Exploring Ambiguous Harmony With Triadic Slash Chords BAJP – Year 4
BAJP – Year 4 Written Analysis Project Exploring Ambiguous Harmony With Triadic Slash Chords Mathias Baumann 1 “The sonority of a constant triad over a root is stark and sometimes creates missing note, non‐modal chords, but has a desired beauty because of its transparency.” Ron Miller, Modal Composition & Harmony – Volume 1 2 Table Of Content Use Of Symbols Introduction Fundamental Considerations Definitions Generalisations Categorisations Perception Of Sound Slash Chord Versus Conventional Chord Name Slash Chords And Their Sounds Major Triadic Slash Chords Minor Triadic Slash Chords Augmented Triadic Slash Chords Diminished Triadic Slash Chords Suspended Triadic Slash Chords Adding Tensions Analysis Of Melodies And Solos General Observations Further Sonorities Supplementary Creative Concepts Conclusion Further Reading & Bibliography 05 06 07 07 07 08 10 12 13 13 14 15 16 17 18 19 30 31 37 39 39 3 Audio CD 01 Perception Of Sound 02 Sleep (Ben Monder) 03 Arjuna (Chris Potter) 04 New For Now (Jonathan Kreisberg) 05 Jacky’s Place (Mark Turner) 06 Zhivago (Kurt Rosenwinkel) 07 Aspire (Kenny Wheeler) 08 The Sixteen Men Of Tain (Alan Holdsworth) 09‐25 Further Sonorities ‐ Examples 01‐17 Data CD Appendices Appendix 1 – Chord/Scale Relationships Appendix 2 – Scale Syllabus Appendix 3 – Guitar Voicings Appendix 4 – Exercises Appendix 5 – Using Slash Chords For Superimposition Appendix 6 – Using Slash Chords For Comping Appendix 7 ‐ Polychords Improvisation Exercises – Audio Polychords – Audio Slash Chord Comping – Audio Slash Chord Superimposition – Audio Slash Chords And Their Sounds – Audio page 10 page 19 page 22 page 22 page 23 page 26 page 27 page 28 page 31 4 Use Of Symbols 1) In this essay I will mostly use ‘’ symbols in the analytical chord symbols. Any chord can also be named using its enharmonic name. 2) Triadic and compound slash chords are written with a forward slash (‘/’) symbol : F/C or Amaj9/C 3) Polychords are written with a horizontal line: F Amaj9 C C 4) Upper structure roman numerals in slash chords represent the scale degree and the function in relation to the bass note which always uses the Roman numeral ‘I’. Examples: B/C = VII/I or Dm7/C = IIm7/I For a thorough understanding of the analytical content in the following chapters it is important to know that slash chords can be part of functional and non‐functional harmony. As with any other chord progression slash chords always need to be seen in the melodic and harmonic context they appear in. The context will then be the guidance for appropriate scale choices and sounds. 5 Introduction There are numerous reasons for studying and knowing about the nature of slash‐ and poly‐ chords: 1. Many compositions use slash chords and therefore it is important to know what melodic content can be used for solo improvisation. 2. Slash chords are a useful resource to creatively reharmonise chord progressions and create more ambiguous sounds. 3. Superimposing triadic structures over ‘regular’ chord changes can be effective when improvising and comping, both in diatonic but especially in a modal context. 4. Utilizing and integrating compound chords in compositions helps to develop innovative ideas and harmonic scopes. When asking jazz guitarist Jim Mullen about his approach to playing over slash chords he states: “Slash chords are very specific. I prefer less specific chords to have more options when improvising.” 1 Consequently two essential questions arise: 1) What gives slash chords their specific sound? 2) Do slash chords limit your options in improvisation? The objective of this essay is therefore to explore the nature of ambiguous sounding slash chords used in jazz compositions with focus on non‐chromatic harmony. This shall be achieved by firstly analysing the general nature of slash chords, and by secondly examining their practical chord‐scale application in improvised solos and beyond. In conclusion, I intend to give an insight to the sounds of different compound chords and reveal the answers to the above proposed questions. 