Jazz harmonic

With Jazzharmonik the architectural construct is described to which the jazz music is built. In jazz music, too, the principles of voice guidance and step theory developed in European music are sometimes used, but these are often only applicable to a limited extent in jazz or are used with significantly different weightings in the various jazz styles. In particular, the function theory (predominant in German-speaking countries) is difficult to apply to jazz harmonic in many cases, especially since it is difficult to represent harmonic progressions such as sequences or chords on non-diatonic levels that are typical of jazz.

It is typical of the harmony of jazz that the chord material, in contrast to classical art music (or even more numerous other contemporary currents such as pop music) dominate in the three and four notes, is usually based on four notes, which are then often additionally made up of so-called "Option tones" (also English tensions) can be expanded, which also regularly results in chords with five, six or more sounds, which are typical of the tense sound of jazz. Another extremely important feature of jazz harmonic is the frequent use of altered (changed) and substituted (replaced) chords. This expansion to four notes enables chord combinations and sounds that were previously unheard or at least unusual. J. S. Bach already used elements that are common in jazz today, but in Bach's time these were rather musical eccentricities. For example the use of the ♯ 11 in the dominant seventh chord (cf. functional theory ). The Chopin chord (a dominant seventh chord with 13) would be another typical example of early jazz-like sound borrowings.

Furthermore, in the previous development there is a strong connection to the melody and general aesthetics of the blues . This has an effect on the harmonic level through a certain preference for chord material, which suits the melodic effect of the blue notes . In addition, the characteristic blues melody and the requirements of the improvisation that predominates in jazz mean that the melody and accompanying harmonies are less strictly related to one another than is usual in the largely conceived (composed) music of Europe.

Modal scales (for example Doric or Lydian) and modal chord turns (for example a missing dominant, taken from Mixolydian, or a dying subdominant in a minor key, taken from Doric) are often used in jazz from the 1950s onwards ( modal Jazz ).

In addition to the harmonic peculiarities, certain rhythmic forms often contribute significantly to jazz music (for more see Swing (rhythm) ).

Principles

Three basic theoretical approaches are currently used to describe the harmonic characteristics of jazz:

The chord-scale theory has been developed since the 1950s and is thus the oldest developed concept for describing the jazz harmonic; to this day she has mastered most of the music theory jazz literature.
The approach known as fundamental harmonic in the German-speaking area , which in the strict sense is interested in the principles of harmony theory and in particular in functional interpretations of the harmonic expressions influenced by the blues melody.

A historical-empirical model that hermeneutically corresponds to the interpretation of the "classical" theory of harmony z. B. corresponds in the sense of Diether de la Mottes . In contrast to a comprehensive theory that unifies all appearances, this approach tries to interpret individual styles and interpreters based on their own aesthetic intentions. This method is followed, for example, in Gunther Schuller's music-theoretical writings on older jazz.

history

One of the foundations of jazz is improvisation , which was also practiced in classical music, as in baroque music culture (see figured bass), but probably much earlier. Since notation was not formed until the Middle Ages, empirical research is rather difficult.

On the invented foundations of the collected music-theoretical knowledge and considerations of the ancient Greeks (such as the discovery of the partial tones), conclusive, but still very sparse-abstract outlines of an early harmony theory were formed. It was not until the Baroque that a generally recognized theory of harmony arose, and with it the major / minor tonal system, the aesthetic norms of which have changed again and again from then to now. While from a harmonic point of view in classical music the thirds and sixths were essential for the voice guidance in improvisation, in jazz the thirds and sevenths have a far greater meaning.

It is a mistake to think that most early jazz musicians had no idea about chords or harmony. Even those who could not read music had a strong understanding of harmony and rhythm.

The theory is always what has been played and found to be melodious, and so one took the existing harmony and gradually adapted it to one's own needs. The elements of the blues were added as well as a freer interpretation of color tones in chords. Another harmonic liberation then heralded the bebop and allowed the improvising musicians to interpret chords in new ways. The jazz harmonic became intellectual.

