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ADVANCED MODAL JAZZ HARMONY APPLIED TO TWENTIETH CENTURY MUSIC COMPOSITIONAL TECHNIQUES IN JAZZ STYLE: A PRACTICAL GUIDE FOR STUDENTS.

By

DIEGO CELI RAMOS, Bachelor of Arts in Contemporary Music

Presented to the Faculty of the Graduate School of Stephen F. Austin State University In Partial Fulfillment Of the Requirements

For the Degree of Master of Arts in Music Education

STEPHEN F. AUSTIN STATE UNIVERSITY December, 2009

UMl Number: 1481979

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

UMT Dissertation Publishing

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ABSTRACT

Contemporary jazz modal harmony and composition pedagogy is an underdeveloped area, which shows as one of its characteristics a lack of published material for undergraduate level. In addition, the available texts on the mentioned topic do not bridge a clear path between what is currently composed and recorded in the jazz industry, and the composition student. Most of these books are publications merely explaining the old and overused tonal system. This situation has made the craft of teaching contemporary jazz composition and advanced modal harmony a job difficult to achieve. The overall purpose of this study is to create a method for college students that seeks to expand the harmonic and compositional language of jazz music, through the use of synthetic scales and twentieth century music compositional techniques applied to the style of jazz.

in

ACKNOWLEDGMENTS

This work could not have been accomplished without the help and support of many individuals. I would like to thank very specially to Dr. Stephen Lias for all his patience, hard work and great spirit during the course of this thesis; also for all the knowledge I received from his lectures. I would also like to thank the Committee members, Dr. Brian Utley, Dr. Juan Carlos Urefia, and a very special gratitude to Dr. Ronald Anderson, without the knowledge on music research I learned in his course, I wouldn't have been able to achieve this goal. Appreciation goes to Dr. Mark Turner, for being always available when I needed help, for opening my mind, for teaching me how to be a better music pedagogue, and for encouraging me to write this thesis. I would also like to thank Dr. Esteban Molina, Dean of the Instituto de Musica Contemporanea of the University San Francisco de Quito, for all his support. Finally, I would like to give a special thank to my wife and son, without their love and support I would not have been capable of studying a master degree; and I would like to thank God, for giving me new ideas all the time.

IV

TABLE OF CONTENTS

ABSTRACT

iii

ACKNOWLEDGMENTS

iv

LIST OF FIGURES

viii

SECTION 1 Chapter 1 1. Introduction

1

2. Historical Comparison

3

3. Modal Jazz

5

Chapter 2 1. Synthetic Scales

8

2. Method

10

3. List of 462 Heptatonic Scales

14

Chapter 3 1. The Use of Synthetic Scales in Jazz

73

2. Tertian Diatonic Harmonization

77 v

3. Quartal, Quintal and Secundal Diatonic Harmonization

77

4. Chord Labeling

78

5. Parental Scales

80

6. Modal Names for Synthetic Scales

80

7. Derivative and Parallel Form

81

8. Diatonic Harmonization of Synthetic Scales

82

9. Major Scale

84

10. Major b9 Scale

87

11. Major #9 Scale

90

12. Major b5 Scale

93

13. Harmonic Major Scale

96

14. Major #13 Scale

99

15. Major b9 b5 Scale

102

16. Double Harmonic Major Scale

105

17.Majorb5b13Scale

108

18. Major #9 #13 Scale

111

19. Major Augmented #13 Scale

114

20. Harmonic Minor Scale

117

21. Melodic Minor Scale

120

22. Melodic Minor Scale b9

123

23. Augmented Melodic Minor Scale

126

vi

SECTION 2 Chapter 4 1. Chord Voicings

129

2. Close Voicing

129

3. Open Voicing

130

4. Drop 2

131

5. Drop 3

132

6. Drop 2+4

132

7. Tensions

133

8. Spread Voicings

134

9. Mixed Voicings

135

10.Traditional Voice-Leading

135

11. Strict and Free-Voiced Texture

138

Chapter 5 1. Contemporary Compositional Techniques

139

2. Contemporary Voice-Leading

139

3. Olivier Messiaen's Voice-Leading Pattern

140

4. Arnold Schoenberg's Voice-Leading Patterns

146

5. Paul Hindemith's Two-Voice Framework

154

6. Pandiatonicism

158

7. Omnibus

163

vii

8. Bela Bartok's Axis System

169

9. Conclusion

180

BIBLIOGRAPHY

181

VITA

187

Vlll

LIST OF FIGURES

Figure

Description

Page

1

Chromatic Scale

11

2

First Permutation

11

3

Second Permutation

11

4

Third Permutation

12

5

Fourth Permutation

12

6

Lydian

12

7

Major

12

8

Mixolydian

13

9

Melodic Minor

13

10

Dorian

13

11

Lydian Augmented

13

12

Lydian b7

13

13

Major #13

14

14

Dorian #11

14

15

Major Scale Formula

75

16

Chord-Tones Formula Labels

75

ix

17

Scale-Tones and Tensions Formula Labels

76

18

First Permutation

76

19

Permutation 238

77

20

Cmaj7(9)