1 Masterclass with Jim Mullen, Dublin, 24/01/2013 6 Fundamental Considerations Definitions Any chord (root position or inversion) played over a bass note other than the root note of the upper structure chord forms a slash chord. A slash chord can consist of 1) a simple triadic chord and a bass note, Example: F/C 2) a richer chord with one or more tensions and a bass note, Example: Amaj9/C 3) two different chords forming a polychord. Example: D _ or Gm C C7 Generalisations As there are 12 enharmonically different pitches there are a total of twelve different triadic slash chords in each of the triadic categories: major triad over bass, minor triad over bass, augmented triad over bass, diminished triad over bass, and suspended triad over bass. Out of 60 possibilities 14 chords have one of the notes in the upper structure triad doubled in the bass: I/I, IV/I, VI/I Im/I, IVm/I, VIm/I Iaug/I, IIIaug/I, IVaug/I Idim/I, Vdim/I, VIdim/I IVsus4/I, Vsus4/I 7 Additionally there are only four different augmented triadic slash chord sounds: Iaug/I = IIIaug/I = VIaug/I (‐> already eliminated) IIaug/I = IVaug/I = VIaug/I IIaug/I = Vaug/I = VIIaug/I IIIaug/I = Vaug/I = VIIaug/I Conclusively, there are 40 slash chords containing four different notes: II/I, II/I, III/I, III/I, V/I, V/I, VI/I, VII/I, VII/I IIm/I, IIm/I, IIIm/I, IIIm/I, Vm/I, Vm/I, VIm/I, VIIm/I, VIIm/I IIaug/I (= IVaug/I, = VIaug/I), IIaug/I (= Vaug/I, = VIIaug/I), IIIaug/I (= Vaug/I, = VIIaug/I) IIdim/I, IIdim/I, IIIdim/I, IIIdim/I, IVdim/I, Vdim/I, VIdim/I, VIIdim/I, VIIdim/I IIsus4/I, IIsus4/I, IIIsus4/I, IIIsus4/I, Vsus4/I, VIsus4/I, VIsus4/I, VIIsus4/I, VIIsus4/I Categorisations In his book ‘The Advancing Guitarist’, Mick Goodrick structures slash chords into three categories: 1) Obvious Seventh Chords 2) Less Obvious Seventh Chords 3) Hybrid Structures Since there are many different ways to define various chord types I decided to use the following categorisation in this essay: 1) Complete Chords 2) Chord Inversions 3) Incomplete Chords 4) Polychords 8 Type 1: Complete Chords Type 1 slash chords are written as a slash chord but actually represent a complete chord with the bass note being the root note. The term ‘complete’ implies a full chord voicing consisting of root note, third, fifth and seventh or equivalent substitute notes. Usually it is easier and more common to write a conventional chord symbol instead. The main reason for using this slash chord type is to suggest a triadic voicing on top. Type 2: Chord Inversions Type 2 slash chords are constructed of an upper structure chord which is played over a chord tone in the bass. Type 3: Incomplete Chords Type 3 slash chords consist of an upper structure chord which is played over a non‐chord tone. The bass note becomes the root function of the slash chord creating an ambiguity which makes it difficult to identify the chord’s function and sound. The term ‘incomplete’ implies that either the third, fifth or seventh of the chord is not present. Type 4: Polychords Type 4 slash chords are two different chords played at the same time. Polychords are either used in chromatic harmony or when a very specific sound is desired. With only a few exceptions polychords represent complete chord sounds and are unequivocal. 9 Perception Of Sound ‰ CD Track 01 Ron Miller’s chord construction in “order of increased tension” 2 suggests that the sonority of the major upper structure chord stays the same, while the tension created by the distance of the triad to the root note implies a certain modality. I/I IV/I V/I bVII/I II/I bIII/I bVI/I III/I bII/I VI/I bV/I VII/I Ionian Mixolydian Lydian Aeolian Lydian Phrygian Altered Locrian Lydian (#9) Augmented Diminished 3 Nevertheless, the perception of harmonic tension is very subjective and also dependant on theoretical knowledge, playing and listening experience. Sounds can therefore be interpreted in many different ways. The categorisation on the following page is my subjective interpretation of triadic slash chord sounds and includes all types of triads. 