jazz theory vs classical theory part 4 2 types of blues scales counterpoint

[diverse379]

this is installment four of classical theory vs jazz theory.

the series follows my theory two course at school.

todays lesson was really where the two genres really disengaged and became seperate entites

the jazz class focused on the so what chord

which is a modal chord built in fourths

you can use this chord to harmonize melodies or bass lines and there are thousands of uses for the chord

the notes for a dminor so what chord would be

DG/CFA

for a Db 6/9 chord (without the root

FBb/EbAbC

there was a hand out that came from chapter 12 of mark levines jazz piano book and he goes into more detail and we really didnt cover it yet so i will get back to it

we did cover
the two different blues scales
the minor blues scale which we all know

1 b3 4 #4 5 b7   or c Eb f F# G Bb

and the major blues scale
1 b3 3 4 f# G G# Bb    C Eb e F F# G G# Bb

we then have the assignment of writing out blues composition

you can use any of the blues forms

the basic one for those of you who dont know
is


17       | !7    |      !7    |    !7    |  IV7   |    IV7    |   17   |   17|    V7   |  IV7   |  !7   |  17   V7  |


so using dominant chords such as 13th chords or 9th chords write a harmony and compose a melody utilizing mionor or major blues scales or both
be sure the voicings dont bounce around but use smooth voice leading

Classical Theory

today we went over the rules of first and second species counterpoint
for those of you who dont know what counterpoint is
it is the study of creating two independent melodies
that have no disonances
dont have parrellel fifhtes dont have direct fifths

there are many rules to follow that when all taken together make for a very frustrating assignment

the good news is that this is the precursor to four part choral harmony and a good counter point exercise will lay the foundation for a good composition for orchestration

i am not going to get into the rules unless someone asks for them because it is a lot to write if no one really cares to know

any way todays assignment was to write four first species and four second species examples

following all the rules for first and second species

first species is where the melody is in whole notes
this is the most restrictive

the second species is where the counter point melody moves in half notes against a melody that moves in whole steps

this is just review after next week we will move into third and fourth species counter point

as a point these exercises are very demanding and they are like puzzles often you will get half way thorugh or even all the way through and realize you have to erase the last three or four measures because you are unable to finish without breaking one of the many rules

[diverse379]

I just finished the four 1st species counterpoint assignments
they took about 3 hours to complete i was watching tv while doing them so maybe if i concentrated i would have been able to do them faster

like i said before the rules make these counterpoint lines a little difficult to execute properly
an example of some of the rules are

first you are given a melody called the cantus firmus and you are to construct a melody over that melodly

in first species counter point both melodies are in whole notes

the counter point melody must start and end on either the 3rd 5th or tonic unless it is the lower melody in which case it must begin on the tonic

the no consecutive or parallell fifths or octaves are allowed

the following intervals are not allowed  7ths  augmented and diminished intervals of any kind skips greater than an octave

two consecutive skips in the same direction should not equal more than an octave and should not outline a 7th or a ninth

octaves must be preceded and followed by steps in the oppposite directions from each other

parellel 3rds or 6ths are fine but aim for no more than two in a row

the last three hotes must follow the cadential formulae
when tree notes away you have to be no more than a third away from the goal tone

2 notes away from the cadence you are no more than a 2nd from the goal tone

the largest skip you may have between any two consecutive cadence notes is a 3rd


these rules seem complex and unless you know at least basic theory they will make absoulutely no sense to you
but I assure you if you want to do great choir arrangements these rules will help you get started

if you want to see if you can do one let me know i will supply a melody and you can try to figure out how to create a melody which does not break any of the rules it is not easy

and if you think what does this have to do with music
remember bach mozart beetoven all studied these counterpoint rules they are the basis for orchestration  even
dizzie gillespie and duke elington studied these rules

and of cours kurt carr and richard smallwood studied this stuff

[4hisglory]

I need to really take a look at this when I get home.