79

21

C Quartal Chord

79

22

Cmaj7(11) omit 5th

79

23

List of Parental Scales

83

24

C7 Four Way Close

130

25

C-7Drop2

131

26

C7+5Drop3

132

27

C-maj7 Drop 2+4

133

28

Tension and Scale-Tone Replacement Chart

134

29

Spread Voicings

135

30

Mixed Voicings

135

31

Voice-Leading With One Common Tone

137

32

Voice-Leading Without Common Tones

137

33

Voice-Leading With Parallel Fourths

137

34

Diminished Scale Mode 2

140

35

Olivier Messiaen's Harmonization

141

36

Messiaen's Voice-Leading Pattern

141

37

Messiaen's Voice-Leading Pattern Top Voice

142 •

x

38

Messiaen's Voice-Leading Pattern 2nd & 3rd Voices

142

39

Messiaen's Voice-Leading Pattern Bass Voice

142

40

Messiaen's Pattern Application Part 1

143

41

Messiaen's Pattern Application Part 2

143

42

Messiaen's Pattern Application Part 3

144

43

Messiaen's Pattern Application Part 4

144

44

Messiaen's Pattern Application Part 5

146

45

Assignation of Chord Tones and Tensions

147

46

Assignation of Voice-Leading Pattern

148

47

Completed Voice-Leading Part 1

148

48

Completed Voice-Leading Part 2

149

49

Bass Note Added

149

50

Schoenberg's Voice-Leading Patterns List

150

51

Pattern Application Part 1

151

52

Pattern Application Part2

151

53

Pattern Application Part 3

153

54

Two-Voice Framework Part 1

155

55

Two-Voice Framework Part 2

155

56

Two-Voice Framework Part 3

156

57

Two-Voice Framework Part 4

157

58

Pandiatonicism Part 1

159

xi

59

Pandiatonicism Part2

160

60

Pandiatonicism Part3

160

61

Pandiatonicism Part 4

161

62

Pandiatonicism Part 5

162

63

Omnibus Part 1

164

64

Omnibus Part 2

164

65

Omnibus Part 3

165

66

Omnibus Part 4

165

67

Omnibus Part 5

166

68

Omnibus Part 6

166

69

Omnibus Part 7

167

70

Omnibus Part 8

168

71

Circle of Fifths

170

72

Harmonic Functions

170

73

Tonic Axis

171

74

Dominant Axis

172

75

Subdominant Axis

172

76

Axis System Complete Diagram

173

77

Function Symmetry

173

78

Primary and Secondary Branches

174

79

Major Third Relationship

174

xii

80

Chord Substitution Table 1

175

81

Parallel Minor Axis

176

82

Chord Substitution Table 2

176

83

Axis System Application 1

177

84

Axis System Application 2

178

85

Axis System Application 3

179

xiii

SECTION 1 Chapter 1 Introduction Jazz composition and harmony is a subject that has caught the attention of many contemporary musicians around the globe for many reasons. One of those is that even though jazz is considered an innovative type of music, its composition still remains a very underdeveloped area. In order to understand the reasons why jazz composition has not been developed in the same manner as classical (western art music) and contemporary music, it is possible to think of many points to explore. One of the main circumstances that stopped jazz composition from developing started with the disappearance of the big bands. The big band was the main representative of jazz large ensembles; it made its appearance around 1920 to 1945. During that time, big bands were devoted almost exclusively to playing dance music, but it wasn't until the years between 1935 and 1945 that big bands reached their peak of popularity; this period is known as the Swing Era. After 1945, the economical effects of World War II started to affect the music industry just as they affected everything else in common life. Owners of clubs and theaters were not able to hire large ensembles with jazz singers

1

anymore, and sponsored radio shows also started to disappear. In order to keep working, jazz musicians started to perform in small instrumental ensembles, usually quintets or sextets. These events in the world economy led jazz to what is now known as the Be-bop Era, from the late 1940's up to 1955. The Be-bop Era took jazz into a completely new and different stage. It moved jazz from being considered exclusively as dance music, to becoming art music. It also includes one characteristic now considered a fundamental part of jazz; it became mainly an improvised instrumental art form.

