Jazz harmony

A completely independent jazz harmony does not exist in the strict sense, because the Jazz in designing harmonious processes largely relies on the developed in European music principles of voice leading and harmonic function. These are applied in the different jazz styles in each different weighting. Typical of jazz harmony throughout its development to date, however, is a strong binding to the melody and overall aesthetics of the blues. This has an effect on the harmonic level by a certain preference of chord material that will meet the melodic effect of the blue notes. In addition, cause the characteristic blues melody and the requirements of prevailing in jazz improvisation that melody and accompanying harmonies are less strictly related to each other than is usual in the largely conceived ( composed ) music in Europe. Characteristic of the jazz harmony is also that is being introduced in chords on an expanded clay material, ie there are the classic three - and four-note chords in addition usually added so-called "Options", giving chords with five, six or even more sounds. One also extremely important feature of jazz harmony is the frequent use of altered ( modified ) and substituted ( replaced ) chords

Principle

To describe the harmonic characteristics of jazz three theoretical approaches are currently used:

History

A foundation of jazz is improvisation that was practiced even in classical music and much earlier. From this, a generally accepted theory of harmony has been created that is used in classical music, sometimes very dogmatic. While from its harmony were essential in classical music, especially the thirds and sixths for the voicing of improvisation in jazz the thirds and sevenths have a far greater significance. While in the classical period, the triads are the basis of all harmonic events, there are the four sounds in jazz.

With this expansion to four-note chords chord combinations and sounds are possible that were previously unheard of, or at least unusual. Even J. S. Bach has used elements in jazz today commonplace, but in Bach's day, these were rather unusual musical characteristics. For example, the use of the dominant ♯ 11 (cf. function theory).

It is a misconception to think that most of the early jazz musicians had no idea of chords, or harmony. Even those who could not read music, had a deep understanding of the harmony and rhythm.

Theory is always only what was played and found to be good, and so they took the existing harmony and adjusted it gradually to your own needs. The elements of the blues and added to came a freer interpretation of tones in chords. Another harmonious liberation then heralded the bebop and allowed the improvising musicians to interpret chords novel. The jazz harmony was intellectually.

Basically the story of harmony in jazz is a journey of the consonance to dissonance. Each harmonic innovation brought new freedoms in the interpretation of the chord material with him, and set the musician more melodic material is available, which has been cataloged with the time scales. Today it is common to use different scales in different modes over chords and sound material for improvisation or as the basis for the arrangement or composition.

Improvisation material

In earlier times was understood as improvisation decorating and concealing existing melodies over solid chord structures. Many pieces that were played in jazz, have their origins in the light music. Broadway songs were used as a framework for improvisation. Very often new tunes were written, not to have to pay to last no royalties for this chord frames.

Since bebop jazz musicians write but increasingly their own pieces to improvise on their favorite harmonies can. Charlie Parker, for example, like Gershwin's " I Got Rhythm " so much that he created different melodies that build on this chord structure. Some chord frames and melodies were so popular that they still belong to the standard repertoire of a jazz musician.

Later pieces usually depict the essence of the former harmonious understanding. In the fifties it was to process, among other fashion, all musicals.

The sixties showed two main trends; one hand, the return to the Blue simpler harmonies and rhythms, and on the other hand, the modal concept and the associated freer play.

With the free jazz was broken with all forms of harmony. They tried just not apply.

Today, everything is used, what the musicians like. Has become a popular collection of children's songs, pieces from the classical music world, from the pop, or as is often self- Written. The " traditionalists" play the songs from the " Great American Songbook" and the " progressives " will merge with all kinds of music to Indian raga. What started in a multicultural America, continues in globalized form.

Blue harmony

A significant development of the theory of harmony by the Jazz is the decoupling of the dominant-seventh of its function. In jazz, a seventh chord (1, 3, 5, ♭ 7 ) can be used not only as a dominant but also as a tonic. The clay material used here mainly, the mixolydian scale of the major European system and the native of the Mediterranean pentatonic scale shown in the sum of the scale, which is now called the blues scale. Today's jazz musicians like to use other scales ( harmonic minor modes, melodic minor modes, diminished scale, the whole tone scale ), in order to create more tension.

