Statistics

    Map

Twitter

Towards a Music Algebra: Fundamental Harmonic Substitutions in Jazz
( Vol-5,Issue-1,January 2018 )
Author(s):

Carmine Cataldo

Keywords:

Music Algebra, Unconventional Notation, Harmonic Substitutions, Ionian Scale, Turnaround.

Abstract:

In this paper the most common harmonic substitutions, at least as far as jazz music is concerned, are unconventionally addressed. The novelty consists in introducing a new method finalized to formally defining and logically applyingall the fundamental harmonic substitutions, by exploiting anunusually rigorous notation. After defining the substitutions and discussing their applicability, we resort to them in order to modify some simple harmonic progressions substantially based upon a banal major turnaround. As explicitly suggested by the title, the modifications are carried out by following an extremely formal line of reasoning: all the logic passages are accurately described by resorting to a notation so similar to the one commonly employed in mathematics and physics, that the harmonic analysis of a song turns out to be de facto comparable to the demonstration of a theorem.

ijaers doi crossref DOI:

10.22161/ijaers.5.1.9

Paper Statistics:
  • Total View : 111
  • Downloads : 16
  • Page No: 052-057
Cite this Article:
Show All (MLA | APA | Chicago | Harvard | IEEE | Bibtex)
Share:
References:

[1] D’Errico, F. (2017). Armonia Funzionale e Modalità – Rudimenti per l'Improvvisazione a Indirizzo Jazzistico. Naples, Italy: Editoriale Scientifica.
[2] Cho, G. J. (1992). Theories and Practice of Harmonic Analysis. Lewiston, NY: Edwin Mellen Press.
[3] Levine, M. (2009). The Jazz Theory Book (Italian Edition by F. Jegher). Milan, IT: Curci Jazz.
[4] Lawn, R., Hellmer, J. L. (1996). Jazz: Theory and Practice. Los Angeles, CA: Alfred Publishing Co. Inc.
[5] Coker, J. (1997). Elements of the Jazz Language for the Developing Improvisor. Los Angeles, CA: Alfred Publishing Co. Inc.
[6] Cataldo, C. (2017). The Art of Improvising: the Be-Bop Language and the Dominant Seventh Chords. Art and Design Review, 5, 181-188. http://doi.org/10.4236/adr.2017.53014
[7] Cataldo, C. (2017). Il Linguaggio Be-Bop e gli Accordi di Settima di Prima Specie [The Be-Bop Language and The Dominant Seventh Chords]. Journal of Science, Humanities and Arts (JOSHA) 4(4). https://dx.doi.org/10.17160/josha.4.4.340
[8] Coker, J., Casale, J., & Campbell, G. (1982). Patterns for Jazz – A Theory Text for Jazz Composition and Improvisation: Treble Clef Instruments. Los Angeles, CA: Alfred Publishing Co. Inc.
[9] Dobbins, B. (2010). Jazz Arranging and Composing – L’Approccio Lineare (Italian Ed. by Roberto Spadoni). Italy: Volontè & Co.
[10] Cataldo, C. (2017). The Art of Improvising: the Be-Bop Language and the Minor Seventh Chords. Art and Design Review, 5, 213-221. https://doi.org/10.4236/adr.2017.54017
[11] Cataldo, C. (2017). Il Linguaggio Be-Bop e gli Accordi di Settima di Seconda Specie [The Be-Bop Language and The Minor Seventh Chords]. Journal of Science, Humanities and Arts (JOSHA), 4(4). https://dx.doi.org/10.17160/josha.4.4.339
[12] Cataldo, C. (2017). The Art of Improvising: the Be-Bop Language and the Major Seventh Chords. Art and Design Review, 5, 222-229. https://doi.org/10.4236/adr.2017.54018
[13] Cataldo, C. (2017). Il Linguaggio Be-Bop e gli Accordi di Settima di Quarta Specie [The Be-Bop Language and The Major Seventh Chords]. Journal of Science, Humanities and Arts (JOSHA), 4(4). https://dx.doi.org/10.17160/josha.4.4.341