Basically, the history of harmony in jazz is a journey from consonance to dissonance . Each harmonic innovation also brought new freedom in the interpretation of the chord material and made more melodic material available to the musician, which was cataloged in scales over time. So it is common today to use different scales in different modes over chords as sound material for improvisation or as a basis for the arrangement or the composition .

Improvisation material

In earlier times improvisation was understood to be the decorating and disguising of existing melodies using fixed chord structures. Many pieces established as jazz standards have their origins in popular music. Among other things, well-known Broadway songs are used as a framework for improvisations. Very often new melodies were written for these chord structures, not least in order not to have to pay royalties. The chord progression of Gershwin's “I got Rhythm” is firmly anchored in the repertoire of the frequently played jazz standards ( rhythm changes ). Charlie Parker wrote various melodies based on this chord structure, for example Anthropology .

Many jazz musicians broke away from jazz standards early on and wrote their own pieces so that they could improvise on their favorite harmonies.

The 1960s showed two major trends, on the one hand a return to the Blue harmony and simpler rhythms ( Cool Jazz ) and on the other hand, the modal concept and the accompanying freer play, heralded by the album Kind of Blue by Miles Davis .

Free jazz broke with all forms of harmony. You just didn't try to use it.

In the 1970s, rock influences were increasingly integrated into the improvisation material. The albums Bitches Brew by Miles Davis or "My Goals Beyond" by guitarist John McLaughlin can be regarded as outstanding examples .

Today everything that the musicians like is used. Be it a collection of nursery rhymes, pieces from the world of classical music, pop, or, as is often the case, something you have written yourself. The “traditionalists” play the songs from the “ Great American Songbook ” and the “progressives” fuse with all kinds of music, including Indian raga . What began in multicultural America continues in a globalized form.

Blues harmony

Charles Mingus 1976

A major further development of harmony theory through jazz is the decoupling of the dominant seventh chord from its function. In jazz, a seventh chord (1, 3, 5, ♭ 7) can be used not only as a dominant , but also as a tonic . The mainly used sound material, the Mixolydian scale of the European major system and the pentatonic scale originating from the Mediterranean region, add up to the scale that is now called the blue scale. Today's jazz musicians also like to use other scales ( harmonic minor modes, melodic minor modes, diminished scale , whole-tone scale ) to create more tension.

The chords of the song forms of the blues in jazz are based on the principle of the keynote-free seventh chords. Dominant seventh chords as tonic, subdominant and dominant. The improvisations on these song forms (usually 12 bars, but also 8, 16 or 24 bars) illustrate what is new about this music. Similar to African or Arabic music, tensions are created by means of dissonances, which is typical of the Blues. The typical tones, called blue notes , are also used in jazz outside of a blues context. An impressive example is “Good bye pork pie hat”, which Charles Mingus wrote for Lester Young , who had just passed away . If the blues is played by a jazz musician, then often with chord substitutes and harmonic extensions. In extreme cases, the interpretation of the blues by jazz musicians can no longer be recognized as blues.

But it would be a mistake to reduce the harmony of jazz to the typical blue. Jazz musicians use whatever they like. The jazz harmonic is therefore an umbrella term, and the blues just one facet of it. Just be functional harmony , Modes , cadences and all other elements (rhythm, phrasing), which are present in other music. In the early days of jazz, the mostly composed ragtime, French dances, classical music and popular music of the time had a major influence on improvising musicians. Recent examples include Chick Corea's excursions into flamenco , Lennie Tristano's journeys into classical music, or Dizzy Gillespie's love of Latin American music . The list could go on and on.

Color substitution

The jazz musician is free to use the scale's own colors. Color tones are often used in moments of tension (dominant or subdominant situations) and somewhat less in moments of rest (tonic).

