Salley, Review of Mulholland, Hojnacki, Terefenko. The textbooks under review here are both robust volumes with much to offer the educated musician. Joe Mulholland and Tom Hojnacki primarily address jazz harmony—though they cannot avoid touching upon other fronts—in a way that is at once both conservative and forward- looking. They are the chairs of the Harmony Department at the Berklee College of Music, and their textbook, The Berklee Book of Jazz Harmony, presents a system that has been taught there since the 1. The scope of Dariusz Terefenko’s Jazz Theory: From Basic to Advanced Study is considerably broader. It addresses topics that do not always appear in jazz theory texts, such as jazz rhythm, music fundamentals (a very thorough treatment), and even post- tonal jazz with a primer on pc- set theory. Terefenko provides a play- along DVD and a companion website.(2) The website is open to everyone, requiring no password and stipulating no window of time for user access. It features ear- training exercises, recordings of examples, appendices, and an extensive workbook of written exercises. Harmony 1 Workbook By Barrie Nettles Pdf DownloadBerklee Jazz Harmony 1 Berklee Jazz Harmony 2 Berklee Jazz Harmony 3 Berklee Jazz Harmony 4. 18 comments: The Ring Modulator said. Contemporary Music Theory Level One A Complete Harmony And. 1/2 Contemporary Music Theory Level One A. Mapping tonal harmony workbook 1 chords. The chord scale theory jazz harmony by barrie nettles richard. Pdf download advanced harmony theory and practice with cd. HARMONY 1-2-3-4 by Barrie Nettles - Ebook download as PDF File (.pdf) or read book online. Berkleee College of Music. Berkleee College of Music. Formato papel o digital (pdf. II y III' by Barrie Nettles. Berklee College of Music. Pdfqueen.com -.pdf search engine. NETTLES, Barrie - Berklee Harmony 1. Books Audiobooks Comics Sheet Music. Start your free trial and access books. Mulholland and Hojnacki provide a CD with recordings of original compositions that serve as examples in the text. The Berklee Book would benefit from including some opportunities for readers’ self- assessment. However, for the present edition such objectives are somewhat beyond (or peripheral to) the intent of the book, which is simply to introduce Berklee’s harmonic system to new readers. Consider the following passages, excerpted from relatively early chapters in each, where the authors differentiate jazz from other tonal musics. Mulholland and Hojnacki do this at the very outset: One thing that distinguishes mainstream jazz harmony from other tonal styles is the tremendous amount of harmonic color that arises due to the pervasive use of tertian extensions of the basic chord types. Jazz musicians refer to these notes as tensions. These properties are represented by a unique set of rules dictating the unfolding of harmonic function, voice- leading conventions, and the overall behavior of chord tones and chordal extensions. However, they are significant simply because jazz theory texts do not normally make such observations. These authors use similar differentiations to situate their discourses within spaces that allow critical inquiry from academically informed readers. In doing so, they establish points of departure for presenting innovative ideas on such topics as harmony and form. This review compares these two texts by addressing their ideas on these topics. In the harmonic domain, I consider the authors’ views on tonal function and chord- scale theory. In the domain of form, I explore their comments on both phrase models (and their combinations) and the relationships between harmony and meter that influence our perception of larger- scale rhythm. And though the concept of tonal function is not elusive in itself, it is broad enough for different musicians to interpret and explain it differently. The texts under consideration offer quite dissimilar explanations. To Mulholland and Hojnacki, harmonic function accounts for “the relationship of a chord to its tonal center” (3). The authors introduce tonic, subdominant, and dominant functions, noting the primary representatives (Imaj. IVmaj. 7, and V7) for each. At first, this seems innocuous enough. However, their explanation of the subdominant function cites the voice- leading tensions that arise when IVmaj. Imaj. 7 (even contrasting it to a resolution from V7 to Imaj. Of course the authors are aware of this tendency, but to them, chordal behavior does not define harmonic function. Example 1. Mulholland and Hojnacki, The Berklee Book of Jazz Harmony, Ascending Cycle 3 Pairs, page 1. What follows is a discussion of six patterns or “cycles” of root motion (ascending and descending 2nds, 3rds, and 5ths) in which diatonic harmonies pass through the key of C, exhausting all possibilities for diatonic chord succession. Example 1 shows an ascending “cycle 3,” with harmonic functions shown above the chords.(4) Within each cycle, the authors discuss functional relationships between pairs of adjacent chords, noting whether progression, retrogression, prolongation, or resolution occurs, as well as commenting on the musical effects of those connections. His hierarchy has more levels as well, with dominant defined in terms of its tendency to resolve to tonic, and pre- dominant in terms of its tendency to progress from tonic to dominant. Thus, functions are presented in terms of harmonic behavior, and against a background that acknowledges the tonic’s overall influence. Membership in “functional families” (roughly analogous to the Berklee method’s “functional groups”) is also based on common tones, but here Terefenko allows chords whose roots lie a diatonic third above or below a function’s primary representative (I, IV, and V).