2015 JAZZCLINIC theory advanced - halewynstichting · Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] ! JAZZ

Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected]

JAZZ CLINIC 2015 THEORY ADVANCED GROUP 1

Theory advanced group

JAZZ CLINIC

DWORP 2015

This summer also: Pop clinic 23 – 28 august



1. My Romance

In the first class we give you an overview of what you should know to understand a composition such as “My Romance” (R. Rodgers & L. Hart). A good start is always the lyrics:

My Romance doesn't have to have a moon in the sky My Romance doesn't need a blue lagoon standing by No month of May, no twinkling stars No hide away, no soft guitars My Romance doesn't need a castle rising in Spain Nor a dance to a constantly surprising refrain Wide awake I can make my most fantastic dreams come true My Romance doesn't need a thing but you

We continue with the melody and look at its structure, its organisation. Ask yourself questions such as:

-‐ What is the motive (smallest melodic cellula) -‐ What is the first phrase? -‐ How is this futher developed? -‐ What is the structure of the first sixteen bars?

Things you should know before the analysis:

• What is the tonality? (1) • What are the diatonic chords? (2) • Which chords are diatonic, which aren’t? (3) • Is the melody diatonic? (4) • What are the related chords to be expected, such as for Secondary

Dominants and what is the added value of these chords? (5)



• What are the related tonalities to be expected? What are the expected parallel chords and what is their added value? (6)

Some answers:

1) The song is written in C major

2) The diatonic chords:

3) Chords which are ‘non-‐diatonic’:

Most of the chords are diatonic, which you can see at their roman numerals. What is also remarkable is that most of the non-‐diatonic chords are dominant chords.

4) The melody is diatonic.



5) What are the related chords to be expected, such as for Secondary Dominants and what is the added value of these chords?

Herewith you can find all possible secondary dominants1. See how these chords add chromatic passing tones to the main tonality, with

• A7, as being the V/II this chord adds an c# to the tonality, which is the leading tone onwards d and, by this way, this chord introduces a chromatic leading tone/passing note in this tonality

• B7, being the V/III and adding a d# to the tonality, the leading to unwards to e, and, by this way, this chord introduces a chromatic leading tone/passing note in this tonality

• C7 or the V/IV gives us a b flat, a tone that leads towards the third of the F major chord. By this way, this chord introduces a chromatic leading tone/passing note in this tonality and makes it possible to go to F major

• D7 or the V/V gives us a f#, leading tone towards G. By this way, this chord introduces a chromatic leading tone/passing note in this tonality and makes it possible to go temporary to G major

• E7 or V/VI adds g# to our main tonality, the leading tone of ‘a’ minor and by this way, this chord introduces a new chromatic leading tone/passing tone to the tonality, in this case, to the related minor tonality

A secondary dominant is mostly the alteration of a diatonic chord. For the scale of secondary dominants you should adapt the notes which where not available in the original modus. So a D7 gets only the extra f#, which differs this chord from the diatonic Dm7. So, E7 gets – as an adaptation or alteration of the original diatonic Em7 chord, a major third – so a g# must be added. A lot of secondary dominants will be preceeded by their related IIm7. We show this by adding a bracket between the II and V. Jazz uses frequently II V sequences and this is often an II V of a secondary dominant.

6) What are the related tonalities to be expected? What are the expected parallel chords and what is their added value?

