List of Figures |
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xvii | |
List of Tables |
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xxvi | |
Preface |
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xxvii | |
Acknowledgments |
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xxxiii | |
Part I: Basics |
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1 | (112) |
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3 | (13) |
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3 | (1) |
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4 | (1) |
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5 | (1) |
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6 | (1) |
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7 | (2) |
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9 | (1) |
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Meter and Time Signatures |
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10 | (2) |
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10 | (2) |
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12 | (1) |
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13 | (1) |
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14 | (1) |
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14 | (1) |
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15 | (1) |
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16 | (7) |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (2) |
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19 | (1) |
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19 | (1) |
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20 | (1) |
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Latin Rhythmic Traditions |
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20 | (3) |
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23 | (10) |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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25 | (1) |
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26 | (2) |
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26 | (1) |
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27 | (1) |
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27 | (1) |
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28 | (2) |
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28 | (1) |
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29 | (1) |
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30 | (1) |
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Basic Keyboard Applications |
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31 | (2) |
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33 | (10) |
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33 | (1) |
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Characteristics of Jazz Harmony |
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33 | (1) |
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34 | (3) |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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36 | (1) |
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Inversions of Four-Part Chords |
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37 | (1) |
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38 | (3) |
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38 | (1) |
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39 | (2) |
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41 | (2) |
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43 | (9) |
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43 | (1) |
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43 | (1) |
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44 | (1) |
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45 | (5) |
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46 | (1) |
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46 | (1) |
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Dominant and Suspended Category |
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47 | (1) |
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47 | (1) |
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Suspended Dominant Category |
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48 | (1) |
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49 | (1) |
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50 | (2) |
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52 | (13) |
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52 | (1) |
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52 | (2) |
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54 | (1) |
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55 | (1) |
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55 | (1) |
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56 | (1) |
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The Diminished 7th Chord and the II-V-I Progression |
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56 | (7) |
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Transformation of the Diminished 7th Chord |
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63 | (2) |
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65 | (13) |
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65 | (1) |
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Parent-Scale Derivation of Diatonic Modes |
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65 | (1) |
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66 | (1) |
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67 | (4) |
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67 | (1) |
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68 | (1) |
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68 | (1) |
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69 | (1) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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Parent-Scale Derivation of Chromatic Modes |
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71 | (1) |
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72 | (6) |
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Minor Modes-Melodic Minor |
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72 | (1) |
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Minor Modes-Dorian flat 2 |
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73 | (1) |
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Minor Modes-Locrian natural2 |
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73 | (1) |
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Major Modes-Lydian Augmented |
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74 | (1) |
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Major Modes-Mixolydian sharp 11 |
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75 | (1) |
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Major Modes-Mixolydian flat 13 |
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75 | (1) |
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76 | (2) |
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78 | (13) |
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78 | (1) |
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Objectives of Chord-Scale Theory |
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78 | (1) |
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79 | (1) |
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80 | (1) |
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Possible Harmonic Function-Tonic and Predominant |
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80 | (1) |
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81 | (3) |
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Possible Harmonic Function-Tonic and Predominant |
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81 | (2) |
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Dorian as Tonic and/or Predominant |
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83 | (1) |
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84 | (2) |
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Possible Harmonic Function-Dominant |
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84 | (2) |
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Suspended Dominant Category |
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86 | (1) |
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Possible Harmonic Function-Dominant, Predominant, Tonic |
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86 | (1) |
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87 | (1) |
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Possible Harmonic Function-Predominant and Dominant |
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87 | (1) |
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88 | (2) |
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90 | (1) |
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91 | (8) |
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91 | (1) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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94 | (1) |
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95 | (2) |
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96 | (1) |
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96 | (1) |
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97 | (2) |
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98 | (1) |
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99 | (14) |
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99 | (1) |
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99 | (1) |
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100 | (2) |
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102 | (1) |
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103 | (1) |
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104 | (4) |
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104 | (1) |
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105 | (2) |
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107 | (1) |
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108 | (7) |
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110 | (1) |
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110 | (1) |
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Expansion and Interpolation |
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110 | (1) |
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Contraction and Fragmentation |
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110 | (1) |
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110 | (3) |
Part II: Intermediate |
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113 | (136) |
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115 | (9) |
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115 | (1) |
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115 | (4) |
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118 | (1) |
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119 | (1) |
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120 | (4) |
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12 Keyboard and Jazz Chorale Textures |
