Jazz Theory I 5th edition by Hiroaki Honshuku Index Notation ........................................................................................................... 2 Class Restrictions ............................................................................................ 4 Key Signature (the Circle of the 5th) .............................................................. 5 Intervals ........................................................................................................... 6 How to get the Interval ............................................................................... 7 Chord Chord Structure .......................................................................................... 8 Chord Tone & Tension ............................................................................... 9 Inversion ................................................................................................... 10 Mode Church Mode ............................................................................................ 12 How to get the correct mode scale ........................................................... 13 Tension & Avoid Note .............................................................................. 14 Tritone ...................................................................................................... 15 Tritone Substitution Chord (Altered Mixo) ............................................. 16 Melody Analysis ...................................................................................... 18 Exercise .................................................................................................... 19 Summary .................................................................................................. 20 Diatonic Functioning Chord .......................................................................... 21 Analysis .................................................................................................... 22 Harmonic Rhythm .................................................................................... 23 Secondary Dominant ................................................................................ 24 Extended Dominant .................................................................................. 26 Related II minor ....................................................................................... 27 Example (Peace) ...................................................................................... 28 Summary .................................................................................................. 31 Project ............................................................................................................ 32 About the author ............................................................................................ 33
Theory II Subject Diminished Scales Minor Key Modal Interchange Special # Dominant b IV-7( 5) Deceptive Resolution Compound Chords
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
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Notation •
Notation is the most profound communication tool between the composer and the performer. If the music is not notated clearly, the performer will fail to sight read. The composer, most likely, has to be present at the rehearsal, and the performer will demand more payment for the over work. On the other hand, if the music is written perfectly clear, the performer will be blamed for a bad performance. As most of the college assignments will not accept hand written paper, this class requires basic notation skill by hand. The assignments done by unreadable hand writing or notated by computer will not be graded. • Basically, a right up angle of 30˚ should be kept in mind. This angle is the maximum and/or comfortable angle to the sight reader's eyes. TIP Unlike written language, music notation is very psychological to the sight reader. You must pretend to be a a performer reading the music for the first time, trying to get all the necessary information (tempo, dynamics, articulations, etc.) as quick as possible. •
Note Head 30˚ right up angle.
→
Quarter Rest Starts from the bottom. Note that the starting circle is on the 2nd line.
•
8th Rest Should fit between the 2nd and the 4th line.
→
•
Treble Clef (G Clef) Starts from the bottom, should make a sharp top, and circle the note G.
•
Stem • Flag The length of the stem is an 8va. The The direction of the flag is the same direction of the stem switches at the 3rd side of the note head, going down, and up. line. Same space as the • Important: Each staff space ledger must be ← the same size as the staff space. If 8va Extended the ledger lines are more than two, the length of the stem is extended to the 3rd line.
→
-2-
•
•
Bass Clef (F Clef) Starts from circling the note F (4th line).
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
•
The Beam Angle Should not exceed 30˚.
•
The direction of the beam is decided by the first and the last note. However, it is better to use a leveled one when many notes in the beam are distant. Leveled
↑ •
↑
↑
↑
↑
↑
Imaginary Bar Line An imaginary bar line is a line drawn in the middle of a measure that has a time signature in even beats (2/4, 4/4, 6/8, 12/8 etc.). It is a sub-division of a bar. The dotted quarter on the 2nd beat crosses the Imaginary bar line which makes it harder to read. The sight reader will not be able to tell the time signature of the piece without going back to the top of the piece. Therefore, it must be written as shown in the 2nd bar. Exception to this rule is when the note value is bigger than 2 beats (half note in this case), because it is not as difficult to identify the imaginary bar line in sight reading.
•
Space Spacing is one of the biggest issues. If each note is not spaced in relation to the others, the sight reading will not be easy.
The example on the first measure here makes sight reading almost impossible. You have to rewrite it as in the 2nd measure.
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
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Class Restriction (the big rules) * *
The neat manuscript skill is required as described in page 2 and 3. When the Interval is asked verbally, the prefix must always be said along with the number. For example, 7th will not have any meaning if Major, minor or other prefixes are not attached. * "-" sign must be used for chord tones, -3rd and -7th, while "b" sign is used for tensions, b9th and b13th. "Aug" and "dim" sign must be used for chord tones, Aug5th and dim5th, while "#" sign is used for tensions, #9th and #11th. * The Chord spelling must follow the class rule as shown below:
Never in this class
X
CM7
Prefered much Prfered vvery ery m uch iin n tthis his cclass lass
CMaj7
X
Cy7
minor
X
Cm7
C-7
minor 7th with flatted 5th
X
C 7
C-7( 5)
Augumented
X
C+7
CAug7
diminished
X
C7
Chord with tensions
X
C7
Major
Never "Half Diminished"! There is no diminish function.
-4-
ø
o
b9,b13
b
Cdim7
b13)
C7( b9
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Key Signature
Circle of the 5th B F
G
C
D A E
The Circle of the 5th only goes clockwise, because 5th goes down to resolve. For example, "C" is a tonic, which becomes the 5th of "F", so "C" goes down to "F". "F" becomes 5th of "Bb" so on...
B
F
E A
P5th Up
F
A D G
B
P5th Down
C
E
G C
C
D G D
C F E
A
B
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
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Intervals
Intervals
C D E
F G A B
(C)
THE SPOT
THE SPOT
1/2 Step
1/2 Step
Major 2nd C Major Scale Starting from the Tonic
Major 3rd Perfect 4th Perfect 5th
Major 2nd
No Spot
Mjor 3rd
No Spot
Perfect 4th
1 Spot
Perfect 5th
1 Spot
Major 6th
1 Spot
Major 7th
1 Spot
Perfect 8th
2 Spots
Major 6th Major 7th
-6-
Major
minor
Augmented
diminished
Double Augmented
double diminished
If the interval is 4th, 5th, and 8th, use this chart. One level = Half Step
If the interval is 2nd, 3rd, 6th, and 7th, use this chart. One level = Half Step
Perfect 8th
Perfect
Augmented
diminished
Double Augmented
double diminished
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
• How to get the correct interval with no screw-ups
w & #w
Lets find the interval shown here, step by step as shown below.
w & w
1.
Hide any accidentals.
2.
Use your fingers to count the distance. E F G A B C D E F G 1 2 3 4 5 6 7 8 9 10 Now you know the interval is some kind of 10th. When you count, do not forget to include the first note.
w & w
Write down the number NOW.
( 3.
10th)
Since this is more than an octave away (the number is greater than 8), you have to take the top note down an octave in order to find the kind (Major, Perfect, etc.) or it will not fit with the chart shown on page 6.
œ & ww
←
Now this is a 3rd that will fit in the chart. The third is the Major-minor group, not the Perfect group. So, is this Major or minor? Lets use the keyboard chart.
C D E F G A B C D E F G A B
←
Major 3rd
According to the chart on page 6, C to E is a Major 3rd and does not have the Spot (where the black key is missing). But E to G has the Spot, which tells you the interval is a step shorter than Major 3rd. Therefore, it is a minor 3rd. 4.
Put the accidental back in. From here on, forget the keybord.
œ & # ww
E to G = minor 3rd
•
←
↔
Use both of your hands vertically, and add the accidental.
Adding a # on the bottom note makes the distance shorter by a step.
Now you know the answer is a diminished 10th. Easy!.
* The MORE Spots, the SMALLER the Interval. The Fewer Spots, the BIGGER the interval.
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
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The definition of a chord is two or more notes in a certain interval away vertically. To be a tonal harmonic chord, the root and the 3rd are essential.
Chord Diatonic Triads
Major Triad
minor Triad
C Maj
A-
& www
w
w
w
ww w
M3rd
-3rd P5th
P5th
Augumented Triad E aug
& # # www
w
w
w
#w
#w
w
diminished Triad
C #di m
# www
M3rd
#w
w
w -3rd dim5th
Aug5th
Seventh Chord
Major Seventh
minor Seventh
C Maj7
www w
&
w
w
w
w M3rd
A -7
www w
P5th
P5th M7th
-7th
b
Dominant Seventh G7
w & www
w
w
w
w M3rd
www w
b
B-7( 5)
minor Seventh ( 5)
w
w
w
w
-3rd P5th
dim5th -7th
-8-
w
w
w -3rd w
-7th
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Chord Tone & Tension (references)
C Major Scale
w
w
¿
w
w
w
T9th
3rd
(4)
5th
13th
M7th
w
w
w
w
w
¿
w
Root (1)
T9th
-3rd
T11th
5th
b6th
-7th
w
w
¿
w
w
w
T9th
3rd
(4)
5th
T13th
-7th
&w Root (1)
A minor Scale
&
G Dominant Scale
&w Root (1)
# C Maj7( 5)
& # wwww
M7th Aug5th M3rd Root C Maj9
& wwww
M7th P5th M3rd T.M9th
C di m7
b b ∫ wwww
dim7th dim5th -3rd Root C-9
b b wwww
-7th P5th -3rd T.M9th
C Maj6
wwww M6th P5th M3rd Root
b G 7( 9)
w b www
Root P5th M3rd T.-9th
9
C6
C-6
b C-( 6)
www ww
b wwww
b b wwww
M9th M6th P5th M3rd Root
M6th P5th -3rd Root
-6th P5th -3rd Root
b G 7( 13)
www bw
M3rd M3rd Root T.-13th
# G 7( 9)
# www w T.Aug9th -7th P5th M3rd
C-(11)
b b www w
-3rd -7th T.P11th Root
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
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Inversion
•
Chord: Root Position and Inversion Almost every type of chord is formed with a rule. That is, if the root is on the staff line, the rest of the chord tones above it will also be on the line. Similarly, if the root is in the staff space, the rest of the chord tones above it will also be in the space. Therefore, whenever you see a chord formed with notes that are a mix of on the line and in the space, you should assume the chord is an Inversion. FMaj7/E
& wwww •
b
& b bb wwww
w & www w
bw & b www
w b b www
b
F-7 ( 5)
b b b www w
b
#
G 7
bw b b b www
C -(Maj7)
# # www #w
b
w b b bb wwww
E -7(13)
#
DMaj7( 11)
# ## wwww w
E -9
# ww www
Ddi m7
b b www w
Fdi m7
b b ∫ www w
b
D di m7
bw b ∫bb www
Exception is Six and/or Six Nine chords. Though usually, the Six chords are regarded as a type of inversion. CMaj6
& www w
- 10 -
w b b www
b
A Maj7
Diminished chords are the ones you need to spell correctly, or you may never find the right scale. Edi m7
•
www w
b
Likewise, all the tension notes must be written in the same rule to be a root positioned chord. CMaj7(13)
•
A Maj7/E
Examples shown below contains Cb, Fb, and B#. Those spellings are necessary to find the root of the chord. D 7
•
b
FMaj7
C -6
b wwww
6 C9
www ww
6 C-9
w b wwww
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 11 -
Church Mode Parent Key: C Major
Transposed to C Root
C Ionian
&w w w ¿ w w w w
Ionian
I Maj7
R
T9
3
(4)
5
T13
M7
R
&w w w w w ¿ w w D Dorian
Dorian
II-7
R
T9
-3 T11
5
(6)* -7 (T13)
Phrygian
III-7
R
(2)
-3 T11
5
(6)
-7
w w w w w w &w w
IV Maj7
R
T9
3
T#11
5
T13
M7
w w w w ¿ w &w w
V7
R
T9
3
(4)
5
T13
-7
& wwww
Ionian
- 12 -
D -7
www w
Dorian
bw w b w w w b w w b¿
C Lydian
w w w w # w w w w
C Mixo-Lydian
bw w w w ¿ w w w
C Aeolian
bw w b ¿ w w b w w w
C Locrian
bw w b w b w w b w w b¿
*Note: The 6th note of Dorian becomes Avoid Note only when it is followed by V7 chord of the key, because the note will create Tritone with the -3rd, which will be a duplicate of the Tritone following V7 has.