2/3 Modal Composition & Harmony – Volume 1, Ron Miller 10 Harmonic Tension of slash chord sounds as perceived by Mathias Baumann: 11 Slash Chord Versus Conventional Chord Name Composers and arrangers, as well as performers, sometimes face the situation of having to give a certain sound a specific name. The question is whether to use a conventional chord or a slash chord symbol. The name of the chord is dependent on the perception of the sound. Generally it is recommended to use names of renowned sounds first, as our brain is capable of converting a familiar chord symbol into a sound experience. A new sound is much easier to understand when it can be connected with something already familiar. Following are two examples which exemplify my statement. 1) Em/C or Ebm6/C = Cm7(5) Our ears will most likely identify this chord as a m7(5) chord. Consequently it would be better to use the conventional chord instead of the slash chord symbol. 2) Cmaj7(9) = Em6/C The sound of this chord is unfamiliar to most people. Em6 though is a common used chord, hence the use of the slash chord instead of the conventional chord name. Please note that a conventional chord symbol can be played in different voicings and in many different ways, whereas the slash chord symbol usually implies a close voiced upper structure chord. 12 Slash Chords And Their Sounds ‰ Data CD, Slash Chords And Their Sounds – Audio/..., Tracks 01‐48 In this chapter I have listed all triadic slash chords and primary scale sounds. In a functional context slash chords are usually connected with a particular primary sound. In the following summary tables primary sounds are shown in a red font. A more detailed overview including more optional scale sounds can be found in appendix 1 on the Data CD. The suggested scales are always dependent on the harmonic and melodic context, as well as subjective perception and experience. Major Triadic Slash Chords Type CD Track Db Lydian, Ionian 2 01 Cm7(b9/11/b13) C Phrygian 3 1, b9, 4, b13 C7(9/13)sus4 C Mixolydian (b9/b13) 3 D/C b7, 1, 3, 5 D7/C D Mixolydian 2 02 1, 9, #11, 6 C6(9/#11) C Lydian 3 1, 9, #11, 13 C13(#11) C Lydian Dominant 3 1, 9, #11, 13 Cm6(9/#11) C Melodic Minor (#11) 3 bIII/I Eb/C 1, b3, 5, b7 Cm7 C Dorian, Aeolian 1 03 III/I E/C 1, 3, #5, 7 Cmaj7(#5) C Lydian Augmented 1 04 IV/I F/C 5, 1, 3, 5 F/C F Ionian 2 05 bV/I Gb/C 1, b5, b7, b9 C7(b9/b5) C Altered 3 06 1, b5, b7, b9 Cm7(b9/b5) C Locrian 3 G/C 1, 5, 7, 9 Cmaj9 C Ionian, Lydian 3 07 1, 5, 7, 9 Cmmaj9 C Melodic Minor 3 Chord bII/I II/I V/I Example Intervallic Structure Implied Sound Primary Scale(s) Db/C 7, 1, 3, 5 Dbmaj7/C 1, b9, 11, b13 13 bVI/I Ab/C 3, 1, 3, 5 Ab/C Ab Ionian, Lydian 2 08 1, #5, 1, #9 Cmaj7(#9/#5) C Lydian Augmented (#9) 3 1, b13, 1, b3 Cm7(b13) C Aeolian 3 A/C 1, 13, b9, 3 C7(b9/13) C Diminished Half/Whole 3 09 1, 13, b9, 3 Cmaj13(b9) C Lydian (b9) 3 Bb/C 1, b7, 9, 4 C9sus4 C Mixolydian 1 10 1, b7, 9, 11 Cm11 C Dorian, Aeolian 3 B/C 1, 7, b3, b5 Cdim7(addmaj7) C Diminished Whole/Half 3 11 1, 7, b3, #11 Cmmaj7(#11) C Melodic Minor (#11) 3 1, 7, #9, #11 Cmaj7(#9/#11) C Lydian (#9) 3 Type CD Track Db Melodic Minor 2 12 C Altered 3 VI/I bVII/I VII/I Minor Triadic Slash Chords Chord bIIm/I Example Intervallic Structure Implied Sound Primary Scale(s) Dbm/C 7, 1, b3, 5 Dbmmaj7/C C7(b9/b13) or 1, b9, 3, #5 Dm/C b7, 1, b3, 5 Dm7/C D Dorian, Aeolian 2 13 1, 9, 11, 6 Cm6(9/11) C Melodic Minor 3 1, 9, 11, 13 C13sus4 C Mixolydian 3 1, 9, 11, 6 C6(9)add11 C Ionian, Lydian 3 bIIIm/I Ebm/C 1, b3, b5, b7 Cm7(b5) C Locrian 1 14 IIIm/I Em/C 1, 3, 5, 7 Cmaj7 C Ionian, Lydian 1 15 IIm/I C7(b9/#5) 14 Fm/C 5, 1, b3, 1 Fm/C F Dorian, Aeolian 2 16 1, 11, b13, 1 Cm7(11/b13) C Phrygian 3 1, 11, b13, 1 C7(b13) sus4 C Mixolydian (b13) 3 bVm/I Gbm/C 1, b5, 13, b9 Cm13(b9/b5) C Locrian Diminished 3 17 Vm/I Gm/C 1, 5, b7, 9 C9 C Mixolydian 3 18 1, 5, b7, 9 Cm9 C Dorian, Aeolian 3 bVIm/I Abm/C 1, #5, 7, b3 Cmmaj7(#5) C Harmonic Minor 1 19 VIm/I Am/C b3, 1, b3, 5 Am/C A Aeolian, Dorian 2 20 1, 6, 1, 3 C6, Cmaj13 C Ionian 3 Bbm/C 1, b7, b9, 11 Cm11(b9) C Phrygian 3 21 1, b7, b9, 4 C7(b9) sus4 C Mixolydian (b9/b13) 3 Bm/C 1, 7, 9, #11 Cmmaj9(#11) C Melodic Minor (#11) 3 22 1, 7, 9, #11 Cmaj9(#11) C Lydian 3 Type CD Track IVm/I bVIIm/I VIIm/I Augmented Triadic Slash Chords Chord bIIaug/I = IVaug/I = aug VI /I IIaug/I Example Intervallic Structure Implied Sound Primary Scale(s) Dbaug/C 7, 1, 3, #5 Dbmaj7(#5)/C Db Lydian Augmented 