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124 | (10) |
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124 | (1) |
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Models of Keyboard Style Texture |
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124 | (5) |
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125 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (1) |
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127 | (1) |
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128 | (1) |
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Jazz Chorale-Five-Voice Texture |
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129 | (2) |
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Jazz Chorale-Four-Voice Texture |
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131 | (3) |
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13 Idiomatic Jazz Progressions |
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134 | (18) |
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134 | (1) |
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134 | (2) |
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The ii-V7-I Progression and Tritone Substitutions |
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136 | (1) |
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136 | (2) |
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The I-vi-ii-V7 Progression |
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137 | (1) |
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137 | (1) |
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138 | (1) |
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The Cycle of Dominant 7ths Progression |
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139 | (1) |
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The Lady Bird Progression |
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139 | (1) |
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140 | (1) |
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Aural Identification of Four-Bar Progressions |
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141 | (11) |
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The [ ii-V7]/X Interpolation |
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141 | (3) |
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144 | (4) |
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The [ ii0-V7]/x Interpolation |
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148 | (1) |
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148 | (3) |
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Miscellaneous Four-Bar Progressions |
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151 | (1) |
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152 | (21) |
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152 | (1) |
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152 | (5) |
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153 | (1) |
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154 | (1) |
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155 | (1) |
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The Intermediary/Dominant Bebop Complex |
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156 | (1) |
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Practicing Bebop Improvisation |
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157 | (16) |
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Metric Placement-Scalar and Arpeggiation Patterns |
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157 | (2) |
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Addition of Extra Chromatic Notes |
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159 | (2) |
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161 | (3) |
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164 | (3) |
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167 | (4) |
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171 | (1) |
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Negotiating the Minor Seven Flat Five Chord |
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171 | (1) |
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172 | (1) |
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173 | (10) |
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173 | (1) |
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173 | (6) |
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Variant 1-The Billie's Bounce Progression |
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175 | (2) |
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Variant 2-The Bird Blues Progression |
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177 | (1) |
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Variant 3-The Dance of the Infidels Progression |
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178 | (1) |
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179 | (4) |
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16 The "Confirmation" Changes |
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183 | (12) |
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183 | (1) |
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"Confirmation"-An Analysis |
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183 | (3) |
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183 | (2) |
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185 | (1) |
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An Analysis of the Transcription |
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186 | (5) |
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Chord-Scale Relationship: Modes |
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191 | (2) |
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Chord-Scale Relationship: Bebop Scales |
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193 | (2) |
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195 | (12) |
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195 | (1) |
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"I Got Rhythm" Contrafacts |
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195 | (1) |
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"Moose the Mooche"-An Analysis |
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195 | (3) |
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197 | (1) |
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197 | (1) |
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Harmonic Reworkings of Rhythm Changes |
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198 | (3) |
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Rhythm Changes Improvisation |
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201 | (6) |
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The A Section: A Single-Scale Approach |
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201 | (1) |
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The A Section: A Two-Scale Approach |
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202 | (3) |
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The A Section: Chord Arpeggiations |
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205 | (1) |
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The B Section: A Single-Scale Approach |
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205 | (2) |
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18 Pentatonics, Hexatonics, Octatonics |
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207 | (25) |
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207 | (1) |
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207 | (1) |
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208 | (6) |
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208 | (2) |
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210 | (1) |
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211 | (1) |
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212 | (2) |
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214 | (5) |
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215 | (1) |
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215 | (1) |
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216 | (1) |
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Suspended Dominant Category |
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216 | (1) |
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217 | (1) |
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217 | (2) |
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219 | (1) |
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219 | (5) |
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220 | (1) |
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220 | (1) |
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221 | (1) |
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Suspended Dominant Category |
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222 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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The 1/2 Octatonic Scale-Mode II of Limited Transposition |
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224 | (4) |
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226 | (1) |
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227 | (1) |
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The 2/1 Octatonic Scale-Mode II of Limited Transposition |
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228 | (1) |
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Other Octatonic Scales-Mode IV of Limited Transposition |
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229 | (1) |
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Other Octatonic Scales-Mode VI of Limited Transposition |
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230 | (2) |
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19 The Tristano Style of Improvisation |
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232 | (17) |
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232 | (1) |
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232 | (1) |
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233 | (9) |
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An Analysis of the Transcription |
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242 | (4) |
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242 | (1) |
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243 | (1) |
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243 | (1) |
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244 | (1) |
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244 | (2) |
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The Tristano Style of Improvisation |
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246 | (5) |
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246 | (1) |
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246 | (1) |
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247 | (1) |
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247 | (1) |
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248 | (1) |
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248 | (1) |
Part III: Advanced |