The chords of the song forms of the blues in jazz based on the principle of leittonlosen seventh chords. Dominant seventh chords as tonic, subdominant and dominant. The improvisations on this song forms (typically 12 cycles, as well as 8, 16 or 24 cycles) illustrate the novelty of this music. Similar to the African / Arab music voltages are generated by dissonance, which provide Typical Blue. The typical sounds called Blue Notes are used in jazz outside of a blue contexts. As an impressive example of this " Goodbye Pork pie hat " called the Charles Mingus wrote for the then recently deceased Lester Young. If the blues played by a jazz musician, often with alternate chord and harmonic extensions. In extreme cases, the interpretation of the blues of jazz musicians is not more than blues to detect.

It would be a mistake to reduce the harmonics of jazz on the Blue Typical. Jazz musicians use anything they like. The jazz harmony is thus an umbrella term and the Blues just one facet of it. Similarly, functional harmony, modes, cadences, and all other elements ( rhythm, phrasing ) are used, which are present in other musics. In the early days of jazz of the most written-out ragtime, French dances, classical music and popular music at that time had a significant influence on the improvising musician. As an example, recently were named Chick Corea's trips to the flamenco, Lennie Tristano travel to the classical or Dizzy Gillespie's love for Latin music. The list could be continued as desired.

Color substitution

The jazz musician is free to use the gamut own colors. Colors are often used in moments of tension ( dominant or Subdominantsituationen ) and a little less alone moments ( tonic).

Chord substitutions

It is common practice when playing jazz to use Substitutakkorde, so listed to replace predefined chords by others. What freedom to provide this depends heavily on the melodic and rhythmic events and the harmonious interaction of harmony instruments (such as piano or guitar ) and the bass, which is the foundation of harmony in general. To explain the frequent use of Dominantsubstituten, one must first select the respective tones ( tensions ) note.

Example in C Major for the dominant G7:

Dominant G7, limited to the basic functions of the root, third and seventh = G, H, F.

( Because of the possible alteration of the fifth tone of D in this context is no common constant basic function. )

The possible combinations of tensions over this basic sound are:

(The note C, which is actually part of the Mixolydian scale is not used in functional harmonic context than Harmonieton because he is the characteristic major third extremely dissonant behavior (also called "avoid note" ). 's Why its effect is as dissonant derivative more important. )

In all three combinations of tensions, it is possible to replace the bass by its tritone. The result is a reflection of the particular sound: from Mixolydian # 11 is altered and vice versa. The Half / whole-tone scale in itself is symmetric, its structure is repeated in the minor third distance, so also in the tritone relationship ( two minor thirds = tritone ). The use of Substitutakkorden is therefore not arbitrarily possible and at the same time, on closer inspection a very logical process whose sovereign handling of the important interactive features when playing jazz counts as Substitutakkorde are often played spontaneously and without prior consultation.

Reinterpretations, Reharmonisationen and alterations include jazz to the creative freedom during the improvisation, the arrangement and composition. Good musicians can thus create from existing pieces and chords something completely new.

Secondary dominants / secondary dominants

Pieces with purely diatonic chord functions in jazz today rare. In former times it was customary to make songs only from the chords of a key. There were a few rules that allowed it to use chromatic chords intermediate, but is played all in a very narrow tonal spectrum.

Early recordings and transcriptions of earlier jazz pieces testify to this but still strict harmony. The swing bands used an already sophisticated harmonies with smaller steps in the vocal line. Chromatic passages mixed with diatonic chord progressions, occasionally an unusual twist, such as, instead of the tonic major ( Dur6 or Durj7 ) use the Bluestonika ( seventh) or instead of a Mollseptakkordes a dominant seventh, were popular.

The main change took place when the musicians began to emphasize intermediate chords more and work out their tensions. Basically, one generated stress fields in front of the " major " chords just by looking at the chord to which you wanted to go, as the tonic and then presented its own dominant used the usual stress and dissolution behavior of the dominant to the tonic. The tonal weight changed radically, and actually had now every chord of a piece can be his own tonic, if it had not been the ear.

