thesis section two data (untabled)

8/10/2019 Thesis Section Two Data (Untabled)

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“All The Things You Are” harmonised 3rds Etude:

General concepts derived from the approach of Barney

Kessel:

The harmonisation of a minor 7 (or minor 9) arpeggio in the

lower voice that creates its relative major 7 (or major 9) arpeggio in

the upper voice is seen in figures 2, and 5 and is employed in bars 1,

5, 10, 20 and 30.

Triplet figures employed to imbue the melodic lines with

forward momentum as seen in figures 2, 3 and 5 are apparent in bars

2, 4, 5, 10, 15, 22, 31

Lower neighbor tones resolving into chord tones as seen in

Fig.4 are adapted and extended over minor 7 th , major 7 th and

dominant 7 th harmonies in bars 2, 4, 7, 15-28.

Chromatic approach tones seen in Fig. 2, and 5 are used to

embellish the lines in bars 1, 3, 4, 9, 10, 13, 14, 17, 18, 19 and 33.

Enclosure devices as seen in Fig. 2 can be seen occurring in

bars 1, 9, 10, 14 and 33. Bar one of the etude is derived from Fig. 2

and adjusted so that the enclosure targets the b3 and 5 th of Fm7 on

beat one instead of beat two in the original example.

The usage of the diminished scale and/or arpeggio

substitution applied over dominant chords to superimpose altered



tensions witnessed in figures 3, 4 and is applied in bars 2, 3, 6, 9,11,

18, 26, 27, 34 and 36.

The harmonised 9 th arpeggio idea originally played over the

minor chords in fig.5 is adapted to fit the major 7 th harmonies in bars

5 and 20.

The rhythmic sequence from Fig.4 is adapted over bar 7 and

the original line is extended over bars 25 to 28.

Grace note slurs of the flattened 3 into the natural 3 rd that

originally appeared in the lower voice over a Dominant 7 th chord in

Fig.1 occur over a major 7 th chord in bar 12.

Anticipated resolutions to major 7 th chords originating from

figures 4 and 5 appear in bars 14 and 27.

The diminished line from fig.3 originally substituted over a

dominant 7 th chord is adapted over a minor and diminished chord in

bars 31 and 32.

Targeting key chord tones, specifically resolving to the 3 rd

degree in the upper or lower voice to delineate a chord change as

seen in Figures 4, and 5 can is applied in bars 1, 2, 3, 6, 7, 9, 10, 11,

12, 13, 14, 16, 18, 19, 21, 22, 25, 26, 27, 28, 34, and 35.

General concepts derived from the approach Tal Farlow:



The minor two-five line seen in figure 6 is augmented

rhythmically by doubling its original note values to work over a two-

five progression over two bars in length is seen in bars 21 and 22

An altered dominant phrase over an entire bar inspired by

the use of this scale seen in figure 6 is applied over the G7 chord in

bar 8.

The motivic idea from fig.7 is converted to embody triplet

rhythms. It is then sequenced and adapted to minor and major 7 th

chord qualities in bars 2 and 4.

Lower neighbor tones resolving into chord tones seen in Fig.7

are adapted and extended over minor 7 th , major 7 th and Dominant 7 th

in bars 2, 4, 7, 15-28.

General concepts derived from the approach of Jeff

Barone:

The Ionian scale seen in figure 8 is applied in bars 19 and 24.

The harmonisation of a major7 arpeggio in the lower voice

that creates a minor 7 arpeggio in the upper voice seen in Figures 8

and 12 is employed in bars 13, 23, 29 and 30.

The diminished arpeggio substitution applied over dominant

chords to superimpose altered tensions witnessed in figure 12

appears in bars 11, 34 and 36.



The Lydian scale phrase seen in figure 9 emphasising the #11

sound over a major 7 chord inspired the usage of the harmonised

Bm9 arpeggio and D major 9 arpeggio over the G major 7 chord in

bar 20. The C# tone (the #11 of G) is evident in both voices during

this bar.

The usage of harmonised major and minor triad s to outline

the dominant 7 th chord as seen in figure 10 is applied to a dominant

chord in bar 3 and is also applied to outline minor 9 th chord

harmonies over a minor 7 th chord in bar 14 and minor 7 th harmonies

over a minor 7 th chord in bar 31.

Additional general improvisational concepts:

The substitution technique of implying a parallel Dominant 7 th

chord over a minor chord (for example substituting a Bb7b9 sound

over Bbm7) resolving to a chord a perfect fifth away is seen in bars

2, 9 and 26.

The harmonization of the dorian scale is introduced in bar 7

and 17.

A pure chromatic run from the 7 th to the 9 th is seen in the

upper voice in bar 15.

The whole-tone scale is introduced over the E7 chord in bar

16.



The “ master-chord ” approach is applied in the first half of bar

3 whereby the soloist substitutes a minor ii7 chord where there is a

non-functioning dominant seventh chord. Jazz guitarists Pat Martino,

and Wes Montgomery treat dominant chords as relative ii7 chords

when they improvise and “comp”.