Chord substitutions

It is common practice when playing jazz to use substitute chords, i.e. to replace notated, given chords with others. What freedom is available for this depends heavily on the melodic and rhythmic events and the harmonious interaction of the harmony instruments (e.g. piano or guitar) and the bass, which usually represents the foundation of a harmony. In order to explain the frequent use of dominant substitutes, one must first pay attention to the respective option tones (tensions).

Example in C major for the dominant G ⁷ :

Dominant G ⁷ , restricted to the basic functions root, third and seventh (G, B and F). (Due to the possible alteration of the fifth, the note D is not a common constant basic function in this context.)

The possible combinations of tensions over this basic sound are:

9, ♯11, 13 = A, C sharp, E (corresponds to the sound material of the Mixo # 11 scale )

♭ 9, ♯9, ♯11, ♭ 13 = As, B (A sharp), C sharp, Eb (corresponds to the tone material of the altered scale )

♭ 9, ♯9, ♯11, 13 = As, B (A sharp), C sharp, E (together with the fifth D corresponds to the tone material of the semitone-whole-tone scale )

The tone C, which is actually part of the Mixolydian scale , cannot be used as a harmony tone in the functional harmonic context, as it is extremely dissonant to the characteristic major third (also called "avoid note"). Therefore, its effect as a dissonant lead is all the more important.

In all three combinations of tensions it is possible to replace the bass note with its tritone . The result is a reflection of the respective sound: Mixolydian # 11 is altered and vice versa. The semitone or whole-tone scale is already symmetrical in itself, its structure is repeated in the small octave distance, i.e. also in the tritone ratio (2 minor thirds = tritone).

The use of substitute chords is by no means arbitrary and at the same time a very logical process on closer inspection, the confident handling of which is one of the most important interactive features when playing jazz, since substitute chords are often played spontaneously and without prior agreement.

Reinterpretations, re-harmonization and alterations are among the creative freedoms in jazz during improvisation, arrangement and composition. Good musicians can create something completely new from existing pieces and chords.

Secondary dominants and intermediate dominants

Pieces with purely diatonic chord functions are rare in jazz today. In earlier times it was customary to create songs only from the chords of one key. There were a few rules that allowed chromatic intermediate chords to be used, but it all played out in a very narrow tonal spectrum.

Early recordings and transcriptions of early jazz pieces testify to this strict harmony. The swing bands used a more sophisticated harmony with smaller steps in the voice guidance. Chromatic passages, mixed with diatonic chord progressions, now and then an unusual twist such as using the bluestonica (seventh chord) instead of the major sixth or seventh chord or a dominant seventh chord instead of a minor seventh chord became popular.

The major change came when the musicians began to emphasize intermediate chords more and work out their tensions. Basically, you created tension fields in front of the "important" chords by imagining the chord you wanted to go to as the tonic and then using the usual tension and dissolution behavior from the dominant to the tonic via its own dominant. The tonal weight changed radically, and actually every chord in a piece could have been its own tonic if it hadn't been for the ear.

While in classical harmony all dominant chords that do not dissolve into a tonic are called intermediate dominants, jazz harmonic differentiates between those that dissolve into a diatonic chord (secondary dominants ) and substitution dominants . A distinctive feature here are common tones and tones that show a pronounced dissolution behavior to the next chord:

Outcome: Am ⁷ , Dm ⁷ | Gm ⁷ , C ⁷ | F ^maj7
with secondary dominants: A ⁷ , Dm ⁷ | G ⁷ , C ⁷ | F ^maj7

Output ^sequence : C ^maj7 | Dm ⁷ , G ⁷

with inserted secondary ^dominant : C ^maj7 , A ^{7 ♭ 9} | Dm ⁷ , G ⁷

with replacement and inserted secondary dominant: B ⁶ , A ^{7 ♭ 9} | Dm ⁷ , G ⁷

To increase the tension, jazz musicians like to write a dominant before a chord in an existing chord progression, especially when they are improvising. The use of replaced or inserted chords is an essential part of what defines the feeling of harmonic or melodic tension and relaxation in jazz.

