7
s
2
2
c
G7
s
c 7
7
w
s
V7/l
11-7 D-7
2
7
7
7
2
:z
2
7
II
s I
V7/l G7 2
2
2
s
7
c I
7
2
7
2
7
II
w
Rhythmic Style
••••••••••••••••••••••
23
ll£roND fuNCTIONAL HARMONY
Melody ••••••••••••••••••••••
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 standard tune styles, melody has clearly definable characteristics. The first characteristic 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 categories: 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 controlled 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:
F-7
C6
*e~r T
Bb7
F
c:r r r r
c
c
C6
I
G7G~)
p
T
I
c
c
T
rrr
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p
r
c
c
Ab~
C6j9
p
c
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p
C6/9
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c
T
T
T
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T
T
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:
@.)
I
r r
IF
J
r
••
II
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 identify 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 audiences to sleep.
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 associated 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 • Soloing
Solos
••••••••••••••••••••••
n>ND FUNCTIONAL HARMONY
Non-Functional Fundamental Characteristics
•I
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 expectation synonymous with standard and pop music. These characteristics also produce non-functional harmonic progression. Since the characteristics of nonfunctional 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:
Key Areas ····················~
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).
~DFUNCTIONALHARMONY
Implied 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 ambiguous 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?
W. Naus
11.2. A-7
J.
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J) I.o
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PAKT2
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D~7(9)
D-7(9)
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A-7
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open A-7
A~A
G7sus
J.
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B~7
J.
J) l,o
Gpedal ------------------------------------------------------------------------
Fine
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; MCA.
II
J
BEYOND FUNCTIONAL HARMONY
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
41
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Additional Eight-Note Examples In the following example, the eight-note series is repeated three times over the same melody. In section B, the roots of the eight-note series remain the same but the chord qualities change. In some measures, this changes melodic function. This can be considered a reharmonization of the eight-note series. In section C, the melody remains consistent with A and B but the original eight-note series .is altered for the sake of variation.
81.
BEYOND FUNCTIONAL HARMONY
W. Naus
lAJ
A-7
C-7
~eo·
r
A~Ll
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j
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A~-7
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F~-7
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II
BEYON·o FUNCTIONAL HARMONY
lntro/Outro Patterns This exercise is similar to the eight-note series but shorter. The chapter explores a variety of techniques which attempt to produce non-functional harmonic chord patterns that are coupled with an ambiguous feeling at the beginning of the harmonic phrase. These short three- and four-chord groupings, when repeated, create a harmonic loop. The· effect of this loop is most appropriate for, and characteristic of, introductions and outros.
1
•
Select three or four chords of any desired quality (see CHORD QuALITY CruTERIA). When these chords repeat, there should be no feeling of a key center.
DA
2 DA
*!l~ r
E~-7
EA
r·
ps·Q
E~-7
EA
Determine a harmoni_c rhythm. Each chord may have as much or as little · . • duration as desired.
~ 3.
Add a melodic line. The same melodic criteria used for the eight-note series • is applicable here (see CHORD QuALITY CRITERIA). In example A below, the melody stays constant while the harmony changes. A
DA
*~~~ #;j
E~-7
~w.
EA
@u
~
Melody is derived out of a tension function relationship on each chord. B
D.:l
~(l~ ,w
E~-7
r
ELl
#p.....-..I a
~
Change starting chord, add inversions.
c
E~-7 /B
~e~j
4
·
ENB
#J.
D.:l/A
1J?J
.a
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For CD Tr~ck ~o. 7, extend harmonic rhythm. Change time signature and ,. add ascending line.
After experimenting with melod~ chords, harmonic rhythm, inversions, pedal point or any other desired effects, the three-chord pattern should be almost finalized. In the following example, the time signature is determined, the harmonic rhythm extended, and an ascending line added to help create the feeling of forward momentum in a continually unresolved three-chord harmonic loop.
Bs
8DoHD
fuNCTIONAL tiAAMONY
dl
W. Naus
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The following four-chord pattern combines the use of hybrids, inversions ., and root position chords.
B/E
A7susjE
F-9
Determine harmonic rhythm/ duration, rhythmic groove. The selected ., four-chord pattern repeats while an ascending line works its way up through the progression.
86
PAIIT 4
W.Naus
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-6-
I D~~/E~
B/E
_n_
(q)_n_
_n_
b-6-
-6-
I F-9
A7susjE
(q)-6-
~
t ..
~
I~ ~
l~o
0
F-9
~
l
L.......C:::::j
F-9
B/E
~
•
'
Bass simile A7susjE
~
..