Related tonalities of C major are G-‐major, F-‐major, a-‐minor and c-‐minor. This is often indicated by using a ‘cross image’:

1 The ‘logical’ V/VII is never used since this chord has no perfect fifth. The eventual dominant of B would be F#7, with a non-‐diatonic root. But S.D.’s always contain a diatonic root…

c F C G a a



Chords, borrowed from parallel tonalities, which are logical and expected… Some chords, such as Maj7 or m7, are to be found in different diatonic series. This means that this chord can be found in many tonalities, but with another function. Lets take Am7: this chord can be a II, III or VI. Or better: it is VI in C-‐major, II in G-‐major and III in F-‐major. This chord can thus be found in the principal tonality and both of the related major tonalities. In these sixteen measures of My Romance it is frequently used as a harmonic tool. What can we conclude for these first 16 bars of My Romance? Measure 5: here you can see a movement towards the related a-‐minor tonality Measure 9: ‘light’ deviation towards F-‐major Measure13: deviation towards G-‐major but this time more in relationship towards e-‐minor (so called secondary relationship). If you see a F#m7(b5), which only can be found on the VIInd degree of a diatonic series, you can say that its origin is G-‐major. Which is a related tonality of C-‐major. An ‘m7(b5)’ chord is mainly an indication of a II – V in minor, what is confirmed in the next measure. Such a “borrowing” is used frequently, we call the F#m7(b5) chord a #IVm7(b5), as related II of the V/III. Measure 15: D7 is a S.D. and therefor Am7 is both the VI in C-‐major and both the related II of the D7 chord. What is possible?

a) Related major-‐tonalities

The related major tonalities of C are F major and G major, thus C7 can be possible as V/IV and D7 as V/V. And every secondary dominant may be by its related IIm7. So this makes:

Gm7 C7 as II V/IV Am7 D7 as II V/V Am7 D7 will be less striking since Am7 exists in C-‐major. Gm7 is clearly non-‐diatonic since bb is a non-‐diatonic third of the chord. What do we have by now?



b) Related minor tonalities The related minor tonalities of C are a minor and c minor. For a minor, you will see an E7 chord, with g# as the third of this chord. The third of a dominant is mostly the leading tone towards the root, which is the case in this situation. The chords which will be borrowed from c minor will mainly posess an ab. More about this later.

c) Related minor tonalities of F and G major Frequently a song in C major moves also towards the related minor tonalities of F-‐ and G-‐major, which means Dm and Em. Both chords exist also in C-‐major. This is possible by using the secondary dominants A7 and B7, sometimes again preceded by their related IIm7b5. So we obtain:

d) What is the sum of all this?

Be aware: some notes can be derived from different chords, such as the f# from F#m7b5 or B7 etc. What conclusion is possible? Almost all chromatic tones can be obtained by using secondary dominants or borrowings from Cm. What note is missing? The b2…



A global overview:



‘Reharmonisation’ of My Romance As you know, standards are mostly themes from musicals. This tune was also originally composed for a musical, namely Jumbo (1935) and was first performed by the Paul Whiteman orchestra. The ‘lead sheet’ is thus an adaptation or reduction of the original score for full orchestra. That is the reason why it is always difficult to state which were the ‘original’ chords. Above, I gave a simplified version. Let us now add chords to this ‘original’, using the known theory. Adding, skipping or changing chords in a standard is called ‘reharmonisation’. Measures 1 – 4

Added:

-‐ FMaj7, a diatonic chord, with sub-‐dominant function (cadential), its root being a fourth from the previous chord and resolving chromatically to the IIIrd graad

-‐ Eb dim7, a non-‐diatonic deminished chord which links chromatically two consecutive diatonic chords2

-‐ E7(#5), a non-‐diatonic dominant seventh chord which precedes the resolution towards Am of measure 5 (= secondary dominant or S.D.)

Measures 5 – 8

Added:

-‐ E7, same dominant as in measure 4. But here it provides a ‘hidden’ line cliché such as in Am E7/G# Am/G

-‐ A7, a S.D. which links the Dm7 of measure 7 -‐ C7, S.D. of IVMaj7 in bar 9

2 This is the only chord which is kind of difficult since it does not have many notes in common with the major tonality



Measures 9 – 12:

Added:

-‐ Bb7, a so-‐called Subdominant minor and thus borrowed from c minor – cfr. plagal cadence and its variations

-‐ C7, S.D. to IVMaj7 of bar 11 Measures 13 – 16:

Added:

-‐ Bb7, but this time not borrowed from c minor, but it’s the substitute dominant of VImin7. It is a dominant, and it substitutes the ‘expected’ E7 chord, the S.D. of Am7. E7 was certainly possible but then you would have twice the same root and then the Bb7, which possesses the same triton between its 3rd and 7th E7, gives more tension. Already because its non-‐diatonic root does resolve chromatically.

