Académique Documents
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J, NAUS
B F H
E U A
y N R
0 C M
N T 0
D I N
BY WAYNE ..J. NAUS
0 y
N.
A
L
Dedicated to my wife, Mary
ELEMENTS OF PREDICTABILITY · • • · · • • · • • · • · • • • · • • • · • • • · · • · · • • • · • · • • · • • • • • • • • • · • • 13
FUNCTIONAL FUNDAMENTAL CHARACTERISrtCS •· · •· •· •••· ••••· •••••••· ••· ••· •· ••· ·14
Harmonic · · · · · · · · · · · · · · · · · · · · · · · · ·· · · · · · · · · · · · · · · · · ·· · · · · · · ,. · · · · · · · · · · · · · 14
• Harmonic patterns
• Cadences
• Deceptive resolution
• Line cliches
• Harmonic progression
Key areas · · · · · · · · · · · ·· · · · · · · · · · · · · · · • · · • · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 20
Harmonic phrase · · ·· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·· · · · · · · · · · · · · · · · · · · ·. · · · · 21
Harmonic rhythm · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 22
Rhythmic style · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 23
Melody · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ··· ·· · · · · · · · · · · · · 24
Solos · · · · · · · · · · · · · · · · · · · · ··· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · • · · · · 25
5
NoN-FUNCTIONAL SYSTEMS AND PATTERNS · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 51
Constant structure · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·· · · · · · · · 52
• Chords
• Voicings
• Melodic intervals
• Sliding
• Methods
-Symmetric
-Cycle 4-5
- Sequential
-Random
Pedal point · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 60
• Tonic
• Dominant
• Double
• Rhythmisized
Contiguous harmonic patterns · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·· · 62
• II-V
• Constant structure
• Interlude
• Endings
• Modulation
-Direct
-Interlude/Contiguous
Multi-tonic systems · · · · · · · ·· · · · · · · · · · · · · · · · · · · : · · · · · · · · · · · · · · · · · · · · · · · · · · · 67
Reharmonization of multi-tonic systems · · · · · : · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 69
• Chord substitution
• Blues
PART4
NoN-FUNCTIONAL TECHNIQUES AND CRITERIA····································· 72
Tone row construction (8-note series) · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 73
Chord quality criteria · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 74
Melodic criteria · · · · · · · · · · · ·. · · · · · · · ·: : · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · : 76
Chord scale criteria · · · · · · · · · · · .' · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 78
Development · · · · · ·. · · · · · · · · · · · · · ·· · ·· · · · · · · · · · · ·. · · · · · · · · · · · · · · · · · · · · · · · · · · 79
lNTRo/0UTRO PATTERNS · · · · · · · · · · · · · ." · · · · " · ·· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 84
NoN-FUNCTIONAL MELODIC APPROACH · • · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 92
MELODY-BASS LINE TECHNIQUE · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·. ' · · · · · · · 94
1iacks 1-5 and 7-11 are sequenced by Andrew Sherman. Equipment used includes STUDIO
VIsioN PRo., MAciNTOSH 9500, NoRD LEAD, SAMPLE CELL, KuRZWEIL 2500 and K25ooS.
7
NCIIONAL HARMONY
Special Thanks
Preface
9
Introduction
T his book presents a system that creates melody and harmony and allows
them to function outside of the normal dependencies governing the prin-
ciples of diatonic harmony, melody and form. When correctly applied,
this system should give the composer a departure point from the harmonic and
melodic characteristics grounded in the principles of tonal, key related or func-
tional harmony.
There is nothing new or revolutionary about this text. Everything here has
already been said and used in one way or another by the great composers of the
past and present. However, the principles outlined here are specifically designed
to help examine, analyze and compose music written in the style of many of
today's leading composers of jazz and fusion music. Because this non-functional
system is a somewhat mathematical approach toward musical composition, the
challenge will be to go beyond the system and create a balance between thought
and feeling.
All great art is multi-dimensional, communicating to the senses on many
levels simultaneously. All great art also has one commonality - it touchs the
observer on a level that exists beyond words. Therefore the expression, "There
are no words to describe it," is used many times to describe the indescribable.
Beyond Functional Harmony is a set of techniques that should only serve as a
departure point. The composer's success at transcending the system and touching
the area of art lying beyond the Written symbol depends on the talent and ability
lying within.
This text should be undertaken in the same spirit in which it was written- an
excitement of discovery, an enthusiasm for new ideas, and an ongoing pursuit for
personal growth and development.
f.
11
D fuNCTIONAL HARMONY
Elements of Predictability
S le
i.
Elements of Predictability
13
Functional
Fundamental Characteristics
~
7 7 7 7 7 7 7 7 7
7 7 7 7 / 7 2 / 7 7 7 7
7
II
~ z
7 7 7 7 7 7 7 7 7 7 7 7 7 7
7 2 7 7 7 2 7 7 7 7 2 7 2 / 7 2
II
~
7 7 7 7 7 7 7 :z 7 7
2 :z
7 :z / 7 7
2 2 2 2 2 7 7 2 7 7 7 2 2 2
II
IV V7susfl V7fl
s c F G7sus G7 c
~ II
7 7 7 7 7 7 7 7 7 7 7 7
2 7 I I 2 2 2 2 2 2 2 2
~ II
7 7 7 7 7 7 7 7 7 7 7 7
I 2 2 2 2 2 2 7 2 2 I 2
~
7 7 7 7 7 ;z 7 ;z 7 7 7 7 7 7 7 ;z
7 2 2 2 I 2 2 2 2 2 2 2 2 2 2 2
!I
~
7 ;z 7 ;z 7 7 7 7 7 7 7 7 7
2
7
2 2 2 z7 2 2
7
2 7 2 I 2 2 7 2 2
II
IV 11-7 V7/l
9
c F D-7 G7 c
~
7 7 7 7 7 7 7
r7 2
7
2
7
2
7
2
7
2 2 2 2 2 7 2
II
1117 IV IV-7
10
c E7 F F-7 c
~
7 7 7 7 ;z 7 7 7 7 7
2
7
2 2 2 2 L; 2 7 I 2 2 2
II
~ ,
7 7 7 7 7 7 7 7 7 7 7 7
2 2 7 2 2 2 2 2 2 2 2
II
BEYOND FUNCTIONAL HARMONY
Cadence
Cadential patterns usually consist of two or three chords which have the tenden-
cy to imply a resolution to a tonic I chord or point of harmonic rest. As with har-
monic patterns, cadential patterns also derive their strength from root motion
and harmonic rhythm. Usually occuring at the end of a harmonic phrase, caden-
tial patterns create an expectation of finality. They may either resolve to their
expected target chord or they may resolve deceptively, thereby extending the
progression rather than ending it with a resolution to a tonic chord. The follow-
ing examples are typical cadences to the I chord.
v I ~VIA ~VIlA I
1 c G c 7 A~A B~A c
~ ,
~
7 'Z. 7 7 7 7 7 7 7 7 7 7 7 7 7 7
2 2 2 2 2 2 I
II 2 2 7 2 7 2 7 2
II
IV V7 I ~VIA ~II A
8
2 F G7 c A~A D~A c
~ , ,
~ ,
7 7 7 'Z. 7 7 7 7 7 7 7 7 7 7 7 'Z.
2 2 7 2 2 2
II 2 2 I 2 2 2 2
II
~ , ,:z
~ ,:z
'Z. 7 7 7 7 7 7 7 7 7 7 7 7 7
2 2 I 2 2 2
II 2 2 2 2 2 2 2
II
£ ~
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
@)
2 2 2 7 2 2 2 2
II 2 2 2 2 2 7 2 7
II
£ ,:z
~
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
@)
2 7 2 2 7 2 7
II 2 2 2 2 2 2 2 2
II
£ ,-' ,
~ ,:z
7
7
z7 7 7 7 'Z. 7 7
z7 7 7 7 7
II
@)
2 2 2 2 2
II 2 2 2 2 2 2
16
PMtt
Deceptive Resolution
The primary dominant V7/I has an expected resolution to the I chord. When
V7/I resolves to any chord other than I, it becomes a deceptive resolution. The
following are typical deceptive resolutions of V7/1.
~ ,
7 7 7 7 7 ;z 7 7 7 7 7 ;z
II
7 7 7 7
I 2 I 2 2 L 2 2 2 7 2 L 2 2 2
~
;z ;z
z7 7 7 7 7
z7 7 7 7 7 7
z7 7 7
L 2 2 L 2 2 2 2 2 7 2 2 2
II
~
7 7 ;z
II
7 7 7 7 7 7 7
2 2 L 2 2 2 2 2 z 7 z7 7
7
~
;z
II
7
2 z7 7
7
L 2
7
2
7
2
7
2
7
2
7
z7 2
7
2
7
~
;z 7 7 7 7 7 7 7 7 ;z
z7 7
L 2 2 2 2 7 2 2 2 L 2
II
~
7 7 7 7 7 ;z
z7 7 7 7 7 7
I 2 2 2 2 2 2 L 2 7 2
II
~
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
II
17
BEYOND FUNCfiDNAL HARMONY
Line Cliches
A line cliche is a single note line that moves by step (up or do~) through a
series of four or five chords. The distinct sounds of these patterns are easily rec-
ognized. They have been used so often that even the untrained listener quickly
associates specific line cliches With familiar standard tunes. The single moving
line usually begins on the fifthth - or the root - of the first chord in the' cliche.