[x=Avoid Note]
C Maj7
C Phrygian
R
w w ¿ w w Aeolian &w w w VI-7 R T9 -3 T11 5 (6) -7 R w B Locrian w w w w w ¿ w Locrian & b ( 5) b5 Tb13 -7 R VII-7 R (2) -3 T11 A Aeolian
C Major Diatonic Chords
bw w ¿ w w b w w w
R
G Mixo-Lydian
Mixo-Lydian
C Dorian
R
F Lydian
Lydian
w w w w ¿ w w w
R
w w w ¿ w w &w ¿ w E Phrygian
C Ionian
Diatonic Chords are chords built on each of the scale notes within the same key. Therefore, no note will have accidentals except melodic and harmonic minor scale. E -7
www w
Phrygian
F Maj7
www w
G7
Lydian
Mixolydian
www w
www w
A -7
Aeolian
www w
b
B-7( 5)
Locrian
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
• How to get the correct mode scale with no screw-ups
B-( 5)
Parent Key: C
C Maj
•
•
w
w
w
w
w
w
Next, using the chart above, find the Parent key for Eb Aeolian. The Aeolian is located at the Major 6th above the Parent key. You will get Gb Major going down a Major 6th from Eb as the Parent key. Apply the key signature of Gb Major to the scale above. The key signature for Gb Major is Bb-Eb-Ab-Db-Gb-Cb.
& bw
•
Major 6th Aeolian
Lets find the correct scale for Eb Aeolian using the chart above. First, write out the notes across an octave from E to D (ignore the b at this point).
&w •
Ionian
Major 2nd Dorian
D-
Major 3rd Phrygian
E-
Perfect 4th Lydian
F Maj
Perfect 5th Mixolydian
G7
Major 7th Locrian
A-
w
bw
bw
bw
bw
bw
This is the Eb Aeolian scale. Easy, Isn't it?!
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 13 -
Tension *
Tension notes are notes other than chord tones that can be placed 8va above the chord, yet will not create b9th interval from one of the chord tones. If the note creates the b9th interval from one of the chord tones, the note becomes a scale note rather than a tension note.
Non Chord Tones
&w
w
w
w
w
w
w
Chord Tones
Avoide Note
&
C Maj7
C Maj9
ww ww
˙œ œœ ˙ M9th
*
*
*
C Maj13
˙ œ˙ œœ
˙ œœ ˙œ
M9th
9th
The example above shows that each one of the non chord tones from the C Ionian scale can be placed above the chord, except the 4 th note. The scale note 2nd (D) becomes Tension 9th, and the scale note 6th (A) becomes Tension 13th. The scale note 4th (F), however, will create b9th interval from the chord tone 3rd (E). Therefore, the 4th note in a Ionian scale becomes an Avoid Note, which is identified by writing with a parenthesis, like (4), and is called "The scale note 4". The b9th interval is the most dissonant interval that will destroy a sense of quality of the chord. In the example above, as soon as the note F is played over C Maj chord, it destroys a sense of Major harmony. The definition of the Avoid Note is; 1) Do not start with. 2) Do not hold with. 3) Do not end with. Note that in general, passing the Avoid Note with a value smaller than an 8th note will not create any effect. Occasionally, even the beat value (i.e., quarter note in 4/4) is acceptable if the note is placed on the weak beat (i.e., 2nd and 4th beat in 4/4).
- 14 -
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Tritone
ac//22==c;b;(8va (8va/ 2/ 2= =Tritone) Tritone) ab b a c
&
w
#w bw
*
The word Tritone originally came from the interval built with three whole tones. However, it is often talked about as the three points within an Octave: the bottom note (a), the top note (c) and the very mid point note (b). Since the Medieval Era, this interval was often called "The Devil's interval" because of the difficulty in performance. Since this interval must be exact mid point of an Octave, the enharmonic spelling will not matter.
w
Whole Note x 3
*
The real importance of the Tritone interval is as follows: The Tritone interval is the most unstable interval to the human ear, and it wants to be resolved. In other words, this interval will not create a stable sound for use as a stand-alone chord. If this interval is used in the end of a music, it will never sound a sense of complete release. Note that it became more popular to purposely use the Tritone to make an unstable impression in this century.
The Primary Resolution (Inward resolution) Tritone goes inward to resolve to the root and the third of the target chord. The chord itself resolves down from G7 to C by Perfect 5th.
The Secondary Resolution (Outward resolution) Tritone goes outward to resolve to the root and the third of the target chord. The chord itself resolves down from G7 to Gb by minor 2nd.
G7
&
œ˙œ ˙
From F to E Down by 1/2 step
C
˙œœ
From B to C Up by 1/2 step
G7
&
œ˙œ ˙
From E to G Up by 1/2 step
Gb
b b b œ˙œ
From B to B Down by 1/2 step
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 15 -
Tritone Substitution Chord (Substituted Dominant, or subV7)
*
As shown before, a dominant chord can resolve to 2 targets, one by going down Perfect 5th as a primary dominant motion, the other by going down minor second. This is called Substituted Dominant Motion.
*
The example bellow shows that there are two dominant chords that can be resolved to a target chord, C Maj. Note that G7 (Primary Dominant) and Db7 (Substituted Dominant) have the same Tritone, F and B(Cb). This means that Db7 can substitute G7. Thus, this function of the dominant resolution is called Tritone Substitution. Coincidentally, the distance from the root of G7 to the root of Db7 is a Tritone away.
D b7
G7
˙œ˙ œ
&
B=C
b bb œ˙œ˙
F=F
*
From C to C C Up by 1/2 step
n œ˙ œ
From F to E Down by 1/2 step
This is an example of a Be-Bop line over a Substituted Dominant chord.
D b7
&
œ œ bœ bœ œ œ bœ bœ 3rd T#11th T9th
? b bb wwww *
R
b7th
R
C Maj7
T13th T9th
˙.
Œ
˙˙˙ ... ˙.
Œ
When the same line is played over the Primary Dominant, the natural tensions, 9th, 13th, and a least important chord tone, 5th becomes Altered Tensions.
œ œ bœ bœ œ œ bœ bœ & G7
?
- 16 -
b7th
wwww
R Tb13th b5th 3rd
b5th T#9th Tb9th
C Maj7
˙.
Œ
˙˙˙ ... ˙.
Œ
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
*
As seen in the example, an Altered Mixolydian scale is a result of a superimposed Substituted Dominant scale.
œ
˙
œ
˙
œ
˙
bœ
˙
bœ
b˙
bœ
b˙
G Mixolydian (parent Key: C)
&
˙
Db Mixolydian (parent Key: Gb)
&
b˙
G Altered Mixolydian (Db Mixolydian Superimposed over G Mixolydian)
&
˙
bœ
Db Lydianb7th (Raised 11th in order to maintain the substitute function)
&
•
b˙
˙
b˙
bœ
b˙
nœ
˙
bœ
bœ
bœ
œ
˙
#œ
There are few important points that must be remembered: 1) ONLY on a Dominant chord is a b9th interval allowed for the non-chord tones, because Tritone is stronger than the b9th dissonance effect. 2) The 4th note of the Mixolydian (includes any kind of tension notes) is ALWAYS the Avoid Note, because the 4th note is the root of the target chord. Tritone must maintain the wanting to resolve, so it cannot anticipate the target. 3) Note that the tension 9th splits to b9th and #9th as a result of superimposing the Substituted Mixolydian. V to I motion G7
w & www
C
w ww
Altered Mixolydian (Commonly called; Altered Scale)
w R(1)
subV to I motion
D b7
& b bb wwww
C Maj7
www w
bw Tb9th
#w T#9th
w
¿
bw
bw
w
3rd
(4)
b5th
Tb13th
b7th
bw
bw
bw
5th
T13th
b7th
Lydian b7th (Mixolydian with #11th)
bw
bw
w
R(1)
T9th
3rd
w T#11th
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 17 -
Melody Analysis
* This is jazz specific, while classical music theory explains further.
C7
œ œ œ bœ œ œ & 44 ‰ œ
*
Analyzing melody is done by numbering each note according to the mode (C Mixolydian, in this example).
T9th R 3rd 7th T9th R 5th
C7
œ bœ œ œ & 44 ‰ œ œ œ 5th (4) 3rd 7th T9th R 5th
1/2 step C 7 1/2 step
& 44 ‰
œ #œ
œ bœ nœ
œ
œ
T9th Pass. 3rd 7th T9th R 5th
1/2 step
C7
#œ œ bœ nœ œ 4 &4 ‰ œ œ 5th App. 3rd 7th T9th R 5th C7
1/2 step
1/2 step
œ nœ bœ œ & 44 ‰ œ œ œ T9th R 3rd W.App. R 5th W.App. App. C7
B7
& 44 ‰ b œ 7th
C7
œ
7th
T 13th
B7
& 44 ‰ b œ 7th
- 18 -
j œ œ
j œ ‰ œj œ 7th
T 13th 5th
An Avoid Note An Avoid Note is one of the Scale Notes as explained before, so it will be marked accordingly. In this example, the 4th note is the Avoid Note to the Mixolydian. Therefore, it will be marked as (4), which indicates it is one of the Scale Notes. A Passing Note Passing Note is a note located between the notes from the mode. APassing Note must be preceded by a 1/2 step, and followed by a 1/2 step as well. Note that D# in this example is not T#9th because the Passing Note function is obvious. An Approach Note An Approach Note , unlike a Passing Note, is a note that is followed by a note from the mode by a 1/2 step. Note that D# in this example is not T#9th because the Approach Note function is obvious. An Double Approach Note An Double Approach Note is a note that is followed by an Approach Note. Note that a Double Approach note must have the opposite direction of an Approach Note by a whole step. Anticipation Anticipation is defined by a value smaller than the beat value (i.e., Quarter Note in 4/4). In this first example, if the note A is a quarter note placed on 2 instead of an 8th note on the end of 2, it becomes T13th against C7, and will be changed to b7th on beat 3 even though the note is tied over. The second example shows that the Anticipation appears followed by a rest. It is easier if the imagination is used to hear the ring of the note over the rest.
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Melody Analysis Exercise
*
Number each note according to the chord.
A C
& 44 .. ‰ œ .
F-7
bœ .
œ
œ
1
b B 7
C7 j bœ œ bœ œ œ ˙
2
4
5
D-7 j A7 œ œ œ œ œ ˙.