For this more ‘extended’ version of the first 16 bars, I used the version as notated in ‘The New Real Book’, edited by C. Sher (1988). This is only 1 of many possible variations, but certainly the most common. Since My Romance has a ABAC structure, we only need to do the last 8 bars:

Explanation:

-‐ A7 is the S.D. of Dmin7 (and provides more relationship towards F or d minor)

-‐ Bm7b5 E7 is a II – V in a minor which is smoothly introduced by the descending bass part in the Dm7 chord

-‐ CMaj/G provides a beautiful variation of a chord pattern, repeated in measure 31



Which related tonalities are by now represented in this song?? -‐ a minor -‐ F major -‐ G major (als as e minor) -‐ c minor

As we had expected… CONCLUSION : Most standards, written before 1960, are using

1) The diatonic series of the principal tonality

2) Will use the secondary dominants of all diatonic chords (except for VII) and will be often preceded by their IIm7

3) Chords borrowed from related tonalities, mostly as dominant seventh chords or subdominant minor chordsn, as is the case with borrowing from the parallel minor.

And don’t forget that secondary dominants introduce these notes:

Which chords provide these chromatic passing tones? c# comes with A7 or the V/II d# comes with B7 or the V/III f# comes with D7 or the V/V g# comes with E7 or the V/VI bb comes with C7 or the V/IV eb and ab are derived from the parallel minor…



Speak No Evil



The A-‐part mainly consists of a Phrygian cadence in which the Ist degree is followed by the bII..

Phrygian scale

The Phrygian scale takes its timbre from the characteristic minor second between its root and second.

Triads:

Seventh chords:

Cm and Cm7 are tonic chords (T)

Db, DbMaj7, Eb7, Bbm and Bbm7 are characteristic chords (K) since they possess the characteristic note

G dim and Gm7b5 are chords to be avoided (A)

Remark: bIII7 sounds as the V7 in Ab major, this can be altered by changing the dominant chord in a suspended chord such as bIIIsus7.

Phrygian cadences are amongst others:



Cadence to be avoided: bIIMaj7 followed by its bVIMaj7

bVIIm7 followed by its bIII7

Applications of Phrygian modal harmony can be found in “Sudden Samba” (N. Larsen), “Ana Maria”, “Deluge” and “Speak No Evil” (W. Shorter), “April Joy”, a composition by P. Metheny and “Search for Peace” (McCoy Tyner). Be aware: sometimes it is difficult to concluede if the cadence is Phrygian or Lydian… (ut infra).

Another example:

Spanish Phrygian

There is also a “Spanish Phrygian Scale” usually to be found in… Spanish compositions (sic!) and in compositions of Chick Corea (“La Fiesta”), Al DiMeola, Paco De Lucia e.a.



Back to Speak No Evil. The phrygian cadence of the first measures is interrupted by a couple of minor chords. If you listen carefully to these chords, then you will notice that the first chord, Ebm11, functions as a pivot chord to the following series3: Em11/Cm11 and Dm11/Bbm11, whereby the last chord is a pivot to a variation of the Phrygian cadence. The Bbm chord alternates the A7 dominant seventh chord and also this half tone relationship ‘sounds’ Phrygian. The scales of both chords have a lot of notes in common. A7alt is the same scale as Bb melodic minor. If your choice for the Bbm7 chord is a dorian scale, then there will only be one note of difference (the seventh).