While in the classical harmony all dominant chords, which do not dissolve to the tonic are called secondary dominants, the jazz harmony distinguishes those that dissolve to a diatonic chord (secondary dominants ) and substitution of dominants. A striking feature here are common tones and sounds that show a pronounced dissolution behavior to the next chord:

• Example diatonic chord progression | Am7, Dm7 | Gm7 C7 | FJ7 |
• With secondary dominants | A7, Dm7 | G7 C7 | FJ7 |

• Original | Cj7 | Dm7, G7 |
• Inserted secondary dominant | Cj7, A7 ♭ 9 | Dm7, G7 |
• Substitution and false secondary dominant | B6, A7 ♭ 9 | Dm7, G7 |

Jazz musicians push to increase the voltage, like to a dominant before a chord in a chord progression existing, especially when they improvise. The use of replaced or inserted chords is an essential part of what makes the feeling of harmonic / melodic tension and relaxation in jazz.

The major context there are 5 secondary dominants:

• I7 as a secondary dominant to the subdominant ( V7/IV )
• II7 as a secondary dominant to the dominant (V7 / V), also double dominant
• III7 as a secondary dominant to Tonikaparallele ( V7/VI )
• VI7 as a secondary dominant to Subdominantparallele ( V7/IIm )
• VII7 as a secondary dominant to Tonikagegenklang ( V7/IIIm )

Characteristic of a secondary dominant is:

• The secondary dominant stands on a diatonic degree
• The secondary dominant dissolves to a diatonic chord
• The secondary dominant contains at least one foreign tonart - tone

In the classical " secondary dominant " is already for many decades a fixed term. In English Dominant chords resolve to diatonic chords as "Secondary Dominants " are referred to. The term secondary dominant is also used in German-speaking countries since 1997.

Modal chords

After the bebop lifted jazz harmony to a new level, the harmonic structure of the pieces with time more complicated and improvisation became more difficult, many musicians felt restricted in their freedoms. The post-bop with his virtuosic improvisations and sophisticated harmony structures (eg " Giant Steps " by John Coltrane ) was in contrast to the cool jazz, which features more memorable melodies, cool understatement in improvisation and elaborate arrangements are.

At this time, modal concepts have been incorporated into the pieces. They began to use the sound of chords as the basis for improvisation and on their scales ( the mode of a scale, therefore modal) to improvise. Chords were also built vertically, so to speak -like sequence with equal intervals, leading to the fourth harmonic to provision and pentatonic scales ( Mollseptakkorde with eleventh ) led [note 1]. This allowed the musicians to work longer with the sound of the chord, and to explore these, in contrast to the rapid chord changes of treatment or post-bop. So contained pieces only two or three chords (eg, So What ( Miles Davis )), which defined the basic sound. So in true "So What" Dm as the tonic and the associated scale is Doric. Since Doric includes a major sixth and minor seventh, arising from tensions that veiled itself the tonic.

The two terms inside and outside game established for inside or outside of the scale. The clay material to improvisation comes mainly from the scale used and their derivatives (eg scales chords and their sound material ). The previously used techniques of chord substitution, the replacement of chords, and the insertion of secondary dominants continued, but now used much more freely. For the soloist or accompanist could incorporate their own imaginary cadences to create a feeling outside- while the other musicians responded. The improvisation was free, but also demanded a greater degree of responsiveness and above all a very good ear.

On the structure of the chords themselves, nothing had changed, but their harmonious function has been resolved. A stage II ( Moll7 ) could now 8 bars are all alone, had their own sound and expression.

Modality is nothing new in music. The moods and tonal systems of the Eastern world ( eg India ) allow still not modulate (which need not be a disadvantage ). So there are Indian musicians who use their life the same root. The situation is similar with the early church scales. With the same stage mood today mostly used can be changed within modal pieces of the key.

Reharmonization

The reframing, replacement or addition of chords in an existing chord progression called reharmonization. On one hand, this happens spontaneously during the improvisation, on the other hand the voltage ratios are changed in existing melodies.

The reharmonization in improvisation often happens with sound related substitutes or at the places where you almost expect Reharmonisationen ( Dominant and Subdominantsituationen ).

When reharmonization of tunes the melody is the basis, in which case new timbres created by the newly added harmonies. This is especially important for polyphonic voicings, with the upper voice plays the lead vocals, and the lower voices are complemented by the new chords.

Form

Each music has a form, this is also just as in the free jazz, establishing a beginning and an end, or whether it is the default of Broadway songs mostly 32 -bar song forms. In jazz was indeed trying to break with the form itself, but most of the Jazz music is played in fixed forms and a non- form has never been enforced. A non- musical form contradicts the principle of tension and relaxation. The function of harmonic requires a shape to produce the typical stress and relaxation moments.

