2 Or e ould perform oth of these operatios ourretly to reder it upside do ad akards (or i retrograde iversio) Ex 24: We a reharmoize it Ex 2: B Δ D Δ We a repeat it sequetially Ex 26: G 7 C7 A 7 D7 We a traspose it Ex 27: F 7 B 7 We a displae it rhythmially (ie hage its relatioship to the eat, the rhythmi aalogue of reharmoizatio) Ex 28: G 7 C7 16
We a fragmet it (ie reak it do ito smaller ompoet parts hih a the e suet to all of these same maipulatios) Ex 29: It a e emellished (deorated melodially), either hromatially or diatoially, or oth Ex 210a Ex 210 Emellishmet or melodi alteratio may also e lues-ased ( luesified ) Ex 210 Here are some examples of the various tehiques listed aove from the real orld Sati Doll, y Duke Elligto ad Billy Strayhor is illustrative of may of them, reiforig the folloig otios: 1) Not every tehial devie eed e used i every ompositio (ust as every improvised solo eed ot otai every tehique or devie) ad, oversely; 2) It is rare to fid a sigle ompositioal tehique used i isolatio 17
Ex 4 Blues for Alie hord hages 8 IΔ FΔ Eø A7 9 D 7 G7 C 7 F7 IV7 B 7 B 7 E 7 A 7 D7 A 7 D 7 9 G 7 C7 F D 7 G 7 C7 Of ourse, may other harmoi variatios are possile ithi this asi frameork, ad it ould e iorret to state that Parker s tues or improvisatios demostrate a uiversal reliae o harmoi otet (liste also to Au Privave or K C Blues for example), or that the reverse as eessarily true of Armstrog Mior Blues Mior Blues is also a ommo form, differig from its maor outerpart i that its toi hord ad iv hord are of mior quality, hile its adetial optios are those foud i mior toality (most ommoly either iiø i measure 9, folloed y V7 9 or ( 9, 1) i measure 10, or VI7 i measure 9, folloed y the mior key domiat i measure 10): Ex Mior Blues shemati Toi i Sudomiat iv i iv i 9 suv7/v iiø V7 1 V7 9 Cadee i Toi or turaroud V7alt 8 iid, p 144 2
Ex 7 Triple meter Blues form shemati First phrase (orrespods to ms1-4 i 4/4 12-ar Blues) First phrase (orrespods (iterpolated) to ms1-4 i 4/4 12-ar Blues) i (iterpolated) ii - V/I i I ii V- V/I 2 I V 4 2 «i i I I (or sustitute ii - V/IV or iv ) (or ii sustitute ii - V/IV Vor iv ) ii V 9 9 Seod phrase (orrespods to ms-8 i 4/4 12-ar Blues) Seod phrase (orrespods to ms-8 i 4/4 12-ar Blues) iv ii 7 iv IV ii 7 iiø V7 IV iiø V7 17 17 I Cosequet or third phrase (orrespods to ms9-12 i 4/4 12-ar Blues) Cosequet (iterpolated or ii - third V phrase (orrespods to ms9-12 i 4/4 12-ar Blues) (iterpolated 1/2 step aove ii - diatoi V ii - V) 1/2 ii 7step aove diatoi ii - V) V7alt i ii 7 iiø V7alt i I iiø V7 I i i I ii 7 (iterpolated) (iterpolated) ii - V/I ii V7 - V/I V7 ii 7 i i I I V7/ii V7/ii Thad oes Ahuk, Ahuk is a example of a Blues i /4 (Be sure to revie this piee agai he you are readig the upomig setio o Phrase Struture ) The moderity of this piee is evideed ot ust i terms of its meter, ut also i its agular melodi otour (usurprisigly Mokish, give that oes had previously orked ith Mok) ad through-omposed melody (agai, ith regard to the phrase struture, this piee is either AAB, AA'B, or riff-ased): Ex 8 Ahuk, Ahuk 9 C7 9 G7alt 4 Ó C7 9 Ó G 7 9 Ó F7 9 C7alt F7 9 D 7 9 C7 9 G7 9 C7 9 B7 9 Ó 9 B 7 9 E7 9 E 7 9 A 7 9 D 7 9 C7 9 G7alt Ó Ó Ó 9 oes, Thad pu Kedor Musi, Deleva, NY, 1974 4
It is orth reiteratig that most of these devies ere i use from the very egiigs of the musi (eve though they may e geerally assoiated ith later styles), ad that the toal resoures availale to the azz omposer had ot haged appreialy from the egiigs of the musi through the 190 s Cosider elly Roll Morto s Kig Porter Stomp, i hih the opeig ars employ the VII7 hord (G 7) preedig the V7/ii hord (F7): Ex 48 NC A G 7 F7 et The oda of ames P ohso s Carolia Shout (1918) illustrates the use of sustitute domiat seveth hords (ompare ith the Ladyird adee, sho i Ex 47 aove): Ex 49 E 9 1 A 9 1 G 9 1 C Sustitute Domiat Harmoy ad Sideslippig Of ourse i later years suh harmoi pratie as uquestioaly more ommoplae It a e foud frequetly i the ork of oth Elligto ad Mok Ex 410 Opeig ars of Mok s Paoia CΔ E 7 A 7 D 7 B 7 C 49