[diverse379]

this is an article I found that throroughly describes the process of all five species of counter point

I just finished 8 eamples of first and sexond species couner point 
they each took one hour each so it is really work but work that pays off big divideds
this is the type of stuff you can expect if you want to study college level music on a classical track


“Josephus – I come to you, venerable master, in order to be introduced to the rules and principles of music.
Aloysius – You want, then, to learn the art of composition?
Josephus – Yes.
Aloysius – But are you not aware that this study is like an immense ocean, not to be exhausted even in the lifetime of a Nestor?”
Johann Joseph Fux (1660-1741), Gradus ad Parnassum (1725)
Counterpoint is a term derived from the Latin punctus contra punctum (note against note). It is a piece of music combining two or more contrasting melodies; each of which is an individual melody when played on its own. Pleasing results are achieved when the constituent contrapuntal melodies fit together and complement each other. The integral complexities associated with counterpoint make it, perhaps, the most complicated compositional technique to learn. Yet if it is to sound good and go beyond mere technique, composing counterpoint requires great skill and aesthetic insight.
Nevertheless, the composing of counterpoint is not based on fortuitous chance melodic combinations, nor is its practise restricted to only those possessing musical genius. Rather, it is the result of applying specific rules and guidelines. In other words, it is a skill that can be learned. The most famous means of teaching counterpoint is that developed by Johann Joseph Fux and explained in his dialogue ‘Gradus ad Parnassum’ (Latin for “Steps to Parnassus”).
In Greek mythology Parnassus was the mountain dwelling of the gods. A composer, having climbed Parnassus, would, according to the metaphor, have achieved a perfect compositional technique. This is achieved by learning species counterpoint.
Species counterpoint is based upon the stylistic conventions of the great Italian composer Palestrina. It has been successfully used as a pedagogical technique for over 300 years. It provides a set of strict rules of increasing complexity concerning the “valid” pitch and duration relationships between the notes found in contrasting melodic parts. The rules are introduced over five separate species of counterpoint. The counterpoint is initially of two parts, one of which, the Cantus firmus (Latin for fixed line; a melody consisting of mainly step-wise movement using notes of a semi-breve duration), is provided for the student. It is over the cantus firmus that the student sets their part using the rules of whatever species of counterpoint has been requested. Thus, a species counterpoint problem is set and the student improves their compositional technique by providing a solution. The intention is that the rules defined by the species counterpoint promote and encourage good compositional practices.
Before describing each of the five species some basic musical theory must be introduced:
Musicians call the differences in pitch between notes an interval. The interval is expressed numerically in terms of the number of notes between the two notes inclusive of the outer notes.
For example, the interval between two notes adjacent in pitch (‘C’ and ‘D’ for example) is a second (i.e. there are two notes; the lower and the upper). However, the interval between ‘C’ and ‘F’ is a fourth (as there are four notes between ‘C’ and ‘F’: C, D, E and F).
The illustration below shows the intervals used in species counterpoint within one octave (any larger intervals can be described as an octave and an xth for example).

 
Listen to this extract [midi]
It is important to notice that intervals are subdivided into two sets: consonances (that sound ‘nice’) and dissonances (that don’t). Consonances are further subdivided: the unison, fifth, and octave are called ‘perfect’ consonances whereas the sixth and the third are ‘imperfect’.
In addition to the vertical (pitch) differences expressed as intervals, musicians also describe the horizontal movement of and relationship between notes. These can be summarised as follows:
Parallel motion is when two or more parts ascend or descend in pitch by the same distance in the same direction by skip or by step. Below is an example:

 
Listen to this extract [midi]
The above example is a very specific form of similar (or direct) motion. This is when parts ascend or descend in pitch in the same direction by skip or by step but may include a movement of different distances in each part. The illustration below makes this distinction explicit:

 
Listen to this extract [midi]
Contrary motion is when parts move by skip or by step in opposite directions to each other. This is demonstrated below:

