- London, UK
Jazz harmony today is explained in terms of relations between scales and chords. This is done so that the improviser can know what available notes he/she has at his/her disposal when improvising over a given chord. Though this method... more
Jazz harmony today is explained in terms of relations between scales and chords. This is
done so that the improviser can know what available notes he/she has at his/her disposal when
improvising over a given chord. Though this method explains the construction of chords from a
diatonic scale and provides semi-adequate pitch groups that will fit over a sounding chord, it
does not begin to explain anything about harmonic analysis or the intricacies of harmony itself.
The relationship between chords and scales is left purely to the recognition of the chord symbol
i.e. Xmin7 is always Dorian, in a form of mechanical isolated recipe that takes no consideration
of the context in which it appears.
In the following thesis I intend to propose a different view that may facilitate the way
jazz harmony is analysed and understood. Central to my hypothesis is the suggestion that a
fundamental octatonic system of organization forms the basis of a coherent explanation of
harmony. This principle is extrapolated from theories of acoustic phenomena and early tonal
behaviour. The goal is to offer a unifying theory that may account for all tonal harmony, in its
traditional practice, as well as embrace modern concepts in a coherent logical manner.
In order to validate the theoretical claims made above the second part of this thesis deals
with the historical exploration of jazz harmony, from its nineteenth century influences up to
modern usage. A short sample of soloists is also provided as support of the theoretical model and
its application to the world of improvisation.
Besides finding a coherent form that may explain jazz harmony, this system has also
proven to be an efficient tool for music education. Furthermore, it potentially paves the way for
future developments in jazz and tonal harmony.
done so that the improviser can know what available notes he/she has at his/her disposal when
improvising over a given chord. Though this method explains the construction of chords from a
diatonic scale and provides semi-adequate pitch groups that will fit over a sounding chord, it
does not begin to explain anything about harmonic analysis or the intricacies of harmony itself.
The relationship between chords and scales is left purely to the recognition of the chord symbol
i.e. Xmin7 is always Dorian, in a form of mechanical isolated recipe that takes no consideration
of the context in which it appears.
In the following thesis I intend to propose a different view that may facilitate the way
jazz harmony is analysed and understood. Central to my hypothesis is the suggestion that a
fundamental octatonic system of organization forms the basis of a coherent explanation of
harmony. This principle is extrapolated from theories of acoustic phenomena and early tonal
behaviour. The goal is to offer a unifying theory that may account for all tonal harmony, in its
traditional practice, as well as embrace modern concepts in a coherent logical manner.
In order to validate the theoretical claims made above the second part of this thesis deals
with the historical exploration of jazz harmony, from its nineteenth century influences up to
modern usage. A short sample of soloists is also provided as support of the theoretical model and
its application to the world of improvisation.
Besides finding a coherent form that may explain jazz harmony, this system has also
proven to be an efficient tool for music education. Furthermore, it potentially paves the way for
future developments in jazz and tonal harmony.