Tunes most often identified with the use of a line cliche are "My Funny
Valentine," "Angel Eyes," "Israel," "Nice and Easy/' "For Once in My Life,"
"Charade" and "In a Sentimental Mood."
In example 4 below, Wayne Shorter creates a non-typicalline cliche beginning
on the dominant 7sus 4 note. The example can be found in Shorter's tune "When
It Was Now" recorded by Weather Report on the album WEATHER REPORT.
~ •• 0 ~0 •• II
£ ~
0 #o •• #o II
I+ 16 I+
3
c c+ C6 (+
~ 0 #o •• #o II
17sus 17 1-7 17
4
C7sus C7 C-7 C7
~ ... 0 ~0 (~)o II
PAKr"t
Harmonic Progression
L - - - - - - - - - - - - - · - - - - -1
I
7
2 2 2 2
I I 2
L-----------------J
2
7
2
'
2 I I 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
L--------------1 L-------------J
Cadential Pattern Cadential Pattern
Extended Dominant Pattern
r--------------------------------------------------------------------------------
E7 A7
2
7
z7 2
7
2
7
2
7
2
7
7
7
2
7
2
7
2
7
2
7
2
7
7
7
2
7
2
7 , 7
-----~-----------------------------------------------------------·-------~------,
07 G7
7 7 7 7 , 7 7 7 7 7 7 7 7 7 7 7 7
II
'
2 2 2 2 2 2 7 2 2 2 2 7 2 2 2
'
2 2 2 2 2 7 2 7 2 2 2 2 2 2 2 2
c C7 F F- D-7 G7 c
7 7 7 7 7
r7 7 7 7 7 7 7· 7 ,:z 7 7
II
'
2 2 2 2 7 2 I 2 2 2 2 2 2 2
8E'IOND FuNCTIONAL HARMONY
In the non-functional section of this text, I break key areas into four categories:
Key Areas
•••••••••••••••••••••• established, implied, ambiguous and poly-tonal modal. However in this section,
we will consider the type of key area most often characteristic of standard and
pop tune composition which is the established key area. A key area is established
through the use of cadential patterns, diatonic .chord pattern, resolution, har-
monic rhythm, melody and repetition. Within an established key area, there is
no question as to what the key center is. Diatonic melody and chords are usually
the two strongest elements which establish a key. The melody alone and the
chords alone should be enough to clearly establish any one given pitch as the key
center or tonic center. When the melody and chords are played together, they
should firmly establish the key center.
~e ~ r r IF" 0 IT 1r r r F
11-7 V7/l
D-7 G7 c
~F" D r F E --!*
j
II
I
20
The harmonic phrase results from - and coincides with - the melodic phrase.
Whether the human voice or an instrumentalist produces the melody, they both
Harmonic Phrase
••••••••••••••••••••••
share the same fundamental limitation: having to breathe. The necessity to take a
breath naturally produces the melodic phrase and simultaneously the harmonic
phrase. In standard tune writing, the harmonic phrase is most commonly
measured in even numbered bar lengths, 2, 4, 8, 12. The harmonic phrase is also
governed by harmonic rhythm and rhyme. In standard tune and pop style music
the harmonic phrase is something we feel; we derive a sense of predictability
from it.
Harmonic phrase:
' ~
c A-7 D-7 G7 E-7 A7
'(l 2
7
2
7
7
7
2
7
I
7
2
7
2
7
2
7
7
7
I
7
2
7
2
7
D-7 G7 c
7 7 7 7 7 7 7 7
II
'
2 2 7 7 2 7 2 2
r F IFf F; r 1 rrrr
D-7 G7 c
~ r rFE ~
II
II
' j
2:1
BEYOND fuNCTIONAL HARMONY
Harmonic rhythm is felt; it results from a number of beats a: chord is given with-
Harmonic Rhythm in a measure and from the chord's placement in a measure relative to the beat.
••••••••••••••••••••••
Standard tune writing expects a chord to be placed relative to each beat- depend-
ing on the chord's function in the key. Chords within a measur{receive either a
strong or weak stress depending on their placement. The relative strength of
stress often determines or changes the chord's original function in the key.
Stress pattern:
Tonic chords (1, III, VI) are the most stable due to the. presence of either the root,
third and/ or fifth of the key.
Dominant chords are the most unstable due to the presence of the tritone, which
consists of the fourth and seventh degree of the key.
Subdominant chords have a level of stability in between tonic and dominant
chords due to the presence of the fourth degree of the key but not the seventh.
In standard tune writing, it is stylistically expected that T & SD chord func-
tions be placed on strong stress points while dominant functioning chord types
be placed on weak stress points. Of course there are exceptions to this rule. In the
case of extended dominant, the first dominant chord is placed on a strong stress
(see the bridge of "I've Got Rhythm," Part 1, HARMONIC PROGRESSION p.l9).
Much of the harmonic ambiguity of contemporary tune style stems from a
disregard of the basic harmonic rhythm characteristics of standard tune writing.
22
Expected placement of chords relative to stress points:
'
2 2 2 2 2 I 2 2 I 2 I 7
s w s w s
11-7 V7/l I
c D-7 G7 c
7 7 7 7 7 7 7 7
Incorrect
II
'
7 7 2 2 2 2 2 2
s w s w
'
2 2 2 2 2 2 2 2 7 7 7 7 2 2 2 2
s w s w s w s
'
2 2 I 2 2 2 2 2 2 I 2 2
s w s w s w
Rhythmic style is usually clearly defined at the outset and remains constant
throughout the tune. The most common rhythmic styles associated with stan-
Rhythmic Style
••••••••••••••••••••••
dard tune writing are swing, bossa-nova, 12/8, ballad and jazz waltz. It is stylisti-
cally common for many standard jazz tunes to change rhythmic style in the
bridge and then return back to the original style to finish the tune form. Poly-
rhythmic combinations are not usually used in standa:rd tunes but are very often
implied for short duration by the rhythm section. Because new rhythms are
being adapted from world music to contemporay music, rhythmic style has
become much more ambiguous, and as a result, harder to define and categorize.
Today, when the drummer asks, "What is the rhythmic style you're lookin~
for?," the composer might reply, "Well sort of a swing, funk, Latin, rock, jazz
shuffle feel."
23
ll£roND fuNCTIONAL HARMONY
Tension (T) -A note that creates tension with the basic chord sound. Tensions
usually occur a whole or half step above a chord tone. A chord's color can be con-
trolled through a specific tension, i.e., #11 implies a Lydian color. Tensions on
dominant chords can effect the chord's resolution, i.e., minor 13 implies a minor
chord resolution, ~13 implies a major chord resolution.
Passing Tone (P) - A note or notes usually found on the "and" of the beat and
connect chord tones and tensions.
Melodic function:
C6 F-7 Bb7 C6
*e~r T
F
c
c:r r r r
c p
I
T T c
I rrr
c p c
~
r
c p T c p
£ r· bfJ
@.)
0 I ~0? 1~0>
T T c T T T T c
Most standard tune melodies are heard in relation to a key. Playing the melody
without chordal accompaniment almost always suggests a particular key center.
@.) I
r r IF J
r •• II
This is not usually the case in contemporary tune style. Obviously, much more
could be said concerning melody, however, my intention here is to simply iden-
tify the characteristics of predictability associated with standard and pop tune
melodies.
The two most predictable aspects of standard tune soloing are soloing form and
soloing order. The soloist improvises over the same harmonic progression used
Solos
••••••••••••••••••••••
for the melody and/ or tune form. This does not usually vary from one soloist to
the other. Each soloist takes his/her turn soloing on the same set of changes.
There is also a tendency for every band member to solo on every tune, often in
the exact order of a previous tune. This type of soloing format does not c:reate
much of a "surprise factor" for the listener and puts most of today's young audi-
ences to sleep.
Summary
Elements of Predictability
The following summarizes the harmonic, melodic and rhythmic areas covered in
Part I that are responsible for creating the predictabilities and expectations asso-
ciated with music composed in a functional harmonic style.
• Harmonic Patterns
• Cadences
• Deceptive Resolution
• Line Cliche
• Harmonic Progression
• Key Areas
• Harmonic Phrase
• Harmonic Rhythm
• Rhythmic Style
• Melody
• Soloing
n>ND FUNCTIONAL HARMONY
Non-Functional
Fundamental Characteristics
•I
Non-Functional
Fundamental Characteristics
A s with standard and pop tunes, contemporary jazz and fusion music have
their own unique characteristics. This chapter will identify and examine
these characteristics that account for a lack of predictability and expecta-
tion synonymous with standard and pop music. These characteristics also pro-
duce non-functional harmonic progression. Since the characteristics of non-
functional progression depend on - and at the same time create a lack of feeling
of- key area, it is important at the outset that the composer be aware of, and for
the most part avoid, the compositional techniques synonymous with functional
progression (i.e., the use of II-V or cycle 5 style root motion). These techniques
demand a shift in compositional approach from writing in a traditional standard
and pop style. Since these non-functional techniques are primarily "sounds"
available to the composer, it might take some time listening to music in this style
before these sounds can be easily accessed by the ear. Composers grounded in a
more traditional style might find their writing gravitates back to traditional,
familiar techniques and characteristics, both on an intellectual and audio level.
