Ron Miller - Modal Jazz Composition & Harmony, Vol. 2 (Advance Music).pdf - songbooki, nuty, workshopy - Jacksax

RON MILLER I

CONTENTS

CHAPTER I: MELODY

Melody Writing

....................................................

1 c

I ne Elcrncnrs ois Meloby 7

A . Sourze Materrals .............................................. ;z

6 . Thernr ani- Dewiopmen: ...................................... .i 6

C . Melodic Contour ............................................. 7 6

...........................................

. .

D.Balance .................................................... 18

E . Poinr of Ciimax ............................................ .I?

...............................................

F.MelodicForm

G . Melodic Rnythm

.............................................

1 _a .

K . Pzrformance D~ecions

........................................

I Tess~turdKey

...............................................

-22

Stvle

..........................................................

Meiaaic Syl~

Analus15

...........................................

Nan-Romanric Melod! samples -2E

k . Idramatic Angular ........................................... -16

..........................................

.....................................

3. Idioma~icReferenda1

C . IdiomaU: Proyammacic ......................................

.- f

~omanric ~vlebodies

...............................................

-30

Examples of ~kte Use of Romanxic Melody Wriring .....................

fie PratorypicaT Romanric/ldeal Meiody ................................ -34

Examples of Rarnan.cic:'Melodic Jarz Composic~ons .................... -35

...........................................

Conclusion ni Cnap:er I

Sugg~sted kxtrc~ses

............................................

-38

Special Pro-ieci: Folk MUSIC

Sunley .................................. 40

.................................

Meioa~cAfialwis Refemnce Guide

-40

Recordings an2 Readings

........................................

-42

Harmoni~cion 4

The preplannzd Meihod ........................................ -4

~ht~rocedu~

...............................................

GemngS~a~ed

-4.4

................................................ 45

Harmonlz~ngGwen Meludies

. .

......................................

.................................................

Rehamonirar~on

The JZ Composer's Preoicamenr 4E

TheTechniaues ................................................ 45

................................................

..................................

Substitux Chords

-51

A . Diatonic Substrru~ions , 51

E Chmmzric Substitutions ..................................... -53

c.styie ......................................................

..................... ...................

...........................................

D. tfarrnonic Rhphm -56

Reharmoniza~ian of Cadenrial Areas .............. , ................... -3

- .-

1.Cadences

...................................................

2 Cvcles

.................................................

2-Turnarounds 59

5uostrrutc 5ynmrtr1: Pa~erns ..................................... -52

................

...............................................

Cnanglng the Yarrnon~cRhytnm ef Nov-Cadanrial Areas

-56

-a

.. --

Arrangrng Techniques

..........................................

Reharmon~zarlon Examples ...................................... 1'

The Melocy .. , ....................................... 7e

Conclus~onorChaoie- ll ............................................ 85

.........................................

Suggesreti Exercises

.......................................

Recoraln~5an5 Reahngs

CHAPTER It: REHARMONIZATION

...................................................

Fkworkin~

CHAFTER Ill: P=N7lTObtlCS

Pentatonic Composrrlons ........................................... 86

De~crr?tionand Deiln~rion ....................................... SS

K~nds of Fpntacan~c Corn3osi:rons .................................. 88

~cnaronic

FormandStylr 96

Harmonizarion and ilarmonic Rhythm ............................ -96

. Cnord Selection!Harmonic Rhychm ................................ -96

Carnpos~tronExarnnles ............................................ 7 01

..............................................

Extan1 Melodies 101

Folt Influenced Composiaons .................................... 103

..........................

Miscellaneous Pert:aronic Compos~tioss 104

Concius~on of Cnaoter 11 I .......................................... 106

Recordings and Readlngs .......................................... 107

Concluston and Flral Cornmencs ................................... -108

Appendix1

......................................................

110

Mo~firDwlopmeni 710

hrticulations and E%cu ........................................ 15 3

.....................................................

...........................................