In the major context there are 5 sub-dominants:

I ⁷ as an intermediate dominant to the subdominant (V ⁷ / IV)
II ⁷ as an intermediate dominant to the dominant (V ⁷ / V), also a double dominant
III ⁷ as an intermediate dominant to the tonic parallel (V ⁷ / VI)
VI ⁷ as an intermediate dominant to the subdominant parallel (V ⁷ / IIm)
VII ⁷ as an intermediate dominant to the tonic counter-sound (V ⁷ / IIIm)

Characteristic for an intermediate dominant is:

the intermediate dominant is on a diatonic level
the intermediate dominant dissolves into a diatonic chord
the intermediate dominant contains at least one non-key tone

In classical music, "intermediate dominant" has been an established term for many decades. In English, dominant chords that dissolve into diatonic chords are referred to as "secondary dominants". The term secondary dominant has been used in German-speaking countries since 1997.

Modal chords

After the bebop had raised the harmony of jazz to a new level, the harmonic structure of the pieces became more complicated over time and improvisation more difficult, many musicians felt restricted in their freedom. The post-bop with its virtuoso improvisations and sophisticated harmony structures (e.g. “ Giant Steps ” by John Coltrane ) stood in contrast to cool jazz, which features more memorable melodies, cool understatement in improvisation and sophisticated arrangements.

At that time, modal concepts were already being built into the pieces. One began to use the sound of chords as a basis for improvisation and to improvise over their scales (the mode of a scale, therefore modal ). Chords were, so to speak vertical sequence-like set up with equal intervals, leading to the fourth harmonic to Provision and pentatonic (Mollseptakkorde with eleventh led). This allowed the musician to work longer with the sound of the chord and to sound it out, in contrast to the quick chord changes of be-bop or post-bop. Pieces only contained two or three chords (e.g. So What (Miles Davis) ) that defined the basic sound. In “So What”, Dm is the tonic and the corresponding scale is Doric. Since Dorian contains a major sixth and a minor seventh, tensions arise that obscure even the tonic.

The pair of terms inside and outside play established itself for inside and outside the scale. The sound material for improvisation comes mainly from the scale used and its derivatives (e.g. scale chords and their sound material). The previously used techniques of chord substitution, replacing chords and inserting intermediate dominants were still used, but now much more freely. So the soloist or accompanist could incorporate their own imaginary cadences to create an outside feeling while the other musicians reacted to it. The improvisation became freer, but also required a greater degree of responsiveness and above all a very good ear.

Nothing had changed in the structure of the chords themselves, their harmonic function was dissolved. For example, a minor seventh chord associated with the second degree can now stand on its own, whereby its timbre is emphasized and it is no longer perceived as just a second degree.

Modality is nothing new in music. The moods and tone systems of the eastern world (e.g. India) do not allow modulation to this day (which does not have to be a disadvantage). There are Indian musicians who use the same keynote all their lives. It is similar with the early church scales. With the equal tuning mostly used today, the key can be changed within modal pieces.

Reharmonization

The reinterpretation, replacement or addition of chords in an existing chord progression is called reharmonization. On the one hand this happens spontaneously during the improvisation, on the other hand the tension in existing melodies is changed.

Reharmonization in improvisation often takes place with sound-related substitutes or at the points where one almost expects reharmonization (dominant and subdominant situations).

When re-harmonizing melodies, the melody is the basis, with the newly added harmonies then creating new timbres. This is especially important for polyphonic voicings, with the upper voice playing the lead and the lower voices being added according to the new chords.

shape

Every music has a form , be it just, as in free jazz, the definition of a beginning and an end, or be it the mostly 32-bar song forms prescribed by Broadway songs. In jazz attempts were made to break with the form itself, but most of jazz music is played in fixed forms and a non-form has never caught on. A non-form contradicts the musical principle of tension and relaxation. The functional harmonic needs a form to generate the typical tension and relaxation moments.