E-7
‰ j‰ œ œ œ œ. œ
Π6
j œ œœœœ
j œ œ.
3
G7
& œ œ ‰ œj ˙
A7
œ.
1
D7
Yardbird Suite by Charlie parker
b B 7
7
G7
8
#
2
G7
C
&Œ
b
& œ.
# F -7 ( 5)
j‰ j œ œ ˙.
j j #œ œ œ
Ó
10
B
12
B7 ( 9)
C7
‰ jœ œ œ œ œ w
9
E-7
Œ
3
œ œ œbœ
11
b
B7( 9)
13
E-7
A7
œ œ œ #œ œ œ #œ ˙ œ 14
Œ
‰ j bœ
15
b
D-7
&
œ.
j œ ‰ œ œ œ ‰ œ.
E-7 ( 5)
16
..
Œ
A7
D7
œ œ œ # œ œ ‰ œj œ . œ
17
18
D-7
b
D 7
jœœœœÓ œ 19
A' C
& ‰ œ. 20
œ
F-7
bœ .
œ
j & ‰ œ ˙.
b
j bœ œbœ œ œ ˙
21
D7
24
b
B 7
C7
B 7
œ.
22
25
œ œ ‰ #œ œ œ
23
6 C9
G7
‰ j 3 œ œ œ œ œ
A7
j œ œ
œ œ w 26
∑ 27
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 19 -
Summary of Chord and Tension • •
The definition of a Chord is any combination of more than one note piled up vertically. The definition of Tension is one of the non-chord tones from the scale (including the church mode scales), and can be placed an octave above the chord and yet does not create b9th interval with any one of the chord tones. However, the b9th violation will not affect the dominant chord which Avoid Note is always (4). C Maj7
& www w
C2
C Maj6
ww
www w
w www w
↑
↑
↑
This is still a chord. Note that there is no 3rd, 5th or 7th, because 2nd is the highest chord tone.
Note the difference. The Major 13th chord may have hidden 9th and #11th.
b
C -7
& b b www w •
•
•
C -6
b wwww
C -( 6)
b b wwww
C Maj13
w b b wwww
C -7(13)
As shown above, the number attached to the chord name indicates the available tensions. In 6 chord, because 6 is the highest number, 7th, 9th, 11th, and 13th will not be available in the strict sense in theory. However, composers often write 6 chord to prohibit only 7th. Especially in Major chord, Major 7th chord cannot be used if the melody is the root. Because the melody always sounds an 8va above the chord no matter what the actual range of the note is, it will sound the violation with the b9th interval. Even though the melody is played in a close range on the same harmony instrument, it will still be weak sounding by a 1/2 step above the M7th of the chord. Thus, when the melody is the root of the chord, M6th or 6/9th chord must be used to maintain the integrity of the melody. The minor b6th chord in the example above may be easier if treated as an inversion of AbMaj7 chord. However, spelling this chord this way maintains minor quality which affects the performance, and indicates Aeolian mode as well. Important Chord spelling rule: If a number appears with no prefix (i.e., C9, C13), it is a dominant chord; while the Maj sign must be used to indicate a Major chord (i.e., CMaj9, CMaj13), except on 6 chord, which does not need any prefix to identify whether Dominant or Major because 6 chord is prohibited to have 7th note which is needed to create Tritone in the dominant chord, and therefore it will never be a dominant chord.
- 20 -
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Diatonic Functioning Chord
Basic Cadence C Maj7
&
T - SD - T
F Maj7
www w
C Maj7
& www w
T-D-T
www w
www w
G7
C Maj7
www w
C Maj7
D -7
E -7
www w
F Maj7
www w
G7
T
SD
T
SD
D
www w
T = Tonic Function
Subdominant Functioning Chords II- (D-7) is Inverted IV Maj(13).
w w & www
D-9
www ww
C Maj7
www w
ww ww
www w
www w
ww & wwww
CMaj(13)
www w
b
B-7( 5)
A -7
T
SD = Subdominant Function
Tonic Functioning Chords III- (E-7) is I Maj9 without the Root. VI- (A-7) is Inverted I Maj6
FMaj(13)
G7
www w
C Maj7
& www w
ww ww
F Maj7
& www w
T - SD - D - T
C Maj7
D
D = Dominant Function
wwwA -7 w
E -7
www w (œ)
Dominant Functioning Chords b VII- (B-7( 5)) is V7 without the Root.
www & ww
www w
G 7(9)
b
B-7( 5)
b
Note: In jazz theory, -7( 5) will not substitute the dominant even though it contains Tritone. This chord is a member of minor chords, instead (i.e., II degree in a minor key).
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 21 -
Analysis Find all the Dominant Chords first
•
When you see a set of progression: __7 (any Dominant 7th, including altered tension(s)) going down Perfect 5th to any kind of chord, draw an arrow.
G7
[V to I Motion]
b
Scale: Mixolydian with or without altered tension(s)
•
CMaj 7
P5 ↓
C-6
#
When you see a set of progression: __7 (any Dominant 7th, including altered tension 11th) going down minor 2nd to any kind of chord, draw a dotted arrow. (See page 13 for the scale) [SubV to I Motion]
b
Scale: Lydian b7th
•
G7( 9)
P5 ↓
-2 ↓
D7
C7
b When you see a set of progression: __ -7 (any minor, including __ -7( 5) ) going up Perfect 4th to __7 (any Dominant 7th, including altered tension(s)), draw a bracket. D-7
P4 ↑
G7
P4 ↑
G7( 9)
[II - V Motion]
b
D-7( 5)
b
Complete Major II - V - I
D-7
P4 ↑
G7
P5 ↓
CMaj 7
P5 ↓
C-
Complete minor II - V - I
b
D-7( 5) P4 ↑
- 22 -
b
G7( 9)
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Harmonic Rhythm •
• •
•
Harmonic Rhythm is a division line in music that evenly divides the section. I.e., a 32 bars music form is divided in 16 bars x 2, the 16 bars section will be divided in 8 bars x 2, the 8 bars section....., a measure in 4/4 is divided in 2 beats x 2..., and so on. Harmonic Rhythm creates a sense of section which affect melody as well as chord changes. Note that the Blues form differs in division. The 12 bars form could have been divided into 6 bars each, but the 6 bars section cannot be divided into 3 bars each because it is an odd number. Therefore, the Harmonic Rhythm in a 12 bars Blues form is 4 bars x 3. In most of the standard jazz music, which written in a 32 bars form, the Harmonic Rhythm subdivision is 8 bars x 4, because most common form styles are "A-A-B-A" and "A-B-A-C".
32 bars form
*
A(A)
4
4
A(B)
4
4
B(A)
4
4
A(C)
4
4
IMPORTANT: Note that any of the dominant functions are not affected when it appears within Harmonic Rhythm; However, II - V motion are affected. As shown in the examples , if the II -V motion is seen across the Harmonic Rhythm division, it will never sound II - V motion. Harmonic Rhythm Division F7
b A 7( 9)
E -7
D -7
G7
& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Harmonic Rhythm Division C Maj7 E -7
& 44 ’
’
Harmonic Rhythm Division
b A 7( 9) D -7
b b E -7 ( 5) A 7( 9) D -7
G7
’
’
’
’
’
’
In both examples, E-7 will sound an extension of CMaj7 because E-7 is a tonic functioning diatonic chord. Therefore, it will not be analyzed with a bracket.
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 23 -
Secondary Dominant
•
Secondary Dominant Chords are non-diatonic dominant chords that resolve to a diatonic chord. V7 chord is already a diatonic chord, so it is called primary dominant chord. IV7 is not a Secondary Dominant Chord, because expected destination (Perfect 5th down) is a bVII, which is not a diatonic chord. However, it may be considered as a SubV7 chord which resolved to III-7 (minor 2nd down), so it could be analyzed as SubV7/III. C C Maj7
D -7
www w
& wwww
E -7
www w
V7/II
II-7
A7
D -7
F Maj7
C7
&’ ’ ’ ’
V7/III B7
ww ww
A -7
ww ww
b
B-7( 5)
III-7 E -7
’ ’ ’ ’ ’ ’ ’ ’
V7/V
V7
F Maj7
D7
G7
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
IVMaj7
b VI-7( 5)
V7/VI
VI-7
V7/VII
E7
A -7
F7
b B -7 ( 5)
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
&’ ’ ’ ’
- 24 -
ww ww
ww ww
4 &4 ’ ’ ’ ’ ’ ’ ’ ’
V7/IV
G7
#
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
•
Available Scale for Secondary Dominant Chords. V7/II
A7
˙
œ
#˙
œ
˙
œ
˙
R
T9
3
(4)
5
Tb13
b7
&
V7/III
B7
œ
#˙
œ
˙
œ
˙
R
Tb9
3
(4)
b5
Tb13
b7
V7/IV
C7
Mixolydian
˙
œ
˙
œ
˙
œ
b˙
R
T9
3
(4)
5
T13
b7
&
V7/V
D7
Mixolydian
˙
œ
#˙
œ
˙
œ
˙
R
T9
3
(4)
5
T13
b7
#˙
œ
˙
3
(4)
5
œ Tb13
&
V7/VI
E7
˙ R
V7/VII F#7
& #˙ R
•
Mixolydian b5, b9, b13 (Can be Altered Mixo with #9 added)
˙
&
&
Mixolydian b13 (see the option bellow)
Mixolydian b9, b13
œ Tb9
˙
b7
Mixolydian b5, b9, b13 (Can be Altered Mixo with #9 added)
œ Tb9
#˙
œ
3
(4)
˙ b5
œ
˙
Tb13
b7
It is very common to see V7/II with Tb9. This is because II-7 is assumed as a I-7 momentary, so the key signature of that assumed minor will apply, which is b9 to V7/II. This option will not occur with any other Secondary Dominant Chord. V7/II A7 Mixolydian b9, b13
& w R
bw Tb9
#w
¿
w
w
w
3
(4)
5
Tb13
b7
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 25 -
Extended Dominant •
Scale: Mixolydian
Extended Dominant Chords are dominant chords in a pattern of Circle of 5th which eventually reaches to a target. The changes shown below are typical Rhythm Changes bridge in Bb. The target chord after this section is Bb Maj7, which is I Maj7.
(V7/V/V/V)
(V7/V/V) V7/V
D7
G7
V7
C7
F7
& ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ Extended Dominant
•
Extended Dominant
Secondary Dominant
Primary Dominant
Note that the Roman Numeral Analysis is usually not applicable to the Extended Dominant Chords. However, this class will apply them with Parentheses as shown.
Left:
Hiro Honshuku with Dave Liebman and Tiger Okoshi at Live House RAG. Bottom: Honshuku with his Boston Blazing Orchestra and Mike Stern.
- 26 -
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Related II•
Any dominant chord can be preceded by a minor chord, which is a P4th below the dominant chord. This is because the dominant chord is assumed as a V7 no matter where it is resolving to, so the added minor chord becomes a II- chord as the relationship. Therefore, the Roman numeral analysis are not applied, but brackets are needed. •
Bb
Shown below is the bridge of Rhythm Changes and an arrangement applied with related II- chords. This kind of re-harmonization was common during the Be-Bop Era. V7/V D7
G7
V7
C7
F7
& ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
Bb
A -7
D -7
D7
V7/V
II-7
C7
C -7
G -7
G7
V7 F7
& ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
•
The example shown below is Autumn Leaves, and its arrangement. Note that the target is completely ignored and replaced with a sequence of subV7 and its related II-7.