D~NE~
B/E
~
••
-
-6-
_n_
_n_
B/E
#_n_
_n_
!I
BEYOND fUNCTIONAL HARMONY
7
When these chords repeat, there should be no feeling for the beginning of • the repetition. One possible solution for an ambiguous beginning point of the repetition is to choose three chords and place them in a four-bar harmonic rhythm, repeating sequence. It will take 12 bars for the first chord to coincide with bar one, beat one, of the four-bar sequence. Maintain the same harmonic rhythm stresses - S W S W - as if there were four chords instead of three. Try combining this with the displacement of backbeats two and four as discussed in Part 2, NoN-FUNCTIONAL FuNDAMENTAL CIIARAcTERISTICS.
Ambiguous phrase beginning (three chord repeat) - backbeat displacement- voicings in fourths:
W. Naus
B~-7 /A~ I
C7susjG
.
(
-e-
@)
(
B~-7 /A~
B-7/A
_)
.
.
Continue same voicings
bo
0
'I
C7susjG 2
7
7
2
7
2
7
B~-7 /A~
B-7/A 2
88
C7susjG
B-7/A
7
2
7
2
2
7
7
7
2
7
2
7
2
7
2
C7susjG 2
7
2
7
2
7
2
B-7/A 2
7
2
7
2
2
7
2
7
7
PART4
8
In the following example, the same intro/outro process and criteria are • applied to a four-note pattern.
• Select four notes. There should be no feeling of key center as the four notes repeat (see Part 4, ToNE Row CoNSTRUCTION).
••
II
• Experiment with alternate starting point:
;>:
a
~a
~ 2=
~a
••
qa
...
qa
II a
II
~ 2=
••
qa
a
~a
a
~a
II
~ 2=
qa
a
II
BEYOND fUNCTIONAL HARMONY
• Determine chord quality, add tensions:
0~7(#11 )
9=
~0
F-7(9)
••
0
II
• Add melodic line:
0~7
~
~0
E-7 0
••
F-7
DL\
#n
(I
#n
~0
0
II
• In the following example, the melodic line, rhythmic groove and harmonic rhythm/duration are developed. To help disguise the beginning of the phrase, the melody is the same in measures 1-4, 13-16 and 5-12. While the melody remains the same, the harmony changes, producing a change in melodic function.
W.Naus
D~7(#~1 )
~~l~ ~r·
' """'"
p r·
.p
2
J.
j
~w
J
E-7C;)
~
J
Jt;J
2
lo.
Jl
j
#J.
J J
Df1(9)
I
2
~J
J J
F-7(9)
~ ~r·
* * * *
"""" '
p
r·
p
j
J.
2
~w
J
J
Bn'oND FUNCTIONAL HARMONY
Non-Functional Melodic Approach
S
o far we have seen melody derived from the harmony. In the following exercise, the harmo~y w~l r:sult from the melo~y. Th.is method of ha~ mony/melody relatwnsh1p will also be non-functional m that chords will be derived from a melodic function and not from the principles governing functional-diatonic or diatonically related progression. First construct an original melody or simple motif. When applying this technique to standard tune melodies, this process would be considered a reharmonization. Melody notes work best when they are longer in duration. Then consider what function (chord tone or tension) each melody note might be on any type of chord quality. Choose initial chords from a purely vertical melody/harmony relationship. Once a set of chords are in place, make chord quality or root motion adjustments based on an adjacent horizontal harmonic consideration. Additional options include sequential patterns, hybrids, ascending or descending root motion using inversions and/ or root position chords, constant structure and pedal point. The resulting progression, once voice-led properly, should be surprisingly different from a progression created based on the principles characteristic of functional harmonic progression. Theoretically, it should be possible to substitute or exchange any chord in any column to create additional harmonic variations.
Melodic criteria A-
A~
F
1\
•
I
•
I
•
~
•
I
BI
I I
~
B~
.
'
A~
A-
G~7{#11)
Eb7
I I I I
@)
Vertical
B-
07(9)
I
E~
F#-7
G-7(11)
F7
A
B~
~
C-9
0~7(#9)
' @)
A~7(#11)
0-9
.
1\
Sequential
•
@)
Hybrids
A-7/0
._
@)
I
87
I I
F7(#5)
I
I I I _I
I I I
C/B~
•
I
B/E
~
C9
09
.
I
•
@)
A~7(#11)
A-7
•
fl @)
A/E~
A~7susjG~
I
Constant structure pedal point
.
