Jazz harmony thesis

Copyright - JazzStandards. Over the last century or so, this harmonic vocabulary has evolved into a set of practices that is ideally suited to the needs of contemporary jazz performers. Until approximately the s, songs were marketed in print form primarily as sheet music, including a composed piano accompaniment. Beginning aroundchord symbols were often also provided, for guitarists and for pianists who did not read music well enough to play the written-out accompaniments.

Jazz musicians have always tended to reduce song arrangements to a basic harmonic framework, in order to create the space needed for improvisation - and chord symbol notation would have helped them to do this.

When jazz musicians of the s and later wrote their own tunes, they probably would have used lead-sheet format, notating the harmonic accompaniment with chord symbols, rather than with a piano arrangement.

Early, illegal fake books used this format as well. Since the s, jazz education, once nearly non-existent, has become widespread. This has created a market for lead-sheet versions of standards, intended for improvisers.

At the same time, amateur music-making no longer means gathering around the piano to read through sheet music arrangements. In the print music market, sheet music has now been almost entirely supplanted by fake books. The quality of fake books has improved considerably over the last half-century.

In the s and s, fake books were generally encountered as poorly-edited bootleg collections; they are now produced legally, and publishers usually make at least some effort at accuracy.

The current approach to indicating harmony is the approach that jazz musicians favor: reduction to a basic functional framework. For better or worse, fake books using this approach to chords are now the commonly-accepted reference for jazz standards.

At the risk of oversimplification, we can say that the basic harmonic unit for jazz musicians today is the seventh chord. Performers will then alter and voice chords according to their personal inclination. Ninths, elevenths, and thirteenths are routinely added; notes may also be omitted. In the key of C major, this would be Dm7 G7 Cmaj7. Secondary dominants: Any chord may be preceded by its V. For example, one common progression is D7 G7 Cmaj7.

Local key centers: Composers may use progressions that set up brief, temporary changes of key. This is often accomplished with a II V I sequence. For example, a song in the key of C major might include the sequence Fm7 Bb7 Ebmaj7, causing the listener to perceive a temporary shift to the key of Eb major. Circle of dominants: This is another device that is common in classical music. An example would be D7 G7 C7 F7. Circle within a key: This is a related device. Roots move up by fourth, but the notes stay entirely within a key.

Note that to stay within the key, one of the root movements IV to VII has to be by augmented fourth rather than by perfect fourth. In actual practice, you will usually see sections of this circle, rather than the whole sequence. The purpose is to import notes, especially the b6 of the key, from the parallel minor key in the key of C, b6 would be the note Ab, borrowed from the key of C minor.

The effect is to add color, often accentuating an emotional moment in the song. Occasionally, bVII7 may also be used as a substitute for V.Jazz and Drug Use. Jazz and Drug Use The music industry has often been associated with drug use, but most people think of rock and roll or rap when they consider musicians who use drugs.

It may surprise these people to know that jazz music also has its share of drug use, and that this link has been ongoing since well before the s Aldridge, This is important to consider, since there are many people who love playing or listening to music. It would not be accurate to assume they all have ties to drug culture, but there is a certain level of drug use seen in the music business.

Jazz musicians are no exception, and there are several reasons why their drug use has been almost glorified throughout various periods of history.

How people are portrayed and assumed to be is often very different from how they really are, but the portrayal…… [Read More]. Jazz Gillespie Live in ' Drums, piano, and bass all remain strictly rhythmic elements of this piece, though the latter two also provide melodic and harmonic support to this smooth yet snappy piece that is not quite a ballad yet is not nearly up-tempo enough to be considered be-bop.

Johnson drives with his sticks on the drums with some liberal symbol use, and Brown keeps a steady bass line moving underneath the melody and solos provided by Gillespie and Stitt.

Levy's piano is again subdued, and seems to be the weaker element of the piece and arguably of the quintet as a whole; the chords are strong and softly discordant at times in a pleasing way that all but defines jazz, yet there does not appear to be a great deal of imagination or risk in the playing. When Gillespie and Stitt sing a final verse of the popular tune, though, any detriments of the…… [Read More].

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Jazz "Blues After Dark," Feat. In Belgium, Starting with the dueling instruments, it almost sounds like two muted trumpets, because the harmonics are intense. For a few notes, it remains that way until I see that it is not two trumpets but rather, a trumpet and a saxophone. They are playing together brilliantly. A smooth stand up bass kicks in, with background elements that respond to the lead instruments. The bass is not playing a melody like the trumpet and saxophone are; and the bass is also not playing in unison with the tenor saxophone or the trumpet.