Amazingly, many song forms in jazz are symmetrical. The same blocks of musical events separate and despite all the improvisation, change and obfuscation, the form remains. Of course, it also became fashionable to hand over the solo to another musician in the middle of a form in order to break the sense of form (e.g. Miles Davis Quintet of the 1950s). But the form itself always remained, even if loosened up by intermediate cadences or turnarounds.

Turnaround

When a chord progression is repeated several times during an improvisation, since the opening and closing chords are identical in many pieces, a feeling of harmonic stagnation arises at the seam between two runs. To avoid this, a short cadence loop is inserted at the end of a chorus , which leads back to the beginning of the chord progression.

Most turnarounds are based on the C major cadence. Chords in the turnarounds can be supplemented and varied by substitutions.

Over time, turnarounds or " vamps " (see also harmonic ostinato ) have become firmly established and are part of many jazz songs.

Examples of turnarounds in F:

Original in major (F ^maj7 | F ^maj7 )

F ^maj7 , Dm ⁷ | Gm ⁷ , C ⁷ | (I-VI-II-V)
F ^maj7 , D ^{7 ♭ 9} | Gm ⁷ , C ^{7 ♭ 9} | (Minor degrees can be replaced by dominant seventh chords)
F ^maj7 , A ♭ ⁹ | Gm ¹¹ , G ♭ ^7♯11 | (with tritone substitution)
On ⁷ , D ⁷ | G ⁷ , C ⁷ | (On the ^7th as the third degree of F or as F ^maj9 without root, G ⁷ as a double dominant)
A ♭ ^7♯11 , A ♭ ^maj7 | Gm ⁷ , G ♭ ^7♯11 | (with more complex substitutions)

Original in minor (Fm ⁷ | Fm ⁷ )

Fm ⁷ | Gm ^{7 ♭ 5} , C ⁷ | (I-II-V)
Fm ⁷ , Dm ^{7 ♭ 5} | Gm ^{7 ♭ 5} , C ⁷ | (I-VI-II-V)
Fm ⁷ , A ♭ ^maj7 | D ♭ ^maj7 , G ♭ ^maj7 | (maj7 sequence such as at the end of Toots Thielemans' "Bluesette")

Teamwork

Basically, every moment in jazz music can be thought of as a sound or a chord. The various instrumentations of a formation take over their intended registers to this day and with a few exceptions. H. the bass plays the low notes, piano or guitar notes from the middle range to accompany and the solo instrument plays the high notes. This creates a changeable sound structure that today offers all the freedom.

In contrast to earlier jazz, the bass and accompanying instruments work with the harmonics in exactly the same way as the soloist changes the sound of the chord being played. For example, a soloist hears where the rhythm section wants to go, for example the bass and piano play a chromatic downward shifting chord progression that will inevitably dissolve into the next resting point (or not) and the soloist follows the chromatic sequence. Or vice versa, the soloist picks up a certain melody or gives colors by means of a concise melody and the accompanists respond to this with the selection of their accompanying chords, phrasing and rhythm.

Listening and learning

In order to grasp the harmony of jazz, it is unfortunately not enough to do it theoretically. Jazz is music in which many small facets cannot be explained, but have to be heard. Only then does the difference between the two saxophonists Ben Webster and Lester Young become clear, even though they play the same style. Much of the knowledge and above all the feeling of the dissolution behavior of chords can only be conveyed through listening experiences and, if there is a need to play jazz yourself, through listening training .

Today jazz is taught in schools, the material taught is immense and the didactic content is constantly evolving.

It is also possible to learn jazz outside of school institutions. Essential elements are listening to jazz, playing jazz and transcribing the music you like, as well as extensive visits to jam sessions . Jazz is initially very difficult music, but it gradually becomes easier, but the main work is in learning the instrument.

Jazz harmony and other harmony lessons

The harmony of jazz does not differ in principle from that of other forms of tonal music. However, it has some peculiarities that appear to be noteworthy. In contrast to Indian or Balinese music, which use intervals that are not used in Western music ( Shrutis ). In extreme cases, a modern classic piece can sound like a jazz tune or vice versa. The only difference is the ratio of improvisation to composition.