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249 | (133) |
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20 Analyzing Jazz Lead Sheets |
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251 | (8) |
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251 | (1) |
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What Does a Lead Sheet Tell Us? |
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251 | (1) |
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252 | (1) |
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252 | (3) |
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255 | (4) |
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259 | (23) |
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259 | (1) |
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259 | (3) |
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262 | (2) |
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264 | (7) |
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264 | (2) |
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266 | (1) |
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267 | (2) |
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269 | (1) |
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270 | (1) |
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271 | (11) |
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271 | (1) |
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272 | (1) |
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273 | (1) |
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274 | (2) |
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276 | (1) |
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277 | (1) |
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278 | (1) |
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279 | (3) |
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282 | (21) |
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282 | (1) |
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282 | (1) |
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283 | (2) |
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Classification of Standard Tunes |
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284 | (1) |
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The AABA Off-Tonic Design |
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285 | (1) |
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Classification of Standard Tunes |
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285 | (1) |
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"Have You Met Miss Jones?"-An Analysis |
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285 | (6) |
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289 | (1) |
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289 | (2) |
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291 | (1) |
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Classification of Standard Tunes |
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291 | (1) |
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The ABAC Off-Tonic Design |
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292 | (1) |
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Classification of Standard Tunes |
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292 | (1) |
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292 | (5) |
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296 | (1) |
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296 | (1) |
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Extended and Unusual Song Forms |
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297 | (1) |
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"Dream Dancing"-An Analysis |
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298 | (5) |
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298 | (1) |
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298 | (5) |
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23 Reharmonization Techniques |
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303 | (24) |
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303 | (1) |
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303 | (4) |
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Basic Reharmonization Techniques |
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307 | (9) |
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307 | (3) |
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Harmonic Expansion of Structural Chords |
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310 | (1) |
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310 | (1) |
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311 | (1) |
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312 | (1) |
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312 | (1) |
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313 | (1) |
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313 | (1) |
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314 | (1) |
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Melodic Recontextualization |
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315 | (1) |
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Interpolation of Auxiliary Progressions |
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315 | (1) |
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Intermediate Reharmonization Techniques |
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316 | (4) |
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316 | (2) |
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318 | (1) |
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319 | (1) |
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Advanced Reharmonization Techniques |
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320 | (7) |
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320 | (3) |
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323 | (4) |
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24 Post-Tonal Jazz-Atonality |
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327 | (9) |
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327 | (1) |
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327 | (1) |
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328 | (1) |
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328 | (1) |
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328 | (1) |
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Interval and Interval Classes |
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329 | (1) |
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329 | (4) |
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Methodology for Figuring Out Normal and Prime Forms |
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330 | (1) |
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"Clock Face" as a Visual Aid to Identify Sets |
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331 | (1) |
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331 | (2) |
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Transposition and Inversion of Sets |
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333 | (1) |
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Common Tones Under Transposition and Inversion |
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334 | (1) |
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Aural Identification of Set Classes |
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335 | (1) |
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336 | (20) |
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336 | (1) |
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336 | (1) |
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337 | (4) |
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Harmonic Potential of Trichords |
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341 | (3) |
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Diatonic PC-Set Complexes |
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341 | (1) |
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Whole-Tone PC-Set Complexes |
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342 | (1) |
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343 | (1) |
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Semitonal PC-Set Complexes |
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343 | (1) |
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344 | (3) |
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Improvisation with Set Classes |
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347 | (2) |
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Pentachords and Hexachords |
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349 | (7) |
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26 Twelve-Tone Techniques |
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356 | (16) |
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356 | (1) |
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356 | (1) |
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Twelve-Tone Operations (TTOs) |
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357 | (3) |
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357 | (2) |
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359 | (1) |
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359 | (1) |
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359 | (1) |
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Multiplication (M) and Multiplication Inversion (MI) |
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360 | (1) |
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360 | (3) |
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Analyzing Twelve-Tone Rows |
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363 | (1) |
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Hexachordal Combinatoriality |
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364 | (1) |
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365 | (2) |
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Twelve-Tone Counterpoint and Jazz Harmony |
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367 | (3) |
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Twelve-Tone Improvisation |
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370 | (2) |
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27 Stylistic Crossovers-Developing a New Jazz Repertory |
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372 | (10) |
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372 | (1) |
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372 | (2) |
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Case Study 1-Alban Berg, Vier Lieder aus "Der Gluhende," Op. 2, No. 2: "Schlaffend tragt" |
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374 | (3) |
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Case Study 2-Alban Berg, Violin Concerto |
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377 | (5) |
Appendix A: 200 Essential Standard Tunes That You Should Know |
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382 | (7) |
Bibliography |
|
389 | (3) |
Credits |
|
392 | (2) |
Index |
|
394 | |