However, the bass is working in the spot it should be working in, offering a continual walking bass line that keeps the structure of the song together throughout. Sometimes, the bass does play the same…… [Read More]. In Belgium, This dynamic performance starts rather tentatively with the trumpet and saxophone, before the band joins in earnestly.

Piano, bass, and drums accompany the lead trumpet Dizzy Gillespie and tenor saxophone Sonny Stitt. The introduction builds rather quickly after that, build around a central phrasing structure.

There are deliberate and dynamic pauses inserted throughout, adding dimension and tension. The head or lead instruments, which remain the trumpet and saxophone, guide the jazz band. The same riff and phrase is echoed by trumpet and saxophone, as the two instruments play together in unison. The piano answers. Occasionally the piano provides a lead-in for the next measure, as if introducing the trumpet and the saxophone. The bass provides the rhythmic structure that keeps the band focused.

Moreover, the bass…… [Read More]. This is a dynamic song, but it starts mellow. The brief introduction ends and the main riffs or phrases are featured soon around a central rhythmic structure.

Although there are repeating elements, it is not the same two times around. Each time the trumpet and saxophone play, the effect is different. There are also pauses in the music, and silent spots throughout.JavaScript is disabled for your browser.

Some features of this site may not work without it. Elements of jazz : thesis submitted in fulfillment of the requirements for the degree of Master of Music, Conservatoriu of Music, Massey University. Export to EndNote. Abstract This thesis examines the unique musical and cultural elements particular to jazz improvisation.

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The topics of scales, melody, voicings, harmony and rhythm are examined in separate chapters with over two hundred notated musical examples used to demonstrate the materials in their context.

This thesis also seeks to explain the relationships between these elements and presents the material material in a form applicable to improvisation. In its relatively short history jazz has developed many unique musical and cultural elements.

Jazz Band Concert Review

The fact that most of these musical elements have been developed in an improvised environment means that the complexity of the harmonic, melodic and rhythmic material presents more than an academic challenge for the studentof this music. To play jezz rrquires a deep understanding of the complex relationships that exist between melody, harmony and rhythm. This must go beyond an academic understanding because the practical application of this knowledge ultimately determines whethe the elements can be used spontaneously in improvisation.

To explain the theoretical material that underlies jazz improvisation, various types of musical shorthand and complex techniques of cross-referencing have evolved. Until more recently most of these techniques have been kept within the profession and were shrouded in mystery, with most information being passed directly from master to student. The relative lack of literature on the theoretical components of jazz, and the fact that most of its finest examples only exist in recorded form, have exacerbated this situation.

In the last decade or so several books have been Written in an attempt to decipher jazz. The best of these works contain a large academic component with an emphasis on using the material in the context of improvisation.

The theoretical complexity of jazz rivals any other western or non-western from of music, but the way in which it has been taught is based on the African tradition of aural learning through imitation.

As jazz has grown in complexity, the tradition of learning improvisation solely by imitation has proven to be inadequate. The modern trend towards the blending of theoretical, practical and intuitive learning, has created a need to find new ways of organising the ever increasing material.

Jazz Music Essay

This thesis seeks to examine the elements of jazz and categorise and organise the information in a more efficient way. The thesis is divided into chapters exploring scales, melody, voicings, harmony and rhythm. The subject of scales is explored with reference to traditional and extended structures and their particular relationship to harmony.

To describe the relationships between scales and chords several charts and diagrams are employed, with parallel and derived approaches as a basis. Jazz contains many unique ways of generating and structuring voicings, with 4-way close, drop 2, slash chords anbichords, pentatonic derivatives, upper structures and quintal structures forming basis of this study.

The similarities and differences between European classical harmony and extended jazz harmony are explored, with an emphasis on the techniques found in jazz. To explore this connection many written examples show the gradual introduction of harmonic density, from simple four-part writing through tro the of upper structure, alteration, substitution, superimposition and polyphonic elaboration.

Basic reharmonisation and techniques of variation in chord progressions are explored, with a comprehensive study of chord substitution. Transcribed examples from the jazz repertoire are used to trace melodic and harmonic chromaticism, with reference to the parallel developments in rhythm.