G-
b & b 44 œ œ œ
IV-7
bVII7
C -7
F7
w
œ
C -7
˙ j b & b 44 ‰ œ œ œ
b
B Maj7
˙ œ œ œ
˙
F7
Ó
II-7(b5)
b
b
A-7 ( 5)
E Maj7
œ
w œ œ œ
bVII7
IV-7 G-
bIII Maj7 bVI Maj7
subV7/ B -7
E7
b
B -7
b
E 7
V II-7(b5) V7(b9)
b
A-7 ( 5)
Œ ‰ œj œ œ œ œJ œ . œ Œ Œ ‰ œj œ œ œ w
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
b
D7 ( 9)
œ
- 27 -
PEACE
Analysis (cont.)
b
b
II-7( 5)
G-
V7( 9)
b
D7( 9)
œ3
.. Œ
F
œ
œ
Bb
b ( 5)
F7
# ( 9)
œ
œ
#œ nœ
(I Maj7) A/G
#
#
b
#
b E -7( 5)
F -/E
œ œ œ
&
bb 9
- 28 -
#
C7( 11)
SubV7
I Maj7
B7( 11)
B Maj7
#
E7 3
SubV7
I Maj7
#
b
D7( 11)
D Maj7
3
#œ nœ œ bœ œ 7
n/a
B -7
œ nœ #œ œ œ œ œ nœ œ
b
3
œ nœ #œ
V7
3
II-7( 5) Db
6
Bb
œ J
5
VI-7 (VI-7) F -7
II-7
3
4
AMaj7
&
‰
˙.
3
I Maj7
œ.
A
b B Maj7
3
bb
C7
2
C -7
b & b œ bœ bœ œ
G -7 3
# b II-7( 5) V7( 9) I Maj7 BbBb
BMaj7
V7
œ œ œ œ œ3 œ œ
1
bII Maj7
II-7
b
A -7( 5) 3 b œ 4 &b 4 ‰ œ
Horace Silver
b˙ .
Œ
8
b
3
bœ bœ œ œ œ
˙.
Œ
..
10
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
PEACE
Analysis (cont.)
b
Bb
b
VII-7( 5)
V7( 9)/VI
b
VI-7
D7( 9)
3 .. Œ œ
œ
œ
G -7
b & b œ bœ bœ œ
•
œ J
# b II-7( 5) V7( 9) I Maj7 #
b
C -7( 5) F7( 9)
œ
B -7
B Maj7
3
3
œ.
2
b
BMaj7
C7
œ œ3 œ œ œ3 œ œ
1
bII Maj7
V7/V
b
A -7( 5) 3 b 4 œ œ &b 4 ‰
Horace Silver
œ
˙. 4
‰
E7 3
3
3
œ nœ #œ œ œ œ œ nœ œ 5
The analysis shown on page 22 is a way for improvisation, which is not quite correct in the sense of strict theory. These complicated changes in the beginning are landing on bar 4. One reasons is that the 4th bar will sound strong as a target to the human sense. Another reason is that all of the changes will not sound too
far away from key in Bb Major. Therefore, if all of the progressions of the first 4 bars are analyzed as in key in Bb Major, it will be shown above. This analysis is
done using a technique called Modal Interchange, which will be explained later in this book. When you are improvising, it is necessary to see the quick momentary key changes in order to make effective solo line. When you are composing, it is necessary to use a related change to get to a landing key.
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 29 -
Analysis (cont.)
•
Available Scale for "PEACE".
b
A -7 ( 5)
b
D7( 9)
Mixo b9
G -7
C7
Dori
Mixo
œ bœ œ œ œ œ œ bœ œ œ ¿ œ b œ ¿ œ œ bœ œ & œ b¿ œ ¿ œ œ œ bœ #œ œ Loc
b
Note: When this is analyzed as VI-7 as theory suggests, Aeolian should be used instead. As matter of fact, if this piece is played slow using Aeolian rather than Dorian, it will sound more effectively.
C -7 ( 5)
#
BMaj7
F7 ( 9)
b
B -7
E7
AMaj7
F -7
B Maj7 # Lyd Loc Mixo 9 Ion bœ bœ & #œ #œ #œ #œ #œ #œ œ b¿ bœ œ bœ bœ bœ œ #œ œ b¿ œ œ œ œ b ¿ œ œ œ bœ
#
Ion # œ # œ Aeo œ œ ¿ œ ¿ # œ # œ œ œ œ #œ œ œ #œ & #œ œ œ #œ #¿ œ œ #œ #œ ¿ # œ œ Dori
Mixo
#
b
D7( 11)
E -7
Dori
Lyd b7
b
D Maj7
Ion
#
C7 ( 11)
Lyd b7
bœ œ œ œ bœ bœ œ # œ b ¿ œ œ bœ & bœ œ bœ bœ bœ œ # œ œ œ b œ œ bœ œ œ œ #œ
#
B7( 11)
&
Lyd b7
b
B Maj7
Ion
#œ #œ œ œ œ œ œ #œ #œ #œ bœ œ œ b¿
- 30 -
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Summary of Analysis •
When you are asked to analyze a tune in the class, the steps shown below are required
1. Arrow and Bracket Analysis, and the Key of the Moment indication with the box. C CMaj7
4 &4 ‰ 2.
D7
G7
CMaj7 FMaj7
G7
E -7 A7
3
3 œ œ œ œ œ œœ œ œ œœœ œ œ ˙ œ œ œ œ œ œœ
D -7
‰œœœ
Roman Numeral Analysis and Mode (Scale) Analysis.
C
I Maj7
VI-7
V7/V V7
I Maj7 IV Maj7 V7
Ion
Aeo
Mixo
Mixo
Ion
D7
G7
CMaj7
4 &4 ‰ 3.
A -7
A -7
Lyd
III-7 V7/II II-7
Mixo Phry Mixo Dori b9,b13
CMaj7 FMaj7
G7
E -7 A7
3
3 œ œ œ œ œ œœ œ œ œœœ œ œ ˙ œ œ œ œ œ œœ
D -7
‰œœœ
Indication for M.I.(Modal Interchange) and/or D.R.(Deceptive Resolution) if applicable. V7/V V7 I Maj7 VI-7 I Maj7 IV Maj7 V7 III-7 V7/II II-7 Ion
C
CMaj7
4 &4 ‰
Aeo
A -7
Mixo
Mixo
D7
G7
Ion
Lyd
Mixo Phry Mixo Dori b9,b13
CMaj7 FMaj7
G7
E -7 A7
3
3 œ œ œ œ œ œ œ œ œœ œ œœ œ œ ˙ œ œ œ œ œœ
D -7
‰œœœ
D.R. 4.
Scale Degree Analysis. I Maj7 Ion
VI-7 Aeo
V7/V V7 Mixo Mixo
III-7 V7/II II-7 Mixo Phry Mixo Dori b9,b13
I Maj7 IV Maj7 V7 Ion
Lyd
D.R.
C
CMaj7
& 44 ‰
A -7
D7
G7
CMaj7 FMaj7 3
G7
E -7 A7
œ œ œ œ œ œœœ œ œ œœ œ ˙ œ œ œ œ œ œ œ œ R T11 5 T9 b7 5 R 3 R b7 3 R 3 R M7 5 3 b3
5 T13
3
b7
D -7
‰œœœ 5 T11 b 3
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 31 -
Project • Write a piece using the technique you have learned • 32 bars form recommended. • Two types of the conventional forms are recommended. 1)
A - A - B - A i.e.; "Take The A Train"
2)
A - B - A - C i.e.; "The Days Of Wine And Roses"
If you are sure you can make unconventional form musically, it is acceptable as long as you know what you are doing. I.e.; "Peace", "Blue In Green" No Blues please.
• Check Points •
Notation Neatness, Imaginary bar line, Beats positioning, Accidentals, Ending bar line, Beaming, Clef and so on.
•
Scale notes Notes must fit in the chord scales, unless otherwise it is an passing/approach note. Therefore, you must analyze with Roman numeral and name of the scale (mode) for your piece referring to the page 31.
• Extra Points • Musical Phrasing. • Intro and TAG (Outro). • Recording of the piece.
- 32 -
Jazz Theory I, New England Conservatory Extension Division, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Draft
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
-1-
Diminished Scales Diatonic Functioning Diminish Chord
I dim 7 ................................ resolve to .......................... I Maj 7
#I dim 7 ................................ resolve to ............................... II-7
bIII dim 7 .............................. resolve to ............................... II-7 #II dim 7 ............................... resolve to ............................. III-7 #IV dim 7 .............................. resolve to ................................. V7 V dim 7 ............................... resolve to ................................. V7
#V dim 7 ............................... resolve to ............................. VI-7 bVI dim 7 .............................. resolve to ................................. V7 •
All the diatonic functioning diminished chords must resolve by half step up or down, except I dim 7 and V dim 7 resolve to the same root.
C
I dim 7
I Maj 7
C di m7
C Maj7
& b b ∫ www w
www w
# F
I dim 7 F #di m7
b
A wwww
D bdi m7 C #di m7 A ww # n ww
See Tip on Page 29.
-2-
bœ
w
bœ
R
T9
b3
T11
dim 5
(6)
œ Aw
œ
w
dim 5
Tb13
G-9
III dim 7
b & b b ∫ ∫b wwww
w
∫œ
nw
dim 7
TM7
bœ
#w
dim 7
TM7
II-7
bw & b # www
Bb
∫w
œ
#œ
w
R
(2)
b3
(4)
II-7 C -7
A A wwww
#œ
w
nœ
w
œ
R
(2)
b3
(4)
dim 5
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
w Aœ Tb13
dim 7
#w TM7
#
II dim 7 A #di m7
G
&
a wwww
w # # www
#
# C
III-7 B -7
IV dim 7
www w
V dim 7 C di m7
w
R
(2)
b3
(4)
œ
‹w
dim 5
Tb13
dim 7
TM7
b ∫ ∫ ∫ www b & bw
œ
w
œ
w
bœ
#w
R
(2)
b3
T11
dim 5
Tb13
dim 7
TM7
w
∫w
bœ
œ
w
bœ
R
T9
b3
T11
#œ
w
œ
w
œ
R
(2)
b3
(4)
dim 5
dim 5
(6)
∫œ dim 7
bw (7)
VI-7 D -7
www w
& b A# wwww
G bdi m7
w
A www w
V dim 7 C #di m7
VI dim 7
#œ
C7
#
b
œ aw
V7
& b b b ∫ wwww
Bb
#œ
G7
bw & # www
F
w
V7
F #di m7
F
#œ
F #di m7 A ww # ww
See Tip on Page 29.
w Aœ Tb13
dim 7
#w TM7
V7 F7
A www w
#œ
w
œ Aw
R
(2)
b3
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
(4)
œ
w Aœ
dim 5
Tb13 dim 7
#w TM7
-3-
Symmetric Diminished Scale G di m7
C Maj9
b b b www & w
W
ww ww w
w
w
R
T9
1/2
bw dim 3
W
w T11
1/2
bw
W
dim 5
b w 1/2 b w Tb13
W
dim 7
•
Symmetric Diminished Scale appears as non-diatonic functioning diminished chord (means it does not fit any one of eight categories described before). Because the scale is built with constant whole/ half steps, there is no tension which will create b9th interval. Therefore, all the tensions are available.