2 23 1, b9, 11, 13 Cm13(b9) C Phrygian (n6) 3 1, b9, 4, 13 C13sus4(b9) C Mixolydian (b9) 3 Daug/C 1, 9, #11, b7 C9(#11) C Lydian Dominant 3 24 1, 9, b5, b7 Cm9(b5) C Locrian (n2) 3 = bVaug/I = bVIIaug/I 15 bIIIaug/I Ebaug/C 1, b3, 5, 7 Cmmaj7 C Melodic Minor 1 25 = Vaug/I C Harmonic Minor = VIIaug/I Caug = Eaug = IIIaug/I Eaug/C 1, 3, #5, 1 Abaug C Wholetone 1 26 = Iaug Type CD Track = bVIaug/I Diminished Triadic Slash Chords Example Intervallic Structure Implied Sound Primary Scale(s) bIIdim/I Dbdim/C 1, b9, 3, 5 C7(b9) C Mixolydian (b9/b13) 3 27 IIdim/I Ddim/C b7, 1, b3, b5 Dm7(b5)/C D Locrian 2 28 1, 9, 11, b13 Cm11(b13) C Aeolian 3 1, 9, 4, b13 Cmaj9(b13)sus4 C Harmonic Major 3 1, 9, 4, b13 C9(b13)sus4 C Mixolydian (b13) 3 bIIIdim/I Ebdim/C 1, b3, b5, bb7 Cdim7 C Diminished Whole/Half 1 29 IIIdim/I Edim/C 1, 3, 5, b7 C7 C Mixolydian 1 30 IVdim/I Fdim/C 1, 4, b13, 7 Cmaj7(b13)sus4 C Diminished Whole/Half 3 31 bVdim/I Gbdim/C 1, b5, bb7, 1 Cdim7 C Diminished Whole/Half 1 32 1, #11, 13, 1 Cmaj13(#11) C Lydian 3 Gdim/C 1, 5, b7, b9 C7(b9) C Mixolydian (b9/b13) 3 33 Cm7(b9) C Phrygian 3 Chord Vdim/I 16 bVIdim/I Abdim/C 1, #5, 7, 9 Cmaj9(#5) C Lydian Augmented 3 34 VIdim/I Adim/C 1, bb7, 1, b3 Cdim7 C Diminished Whole/Half 1 35 1, 6, 1, b3 Cm6 C Dorian, Melodic Minor 1 bVIIdim/I Bbdim/C 1, b7, b9, 3 C7(b9) C Mixolydian (b9/b13) 1 36 VIIdim/I Bdim/C 1, 7, 9, 11 Cmmaj9(add11) C Melodic Minor 3 37 1, 7, 9, 4 Cmaj9sus4 C Ionian 3 Type CD Track Suspended Triadic Slash Chords Please note that a sus2 chord represents the first inversion of a sus4 chord. Example Intervallic Structure Implied Sound Primary Scale(s) Dbsus4/C 1, b9, b5, b13 Cm7(b9/b5/b13) C Locrian 3 38 1, b9, b5, #5 C7(b9/b5/#5) C Altered 3 Dsus4/C b7, 1, 4, 5 D7sus4/C D Mixolydian 2, 3 39 b7, 1, 4, 5 Dm7(11)/C D Dorian, Aeolian 2, 3 1, 9, 5, 6 C6(9)or Cmaj13 C Ionian, Lydian 3 1, 9, 5, 6 Cm6(9) C Melodic Minor 3 1, 9, 5, 13 C13 C Mixolydian 3 bIIIsus4/I Ebsus4/C 1, b3, b13, b7 Cm7(b13) C Aeolian 1 40 IIIsus4/I Esus4/C 1, 3, 13, 7 Cmaj7(13) C Ionian, Lydian 3 41 IVsus4/I Fsus4/C 5, 1, 4, 5 Fsus4/C F Ionian, Mixolydian 2 42 1, 11, b7, 1 Cm7(11) C Dorian, Aeolian 3 1, 11, b7, 1 C7sus4 C Mixolydian 3 Chord bIIsus4/I IIsus4/I 17 bVsus4/I Gbsus4/C 1, #11, 7, b9 Cmaj7(b9/#11) C Lydian (b9) 3 43 Vsus4/I Gsus4/C 1, 5, 1, 9 Cmaj9 C Ionian, Lydian 3 44 = Csus2 1, 5, 1, 9 Cmmaj9 C Melodic Minor 3 1, 5, 1, 9 Cm9 C Dorian, Aeolian 3 1, 5, 1, 9 C9 C Mixolydian 3 4, 1, 4, 5 Gsus4/C G Mixolydian 2, 3 bVIsus4/I Absus4/C 1, b13, b9, b3 Cm7(b9/b13) C Phrygian 3 45 C Mixolydian (b9/#9/b13) 3 C7(b9/#9/#5) or 1, #5, b9, #9 Asus4/C 1, 13, 9, 3 C7(13) C Lydian Dominant 3 46 1, 13, 9, 3 C6(9)or Cmaj13 C Ionian, Lydian 3 bVIIsus4/I Bbsus4/C 1, b7, b3, 11 Cm7(11) C Dorian, Aeolian 3 47 1, b7, #9, 4 C7(#9)sus4 C Mixolydian (b9/#9/b13) 3 1, 7, 3, #11 Cmaj7(#11) C Lydian 1 48 VIsus4/I VIIsus4/I Bsus4/C C7(b9/#9/b13) Adding Tensions Adding tensions to the upper structure chord of a slash chord can result in a more complete sound which can either enhance or conceal the perceived harmony. It is important to know that the ambiguity and the real nature of a slash chord are mostly accomplished by using the basic triadic form. Yet, tensions can be added deliberately to create a very specific sound and voicing. The inclusion of tension depends essentially on the instrumentation for the music and the desired degree of density and / or ambiguity. Theoretically any tension, even any combination of tensions, can be added to the upper structure triad. However, in functional harmony the contextual “harmonic analysis dictates the choice of chord scale.” 