•
I I
0~~/G~
I I I
I I
F ''
I I
I I I I I I
E
I I I I I I
f+
I
I I
I I I
G~7(#~1 )
I
I
I
B~7sus
C7(b9)
I
I I
F/G
I I
I
A~/G I
I I
I
0~~(9)
I
I
CjG
0-7(9)
I
I
I
I I
I
A~
I I
I
I
I
C9
Root position ascending roots
I
I I
I
.
_fl
Constant structure ascending roots
I
I
I I
s~~;c
Descending root inversions
I
0~/G
I I I
I I
c
I
~
93
BEYOND FUNCTIONAL HARMONY
Melody-Bass Line Technique
T
his technique begins with the construction of a melodic line and then a counter bass line. Together, they form the basis for the accompanying harmonic progression. This technique is most effective when used in an introduction whose tempo is rubato to slow. Begin with a melodic phrase. Construct a descending or ascending counter bass line that moves by step in quarter- or half-note duration through the melodic phrase. A final bass note can be pre-determined to coincide with the end of . the melodic phrase. This creates a target or ending point for the bass line. It is possible to work backwards from the target note to the first note of the bass line. The forward or horizontal momentum created by and between each line will dominate the vertical intervalic relationship. The vertical intervalic relationship created between the melodic line and the bass line will be felt as tension and release points.
_l
(
•
@)
_b~
I
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..0..
ft-
.,_ .
f'-~
-
I
~
(
.
L
I
I
I
I
Once these two lines are in place, assign a chord quality to each bass note. The · bass notes can function as roots or inversions of chords. Hybrids are also possible. Chord qualities should result from the melodic function. The melody should function as a chord tone, tension or a passing tone over each chord choice. Experiment with different starting notes in the bass line before selecting a final bass/melody relationship.
94
PART4
W. Naus
I
(
.
"
@.)
..
-1
_,
.,
It
C~(#5)
F-7
B-7/A
D-7/G
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l'f C-add9/E~
Gadd9/F
c. :t.-,._L;}
I
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r\
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II
Marimba
*
Soprano Dd(9)/F~
Dd(9)
~## e Fadd9
[
Gd
t& I J. ' F. )JJ1 E-7
G/F
B~add9 /D
G -7
Fadd9/E~
D.lo. Ed/F~
~## qr· ~1'5r· qJJI J 3 1' i1 I ~
F~d/G
' 1~
~
Dadd9/F~
A/G
£1 ' f( nI iJ. E~/F
A-7
~## ~DfS o-A I J JttF
I
2x Drums enter
2
.~~ fJ PlPJlf#fJ]@I fJPJPJJf#QI lAJ
Gd(9)/B
'
.nl
(Pno.) [ID G~d(9)
i F/G~
~ I .Sj ~
'I
B~-7(11)
.
~~·&~~ --~' ~ J. n1Q~ G~d(9)/ A~
~~~&~~
a; , rr "" r,; ~ rr 1
A~7(9)/C
~~~&~~
B~d(9)/C
v.
~~o=
YSYS (Sop. and vox)
A~7G~)
A~7sus
Jl g I J.
A~7sus A~7(9)
D~add9
[Q G~d(9)
(;Cg-J.
~I
G~d(9)/B~
G~-7(9)
r ~ ~181 ~ fttq; 1E'::Y'f::ti
LJ ,. ~~qd
cr 1
A~-7
Fd(9)/G
~~·&~~
!bl r-~r
[!2} A/G
i
cr II go--
On D.S. 2x play: GD(9)/A
po
l
Marimba £ills
II
I D.S. alCoda
99
BEYOND fuNCTIONAL HARMONY
-$-
Interlude
DA(9)/F~
DA(9)
*j# i [
tt;J fE 10
Q..Q I"="~
cJ.
E~A(9)
A/B~
*j• J.