•
The example shown above will sound strong resolution because of the root motion of V to I. G dim 7, however, does not create any logical voice leading (will be discussed later). Therefore, G dim 7 is not functioning as diatonic.
bw TM7
Combination Dominant Scale
•
If one diminished scale could built with whole and half steps, the reversed positions as half/whole would be possible, too. This scale is usually used for dominant. Note; there is no available tension this time.
b
9 G7( # 11)
b ww # & www
C Maj9
www ww
R
w
Tb 9
bw
T# 9
bw
3
nw
T#11
#w
b wwww b b & ww
ww www
9
C6
R
Tb9
T# 9
3
bw
nw
w
w
T#11
w
Altered
-4-
b
w7
The same scale may start on the root of the substitute dominant chord.
b
9 D b7( # 11)
w
w
13
Lydian b7
Altered
•
5
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
5
bw
13
bw
Lydian b7
b7
bw
Non Diatonic Functioning Diminished Chords Additional information for the diminished chords (p.10-12). •
As we discussed thoroughly, diminished chord scales will be decided by the fact that if the diminished chord is acting as a diatonic function within the key of the moment. The list below shows the progressions which will not create a resolution sound in the sequence even though it may look diatonic functioning diminished chords. This list will against the list on page 10.
bII dim 7 ........... goes to, but does not resolve to ........... I Maj7 bV dim 7 ........... goes to, but does not resolve to ........... IV Maj7 bVI dim 7 .......... goes to, but does not resolve to ........... V7 bVII dim 7 ........ goes to, but does not resolve to ........... VI-7 #VI dim 7 .......... goes to, but does not resolve to ........... VII-7(b5) Those progressions are called non diatonic functioning diminished chords sequence. Therefore, the chord scales will not be considered by the Key of the moment. The Symmetric diminished scale will be used, instead. •
Again, if any of the diminished chords do not resolve in the Key of the moment as shown on the page 10, the chord scale will be Symmetric diminished scale as well.
•
There is an exception to the rule above.
I
#I dim 7
C
C di m7
#
b ww & www w # ww The #I dim 7 did not resolve to II-7.
V on 5th G/D
ww w
#II dim 7 #
D di m7
ww # # ww
I on 3rd C/E
ww w
Instead, it resoled to V with the 5th (D) on bass. This is a semi-diatonic functioning progression, because the ear will hear the bass move to the 2nd degree of the diatonic scale (C Major) as where the II-7 is supposed to be, and the actual chord on top of the bass which is another diatonic chord. #II dim 7 resolves to I with the 3rd on bass is also semidiatonic for the same reason. Therefore, the chord scale will be decided by the Key of the moment. Note that this kind of progression is commonly heard in Gospel music.
Tip
Enharmonic respelling is necessary when the root of the diminished choed is flat.
b
#
I.e.; Respell E dim 7 to D dim 7 in order to find the chord scale.
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
-5-
Minor Key
Relative Keys •
Relative Keys are a pair of keys which uses same key signature. Those two keys are Major and minor, and the minor key starts from VI degree of the Major key. In other word, the tonic of relative minor starts from Major 6th above the tonic of relative Major. C Major ---- Major 6th ↑ ---- A minor C minor ---- Major 6th ↓ ---- EbMajor
Scale Degree C Maj I
&w
II
w
III
w
IV
w
V
w
VI
VII
w
w
w
w
w
w
w
I
II
bIII
IV
V
bVI
bVII
www w
www w
www w
www w
A-
Diatonic Chords / Modes C Maj Ion IMaj7
& wwww
Dori II-7
www w
Phry Lyd Mixo III-7 IVMaj7 V7
www w
www w
www w
Aeo Loc b VI-7 VII-7( 5)
www w
I-7 Aeo
www w
www w
II-7( 5) bIIIMaj7 IV-7 Loc Ion Dori
b
A-
-6-
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
V-7 bVIMaj7 bVII7 Phry Lyd Mixo
Minor Key (cont.)
•
Minor scale has three different types. The reason is Leading Tone. Leading Tone is a note which leads the tonic form -2nd below. Since Natural minor scale (Aeolian Mode) is VIth mode of relative Major, the scale does not have Leading Tone. Therefore, Natural minor does not sound resolving to the Tonic.
C Maj Scale
&w
w
A Natural minor Scale (Aeolian Mode)
w
w
w
↑ Leading Tone
Aug 2nd Gap
A Harmonic minor
&
w
w
w
w
w
w
•
•
w
w
w #w ↑ Leading Tone
w
w
w
w
w
w
w
w
↑ Not Leading Tone
A Melodic minor
w
#w w nw nw w w w # w w w w w w w w ↑ Leading Tone
Harmonic minor is a minor scale with Leading Tone. Leading Tone is needed for resolution harmonically. Note that raising the 7th note to make Leading Tone changed V-7 chord to V7 chord (E-7 to E7 in A minor, see page 32), which makes much smoother progression of V7 to I -. Harmonic minor is smoother harmonically. It, however, no longer smooth as a scale because Leading Tone created an Aug 2nd interval from the 6th note F. To make the scale smoother, the 6th note is rased, too. That is Melodic minor Scale. The rased 6th and 7th are needed only when going up to the tonic. Therefore, descending scale goes back to Natural minor Scale (Aeolian Mode).
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
-7-
Minor Key (cont.)
Diatonic Chords
Natural minor I-7
II-7( 5)
bIIIMaj7
IV-7
V-7
A -7
B-7
C Maj7
D -7
www w
E -7
bIIIMaj7(#5) C Maj7( 5)
b (b5)
www w
www w
& www w
Harmonic minor I-(Maj7) A-(Maj7)
b (b5)
II-7( 5) B-7
www w
& # www w
Melodic minor Ascending I-(Maj7)
II-7
A-(Maj7)
B -7
& # www w
-8-
# wwww
#
# wwww
bIIIMaj7(#5) # C Maj7( 5)
# wwww
bVIMaj7
bVII7
www w
www w
F Maj7
www w
IV-7
V7
bVIMaj7
VIIdim7
D -7
E7
F Maj7
www w
www w
# wwww
IV7
V7
VI-7( 5)
D7
E7
ww # ww
w # www
w # www
b b F #-7( 5)
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
G7
G #di m7
w # www
b
VII-7( 5)
b
G #-7( 5)
# ww # ww
Harmonic Consideration for minor key
Typical minor diatonic chords in minor key chord progression.
A -7
B-7
IV-7 Dori
Ion
(b5)
C Maj7
bVIMaj7
V7 Mixo
D -7
Lyd
E7
F Maj7
www w
# wwww
www w
www w
www w
& www w
•
bIIIMaj7
b
II-7( 5) Loc
I-7 Aeo
VIIdim7 dim G #di m7
w # www
Because Mixolydian and diminished scales varies according to the Key of the Moment, all the tension notes must be adjusted.
E7
& w R
w
#w
¿
w
w
w
Tb9
3
(4)
5
Tb13
b7
Therefore, this is Mixo b9 which contains b13 automatically.
diminished scale for VIIdim7 is shown below.
& #w R
¿
w
¿
w
w
w
w
(2)
dim3
(4)
dim5
Tb13
dim7
T Maj7
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
-9-
Minor Key (cont.)
b
"-7( 5)" appears very distinctively. Most likely, this is a II chord of a minor key of the moment. If this chord is followed by a Dominant chord, it must be a minor II - V progression, no matter what chord to resolve. Thereb fore, the mode is Locrian for the II-7( 5), and Mixo b9 for the V7.
•
C-
4 &4 œ
œ œ
b II-7( 5)
V7
Loc
Mixo b9
b D-7( 5)
G7
w
˙
I Maj7 C
Ion C Maj7
3
œ œ #œ
w
˙
œ
œ œ
Night And Day by Cole Porter
F-
4 &b 4
œ
b II-7( 5)
V7
Loc
Mixo b9
b G-7( 5)
˙
b C 7( 9)
b˙
˙
I Maj7
œ.
F
Ion F Maj7
j œ #œ .
j œ ˙
˙
Œ
œ
I Love You by Cole Porter
- 10 -
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Modal Interchange
C Natural minor
bIIIMaj7
IV-7
V-7
bVIMaj7
bVII7
b
E bMaj7
F -7
G -7
A bMaj7
B b7
II-7( 5)
C -7
D-7( 5)
b wwwœ
&b b www w
Tonic minor
bIIIMaj7
I-7 C -7
& b b wwww •
b
I-7
E bMaj7
b ww b ww
w b b www
w b www
bw b wœw
Subdominant minor
b (b5)
V-7
II-7( 5)
IV-7
G -7
D-7
F -7
b wwww
b wwwœ
b b wwœw
b www b œ
bVIMaj7 A bMaj7
w b b wwœ
b œw b ww
bVII7 b
b Bœww 7 bw
Note that the notes indicated black are scale degree b6 in C Natural minor (C Aeolian) which is the Avoid. That is why any diatonic chord contains scale degree b6 is not Tonic minor. Those are Subdominant minor chords.
V-7 (G Phrygian) G -7
&w R
•
b¿ (2)
bw b3
w
w
b¿
w
T11
5
(b6)
b7
V-7 is not common, because b3 of the Parent minor Key (Eb in C minor) which is necessary to characterize minor sound is not chord tone nor available tension on V-7 (Phrygian Mode) Scale.
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 11 -
minor II - V - I b II-7( 5) b
D-7( 5)
& •
b www w
V7
I-
b G 7( 9)
C-
b www
w b www
b
Because the II-7( 5) usually precedes the V7 chord, it is a modal interchange chord from Harmonic minor.
Altered Subdominant Chord
b (b5)
II-7( 5) D-7
&
b wwww
bII Maj7 D bMaj7
w b b www
Lyd
bVI Maj7 A bMaj7
&
•
b ww b ww
bVI7 A b7
b b www bw
Lyd b7
Note that the bVI7 (altered bVI Maj7) and the bVII7 (diatonic) are not Dominant functioning chords because those are not located at the 5th position in the diatonic, and do not resolve to I- going down Perfect fifth.
- 12 -
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Modal Interchange (cont.)