The use of polyrhythm, displacement, rhythmic grouping and metric modulation are examined with an emphasis on the parallel developments in harmony and melody. This thesis also contains several essays that examine the relationship between jazz and 20th-Century music the evolution of chromaticism in jazz, and the unique culture of jazz improvisation.

Date Author Jackson, Leigh. Rights The Author. Publisher Massey University. Collections Theses and Dissertations. Metadata Show full item record. Search MRO.Cool Jazz originated in the late 's. It was created from the mix of classical music and jazz music. Miles Davis is known as the creator of cool jazz and his most important album was "Birth of Cool".

People also say that cool jazz was a smoother style of bebop. The rhythm of cool jazz is more of a melodic flow. Cool jazz also originated in New York While a lot of jazz music used instruments like a saxophone, cool jazz didn 't.

The main instruments in cool jazz were French horns, flutes, tuba. This controversy not only brought jazz to the attention of a larger audience, but also, gave it cultural relevance as music that acted as resistance music and, alternately, brought the warring skin colors. To define jazz music, one must scroll through the lexicon of words associated with the sound of jazz to come up with a description of the art form.

Words such as smooth, cool, nice, swinging, and jazzy describe the art form. However, because of the vague definition of its sound, there is no one true definition of the art form. Jazz is an art form that cannot be restrained. Jazz is like watching Michael Jordan go up for an ordinary slam dunk, but in midair, he changes his mind to do something completely.

A mix of European harmony and African rhythm, blended with the current styles of the time such as ragtime and rhythm and blues, Jazz can be seen as an amalgamation of different cultures and has had huge influences on, and evolved concurrently with, American society in the past century. The birthplace of jazz is the subject of much more controversy. Jazz had started, when musicians came to New Orleans to play, most of the people that came to play were former slaves of African descent.

The African American people had traced their ancestry back to West Africa, and with this knowledge they began to make a new kind of genre of music called jazz, based on ancient African tribal music, that people in Africa had been played for years.

Some things that the tribal music and jazz have in common is a strong drum beat, voices imitating instruments, and. In the s, jazz music started to gain popularity in America. The new upbeat and exuberant style of music attracted many young people looking for change. Jazz broke the customary rules of classical music and allowed musicians to improvise.

Soon speakeasies around cities. Music such as jazz was commonly used mediums where African American musicians sought fame and fortune. Many influential artists took to the stage in clubs such as the Cotton club. It came to be known as a hub for alcohol, drugs, marijuana, and interracial sex.

jazz harmony thesis

Despite being a white-only establishment, this Harlem nightclub lent itself to some of. Jazz Pianists were often on the forefront of the ongoing development of jazz music. However, when the bebop era dawned, piano seemed to move into the background, with people like John Coltrane and Miles Davis leading the charge.

However, this did not mean the piano disappeared, far from it; Jazz music. The word Bebop focused more of the freedom of creativity rather than rhythmic aspects. The word bebop is an onomatopoeic of a staccato two-tone phrase distinctive in this kind of music. Bebop also gave soloists more room for improvisation.

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Bebop differs from the composition of the swing era and is characterized. For as long as I can remember, my parents have played jazz music in our home, while cooking meals together, or entertaining guests, or reading on a Sunday morning. My familiarity with the music from a young.

jazz harmony thesis

Jazz Music Essay. Page 1 of 50 - About essays. The main instruments in cool jazz were French horns, flutes, tuba Continue Reading.Items in KU ScholarWorks are protected by copyright, with all rights reserved, unless otherwise indicated.

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Issue Date Author Schroeder, Nicholas.

The Elements of Jazz Harmony and Analysis

Publisher University of Kansas. Format pages. Type Dissertation. Degree Level Ph. Discipline Philosophy. Rights Copyright held by the author. Metadata Show full item record. Abstract Contemporary virtue ethicists have largely followed Aristotle in accepting what Karen Stohr calls the harmony thesis. This thesis claims that a virtuous agent will not experience inner conflict or pain when acting. His reasons, desires, and actions will correspond and be in harmony with one another.

A merely continent agent, on the other hand, is one who is said to perform the same action as the virtuous agent, but experiences inner conflict or pain in doing so.

jazz harmony thesis

While the harmony thesis provides a useful criterion for demarcating virtue from continence, we can imagine cases where acting with conflict or pain is not only appropriate but necessary in the situation.

