Tag Archives: jazz theory

Lucky Thirteenth

Posted on April 13, 2012 by

Today being Friday the 13th, I thought this might be an appropriate topic. However, if you suffer from triskedekaphobia (fear of the number 13), you may want to skip this one. On the other hand, if you’re looking to get … Continue reading →

Posted in 12 bar blues, 13th chords, blues progression, changes, chord extensions, chord progression, color tones, common tones, film scores, flatted seventh, guide tone lines, guitar shortcuts, harmonic structures, Hollywood Scores, mathematics, thirteenth chords, truncated chords, truncated guitar chords, truncated harmonies, Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Shell and More

Posted on March 28, 2012 by

When it comes to extended harmonies, the most important tones are the third, seventh and ninth. So, in the key of C (major, dominant and minor), these are: Of course, this doesn’t make much sense in the ear until the … Continue reading →

Posted in changes, chord extensions, chord progression, color tones, guide tone lines, guitar shortcuts, harmonic structures, modal scales, modes, music theory, truncated chords, truncated harmonies | Tagged , , , , , , , , , , , , , , , , , | 1 Comment

You Don’t Have To Play Every Note

Posted on March 23, 2012 by

Seems that most of the people who are seriously reading this blog are guitar players, so I’m going to take another break from actual guide tone lines and address this one to any guitar player who has encountered a chord … Continue reading →

Posted in changes, chord extensions, chord progression, color tones, common tone diminished, common tones, diminished chords, dissonance, dissonant intervals, harmonic structures, music theory, rhythm | Tagged , , , , , , , | 1 Comment

Finding The Guide Tone Lines: “All The Things You Are”

Posted on March 20, 2012 by

Now that we’ve picked this tune apart in terms of structure, it’s time to find the actual guide tone lines. Now, granted  we could have done this from the get-go – our analysis of the piece was not completely necessary. … Continue reading →

Posted in canon, chord progression, common tones, counterpoint, Great American Songbook, guide tone lines, harmonic structures, mathematics, music theory, nelson riddle, Orchestration, string section writing | Tagged , , , , , , , , , , , , , | Leave a comment

Over The Bridge

Posted on March 16, 2012 by

There is one more example of Jerome Kern’s use of the fourth worth mentioning before turning our attention to how beautifully this piece lends itself to the use of guide tone lines – and how easy they are to find. … Continue reading →

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Going Fourth, Part 2

Posted on March 8, 2012 by

Before we continue with our analysis of the refrain of Jerome Kern’s  All The Things You Are,  you may wish to go back and review the recording – then review my last post. After you’ve done that, give this a listen: These … Continue reading →

Posted in cadence, changes, changing keys, chord progression, common tone diminished, Great American Songbook, guide tone lines, harmonic structures, key change, modulation, music theory | Tagged , , , , , , , , , , , | Leave a comment

The Incredible and Amazing Diminished Seventh Chord

Posted on February 27, 2012 by

I have to give one of my former instructors credit for this one. Dr. Peter Gries, who until his recent retirement was the music department chairman at my old alma mater, spent quite a bit of time on this in … Continue reading →

Posted in cadence, central washington university, changes, chord progression, common tone diminished, common tones, diminished chords, guide tone lines, harmonic structures, Improvisation, modulation, music theory, neighbor tones, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , | 11 Comments

A Tale of Two Ditties

Posted on February 22, 2012 by

Actually, it’s two versions of the same ditty – in this case, the Harry Warren example we’ve been working with so far. You’ll remember the first version in which we simply used the guide tone lines. Here’s what it looks … Continue reading →

Posted in chord progression, common tones, contrary motion, counterpoint, Great American Songbook, guide tone lines, harmonic structures, neighbor tones, Orchestration | Tagged , , , , , , , , , , , , , , | 2 Comments

Guide Tone Lines In Action, Part 3 – Colors of the Winds

Posted on February 15, 2012 by

So – what’s wrong with the guide tone line in the second ending in terms of orchestration? Nothing, provided we drop the line an octave. In simplest terms, the second ending of the “A” section in the current example (Harry … Continue reading →

Posted in Big Bands, cadence, changes, chord progression, common tones, counterpoint, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Improvisation, Orchestration | Tagged , , , , , , , , , , , , , , , | 1 Comment

Guide Tone Lines In Action, Part 2

Posted on February 13, 2012 by

It is said that the only thing two music theorists can agree on is how a third got his analysis wrong. I’ll start out with a disclaimer: this is not  a true Shenkerian analysis of the Harry Warren classic. I … Continue reading →

Posted in big band singers, Big Bands, changes, chord progression, common tones, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , , , , , , , | 1 Comment