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JAZZ
CLINIC
DWORP
2015
This
summer
also:
Pop
clinic
23
28
august
In
the
first
class
we
give
you
an
overview
of
what
you
should
know
to
understand
a
composition
such
as
My
Romance
(R.
Rodgers
&
L.
Hart).
A
good
start
is
always
the
lyrics:
My
Romance
doesn't
have
to
have
a
moon
in
the
sky
My
Romance
doesn't
need
a
blue
lagoon
standing
by
No
month
of
May,
no
twinkling
stars
No
hide
away,
no
soft
guitars
My
Romance
doesn't
need
a
castle
rising
in
Spain
Nor
a
dance
to
a
constantly
surprising
refrain
Wide
awake
I
can
make
my
most
fantastic
dreams
come
true
My
Romance
doesn't
need
a
thing
but
you
We
continue
with
the
melody
and
look
at
its
structure,
its
organisation.
Ask
yourself
questions
such
as:
- What
is
the
motive
(smallest
melodic
cellula)
- What
is
the
first
phrase?
- How
is
this
futher
developed?
- What
is
the
structure
of
the
first
sixteen
bars?
Things
you
should
know
before
the
analysis:
What
is
the
tonality?
(1)
What
are
the
diatonic
chords?
(2)
Which
chords
are
diatonic,
which
arent?
(3)
Is
the
melody
diatonic?
(4)
What
are
the
related
chords
to
be
expected,
such
as
for
Secondary
Dominants
and
what
is
the
added
value
of
these
chords?
(5)
What
are
the
related
tonalities
to
be
expected?
What
are
the
expected
parallel
chords
and
what
is
their
added
value?
(6)
Some
answers:
1) The
song
is
written
in
C
major
2) The
diatonic
chords:
3) Chords
which
are
non-diatonic:
Most
of
the
chords
are
diatonic,
which
you
can
see
at
their
roman
numerals.
What
is
also
remarkable
is
that
most
of
the
non-diatonic
chords
are
dominant
chords.
4) The
melody
is
diatonic.
Herewith
you
can
find
all
possible
secondary
dominants1.
See
how
these
chords
add
chromatic
passing
tones
to
the
main
tonality,
with
A7,
as
being
the
V/II
this
chord
adds
an
c#
to
the
tonality,
which
is
the
leading
tone
onwards
d
and,
by
this
way,
this
chord
introduces
a
chromatic
leading
tone/passing
note
in
this
tonality
B7,
being
the
V/III
and
adding
a
d#
to
the
tonality,
the
leading
to
unwards
to
e,
and,
by
this
way,
this
chord
introduces
a
chromatic
leading
tone/passing
note
in
this
tonality
C7
or
the
V/IV
gives
us
a
b
flat,
a
tone
that
leads
towards
the
third
of
the
F
major
chord.
By
this
way,
this
chord
introduces
a
chromatic
leading
tone/passing
note
in
this
tonality
and
makes
it
possible
to
go
to
F
major
D7
or
the
V/V
gives
us
a
f#,
leading
tone
towards
G.
By
this
way,
this
chord
introduces
a
chromatic
leading
tone/passing
note
in
this
tonality
and
makes
it
possible
to
go
temporary
to
G
major
E7
or
V/VI
adds
g#
to
our
main
tonality,
the
leading
tone
of
a
minor
and
by
this
way,
this
chord
introduces
a
new
chromatic
leading
tone/passing
tone
to
the
tonality,
in
this
case,
to
the
related
minor
tonality
A
secondary
dominant
is
mostly
the
alteration
of
a
diatonic
chord.
For
the
scale
of
secondary
dominants
you
should
adapt
the
notes
which
where
not
available
in
the
original
modus.
So
a
D7
gets
only
the
extra
f#,
which
differs
this
chord
from
the
diatonic
Dm7.
So,
E7
gets
as
an
adaptation
or
alteration
of
the
original
diatonic
Em7
chord,
a
major
third
so
a
g#
must
be
added.
A
lot
of
secondary
dominants
will
be
preceeded
by
their
related
IIm7.
We
show
this
by
adding
a
bracket
between
the
II
and
V.
Jazz
uses
frequently
II
V
sequences
and
this
is
often
an
II
V
of
a
secondary
dominant.
6) What
are
the
related
tonalities
to
be
expected?
What
are
the
expected
parallel
chords
and
what
is
their
added
value?