Ex 419 I a Setimetal Mood aalysis of hages IN A SENTIMENTAL MOOD Key: F A vi D D Δ D 7 D 6 ii G Duke Elligto V7/iii V7/vi G 7 E7 A7 vi (= relative mior) D V7/ii D7 ii 7 suv7/i G 7 G 7 I (V7/ii) 1 F A7 9 Key: D 2 F A 7 B I D vi 7 B 7 ii 7 V7 E 7 A 7 I D V7/ B 7 V7/ E 7 (hai of exteded V7 s) V7 A 7 14 I D vi 7 B 7 ii 7 E V7 7 A Key: F 7 iiø * Gø V7 (implied V7/ii) C7 (NC) * orroed adee from parallel (F) harmoi mior Aother type of modulatio, ased o the oept of the pivot hord (or hords), orks ased o the potetial for a give hord or adee to ork i oth the old ad e keys All the Thigs You Are orks i this maer, for example, exploitig the fat that the D Δ hord i measure is at oe the diatoi IV hord i the primary key (A ) ad the IIΔ i the e key C Ex 420 vi 7 F 7 ii 7 B 7 V7 E 7 IΔ C: A Δ IIΔ IVΔ D Δ V7 G7 IΔ CΔ
To egi this disussio, let s revie the asi hurh modes of the diatoi maor sale 4 Ex 426 Diatoi modes of a maor sale (C maor) C Ioia (paret sale) 1 2(9) 4(11) 6(1) 7 8(1) D Doria (2d mode) 1 2(9) 4(11) 6(1) 7 8(1) E Phrygia (rd mode) 1 2( 9) 4(11) 6( 1) 7 8(1) F Lydia (4th mode) 1 2(9) μ4(μ11) 6(1) 7 8(1) G Mixolydia (th mode) 1 2(9) 4(11) 6(1) 7 8(1) A Aeolia (6th mode, aka relative mior ) 1 2(9) 4(11) 6( 1) 7 8(1) B Loria (7th mode) 1 2( 9) 4(11) 6( 1) 7 8(1) Some importat otes: Eah mode oviously represets the paret sale, displaed to eah make eah of its suessive degrees the root Note use of ompoud iterval omelature (ie 9, 11, 1) ere appropriate 4 affe, Ady azz Harmoy, Seod Editio Advae Musi, Rotteurg, Germay, 1996, p21 61
Ex 44 Example of variale melodi ad harmoi modal sequee C 7 E 7 F 7 A 7 We see this latter devie at ork i oe Hederso s Ier Urge also, hih is ased o trasposed lydia souds Note that ulike Forest Floer, hih is more like Ex 4 aove, Ier Urge features more variaility i the otour of the various melodi expressios of the mode Ex 4 Ms1-4: C Lydia Ms -8: F Lydia Ms 9-12: E Lydia et Ms 1-16: B Lydia et U Poo Loo y Bud Poell, referred to earlier, also illustrates the use of parallel lydia soorities (the desedig hromati asslie adds further harmoi impliatios ot osidered here) Ex 46 C E Δ 11 D Δ 11 CΔ 11 69
opli s illustrious Maple Leaf Rag 10 from 1898, illustrates these various harateristi elemets: Ex 1 The akealk rhythm i the A theme (laeled Tempo di Maria ) Cakealk rhythm 2 4 2 4 The akealk rhythm i the B theme 2 4 2 4 The akealk rhythm i the C theme (ote the modulatio), laeled Trio 2 4 2 4 Ex 2 Use of Blue otes 4 2 Blue Notes 10 opli, Sott The Best of Sott opli Charles Hase, Ne York, 1972, pp 6-8 94
Ex 6 A theme of Kig Porter Stomp B theme of Kig Porter Stomp A A Modulatory trasitio ad C theme of Kig Porter Stomp C Theme N 96
Note the use of Blue otes ad all ad respose as ell, similar to the Maple Leaf Rag Ex 7 Blue ote ( ) i Kig Porter Stomp Blue ote Ex 8 Call ad respose i Kig Porter Stomp Call Respose Of ourse, the lave ased rhythm, famously desried y Morto as the Spaish tige, is pervasive as ell Ex 9 Û Û Û Û 97
Compariso of the rd measure of the respetive itrodutios of Carolia Shout ad Kig Porter Stomp osiliee or sigifiatio N Redued: a Ex 11 Redued: Ex 12 A theme 1 of Carolia Shout Variatio of A (same harmoy ut ith emellishmet ad featurig the seodary ragtime rhythm i aompaimet): 99
Ex 1 The B theme of Carolia Shout The C theme Ex 14 Blue otes i Carolia Shout Ex 1 Call ad respose i Carolia Shout Call Respose Fially, as metioed i Chapter 4 (see Ex 49), The oda of Carolia Shout otais sustitute domiat root motio similar to that foud i muh later ompositios suh as Ladyird ad Sati Doll 100