“All The Things You Are” harmonised 3rds Etude:

General concepts derived from the approach of Kenny

Burrell:

Chromatic approach tones derived from diminished phrases

and superimposed over the ii7 chord in figures 13, 14, 15, and 18 are

apparent in bar 6 and the idea of chromatic tones resolving into

chord tones is applied over a major 7 th chord in bar 35. More

generally chromatic approach tones are witnessed in bars

1, 3, 5, 13, 14, 15, 17, 18, 21, and 28.

Anticipated resolutions from minor 7 th to dominant 7 th chords

originating from figure 13 appears in bar 10.

The usage of the diminished scale and/or arpeggio

substitution applied over dominant chords to superimpose altered

tensions witnessed in figures 13, 14, 15 and 18 is applied in bars 6, 8,

11, 14, 16, 22, and 24.



Enclosure devices as seen in Figure 18 can be seen occurring

in bars 13-14, 17, 18-19 and 23. These enclosures occur either on the

first beat, or third beat of the bar targeting key chord tones of the

root, 3 rd , 5 th or 7 th of minor7, major7 and dominant7 harmonies.

The pentatonic call and response phrase from figure 13 is now

tailored to suit the Db major 7 th chord in bar 5. This phrase now

highlights the major 7 th chord’s 3 rd , 5 th and 7 th degrees. This phrase is

also truncated and employed over the minor 7 th chord in bar 25.

Ascending and/or descending slurs derived from figures 13,

14, 15, and 18 is seen in bars 6-9, 11, 13-18, 21-24, 27-32 and 35-36.

Targeting key chord tones, specifically resolving to the 3 rd

degree in the upper or lower voice to delineate a chord change as

seen in Figure 13 and 18 is applied in bars 2, 3, 6, 10, 12, 13, 14, 15,

16, 18, 22, 23, 25, 26, 27, 29, 30, 34 and 36.

General concepts derived from the harmonised 3rds

approach of Barney Kessel, Tal Farlow and Jeff Barone:

The harmonisation of a minor 7 (or minor 9) arpeggio in the

lower voice that creates its relative major 7 arpeggio (or major 9) in

the upper voice as seen in figures 2, and 5 is employed in bar 10. In

bar 1 the same device is applied with the arpeggio quality reversed

so that the major 7 th arpeggio is in the lower voice with the minor 7 th



arpeggio in the upper voice. Bar 17 also employs this device with a

m7b5 arpeggio in the upper voice implying a minor 6 harmony.

Lower neighbor tones resolving into chord tones as seen in

Fig.4 are adapted and extended over dominant 7 th harmonies in bars

27 and 36.

The motivic idea from fig.7 is condensed to now embody a

double semiquaver linked to a quaver rhythm in bars 26, and 29-31.

This idea is sequenced and adapted to work harmonically over

minor and major 7 th chord qualities .

An extended altered dominant phrase inspired by the use of

this scale seen in figure 6 is applied over the Eb7 chord in bar 3 and a

D7 chord in bar 18.

The device of employing harmonised major and minor triad s

to outline extended harmonies as seen in figure 10 is applied to a

major 7 th chord in bar 3 creating a major 9 th sound. This device is also

applied to minor 7 th chords. In bar 14 this creates a minor 9 th sound,

and in bar 33 it creates the minor 7 th sound. It is used in bars 29-30

with lower neighbor tones in between repeats of each chord tone in a

sequence, and in bar 33 to superimpose altered tensions from the

altered dominant scale employing a augmented triad in the lower

voice and a minor triad in the upper voice.

The Ionian scale seen in figure 8 is applied in bars 12, 15 and

28.



The Lydian scale seen in figure 9 is arpeggiated and used to

add the #11 and 9 colour tones over the G majot 7 th chord in bars 19-

20.

Additional general improvisational concepts:

The harmonization of the melodic minor scale is introduced in

bars 2 and 31.

The harmonization of the dorian scale is introduced in bar 9,

25-26, and 31.

The harmonization of the locrian scale is introduced in bar 21.

A chromatic passage inspired by figures 3 and 7 is evident in

bars 27 (and again without resolution in bar 36). This idea consists of

what is referred to in guitar pedagogy as a “shape” (which refers to

the Major 6 th structure in this case) that is moved in a gradually

ascending manner using rapid back and forth chromatic

semiquavers. This idea is employed as a vehicle to create ambiguity

over the duration of the bar. This ambiguity continues until the idea

is resolved on beat one of the 28 th bar clearly signaling the arrival of

the Ab major 7th chord. The majority of what happens musically

between point A, which is the beginning of the phrase, and point B,

which is the resolution in bar 28 is unnecessary to analyse against

the underlying chord. What is important is that the momentum



created by the rhythm and the major 6 th interval structure is heard

by the ear as a shape, moving towards a point of resolution.

thesis section two data (untabled)

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