In jazz, the repertoire, improvisation and tradition (listening habit) result in harmonic possibilities that are also described in classical music, but the importance of which is different. So today classical music is also influenced by the concepts in jazz. For example the use of jazzy hues in chords, the use of jazz cadences, the use of the seventh chord as a tonic, etc. An early example of this is George Gershwin's “ Rhapsody in Blue ”, a more recent one is the composition City Noir by John Adams .

In free jazz , the traditional system of rules was suspended, but no new rules were developed (such as those that emerged in European art music during the transition to twelve-tone music and serialism ). “Contemporary jazz, unless it is retrospective and follows the conventional system of rules, is by no means 'inharmonious' in principle, but it does develop its own form of harmony from case to case. It is harmoniously free. "

Web links

Jazz Handbook by Jamey Aebersold (pdf, 8 MB)

swell

↑ http://www.jazzhaus-hd.de/jazzgeschichte.htm
^ Frank Sikora: New Jazz Harmony. Understand, listen, play. From theory to improvisation. 3. Edition. Schott, Mainz 2003, ISBN 3-7957-5124-1 , p. 223.
↑ Ekkehard Jost : Harmonics. In: Wolf Kampmann (Ed.), With the assistance of Ekkehard Jost: Reclams Jazzlexikon . Reclam, Stuttgart 2003, ISBN 3-15-010528-5 , pp. 622 f.

Remarks

↑ The classical major and minor chords live precisely through their different and complementary interval structures of major and minor thirds.

literature

Herbert Hellhund : Jazz. Harmony, melody, improvisation, analysis. Philipp Reclam jun., Ditzingen 2018, ISBN 978-3-15-011165-9 .
Carlo Bohländer : Harmony (= Edition Schott. 5202). Schott, Mainz et al. 1961.
Wolf Burbat : The Harmonics of Jazz (= dtv 30140). 6th edition, joint edition. Deutscher Taschenbuch-Verlag et al., Munich et al. 2002, ISBN 3-423-30140-6 .
Richard Graf, Barrie Nettles: The Chord Scale Theory & Jazz Harmonics. Advance Music, Rottenburg / N. 1997, ISBN 3-89221-055-1 .
Frank Haunschild : The new theory of harmony. A musical workbook for classical, rock, pop and jazz. Volume 1. Extended and revised edition. AMA-Verlag, Brühl 1997, ISBN 3-927190-00-4 .
Axel Jungbluth : Jazz harmony theory. Functional harmony and modality. Schott, Mainz et al. 1981, ISBN 3-7957-2412-0 .
Axel Jungbluth: Practice of Jazz Harmonization. Instructions for harmonizing. Schott, Mainz et al. 1989, ISBN 3-7957-0125-2 .
Frank Sikora : New Jazz Harmony. Understand, listen, play. From theory to improvisation (= Schott Pro line. 1032). 8th edition. Schott, Mainz 2012, ISBN 978-3-7957-5124-1 .
Gerald Smrzek: The Book Of Chords. Edition Canticum, Vienna 2005.
Joe Viera : Basics of the Jazzharmonik (= series Jazz. 2). 9th, revised and expanded edition. universal edition, Vienna 1983, ISBN 3-7024-0085-0 .

[1] ttp://www.jazzhaus-hd.de/jazzgeschichte.htm

[3] Frank Sikora: New Jazz Harmony. Understand, listen, play. From theory to improvisation. 3. Edition. Schott, Mainz 2003, ISBN 3-7957-5124-1 , p. 223.

[4] Ekkehard Jost : Harmonics. In: Wolf Kampmann (Ed.), With the assistance of Ekkehard Jost: Reclams Jazzlexikon . Reclam, Stuttgart 2003, ISBN 3-15-010528-5 , pp. 622 f.

[2] The classical major and minor chords live precisely through their different and complementary interval structures of major and minor thirds.