The main difference between functional and non-functional music is that the
latter is not about II-V or cycle 5 style progr~ssion. This is a difficult style to
break from, especially if a composer has invest~d years perfecting it.
An established key area is one in which there is no question about the key. A key
area can be established through cadential patterns, diatonic patterns, harmonic
rhythm, melody, chord resolutions and repetition. Standard and pop tunes most
often have an established key area (see KEY AREAS in Part 1, p.20).
~DFUNCTIONALHARMONY
Implied
In implied key areas, chords and melody suggest a key but there is no resolution
to a tonic I chord. This type of area can still feel established but slightly ambig-
uous when compared to the established key area. In the following example, there
is no resolution to the I chord. The entire tune is an example of an implied key
area. What key do you hear implied?
W. Naus
11.2.
A-7
I
J. J) I.o IJ J1 l.o ~
D~A/G
l ~ J I _o_ I_J. J II
>
F-7
~
1.
A~A A-7 B~7
I
... J. ) I .o IJ J. ) I.J. J
I~ &F •r I J. ) ~ J
>-
'
I _o> leo I
PAKT2
I~ 0
;o.~
Half-time feel-
J
I< &J ~F r I J. l j
l JJ,],o
A-7 F7 A-7(9) A7Ci)
0 .J
I J
F r I r
>- >-
p ~ 'F
~ >-,.....--...._
I"
--
rr· J
D.S. alCoda
II
I
open
G7sus A~A A-7 B~7
J. ) I ,0 I J
Gpedal ------------------------------------------------------------------------
J. J) l,o J
Fine
II
Suggested listening:
"Sightseeing," The Yellowjackets on FouR CoRNERS;
MCA,5994.
"Postcards," The Yellowjackets on FouR CoRNERs;
MCA,5994.
;'Ana Maria," Wayne Shorter on NATIVE DANcER;
Columbia, 33418.
"Toy Tune," Wayne Shorter on ETCETERA;
Blue Note.
"Prayer for El Salvador," The Yellowjackets on THE SPIN;
MCA.
BEYOND FUNCTIONAL HARMONY
Ambiguous
41 W. Naus
~ ,J. J r· 1-r r
e
I F
F#-7C~) B7(~13) 07 (#11)
9
&.J
e
l~r j e
1~r ,J
1.
0~7(#~1 ) B-7C~)
I I
~
b~l
£.J
Ir br I
(q)<•
rr #j
-$-
12. G7(1~) [ID C-6 C-A
£ <q)F r
--
Ir J mkr ~ I br·· ~
.J *
~ ~
1. 2.
F-A G7G~) 0-7(9) G7(~9)
.J
e I~J. J e I<J. J I
30
PAKT2
~
1.
G-7C91) C7(~~)
I
- p r- tr ~~
~
,...-----...
II
tr J ~w I (q)J. r
I ~-7 F~-7
J1] I u>r·
~r· Jt]J_ cJ. ,)g,J, I<J ,J J
0~7 C7(~9)
B7 B~7sus
~ #o u. ,Jg,J #J ~0 u. *
G7G~) E~-7(9)
~·
(.\.
~ (q)J * J...........
IJ
- iJ
I D.C. al Coda
••
Fine
II
Suggested listening:
"The Necessary Blond," Tribal. Tech on PRIMAL TRACKs;
Blue Moon R279156.
"Galileo," The Yellowjackets on Pourrcs;
MCA6236.
"Indigo," The Yellowjackets on FouR CoRNERs;
MCA5994.
"The Hornet/' The Yellowjackets on YELLOWJACKETS;
W.B. 3573-2.
"Infant Eye," Wayne Shorter on SPEAK No EVIL;
Blue Note 46509.
"Pinocchio," Wayne Shorter on MR. GoNE;
Columbia 35358.
"Toy Tune," Wayne Shorter on ETCETERA; Blue Note.
'~Invisible People," The Yellowjackets on GREENHousE; GRP.
31
£YOND FUNCTIONAL HARMONY
Tonality/Modality
In standard tune writing, chord progression and, therefore root motion, is most
Root Motion often down a fifth or in a cycle 5 movement. This movement creates progression
•••••••••••••••••••••• . with strong forward motion that at the same tiine feels extremely grounded into
a key area. This type of progression and root motion also has a high degree of
predictability due to the implied resolution of the II-V and other standard caden-
tial patterns. One of the main differences in contemporary versus standard tune
writing is that the contemporary style most often does not contain cycle 5 root
motion. As the root motion gets smaller, the progression takes on a lighter feel.
The grounded feeling established in cycle 5 root motion is replaced with a float-
ing feel, especially when the key area is ambiguous. This technique is especially
common in contemporary style writing. Root motion can be seen in the follow-
ing ways:
• Down perfect fourth
• Up or down a major third (symmetric)
• Up or down a minor third (symmetric)
• Augmented fourth
• Descending by step (inversion)
• Ascending by step (inversion)
Root motion which ascends or descends by stepwise motion (half or whole) is
most frequently created through the use of inversions and disminished chord
patt~rns. The following examples demonstrate root motion ascending and
descending by step.
Recommended listening:
Listen to €# II
Ascending and descending root motion by step:
~~ 2
7
2
7
2
7
2
7
7
7
2
7 ,:z 7
7 ,:z 7
7
2
7
2
7
2
7
I
7
2
7
2
7
~~ 2
7
2
7
2
7
2
7
7
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7 ,:z 2
7
2
7
l
~
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
2 2 2 2 2 2 2 2 2 2 2 2 I 2 2 2
~ ,:z ,:z 7 7 7 7 7 7 7 7 7
z7
2 2 2 2 2 2 2 2 2
!I
V7 #V07 Vl-7 Vll-7 /~7 #IV !II IV- 1Aj3rd ~Ill 07 11-7 subV7/V
4
C7 C#07 D-7 D-7/C B!ll B~- FA/A A~o7 G-7 D~7
~~- ,:z 7 7 7 7 7 7 7 7 7 7 7
2 2 2 2 2 2 2 2 2 2 I
~~ 2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
33
BEYOND FUNCfiONAL HARMONY
~ ,
7 7 ~ 7 7 7 7 7 7 7 7 7
2 2 2 I 2 2 2 2 2 2 7
~ 2
7
2
7
2
7
2
7
2
7
I
7
2
7
2
7
2
7 , ~
I
7
7
7
II
IA/9th V7/VI IVA ~1Vo7 Vl-7 /~7 ~07 Vl-7 Vl-7 /~7
6
E~A/F G7 A~A Ao7 C-7 /B~ Bo7 C-7 C-7 /B~
~~~b 2
7
2
7
2
7
2
7
2
7
2
7
2
7
7
7
2
7
2
7
2
7
2
7
7
7
2
7
2
7
7
7
Contiguous
~IV" subV7 /Ill- 111-7 111-7/~7 .-----------------------------, I
A" A~7 G-7 G-7/F E" A7(~9) F-7 B~7 E~
~~~& 7
7
2
7
2
7
2
7
2
7
2
7
7
7
z7 2
7
7
7
7
7
7
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
7
7
II
Non-functional . .
7
.------------------------------------------------------------------------------
A7 A7/G 0-/F A7/E B~/0 F/C E7/B
~~ 2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
7
7
2
7
z
7
2
7
2
7
2
7
~~ 10 rr 2
7
2
7
z7 2
7
2
7
2
7
2
7
2
7
2
7
7
7
2
7
2
7
2
7
2
7 ,. , II
~ ~
Non-functional
8
r------------------------------------------------------------------------------
0-/F A7 /E C-/E~ G/0 G-/0 A7 /C#
~-z' , 7 7 7 7 7 7 7 7 7 7 7
2 2 2 2 2 2 7 2
-------------------------------------------------------------------------------.
G/B G-/B~ A7 0- B~-/0~
,
~
7 7 7 7 7 7 7 7 7 7
2 2 2 2 2 2 7 2
34
PAKT2
@) I
Reharm. E~d G7/D I C-7 C-7 /B~ F/A A~-7 G-7 G~7 I F- etc.
I I
@)
Original Fd A~/E~
etc.
Original F6 B~
etc.
'
@)
~
..,_ . • 1'-.J'
35
In contemporary and fusion style writing, the objective of form is not repeating
Form
•••••••••••••••••••••• something the listener has heard, but taking the listener into an area which is
new, creating an ever-changing harmonic, melodic and rhythmic landscape. This
approach to form is different and much more challenging than the standard
AABA tune form concept. It requires that the composer link areas of the compo-
sition together with interludes, new harmonic material and various melodic ideas
rather than rely on repetition to hold the form intact. Repetition is used in con-
temporary and fusion music, however, it is not a primary technique of the stan-
dard AABA tune format. In contemporary tune form, the introduction is used
many times in the form as an interlude or outro section. It is also common to use
the chord changes from the introduction for the solo changes. An interlude com-
monly separates the soloist. This interlude can be material from a previous sec-
tion of the form, on cue, or new material specifically written as an interlude to
end the first soloist and begin the next. When the solos have ended, a new section
of the form should be written to serve as a final statement before returning to
the melody or proceeding to the outro. Occurring approximately 3/4 of the way
into the form, this section is most often the peak or climatic point of the entire
composition.
