Modal Jazz Composition And Harmony, Volumes 1 A... [VERIFIED]
The goal of this book is to show the student the means to develop latent creative abilities by offering the unfettered environment of the chromatic-modal system and free asymmetric form. The freedom of the approach will allow the composer to express him/herself in any style: post 50s jazz, ECM, fusion, pop, classical, etc., that is not tied to any harmonic particulars.Ron Miller is professor of jazz studies at the University of Miami. His compositions have been recorded and/or performed by notable musicians as Red Rodney, "Elements", Jerry Coker, Ira Sullivan and Stan Getz. Composition students of Ron Miller that have attained notoriety include: Pat Metheny, Steve Morse, "T" Lavitz, Bruce Hornsby, Gil Goldstein, Mark Egan, Matt Harris, Denis DiBlasio and Rick Margitza.
Modal Jazz Composition and Harmony, Volumes 1 a...
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The goal of Modal Jazz Composition & Harmony, Volume 1 by Ron Miller is to show the student the means to develop latent creative abilities by offering the unfettered environment of the chromatic-modal system and free asymmetric form. The freedom of the approach will allow the composer to express him/herself in any style: post 50s jazz, ECM, fusion, pop, classical, etc., that is not tied to any harmonic particulars.
While the term "mode" is still most commonly understood to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian modes, in modern music theory the word is often applied to scales other than the diatonic. This is seen, for example, in melodic minor scale harmony, which is based on the seven rotations of the ascending melodic minor scale, yielding some interesting scales as shown below. The "chord" row lists tetrads that can be built from the pitches in the given mode[80] (in jazz notation, the symbol Δ is for a major seventh).
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.
[1.1] Theories of harmony rest on two fundamental questions: 1) What are the objects (i.e., the harmonies) and; 2) What are the relationships among the objects (i.e., harmonic progressions/successions)? The success of recent work in neo-Riemannian theory addresses situations for which the answer to the first question involves standard or syntactic harmonies, but the answer to the second question involves non-standard or non-syntactic progressions (Childs 1998, Cohn 1998a and 1998b, Douthett and Steinbach 1998, Gollin 1998, Hyer 1995). A roughly analogous situation arises for addressing jazz harmonic progressions, particularly for compositions after 1960. Compositions of this period often use standard jazz harmonies, but in progressions that suppress or ignore harmonic function. Yet the analogy is rough because, in general, jazz harmonies employ chordal extensions of sevenths, ninths, elevenths, and/or thirteenths. Further, harmonies in a number of jazz compositions after 1960 also make use of non-syntactic (or non-standard) chords, many of which are derived from the hexatonic collection and use pcset [0148] as a subset.(2)
[2.1] Jazz compositions of the 1960s draw primarily from harmonies that are subsets of four fundamental collections: the diatonic, the acoustic (also considered a mode of the ascending melodic minor scale), the octatonic, and the hexatonic.(3) Example 1 indicates some representative jazz harmonies from these four underlying collections. Example 1a shows harmonies derived from the C Diatonic Collection. I refer here to diatonic collections by the letter D and a number that corresponds to the pitch class of the major form of the collection: the label D0 refers to the C major collection, D1 the C/D major collection, etc. The diatonic harmonies include major seventh harmonies (and their extensions), minor seventh harmonies (and their extensions), dominant seventh harmonies (and their diatonic extensions), and others. Example 1b reveals harmonies derived from the F acoustic collection. I refer to acoustic collections by the letter A and a number that corresponds to the pitch class of the final of the acoustic collection: A5 is the F acoustic collection, A6 is the F acoustic collection, etc. (The F acoustic collection may also be regarded as a mode of the C ascending melodic minor scale.) Common jazz harmonies from this A5 collection include F13(11), CminM7 with extensions, Amin7/9(5), B7(altered), and Emaj7(5). Many of these acoustic harmonies include pc-set class [0148]: with the A5 collection [0148] consists of the pitch classes of either C, E, G, B, or E, G, B, D.