B~A(9)
GA
~J ~ B/D~
B~A(9)/D
n fPJ n19 tJn:J 0
D~/B
'I
1
F#-add9/A
Eadd9/D
D/E
*j# ll). FA/G
*j#j.
ll F/C
=0 q£ P~fSJ A-add9/C
1 Gadd9/F
C-add9/E~
~itQ1r
qgr
D7sus(13)
{Q,j,o'
* II
D.S.S. a1 Fine (repeat to fade)
Notes: • Piano solos on D.S, (2x choruses of "C") • Soprano solos on D.S.S, (2x choruses of "C") • Then repeat "C" with melody to fade
100
PARTS
"7he Soap Braker" by Yasuo Nakajima Throughout this tune, I used two main ideas which are poly-rhythm and nonfunctional harmony. When I build up each section, I tried to put effective rhythmic patterns and to combine these in a lively way. I composed every section using non-functional harmony. Sometimes, it makes it too mechanical, so I tried to make a natural feeling all over the song. In the "intro" section, I used these ideas as composition tools. First, I made a four-bar poly-rhythm pattern for keyboard and bass. Then I constructed chords progression and voicings with G as top notes. The bass line was composed by ascending step motion. I could say it as" one note samba effect." Finally, I added a 16th note arpeggio pattern with six note loop and back beats by Logic Audio sequence program. In the "k' section, I used ambiguous chord progressions. First, I wrote eight random notes on a piece of paper. Then, I put chords over these notes. After I constructed the basic chord progression, I added some rhythmic accents to modulate the music for effect. Then, I composed the melody with the same anticipations. I found some jerky motion in the progression, so I reharmonized it which made it smoother and spritelier. I don't remember exacdy how I did the guitar solo section. However, it is true that I put emphasis on making simple chord progression compared to other sections. As a matter of fact, I made this section by guitar. While I was playing the guitar unintentionally, I found that four-bar pattern. I can say thatthis section is pretty emotional. The main idea of "B" and "C" sections is the same as I previously explained. I used non-functional harmonies and ascending/descending bass lines. The bass line of the "B" section is unique because it keeps descending by step all the time. I tried to avoid dominant seventh chords. Those chords tend to resolve to a certain chord, so there is a possibility of breaking the flow of smooth non-functional chord progression. I realized that a minor ninth chord is a great tool to build this kind of harmony, and I like the sound of it very much.
101
BEYOND FuNCTIONAL HARMONY
THE SOAP BRAKER Yasuo Nakajima ·
Intro (Piano & Bass) F13 fl
C/A~
E~/G
·:
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:
-= :::.,• v•..._
~~
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.
.
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•
(Synth Arpeggio)
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F~-9
AA(~11)
G~A
DfC
B~/C
't~lft]J "~Jill:..
D~-9
B~/D
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F/E~
F#jD
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II
PARTS
Intro
E~/G
F13
C/A~
A~~/B~
E~/B
G/C
f~ * r ' D~ D1f ~ D* f ~ D ~ DT U * f ' D~ D~ 1
~
A~/D~
1
C/B~
D/E
F/B~
G~/A
F/E~
B~/C
4-=fJQ~~u
f*
F~-9
fP
F~/D
~ ~
\#II g1
d ' ;f1fu
II
A~(#11)
B~/D
D/C
F~/G~
C~/B
'~ .u ' ;&Jiqj@j, \~I i{Q•'l 'J £i@n B~-9
[ID
fl * Ht;m r·~ F~/D~
f... * cJ I F/G
E~/A~
F/G
r~~ piE B~/C
Dadd9
~ DiJ) I
0
o·
F~(#11)
D/E
o
o
1 0
F~(#11)
* ggJJ J1 0
D/E
nn1 ° *'n
B~-9
1
E~/A~
I * '&tfi F~/D~
II
r·-
B~/C
Dadd9
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10J
BEYOND FUNCfiONAL HARMONY
E~I A~
Git. solo B~-7 (9)
7 7 7 7 7 7 7 Ir r7 h7 ;~ r7 r 7r r r7 r7 z7 r7 I r r r7 I r r r7 z7 r
~~~{ r r r r r r 7
(9
7
7
7
7
7
F#6IE
BIE
F#61E
BIE
F.:1(#11)
FIG
~ #JpjJfiOJ'Jd #J~fiOJ'#JbJI #J~fiOJ'JlJI #JpjJfiOJ't##p! D~IF
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1
A -9
FIG
F#ID#
DIE
A~-9
F#IG
BIF#
j
P J?J I o·
~ Repeat and fade
"Pas de Deux" Form-layout:
Introduction
Layering between bass line and upper structure triads in the piano.
A
Part A of melody, rhythmically active bass line.
A
Repetition of A.
B
Part of Melody. Melody line more active (8th notes), bass line more "pedal like."
c
Interlude - same as introduction. Link between m~lody and piano solo.
A
D.S. =Piano solo.
A
Piano solo continued.
B
End of solo - Melody B played again.
c
Interlude. Now links between melody and guitar solo.
Coda
Guitar solo over bass/piano vamp. Fade out and Fine of song.