The following are 20 typical form layouts characteristic of contemporary jazz
and fusion music. Sections designated Al, A2, A3, etc. are repeated sections with
slight variations in length, melody/harmony relationships and melodic content.
Examplel
II
'
Example2
II
'
PARr:
Example3
Intro [M] ~ Interlude
~
Solo 00] ~ Outro
~ II
Example4
£..>
Solo [Q Outro
~ !I
ExampleS
Intro 1 Intro 2 [M] ~ Interlude
~
00] Solo Interlude ~ Outro
~ !I
Example6
Intro [M] ~ Interlude 00]
~
00] Solo 00] Outro
~ II
37
BEYOND FUNCflONAL HARMONY
Example?
Intro [M] ~ [ill Solo 1
~
Solo2 Interlude [M] ~ [ill
~ II
ExampleS
~
Solo lm Outro
~ II
Example9
lntro [M] ~ [ill 1M [Q
£~
~ II
ExamplelO
Intro [M] ~ [ill Solo
~
[ill [Q Solo Outro
£~
II
Example 11
~
[Q [Q] Solo [Q Outro
~ ll
Example 12
Intro [A] [A] [ID
~
Solo 1 Solo 2 [Q [ID (Outro)
~ 11
Example 13
Intro 1 Intro 2 Solo
!I
Example 14
Intro ~ [;g [ID [Q [Q
~
Solo 1 Solo 2 Interlude [Q] Outro
~ il
39
BE'I'OND FuNcnONAL HARMONY
Example 15
Intro ~ [;g 00]
£@)
II
*
Example 16
Intro 1 Intro 2 Intro 3 [A]
II
*
Example 17
Intro ~ [;g 00]
II
'
PART2
Example 19
[A] [ID [Q Solo [Q]
~
rnJ [!] Solo [Q] (Outro)
~ ll
Example20
Intro 1M [ID [Q ~
~
[Q] Solo [Q (Interlude) Solo Outro
~ il
For many years, the bass' function was primarily to keep time. As the technique
of bass players evolved, the function expanded to include soloing. In contempo-
nction
••••••••••••••••••••••
rary fusion and jazz, the instrument is also a melodic voice. It is common to see
the bass in harmony or unison with guitar, sax or synth, playing melody or a
counter-melodic line. Contemporary use of the bass as a time keeper relies more
on the use of space rather than on a constant and even note pulse that is charac-
teristic of standard jazz styles. With the advent of sound-enhancement equip-
ment, bass players have the ability to fine-tune their sound, making it more per-
sonalized and recognizable to that particular player.
I would like to add a personal note here concerning a trend associated with
many young up-and-coming bass players. Because of "monster" technique and
bass players such as Jaco, there is a tendency to approach the bass as if it was a
guitar. If these young players could eliminate the bottom two strings they would
because they rarely use them. Always remember there is a reason why they call
it the bass. A little more bottom please!
BEYOND fuNCTIONAL HARMONY
Rhythm Poly-rhythm
••••••••••••••••••••••
Contemporary fusion andjazz often utilizes many poly-rhythma, the technique
that allows the listener to perceive the time on more than one level. It is not
uncommon to have two or more time levels simultaneously, thereby creating an
ambiguous time feel. Most often this poly-rhythmic time feel is attained
through a 12/8 or 6/8 time signature.
Recommended listening:
It is common in contemporary writing to see tunes written with odd time signa-
tures. "Odd" means time signatures other than 4/4. In the 1960s, one of the first
American composers to extensively explore the possibilities of odd time meters
was Don Ellis. A good example is the tune "33-222-1-222" on LIVE AT MoNTEREY,
Pacific Jazz ST20112. In the 1990s, the English pop vocalist Sting, with drummer
Vinnie Colaiuta, uses odd time signatures very effectively in many of his tunes.
Recommended listening:
The idea is to make beat #1 of the measure ambiguous to the listener. This is
achieved by anticipating or delaying the back beat accents of two and four. The
metric duration of the anticipation or delay is usually that of a 16th note.
W. ivaus
,!l. / E-7/A
2
7
z7 2
7
2
7
2
7
G-7/C
7
7
7 7
z7 2
7 7 7
2
7 7 7
In fusion and contemporary jazz, melody is less singable and therefore less
memorable than in standard jazz and pop styles. This is mainly due to the fact
Melody
that fusion music is primarily instrumental (as opposed to vocal). Since instru-
•••••••••••••••••••••
mentalists are not confined to the same range and intervalic limitations of most
vocalists, melodies have expanded in range and intervalic flexibilities to accom-
modate their technical abilities. In addition, in contemporary jazz and fusion, the
melodic phrase does not always coincide with the beginning and end of the har-
monic phrase, although it usually does in pop and standard jazz styles. The
melodic phrase often begins one or two measures after the beginning of the har-
monic phrase. This type of melodic treatment creates melodic holes and spaces in
contemporary tune writing which are usually filled by rhythm section groove or
by a melodic counter-line.
Unlike bebop melodies, which are characteristically eight-note oriented, con-
temporary jazz and fusion melodies are more often long, sustained notes which
are held throughtout a changing harmonic area. This produces a change in
melodic function which can be felt each time the chord changes.
In the following example the melody note "G" changes function with each
new chord change.
~e~ j.. J) I ,o I
j .. )! I ,0
7 ~7 13 5
~ j..
~ 11
)!
4
I ,o I J.
3
l ~ J'
~3
I ,0 J
Text examples:
Recommended listening:
43
~NO FUNCTIONAL HARMONY
Harmonic Progression The main difference between contemporary jazz and standard tune
••••••••••••••••••••••••••• harmonic progression is that the former lacks the expectations,
predictabilities and forward motion characteristic of standard tune
harmonic progression. The sensation of forward motion is lessened
because of the smaller intervalic distance between one chord to
another. This produces a "floaty" feeling rather than a strong for-
ward movement characteristic of standard tune harmonic progres-
sion. With lack of sustained key areas, expectations and predictabil-
Itles are drastically decreased. Contemporary harmonic
progression moves freely in and out of different key areas. These
key areas can be either established, implied or ambiguous, most
often the latter. Another important characteristic in contemporary
harmonic progression is the frequent disregard for the traditional
principles of harmonic rhythm and form mentioned in FUNCTION-
AL FUNDAMENTAL CHARACTERISTICS. When these characteristics are
combined with ambiguous chord qualities, harmonic progression
takes on more of the non-functional characteristics synonymous
with contemporary and fusion music.
Ambiguous Chord Types A chord becomes ambiguous when its quality (major, minor, domi-
••••••••••••••••••••••••••••••• nant, etc.) becomes disguised or difficult to determine. Hybrids and
incomplete chords create this ambiguity.
Hybrids
A hybrid does not contain a major or minor third above its root. In
a way, they are similar to ?sus chords. There are a few conditions
needed to create hybrid chords;
Conditions:
Ballad
B~Ll A7alt. D-7 D~7 C-7 F7(~9) B~
4P B r· J I r· J I j j I j &J •• !I
ILl
B~Ll (Lydian)
~ &-u- •• &o
h
Analysis chord scale:
-o- 0 0
() 0 !I
V7 /Ill-
A7alt. (Altered)
111-7
D-7 (Dorian)
~
II 0
0 0 •• 0 •• 0
II
subV7 /11-
D~7 (Lydian ~7)
~ &o
&o
&o •• 0 &·· &o lz ~ t
II
11-7
C-7 (Dorian)
~ •• &o II
-o- 0 &o •• 0 II
V7/l
F7(~9) (Mixolydian ~9)
~
bn 0
•• &o •• 0
() &o II
I
B~ (Ionian)
45
BEYOND fUNCTIONAL HARMONY
Hybrid voicings:
I 'J
Recommended listening:
Anticipation/Sustain
W. Naus
II
t)
D-7
•• .,'-"u.
E-7
,u
D-7
- E-7
. -~~ ~
.
,.--..._
I r I I r I
t) Jli
-----=. v ~
<
(
. ,.-.....
'
. - ~.._..----
--- ....... .......
I
I
I
I r I r I
Fme
[ill G-7
;~ J IJ J J J J I r·
E-7 C-7(9)
J;'-'J~--D~f J J 3 1 r
A.~-7(9) F-7(9) E~-7(9)
I
II
- v-
F-7(9)
,... pv•
E~-7 /F
- -u~
,u~
t) I ~
)
. I ~.; -- :o :o
•.__u. ,u
D.C. al Fine
47
BEYOND FuNCTIONAL HARMONY
Incomplete Chords
In incomplete chords, either the third or the fifth of the chord is ommitted. Since
the third ofa chord defines the chord quality (major or minor), the chord quality
will become ambiguous when the third is ommitted, creating a sound similar to
the hybrid chord technique. When the third of a chord is omitted, the chord- and
therefore chord symbol - should no longer reflect a major or minor quality.
