From Miles Davis’ famous “My Funny Valentine” & “Four & More” Live concert from 1964
Here is another version I transcribed from a live concert. It’s a similar, but with a different opening which is more theoretically correct.
There are many ways of thinking about composing, sounds and connecting one chord to another.
I will do my best to explain a useful effect that can be applied as well as concepts which helps me when transcribing, composing and arranging.
First of all, I would like to share some fundamentals; the modes of the Major Scale as I see it, complete with chord symbols and slash chords. I will list these in the original (functional) order, but also in an (Modal) order ranging from the brightest sound to the darkest.
Lydian (Brightest)
Ionian
Mixolydian
Dorian
Aeolian
Phrygian
Locrian (Darkest)
The order in the picture represents each mode as we play the C major scale from C – B. e.g.
Play all the white notes from C-C on the piano (this is the sound of the Ionian scale)
Play all the white notes from D-D on the piano (this is the sound of the Dorian scale)
Play E-E = Phrygian scale, etc. etc.
Some might find it confusing and difficult to understand slash chords, but it’s really not that complicated. Composers make use of slash chords, when they wish to present a particular sound or scale. The way they are represented (using a / ), can indicate either:
1. the scale or mode
2. an inversion of a chord, creating a particular sound. This could for example be ‘5 over 1’ i.e. C/F. It could also be Cm/Bb, and this particular voicing, wants to go Aø – D7(b9) – GΔ. The scale representing the inversion Cm/Bb can suggest the use of either C Dorian or the C Aeolian scale. The Bb is not the start of the scale (it’s just an inversion of Cm7).
Here’s the list of the compulsory slash chords related to the Modes of the Major Scale, but using intervalic numbers, which may be an easier way to remember them. This knowledge will help us to determine whether a composer is referring to a particular scale or simply just an inversion.
Ionian – 4 Δ#11 / 1
Dorian –
Phrygian – b2/1 (example Db/C ) or b2Δ#11 / 1
Lydian – 2/1
Mixolydian – 7Δ / 1 or minor 5/1 (Dm7/G)
Aeolian – b6Δ / 1 (example AbΔ / C )
Locian – b5Δ / 1
Voicing Tip: Including the 4th in a voicing, often represents the sound of the mode clearer than the 5th.
FΔ#11/C represents C Ionian, but you could in fact play this chord only (4th step of the scale) whilst changing the bass note, according to which mode you wish to represent.
Have a look at this article on jazz chords and harmony by Jason Lyon, which I found a couple of years ago. All good stuff to know. http://www.breitlinks.com/jazz/decipheringchords.pdf
Theoretical fact: When we tritone substitute the V in a II-V-I, we should include the note of that original chord that we substitute. This will give us the most IN-sound to play on the substitution – the Lydian Dominant scale. In the key of C, the G is such a crucial note as part of the cadence to C.
A straight Db mixolydian (Db7) scale would in fact lead to the key of Gb. However, this could be your choice of sound in a specific context. But knowing the importance of the G creating a Db7#11 is important. The Mixolydian scale is a more angular choice, but would sound ok.
As mentioned in another post, I have transcribed several Anders Jormin compositions and have found a great example of how to explain and use one of the most notable writing-effects possible. I’m using the solo section of his composition “Seli” to demonstrate this. https://www.youtube.com/watch?v=-HiCop-0jIo
Bar 1 and 2: introduce minor keys – relative minors to chords in bar 3. The phrygian chord is a nice transition to the harmonic minor chord.
Bar 3: here we are introduced to the relative majors of the minor chords in bar 1.
Bar 4: we are reminded of the original mood as in the beginning of the sequence. The phrygian scale helps the improviser to shape his phrase into the harmonic minor sound at the end of bar 4 before modulating. The note F is held by the phrygian slash chord before resolving to the note E. Coming from DbΔ, the improviser can still use the Ab ionian scale on the phrygian chord because it’s the third degree of Ab, i.e. the Db bass note descending to the C, creates a minor sound, leading smoothly into the F Harmonic minor scale, just before modulating to A minor.
Bar 5: “Resolution”. New refreshing colour / sound to the piece and gives the sequence more shape and adds variety.
Bar 6: Reminder of the relative major sound related to the original mood / key of the piece. It’s very common to improvise using the lydian scale on major chords, but not always the most effective solution – the decision should always be made with consideration to the surrounding harmony and context. context context context. (in this case, Bobo Stenson uses lydian which is the best sounding solution).
Bar 7: this bar functions as a transition, moving back into the minor mood/key of the piece.
Bar 8: a brief movement from major to harmonic minor, which prepares our ears to go back to the top of the sequence..
This is a perfect example of how “naturals” can create the effect of brightness even though the quality is a minor chord. It proves that context plays a big role in what our ear interprets as bright and dark sounds. The resolution of 3 or 4 flats/sharps, brings the most notable harmonic change (“allowed”) from one chord to the next one. It is this harmonic resolution, which creates less tension and causes a sense of unexpected delight to our ears. This effect is possible because of the context in which it is used. Take the Lydian sound for example:
This sound can come across a serious/powerful sound played in a particular context such as in rapid chord changes, but when applied to a modal situation in a slower tempo, the sound may come across as a bright open sound. That being said, the actual voicing of the chord plays a big role on the overall texture. Powerful sound; when voiced in stacks of fourths. (#4-Δ7-3) Another strong voicing is: 1-3-#4-Δ7. A modal voicing would be the slash chord: G/F
The bottom line: adding 3 or 4 sharps (or resolving 3/4 flats) to a current tonality will give us the most notable change of scene/colour, or whatever you want to call it.
