Advance Music

Sinopse Original:

The goal of Volume 2 of "Modal Jazz Composition & Harmony" is to continue the dissemination of information that presents a path of study for the aspiring jazz composer. Where Volume 1 of the book emphasized the preparation of a modal harmonic foundation, this volume will introduce concepts of melody writing and a study of the styles of jazz compositions that are an intrinsic addition to the contemporary jazz composer´s repertoire. Also included are chapters on harmonization and reharmonization techniques - as many of the concepts presented reflect an influence of Gil Evans, Duke Ellington and Charles Mingus as well as those of Herbie Hancock - and on pentatonic tunes that are harmonized with a modal harmonic foundation. As with Volume 1, an appendix with additional peripheral information is included for the student desiring theoretical explanation and additional examples.

Conteúdo:

CHAPTER I: MELODY

Melody Writing 10
The Elements of a Melody 12
A. Source Materials 12
B. Theme and Development 16
C. Melodic Contour 16
D. Balance 18
E. Point of Climax 19
F. Melodic Form 19
G. Melodic Rhythm 19
H. Performance Directions 21
I. Tessitura/Key 22
Style 23

Melodic Style Analysis 24

Non-Romantic Melody Examples 26
A. Idiomatic Angular .26
B. Idiomatic Referential 26
C. Idiomatic Programmatic 27

Romantic Melodies 30
Examples of the Use of Romantic Melody Writing 31

The Prototypical Romantic/Ideal Melody 34
Examples of Romantic/MelodicJazz Compositions 35
Conclusion of Chapter I 37

Suggested Exercises 38
Special Project: Folk Music Survey .40
Melodic Analysis Reference Guide .40
Recordings and Readings .42

CHAPTER II: REHARMONIZATION

Harmonization .44
The Preplanned Method .44
The Procedures .44
Getting Started .45
Harmonizing Given Melodies .46
Reharmonization .48
The Jazz Composer's Predicament .48
The Techniques '" .48
Substitute Chords 51
A. Diatonic Substitutions 51
B. Chromatic Substitutions 53
C. Style 55
D. Harmonic Rhythm 56
Reharmonization of Cadential Areas 56
1. Cadences 56
2. Cycles 58
Turnarounds 59
Substitute Symmetric Patterns 63
Chaniging the Harmonic Rhythm of Non-Cadential Areas 66
Arranging Techniques 73
Reharmonization Examples .75
Reworking The Melody. 79
Conclusion of Chapter II 85
Suggested Exercises 86
Recordings and Readings 86

CHAPTER III: PENTATONICC

Pentatonic Compositions 88
Description and Definition 88
Kinds of Pentatonic Compositions 88
Pentatonic Melodies 89
Creating Pentatonic Source Scales 89
Symmetric Pentatonic Scales 91
Form and Style .96
Harmonization and Harmonic Rhythm 96
Chord Selection/Harmonic Rhythm 96
Composition Examples 101
Extant Melodies 101
Folk Influenced Compositions 103
Miscellaneous Pentatonic Compositions 104
Conclusion of Chapter III 106
Recordings and Readings 107
Conclusion and Final Comments 108

APPENDICES

Appendix I , 110
Motific Development 110
Articulations and Effects 113

Appendix II 116
Tritone Substitution and Acoustics 116
Starting Chords - Standards 117
Additional Reharmonization - New Melodies 118

Appendix III 122
List of All Usable Pentatonic Scales 122
List of All Usable Modes 128
Language Listing 134
Miscellaneous Materials 137
Palm X, piano score 140