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Jazz Theory and Practice Module 6 a, b, c

Beyond Basic Blues; Counterpoint in Jazz The Bass Line

B. Counterpoint in Jazz

The study of counterpoint has been an essential part of traditional

music theory for hundreds of years. Counterpoint is seldom

mentioned in jazz theory studies, and it would be hard to demonstrate that an extensive knowledge of traditional counterpoint

is required of the jazz performer/arranger. Basic principles of counterpoint, however, are essential to a good arrangement or a

good jazz performance, especially regarding the bass line as it relates to the rest of the parts. A good bass player may claim to know

nothing about counterpoint, but by musical intuition the bass line that emerges will usually be in perfect counterpoint with the other parts.

Here are some important basic principles of counterpoint:

(a) There are four different kinds of motion between two moving

voices: contrary (moving in opposite directions), parallel (moving in the same direction at the same interval), similar (like parallel,

but one part moving a greater distance), and oblique (one part is

stationary while the other moves). The four basic motions are shown below:

6b1

As a general rule, a pair of parts moving together (such as a melody

and a bass part) should use all four different kinds of motion for variety, with some qualifications:

(1) Contrary motion is preferred, and should be used

often.

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(2) Parallel motion is best with 3ds, 6ths, or 10ths

between parts. With quartal voicing parallel 4ths are common.

(3) Parallel octaves between parts should be avoided,

not because it sounds bad, but because one part is basically following the other, and independence is

lost. Students of traditional theory will remember that parallel perfect fifths are also avoided, but this

is never the case in jazz! Especially with the added colour of extensions, parallel fifths moving between

chords are inevitable, and are often used.

(b) In strict classical counterpoint there are two kinds of consonances:

perfect consonances (unison, octave, perfect fifth) and imperfect

consonances (all sixths, thirds, and tenths). Perfect consonances have an “open” sound, and are often saved for beginnings and

endings. Other intervals (seconds, fourths, sevenths) are traditionally

considered dissonant, and require resolution (in jazz this is mostly true for seconds and sevenths, but not fourths)

6b2

As an example of a typical mixture of consonant and dissonant intervals, here is a simple arrangement of two voices from the

English composer Thomas Tallis almost 500 years ago:

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6b3

The numbers between the staves represent the intervals, with

octaves ignored, so a 3rd and a 10th are both labeled as 3, an octave or two octaves are both labeled as 8, and so on. There are

a total of 32 pairs of notes; 21 pairs are imperfect consonances (3, 6), 9 pairs are perfect consonances (5,8), and only 2 pairs are

dissonances (2,4). All four types of motion are used between the parts; there are a number of examples of parallel motion with

either 3rds or 6ths, and similar motion is used the least. Look at the two dissonant intervals. The dissonant 4th in the first measure

moves by step to a consonant 3rd, and the dissonant 2nd in the third measure moves to a consonant 3rd, with the lower voice

resolving the dissonance. These are both very common patterns

using dissonant intervals.

Look again at the perfect consonances (5, 8); almost all of them fall on weak beats (2 or 4). In simple counterpoint between two parts

perfect consonances are used mostly at the beginning and end of the phrase, or on a weak beat. This principle can be observed in a

jazz arrangement: in the middle of a phrase, an octave or a fifth between the bass and the melody, especially on a strong beat, has

a halting effect, almost as though the phrase seems to end at a place where a stop is not expected.

(c) In the classical repertoire, both vocal and instrumental, dissonant

intervals are not avoided, but are used as an essential component of musical tension and relaxation, especially when dissonant

intervals occur on strong beats. This is also an essential

component in any jazz piece; and is the natural outcome when a

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melody note, or bass note, doesn’t belong to the harmony. Jazz

musicians will usually resolve that dissonant note intuitively, but recognizing it and how it relates to the chord will confirm the

natural intuition of the performer/arranger.

(d) In traditional music theory notes that form dissonant intervals are usually called non harmonic tones or figuration. Figuration is a

major component of any jazz performance, especially improvised. Listen to a gospel singer, and compare the performance with the

original hymn tune or spiritual: the perfect example of figuration! This example shows how Bach adds simple figuration to the bass

line of a chorale melody:

6b3a

The first line shows the melody paired with a simple bass line; all

the intervals are consonant except the diminished 5th which is part of the dominant-7th chord. The second line uses the same melody

with figuration added to the bass. Notice that the “extra” notes are not necessarily dissonant notes; often Bach jumps to another chord

note to maintain the 8th-note movement. Figuration can be either

chord notes or dissonant notes. Some of the notes of figuration

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have been labelled with either “N” or “P”. (N)eighbour notes move

a step away (up or down) from the chord note, and return. (P)assing notes form a short scale passage joining two chord notes.

Here are the first few measures of A Child is Born, first as it would appear on the page, then with figuration; a simple improvisation:

6b3b

Study this short example by Bach. The notes that are circled are dissonant notes; always one note away from a note in the chord,

and usually move to that note. The result is very expressive music, with continuous alternation between tension and relaxation. You

will have a chance to enjoy that tension and relaxation in the PLAY/SING section to follow.

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6b4

Here is a short example in a jazz style. As in the previous example, notes that are outside the chord are circled, and they all move by

step to a note in the chord. Alternate chord symbols are given

below the first two measures. Remember from the previous Module that the suspended 4th doesn’t always resolve, but it does in this

case. The G# in the first measure could be labelled as a #9, but the melody note really does feel dissonant, and must move back to A.

6b5

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(e) Figuration in the jazz bass line.

In Module 6(c) we will examine simple bass lines, using mostly chord notes, and extended bass lines, especially the “walking bass.”

Extended bass lines include notes that don’t belong directly to the chord, but, in most cases, connect stepwise to notes in the chord:

Study the following two versions of a bass line, the first one using only chord notes, and the second one with non-chord notes added.

When the 7th of the chord is used in a descending scale pattern it really works like a passing note as well. Two such examples are

labeled as (P). Notice that there is no particular distinction between non-chord notes that are on the beat or off the beat,

which are usually labeled differently in traditional theory. These

distinct labels are not important in a jazz bass line; any jazz player knows instinctively that a non-chord note on a beat creates more

musical tension.

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6b5b

Non-chord notes are absolutely essential in the walking bass line discussion in Module 6(c).

(f) Rhythm

Rhythm has an important role in counterpoint; the traditional method of teaching counterpoint (Species Counterpoint) is entirely

organized by the various rhythmic interactions between musical lines (1 to 1; 2 to 1; 3 to 1 etc.). Most good contrapuntal writing

incorporates one line moving in shorter rhythmic values than another one. There is an important principle that applies as well to

jazz as to traditional counterpoint: Where there are two musical lines of equal or almost equal importance (i.e: melody and bass)

they are more easily heard if they are not moving in the same rhythm. In other words, if there are longer notes in one part, there

should be shorter notes in the other one. Look at this wonderful example from the 2-part inventions by Bach. Either by

syncopation, or by smaller or larger note vales, each part is totally

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independent from the other one. Notice that the parts are almost

totally in contrary motion with each other.

6b6

This next example shows how a bass line can fill the rhythm under the long notes in a jazz ballad:

4b7