•
Mixolydian Modal Interchange Chord.
bVIIMaj7
V-7
&
B bMaj7
G -7
C Mixolydian Scale
w
w
w
w
R
T9
3
(4)
w b www 5
C7
w
ww ww
b ww ww
T13
b7
R
Summary of the basic Modal Interchange Chords Tonic minor from natural minor
Subdominant minor from natural minor
•
I-7
Aeolian
•
bIIIMaj7
•
V-7 (not common)
Phrygian
•
bIIMaj7
Lydian
• •
II-7 IV-7
Locrian Dorian
(b5)
•
bVIMaj7 bVI7 bVII7
V7
•
II-7( 5)
from Harmonic minor
•
V7
Mixolydian Modal Interchange
• •
• •
b II-7( 5)
b
bVIIMaj7 V-7
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Ionian
Lydian
Lydian b7 Mixolydian Locrian
Mixo b9, b13 Lydian Dorian
- 13 -
Modal Interchange (cont.)
bVIMaj7 b G Maj7
IMaj6
b
B Maj6
SubV7
B7
b 2 ‰. œ œ œ œ œ b & 4 œœœœ œ ˙ R 1
2
3
4
IMaj6
I-7
V7(b9)/II
B Maj6
B -7
G 7( 9)
b
b
b
b ‰. œ œ œ œ œ b & œœœœ œ ˙ R 5
6
8
Ab
IMaj6
b
II-7
V7
B -7
E7
b
B Maj6
b
b ‰. œ œ œ œ œ b & œœœœ œ ˙ R 17
18
19
Eb
œ
V7
IMaj6
IV-7
V7/IV
B Maj6
F-7
B7
b
b & b ‰ . Rœ œ œ œ œ œ œ œ œ œ ˙ - 14 -
22
Œ
20
II-7
b
21
Œ
œ
7
Œ
œ
23
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
œ 24
Œ
Special Dominant •
Special Dominant Chords are chords which appear in diatonic situation, yet do not resolve by going down Perfect 5th nor minor 2nd.
II7
II7 appears as a substitution of V7. The tritone resolves to a part of I Maj7 (5th, M7th). D7
& # wwww
CMaj7
w #w
ww ww
ww œ
Since II7 is derived from V7/V, Take The "A" Train changes (below) is well known. #
CMaj7
4 &4 w
D7( 11)
jœ. œ œ œ œ #œ ˙ .
D-7
G7
CMaj7
œ œ #œ œ œ bœ œ bœ œ œ ˙ .
˙. Œ w
˙.
Œ
• II7 can be explained as a Modal Interchange chord from I Lydian.
III7
Since III7 is derived from V7/VI, it resolves to IV Maj7 which is Inverted VI-6.
III7
IV Maj7
E7
FMaj7
& # wwww
bVI7
www w
V7/VI
w # www
E7
VI-b6
wwww
b
A -( 6)
Since bVI7 is same structure as SubV7/V, it resolves to I Maj with 5th on root.
bVI7
b A 7
b b www & bw
I Maj
www w C
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
bVI7 b A 7
b b www bw
V7 G7
ww ww
- 15 -
Special Dominant (cont.)
VI7
Since VI7 is derived from V7/II, it resolves to IV Maj7 which is II-9 without the root.
VI7
IV Maj7
A7
FMaj7
w & # www
VII7
ww ww
V7/II
II-9
A7
D-9
ww wwœ
# www w
Since VII7 is derived from V7/III, it resolves to I Maj7 which is III- without the root. VII7
I Maj7
V7/III
III-
B7
CMaj7
B7
E-
ww ww
& # # wwww
rd
ach
u O t I
eM
t
v roo
G nal
atio
ern
Int
Ha o S g n gi n i Sw
ww w
w # # www
C
k c e h
ine
- 16 -
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
#IV-7(b5) •
#IV-7(b5) is often found in standard jazz progressions as a special diatonic functioning chord. It can be explained theoretically in a number of different ways (shown bellow). Yet, as always, the available scale is Locrian because it is a minor 7th chord with a flated 5th.
#IV-7(b5) Locrian # (b5) F -7
& #w •
•
#IV-7(b5) can be explained as a V7/ without the root. V #IV-7(b5) V7 b 5) # ( F -7 G7
ww ww
w
w
V7/V
V7
D7(9)
G7
ww # www
ww ww
Instead of resolving to V, #IV-7(b5) can resolve to I/5th (inverted), just as #IV diminished chord did. This also supports that II7 followed by I chord (p. 29). #IV-7(b5) #IV-7(b5) I/5th V7
b
# F -7 ( 5)
w & # www
•
w
w
It can be explained as a Modal Interchange chord from Tonic Lydian (C Lydian), just as II7 was explained in p. 37.
w & # www
•
w
¿
b
ww ww
G7
# F -7 ( 5)
www #w
C/G
ww w
#IV-7(b5) can be found as a passing chord which resolve to IV chord. This is the most common use of #IV-7(b5). #IV-7(b5) #IV-7(b5) IVMaj7 IV-7 b b 5) # # ( ( 5) F -7 FMaj7 F -7 F -7
w & # www
www w
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
w # www
b b wwww
- 17 -
•
Those are the common use of #IV-7(b5) shown below. There are many Modal Interchange chords in the music, as well. Reviewing the Modal Interchange (p. 35-38), indicate those chords with "M.I.".
b D-7( 5) G 7
Night And Day
4 &4 œ œœ w
b D-7( 5)
C Maj7
3
˙ œ œ #œ w
1
2
œ
3
Œ œ œœ œ œ œ œ
4
5
#IV-7(b5) G7
C Maj7
3
& œ œ œ œ #œ w 6
8
E bdi m7
E-7
9
D-7
12
13
The Days of Wine And Roses
&
17
18
B b-(Maj7 )
&˙
œ œ œ
22
b B-7( 5)
27
- 18 -
E b7
˙
˙
23
#IV-7(b5)
&
bœ
w
˙. 28
A-7
œ
˙
D-7
G-7
30
Œ
16
G-7
œ œ œ œ ˙
20
21
A-7
D-7
œ œ œ œ œ œ œ œ 25
œ œ œ œ œ ˙ 29
˙
œ œ
24
B b7
15
19
B b-7
˙.
œ œœ w
˙
Œ œ œ œ ˙
w
C Maj7
b D 7( 9)
E b7
F Maj7
œ
14
j j œ œ œ
10
G7
& œ œ œ œ œ bœ œ œ œ œ bœ œ ˙ 11
F-7
j . œ œ œ œ œ œ b˙
Œ
œ
7
b F #-7( 5)
26
C7
F Maj6
œ w 31
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
˙. 32
Œ
Deceptive Resolutions •
Standard Deceptive Resolutions: A dominant 7th chord resolve to a tonic functioning chord (see page 16) other than I chord.
V7
w & www
G7
I
V7
VI-
ww w
G7
www w
A-
C
www
VI- shares the root and the 3rd of I.
&
V7
I
V7
III-
G7
CMaj7
G7
E-
www w
ww ww
www w
ww w
III- is I Maj7 without the root.
•
Non Standard Deceptive Resolutions: Since the dominant 7th chord resolve to the I Major 7th in a Major key, other Modal Interchange Major 7th chords may be seen as a deceptive resolution.
V7
ww & ww
G7
bVI Maj7 b A Maj7 w bw b ww
Altered Deceptive Resolution of V7 to VI-.
V7
bIII Maj7
G7
E Maj7
ww ww
V7
bII Maj7
V7
G7
D Maj7
G7
& wwww
www b bw
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
b www bw
Altered Deceptive Resolution of V7 to III-.
Other Modal Interchange Major Chords.
b
b
ww ww
bVII Maj7 b
B Maj7
b wwww
- 19 -
Deceptive Resolutions (cont.)
•
One additional Deceptive Resolution is a dominant 7th chord followed by #IV-7(b5). This progression may be seen as three diferent functions.
• #IV-7(b5) appears as a related II-7 of V7/III. II-7
V7
#IV-7(b5)
D -7
G7
# F -7 ( 5)
V7/III
III-7
B7
E -7
b
ww w & w
•
www w
˙ # ˙˙˙
www w
# ˙˙˙ ˙
#IV-7(b5) appears as a passing chord to IV-7. This may be called Altered Subdominant minor, sometime. I Maj7
V7
#IV-7(b5)
CMaj7
G7
# F -7 ( 5)
IV-7
b
w & www
ww ww
ww # ww
F -7
bw b www
M.I.
•
#IV-7(b5) appears as a Lydian Modal Interchange tonic functioning chord. As the VI-7 and the III-7 replaces I Major in the Standard Deceptive Resolution, #IV-7(b5) replaces I Major Lydian chord. II-7
V7
#IV-7(b5)
D -7
G7
# F -7 ( 5)
b
w & www
ww ww
w # www
M.I. - 20 -
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
˙˙˙ ... ˙.
Œ
Compound Chords •
Inversion is a chord with the bass which is replaced with a chord tone other than the root. C7
& b www w
Root Position
•
b
C7/E
b wwww
w b www
1st Inversion
2nd Inversion
3rd Inversion
C7/G
b www w
C7/B
Hybrid is a chord with a bass which is other than any of chord tones. Note that the any kind of 3rd against the bass can not be included in the upper structure chord, because it will characterize a chord to the bass. Basically, the upper structure chord is derived from the scale notes against the bass. However, because the 3rd of the bass is not included, ambiguous sound will be created.
& ?
CMaj7/D
D -7/G
ww ww w
www w w
w # ww #w
1)
2)
3)
A/D
#
1) Derived from D Dorian with b7, 9, 11, and 13 those which create the upper structure chord. Since the b3rd (F) is missing from this chord, it will not sound D-7. It rather sound C Maj7 with the 9th on the bass. 2) Derived from G Mixolydian with 5, b7, 9 and S4. Note that the avoid note (S4: C) can be used because the 3rd (B) is missing from this chord. The sound will be D-7 with the 11th on the bass. 3) Derived from D# Locrian with 11, b7 and S2(b9). Note that the flat 9th interval created between D# and E is acceptable in two reasons. The one is because Locrian is a semidominant functioning mode, so as altered dominant tensions are, flat 9th interval will create more resolution sense. The other is because the upper structure chord creates strong unity as a chord, the ear can separate it from the bass. However, the caution must be taken when it is used. •
Polychord is a chord combined with two triads or 7th chord. Usually, the upper structure is created from the available tensions of the bottom chord. This is extremely useful when the keyboard voicing is needed to be specified for ensemble arranging reasons. D C
& ?
# www ww w
ED-
ww w ww w
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
F -7 Gb
b b wwww bw b b ww
- 21 -
Project I • Write a piece using the technique you have learned. • 32 bars form recommended. • Two types of the conventional forms are recommended. 1)
A - A - B - A ie; "Take The A Train"
2)
A - B - A - C ie; "The Days Of Wine And Roses"
If you are sure you can make unconventional form musically, it is acceptable as long as you know what you are doing. ie; "Piece", "Blue In Green" No Blues please.
• Check Points •
Notation Neatness, Imaginary bar line, Beats positioning, Accidentals, Ending bar line, Beaming, Clef and so on.
•
Scale notes Notes must fit in the chord scales, unless otherwise it is an approach note. Therefore, you must analyze with Roman numeral and name of the scale (mode) for your piece.
• Extra Points • Musical Phrasing. • Intro and TAG (Outro). • Recording of the piece.