4 4 Harmony 4, Alex Ulanowski, Berklee 18 Analysis Of Melodies And Solos This chapter depicts examples of solo or melody excerpts which utilize slash chords. The selection is focused on ambiguous sounding chords with the objective to disclose different possible sonorities. Example 1: Sleep (Ben Monder – Dust) ‰ CD Track 02 Melody, Bars 12‐14, Excerpt ~ 0’23’’ – 0’33’’ VIIsus4/I VIIsus4/I = Esus4/F = Esus4/F In bars 12 and 14, Ben Monder states Fmaj7(9/11) as the chord symbol to describe the full sound of the chord in conjunction with the melody. The actual chord he is playing, though is Esus4/F which is VIIsus4/I, implying an Fmaj7(#11) sound. In the solo section he reduces the chord symbol to Fmaj7(#11). Here is what he is playing over it: Solo, Bars 65‐72, Excerpt ~ 2’55’’ – 3’07’’ In bars 65‐66, 69‐70 and 98‐99 he uses an F Lydian scale sound which conforms with the primary choice for this chord type. F Lydian F Lydian F Lydian 6 6 Solo transcribed by Jeremy Poparad, http://www.poparad.com 19 Solo, Bars 92‐99, Excerpt ~ 3’41’’ – 3’54’’ Whereas in bars 94‐95 he bases his line on the F Messiaen Mode 7 which supports the Fmaj7(9/11) sound he used in bars 12 and 14 of the melody. In my master class about slash chord sounds with him, he mentioned that he explored Messiaen’s modes for a while which supports the assumption of the applied scale. F Messiaen Mode 7 7 Solo, Bars 60‐61, Excerpt ~ 2’45’’ – 2’50’’ F Lydian bII/I III/I E Lydian Emaj7(#5) Arpeggio 8 Over II/I in bar 60 he clearly thinks of an Emaj7 chord played over its maj7th in the bass. On the down beats he uses long notes featuring the root note E and the major 3rd G#. He continues with an Emaj7(#5) arpeggio in bar 61 over a III/I chord. Again primary sounds are preferred. 7/8 Solo transcribed by Jeremy Poparad, http://www.poparad.com 20 Solo, Bars 74‐75, Excerpt ~ 3’09’’ – 3’12’’ VI/I bVImaj7/I 9 Gb Diminished Half/Whole B Ionian or B Lydian Eb/Gb represents a VI/I chord over which he clearly plays a descending Diminished Half/Whole scale starting on the #9 of the chord. Melody, Bar 31, Excerpt ~ 1’39’’ sus4 VII /I = G#sus4/A In bar 31 of the melody he uses a VII/I chord symbol, but actually plays VIIsus4/I which is in this case G#sus4/A. The implied sound is Amaj7(#11). On beat 3 he adds the #9 to the chord resulting in an Amaj7(#9/#11) sound which can be derived from Lydian (#9). This scale has become an established sound in contemporary music. 9 Solo transcribed by Jeremy Poparad, http://www.poparad.com 21 Example 2: Arjuna (Chris Potter – Follow The Red Line) ‰ CD Track 03 Melody, Bars 14 – 18, Excerpt ~ 0’38’’ – 0’46’’ In bars 15 and 17 of Arjuna, Chris Potter uses Locrian over a bII/I chord instead of the more frequently applied Phrygian sound. bII/I bII/I bII/I bII/I 10 A/G# = G# Locrian Example 3: New For Now (Johnathan Kreisberg – Unearth) ‰ CD Track 04 Trumpet Solo by Scott Wendholt, Bars 33‐37, Excerpt ~ 2’36’’ – 2’41’’ At the end of his first solo chorus Scott Wendholt presents an alternative approach for playing over four adjacent compound chords. bVII/I bVIIaug/I III/I III/I F#m7 + b9 D Harmonic Minor Bb Lydian Aug. (#9) Ab Lydian Aug. He uses an Harmonic Minor scale over bVII/I, continuing the same scale with an added chromaticism (b9), when the upper structure chord changes its tension level to an augmented chord: bVIIaug/I. Subsequently he superimposes an F#m7 arpeggio over D/Bb which results in a Bb Lydian Augmented (#9) sound. The primary choice would have been Lydian Augmented which he uses for the last slash chord in the sequence. 10 Solo transcribed by Jeremy Poparad, http://www.poparad.com 22 Trumpet Solo by Scott Wendholt, Bars 33‐37, Excerpt ~ 3’05’’ – 3’10’’ In the second chorus of his solo he simplifies his approach for the two bVII/I chords by deploying a Mixolydian idea. For the following two III/I chords he reverses the previous used sounds: bVII/I bVIIaug/I III/I III/I D Mixolydian Bb Lydian Aug. Ab Lydian Aug. (#9) Example 4: Jacky’s Place (Mark Turner – Dharma Days) ‰ CD Track 05 Chords Of Intro, Melody And Solo, Bars 1 – 8, Excerpt ~ 0’26’’ – 0’57’’ Firstly I would like to point out that Mark Turner’s chord voicings imply slash chord tonalities although written as conventional chords. This is what I was talking about in the chapter ‘Slash Chord Versus Conventional Chord Name’ on page 12. In between the two staves I have converted the chord progression into slash chords. Dmaj7sus2/F Emaj7sus2/C Fmaj7sus2/A B =Atriad/D/F = Btriad/E/C or = Ctriad/F/Ab C Esus4/F# D#sus2/B Fsus2/Db Fmaj7/G 23 Especially the second chord Cmaj7(#9) is of interest as it suggests a Lydian (#9) sound which is B VII supported by a polychord voicing ( = ). C I However, Fmaj7(#5), as well as Abmaj7(#5) are also relevant in our analysis