Jazz harmony: pitch-class set genera, transformation, and practical music

  • Title: Jazz harmony: pitch-class set genera, transformation, and practical music
    Alternative Title: Jazz harmony: pitch-class set genera, transformation, and practical music
    Year: 2012
    Keyword(s): jazz harmony, jazz theory, chord-scales, source scales, transformation, near-equivalency, pc-set genera, transformational system, pc-set theory, set-class space, transformational space, diatonic, lydian b7
    Description: Contemporary jazz musicians draw from a rich and varied collection of techniques and strategies used towards the realization of harmonic succession, voicing and voice-leading, and linear improvisation. While musicians recognize the distinctiveness of various jazz chord-scales and harmonies, they also talk about “source scales” and chord families, and describe processes that apply to the manipulation of chord progressions including chord and chord-scale substitution, interpolation, and reduction. Aligned to jazz theoretic discourse, this paper presents a model of set-class space in which scales and chords typical of the jazz language coalesce into pc-set genera and form inter-generic relations through transformation. The model suggests a holistic, theoretical definition of jazz harmony and offers musicians a way of thinking about relations among scales and harmonies in terms of a transformational system that resides in transformational space, which in turn can be employed systematically and imaginatively towards the creation and interpretation of jazz music.
    Notes: Presented on June 1, 2012 at The Canadian University Music Society Conference held at Wilfrid Laurier University, Faculty of Music in Waterloo, Ontario.
    Peer Reviewed: Yes
    Type of Item: Conference Materials
    Language: English

446 Views