The subject of jazz composition has many meanings. Traditionally, a jazz composition was an arrangement for big band that was composed by the arranger. Most of the earlier jazz composition textbooks (and there were few) took that approach. A jazz composition for universal use was not a practiced consideration at that time: most small group performances were based on playing standards or blues, or tunes with new melodies derived from an improvised solo over the original or varied version of the original chords. Even the most forward-looking composers of the time were tied to the song form and tonal harmonic system. Although they produced classic, beautiful compositions, the closed quality of their harmonic vocabulary and symmetric form deprived them of diverse expression. It wasn't until the early sixties, when a group of university educated composers hit the scene, that jazz compositions evolved into venues of individual expression for both the composer and the improvisor. These young composers, aware of the harmonies of Bartok, Stravinsky, Ravel and Rachmaninov, and the use of extended and free form, introduced a new concept of jazz composition to the jazz world.1

1

Ron Miller, Modal Jazz Composition & Harmony (Rottenburg, Germany: Advance Music, 1996), 6.

2

As Ron Miller (senior jazz composition professor at the University of Miami) describes above, it wasn't until the sixties that things started to change for jazz composition. This has created a big disadvantage in terms of time if compared to the development of classical music composition. That is another reason why almost every jazz composition book available is still devoted to tonal functional harmony material and big band approach. There are very few jazz composition and harmony books that try to expand their harmonic and compositional language, and most never refer to composing for small ensembles, not to mention that even fewer try to adopt and explore new compositional techniques. The overall purpose of this thesis is to create a method to help undergraduate jazz students that want to stretch the limits of tonality, or seek to incorporate atonal concepts into their jazz compositions. In order to achieve this goal, this study will use as a guide the development and transformation of the tonal into the atonal system of western art music. Historical Comparison Toward the end of the nineteenth century, aesthetic trends in music were going through a period of transformation. The late romantic musical idiom started to be replaced by a new language. Adding to that, the musical hegemony of Germany was being challenged by two new forces: the nationalism most evident

3

in Russia and Bohemia, and the rise of a new composition school in France mostly represented by impressionist composers.2 The classical concept of tonality was threatened by these new compositional movements; chromaticism, complex and unorthodox chords, modality, and the use of non-classical scales like pentatonics, symmetric scales, synthetic scales, and concepts like polytonality were trends used as substitutes for the traditional diatonic material.3 With the arrival of the twentieth century, an almost total rejection of the principles regulating tonality showed that evolution does not always proceed in a straight line. Sometimes, as in this case, it turns with sharp angles.4 A similar and almost parallel situation occurred later in jazz between the years of 1950 to 1955, commonly known as the Cool-jazz Era. That period brought to jazz the end of the Be-bop Era, and with it, the decline of the tonal system. This period of time started with the recording of the album Birth of the Cool by Miles Davis in 1949.5 On that recording the very first attempts to establish new directions in jazz harmonic language were made, but it wasn't until 1958 with the release of the albums Milestones and Kind of Blue in 1959, both

2

Donald Jay Grout and Claude V. Palisca, A History of Western Music, 3rd ed. (New York: W.W. Norton & Company, 1980), 636. 3 Ibid.,681. 4 Ibid., 683. 5 H. Wiley Hitchcock and Kyle Gann, Music in the United States: A Historical Introduction, th 4 ed. (Upper Saddle River, NJ: Prentice Hall, 2000), 305.

4

also by Miles Davis, that a new concept of harmonic vocabulary was adopted by jazz musicians: modal jazz.6 Modal Jazz The emergence of this new trend in jazz harmonic material can be traced back to 1953 with the publication of the harmony/theory jazz book Lydian Chromatic Concept of Tonal Organization by the jazz pianist and composer George Russell. In this book Russell conceives the Lydian mode as the primary scale of western music, and introduces into jazz for the first time the concept of chord/scale relationship as a vertical diatonic unity.7 This concept is considered the first original theory to come from jazz, and is credited with greatly influencing Miles Davis in his creation of modal compositions.8 Originally, the early concept of modal jazz was based on tunes with just one or two chords/modes. The aim of this type of harmony was to fully represent the sonority of a specific mode on the composition and through the improvisation. The best example is the composition "So What" included in the album Kind of Blue by Miles Davis, where the whole piece is based on just one mode in two non-diatonic tonal centers: D Dorian and Eb Dorian. This simplicity, somehow

6

Thelonious Monk Institute of Jazz, "National Jazz Curriculum-Jazz Resource Library: Timeline." Thelonious Monk Institute of Jazz. http://jazzinamerica.org/JazzResources/Timeline (accessed August 5, 2009). 7 George Russell, Lydian Chromatic Concept of Tonal Organization: The Art and Science of Tonal Gravity, 4th ed. (Brookline, MA: Concept Publishing, 2001). 8 Concept Publishing, "About George Russell," George Russell Homepage. http://www.georgerussell.com/gr.html (accessed August 7, 2009).