since both imply a Lydian Augmented III/I chord sound. The melodic content supports my hypothesis: Melody A1, Bars 9 – 12, Excerpt ~ 0’57’’ – 1’04’’ III/I VII/I III/I Btriad Ctriad Lydian (#9) Lydian Augmented Melody A1, Bars 17 – 20, Excerpt ~ 1’10’’ – 1’17’’ III/I VII/I III/I Atriad Lydian (#9) Ctriad Solo by Kurt Rosenwinkel, Bars 1 – 4, Excerpt ~ 2’16’’ – 2’23’’ Kurt Rosenwinkel improvised solo reinforces the suggested sounds: III/I VII/I III/I Btriad C Bebop Major C Lydian (#9) Fm7 C7 = Vm7/I = III7/I 24 He then adds chromaticisms: Solo by Kurt Rosenwinkel, Bars 9 – 12, Excerpt ~ 2’29’’ – 2’35’’ III/I VII/I III/I Solo by Kurt Rosenwinkel, Bars 17 – 20, Excerpt ~ 2’41’’ – 2’47’’ III/I VII/I III/I Btriad Generally it is noticeable that Rosenwinkel superimposes a lot of chordal structures in his solo. here is another example: Solo by Kurt Rosenwinkel, Bars 21 – 24, Excerpt ~ 0’38’’ – 0’46’’ Amaj9 = bIII maj9 /I Cm7 7 = VIIm /I 25 Example 5: Zhivago (Kurt Rosenwinkel – Our Secret World) ‰ CD Track 06 In his composition ‘Zhivago’ Rosenwinkel uses a VII/I chord which clearly functions as a passing diminished chord between two adjacent minor seventh scale chords. In bar 6 of his solo he supports the diminished sound by playing notes of the E Auxiliary Diminished scale: Solo, Bars 5 – 8, Excerpt ~ 3’10’’ – 3’13’’ VII/I E Auxiliary Diminished The third time around he plays a descending Ebm Pentatonic pattern putting it in the context of the previous and subsequent chord: Solo, Bars 13 – 16, Excerpt ~ 3’16’’ – 3’19’’ VII/I Ebm Pentatonic Later in the solo he applies the pentatonic idea again in a different, more extended way: Solo, Bars 89 – 96, Excerpt ~ 4’16’’ – 4’23’’ VII/I Ebm Pentatonic Ebm Pentatonic 26 Example 6: Aspire (Kenny Wheeler – The Widow In The Window) ‰ CD Track 07 Aspire is a really good example for using tensions in slash chords as it precisely indicates the sounds the composer has in mind. However the very first slash chord, VII/I is without tensions. Melody, Bars 1 – 3, Excerpt ~ 2’34’’ – 2’43’’ VII/I Bb Melodic Minor (#11) The melody suggests a Bb Melodic Minor (#11) sound over the A/Bb chord. The natural D in the first bar can be seen as a passing note. This assumption can be proven by the composer’s improvisation over the first two bars of the form: 1st chorus of solo by Kenny Wheeler, Bars 1 – 3, Excerpt ~ 2’34’’ – 2’43’’ VII/I Bb Melodic Minor (#11) 2nd chorus of solo by Kenny Wheeler, Bar 1, Excerpt ~ 4’15’’ – 4’19’’ VII/I Bb Melodic Minor (#11) 27 John Abercrombie’s solo reveals the same result: 2nd chorus of solo by John Abercrombie, Bars 1 – 3, Excerpt ~ 9’04’’ – 9’10’’ VII/I Bb Melodic Minor (#11) Example 7: The Sixteen Men Of Tain (Alan Holdsworth – The Sixteen Men Of Tain) ‰ CD Track 08 The solo section of Alan Holdsworth’s composition contains subsequent II/I and III/I chords in different tonalities. Mostly he uses the obvious choices which are Lydian for II/I and Lydian Augmented for III/I. Solo, Bars 61 – 68, Excerpt ~ 1’54’’ – 2’03’’ II/I III/I B Lydian C Lydian Augmented II/I III/I E Lydian F Messiaen Mode 3 In bars 67 and 68 he emphasises the perfect fifth ‘C’ in his solo against the augmented fifth ‘C#’ in the chord A/F. Since he is also playing the augmented fourth he is probably implying F Messiaen Mode 3. In bars 107 and 108 this assumption is substantiated. 28 Solo, Bars 101 – 116, Excerpt ~ 2’37’’ – 2’54’’ II/I III/I G Lydian Ab Lydian Augmented II/I III/I C Lydian Db Messiaen Mode 3 II/I III/I F Lydian Gb Lydian Augmented II/I III/I C Lydian C Bebop Major It becomes very evident how he structures the solo in terms of harmonic tension in eight bar phrases with a rising intensity level in the last two bars of each phrase. He uses primary scales for the first six bars and then changes to a more unconventional sound. Solo, Bars 157 – 159, Excerpt ~ 3’38’’ – 3’41’’ II/I III/I C Lydian (b9) Another unconventional sound is used in the example above: Lydian (b9) over a II/I chord. 29 General Observations By analysing the excerpts in this chapter I noticed that there are universal significant aspects to be considered when improvising over slash chords: 1) Melodic material comes from various modes of many different parent scales including Major, Melodic Minor, Harmonic Minor, Harmonic Major, Messiaen modes, Hungarian Major and Hungarian Minor amongst some synthetic and symmetrical scales. 