Appendix11 116

Trirone Subsrrrurion and Acousrin ................................ 116

. Stamng Chords - Standards ..................................... 117

kdciitiona! Reharmonizarion - New Melodies ........................ -118

Appendix Ill ..................................................... 722

Lls: of Af! Usable Pzntztonic Scales ............................... -122

Lis: of AIL Usabic Modes ......................... ... .......... -126

.............................................

Lan~uage Lisr~ng -134

Mrsceltaneocs Marerials ........................................ -737

Palm X, piano 5core ............................................. 140

Abou: ;he Author .............................................. -141

t+4.-lodies ............................................ 89

Crear~ng Pen~atonic Source Scales .................................. X9

Symrnemc Penxconic Scales ..................................... .?I

...................................................

Thc zeal a: Volume 2 of Mohllt Camposztzon and 3arnall7- 1s ro conanue rhe disscmlna-

tlon of ~niormatlon thar npresens a paen of study for the xpirin: composer. Krnerc

J'olurne 1 05 rhe book emphzslzed he preparation of a modal harmonic foun&tlar.. rh~s

volume will inrroduce concepm of melody ulnang and a xtudrr of che s+s of i- <om-

posidons char are = inrnnslc addi~ion to &e contemp? JZZZ cornpos~,r's reperroire. Of

lnterzst to tin: cornposer:arranger wi11 be thc chap~er on harmacizatlon and rtharmoniza-

nor; rechniques, x many of the cancepu prescnred reflec: ar influence of Gii Evans. Ddce

Ell~n~on

here are mq- extar pen-mtoGc runes mailable ro

die jizz pdorncr &re +re nor man!.-~hat ate hamanrzeb with a modem mocial h~monic

ioun&uon =ce?uns a fm :hat have been connihu~ed by R72!me Shortc-

.45 wish Voiumc 1 35 the book. an a~oendi,:

infomatlo3 is

included for rhe smdenr deslnnE rheorerical explanarinn and additional examp!es. Thls

volurnt will differ From \;olurne 1br che inclusion of srrggested recordins md rea51n~s ar

the en6 of mil chapter uzrh specific conlposlrions Tor Ilstenin_rw~rhln che tei. AS

-ihere arr sus~esred assignmen= 2nd wcsnses ~ncluded at the end of each ~hapter.

Ho?cblly, hzwng corn~lecedthe smdy of he marenals of both i~olumes of L!C book, rhe

srudenr wiU reaiize that &e informarion is presented to form a holisnc smci?~, Ewln:

mzsrered the mod& harmonic foundzrion of Volume 1 rhe srudenr should next stud!. melo-

dy n~h~~g

wrirh addirional per~~heial

concepx which can &en be apphed to the creaman of rneiodies in a vane? of

styles. lr 1s adciiuonal!v Important char rhi.le jap and pop composer be abit ro wnrc a roman-

uc melody - rhc su'qjec; 1s covered at iengrh in Chapter I

F~rrdy. che meiod!. wnr1ung procedures are a~phed

to the composing of Fenram:onic mes,

which are aiso I:a-manrted ~vih the karmnnlzarion techn~ques @vmIn Chapter 11.

To repeat from Voiume 1. :he auzhor's bale intcnuon is cc prowde i;lfomanon in rhe pnnt-

ed format &ar nil1 =pose and dcvelap rht smdent's iatenc ciearive abihum s we11 a: aliou~

him-;'herselfr~ unhashedy express a me

he/she go; into mmic io; ro begn uith - have fun!

love of mcs~c

- 2nd of course to f~dfil

thar t&ich

a;ld Charles Minus as n.elj as chose of Her-bie Hancock. Addrriondl!.. much OF the

harmonic infornzuon of thar &apier is baed on fie diztonic n-1' sysccm provtding both

ar: in.croducr~on co: and review of he subiecr

Those ~nccrested In securing a new venue ofmpress~on will fsnd he cha?tcr or, ?enzronlc

runes of pamculz 1nreres.l M~hou~h

. .

Ron Miller - Modal Jazz Composition & Harmony, Vol. 2 (Advance Music).pdf

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