- 22 -
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Project II 1. Quiz on Intervals and Chord Scales (Modes). 2. Write a piece using five subjects of the seven listed below (Diatonic Functioning Dominant Chords must be included as indicated). The piece must be analyzed according to the directions of Appendix A. 1)
Diatonic Functioning Dominant Chords (include Primary Dominant). Must use at least two of the four listed below. a) Secondary Dominant b) Extended Dominant c) Special Dominant d) Substituted Dominant (SubV7)
2) 3) 4) 5) 6) 7)
Related II#IV-7(b5) Diatonic Functioning Diminished Chord. Minor Key. Modal Interchange (exclude Lydian M.I. and Mixolydian M.I.). Deceptive Resolutions
Warning • If the piece is notated and analyzed in a hard-to-read way, it will be returned without being graded. • Note that this assignment is not for writing a musical composition, but for a correct harmony and melody with the theory you have learned. • Duplicated analysis must be avoided (i.e. #IV-7(b5) as a Modal Interchange).
Tip • Write the chord progression first, then the melody according to the available scales. • The bass motion (P5th down, Major or minor 2nd up and down) will make the sound stronger.
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 23 -
Quiz #1
Name
Date
1. Write out the Intervals.
w & bw
#w ‹ w
(
) (
∫w bw ) (
#w w
bw bw
) (
) (
)
2. Write a note by the given Interval.
&
bw -9th Below
#w P12th Above
w Aug.6th Below
#w dim.15th Above
w -10th Above
Hint 1. Hide all the accidentals. 2. With your fingers, count the Interval. Do not forget to include the note to begin with. 3. Write down the number NOW. 4. If the Interval is more than an octave apart, take the top note down, so the Interval becomes within an octave. 5. Find how many of "1/2 Step Spot" in the distance according to the chart. Remember, you need to think of only C Major scale. 6. Find the kind ( Major, Perfect, etc.) using the bar chart. Use your both hands vertically, so you can picture the distance with the bar chart. For example, the Interval is 6th with 2 of "1/2 Step Spot" in the distance, because M6th supposed to have only 1 "1/2 Step Spot", it becomes one of the bar chart level shorter, so it is -6th. 7. Still holding your hands vertically, apply the accidental(s) you hid in the beginning one by one. Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz #2
Name
Date
1. Write out the Intervals.
w bw
w w
& (
) (
#w
w bw
w #w
w
) (
) (
) (
)
2. Write a note by the given Interval.
&
#w M10th Above
w Aug.4th Above
bw w -13th Above
P15th Below
#w M7th Below
3. Find out the parent key, then write out the given scale.
Parent Key ____ B Phrygian
Parent Key ____ Db Mixolydian
Parent Key ____ A Lydian
Parent Key ____ D Locrian
&
& Parent Key ____ Bb Aeolian
& Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz Summer '96 par 1
Name
Date
1. Write out the Intervals. [4 point each]
bw # # ww
& (
bw )
(
bw bw
& (
)
(
)
)
(
)
bw bw
‹w #w (
)
#w #w
bw w
# ww
(
‹w w
(
)
)
w w
(
)
(
)
2. Write a note by the given Interval. [4 point each]
œ
bœ
&
Aug 4th ↓
-13th ↓
œ
œ
-9th ↑
Aug 5th ↑
œ M16th ↑
Roman Numeral
Mode
/ Eb
)
(
)
Key
Parent Key
Key
Mode
(
C
Roman Numeral
Mode
Parent Key
( V dim /
n/a
/ n/a
/
D- (
Parent Key
C
VI-
)
Parent Key
/ F # Loc / G
Roman Numeral
)
Key
/
Eb- ( bVI Maj /
Key
(
III-
Mode
Key
Key
(
Key
Roman Numeral
Key
3. Fill out the blank, write out the Chord Scale and label each note. [5 point each]
/
Roman Numeral
Roman Numeral
G
Mode
Parent Key
/
Mode
Parent Key
/
F Ion
/
Roman Numeral
Mode
V7
/
Roman Numeral
( bIII dim /
)
)
Parent Key
/ C Harmonic minor )
Mode
Parent Key
n/a
/ n/a
)
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
• Analyze the composition shown below by the direction given on the next page.
Hiroaki Honshuku
[Bossa]
q»ª•
# b F -7( 5)
A
A-/G
2 œ &4 ≈ ≈œœ
F Maj7
œ. œ ˙
œ
1
2
3
8
5
6
#
D di m7
B b7
9
E-7
œœ≈œ œœ #œ œ
10
E b7
E-7
œ
bœ
11
D bMaj7
D-7
≈ œ ≈ œ œ ≈ œ œ ≈ œ ≈ œ ≈ œ ≈ œ œ œ œ ≈ œ œ ≈ œ ≈ œ ≈ œ ≈ b œ œj ‰
& bœ 12
13
G bMaj7
14
A b-7
bœ œ
17
œ
22
15
B b-7
œ bœ œ ≈ bœ ≈ œ
Œ
20
21
A b-7
D b7
œ b œ b œ ≈ b œJ .
≈ œ ≈ œ œ œ ≈ œ bœ . bœ œ
23
G bMaj7
24
bœ bœ bœ œ œ œ ≈ ≈ &
G di m7
œ
25
A b-7
A di m7
28
A b7
A7
19
A b-7
16
œ bœ œ œ bœ œ ≈ ≈
Œ
18
& œ b œ b œ ‰ b Jœ
27
≈œ≈œœ
Œ
b E-7( 5)
œœ j œ ‰ œ œ ≈ #œ ≈ œ œ œ ≈ œ œ œ
7
& bœ .
œ
D7
& #œ ≈ bœ œ œ
B
E bMaj7
4
b A 7( 9)
F-7
b E 7( 13)
Œ
26
G bMaj7
G7
≈ bœ ≈ bœ œ œ ≈ œ ≈ œ œ œ ≈ œ ˙
Π29
30
31
œ
Œ
32
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz Summer '96 par 2
Name
Date
Direction for the analysis • Indicate the key(s) with box(es) beginning of the piece and whenever modulation occur. • Draw arrows, dotted arrows, and brackets. • Write out roman numeral wherever it applies. • Write out the name of mode or scale for every chords. Be aware of hidden altered tension. • Indicate with M.I. wherever which applies. • Write out the diminished scale on bar 10, 26, and 28 below. Number each scale note below the scale.
• Find the notes which are not one of chord tones under every chords, and write the number of the scale degree or tension number in the each boxes below. Use parenthesis if the note is not available. Use n/a for the measure which does not have any one of them. Be aware of anticipations. 1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz #2
Name
Date
1. Write out the Intervals.
w bw
& # # ww (
) (
bw
bw w ) (
bw #w
bw ) (
) (
)
2. Write a note by the given Interval.
&
bw -9th Below
#w P12th Above
‹w w Aug.6th Below
dim.15th Above
∫w -10th Above
Hint 1. Hide all the accidentals. 2. With your fingers, count the Interval. Do not forget to include the note to begin with. 3. Write down the number NOW. 4. If the Interval is more than an octave apart, take the top note down, so the Interval becomes within an octave. 5. Find how many of "1/2 Step Spot" in the distance according to the chart. Remember, you need to think of only C Major scale. 6. Find the kind ( Major, Perfect, etc.) using the bar chart. Use your both hands vertically, so you can picture the distance with the bar chart. For example, the Interval is 6th with 2 of "1/2 Step Spot" in the distance, because M6th supposed to have only 1 "1/2 Step Spot", it becomes one of the bar chart level shorter, so it is -6th. 7. Still holding your hands vertically, apply the accidental(s) you hid in the beginning one by one. Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz Winter '96
Name
Date
1. Write out the Intervals. [4 point each]
bw # # ww
& (
bw )
(
)
bw bw
& (
(
)
)
(
bw bw
‹w #w (
)
#w #w
bw w
# ww
)
(
‹w w
(
)
)
w w
(
)
(
)
2. Write a note by the given Interval. [4 point each]
œ
bœ
&
Aug 4th ↓
-13th ↓
œ
œ
-9th ↑
Aug 5th ↑
œ M16th ↑
/
Roman Numeral
B
VI-
/
Roman Numeral
( V7/V
Key
Key
(
)
)
F
_______)
)
/ _____
Roman Numeral
(
Key
III-
Key
(
Ab
Mode
Mode
F#
Loc
Mode
B
Mode
/ _____
Roman Numeral
Mode
( V7/VI / _____
)
(
Roman Numeral SubV7 /
_____
)
Roman Numeral
Mode
Mode
Key
Roman Numeral
( SubV7/II /
Eb
Key
Eb
Key
Key
3. Fill out the blank, write out the Chord Scale and number each note. [5 point each]
Roman Numeral
Mode
(
/
F#
_______)
Phry
)
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz Winter '96
Name
Date
/ _____
/
Roman Numeral
(
B
VI-
/
Roman Numeral
( V7/V
Key
(
)
)
Key
III-
Ab
F
Mode
Mode
F#
Loc
Mode
B
_______)
Mode
/ _____
)
Key
(
Roman Numeral
Key Key
Roman Numeral
Key
Eb
Key
Key
1. Fill out the blank, write out the Chord Scale and number each note. [5 point each]
Roman Numeral
Mode
( V7/VI / _____
)
Roman Numeral ( SubV7 /
)
Mode
_____
Roman Numeral ( SubV7 /
Mode
Roman Numeral
Mode
/II
(
/
Eb
F#
_______)
Phry
)
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
2.
Analyze the music along with the direction listed as follow; [50 pints total] • Draw arrows (including dotted arrows). • Draw Brackets. • Identify the Key of the music. • Apply Roman Numeral Analysis. • Apply Mode or Chord scale. • Scale Degree Analysis (applying number below each note against the chord).
b
B 7
4 œ & 4 ‰ J ‰ b œJ œ
œ
1
G- 7
C7
j & ‰ Jœ ‰ œ œ
œ œ bœ œ ˙
‰ œJ ‰ b Jœ b œ œ œ œ ˙ .
2
3
FMaj7
A- 7
#
j & ‰ Jœ ‰ œ œ
10
b
G- 7
A di m7
C7
œ œ bœ œ ˙
œ 8
b
D -7
C7
œ bœ œ œ œ
œ
Œ
4
7
G- 7
F di m7
FMaj7
œ œ ‰ J ‰ œJ
6
FMaj7
9
G 7
œ bœ œ œ ˙
œ
5
b
A- 7
b
G 7
FMaj7
œ bœ œ bœ ‰ œ ‰ nœ ˙ . J J
Π11
Œ
12
3. Write out the diminished chord scale appears in the bar 7 and the bar 9. [5 point each]
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Quiz
E
/
Roman Numeral ( VII-(b5) /
_____
Roman Numeral
Mode
(
VI-
Key Key
(
/
Roman Numeral
Db
II-
/
Roman Numeral
(
II-
Mode
)
/ _____
Roman Numeral
(
Phry
G
Key
(
)
)
Mode
/ _____
III-
Mode
)
Mode
/ _____
/
Roman Numeral
F
_______)
V7
Roman Numeral
(
)
Mode
Roman Numeral
Roman Numeral
A
Mode
Bb
Key
_______)
Mode
G
(
Key
VI-
Loc
Key
Key
B
Key
Roman Numeral
G
)
Mode
C#
( IVMaj / _____
Key
/
Db
)
Key
Key
(
Mode
/ _____
Roman Numeral
(
Key
II-
/
Roman Numeral
)
Mode
Eb
_______)
Mode
C#
Phry
( IVMaj / _____
Roman Numeral
(
VI-
)
Mode
/ _____
Roman Numeral
( VII-(b5) /
Mode
Roman Numeral
Mode
(
/
)
Mode
Key
Roman Numeral
(
Key
Bb
Key
Key
• Fill out the blank, write out the Chord Scale.