5

comparable to the one found in minimalism, didn't lasted for too long. Very soon other types of compositions made their appearance on the jazz scene with more varied key centers and different modes like in the Herbie Hancock composition "Maiden Voyage" from the album of the same name. In that piece, the Mixolydian mode is represented through the use of dominant seventh sus4 chords in different non-diatonic tonal centers. These modal compositions don't have a standardized categorization, as was mentioned earlier, mainly because there are few texts available on the topic. One of the few efforts to create different categories on this topic was made by Ron Miller, who labeled these types of tunes as "linear modal" and "plateau modal," representing compositions on one or in few different modes at different key centers respectively.9 It was just a matter of time before this new harmonic current opened a new universe of possibilities in jazz composition. Possibilities include asymmetric forms, faster harmonic rhythm, non-diatonic key centers, and scales and modes different from the ones of the major and minor scale. The harmonic content of these types of compositions is basically atonal, but due to the ancestor they came from, in jazz they are still called modal tunes. The name that Ron Miller gave to this category is "vertical modal."10 A couple of the main representatives of

9

Ron Miller, Modal Jazz Composition & Harmony (Rottenburg, Germany: Advance Music, 1996), 9. 10 Ibid.

6

this style of composition are Wayne Shorter, with pieces like "Fee-Fi-Fo-Fum" and Herbie Hancock with "Dolphin Dance". It is important to point out that the categories mentioned above are not necessarily found as a whole composition; this harmonic material can be found as part of a piece, intertwined with other modal content, or even mixed with sections of tonal material. Among the innovations that this period of time brought to jazz composition was the use of different scale formations not derived from the major scale. This was a phenomenon that also happened during the end of the nineteenth century and the beginning of the twentieth. It can be adduced that jazz musicians used that transitional period as a model in order to incorporate some of that material into their own language. Examples of this include the whole-tone scale (one of Debussy's favorites), diminished scale, Lydian b7 scale (sometimes referred by Bartok as acoustic scale, or by Kostka and Payne as Lydian-Mixolydian scale11). These types of scale formation are usually called "artificial" or "synthetic" scales.12

11

Stefan Kostka and Dorothy Payne, Tonal Harmony with an Introduction to TwentiethCentury Music, 3rd ed. (New York: McGraw-Hill, 1995), 456. 12 Ibid., 460.

7

Chapter 2 Synthetic Scales A synthetic music scale can be defined as "a partition of the octave into smaller musical interval relationships."13 Considering the fact that any two tones form an interval, a synthetic scale can be considered as any formation of three to twelve pitch-classes (in tempered tuning or equitempered system) inside an octave. The exceptions would be the major scale, its modes, minor scales (natural minor, harmonic minor, melodic minor), triads and seventh chord arpeggios. In 1907 the Italian composer Ferruccio Busoni attempted to write all the possible heptatonic (seven-tone) scales in his book Sketch of a New Esthetic of Music. The method Busoni used was to alter (by raising or lowering) the different degrees of the major scale obtaining a total of 113 combinations, as he states:

I have made an attempt to exhaust the possibilities of the arrangement of degrees within the seven-tone scale; and succeeded, by raising and lowering the intervals, in establishing one hundred and thirteen different scales. These 113 scales (within the octave C-C) comprise the greater part of our familiar twenty-four keys, and, furthermore, a series of new keys of peculiar character. But with these the mine is not exhausted, for

13

Robert M. Mason, "Enumeration of Synthetic Musical Scales by Matrix Algebra and a Catalogue of Busoni Scales," Journal of Music Theory 14, no.1 (Spring 1970): 95, http://www.jstor.org/stable/843038 (accessed September 15, 2009).