The middle part continues first in the main tonality, Eb major with a #IVm7b5, Ab7 being the substitute dominant of the next Gm7, which initiates a chord pattern on the IIIrd degree in Eb, the relative major of c minor. The DbMaj7 chord is thus both bVIIMaj7 in Eb and also the bII of Cm.

The title of the song, Speak No Evil, fits perfectly in the so-‐called PostBop style. In this particular period of the jazz history, Miles Davis is both lord and master (“Prince of Darkness”) and mythological themes are frequently used as titles “Fee Fi Fo Fum”, “Tom Thumb”, “Ju Ju”, and “Speak No Evil”. The title is part of a saying or proverb: Hear No Evil, Speak No Evil and Say No Evil. This saying refers to someone who should be not interfering, ‘don’t mind someone’s business’. The oldest presentation is three monkeys at the Niko Toshogo shrine in Japan, dated in the 17th century. In Japans this sounds like: mizaru, kikazaru, iwazaru.4

Maar nog meer karakteristiek aan de composities van de PostBop stijl is dat een symbiose wordt verwezenlijkt tussen enerzijds modale en anderzijds diatonische harmonie. Dit komt het duidelijkst naar voor in de composities van Wayne Shorter. Waar Miles Davis voor “Kind of Blue” composities creëerde die haast louter modaal waren (“So What”, “All Blues”), streeft Wayne Shorter een vermenging tussen modale karakteristieken (cfr. eerste acht maten van “Speak No Evil”) en diatonische eigenschappen (cfr. de beide chord patterns op III in hetzelfde nummer) na.

3 These progressions are called ‘constant structure’, a technique which will be frequently used by Chick Corea amongst others (’70’s – ’80’s)

4 You can find all information and much more on the internet, including three dragons, frogs, monkeys and much more.



Another application:

Composed in the same year as Speak No Evil, namely in 1964, 5 years after the release of Kind of Blue. In the previous composition we notated the mixture between diatonic and modal, but this one is a step beyond. It uses all kind of modal interchanges. When using an open mind, a composition in F-‐major, as is the case for Beatrice, can borrow from:

-‐ F Lydian – as from C Major -‐ F Mixolydian – as from Bb Major -‐ F Dorian – from Eb -‐ F Aeolian – first relationship, i.e. f pure minor -‐ F Phrygian – coming from Db -‐ F Locrian (but never happens – although, ‘never say never’)



Analysis of Beatrice

Measure 1: F is the main tonality

Measure 2: GbMaj7 is derived or coming from F Phrygian –principally this could also be F Locrian but you always choose the tonality as close as possible to the major tonality.

Maat 4: EbMaj7 derived from F Mixolydian – could also be F Dorian, But see the ‘rule’ above.

Measure 5: Dm7 is the related VI-‐minor of F-‐Major, and is kind of a Im7

Measure 6: EbMaj7 provides a Phrygian cadence with Dm

Measure 8: Bbm7 takes no part in Dm but is a pivot (‘sounds Phrygian’) toward Am7

Measure 9: Am7 is the IIIrd degree and a Phrygian chord, followed by its bII in the next measure

Measure 10: BbMaj7 is the bII of Am7

Measure 11 – 12: II-‐V in dm

Measure 13: Gm7 is IIm7

Measure 14: variation of a substitute dominant chord, since GbMaj7 is the bIIMaj7 in F-‐Phrygian and resolves nicely into the final Fm7 chord.



At last we examined the lead sheet of Song for Bilbao (P. Metheny) consisting of a further ‘harmonic” evolution and we enjoyed a live recording on www.youtube.com/watch?v=RCPfKzIK6Wo

Notice the constant structure starting from the third measure of the Bridge or B-‐part… Questions? Write an email to [email protected]

Documents

2015 JAZZCLINIC theory advanced - halewynstichting · Summer clinics Halewynstichting 2015 – classes of Maarten Weyler Questions? Send a mail to [email protected] ! JAZZ