Hierarchy vs. Heterarchy in To Compositions y Wayne Shorter Society for Music Theory Annual Meeting Renaissance Arlington Capital Vie Hotel, Arlington, Virginia Novemer 2, 2017 Henry Martin Rutgers University Neark martinh@neark.rutgers.edu Keith Waters University of Colorado Boulder keith.aters@colorado.edu Biliography Broze, Yuri, and Daniel Shanahan. 201. Diachronic Changes in azz Harmony: A Cognitive Approach. Music Perception 1 (1): 2 45. Burstein, L. Poundie. 2005. Unraveling Schenker s Concept of the Auxiliary Cadence. Music Theory Spectrum 27 (2): 15 85. Cinnamon, Hoard. 186. Tonic Arpeggiation and Successive Equal Third Relations as Elements of Tonal Evolution in the Music of Franz Liszt. Music Theory Spectrum 8: 1 24. Cohn, Richard. 2012. Audacious Euphony: Chromaticism and the Triad s Second Nature. Ne York: Oxford University Press. Cohn, Richard and Douglas Dempster. 12. Hierarchical Unity, Plural Unities: Toard a Reconciliation. In Disciplining Music: Musicology and Its Canons. Chicago: University of Chicago Press. Crumley, Carole L. 2005. Rememer Ho to Organize: Heterarchy Across Disciplines. In Nonlinear Models for Archaeology and Anthropology: Continuing the Revolution (Eds., Christopher Beekman and William Baden). Aldershot: Ashgate Pulishing. Fink, Foert. 1. Going Flat: Post-Hierarchichal Music Theory and the Musical Surface. In Rethinking Music, ed. Nicholas Cook and Mark Everist. Oxford: Oxford University Press. Harrison, Daniel. 14. Harmonic Function in Chromatic Music. Chicago: University of Chicago Press. ulien, Patricia. 200. Sakeena s Vision : The Trifocal Organization of Harmonic Relations in One of Wayne Shorter s Early Compositions. Theory and Practice 4: 107 40.. 200. The Structural Function of Harmonic Relations in Wayne Shorter s Early Compositions: 15 16. Ph.D. diss., University of Maryland. Larson, Steve. 200. Analyzing azz A Schenkerian Approach. Hillsdale, Ne York: Pendragon Press.. 16. Strict Use of Analytic Notation. ournal of Music Theory Pedagogy 10: 1 71. Lerdahl, Fred, and Ray ackendoff. 18. A Generative Theory of Tonal Music. Camridge: The MIT Press. Martin, Henry. 2012 201. Expanding azz Tonality: The Compositions of ohn Coltrane. Theory and Practice 7 8: 185 21.. 180. azz Harmony. Ph.D. diss., Princeton University.. Forthcoming. Prolongation and Its Limits: The Compositions of Wayne Shorter. Music Theory Spectrum.. 2011. Schenker and the Tonal azz Repertory. Tidschrift voor Musiektheorie 16 (1): 1 20. McCreless, Patrick. 16. An Evolutionary Perspective on Nineteenth-Century Semitonal Relations. In William Kinderman and Harald Kres, eds. The Second Practice of Nineteenth-Century Tonality. Lincoln: University of Neraska Press. Proctor, Gregory. 178. Technical Bases of Nineteenth-Century Chromatic Tonality: A Study in Chromaticism. Ph.D. diss., Princeton University. Salley, Keith, and Daniel Shanahan. Forthcoming. Phrase Rhythm in Standard azz Repertoire: A Taxonomy and Corpus Study. ournal of azz Studies. Satyendra, Ramon. 12. Chromatic Tonality and Semitonal Relationships in Liszt s Late Style. Ph.D. diss., University of Chicago. Strunk, Steven. 17. The Harmony of Early Beop. ournal of azz Studies 6 (1): 4 5.. 2005. Notes on Harmony in Wayne Shorter s Compositions, 164 47. ournal of Music Theory 4 (2): 01 2.. 200. Wayne Shorter s Yes and No: An Analysis. Tidschrift voor Muziektheorie 8 (1): 40 56. Terefenko, Dariusz. 2014. azz Theory: From Basic to Advanced Study. Ne York: Routledge. Waters, Keith. 2016. Chick Corea and Postop Harmony. Music Theory Spectrum 8 (1).. 2010. Giant Steps and the ic4 Legacy. Intégral 24: 15 62.. 2011. The Studio Recordings of the Miles Davis Quintet, 165 68. Ne York: Oxford University Press.
Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. 2/8 Example 1: Prolongation y Arrival in Seet Georgia Bron F a D 7 G 7 C 7 F 7 ( ) A 7 8 Example 2: Prolongation y Arrival in El Toro a \ D ma7 D ma7 \ D ma7 E 7 A ma7 A ma7 \\ \ \ \ \ \ \ \ A ma7 F ma7 D ma7 A ma7 \\ \ \ \ \ \ \ \ A ma7 C 7 F ma7 A 7 D ma7 E 7 A ma7 c d \ D ma7 B m7 E 7 \ 7 8 \\ \ \ \ \ \ \ \ A ma7 \\ \ \ \ \ \ \ \ G m7 C 7 F ma7 E m7 A 7 D ma7 E 7 A ma7 15 ( ) F m7 B 7 Example : Composing-out Harmonies in PBA a. Seet Georgia Bron (1st 8 ars) n F: V7/ii V7/V V7 I. El Toro (2nd half) n n A: I7 I7
Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. /8 Example 4: An AABA Song Form Prototype of Tonal azz (Arrivals Create Syntactic Script) I A (mm. 1-8) V7 m. 1 m. 7 m. 8 A (mm. -16) I V7 I m. m. 15 m. 16 B (mm. 17-24) X V7 m. 17 m. 2 m. 24 A (mm. 25-2) I V7 I m. 25 Example 5a: M (ic4) Cycle (mm. 17 24) Suordinate to Syntactic Script m. 1 m. 2 A (mm. 1-8) F C 7 A (mm. -16) F C 7 F B (mm. 17-24) B G D G m. 1 A (mm. 25-2) C 7 F C 7 F m. 21 m. 2 Example 5: Local Tonal Progressions Suordinate to ic4 Cycles (from Coltrane's Giant Steps ) B D 7 G B 7 E A m7 D 7 G B 7 E F 7 B F m7 B 7 E A m7 D 7 G C m7 F 7 B F m7 B 7 E m. 17 Example 6: Terms Suggesting Blended Organizational Systems at Differing Levels (Heterarchy) Transformational tonality (and architectural tonality), Stacked Spaces: Satyendra Chromatic tonality (and diatonic tonality): Proctor Doule syntax, Pan-triadic tonality: Cohn Second practice of 1th-century tonality: Kinderman/Kres
a Example 7: El Toro (The Freedom Rider, Blue Note BLP4156, 161) Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. 4/8 A c A d n n n e n n n f g 4 1 D m 2 F 7.... E m7( 5) 4 A 7.. 5 E m7 n 6 A 7 7 B m7 E 7 A M7.. n n n n... D M7 8 n n n 10 G m7 C 7 F M7 E m7 A 7 D M7 G 7 n.. 11........ 12 1.. 14 N N A M 15 16. F m7 B 7 ( )
Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. 5/8 Example 8: Conflicting Points of Priority in El Toro 1. M. 1: D minor (eginning harmony) 2: M. 15: A maor (ending harmony and typical location of Martin's Prolongation y Arrival). Mm. 7 1: D maor (m. 7: egins ic4 cycle; m. 1: melody completes 8ve descent at melodic cadence to measures early ) 4. Mm. 15: A maor (egins second half, ic4 cycle completed m. 15) 4. D m 1. F 7.. E m7( 5 ).. A 7. (V7/d = +6/D) E 5 m7 A 7 D M7...--- B m7 E 7 n 4.--- A M7.. G m7 C 7 F M7.. E m7 A 7. ---4. A M7 1. F m7 B 7.... 1 D M7 ---. E 7 2. (+6/m. 1) 2. F m7 B 7
a ^7 Example : Pinocchio (Nefertiti, Columia CS54, 167; transcription Waters [2011, 22]) ^7 n n Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. 6/8 ^6 n c n n d n nn n e n n n n nn n n n n n n n f n n n n n n n n n n n n g E m 6 4 Œ Œ. 1 2 A m D m 6. Œ. 4 A m 5 B m(ma7).. n 6 G m(ma7) 7 8 Ó C 1 F 7 B m Œ 10 Œ. n E m 6 11. 12 1 F 1sus4. E m 14... 15 F 1( 11) C 7alt 16.. B 1( 11) 17 18 Ó
