Music Theory Through Improvisation: A New Approach to Musicianship Training

388 Pages·2009·3.6 MB·English

by  Ed Sarath

Music Theory
Through Improvisation
Music Theory Through Improvisation presents a unique approach to basic theory and
musical training,examining the study of traditional theory through the art of improvisation.
The book follows the same general progression of diatonic to non-diatonic harmony in
conventional approaches, but integrates improvisation, composition, keyboard harmony,
analysis,and rhythm.
Geared toward the diverse interests and abilities of today’s student,Music Theory Through
Improvisation places the study of harmony within improvisation and composition in
stylistically diverse formats, including jazz and popular music. Keyboard realization, for
students with little or no keyboard training,is the primary mode of assimilation of harmonic
materials.
FEATURES
• Based on a user friendly system of improvisation study
• Combines Jazz,Popular,Classical,and other musical sources
• Enhances understanding of the creative process and the inner workings of music
• Includes an Audio CD of play-along tracks for improvisation and a companion website
with resources for students and instructors,
www.routledge.com/textbooks/9780415997256
Edward Sarathis Professor of Music in the Department of Jazz and Improvisation Studies
at the School of Music,Theatre,and Dance at University of Michigan.He is the president
and founder of the International Society for Improvised Music.

Music Theory
Through Improvisation
A New Approach to Musicianship Training
EDWARD SARATH
University of Michigan
First published 2010
by Routledge
270 Madison Ave,New York,NY 10016
Simultaneouslypublished in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
This edition published in the Taylor & Francis e-Library, 2009.
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©2010Taylor & Francis
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any
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Library ofCongress Cataloging-in-Publication Data
Sarath,Ed.
Music theory through improvisation :a new approach to musicianship training /
Edward Sarath.
p.cm.
1.Music theory.2.Jazz–Instructionand study.3.Improvisation (Music) I.Title.
MT6.S2547 2010
781–dc22
2009009413
ISBN 0-203-87347-5 Master e-book ISBN
ISBN 10:0–415–80453–1 (hbk)
ISBN 10:0–415–99725–9 (pbk)
ISBN 10:0–203–87347–5 (ebk)
ISBN 13:978–0–415–80453–0 (hbk)
ISBN 13:978–0–415–99725–6 (pbk)
ISBN 13:978–0–203–87347–2 (ebk)
Contents
Preface xi
Acknowledgments xvii
Chapter 1 Improvisation Across Boundaries:A Trans-stylistic Approach 1
Getting Started 2
Non-syntactic Catalysts 4
Tension and Release,Variety and Unity,Motion and Stability 5
Melody 7
Ostinato,Motive,Sequence 7
Antecedent-consequent Structure 9
Melodic Contour 9
Pitch-based Melodic Improvising 10
Pulse-based Improvising 11
Form-based Improvising 12
Graphic Formal Analysis 13
The Inner Dimensions of Improvisation 13
Silence 17
Solo Pieces 17
Free or Open Collective Improvising 19
Clarity of Ideas 20
Transparency,Laying Out,and Soloing 21
Endings 21
Culminating Exercises 23
Concluding Thoughts:Template for Artistic Development 24
Listening Resources 24
Further Reading 27
Chapter 2 Music Fundamentals 28
Staff,Clefs,Scales 29
Key Signatures 31
Major Scale 31
Minor Scale 33
vi Contents
Intervals 34
Modes 38
Pentatonic Scales 40
Aural Transposition 41
Melodic Cells 42
Aural Transposition with Pentatonic Scales 45
Chapter 3 Modality and Rhythm I:Time Feels 48
Importance of Aural Immersion 48
Core Elements of Time Feels 49
Further Aural Immersion Strategies 50
Modal Etude 1 52
Two-player Improvisation Practice Frameworks 56
Rhythmic Templates for Time-feel Grooves and Melodic Improvising 58
Listening Resources:Time-feel-based Music with African and African-American Roots 61
Suggested Recordings 62
Further Reading 64
Chapter 4 Modality and Rhythm II:Small Group Framework 66
Call and Response 66
Strategies for Generating New Ideas 68
Mode-rhythmic Formats 76
Minor Blues 77
Indian Rhythmic Practices 80
Small Group Ensemble Performance and Project Format 82
Chapter 5 Basic Tonal Materials:Triads and Seventh Chords 84
Triads 85
Seventh Chords 87
Two Roman Numeral Systems 89
Inversions 90
Close Position and Open Position or Spread Voicings 92
Keyboard Realization 95
Fortification Exercises:Aural and Analytical 97
Modes 98
Modemaster Drills 98
Chapter 6 Harmonic Functions 102
Tonic–Subdominant–Dominant Functions 103
The Dominant Seventh Chord 104
Cadence 105
Keyboard Application 107