8

we are at liberty to transpose each of these 113, besides the blending of two such keys in harmony and melody.14

Although Busoni considered his achievement as a success, the fact is that the total number of 113 is far from being the real number of possible heptatonic scales. It is important to point out also that Busoni counted in his scales different tonalities and used a non-tempered tuning system. In 1929 J. Murray Barbour published an article in the American Mathematical Monthly, where he explained mathematically the procedure to obtain the real number of seven-tone permutations that can be derived from the chromatic scale. Adding to that, Barbour focused on what he considered was the problem in Busoni's theory. He observes that

A serious objection to Busoni's scheme is that, in accordance with the usual method of notation and with the conception of a seven-tone scale on successive alphabetical degrees, his octave contains twenty-one different tones instead of the twelve that belong to our system of enharmonic temperament on the piano. This would seem to be an unnecessary complication- and restriction -in a proposal that is otherwise so novel.15 The mathematical procedure that Barbour used, gives a total number of 462 heptatonic scales, all of them beginning in one same pitch.16

14

Ferruccio Busoni, Sketch of a New Esthetic of Music, (1907). trans. Theodore Baker (New York: G. Schirmer, Inc., 1911), 29. 15 J. Murray Barbour, "Synthetic Musical Scales," The American Mathematical Monthly 36, no. 3 (March 1929): 155, http://www.jstor.org/stable/2299681 (accessed August 11, 2009). 16 Ibid., 160.

9

An important objection that can be imputed to Barbour and Busoni's work is that none of their papers included the scales written in standard music notation, or in any form. The only information provided to the reader in both cases is a three-digit number of absolutely no musical use and the description of the method used to obtain their scales. In the spring of 1970, Robert M. Mason published in the Journal of Music Theory an article explaining through the use of matrix algebra, another system to obtain the same results as Barbour. In his paper Mason provides all the Busoni scales written in letter notation, but he fails to provide the complete Barbour list.17 It is the aim of this thesis to provide (among other things) the complete list of heptatonic scales written in standard music notation. The reason to write such a big list is to transform a musically meaningless number, into fruitful and productive compositional material. In order to achieve that, a different method from those cited above was used. Method Since the aim is to apply the proposed theory to the style of jazz, the tempered tuning system will rule the enharmonic material in a piano-like manner. The reason for this is that in jazz, the standard musical instruments used are all tempered (with the exception of the human voice).

17

Robert M. Mason, "Enumeration of Synthetic Musical Scales by Matrix Algebra and a Catalogue of Busoni Scales," Journal of Music Theory 14, no.1 (Spring 1970): 95-125, http://www.jstor.org/stable/843038 (accessed September 15, 2009).

10

In order to obtain all the possible seven-tone (pitch-class) permutations derived from the twelve notes of the chromatic scale, the list will start by assigning numbers to each tone of the chromatic scale, somehow reminiscent to the "pitch-class set theory", as shown in the following example:

Figure 1. Chromatic Scale. 10

11

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As a second step, every possible permutation consisting of seven tones will be written one by one, by scrolling down every number/note to every possible position like in an abacus as it is shown in the next example:

Figure 2. First Permutation. 10

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Figure 3. Second Permutation.

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Figure 4. Third Permutation. 10

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As the list of scales keeps scrolling down, it is obvious that all the sevennote common domain scales and modes sooner or later will appear inevitably, for example the major scale and its modes (Dorian, Phrygian, Lydian, etc.), the melodic minor, harmonic minor, harmonic major scales and their modes too as shown below (enharmonic spelling will be necessary in most cases):

Figure 6. Lydian. t 0

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Figure 9. Melodic Minor.

Figure 10. Dorian.

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Also many rarely used scales and modes will appear on the list; even though those scales are not common domain scales, they can be of benefit to any composer, like is shown in the following example:

Figure 11. Lydian Augmented. 0

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Figure 12. Lydian b7.

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Figure 13. Major #13. 10

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Figure 14. Dorian #11.

Every possible scale consisting of seven tones, starting in the same root that fits into the western tempered tuning system is going to be included in the list. If transposed to the twelve keys (462 x 12) the total number of scales is 5544. Even though these scales derive modes that don't have standardized names, labels derived from the analysis will be provided in subsequent chapters with a complete explanation of the process to assign them. It is also important to point out that the scales selected from this list, to be labeled and harmonized in subsequent sections, are going to be presented traditionally spelled. The organizational system here explained derives scales that in most cases are enharmonically spelled. In order to fit the western musical system and tradition, every chosen scale will be re-spelled in order to line up to the conventional manner of spelling seven-note collections, which means using every note-name correspondingly to every scale degree. List of 462 Heptatonic Scales A complete list of the 462 heptatonic scales is provided below: 14

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