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Theory & Analysis
The Theory & Analysis page is the spot for general music theory questions, and more in-depth analysis of pieces.
 
 

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 motherlode
  
Re:Non-Functional Approach Techniquessubmitted:
2019/10/07 07:26:42
revised:
2019/10/08 23:16:59


The given harmony: Bb-7 ---> Eb7/A
Well, right off ... Eb7/A ... is better viewed as ... A7(b5).

Now when the chords are reduced to their lydian tonics ... 'Db' lydian and 'G' lydian augmented ... it's easy to see that there is a change of color in the same bar.

This is important because the melody is to be viewed in terms of it's distance from it's lydian tonic.
--------------------------------
The melody is fixed, so I can't change it. The melody note will be placed at the TOP of each new chord.

The top note is the most important note in any chord voicing, and the BOTTOM note is the 2nd most important.

The bottom note will be chosen at random from the (12) chromatic tones. My only criteria is that I would like to see an unusual bass movement. I need (4) chords for that particular spot.

Gbmaj9 add6 ---> C7#9#5 ---> B-9 ---> G69(b5)

As you can see, the 1st interval in the bass movement is an (+4) ... unusual.
Plus, (2) of the chords are out of scale, and (2) are in scale.

But it's the voicing that makes it happen, all the notes are 'slaved' to the lydian tonic ... 'Db'.
















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In the context of the song, all of this happens in just (2) beats ... that's a lot of music in just (2) beats.











 
 motherlode
  
Re:Non-Functional Approach Techniquessubmitted:
2019/10/07 16:43:33
revised:
2019/10/09 08:17:30


This is the same Doug McKenzie melody, but in the extreme.

Only (1) chord is found the key of 'Db'. The other (3) are 'slaved' to the lydian tonic 'Db' through voicing.

This is done by understanding the chords intervallic relationship between the TOP and BOTTOM notes and then applying tonal gravity (TG).

It's TG that determines the chord quality. Many musicians try to choose the chord quality themselves, which amounts to mostly trial and error ... guesswork ... why guess when you can know?

Look, the composer is free to pick the TOP & BOTTOM notes. Then just let TG pick the chord quality to fit the harmonic setting ... simply follow the rules.

A-D = (+5)/(-2)

G-G = (+4)/(+4)

A-Bb = (+5)/(maj6)

E-A = (-3)/(+5)

The melody and harmony are operating in a parallel universe.


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