Overall Form:
Intro, A, A, B, C, A, A, B, C, Coda
Chord-layout:
Intra C--
13
E~/0
E~~
E/0
F7sus
0~7sus
0~~
A/C
1
s~l t~) (no 3rd) 13
C-
E~/0
E~~
E/0
F7sus
0~7sus
0~~
A/C
13
I s~l#~J) Al#~1 )
I I
~
I B~/0 I E-7 I A-7 I C~(#11)/B
A7/E~
C-7
E~7
A~~
A~~(#S)
A~~(13)
0-7
G7(#11)
c~
F7(~9)
B~7sus
I A7sus
I A7(#~1)
I I I II
E~-6(9)
I B-7
I B~7sus
I
A-6(9)
I A~7sus
06
I 0-6(11)
F#lll
F-7
F7sus
A~~(#S)
[ID
I B/0# I F~/A
G7sus
G7(~13)
I
06
A7alt.
II
Coda
I 0-6(9)
1
1
PAS DE DEUX Andre}. Spang Straight Latin ~=158 1\
lntro
I
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13
E~/D
C-7 fl_
E~d
E/D
• . ft.:-::..
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u
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D~7sus
F7sus(~9)
I
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#'-'-61-
B~7(#~1 ) (no 3rd)
AfC
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r
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Interlude
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109
BEYOND FUNCTIONAL HARMONY
Discography Corea, Chick, EYE OF THE BEHOLDER; GRP 1053 Corea, Chick, FRIENDs; Polydor 2391-366 Ellis, Don, LIVE AT MoNTEREY; Pacific Jazz ST 20112 Evans, Bill, THE BILL EvANs ALBUM; Columbia 30855 Hubbard, Freddie, READY FOR FREDDIE; Blue Note Khan, Chaka, C.K.; Warner Brothers W1-25707 Shorter, Wayne, MR. GoNE; Columbia 35358 Shorter, Wayne, NATIVE DANCER; Columbia 33418 Shorter, Wayne, SPEAR No EVIL; Blue Note ST-46509 Shorter, Wayne, JuJu; Blue Note BST-84182 Silver, Horace (Quintet), FuRTHER EXPLORATION; Blue Note 724385658327 Sting, MERCURY FALLING; A&M 31454 0483 2 Sting, TEN SUMMONER's TALEs; A&M Tyner, McCoy, EXPANSIONS; Applause 2310 Tyner, McCoy, THE REAL McCoY; Blue Note BLP 4264 Yellowjackets, FouR CoRNERS; MCAD 5994 Yellowjackets, LIKE A RIVER; GRP GRD-9689 Yellowjackets, SHADS; MCAD 5752 Yellowjackets, DREAMLAND; Warner Brothers 9 45944-2 Yellowjackets, PoLITics; MCA 6236 Yellowjackets, GREENHOUSE; GRP 9630 Yellowjackets, THE SPIN; MCA 5304 Yellowjackets, LIVE WIREs; GRP 9667 Yellowjackets, YELLOWJACKETS; Warner Brothers 3573-2 Yellowjackets, MIRAGE ATROis; Warner Brothers 9 23813-2
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About the Author
W
ayne Naus is an Associate Professor at Berklee College of Music in Boston, Massachusetts. He has been a faculty member there since 1976. As an educator and member of the Jazz Theory Department, he teaches courses in Functional and Non-Functional Harmonic Concepts, Reharmonization and Advanced Harmonic Techniques. He has developed his own analysis/ composition course entitled "The Music of the Yellowjackets" which is offered as an elective in the Jazz Theory Department. He also conducts the Berklee Buddy Rich Big Band and smaller improvisation ensembles in styles ranging from bebop and Latin jazz to contemporary fusion. In addition to teaching undergraduate studies, he developed and teaches a course in the Berklee Masters Program entitled Instrumental Rehearsal Techniques. For the past ten years, he has taught jazz theory and improvisation to high school students that attend the renowned Berklee Five-Week Summer Program. As an instrumentalist, he was a touring member of the Buddy Rich, Maynard Ferguson and Lionel Hampton bands playing lead and jazz trumpet. During this time, he recorded three albums with Buddy Rich and two albums with Maynard Ferguson. Over the past twenty years, he has toured and recorded albums with his own groups, ranging in size from big bands to small ensembles, performing in both traditional and contemporary jazz styles. He is available for clinics, lectures and concerts and can be reached at: Email:
[email protected] Home phone (617) 298-8616 Work phone: (617) 266-1400, Extension 8293.
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