2) Superimposition of triadic and chordal structures in form of arpeggios is another common feature. 3) Rhythmic variety and coherent melodic lines conclude with strong resolutions and consequently construct musical ideas. 4) Written melodies and sonorities of compositions usually indicate the composer’s perception and inclination of suggested harmonies. 5) Especially chord tones of the upper structure triads are emphasised in the lines and are mostly utilised as resolution points. 6) In the selected examples one can only find little use of chromaticisms. 7) Some slash chords are used more than others. Reasons are most likely a tendency to experiment with trendy sounds but also desired levels of ambiguity or intentional explicitness. 8) The structure and contour of lines includes the application of primary and expected sounds in alteration with unconventional and creative sonorities. 9) Although many different types of slash chords are used in composition, predominantly major upper structures can be found in solo sections. 30 Further Sonorities With reference to the analysed solos I have constructed some phrases with alternative interpretations of chord sounds. To depict examples for every single sound would go beyond the scope of this essay. For this reason I have selected some interesting sonorities. The lack of a third in a II/I chord results in an openness which can be used to create either major or minor sounds. Since II/I is usually connected with the Lydian scale, I have used minor scales for the first two examples to show this chord type’s versatile nature. Example 1: II/I – Dorian (#11) ‰ CD Track 08 Example 2: II/I – Melodic Minor (#11) ‰ CD Track 09 The same line as in example 1 with the minor seventh (Db) changed to a major seventh (D) resulting in an Eb Melodic Minor (#11) sound. 31 Examples 3 and 4 reveal further possibilities for III/I chord sounds. Example 3: III/I – Symmetric Augmented ‰ CD Track 10 The following example uses the Symmetric Augmented scale and resolves to a VII/I chord showing its tonic character. Example 4: III/I – Harmonic Major ‰ CD Track 11 Here is a phrase exemplifying a Harmonic Major sound for III/I. V/I is also a very open sounding chord with many different sonorities. Examples 5 and 6 illustrate how V/I can be interpreted with ambiguous major and minor sounding scales. Example 5: V/I – Harmonic Major ‰ CD Track 12 32 Example 6: V/I – Melodic Minor (#11) ‰ CD Track 13 Example 6 exposes V/I in a Lydian Minor sonority. Example 7: bVI/I – Harmonic Minor (#11) ‰ CD Track 14 bVI/I is often seen as an inverted major chord. The following example shows that it also has a unique sound in a Harmonic Minor (#11) setting. Example 8: bVII/I – Mixolydian (b13) ‰ CD Track 15 Mixolydian (b13) is a good alternative for the more conventional Mixolydian scale. 33 Example 9: VII/I – Harmonic Minor (#11) ‰ CD Track 16 We have already seen many different possibilities to play over VII/I chords. Here is an example with the application of Harmonic Minor (#11). Minor, augmented, diminished and suspended slash chords are rarely seen in solo sections. However they provide interesting sounds which are used a lot in compositions to harmonise melodies. Here are some examples for the above mentioned slash chord types. Example 10: IVm/I – Locrian (n2) ‰ CD Track 17 Since the expected sound for a minor chord is in most cases Dorian, Aeolian or Melodic Minor I have chosen to use the IVm/I chord in a Locrian (n2) environment. Example 11: bVIm/I – Harmonic Minor ‰ CD Track 18 bVIm/I is a very tense sound. The best way to use it is to resolve to a very stable sound, in this case Lydian. 34 Example 12: bVIIm/I – Phrygian (n6) ‰ CD Track 19 The default scale choice for bVIIm/I is Phrygian. Phrygian (n6) gives the chord a brighter sound. Example 13: IIaug/I – Locrian (n2) ‰ CD Track 20 With Locrian (n2) over IIaug/I it is important to be careful with the placement of the perfect fourth of the scale. It is probably most effective to use it as a passing tone. Example 14: IIdim/I – Harmonic Major ‰ CD Track 21 IIdim/I is an excellent chord to represent the Harmonic Major scale. 