Related
tonalities
of
C
major
are
G-major,
F-major,
a-minor
and
c-minor.
This
is
often
indicated
by
using
a
cross
image:
c
F
C
G
a
a
1
The
logical
V/VII
is
never
used
since
this
chord
has
no
perfect
fifth.
The
eventual
dominant
of
B
would
be
F#7,
with
a
non-diatonic
root.
But
S.D.s
always
contain
a
diatonic
root
c) Related
minor
tonalities
of
F
and
G
major
Frequently
a
song
in
C
major
moves
also
towards
the
related
minor
tonalities
of
F-
and
G-major,
which
means
Dm
and
Em.
Both
chords
exist
also
in
C-major.
This
is
possible
by
using
the
secondary
dominants
A7
and
B7,
sometimes
again
preceded
by
their
related
IIm7b5.
So
we
obtain:
d) What
is
the
sum
of
all
this?
Be
aware:
some
notes
can
be
derived
from
different
chords,
such
as
the
f#
from
F#m7b5
or
B7
etc.
What
conclusion
is
possible?
Almost
all
chromatic
tones
can
be
obtained
by
using
secondary
dominants
or
borrowings
from
Cm.
What
note
is
missing?
The
b2
Added:
- FMaj7,
a
diatonic
chord,
with
sub-dominant
function
(cadential),
its
root
being
a
fourth
from
the
previous
chord
and
resolving
chromatically
to
the
IIIrd
graad
- Eb
dim7,
a
non-diatonic
deminished
chord
which
links
chromatically
two
consecutive
diatonic
chords2
- E7(#5),
a
non-diatonic
dominant
seventh
chord
which
precedes
the
resolution
towards
Am
of
measure
5
(=
secondary
dominant
or
S.D.)
Measures
5
8
Added:
- E7,
same
dominant
as
in
measure
4.
But
here
it
provides
a
hidden
line
clich
such
as
in
Am
E7/G#
Am/G
- A7,
a
S.D.
which
links
the
Dm7
of
measure
7
- C7,
S.D.
of
IVMaj7
in
bar
9
2
This
is
the
only
chord
which
is
kind
of
difficult
since
it
does
not
have
many
notes
in
common
Added:
- Bb7,
a
so-called
Subdominant
minor
and
thus
borrowed
from
c
minor
cfr.
plagal
cadence
and
its
variations
- C7,
S.D.
to
IVMaj7
of
bar
11
Measures
13
16:
Added:
- Bb7,
but
this
time
not
borrowed
from
c
minor,
but
its
the
substitute
dominant
of
VImin7.
It
is
a
dominant,
and
it
substitutes
the
expected
E7
chord,
the
S.D.
of
Am7.
E7
was
certainly
possible
but
then
you
would
have
twice
the
same
root
and
then
the
Bb7,
which
possesses
the
same
triton
between
its
3rd
and
7th
E7,
gives
more
tension.
Already
because
its
non-
diatonic
root
does
resolve
chromatically.
For
this
more
extended
version
of
the
first
16
bars,
I
used
the
version
as
notated
in
The
New
Real
Book,
edited
by
C.
Sher
(1988).
This
is
only
1
of
many
possible
variations,
but
certainly
the
most
common.
Since
My
Romance
has
a
ABAC
structure,
we
only
need
to
do
the
last
8
bars:
Explanation:
- A7
is
the
S.D.
of
Dmin7
(and
provides
more
relationship
towards
F
or
d
minor)
- Bm7b5
E7
is
a
II
V
in
a
minor
which
is
smoothly
introduced
by
the
descending
bass
part
in
the
Dm7
chord
- CMaj/G
provides
a
beautiful
variation
of
a
chord
pattern,
repeated
in
measure
31
And
dont
forget
that
secondary
dominants
introduce
these
notes:
Which
chords
provide
these
chromatic
passing
tones?
c#
comes
with
A7
or
the
V/II
d#
comes
with
B7
or
the
V/III
f#
comes
with
D7
or
the
V/V
g#
comes
with
E7
or
the
V/VI
bb
comes
with
C7
or
the
V/IV
eb
and
ab
are
derived
from
the
parallel
minor
The
Phrygian
scale
takes
its
timbre
from
the
characteristic
minor
second
between
its
root
and
second.
Triads:
Seventh
chords:
Cm
and
Cm7
are
tonic
chords
(T)
Db,
DbMaj7,
Eb7,
Bbm
and
Bbm7
are
characteristic
chords
(K)
since
they
possess
the
characteristic
note
G
dim
and
Gm7b5
are
chords
to
be
avoided
(A)
Remark:
bIII7
sounds
as
the
V7
in
Ab
major,
this
can
be
altered
by
changing
the
dominant
chord
in
a
suspended
chord
such
as
bIIIsus7.
Phrygian
cadences
are
amongst
others:
Spanish
Phrygian
There
is
also
a
Spanish
Phrygian
Scale
usually
to
be
found
in
Spanish
compositions
(sic!)
and
in
compositions
of
Chick
Corea
(La
Fiesta),
Al
DiMeola,
Paco
De
Lucia
e.a.
The
middle
part
continues
first
in
the
main
tonality,
Eb
major
with
a
#IVm7b5,
Ab7
being
the
substitute
dominant
of
the
next
Gm7,
which
initiates
a
chord
pattern
on
the
IIIrd
degree
in
Eb,
the
relative
major
of
c
minor.
The
DbMaj7
chord
is
thus
both
bVIIMaj7
in
Eb
and
also
the
bII
of
Cm.
The
title
of
the
song,
Speak
No
Evil,
fits
perfectly
in
the
so-called
PostBop
style.
In
this
particular
period
of
the
jazz
history,
Miles
Davis
is
both
lord
and
master
(Prince
of
Darkness)
and
mythological
themes
are
frequently
used
as
titles
Fee
Fi
Fo
Fum,
Tom
Thumb,
Ju
Ju,
and
Speak
No
Evil.
The
title
is
part
of
a
saying
or
proverb:
Hear
No
Evil,
Speak
No
Evil
and
Say
No
Evil.
This
saying
refers
to
someone
who
should
be
not
interfering,
dont
mind
someones
business.
The
oldest
presentation
is
three
monkeys
at
the
Niko
Toshogo
shrine
in
Japan,
dated
in
the
17th
century.
In
Japans
this
sounds
like:
mizaru,
kikazaru,
iwazaru.4
Maar
nog
meer
karakteristiek
aan
de
composities
van
de
PostBop
stijl
is
dat
een
symbiose
wordt
verwezenlijkt
tussen
enerzijds
modale
en
anderzijds
diatonische
harmonie.
Dit
komt
het
duidelijkst
naar
voor
in
de
composities
van
Wayne
Shorter.
Waar
Miles
Davis
voor
Kind
of
Blue
composities
creerde
die
haast
louter
modaal
waren
(So
What,
All
Blues),
streeft
Wayne
Shorter
een
vermenging
tussen
modale
karakteristieken
(cfr.
eerste
acht
maten
van
Speak
No
Evil)
en
diatonische
eigenschappen
(cfr.
de
beide
chord
patterns
op
III
in
hetzelfde
nummer)
na.
3
These
progressions
are
called
constant
structure,
a
technique
which
will
be
Composed
in
the
same
year
as
Speak
No
Evil,
namely
in
1964,
5
years
after
the
release
of
Kind
of
Blue.
In
the
previous
composition
we
notated
the
mixture
between
diatonic
and
modal,
but
this
one
is
a
step
beyond.
It
uses
all
kind
of
modal
interchanges.
When
using
an
open
mind,
a
composition
in
F-major,
as
is
the
case
for
Beatrice,
can
borrow
from:
- F
Lydian
as
from
C
Major
- F
Mixolydian
as
from
Bb
Major
- F
Dorian
from
Eb
- F
Aeolian
first
relationship,
i.e.
f
pure
minor
- F
Phrygian
coming
from
Db
- F
Locrian
(but
never
happens
although,
never
say
never)
Analysis
of
Beatrice
Measure
1:
F
is
the
main
tonality
Measure
2:
GbMaj7
is
derived
or
coming
from
F
Phrygian
principally
this
could
also
be
F
Locrian
but
you
always
choose
the
tonality
as
close
as
possible
to
the
major
tonality.
Maat
4:
EbMaj7
derived
from
F
Mixolydian
could
also
be
F
Dorian,
But
see
the
rule
above.
Notice
the
constant
structure
starting
from
the
third
measure
of
the
Bridge
or
B-
part
Questions?
Write
an
email
to
maarten.weyler@gmail.com