Example 10: Overall ic4 Organization in Pinocchio N.B. V' = tritone susitution. (D7 is V'7 in C.) Mm. 2 and 10 sustitute ii' for V'; m. 4 uses relative A- as sustitute for V'M7. Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. 7/8 E-6/ A- (sustitutes for D1) D-6/ Am (sustitutes for CM7) B-(ma7) G-(ma7) (Passing) C1 for E1). (Circle of Fifths) A F1 B- (sustitutes E-6/ F1(sus) E (VI) Em (Neighoring) F1(11) E (V) F1(11) Example 11: Evolution of ic4 Transpositional Cycles as Schemata B1(11) (= +6/m. 1) 11a. Smoke Gets in Your Eyes (1): T-4 as VI Within Tonal Frame (Structural Harmonies A Only Shon) E 7 A Mm. 1 8 (A Section) 16 (A) 17 24 (B) 25 2 (A) 11. Have You Met Miss ones (17): T-4 and T4 Excursion Within Bridge Section (Individual Harmonies Shon in Bridge, mm. 17 24) F M7 C-7 F 7 B M7 (IV) A -7 D 7 Mm. 1 8 (A Section) 16 (A) 17 (B Section Begins) 1 G M7 E-7 A 7 D M7 A -7 D 7 G M7 (II) G m7 C 7 21 2 25 2 (A) (V) F M7 C 7 F M7 11c. Giant Steps (15): ic4 Background, Elaorations via Locally Tonal Progressions (All Chords Shon) B M7 D 7 M. 1 E M7 G M7 B 7 A-7 D 7 E M7 A-7 D 7 G M7 C -7 F 7 G M7 B 7 5 B M7 1 E M7 F 7 F-7 B 7 B M7 F-7 B 7 E M7 (C-7 F 7) 11d. Pinocchio (167): ic4 Background, Elaorations via Locally Tonal Progressions (and their Sustitutions), Counterpoint. (See Example 10 aove.)
Martin/Waters Hierarchy vs. Heterarchy in Shorter; p. 8/8 Example 12: azz repertory style factors (from Martin 2012 1, 216) Each factor rated on a scale of 0 10 ith 10 eing fully tonal I. Form A) 2-ar AABA (10) B) 2-ar ABAC (10) C) 12-ar lues (10) D) 8-ar (10) E) 16-ar (10) F) clear deviation from standard forms (4 10) G) Irregular (0 ) II. Foreground harmonies A) harmonic; mostly functional clear (10) B) modal or mostly modal; clear (8 10) C) mixed harmonic-modal-postop; mostly clear (5 7) D) mixed harmonic-modal-postop; mostly unclear or lacking (0 6) III. Primary cadence (usu. at end of piece) A) authentic (varieties) functional (10) B) functional (8 10) C) modal or mostly modal; clear (4 7) D) lacking or not applicale (0 ) IV. Secondary cadence (usu. at end of ridge or end of first half) A) functional (often half cadence) (10) B) modal (4 10) C) lacking or not applicale (0 ) V. Higher structural levels A) functional; mostly clear (10) B) modal; mostly clear (8 10) C) ased on thirds relations; mostly clear (6 8) D) generally nonfunctional, ut clear ( 6) E) unconvincing (0 2) VI. Primary line may e lacking; otherise, many possiilities depending on interaction of factors I V, e.g.: stepise descent from triadic tone to tonic; stepise descent from non-triadic tone to tonic; stepise motion eteen triadic tones; stepise motion eteen non-triadic tones; neighoring motion of primary tone; gapped motion eteen triadic tones; gapped motion eteen non-triadic tones; pitch succession chromatic or diatonic; etc. INSIDE/OUTSIDE ROUGH ESTIMATE: 50 is fully inside; 0 is fully outside D: suv7 Example 1: Large-scale Prolongations in El Toro n n n I7 I7 Form [10]; Foreground Harmony [7]; Primary Cadence [7]; Secondary Cadence [10]; Structural Levels [7]; Total [41] Example 14: Large-scale Prolongations in Pinocchio n n n n n n B: iii suv7 V7 Form [8]; Foreground Harmony [4]; Primary Cadence [6]; Secondary Cadence [4]; Structural Levels [4]; Total [25] I