This difficulty for the harmony thesis is better known as the problem of continence. In writing this dissertation I have three goals: show that the problem of continence poses a threat to the harmony thesis, offer a solution to the problem, and make that solution fit the needs of contemporary virtue ethics.

For example, McDowell applies it to courage; Foot to honesty, charity, and justice; and Hursthouse to nearly all the moral virtues. While useful for contemporary virtue ethicists, this more robust conception makes the harmony thesis susceptible to problematic cases that Aristotle did not have to face.

Chapter 2 explores a problematic case offered by Stohr involving a company owner who needs to fire several of her employees in order to save the company from ruin. Because acting rightly in the case requires an agent experience inner conflict or pain, only the continent agent can deliver. This puts the status of the virtuous agent in a compromising position: either be deemed morally lacking in some way compared to the continent agent or deny that the standard of virtue is sharply distinct from continence.

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In looking for a way out of the dilemma, Chapter 3 explores some attempts at a solution offered by Sarah Broadie, Susan Stark, David Carr, Geoffey Scarre, and Howard Curzer, concluding that none of the mentioned solutions adequately solve the problem of continence. The second goal of the dissertation is reached in three steps. I first return to the traditional account of continence defended by Aristotle.

8 Jazz Chord Progressions Every Musician Should Know

In a neo-Aristotelian spin drawing on Terence Irwin and Ursula Coope, I argue in Chapter 4 that continence should be interpreted as a failure of rationality rather than one of feeling.

By redefining continence in this way, the real problem in Stohr's counterexample can be homed in on: the company owner who fires her employees with ease feels less pain than she should. The second step sets out to make sense of what it means to feel an inappropriate amount of pain. In Chapter 5, I propose that we turn to Aristotle's virtue of endurance to make sense of the defect.This study develops a method for analyzing jazz piano music, primarily focusing on the era The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies.

The concept of tritone substitution leads to the idea of a harmonic level, i. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of Mahoney, J. Jeffrey August It has been viewed times, with 8 in the last month.

More information about this thesis can be viewed below. People and organizations associated with either the creation of this thesis or its content. For guidance see Citations, Rights, Re-Use. The UNT Libraries serve the university and community by providing access to physical and online collections, fostering information literacy, supporting academic research, and much, much more.

Descriptive information to help identify this thesis. Follow the links below to find similar items on the Digital Library. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.

Unique identifying numbers for this thesis in the Digital Library or other systems. Theses and dissertations represent a wealth of scholarly and artistic content created by masters and doctoral students in the degree-seeking process. What responsibilities do I have when using this thesis?

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Dates and time periods associated with this thesis. Showing of pages in this thesis. Description This study develops a method for analyzing jazz piano music, primarily focusing on the era Physical Description v, leaves : ill. Who People and organizations associated with either the creation of this thesis or its content.

Author Mahoney, J. Chair Dworak, Paul E. Provided By UNT Libraries The UNT Libraries serve the university and community by providing access to physical and online collections, fostering information literacy, supporting academic research, and much, much more. About Browse this Partner. What Descriptive information to help identify this thesis. Language English. Item Type Thesis or Dissertation. Identifier Unique identifying numbers for this thesis in the Digital Library or other systems.An analysis of six original Latin jazz compositions and arrangements.

Ruben CabanFlorida International University. The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and Afro Caribbean rhythms. These six compositions were chosen for the composers Master's recital to demonstrate how his writing technique was influenced by his cultural and musical experience during his years of study and performance in the United States and abroad.

The instrumentation was chosen to exemplify the fusion of the traditional percussive sounds of Latin music with jazz harmony, melody and improvisation.

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It is important to note that even though one of the compositions, E. Scores of the six musical works are provided in an Appendix, and a live recording of the recital is included. If you are the rightful copyright holder of this dissertation or thesis and wish to have it removed from the Open Access Collection, please submit a request to dcc fiu. Caban, Ruben, "An analysis of six original Latin jazz compositions and arrangements" Composition Commons. In Copyright. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use.

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Skip to main content. Title An analysis of six original Latin jazz compositions and arrangements. Abstract The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and Afro Caribbean rhythms. Comments If you are the rightful copyright holder of this dissertation or thesis and wish to have it removed from the Open Access Collection, please submit a request to dcc fiu. Recommended Citation Caban, Ruben, "An analysis of six original Latin jazz compositions and arrangements" Included in Composition Commons.

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