[6.5] This Hyper-Acoustic System only allows us to consider acoustic collection harmonies in isolation, of course, and I am unaware of any jazz compositions that use acoustic collection harmonies exclusively. Thus the question remains of how to place these acoustic collections in a broader context. Can these acoustic-based harmonies (or at least their ninth-chord trapezoids) interact with harmonies from other collections? I show that they can in several stages. The first stage concatenates diatonic and acoustic space in a three-dimensional Tonnetz, the following stage then expands this space into one that also allows octatonic and hexatonic harmonies.
[9.3] Further examination might suggest that not all 1960s repertories consist of similar moves on this three-dimensional Tonnetz, but may reveal consistencies within compositions or among different works of the same composer. The discussion here also does not engage the problem of octatonic harmonies, which are structurally inconsistent with diatonic, acoustic, and hexatonic harmonies. In jazz, octatonic harmonies typically operate as dominant-functioning chords, and therefore would be less likely to be modeled as trapezoidal ninth chords in the same fashion as are diatonic, acoustic, and hexatonic harmonies. General issues of voice-leading parsimony are not relevant to ninth chord representations in the same way that they are to P, L, and R triadic transformations on a neo-Riemannian Tonnetz. Further, this three-dimensional Tonnetz shares some of the same limitations of the more standard Tonnetz, which does not comfortably model moves between chords of different cardinality, and idealizes harmonies consistently as stacks of thirds.
American composer Christopher Theofanidis's orchestral work Rainbow Body operates on the synthesis of two disparate entities. Although based on a 12th century liturgical chant written by German abbess Hildegard of Bingen, the composition uses a Tibetan Buddhist term as its title, thereby offering a new perspective towards the familiar religious practice to the western world through a pluralistic lens. Similarly, this neo-modal composition reinterprets traditional harmony and counterpoint by carefully superimposing two different musical elements such as a non-harmonic tone and its tone of resolution. This dissertation investigates how the composer achieves such synthesis in his music by first exploring the historical and cultural backdrop in which the composition emerged. Then, it analyzes how the piece utilizes Hildegard's chant and other traditional musical languages and breaks away from it.
\tAmerican composer Christopher Theofanidis's orchestral work Rainbow Body operates on the synthesis of two disparate entities. Although based on a 12th century liturgical chant written by German abbess Hildegard of Bingen, the composition uses a Tibetan Buddhist term as its title, thereby offering a new perspective towards the familiar religious practice to the western world through a pluralistic lens. Similarly, this neo-modal composition reinterprets traditional harmony and counterpoint by carefully superimposing two different musical elements such as a non-harmonic tone and its tone of resolution. This dissertation investigates how the composer achieves such synthesis in his music by first exploring the historical and cultural backdrop in which the composition emerged. Then, it analyzes how the piece utilizes Hildegard's chant and other traditional musical languages and breaks away from it.
b) Hamāhangi-e musiqi (Musical harmony; Tehran, 1942), a textbook on practical harmony based on two French sources. The intention in publishing this book was clearly to foster the use of harmony in composition of pieces tied to Persian modal concepts.
Throughout much of the 20th century, to the present time, most musicians in Persia can be identified with one of three groups, representing different ideological persuasions. The three groups may be broadly described as: 1) those who insist on the sanctity of the traditional music, do not see the need for any reform, and resent any alteration in the performance style of the modal system; this group has been increasingly marginalized by 2) those who believe that the traditional music should be preserved and practiced, but also recognize a need for progress through the application of Western techniques for composition of new music within the bounds of traditional modal system; and 3) those who regard the repertoire of traditional music as museum material, worthy of safeguarding, but essentially irrelevant to modem needs. They are primarily interested in Western music and in composition according to Western techniques. This group, in the main, stands apart from the other two. 041b061a72