(5) As a result, the families overlap so that vi belongs to tonic and predominant families, and—to be consistent, if not particularly reflective of practice—iii belongs to tonic and dominant families. Mulholland and Hojnacki introduce each function’s representative chord and describe how active scale degrees within subdominant- and dominant- functioning chords relate to the tonic. On the other hand, Terefenko’s discussions of function (chapters 3 and 4) do not address active scale degrees and their voice- leading tendencies. In this way, he provides definitions in the manner of descriptions of chordal behavior, but offers no explanations of the factors that give rise to harmonic function. In practice, this results in a more varied range of chord types in comparison to what one usually encounters in jazz theory texts. For example, some chord- scale theories recognize equivalence among all minor seventh chords, and introduce a standard or generally accepted array of extensions to sound over them. But according to The Berklee Book, extensions over iii should differ from those that sound over ii or vi. Moreover, extensions on secondary dominants should also follow this rule, so that while V/iii and V/ii both have minor seventh target chords, the former would have altered ninths (9 and 9) and the latter would have a natural one. Mulholland and Hojnacki consider tensions that appear a half step above a chord’s root, third, fifth, or seventh in a chord scale as “harmonic avoid tones” that readers should not incorporate into voicings (2. However, such “conflicts” are very common in practice. As a result, the authors abandon their diatonic basis for extensions on dominant chords within the first chapter and introduce five different optional dominant chord scales—possibly the earliest entrance of altered dominants in any jazz theory text (3. Such an early divergence from the diatonic basis is bewildering, and it is no more reassuring when the authors return to it in the following chapter to discuss extensions on secondary dominants. After all, chord- scale theories typically recognize chords and scales as different manifestations of the same thing, reflecting in some ways the interrelated properties of dual states in quantum mechanics.(7) But Mulholland and Hojnacki do not need to have it both ways. They do not use chord scales to recommend appropriate collections in melodic improvisation, but only as a convenient way to present harmonic extensions.(8) Therefore it would seem easier to cast chord scales aside and set general preference rules, such as one that recommends raising elevenths on any major chord type unless the third is omitted. This would be simpler than assigning a scalar array of chord tones that contains a perfect eleventh while proscribing the use of that tone—or, in a more problematic case, assigning the Phrygian mode to iii. This problem comes closest to the surface at the conclusion of a somewhat bulky section on secondary- dominant chord scales. Here, the authors recognize that extensions need not be scale- based or diatonic, noting that “. In fairness, the authors have not set out to determine the simplest system for selecting harmonic extensions. They set out to publish a codified system that has been in use for decades—one that undoubtedly has changed and adapted over time along with jazz harmony itself. He acknowledges jazz’s diversity of chord types from the start, and makes no attempt to explain harmonic derivation in terms of scales. He groups four- part chords (consisting of a chord’s root, third, fifth, and either sixth or seventh) according to quality (major, minor, dominant 7th, and intermediary), and discusses the functions those qualities can fulfill. Only after imparting this information does Terefenko situate these chords within scales to illustrate relationships between function and scale degree—but he still does not use scales to illustrate or generate extensions. Even the following chapter on extended chords discusses unaltered and altered extensions without recourse to scales. Terefenko’s approach manages to avoid the issue of directly mapping chords and scales onto each other while still providing a preliminary explanation of jazz harmony that is clear. In contrast to Berklee’s system, Terefenko does believe in the dual state, claiming that “any melodic line can be represented by a chord and/or harmonic progression and, conversely, any chord or harmonic progression can be horizontalized with a melodic line” (9. But beneath the surface, his theory is not as rigid as it might seem. He allows that a single scale may correspond to more than one chord, and that a single chord may correspond to more than one scale. In this light, Terefenko’s chord- scale theory is not simply prescriptive. It is also descriptive, providing a metric with which one can gauge the degree to which the harmony and melody of a passage interact with and complement each other to express a single and cohesive collection: The interplay between the melodic line and the underlying harmonies unifies both musical dimensions.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2016
Categories |