Chord symbols that represent chords with the third omitted should only indicate
the specific intervals occurring above the chord's root; therefore, use parentheses
around specific tensions and sevenths. The chord's fifth is implied to be natural
unless indicated as altered (sharp or flat). Incomplete chords create a specific
chord color and may be used along with any other chord quality within the con-
text of a progression.
CA (no 3rd) CA(no 5th) CA(9) (no 3rd) CA(9) (no 5th)
II; II u I
#11) #11) (no 5th)
CA(#11) (no 3rd) CA(#11)(no 5th) CA( 9 (no 3rd) CA( 9
II
II~~ I ~!in
PAKr2
When tensions are added to incomplete chords, the resulting chord sound might
lrmore accurately represented by a totally different symbol.
II
II
II
Obviously, instrumentation will vary from group to group. Whatever the instru-
mentation happens to be, it is essential that each instrument be given an equal
Instrumentation
voice both in a melodic and solo context. It is no longer necessary to limit an
••••••••••••••••••••••
instrumentalist to a function characteristic of traditional instrumental style. I am
speaking specifically of the role of the bass in a contemporary jazz or fusion set-
ting. With the use of synthesized and processed sound equipment found in
fusion music, special attention must be given to instrumental balance and tex-
ture. Transparency, one of the most common textural sounds between guitar,
bass, synth and horns, is usually achieved through the use of unison or octave
unison writing. Obviously, to create the effect of transparency, intonation must
be flawless. Personal sound processing and development must first be worked out
individually before it can be balanced into what will eventually emerge as an
identifiable group sound or voice.
49
BEYoND FUNCTIONAL HARMONY
Non-Functional
Systems and Patterns
• Constant Structure
• Pedal Point
• Contiguous Harmoni~ Patterns
• Multi-Tonic Systems
• Reharmonisation of
Multi-Tonic Systems
Non-Functional
Systems and Patterns
Constant Structure Constant structure refers to three or more of the same chord types, voicings, or
•••••••••••••••••••••• :melodic intervals used consecutively.
Chords
When referring to constant structure chord types, absolutely any chord type
could be considered for consecutive use. The more commonly used chord types
are major and minor triads, sixth and seventh chords. Other common possibil-
ities include augmented major and 7sus chord types. Pedal point may be used
with all constant structure examples.
CA DA FA D~A
etc.
7 7 7 7 7 ·7 7 7
Major7ths
II
'
I 2 I 2 2 2 2 2
'
I 2 2 2 2 7 7 2
'
2 2 7 2 2 2 2
c F D A
etc.
7 7 7 7 7 7 7 7
Triads
II
'
I 2 2 2 I 2 2 7
'
I 2 2 I I I 2
'
7 2 2 2 I
Recommended listening:
"Eye of the Beholder," Chick Corea and the Electric Band; GRP 1053.
"The Hornet," The Yellowjackets, YELLOWJACKETs; W.B. 3573-2.
52
Voicings
The same applies with constant structure voicings: any type of voicing could be
considered for consecutive use. The most commonly used voicings in contempo-
rary compositions are voicings in fourths or inversions of voicings in fourths.
Three-note voicing:
II
Four-note voicing:
!I
Root position
Recommended listening:
53
BEYOND FUNCTIONAL HARMONY
Melodic Intervals
When working with two horns or voices, it is common to harmonize the two
voices in constant structure intervals, in addition to creating constant structure
chords and voicings. Any interval could be considered as a constant structure
interval between two voices, seconds, thirds, fourths, fifths, sixths or sevenths.
The interval of the fourth is most commonly used in contemporary jazz writing.
Melodic intervals:
4ths
II
6ths
II
3rds
II
•• II
ue-
II
54
PAIITJ
Sliding
Sliding occurs when voicings, usually in fourths, move up or down by step (half
or whole) over a pedal or open voicings in fourths or fifths. The following exam-
ple is in a D minor area. The voicings begin to slide and non-diatonic pitchs are
created, forcing the tonality in and out of D-. The D minor area is reestablished
each time the root, fifth, root voicing is played in the bass clef with the left hand.
It is in the relationship of the left hand voicing that the right hand voicings in
fourths are actually sliding against. This style of playing was extensively devel-
oped by pianist McCoy Tyner.
(
t.J -j .. II • ~ .. / ~
I
.. >- L I. 1,.
I
-u- -u-
----------------------------------- -----------
Recommended listening:
55
Methods
There are four systematic methods for constructing constant structure chord
patterns:
Symmetric constant structureis derived by dividing the octave into equal inter-
vallic divisions. This concept will be explored further in Part 3, ToNic SYSTEMS.
There are five possible equal divisions of the octave: augmented fourth, major
third, minor third, whole step and half step. By assigning a constant structure
chord type to each intervallic division, the following examples are possible.
c~ E~~ G~~ A~ c~
~
II
~0 ~0 •• II
-a-
c~ E~ A~~ c~
&o •• II
0
~
II
0 #n lo #n II
-a- 0
PART3
c~ AI!. EP~
Minor3rds •• •• II
~0
EA c~ API!.
M~jor 3rds
~ 0
~II II
~
II
Whole tone
0
#n #•• 0
§o II
c~ AI!.
.fo..
Minor3rds
Tonic pedal
EA CA
II
Major3rds
Dominant pedal
DA F#A A#!!. CA
'
Whole tone
Tonic pedal
57
Cycle 4-5 - moving through the cycle of fifths will produce all twelve key pos-
sibilities. Howeve:r; for constant structure purposes, it is only necessary to move
halfway through the cycle. Beginning on C, which will be designated as a I chord,
and assigning major seventh chord qualities to each chord, this method will pro-
duce five chords which can be heard and function in relation to C. In a functional
context, these would be considered modal interchange chords and function as
key-related (non-diatonic). However, in a constant structure context, the estab-
lished pattern predominates and therefore chords are heard in a non-functional
context.
By changing the order and adding pedal point, a variety of combinations are
possible.
Dominant pedal
Sequential - moving by specific intervallic combinations from a given starting
point and repeating those intervallic combinations produces sequential patterns.
It is possible with this process to either move simply through the octave or
through the entire cycle of fifths.
etc..
&o •• II
t~3 ~1 t~3
CA EA DA FA
Dominant pedal
Random - Because the ear perceives order out of constant structure patterns,
even a random relation of chords can be perceived as being derived from a
methodological process. This method works best but with pedal point.
CA AA GA
"
Dominant pedal
Suggested listening:
"I'll Be Around," Chaka Khan, C. K.; Warner Brothers W1-25707
"Perisena," McCoy Tyner, ExPANSIONs; Applause 2310
"The One Step," Chick Corea, FRIENDs; Polydor 2391366
"Eye of the Beholder," Chick Corea, EYE OF THE BEHOLDER; GRP 1053
59
BEYOND FUNCTIONAL HARMONY
Pedal Point Pedal point refers to the sustaining effect produced by the pedals on an organ.
•••••••••••••••••••••• Because of the organ, pedal point traditionally occurred on the bottom of the
harmonic structure. However, pedal point can also occur on the middle or top. It
is also possible to have double pedal point- two pedals occurring simultaneously.
Double pedal point most often involves a soprano note sustained by a single
stringed instrument (i.e., violin) over the harmonic and melodic structure while
a bass pedal is sustained simultaneously below the harmonic and melodic struc-
ture. Theoretically, any note could be used as a possible pedal. However; the most
common are tonic and dominant. Tonic pedal is the one of the key, dominant
pedal is the five of the key. Pedal point usually creates a feeling of suspension or
instability. Therefore, it is exceptionally effective when used in introductions,
interludes and endings.
Tonic Pedal
\'
.)
. ".
t.l I ~ I ~
l_
.. >- I
..
>- I
..
>-
.
"'\ >- >- (
Recommended listening:
"Evening Dance," The Yellowjackets, Pouncs; MCA 6236.
Dominant Pedal
Intro A-7
II .) \
.. . . .
t.l I ~ I ~
( .. ..
"' ;:_
~
;;.: ~
(
Recommended listening:
"One Family;" The Yellowjackets, SHADES; MCA 5752.
6o
Double Pedal
Fil c
Intro n, [A]
II .) - - \.
( . . I
I
I
@)
I I ~ I
(
.. .. .. I
I
', ~
. Recommended listening:
"Pass It On," The Yellowjackets, MIRAGE A TROIS;
Warner Brothers 9-23813-2.
Rhythmized Pedal
Traditional pedal point employs a single sustained note. Rhythmized pedal point
is a single note occurring in a specific rhythmic pattern usually over one or two
measures. The rhythmized pedal results from a single rhythmic pattern in
octaves. Otherwise, too many notes in the rhythmic pattern will result in an osti-
natq pattern rather than a rhythmized pedal.
I
. .
~ ,...-ot
.. .. .. ..
', r '-JI
Recommended listening:
"Moon Rays," Horace Silver, FuRTHER ExPLORATIONS; Blue Note 724385658327.
