TABLE OF CONTENTS Introduction... 6 A Jazz Composer s Regimen... 7 Ho To Use This Book... 8 Categories of Jazz Compositions... 9 CHAPTER I Jazz Harmonic Systems... CHAPTER II Construction of the Unaltered Diatonic Modes...5 CHAPTER III Construction of the Unaltered Diatonic Chords...9 CHAPTER IV Characteristics of the Unaltered Diatonic Modes...7 CHAPTER V The Modes of the Altered Diatonic No. (Melodic Minor)... CHAPTER VI Non-Modal Chords...7 CHAPTER VII Chord Connection/Compositional Devices...4 CHAPTER VIII Upper Structures...49 CHAPTER IX Completing the Chord Connection Process...57 CHAPTER X Form...6 CHAPTER XI Harmonic Contour...65 CHAPTER XII The Modes and Chords of the Altered Diatonic No. (Harmonic Minor)...89 CHAPTER XIII Slash Chord Harmony...95 CHAPTER XIV Three-Part Upper Structure Chords... CHAPTER XV The Chords of the Altered Diatonic No. (Harmonic Major) and Altered Diatonic No. 4 (Melodic Minor µ5)... 5 Conclusion and Final Comments for Volume... 4 Appendix. Acoustics and Modality... 6. Construction of the Tetrachords... 0. Additional Examples... 4. Ear Training... 6 5. Tree of Influential Jazz Composers... 8 6. Discography/Biliography... 9 7. Aout the Author... 4 ADV_0_Miller_Modal_Jazz_Vol_Intro_00.indd 5.05. 7:09
C HAPTER II Methods There are to methods:. Diatonic Method The traditional method: that of estalishing a key center and transposing the adjacent notes of the major scale. The modes are diatonically related, ith no clear color comparison.. Chromatic Method Fixed starting note method: this is a nondiatonic method here each mode has the same starting note. The modes are constructed y the comination of tetrachords that clarifies the differences in modality, staility and harmonic/melodic qualities. The main goal of this section is to estalish a harmonic palette for the composer of modal compositions to use in a manner similar to that of the visual artist. The colors are to e right or dark, tense or relaxed, and to have emotional effects as ell. With this in mind the chromatic method is the est choice. The six scales from hich the harmonic material in this ook ill e derived are the folloing:. mode. (melodic minor). 6 (harmonic major) 4., 6 (harmonic minor) 5., µ5 (melodic minor µ5) 6. µ TETRACHORDS) There are to groups: diatonic and chromatic. DIATONIC: Follos an alphaetical sequence, ith no enharmonic spellings.. CHROMATIC: Alphaetic sequence ith enharmonic spellings. DIATONIC semitones CHROMATIC semitones Hungarian major Hungarian minor Harmonic Spanish Example -: & # Hungarian major & # # Hungarian minor n # Harmonic n Spanish ) A 4-note scale fragment having its on modal quality. 6 ADV_0_Miller_Modal_Jazz_Vol_Chapter_0.indd 6.05. 7:4
C o n s t r u c t i o n o f t h e u n a lt e r e d d i at o n i c m o d e s the DIATONIC MODES (unaltered ionian) Using the chromatic or fixed starting note method, the modes are created y comining to tetrachords, each ith its on modality, into a resulting merged modality ith its on qualities of rightness/darkness, resolution tendencies, and harmonic/melodic definition. These results should e met:. The sum of the semitones equals.. There are seven different scale steps.. They are all contained ithin an octave. The formulas mode tetrachords semitones connector & & & & Mixolydian & & & & & & & & Locrian & & Note the shifting of the minor second interval from the right to the left. This is a visual representation of the order of rightest to darkest of the modes. Example -: The Unaltered Diatonic Modes & # ()* & () Mixolydian () () () () & Locrian () *) Note that in order for the semitones to add up to, another interval must e added to the formula, either a semitone or a hole tone. This ill e called the connector or connecting tone and is found eteen the upper and loer tetrachord. 7 ADV_0_Miller_Modal_Jazz_Vol_Chapter_0.indd 7.05. 7:4
C HAPTER II SUGGESTED EXERCISES. Construct the folloing modes using the tetrachord method (do not use key signatures): (a) D () F (c) E Locrian (d) G (e) B (f) D Mixolydian (g) E. Try to construct a tetrachord not listed in the text.. Try unusual cominations of the given tetrachords. 4. Play the tetrachords, learn to identify them y ear. 5. Do the aove for the modes, make note of their emotional quality. 8 ADV_0_Miller_Modal_Jazz_Vol_Chapter_0.indd 8.05. 7:4
Harmonic Contour 5. The Lie) Ron Miller, 984 This composition, ritten for saxophonist/composer David Lieman, is representative of the plateau modal category ith a vertical modal ridge. The emphasized modality is, ith a medium tempo; the overall mood is dark romanticism. This tune could e descried as American ECM. Example -9: &? µ n TT TT Mixolydian Locrian sus n 4 5 # rd 6 Locrian Mixolydian 7 8 9 # # 0 T (8 ars each) n rd (8 ars) Comments This eing a plateau modal composition, the only significant harmonic movement is in the ridge, hich is vertical modal. A. Bass Melody - 4-5 -8 7-8 9- - to plateaus of, a hole tone apart, the donard change creates more dark ness, a tritone skip don to next chord creates tension tritone skip, inversion of - a general upard trend, preparing to set up a point of climax sequence of 5-6 a definite transition area, the movement is faster, upard, folloing a tetra chord the normal resolution here is for the melody to resolve up a semitone, the skip is un expected B. Top Melody - -4 4-6 7-8 9- primary color tones same common tone common tone upard movement, tetachord, setting up climax highest point in the harmonic melody, dramatic C. Harmonic Material - -4 4-6 7-8 9- plateau, dark, soft strong contrast, right, tense, hard D /D to G /A, cryptical cadence D to G V-I US, chords 5 and 6, common US except for one note of voice-leading: G to F sequence of 5-6, up a minor third, overall positive resolution fast moving chords, all sus, positive, sets up climax point of climax ) The Music of Ron Miller CCP/ Belin SB66 77 ADV_0_Miller_Modal_Jazz_Vol_Chapter_.indd 77.05. 7:
C H APTER X I - a kind of cryptic cadence (see chapter on slash chords), ith a loer neighor reso lution ith the upper structure and a minor third up in the ass, a kind of sequence of 5-6 D. General Qualities. Dark, ECMish feel, Ne York on a drizzle filled autumn day. As is all plateau modal tunes, rather simple, ut nice to lo over. Fairly symmetric in form, 8, 8, 6, 8, sectional through-composed 4. Emotional map - -5 5- darkly hip to darker slightly rinkled, getting hopeful doutful love ecoming full of hope dramatic 5. The modulation, change of key from the opening A to the ending B, contriutes to the overall dramatic effect of this tune and as a strong factor in the plan of attack hen composing it. Example -0: The Lie y Ron Miller A A & c? c C D µ &? B G B Mixolydian sus & # #? D µ # # # B Locrian E B &? 78 ADV_0_Miller_Modal_Jazz_Vol_Chapter_.indd 78 A Mixolydian sus # # # # # D Dsus Esus Fsus # # G Locrian Gsus.05. 7: