Phrase repetitioneight measures

This is the basis for standard aaba and abac song form in which the a section is repeated
in conjunction with other complementary but contrasting phrases. (See Strays, page 3
for aaba form, and For Bill, page 141 for abac form.)

Taller de composicin y arreglos
Lic. Diego Armando
Becerra Vidrio
a

CONSIDERACIONES MELDICAS

Motivo: Es ael elemento primario
Es la
b y fundamental de
a la composicin musical.
c
ms breve divisin rtmico-meldico de una idea musical y puede definirse como:
Fragmento meldico corto con un patrn especifico de notas y ritmo. Dichos
motivos son manipulados en una composicin con el fin de facilitar el desarrollo de
la meloda y contribuir en la unidad, coherencia, lgica y fluidez de la pieza.
SEQUENCE
En la creacin
de melodas o arreglos podremos utilizar dos tcnicas bsicas:
A sequence occurs when you transpose a melodic fragment or phrase to a different pitch

Progresin.-
Es la repeticin
un diseo
rtmico-meldico
level. This transposition
may be diatonicde
(in which
case the tonality
is not disturbed) ora distintas
alturas
puede
contactos
con otras
no use(progresin
exact (iny which
case atener
temporary
key-of-the-moment
maytonalidades
be suggest itself).o The
of
sequence
takes
the
concept
of
repetition
to
the
next
level
and
provides
for
melodic
diatnica o cromtica). Ejemplos de ello se encuentran en las as canciones:
well as rhythmic variety.
Hojas
muertas, Black orpheus, Satin doll, etc.
jazz composition 1 5/28/03 4:32 PM Page 20
Motivic sequence
jazz composition 1 5/28/03 4:32 PM Page 20

jazz composition 1 5/28/03 4:32 PM Page 20
Diatonic
Secuencia meldica de un comps

Medium swing

F6
C7
A7
D7
G7
JAZZ COMPOSITION
THEORY ANDG7
PRACTICE
JAZZ COMPOSITION THEORY AND PRACTICE
JAZZ COMPOSITION THEORY AND PRACTICE
Two-measure melodic sequence
Two-measure melodic sequence
Two-measure
melodic
sequenceis also sequential.
Note that the chord
progression
= interval at which the

sequence
occurs.
also Scrooge,
page 147, measures
914.) at which the
Note
that the
chord(See
progression
is also sequential.
= interval
Note that occurs.
the chord
progression
is alsopage
sequential.
= 914.)
interval at which the
sequence
(See
also
Scrooge,
147,
measures
Exact

sequence
914.)
Medium
swing occurs. (See also Scrooge, page 147, measures
P5

Medium fast
F6B7(fast
Medium
9)
Medium
B7( fast
9)

A 7
D 7
G7
C7
P5 9)compases
Secuencia
meldica
de E7(
dos

FMaj7

P5
E7( 9)
E7( 9)

B7( 9)

(See
P4

C7

also Strays, page 3: compare measures 12 with

P5 56, and 1011 with 1415; also
16 and 17.)
P5
D7( 9)

P4measures
A7(
9)
P4
A7( 9)
A7( 9)

P5
D7( 9)
D7( 9)

Contrasting phrase

Four-measure melodic sequence

Four-measure melodic sequence
(See also Scooter,
page
128, measures 1114, 1518.)
Four-measure
melodic
sequence
(See also Scooter,
page 128, measures
1114,
Secuencia
meldica
de 1518.)
cuatro compases
Medium
swing
(See
also Scooter, page 128, measures 1114, 1518.)
D6 swing
Medium
Medium
D6 swing

D6

19

Contrasting phrase
Contrasting phrase

G6

D6

G6

D6

G6
G6

D6
D6

G6
G6

D6
D6

E7( 5)

A7(alt)

E7( 5) A7(alt)
E7( 5) A7(alt)

m3 F6

B 6

F6

B Maj7

F6

A7( 9)

D6

m3 F6
m3 F6

B 6
B 6

F6
F6

B Maj7
B Maj7

F6
F6

A7( 9)
A7( 9)

D6
D6

Eight-measure melodic sequence

Eight-measure melodic sequence

Examples of thismelodic
are relatively
rare, but check out Joy Spring by Clifford Brown and
Eight-measure
sequence
So Whatofby
Miles
Davis. rare, but check out Joy Spring by Clifford Brown and
Examples
this
are relatively
Examples
areDavis.
relatively rare, but check out Joy Spring by Clifford Brown and
So
Whatof
bythis
Miles

jazz composition 1

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1

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Page 21

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Page 21

Taller de composicin y arreglos

Lic. Diego Armando Becerra Vidrio

CHAPTER 1
CHAPTER 1

MELODIC CONSIDERATIONS
MELODIC CONSIDERATIONS

MOTIVIC TRANSFORMATION

Transformacin
motivo: tantas repeticiones puede llegar a ser montono y
MOTIVICde
TRANSFORMATION
aburrido. Sometimes,
La transformacin
del gets
motivo
es una herramienta
donde
too much repetition
to be monotonous.
Motivic transformation
is se
a alteran los
Sometimes,
too
much
repetition
gets
to
be
monotonous.
Motivic
transformation
is
a
device
that
allows
you
to
alter
the
intervals
or
the
rhythm
of
a
motif
in
order
to
prevent
intervalos de la idea principal o el ritmo de la misma. Se puede dejar intacta la
device
that allows
you to
alter
intervals
or the
rhythm
a motifthe
inpitches;
order toor
prevent
the overuse
of an idea.
You
canthe
keep
the same
rhythm
andofchange
you
meloda m
odificando
e
l
r
itmo
o

v
iceversa.
the
overuse
of
an
idea.
You
can
keep
the
same
rhythm
and
change
the
pitches;
or
you
can keep the same pitches and change the rhythm.
can keep the same pitches and change the rhythm.
Intervallic transformation: Same rhythm, different pitches.
Intervallic transformation: Same rhythm, different pitches.

Fast
Transformacin
de intervalos: mismo ritmo, diferentes notas:
Fast

E 6
E 6

F7
F7

F7
F7

B 7
B 7

B 7
B 7

G7
G7

D 7
D 7

G7
G7

C7
C7

C7
C7

F7
F7

B 7
B 7

(See also Samba de Goofed, page 155, measures 1720 vs. 2124.)
(See also Samba de Goofed, page 155, measures 1720 vs. 2124.)

Rhythmic transformation: Same pitches, different rhythm.

Rhythmic transformation:
Same pitches,
rhythm.
Transformacin
rtmica: mismas
notas, different
diferente
ritmo:
Medium swing
Medium swing
G6
G6

B7( 5)
B7( 5)

A7
A7

Medium swing
Medium
D7 swing
D7

G7
G7

D7
D7

A7
A7

D7( 9)
D7( 9)

G7
G7

(See also Samba de Goofed, page 155, measure 25 vs. 27.)

(See also Samba de Goofed, page 155, measure 25 vs. 27.)
21
21

E7( 9)
E7( 9)

MOTIVIC EMBELLISHMENT
MOTIVIC EMBELLISHMENT
Motivic embellishment is a device that allows you to activate a simple motif before it
Motivic
is a monotonous.
device that allows you to activate a simple motif before it
becomesembellishment
too repetitive and
becomes too repetitive and monotonous.

B7
B7

(See also Samba de Goofed, page 155, measures 12 vs. 34.)

(See also Samba de Goofed, page 155, measures 12 vs. 34.)

D7sus4
D7sus4

E7( 9)
E7( 9)

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Page 22

Taller de composicin y arreglos
Lic. Diego Armando Becerra Vidrio

JAZZ COMPOSITION THEORY AND PRACTICE

Prctica:

EXERCISE

Escribe secuencias meldicas en cada grado de la escala de acuerdo al

fragmento
meldico
dado. to the following two-measure melodic fragment on each
1.
(a) Write diatonic
sequences
degree of the B-flat major scale.

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PM Page
Page 23
23

CHAPTER
MELODIC
CONSIDERATIONS
CHAPTER
11 MELODIC
CONSIDERATIONS
(b) Write exact sequences to the original fragment
given above
on the given
notes
written below.
2.Utilize
Utilizemelodic
melodicsequence
sequence
on the following
on
examples.
2.Utiliza
secuencias
meldicas
para examples.
los siguientes motivos meldicos
(a)
motivic
sequence
(a)
motivic
sequence
teniendo en cuenta su armona:
Mediumswing
swing
Medium
CMaj7
CMaj7(c) Using

D7
G7 in example
CMaj7 1. (a) above, demonstrate
FMaj7
D7
FMaj7
the same
fragment given
motivic
transformation.
Same rhythm, different pitches

CMaj7
CMaj7

A7
A7

D7
D7

G7
G7

DD Maj7
Maj7

Same pitches, different rhythms

Medium jazz waltz

Medium
jazz waltz
G7
G7

C7
C7

G7
G7

E Maj7
E Maj7

(d) Using the same fragment, demonstrate motivic embellishment.

G7
G7

A Maj7
A Maj7

E Maj7( 11)
E Maj7( 11)

A 9sus4
A 9sus4

22

(b) two-measure melodic sequence (two versions)

(b) two-measure melodic sequence (two versions)

Medium fast
Medium fast
A7
A7

P4
P4
D7
D7


G7
G7
Taller de composicin
y arreglos
Lic. Diego Armando Becerra Vidrio

A Maj7
Maj7
A

E Maj7(
Maj7( 11)
11)
E

A 9sus4
9sus4
A

(b) two-measure melodic sequence (two versions)

(b) two-measure melodic sequence (two versions)

Secuencia
meldica de dos compases: P4

Medium
Medium fast
fast
A7
A7

P4
D7
D7

G7
G7

C7
C7

(F)
(F)

Medium fast
A7

M2
D7

G7
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4:32 PM

(F)
(F)

Page 24

JAZZ COMPOSITION THEORY AND PRACTICE

23
23

Secuencia
meldica
de cuatro
compases:
(c) four-measure
melodic
sequence

Fast

A7

B7

G7

A7

A7

G7

B 7

E 7sus4

A 7

D 7sus4

D7

GMaj7

C7

A7

D7( 9)

FMaj7

E 7

A Maj7

D 7

G Maj7

B 7

3. In the following aaba format (see aaba Song Form, page 132), write a tune in which
the a sections utilize motivic sequence and the b section utilizes a two-measure
melodic sequence. The principal components are given.
Medium swing

A7

D7

G7

E7

A7

D7

G7

To Coda

C7

B 7

E 7sus4

Taller de composicin y arreglos
Lic. Diego Armando Becerra Vidrio
A 7

D 7sus4

E 7

A Maj7

D 7

G Maj7

B 7

Completa los compases en silencio utilizando secuencias meldicas y

3. In the following
format (see aaba Song Form, page 132), write a tune in which
transformacin
rtmica aaba
y meldica:

the a sections utilize motivic sequence and the b section utilizes a two-measure
melodic sequence. The principal components are given.

Medium swing

A7

D7

G7

E7

A7

To Coda
F6

F6

1
D7

A7

E7

D7

G7

G7

2
D7

G7

C7

B
E7

A7

D.C. al Coda
D7

G7

Coda
D7

G7 C

24


Taller de composicin y arreglos
Lic. Diego Armando Becerra Vidrio

Principio de similitud y contraste.- Cada uno de los elementos que

intervienen en la construccin de temas (motivo, semifrase, frase, etc.)
pueden ser entre s similares o contrastantes.

Motivos similares y contrastantes, formando semifrases:

W.A. Mozart K545 (similar)

W.A. Mozart Sonata K. 283

Semifrases similares y contrastantes, formando frases:

L. Van Beethoven. Sonata Op. 2 no 1 (similar)

W.A. Mozart. Sinfona no 40, K 550 (contraste)


Taller de composicin y arreglos
Lic. Diego Armando Becerra Vidrio

Periodo Cuadrado: En este tipo de construccin cuidaremos la simetra de la
cancin, es decir:

La meloda contiene ocho compases (periodo).

El periodo se compone de dos frases (antecedente y consecuente) de cuatro
compases cada una.
La frase se compone de dos semifrases de dos compases cada una.
La semifrase de compone de dos o ms motivos los cuales estarn dentro de
dos compases.

Prctica:

Dentro de los ocho compases seala con corchetes de diferentes colores el

lugar donde inicia y termina cada elemento (Motvos, semifrases, frases y
periodo) del periodo cuadrado.

Analiza las secuencias meldicas escritas en las canciones Hojas muertas,
Black orpheus, Satin doll y reconcelas auditivamente.
Escribe motivos meldicos y haz secuencias con los mismos, modulatorios y
no modulatorios usando las formulas II7 V7 I7
Indica con corchetes la frase antecedente y el consecuente en la siguiente
meloda.
Circula el motivo ms importante en la siguiente partitura, seala las
secuencias y contrastes que encuentres en la meloda.

2. breath phrases (with curved lines)

3. the antecedent and consequent phrases (with brackets)

Taller de composicin y arreglos
Lic. Diego Armando Becerra Vidrio

Strays (for Billy Strayhorn)

Ted Pease
Ballad
E 7( 9, 11)

F 6/9

E 7( 9, 11)

B7( 9, 11)

B 6/9

B 7

11

E 6/9

C7
3

F7
3

15

F 7

FMaj7

F 7

FMaj7

E 7

10

14

G 7( 9, 11)

D 6/9

F 6/9

To Coda
5

A 7( 9)

D Maj7
12

B 7( 9) E Maj7
16

D 7
13

DMaj7

D Maj7

D.C. al Coda
CMaj7 F 7

17

Coda
F 7

FMaj7