6:r.
BEYOND FUNCTIONAL HARMONY
The term contiguous, which means "next to," is applied to harmonic pat-
Contig terns which create ascending harmonic resolution. In functional harmonic
••••••••••••••••••••••••
progression, the feeling of resolution is primarily one of a downward move-
ment. This is due to the resolution of the dominant chord down a perfect
fifth preceded by its related II-7 chord which in turn produces II-V or cycle
(5) style progression. A number of ascending II-V patterns constitute con-
tiguous harmony. These patterns involve a deceptive resolution of the domi-
nant chord, which results in an ambiguous harmonic area. This ambiguity
creates a feeling of transition from one point to another, therefore making
the contiguous technique especially effective in interludes, endings and
modulation.
,J
* J j #j J #j
Whole step
I I II
J J I ~r &J
*J j
Minor 3rds
I II
62
Contiguous Constant Structure
These intervallic relationships may also apply to any single or constant structure
ascending chord types.
C7 D~7 D7 E~7
etc.
~ ~w IJ j "
Half steps: A
j H
c
~j #j IJ j !I
C7 D7 E7 F#7
etc.
Whole steps: A
~j J I #J ,J II
c
~j J I #j ,J II
C7 E~7 G~7 A7
etc.
Minor 3rds: A
~j j I bj r II
Contiguous Interlude
The interlude is usually four to eight measures long and connects or bridges two
sections of the form. While the introduction of a tune is also effective as an inter-
lude, new material can also be introduced to create the interlude. It is common
for composers to use motivic material from the tune in the interlude. This helps
to provide melodic direction and cohesiveness through the duration of the inter-
lude. In the following example, the interlude is preceded by the last three meas-
ures of the tune form which serves as a send off or an extension of the form
before beginning the solo section.
rt j qJ II
0 0
Interlude
r---3---, E-7 r---3--.._, F-7 E-7
,----3----,
&J J ~w ~pJ
1 J J J I J ~r J qJ I (#)J.
------------------,
A7 [A] Dd
To solos
II ..
Contiguous Endings
t~ e J J J J I J. J I r J
-A~-7 D~7
- G-7 C7 G~A F6
I
@) I I I I I
I I I
I I I
A-7 D7 I
I
G-7 C7 I
I
G~A I
'·I
F6
I I I
fl
@) I
I
I.....
-
Modulation-Direct
J ~J I J &J gJ
r ••
tr r II
Any tune in D~ major
..
D~A
·....---
tr
,----3---,
rr F ~0
D~-7 G~7
(tJJo
II
BEYOND FUNCTIONAL HARMONY
~-ll .
A-7 D7
•• II
A-7
r D r >
It
D7
r r
B~-7 E~7 E7
r- pu
B-7
~- ~r- ~o I
(~)r· (j)o
r- I r ~~r r
Any tune in C major
---------------------------------------------------,
D-7 G7 CA
~~ r- ~0 r- rr r r II~ 0
Suggested listening:
"Arietas," Freddie Hubbard, READY FOR FREDDIE; Blue Note
66
Although the multi-tonic system is basically a functional harmonic technique,
its unique construction sets it apart from traditional functional harmonic pro-
Multitonic Systems
gression. When the multi-tonic system becomes reharmonized, it begins to take
•••••••••••••••••••••••
on more of the characteristics synonymous with non-functional progression.
Most often associated with the music of John Coltrane, this system divides the
octave into equal or symmetric divisions.
The growth of multi-tonic systems most likely had its beginning in the 19th
Century when Liszt, Wagner and Rimskij-Korsakow used chromaticism to
expand the concept of tonality. Twentieth century composers, such as Bela
Bartok, played with the idea of a two tonic system. Eventually the idea of multi-
tonic systems were published in the works of Joseph Schillinger entitled, "Joseph
Schillinger System of Musical Composition," and Nicolas Slonimsky's, "Thesau-
rus of Scales and Melodic Patterns."
There are five symmetric divisions of the octave:. augmented 4th, minor 3rd,
major third, whole step and chromatic. The two most commonly used divisions
are the minor third and the major third. With the minor third division, the
octave is divided into four equal divisions, referred to as a four-tonic system.
Dividing the octave key by major thirds creates three equal parts referred to as
a Three Tonic System. By assigning each note of the symmetric division a chord
quality, usually major seven, each chord can be considered a new key area, there-
fore it is termed a multi-tonic system. By preceding each major chord with its
dominant or dominant and related II-7 chord, an unlimited number of variations
become possible. It is not usually necessary to arrange the chords in their origi-
nal order in relation to the octave. The classic example of multi-tonic system
writing is foundin John Coltrane's tune, "Giant Steps." The following tunes con-
tain examples of tonic system techniques:
Three-Tonic System:
0
o••
/ ...... z , II
-e-, / """7'
'-.../ 3 3
3
Four-Tonic System:
II
Four-Tonic:
c~ E~~ G~~ A~
* -e- ~0 ~0 •• II
Three-Tonic:
c~ E~
f, •• II
0
68
Through the use of basic reharmonization
Reharmonization of Tonic Systems
techniques, such as chord substitution and •••••••••••••••••••••••••••••••••••••••
dominant approach, it becomes possible to
reharmonize tonic system patterns. In the
following graph; it should be theoretically
possible to exchange or substitute any chord
from any column to create additional pos- .)
sibilities. This technique will work on the
four-tonic system as well.
il I I
I I
I I
I I
I
I
F-7 B7 I
I C#-7 G7 I CA
~ I I
I I
subV7 /1 I
I
subV7 /1 I
I
A~A 0~7
I I
1
F7 I Ell I CA
~ I I
I I
I I
I I
A~A F#-7 F7 I
I EA 0-7 0~7 I
I CA
"
-
~ I I
I I
I r
I I
A~A I I
I
F#-7 B7 I EA 0-7 G7 I CA
il I I
I I
I I
I I
A~A A~-7
I I
~
C-7 B7 I EA G7 I CA
~ I I
I I
I I
I I
A~A C-7 F7 I
I EA A~-7 0~7 I
I CA
"
il
Modal interchange substitutions:
@)
@)
@)
Blues
Since the first four bars of blues are basically a I or tonic blues area, it becomes
possible to substitute a three-tonic system in place of the original blues changes.
I I I
~ ~ ~
B~7 D~7 G~ A7 D F7
B~7 E~7 B~7 B~7 E~7 E~7
~~b e I
7
I
7
2
7
2
7
2
7
2
7
/ 7
7
2
7
2
7
7
7
2
7
I
;z
~
7
2
7
2
7
2
7
2
7
2
7
2
7
II
This technique also works in the last four bars of blues in an approach to the I
chord.
I ~I
G~ A7 D
~ ~
C-7 F7 G7 C7 F7
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
7 2 2 2 2 I 2 7 2 2 2 2 2 2 2 2 2 2 2
II
(',
Non-Fu nctional
Techniq ues and Criteria
• Tone Row Constru ction
(8-note series)
• Chord Quality Criteria
• Melodic Criteria
• Chord Scale Criteria
• Develop ment
71.
BEYOND FUNCTIONAL HARMONY
Non-Functional
Techniques and Criteria
Recommended listening:
Tl
r r
73
BEYOND FUNCriONAL HARMONY
Chord Quality Criteria Once a suitable row is in place, assign a chord quality to each note
••••••••••••••••••••••••••••• in the row. The selected notes can then function as roots, inver-
sions, hybrids, compound chords or incomplete chords. Experiment
before settling on your final chord quality choices. Possible criteria
for chord quality choices:
T2 G-
~~l 2
7
2
7
2
7
I
7
II
1-
n G- 07 G-
~e 2
7
2
7
2
7
2
7
2
7
2
7
2
7
2
7
II
V-7
T4 c~ G-7 c~ G-7
~(l r r r a
I
* F F
r I r r· II
~VII-7
TS A~ G-7 A~
~e 2
7
2
7
2
7
2
7
2
7
2
7
2
7 , 7
II
IV-7
T6 G-7 C7 D-
£e
v
7
7
I
7
z7 2
7
2
:z 2
7
2
7
I
7
II
11-7
l7 G-7 C7 F
&;e
v
2
7
7
7
2
7
2
7
2
7
2
7
2
7
2
7
II
74
Constant Structure
Three or more chords with the same quality (major, minor, ?sus, dominant,
minor 7~5, etc.). See Part 3, MuLTI-TONIC SYSTEMS.
Modal
fe J • E~r F r F F I lf J J I E E F I!
J r F I r· J ~
Random
T9
C:-6 Aba D-7 Eil(#S) ql!l G-7 Bb-7 A/B
f -e- ~-e-
0 0
#-e-
0
~0 ~0 II
75
BEYOND FUNCTIONAL HARMONY
Once the .row and chord qualities are in place, next concentrate on a melodic line.
Melodic Criteria The melody should be a simple line that moves by step or small intervals
•••••••••••••••••••••• through the row. The criteria for the melody/harmonyrelationship can be one of
the following:
no
C.!l
Chord tone 0
II
' A-7
Tension 0
II
' F.!l
~
Characteristic
modal note
0
II
D-
Passing tone J. II
C-6 A~.!l
'~ r r
Melodic line
~0
(target note) II
You should now have a harmonic and melodic outline in place.