Amazingly, many song forms in jazz are symmetrical. Same blocks of musical events come off, opening at all improvisation, change and veiling the form remains. Of course, it was also fashionable to pass in the middle of one form, the solo another musician to break the sense of form (eg Miles Davis Quintet of the 1950s ). However, the form itself has always remained the same even if broken up by intermediate cadences or turnarounds.

Turnaround

When multiple repetition of a chord sequence during an improvisation arises because in many respects circuit and opening chord are identical, at the interface between two passes, a sense of harmonious stagnation. To avoid this, a short cadenza loop is inserted at the end of a chorus that leads back to the beginning of the chord progression.

Most turnaround based on I- VI, II - V cadence. Chords in the turnaround can be supplemented and varied by substitutions.

With time, have turnarounds or " Vamps " firmly established (see also harmonic ostinato ) and are part of many jazz songs.

Examples of turnaround in F:

Original in major | FJ7 | FJ7 |

• | FJ7, Gm7 | Am7, Gm7 |
• | Am7 D7 | Gm7 C7 |
• | E ♭ 7, A ♭ j7 | Gm7, G ♭ 7 |

Original in minor | Fm7 | Fm7 |

• | Fm7 | Gm7 ♭ 5, C7 |
• | Fm7, Dm7 ♭ 5 | Gm7 ♭ 5, C7 |
• | Fm7, A ♭ j7 | D ♭ j7, G ♭ j7 |

Interaction

Basically every moment in jazz music can be thought of as a tone or chord. The orchestrations, a formation take over until today and with few exceptions their registers provided, that is, the bass plays low notes, piano or guitar tones from the central region to the accompaniment and the solo instrument plays the high notes. The result is a convertible sound structures, which in itself offers all the freedoms today.

In contrast to earlier jazz bass and backing instruments work the same way with the harmony, as the soloist changed the sound of the chord being played. A soloist listens for example, while the rhythm section will, for example, bass and piano play a chromatically shifting downward chord progression that will inevitably dissolve in the next resting point (or not ) and the soloist follows the chromatic sequence. Or, conversely, the soloist takes a certain melody or releases through a concise melodies and colors in front of the companion to go with their choice of accompaniment chords, phrasing and rhythm respond.

Listen and Learn

To capture the harmonies of jazz, it is not enough, unfortunately, this theoretically run. Jazz is music to the many small facets can not be explained, but must be heard. So the only difference between the two saxophonists Ben Webster and Lester Young is clear, though they play the same style. Much of the knowledge and especially the Feel the dissolution behavior of chords can only be listening experiences and when the need arises, to play jazz itself, mediated by auditory training.

Today jazz is taught in schools, the mediated material is now immense and trends to the classic dogma emerging.

But it is still possible to learn Jazz outside the somewhat dusty institutions. Key elements here are listening to jazz, playing jazz and transcribing the music that pleases and extensive visits from jam sessions. Jazz is a very difficult at first translucent music, but is easier little by little, the main work is to be found but in learning the instrument.

Jazz harmony and other theories of harmony

The jazz harmony differs in principle from that of other forms of non- tonal music. However, it has some special features that appear noteworthy. Quite in contrast to the Indian or Balinese music, which use intervals that are not used in Western music ( Shrutis ). In extreme cases, a modern classic piece sound like a Jazztune or vice versa. The difference is then only in relation improvisation / composition.

In jazz, arising from the repertoire, improvisation and tradition ( listening habits ) harmonic possibilities that are even described in classical music, but their importance is another. So today, classical music is influenced by the concepts in jazz. For example, the use of jazzy tones in chords, the use of jazz cadences, the use of the seventh chord as the tonic, etc. An early example is George Gershwin's " Rhapsody in Blue", a more recent composition the City Noir by John Adams.

In free jazz, the traditional control system was indeed abrogated, but there were no new rules developed ( such as those in European art music during the transition to the twelve-tone music and serialism arose ). " The jazz of the present, unless it is aligned retrospectively and the conventional control system follows is by no means in principle > disharmonious ' but he probably developed from case to case, its own form of harmony. He is harmonically free. "