Elligto s 1947 ompositio The Clothed Woma is aother piee i hih he uses variatios o the Blues, appropriated materials, ad eve a agular, Mokish iterlude (though, iterestigly, Elligto had ot yet akoledged havig heard Mok s musi 19 ) The piee egis ith hat seems to e a atoal multi-otave ru, that upo repeated listeig reveals a Blues form loaked i extreme dissoae Ex 1a: 4 1 4 I R Ó Ó r U Ó IV Ó 9 Cadee (ased o the Elligto mausript sore foud i the Smithsoia olletio) 19 Dae, Staley The World of Duke Elligto C Srier s Sos, Ne York, 1970, p19) 116
Folloig this Blues form, the Mokishly spare, riff-ased iterlude, estalishes a medium oue tempo Ex 1 Ó This aruptly leads to a appropriated Willie The Lio Smith (oe of Elligto s metors) stride piao piee 20 i AABA form, the theme of hih follos Ex 1 Ó Ó Fially the origial distorted Blues theme returs, addig a ommo pratie edig efore reiteratig the iitial ru of the piee for its oda Ex 1d u Do Redma s The Stampede, as reorded y Flether Hederso, is aother example of a early Big Bad ompositio that reated ompoud form y omiig disrete sogforms ithi the same piee, hile retaiig the use of modulatory iterludes ad other suh sigature stylisti devies of its time as the hole toe sale, duple time feel, ad all ad respose etee the istrumetal setios ( The Stampede may e heard o the Smithsoia Colletio of Classi azz) 20 Hasse, Beyod Category, p 01 117
Ex 2 The formal outlie of The Stampede Itrodutio 1st horus 2d horus Iterlude 4th horus Fial horus Call ad respose etee setios (ms1-4) Trumpet solo over rhythm setio (i 2 feel ms-9) The resultat first 8-ar phrase repeats, ut this does ot tur ito the first to A setios of a sogform ABAC sogform (2 ars) i A ABA form repeats for teor solo ith simple akgrouds The reiterates the C from the first horus to olude the solo horus 4-ar hole toe passage ABAC sogform (0 ars) i relative mior key (F ), truated to eale the elisio of the previous Iterlude egiig i ms1 of the mior key form (see also Chapter 6) Reprise of the iitial ABAC sogform, ith some variatio, otaly the fial 4 ars, hih deftly reapitulate oth the opeig ad losig figures of the 1st horus to reate the oda The folloig examples illustrate some of the iterestig poits i the form desried aove Ex The all ad respose etee setios i the first four ars 1 Po: A1 A2 T1 B T2 Saxes: Trps: Trs: Use of retrograde akealk rhythm i akgroud riff figures respodig to the tromoe theme i the first horus Tps Saxes: 118
6 Therefore it is ot surprisig to fid arragemets or ompositios usig this asi rhythmi voaulary that make use of this oept Clare Fisher s Gaviota iludes a distitive vamp that futios iitially as a itrodutio, ut is atually iluded i the form Ex 616 The vamp from Gaviota E 9 E9 F9 Of ourse there are umerous other examples of layered ostiato to e foud i arragemets ad ompositios of virtually all style periods Cosider the oda vamp from the famous Gil Evas arragemet of Will O The Wisp, from Miles Davis Skethes of Spai Ex 617 Coludig vamp from Will O The Wisp 4 4 Ex 618 A example from Mvt of Portaulture, y the author, shoig a 12-toe vamp produed from omplemetary hexatoi sales (see also Chapter 8): 140
Ex 710a Example from Sloimsky Itrodutio referred to aove The A phrase of Giat Steps is ostruted from the hexatoi sale (of hih there are four, produed y the alteratio of 1/2 steps ad mior thirds, also desried y some azz theorists as the Augmeted Sale) This symmetri sale as also used frequetly y Bartók, aother omposer hose ork as surely familiar to Coltrae 11 Ex 710 Giat Steps melody A 7 D7 GΔ D 7 G 7 B et Although the hexatoi sale is ot so amed per se y Sloimsky, it does appear i his ook 12 : Ex 711a Example of a Hexatoi Sale, as foud i Sloimsky (see Ditoe Progressio 181 i The Thesaurus of Sales) 1 Ex 711 Giat Steps melody shoig hexatoi relatioships ( Hexatoi soure ) 11 Porter, p 12 12 Sloimsky, p 27 1 iid 16