Our end conclusion and findings are astonishing. When creating a curve representing the change of colours used in Jormin’s composition we are presented with a cultural connection showing us a part of the nature from his homeland Sweden – Mountains 😀
One of my philosophies, which has been confirmed in recent years from listening and being around so many different musicians/drummers, is the important concept or skill of knowing what not to play, but also, perhaps more importantly, knowing when to play soft and when to play loud.
Musicians may learn many phrases and licks, but the real music doesn’t start to happen before they let go, start listening to everything else around them, play with honesty and be confident in the musical decisions they make in real time.
Sometimes I hear drummers playing too many notes (tossing too many ideas into the music) on the drums and not thinking about being supportive in a musical way i.e. in relation to what other members of a group may be playing.
One of the reasons for this tendency could be an underdeveloped ear, i.e. poor listening skills from having focused only on one particular instrument on a recording. I remember listening back to a recording of myself performing a piece with a band when I was about 19, and noticed that I wasn’t only playing what the drummer from the recording I was inspired by, but also playing what the piano was playing, which was the melody, and what it resulted in was kind of a minor musical collision. In other words – I wasn’t supporting the music, happening ‘live’ in the moment in my band. I was trying to replicate what I was hearing in my head from listening to a recording.
The reason for this tendency would be lack of patience, lack of listening skills, inexperience, and even through a wrong assumption of being afraid to leave too much space (silence), and thereby not supporting other members of the band musically.
That being said, there is also another aspect to these observations/philosophy of playing less; i.e. it all depends with whom you are playing and what style is being explored. I’m not saying that it’s better to play really simple no matter what, but merely pointing out, that it all depends on the style of music being played and what other musicians play around your groove.
What we (musicians) play, also depend on our life experience and their developments as human beings – the journey of finding out whom we truly are and how we can thrive and become successful in what we do. Experience is invaluable in music making and other professions for that matter. We can study music in conservatoires as students, graduate with distinctions, but without ‘real life’ music experiences – we won’t acquire the skills we need to be successful later in our career.
Drumming started out as being a solid foundation for which music was based, but as time went by the drumming loosened up and got freer and started contributing as an instrument of musical interaction and ‘question and answer’. Some of the first drummers to do this were Sidney “Big Sid” Catlett, Kenny Clarke, Papa Jo Jones, Max Roach and later Philly Jo Jones and Elvin Jones.
Today there are so many musical styles and international influences on jazz. Jazz is found all around the world and the history of jazz directly connects to the history of humanity.
The modern society that we live in today is another point on why Jazz is particularly interesting and helpful to us. We find ourselves in a stressful environment with computers, mobile phones, the latest news, wars and the demand for everything to function as quickly as possible. Spending time on something which can make you feel liberated, express your true self and forget all about your worries for a while, is an important value to realise within our modern society.
Jazz is an art form of expression and when practiced, can leave us feeling relaxed, bringing us back to square one and remind us that we are in control of our lives. The musical expression is important and I feel honoured to be part of the next generation, pursuing jazz and its representation of freedom.
I have personally arrived at a point, where self-expression and interacting through music, is easiest when improvising freely. The most important things about self-expression are to be honest, to listen, be supportive, be confident in decisions made, be in the moment and make sure the artistic message reach out to whoever is listening. There is an inner urge to explore, discover the unknown, because we are already familiar with the known (such as jazz standards) and it’s important to try and reach higher levels of music making, because, repetition is dangerous for our creative muse.
Before we can begin to explore this freedom we need to have reached a certain musical maturity in order to be fully creative and embrace our individual artistic capabilities.
Check out some of the best improvising (free) drummers, such as Gerry Hemmingway, Rashied Ali, Milford Graves, Paal Nilssen-Love, Gerald Cleaver, Tom Rainey, Han Bennink, Louis Moholo, Ronald Shannon Jackson, Paul Lovens, Chris Corsano, Jon Christensen, Mark Sanders, Tony Oxley, Hamid Drake, Raymond Strid and Billy Higgins.
I also recommend that you check out Peter Erskine’s book “The Drum Perspective”, Kenny Werner’s book “Effortless Mastery” and Stephen Nachmanovitch’ “Free Play”
“When you hear music, after its over, it’s gone in the air, you can never capture it again” – Eric Dolphy
For my arranging module at Trinity Laban Conservatoire, I wanted to do something that I was particular interested in at the moment – and so, I chose to write in the style of Bob Brookmeyer. This turned out to be the most intense and beneficial task of the year. I chose to arrange the John Coltrane composition “Lazy Bird”
I made a 1500 words rationale to support my arranging decisions.
I will upload an audio file of the arrangement when I get hold of it.
Harding_Daniel_Lazy Bird_preview.pdf – feel free to have a look at the first 6 pages of my score.
A few years ago I started transcribing some tunes that I really like. The latest ones are “Moon River”, “Ballad of The Sad Young Men” and Anders Jormin’s composition “Q”. Speaking of Anders Jormin – I’ve found his composition to be particularly interesting. His use of melody and harmony is very musically interesting and satisfying to me.
I’ve transcribed Jormin’s compositions and made lead sheets for “Not”, “Seli”, “Sediment”, including the whole piano part for his theme on “M” played by Bobo Stenson from his album Cantando.
I also transcribed a couple of tunes by Keith Jarrett (The Mourning Of A Star, Rainbow, So Tender), Lars Jansson, Bobo Stenson (Reflections & Mindiatyr), amongst many others. All tunes which are not formally published by the artist, making it more interesting and intriguing to study and learn from.
Transcribing will benefit your ability to recognise sounds (including chord extensions), your reading, ears, your piano skills in terms of voicings and chord progressions.