A#
F#
)
_______)
Dori
)
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
•
Number the melody according to each chords. Non-available note must be parenthesized. Be aware of the passing note, the approach note, and Enharmonic spelling on the altered tensions. from Waltz For Debby by Bill Evans A D -7
FMaj7
& 34 .. ˙ .
2
9
G-7
b˙
œ œ œ
4
10
C 7/B
b
12
G7/B
˙.
7
A-7
G-7
˙.
13
œ œ œ 8
D7
˙.
C7
Œ œ œ
6
œ œ bœ
11
D7/C
5
C7
œ
#
˙.
1
B Maj7
œ
A7/C
˙.
3
b
F7
E7
b˙ .
˙.
1
&˙
G-7
C7
˙.
14
15
˙.
..
16
B
#
2
B-7
& n˙
E7
AMaj7
œ #œ œ œ #˙ .
17
18
D7
&˙
A7
27
28
G-7
Œ #˙
21
D-7
˙.
B-7
˙.
20
œ œ bœ œ bœ œ n˙
œ
26
˙.
19
G-7
C -7
B-7
22
23
b
F7
30
31
˙ 24
˙.
A-7
œ 25
E7 œ œ œ œ œ œ œ œ œ
B Maj7
D -7
A7
œ œ bœ ˙ . œ
29
C7
32
33
34
C
b
A-7
A 7
& ˙. 35
˙. 36
D7/C
G 7
˙. 37
G7/B
45
C7
46
53
E7
54
55
G-7
&œ œ œ 63
64
40
œ
˙. 65
b
E 7
49
43
A-7
50
b
B Maj7
E 7
51
A-7
58
˙. 66
67
˙
˙
Œ
52
A-7
Œ œ œ œ œ œ
59
˙.
D7
E7
Œ œ bœ œ bœ œ ˙ . 57
˙.
42
#
˙.
˙. œ b œ b œ œ œ œ œ œ œ
˙.
F6
A7/C
˙.
41
B 6
b
C7
E7
b˙ .
b
B Maj7
48
56
G-7
˙.
b
F7
A-7
˙.
E7
62
39
47
D-7
˙.
38
œ œ œ œ œ ˙. &Œ B-7
FMaj7
˙.
Œ œ œ œ œ œ ˙
& ˙. 44
b
G-7
60
61
Œ
68
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
1) Draw solid and dotted arrows. 2) Draw brackets. 3) Write out applicable Roman numerals over the chord. 4) Write out the name of the scales or neame of the modes below each measure. A
D -7
FMaj7
G-7
E7
A7/C
#
D7/C
G7/B
C7
& 34 .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 1
2
3
b
F7
1
B Maj7
4
G-7
5
C7
C 7/B
6
b
A-7
10
2
11
B-7
E7
12
AMaj7
D7
13
G-7
14
C7
15
16
B
#
C -7
B-7
8
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
& ’ ’ ’ ’ ’ ’ ’’’ ’ ’ ’ 9
7
B-7
G-7
C7
A-7
& ’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 17
18
D7
19
G-7
20
A7
21
D-7
22
23
b
F7
B Maj7
24
25
D -7
A7
E7
& ’’’ ’ ’ ’ ’ ’ ’ ’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 26
27
28
29
b A 7
A-7
30
31
33
34
C
b G 7
G-7
32
FMaj7
D-7
G-7
E7
A7/C
#
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’ ’ ’ ’ ’ ’ ’ 35
36
D7/C
37
G7/B
38
C7
39
40
b
F7
41
42
b
B Maj7
b
B 6
E 7
43
A-7
D7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’ 44
45
B-7
46
E7
47
48
49
b
A-7
50
b
B Maj7
E 7
51
A-7
52
E7
A-7
& ’ ’ ’ ’ ’ ’ ’’’ ’’’ ’ ’ ’ ’ ’ ’ ’’’ ’ ’ ’ ’ ’ ’ 53
54
E7
55
G-7
56
C7
57
58
59
60
61
F6
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’ 62
63
64
65
66
67
68
Jazz Theory Quiz, New England Conservatory Extension Division, ©1996 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Theory II Quiz Spring '98
Name
Date
1. Write out the Intervals. [4 point each]
w & bw (
) (
) (
(
) (
#w M10th Above
w #w
) (
w
)
w
2. Write a note by the given Interval. [4 point each]
&
) (
#w
w bw
) (
bw bw
) (
w bw
w w
&
#w w
∫w bw
#w ‹ w
) (
)
bw
#w
w
Aug.4th Above
-13th Above
P15th Below
M7th Below
F# Loc
Roman Numeral
Mode
Key
C
Key
Roman Numeral
Eb
Mode
( SubV7/II /
)
Key
( #IV-7(b5) /
/
/ Eb
)
D- (
)
)
Roman Numeral
Parent Key
/
Parent Key
/
Roman Numeral
Mode
Parent Key
( I dim7 /
n/a
/ n/a
Roman Numeral
Mode
Parent Key
/
Mode
Parent Key
/
F Ion
/
Roman Numeral
Mode
Key
( III-7
Bb- ( bVI Maj7 /
Parent Key
E
( V7/VI /
Key
Key
Mode
Key
Roman Numeral
Key
3. Fill out the blank, write out the Chord Scale and label each note. [5 point each]
G
( bIII dim7 /
Roman Numeral
)
)
Parent Key
/ n/a
Mode
Parent Key
n/a
/ n/a
)
)
Jazz Theory Quiz, New England Conservatory Extension Division, ©1998 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Theory I Quiz Spring '98
Name
Date
1. Write out the Intervals. [4 point each]
w & bw (
) (
) (
(
) (
) (
) (
2. Write a note by the given Interval. [4 point each]
&
#w M10th Above
w #w
w
) (
w
)
#w
w bw
) (
bw bw
) (
w bw
w w
&
#w w
∫w bw
#w ‹ w
)
bw
#w
w
Aug.4th Above
-13th Above
P15th Below
M7th Below
F# Loc
Roman Numeral
Mode
Key
C
Key
Roman Numeral
Eb
Mode
( V7/III /
Roman Numeral
( V7/V
/
)
B
)
E
)
G
Parent Key
/ Gb
Parent Key
/
Parent Key
/ n/a
Mode
)
Key
( #IV-7(b5) /
/
Key
( VI-7
Bb
Key
Key
Mode
Key
Roman Numeral
Key
3. Fill out the blank, write out the Chord Scale and label each note. [5 point each]
Parent Key
/ n/a
Roman Numeral ( SubV7 /
Mode
Roman Numeral
Mode
(
( V7/VI /
( V7/VI /
II-7
/ n/a
/
Roman Numeral
Roman Numeral
Parent Key
Parent Key
/
Mode
)
)
Parent Key
/ n/a
Mode
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Jazz Theory Quiz, New England Conservatory Extension Division, ©1998 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
About the author Hiroaki Honshuku : flute, ewi, composer, arranger, band leader
http://a-no-ne.com • http://anonemusic.com
Hiroaki Honshuku was first introduced to jazz in 1985 while teaching music at the US Naval Base in Yokosuka, Japan. Two years later, Hiro came to Boston area. He started at Berklee College of music as a scholarship student in January 1987. By the fall, he was also accepted to New England Conservatory as a scholarship graduate student. He has studied with George Russell, Dave Holland, Bob Moses, George Garzone, Matthew Marvuglio, and Thomas McKinley. Hiro was chosen leader of the 1990 New England Conservatory Honors Jazz Quintet, which performed throughout New England region. In May 1990, Hiro graduated simultaneously from Berklee College of Music and New England Conservatory. He received Summa Cum Laude for his Diploma of Music at Berklee as a performance major. He received Academic Honors and Distinction in Performance for his Master of Music at New England Conservatory as a Jazz Composition major. Besides being very active playing in New England region jazz clubs, he has been busy teaching in the Boston area. Since graduation, he has taught multiple levels of jazz theory and directed small and large jazz ensembles at New England Conservatory. Hiro has been an assistant director for George Russell at New England Conservatory since 1987 until Russell’s recent retirement. He was also invited as an assistant and a flutist as well as digital audio technician for Russell’s Living Time Orchestra since 1997. Hiro has been deeply inspired by Russell’s Lydian Chromatic Concept for Tonal Organization, which now characterizes Hiro’s writing style with Tonal Gravity without any traditional II-V-I resolution. Hiro has also played with Mike Stern, Dave Liebman, Mick Goodrick, Dave Weckl, Tiger Okoshi, George Russell, George Garzone, Maria Schneider, Bob Moses, and Tom McKinley. Hiro has recorded more than 20 CDs for various artists. He also recorded 5 leader albums, which are available at Amazon.com, CDBaby, and iTunes Store. The complete discography is available at A-NO-NE web site. While Hiro was into performing Avant-garde improvisational music using his electric gear in Berlin, Germany between 1990 and 1991, he was introduced to the Brazilian music by Paulo Maragucci, a well-known Rio de Janeiro composer/multi instrumentist who was studying at New England Conservatory. Since he joined Brazilian group, Manga-Rosa led by Sergio Brandão in 1992, not only his composition style has added Brazilian rhythms, Hiro has been very active performing and recording in the Brazilian music scene including Jequere led by José Pienasola, Gustavo Assis-Brasil Group, Teresa Inês Group, Gilson Schachnik Group, Alfredo Cardim, João Marcos, and many others. Hiro has performed for Teresa Inês Rio de Janeiro shows in 2000 – 2001. In the jazz scene, Hiro has been a long-time regular member of Jazz Composers Alliance Orchestra and Power Jazz Unit. The nature of the A-NO-NE Band varies according to the performance. This concept was started by Hiro at the end of 1987 when he realized he wanted to be a strong composer. He made a list of good musicians around the Boston area, and tried to organize different size bands and different types of music for several concerts. The A-NO-NE Band can be a small Jazz group, Avant-garde, Funk Fusion and even a Big Band. All of the selections of the A-NO-NE Band are written by Hiro. Because of the success in four A-NO-NE Big Band concerts, he was invited to Paris as a guest conductor in June 1990, and his later formed big band “Boston Blazing Jazz Orchestra” was invited to the Jazz Festival in Kyoto ‘94 for a week long performance hosted by Geila Zilkha. Hiro still keeps his classical music activity. Among those, he was invited for a recital at Paroisse de la Trinité, Paris, France, where he performed his own compositions dedicated to Messiaen. Besides Hiro is busy performing and teaching, Hiro also runs a small project studio for digital audio editing and MIDI sequencing as well as location recording works using the state of the art tools. To help his own audio work on Macintosh, he has programmed a few applications, which are freely available at Apple web site under Dashboard Widget. April 2007