7 Ex 78 Example of the use of a iverted triad; CΔ μ11 voied ith a D maor triad CΔ 11 ( ) Ex 79 Example of a quartal (fourth) voiig CΔ ( ) (Note that these voiigs are oth harmoially iomplete i ad of themselves) The variety of availale harmoi settigs for these last to examples is suh that it is early poitless to attempt to list them all systematially Suffie it to say that i some of these ases, the result ill defie the hord : Ex 740a Quartal voiig used to express the, 6, 9 of a maor hord C6 9 F7 ( ) ( ) hile i other ases it may yield a soud that iludes a omiatio of hord toes ad olor toes, eessitatig rhythm setio support to omplete the hord soud: Ex 740 F7 ( ) 186
I the A setio of Slide Hampto s arragemet of the stadard What s Ne from the Dexter Gordo reordig A Day i Copehage (a tour de fore for Hampto s three hor ritig), e see a omiatio of the aove souds eig used Ex 741a Ms A-1 illustrates the use of a voiig i perfet 4ths that does ot defie the hord soud CΔ ( ) Ex 741 Ms A- shos the use of a iverted triad i a iomplete hord soud CΔ A Δ ( ) ( ) Ex 741 Ms A- illustrates the use of the maor rd ad 1/2 step voiig CΔ A Δ C 7 ( ) ( ) ( ) By makig use of these harateristi three hor souds the omposer/arrager is plaig the value of itervalli timre aove that of harmoi ompleteess I other ords, hoosig soud over futio as a meas of harmoi orgaizatio 187
Ex 812 The formal struture of Blue Rodo à la Turk (ased o The Great Coerts, Columia CD 4421) A B A B variatio 1 A 1-4 piao aloe, -8 ith ass drums 8 Alto 8 Piao 8 Piao 8 Alto 8 B variatio 2 A B variatio Piao triads/pedal poit 8 Alto 8 1-14 piao alto, 1-21 piao aloe 21 (sigle measure of 12/8) Coetig measure Blues solos ith iterpolatio of Rodo theme /4, 7/8 ad 11/12 12 Regular Blues solos y alto piao 12 Blues solos ith iterpolatio of Rodo theme /4, 7/8 ad 11/12 12 A 8 A 8 Coda It is iterestig to ote the adaptaility of the Blues to yet aother seemigly iogruous settig The Blues has prove itself to e a favorite foil of azz omposers, regardless of their ompositioal goals This is at least i part due to the impliit potetial for otrast ad oexistee etee maor ad mior thirds i the Blues The resolutio of the oflit etee the maor ad mior harmoi elemets of this partiular piee is a importat part of its dramati resolutio So eve though there may e a great deal of distitio aesthetially etee the musi of Elligto, Coltrae, ad Bruek, e fid that there is a importat ommuality to e foud i their use of the uiquitous Blues-ased resoure of maor ad mior third relatioships, oth melodi ad harmoi 207
8 Momet s Notie Momet s Notie egis ith the stadard devie of playig the seod half of its ABAC sogform as a itrodutio Folloig this, its lave - ased melodi motif reurs throughout the form, ith to otale harmoi ladmarks The first is a seodary key of G The opeig motif ad the modulatio are uxtaposed elo for purposes of ompariso: Ex 86a (lave-ased rhythmi ell) E 7 A7 F 7 B 7 E 1 G 7 C7 A 7 D 7 14 G Δ The seod is its oda, hih features parallel diatoi hords over a domiat pedal preedig the reak that leads to solos Ex 86 Coda of first horus E / B F /B G /B F /B E Ex 86 Of ote is the variatio i the oda that oludes the piee, i hih the familiar μ9 soud from Blue Trai is reiterated Coda of Momet s Notie E / B F /B G /B F /B U E 7 9 20
Ex 84 Petatoially-ased itervalli similarities etee themes of The Quee s Suite Movemet 1 - Theme Ó Movemet 2 - Theme Movemet 2 - Pyramid Movemet 4 - Teor sax theme Movemet - Theme exerpt Movemet - Theme 2