Tll
C-6 A~A D-7 EA(#S) q!21 G-7 B~-7 A/B
~ ...
a a
a fa •• II #u il
Next, work with the melodic outline and shape it into a real melody.
~e ~ r r bF IF J. I~ J ·J J fa
~
j J j J J
#J I I r F ~r I
#u II
77
BEYOND FUNCTIONAL HARMONY
Chord Scal~e Criteria Since the chords do not derive their function and resultant chord scale
•••••••••••••••••••••••••• from the relationship to a key, the chord scale criteria may result from:
Melody
Brightest
Dominant Chord
The dominant chord scale choice will usually be based on one of two
criteria:
Melody note -when the melody is a tension, it should be supported and
function in the dominant chord's scale. For example, if the melody over a
dominant chord is a #11 interval from the root of the dominant chord, the
chord scale will become a Lydian dominant scale. A q11 melody note
would imply some type of a Mixolydian scale choice. An altered tension,
such as a ~9, would imply a Mixolydian~9 scale.
Resolution - a dominant chord scale choice may result from a particular
target chord resolution. If the target chord is minor, the preceeding
dominant chord scale should contain a tension ~13, creating a Mixolydian
~13 chord scale. If the target chord is major, the dominant scale will be -
Mixolydian q13.
PART4
From this point, work with what you have until a final piece of music is in place.
Development
••••••••••••••••••••••
Reharmc:mize melody (inversions and hybrids):
~e r r br 1r J. I J J J I Jo
* *
AlljC# EP!l/G AbjBb E7(~9)/B
~ J J J
j
~J iJ lr F ~r I ~n II
T14
0 ••
0
•• ~~· bu
0 II
11 bD r r r1 rl1 r r Er r ci 1
Bb-7 C-ll Abll(#5)
~err rr II
79
BEYOND FUNCTIONAL HARMONY
With the following melodic and harmonic alterations, the eight-note series from
example Tl is finally shaped into a useable piece of music containing the charac-
teristics of non-functional progression.
• Expanded harmonic rhythm
• Alternate starting point on series
• Altered chord quality
• Melodic expansion
• Inversions and hybrids
W. Naus
00 ENB
J. l
I >- >-
i l Jf].],o>
>- >- >-
l
0~7
1\ >- >- ... >-
@...,
"'
l~o- l~o I J ~cr i &Jl i
>-
p'1'
G-7
1\
tr
>-
~~o-
qF ~r< I 'o- I <0>
I
B~-7 /F
f·r J
>- >-
£14¥..~ >-
r.. ~ tu
B-7/E
1\ 1\
tu r tu
>-
,.--..._ .-- ,.--..._ .-
r
* #F
C7
1\
i
D I #F
1\
i
D
a-~ '
~
::>;~
r r
> >
p '
I 'o I 'o
r r
* i I i
8o
PAKT4
In the following example, the eight-note series is repeated three times over the
same melody. In section B, the roots of the eight-note series remain the same but
the chord qualities change. In some measures, this changes melodic function.
This can be considered a reharmonization of the eight-note series. In section C,
the melody remains consistent with A and B but the original eight-note series .is
altered for the sake of variation.
81.
BEYOND FUNCTIONAL HARMONY
W. Naus
~eo· r
A~Ll F-6
£@)
~0?
~~r &J I0- I_ J J
A~/G E~/D
~ ~0- I J CJ I ~0-- I J J
E-11 F~-7
£@)
0
- I= J J I0
~
~-o I
~ l~r
>
r
0
1~r
r
>
0
I
A~-7 F-Ll
£@)
~0~
~~r &J I0 - I_ J j
G7 b9
(b13) D7(~9)
£@) ~0 I J CJ I ~0 I J j
Ea F#7sus
£~
0
-- IJ J I0
>
l<o I
[Q F#0 C!J.jG
-
-
lr r
0
1-r r
* I
0
A~-7 D~7
~0-
~~r bj J J
* G7(~13)
I 0
-
D7(~9)
I<
J j
* ~0-
F-7
I j I ~0--
E7(~9)
I J
J J - ~~o
II
*
0
0 > I< I
BEYON·o FUNCTIONAL HARMONY
lntro/Outro Patterns
This exercise is similar to the eight-note series but shorter. The chapter explores
a variety of techniques which attempt to produce non-functional harmonic chord
patterns that are coupled with an ambiguous feeling at the beginning of the har-
monic phrase. These short three- and four-chord groupings, when repeated,
create a harmonic loop. The· effect of this loop is most appropriate for, and charac-
teristic of, introductions and outros.
1 •
Select three or four chords of any desired quality (see CHORD QuALITY Cru-
TERIA). When these chords repeat, there should be no feeling of a key center.
DA E~-7 EA
DA E~-7 EA
*!l~ r r· ps·Q ~
3. Add a melodic line. The same melodic criteria used for the eight-note series
• is applicable here (see CHORD QuALITY CRITERIA). In example A below, the
melody stays constant while the harmony changes.
A
DA E~-7 EA
B
D.:l E~-7 ELl
r #p.....-..I a
~(l~ ,w ~
Change starting chord, add inversions.
4
·
For CD Tr~ck ~o. 7, extend harmonic rhythm. Change time signature and
,. add ascending line.
After experimenting with melod~ chords, harmonic rhythm, inversions, pedal
point or any other desired effects, the three-chord pattern should be almost final-
ized. In the following example, the time signature is determined, the harmonic
rhythm extended, and an ascending line added to help create the feeling of for-
ward momentum in a continually unresolved three-chord harmonic loop.
Bs
8DoHD fuNCTIONAL tiAAMONY
dl W. Naus
@.)
I I L
I
I
E~ D~
J = Ln= =J r·- I r·
*
' 'o' '
#n- =
0
Eb-7 E~
~0?
r·- I 'o'
~
r #o'
~
r
* D~ Eb-7
-
- ~~
r· rn ---
r· 0 ---r~ 0
r
* E~
jo D~
-r
jo-
r po- r· )C~ 0
II
*
The following four-chord pattern combines the use of hybrids, inversions
., and root position chords.
86
PAIIT 4
W.Naus
Funkyswunk
B/E
I
I
!
( oJ ,,
lI . ~
r--FI
.. 1,. b~~~ • ~~f:- • f:-
..
•• r -41 ......
A7sus/E F-9
1\
I
~
( ..
•• r 11
~
~
..
••
- • L.......C:::::j
.. '
l
B/E D~NE~
~ (q>o? ~~o
I •• t ..
~
Bass simile
A7susjE F-9
..
~
0
~
l~o I~ ~ II
I I
B/E D~~/E~ A7susjE
-6- -6-
~
~0 po
0 0
I
F-9 B/E D~~/E~
~ I
A7susjE F-9 B/E
(q)-6- -6- _n_ _n_ #_n_ _n_
~ !I
BEYOND fUNCTIONAL HARMONY
7 When these chords repeat, there should be no feeling for the beginning of
• the repetition. One possible solution for an ambiguous beginning point of
the repetition is to choose three chords and place them in a four-bar harmonic
rhythm, repeating sequence. It will take 12 bars for the first chord to coincide
with bar one, beat one, of the four-bar sequence. Maintain the same harmonic
rhythm stresses - S W S W - as if there were four chords instead of three. Try
combining this with the displacement of backbeats two and four as discussed in
Part 2, NoN-FUNCTIONAL FuNDAMENTAL CIIARAcTERISTICS.
W. Naus
( .
@) -e-
Continue
same voicings
(
. .
bo 0
'I
7 7 7 7 7 7 7 7 7 7 7
2 2 2 7 2 2 2 2 2 2
7 7 7 7 7 7 7 7
2 2 2 2 2 2 2 2 2 2 2
88
PART4
8 In the following example, the same intro/outro process and criteria are
• applied to a four-note pattern.
• Select four notes. There should be no feeling of key center as the four notes
repeat (see Part 4, ToNE Row CoNSTRUCTION).
•• II
;>: a ~a •• qa
II
~
2= ~a ... qa
a
II
~
2= •• qa
a ~a
II
~
2= qa a ~a a
II
BEYOND fUNCTIONAL HARMONY
0~7(#11 ) F-7(9)
9= ~0 •• 0
II
~ ~0 0 •• #n (I
#n ~0 0 II
• In the following example, the melodic line, rhythmic groove and harmonic
rhythm/duration are developed. To help disguise the beginning of the phrase,
the melody is the same in measures 1-4, 13-16 and 5-12. While the melody
remains the same, the harmony changes, producing a change in melodic func-
tion.
W.Naus
D~7(#~1 )
2
~~l~ ~r· J. ~w
*
' """'"
p r· .p j
J
E-7C;)
2
~ Jt;J
lo.
J Jl I
#J. J J
*
j
Df1(9)
2
~J
F-7(9)
J J
*
2
~ ~r· r· J. J
~w
*
"""" '
p p j
J
Bn'oND FUNCTIONAL HARMONY
Non-Functional Melodic
Approach
S o far we have seen melody derived from the harmony. In the following
exercise, the harmo~y w~l r:sult from the melo~y. Th.is method of ha~
mony/melody relatwnsh1p will also be non-functional m that chords will
be derived from a melodic function and not from the principles governing func-
tional-diatonic or diatonically related progression.