35 Example 15: Vdim/I – Phrygian (n6) ‰ CD Track 22 The Phrygian (n6) scale is an ideal choice for this dark sounding chord. Example 16: IIsus4/I – Dorian (#11) ‰ CD Track 23 Like all II/I slash chords, IIsus4/I is also very versatile. Again, I have selected a Dorian (#11) scale. Example 17: IV sus4/I – Dorian (b5) ‰ CD Track 24 The last example features Dorian (b5), a mode from the Harmonic Major scale, which emphasises the adaptability of the IVsus4/I chord. 36 Supplementary Creative Concepts There are numerous possibilities to be creative with slash chords. Here are some creative ideas to explore harmony with slash chords in different ways: 1) Generally every chord tone could be a scale tone and therefore all slash chords need to be taken into the context of different tonic centres which will give you a large amount of choices. Example: Chord Interpretation In Miscellaneous Tonic Centres D/C Cdim7(add9), Cmaj7(11/13), C7(11/13), D7, Edim7(addmaj7), Em11(13), E9sus4(13), F7(9/13), F7(5/9/13), Fdim7(add13), A7(9/5), Am6(11), Bmaj9(5), B7(9/9) 2) Any slash chord can be perceived in the way that the upper structure chord provides the basic scale and the bass note is added to that scale. Examples: Chord Scale Of Upper Structure Resulting Scale F/G F Major F G G A B C D E F F/G F Lydian F G G A B C D E F 3) Instead of adding the bass note to the scale of the upper structure chord, the bass note can also replace a note. Examples: Chord Scale Of Upper Structure Resulting Scale F/G F Major F G A B C D E F B/D B Major B C D D F G A B 37 4) The bass note could provide three chord tones which interweave with the upper structure chord. You are basically creating a polychordal sound out of a simple hybrid chord. Examples: Chord Triad Based On The Bass Note Resulting Scale F/G G B D F G A B C D F B7/D D F A B D D F F A A B 5) Adding one note to a triadic hybrid chord results in a pentatonic scale. If the hybrid chord includes a tension the resulting scale becomes hexatonic. Examples: Chord Added Note Resulting Scale F/G D F G A C D F B7/D C B C D D F A B The new generated scales could then serve as a harmonic universe to compose with or to use for improvisation. 38 Conclusion Coming back to the main two questions from the start of this essay it becomes evident that not all slash chords have specific sounds. Some chords sound very open and ambiguous. Especially in a modal setting the improviser has many options to resort to. Consequently I have illustrated various sound possibilities for all triadic slash chords in form of a condensed table which can be found in appendix 1 on the Data CD. Although this essay focuses on the analysis of harmonic aspects, one should not forget that “harmony alone does not define music.” 16 Further Reading And Bibliography Patterns For Jazz by Jerry Coker A Chromatic Approach To Jazz Harmony And Melody by David Liebman The Chord Scale Theory & Jazz Harmony by Barry Nettles And Richard Graf Modal Composition & Harmony – Volume 1 by Ron Miller Lydian Chromatic Concept Of Tonal Organisation – Volume 1 by George Russell Jazz Composition Theory And Practice by Ted Pease Harmony 4 by Steve Rochinski, Berklee Harmony 4 by Alex Ulanowski, Berklee Neue Jazz Harmonielehre by Frank Sikora The Jazz Theory Book by Mark Levine Jazzology – The Encyclopedia Of Jazz Theory For All Musicians by Robert Rawlins & Nor Eddine Bahha The Jazz Language – A Theory Text For Composition And Improvisation by Dan Haerle The Advancing Guitarist by Mick Goodrick Survival Guitar by Peter Fishers Jazz Guitar Structures – Boosting Your Solo Power by Andrew Green This Is Your Brain On Music by Daniel Levitin Neue Allgemeine Musiklehre by Christoph Hempel www.musicteachers.co.uk www.music.sc.edu/ea/jazz/theroy/scalecat.pdf www.nestorcrespo.com.ar www.scales‐chords.com www.poparad.com www.opus28.co.uk/jazzarticles.html by Jason Lyon Master Class with Ben Monder (20/12/2012) Master Class with Jim Mullen (24/01/2013) 16 Modal Composition & Harmony – Volume 1 by Ron Miller 39
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