Improvising on the II–V–I Progression 109
Integrating Diverse Forms of Musical Knowledge 111
Chord-scale Analysis 111
Contents vii
II–V–I in Minor 113
Writing and Analysis Exercises 116
Voice Leading 117
Idiomatic Progressions 121
Turnarounds 123
Free-tonicization Strategies Level I 124
Chapter 7 Swing:Global Rhythmic Gateway 128
Elements of Swing 129
Swing Articulation 130
Blues 131
Transcription Format 133
Scale and Chord Exercises for Cultivating the Swing Concept 135
Chapter 8 Melodic Line Construction and Harmonization 137
Composing Melodic Lines on Chord Changes 138
Diatonic Target Notes 140
Problems with the Root of the Major Seventh Chord in the Melody 141
Melodic Analysis 142
Guide Tones 143
Written Application 145
Incorporating Guide Tones in Melodic Lines 147
Two Approaches to Composing Melodies on Chord Changes 150
Harmonizing Melodic Lines 151
Top–down Harmonization at the Keyboard 151
Harmonic Rhythm 155
Small Group Application 156
Chapter 9 Chord Inversion Present and Past 158
Chord Inversion in Jazz 158
Non-harmonic Tones 161
Analysis of Bach Chorales 163
Pedal Point and Inversion 166
Chapter 10 Non-diatonic Harmony I:Applied Chords 168
Secondary Dominant Chords 169
Secondary II–V7 Sequences 171
Secondary Dominant Chords of Non-diatonic Target Chord/Key Areas 172
Delayed Resolution of Secondary Dominant Chords 173
Secondary or Applied Leading Tone Chords 174
Passing Diminished Seventh Chords 175
Substitute Dominant Chords 177
Improvising on Chord Sequences with Applied Dominant and Leading Tone Chords 180
Free-tonicization Strategies Level II 183
viii Contents
Chapter 11 Non-diatonic Harmony II:Modal Mixture 185
Modal Mixture on Diatonic and Non-diatonic Roots 186
Passing and Structural Functions in Modal Mixture Harmonies 187
Improvising on Modal Mixture Progressions 191
Composing 192
Analysis Exercises 193
The Neapolitan Sixth Chord 195
Free-tonicization Level III 196
Modal Mixture As an Entry Point into Modal Composition Techniques 197
Creative Synthesis 199
Chapter 12 Figured Bass Realization at the Keyboard 201
Basic Principles 201
Triads 202
Seventh Chords 203
Accidentals 204
Voice Leading and Doubling Considerations 205
Four-part Chorale Writing 210
Figured Bass Lines Applied to Jazz Chord Changes 211
Chapter 13 Extended Chords 213
General Principles of Chord Extensions 213
Types of Chord Extensions 215
Replacement Tones and Chord Superimposition 216
Extended II–V7–I Voicings 217
Smooth Voice Leading 218
Multiple Configurations of Extended Voicings:Aand B Voicing Patterns 221
Extended II–V–I Voicings in Minor 225
Extended Substitute Dominant Chords 229
Further Reading 232
Chapter 14 Altered Extensions 233
The Altered Dominant Chord 233
b # b
Chord Superimposition Strategy:Build a Maj7( 5) on the Third to Yield V7( 9, 13) 235
Extended and Altered Substitute Dominant Chords 237
Further Keyboard Work 240
Substitute Dominant Chords as Augmented Sixth Chords 245
Improvising on Altered Harmonies 248
Integrating Scales into your Melodic-Harmonic Palette Through Improvising and Composing 251
Improvising with Altered Scales 251
Composing Lines with the Scales 252
Reharmonization 252
Rhythm Changes 254
Contents ix
Chapter 15 Diverse Approaches to Analysis 257
Tonicization and Modulation Revisited 257
Tadd Dameron’s “Lady Bird” 259
Jerome Kern’s “All the Things You Are” 261
John Coltrane’s “Moment’s Notice” 262
Chopin,Prelude No. 4 267
Schubert,Waltz 269
Chapter 16 Fine-tuning and Expanding the Jazz Palette 272
Rhythmic Layers for Melodic Clarity 273
Registral,Density,and Contour Variety 275
Intervallic Variety 276
Motivic and Multi-motivic Development 278
Integrating Strategies 279
Expanding the Harmonic Palette 280
Cross-stylistic Melding 285
Final Composition Project 290
Final Creative Synthesis 290
Concluding Thoughts 291
Appendix 1 Introduction to Species Counterpoint 293
Overview of Species Principles 294
Creating Contrapuntal Lines:General Principles Pertaining to Writing Species Melodies 296
First Species 1:1 299
Second Species 2:1 300
Third Species 4:1 301
Improvising with More Florid Lines 303
Fourth and Fifth Species 304
Fourth Species:Suspensions 304
Fifth Species:Integration of the Previous Four Species 306
Appendix 2 Overtone Series and Equal Temperament 308
Appendix 3 Rhythmic Exercises 310
Appendix 4 Jazz Etudes 313
Appendix 5 Additional Keyboard Exercises 334
Seminal Keyboard Projects 334
Advanced Guide Tone Exercise 334
Advanced Two-hand,Non-tertial Open Voicings 335
Appendix 6 Instrument Ranges,Transposition,and Score Excerpts 339