First construct an original melody or simple motif. When applying this tech-
nique to standard tune melodies, this process would be considered a reharmon-
ization. Melody notes work best when they are longer in duration.
Then consider what function (chord tone or tension) each melody note might
be on any type of chord quality. Choose initial chords from a purely vertical
melody/harmony relationship. Once a set of chords are in place, make chord
quality or root motion adjustments based on an adjacent horizontal harmonic
consideration. Additional options include sequential patterns, hybrids, ascending
or descending root motion using inversions and/ or root position chords, constant
structure and pedal point. The resulting progression, once voice-led properly,
should be surprisingly different from a progression created based on the princi-
ples characteristic of functional harmonic progression. Theoretically, it should be
possible to substitute or exchange any chord in any column to create additional
harmonic variations.
Melodic criteria
A- F A~ B-
1\ • I
I
I
I
B~ A- A~ Eb7 G~7{#11)
' . • I
I
I
I
I
@)
Vertical
B- 07(9) E~ F#-7 G-7(11)
I • ~
C-9 0~7(#9) F7 A B~
' • I
@) I I
I I
I I
A~7(#11) 0-9 I
I
87 F7(#5) I
I
0-7(9)
Sequential
1\ . • I I I
@) I I
I I
I I
s~~;c A-7/0 I
B/E A/E~ I
0~~/G~
_fl
. ._ I
I _I
I
I
Hybrids
@) I I
I I
I I
C9 C/B~ I
I
A~ A~7susjG~ I
I
F
''
Descending
I
• I I I
I
root inversions
~ I I
I I
G~7(#~1 )
I I
C9 09 I
I
E f+ I
I
Constant structure
I . • I I I
ascending roots
@) I I
I I
I I
A~7(#11) A-7 I
I
B~7sus C7(b9) I
I
0~~(9)
Root position
fl • I I I
ascending roots
@) I I
I I
I I
CjG F/G I
I
A~/G 0~/G I
I
c
Constant structure
I
. • I I I
pedal point
~
93
BEYOND FUNCTIONAL HARMONY
T his technique begins with the construction of a melodic line and then a
counter bass line. Together, they form the basis for the accompanying
harmonic progression. This technique is most effective when used in an
introduction whose tempo is rubato to slow.
Begin with a melodic phrase. Construct a descending or ascending counter
bass line that moves by step in quarter- or half-note duration through the melo-
dic phrase. A final bass note can be pre-determined to coincide with the end of
. the melodic phrase. This creates a target or ending point for the bass line. It is
possible to work backwards from the target note to the first note of the bass line.
The forward or horizontal momentum created by and between each line will
dominate the vertical intervalic relationship. The vertical intervalic relationship
created between the melodic line and the bass line will be felt as tension and
release points.
_l I _b~ ..0..
ft- .,_ . f'-~
"""""""
(
@) • I
-
~
(
. L I
I I I
Once these two lines are in place, assign a chord quality to each bass note. The
· bass notes can function as roots or inversions of chords. Hybrids are also pos-
sible. Chord qualities should result from the melodic function. The melody
should function as a chord tone, tension or a passing tone over each chord choice.
Experiment with different starting notes in the bass line before selecting a final
bass/melody relationship.
94
PART4
W. Naus
@.) " . _, -1
- I
"
i I I
•
l
~
I I
~
J ~;
.. .,
It _LIJ:_ _.j,lo_ l.~...
• ~- 1..
(
~· \.~J"'
fl.
C~(#5)
_n_
B-/A A~-7
d
.r<~)
.
n -
1KJ
!'-
EA(IS)
Jjo_
E~
.. !'- ~
- --- -
. r::r .,p-
' @.) r::r
I
. _LL ~ I L
E~-7
1tn
Cd E~
~r t Tr 1tn·
E-7 D-7
D.C. al Coda
Recommended listening:
"Geraldine," The Yellowjackets, LIVE WIREs; GRP 9667.
95
BEYoND fuNCTIONAL HARMONY
Discography
About the Author
PARTS
"The D.C. Gig" was composed and recorded during the Fall of 1996. During the
composition process, my main concern was leading an idea through various
stages and tonal areas without it sounding forced or awkward along the way. The
harmonic concept behind this piece can be analyzed (or approached) as a non-
functional chord-progression, which was "stretched out" to a larger amount of
bars. With the chords being further away from each other, it becomes possible to
hear each chord functioning as its own tonal center. The phrase "tonicization
through duration" may be appropriate here. The chords that are added later to
connect and relate these centers are either establishing their own tonal area or
preparing the pace for the next one.
While arranging and structuring the piece, my main goal was to maintain an
inner balance throughout. That was achieved through variations in dynamics,
instrumentation and timbres, as well as changing the harmonic rhythm.
At all stages of the process, I concentrated on keeping the piece "airy,"
"breathing,", and "flowing."
97
BEYOND FUNCTIONAL HARMONY
Rubato:
Bass & Piano
d e le r , a12 ~r r r r rF r r ~
, . - 3 ______, r---- 3 , - 3-------""]
~ ~ r----3~
r 'H
,_ - ----
9'2 + L L
r I #[ 'bJr r
>
2
tf ~ c. :t.-,._L;} I
~· ~
~ +=
r\ E
I0
• II
J= 110 Marimba
2x Drums enter
2
.~~ fJ PlPJlf#fJ]@I fJPJPJJf#QI * ~
~ Soprano
lAJ Dd(9) Dd(9)/F~ Gd A/G Dadd9/F~
i 'I ~ I .Sj ~ Jl g I J.
F/G~ B~-7(11) . B~d(9)/C
I II
D.S. alCoda
99
BEYOND fuNCTIONAL HARMONY
Interlude
-$- DA(9) DA(9)/F~ GA B~A(9)
*j# ll). 1
FA/G Gadd9/F C-add9/E~ D7sus(13)
Notes:
• Piano solos on D.S, (2x choruses of "C")
• Soprano solos on D.S.S, (2x choruses of "C")
• Then repeat "C" with melody to fade
100
PARTS
Throughout this tune, I used two main ideas which are poly-rhythm and non-
functional harmony. When I build up each section, I tried to put effective rhyth-
mic patterns and to combine these in a lively way. I composed every section
using non-functional harmony. Sometimes, it makes it too mechanical, so I tried
to make a natural feeling all over the song.
In the "intro" section, I used these ideas as composition tools. First, I made a
four-bar poly-rhythm pattern for keyboard and bass. Then I constructed chords
progression and voicings with G as top notes. The bass line was composed by
ascending step motion. I could say it as" one note samba effect." Finally, I added a
16th note arpeggio pattern with six note loop and back beats by Logic Audio
sequence program.
In the "k' section, I used ambiguous chord progressions. First, I wrote eight
random notes on a piece of paper. Then, I put chords over these notes. After I con-
structed the basic chord progression, I added some rhythmic accents to modulate
the music for effect. Then, I composed the melody with the same anticipations. I
found some jerky motion in the progression, so I reharmonized it which made it
smoother and spritelier.
I don't remember exacdy how I did the guitar solo section. However, it is true
that I put emphasis on making simple chord progression compared to other sec-
tions. As a matter of fact, I made this section by guitar. While I was playing the
guitar unintentionally, I found that four-bar pattern. I can say thatthis section is
pretty emotional.
The main idea of "B" and "C" sections is the same as I previously explained. I
used non-functional harmonies and ascending/descending bass lines. The bass
line of the "B" section is unique because it keeps descending by step all the time.
I tried to avoid dominant seventh chords. Those chords tend to resolve to a cer-
tain chord, so there is a possibility of breaking the flow of smooth non-functional
chord progression. I realized that a minor ninth chord is a great tool to build this
kind of harmony, and I like the sound of it very much.
101
BEYOND FuNCTIONAL HARMONY
Intro
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102
PARTS
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"Pas de Deux"
Form-layout:
Introduction Layering between bass line and upper structure triads in the
piano.
A Part A of melody, rhythmically active bass line.
A Repetition of A.
B Part of Melody. Melody line more active (8th notes), bass line
more "pedal like."
c Interlude - same as introduction. Link between m~lody and
piano solo.
A D.S. =Piano solo.
A Piano solo continued.
B End of solo - Melody B played again.
c Interlude. Now links between melody and guitar solo.
Coda Guitar solo over bass/piano vamp. Fade out and Fine of song.
Overall Form:
Intro, A, A, B, C, A, A, B, C, Coda
Chord-layout:
Intra 13
C-- E~/0 E/0 E~~ F7sus 0~7sus 0~~ A/C 1 s~l t~) (no 3rd) I
13 13
C- E~/0 E/0 E~~ F7sus 0~7sus 0~~ A/C I s~l#~J) Al#~1 ) I
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Coda
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PAS DE DEUX
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D.S. alCoda
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109
BEYOND FUNCTIONAL HARMONY
Discography
no
About the Author
111