 
Listen to this extract [midi]
Oblique motion is when one part moves by skip or by step while the other remains stationary thus:

 
Listen to this extract [midi]
We are finally in a position to be able to describe and give examples of each species of counterpoint. It must be noted that the rules and conventions that follow have been extracted from two types of source:
•   Explicit definitions of species counterpoint rules; where the rule in question is given in a treatise such as Fux’s Gradus ad Parnassum or another source on musical theory.
•   Implicit conventions or heuristic practices; where the rule in question is derived from a common practice or convention that is often viewed as ‘obvious’ within western musical conventions yet is not so obvious to those with little or no musical training (or a computer).
Finally, unless stated otherwise, the rules are compound. For example, the rules for the first species of counterpoint hold over, with certain modifications, into subsequent species.
Generic Features
Species counterpoint rules mainly concern melodic motion and the intervals between the voices. (A voice is a line of music intended for a singer or instrument).
With regard to the combination of intervals and the motion of parts almost any succession of intervals is allowed if the motion between the voices is contrary or oblique, but for similar and parallel motion there are basically two explicit restrictions:
•   Parallel motion is only allowed in parts that are separated by imperfect consonances (thirds and sixths).
•   Voices must not move in similar motion in parts that lead to either perfect fifths, octaves or unisons.
Further rules (both implicit and explicit) that are concerned with ensuring an interesting yet conventionally sounding result include:
•   The range (distance between the lowest and highest possible notes) of a voice should not be more than an interval of a tenth (in keeping with a comfortable range for the human voice).
•   Stepwise motion should predominate (to encourage a smooth melodic line).
•   In all but third species counterpoint, avoid more than five consecutive notes in the same direction (to make sure the melody has an undulating, and thus interesting, shape). In third species counterpoint avoid more than nine consecutive notes in the same direction.
•   Avoid simultaneous leaps (i.e. if one voice leaps the other should move stepwise).
•   A leap greater than a third should be followed by either a move back to the originating note (only possible if the leap is a fourth) or a leap in the opposite direction that does not exceed the original leap (only possible if the leap is a fifth with the subsequent leap usually being a fourth) or a step in the opposite direction (by far the most predominant solution).
•   Do not cross voices (i.e. do not let the upper voice’s notes stray below the lower voices and vice versa).
•   Avoid repetitions of notes (to ensure variety in the melodic line).
•   Begin and end on the same note as the cantus firmus (although counterpoints above the cantus firmus may begin with an interval of a fifth).
•   Approach the final note by step in contrary motion to the cantus firmus.
•   Approach the penultimate note by step or small leap(i.e. no larger than the interval of a third).
It should be noted that when writing out species counterpoint it is common practice to write a number denoting the size of the interval between the notes in the separate lines of music. Thus, ‘5’ means an interval of a fifth, ‘3’ a third and ‘8’ an octave. In addition to making the relationship between the melodic lines explicit it also forces the person writing the species counterpoint to think about the various rules relating to musical intervals.
First Species
First species counterpoint can best be described as note for note counterpoint. In other words, for every note in the cantus firmus the first species provides a note to compliment it. As a result the first species of counterpoint provides the same number of semibreves as the cantus firmus.

 
Listen to this extract [midi]
The rules for this species can be summarised thus:
•   Use only consonances.
•   Unisons can only occur at either the beginning or end of the piece.
•   The only leaps allowed are thirds, perfect fourths and fifths and an ascending minor sixth, but step movement is preferred.
•   Use no more than three intervals of a parallel third, sixth (or tenth) in direct succession (to encourage differentiation in musical texture).
Second species

 
Listen to this extract [midi]
The second species of counterpoint adds two important features to the writing of a melody:
•   The introduction of oblique motion where one has to provide two notes in the counterpoint for each note in the cantus firmus. Thus two minims are provided in the counterpoint for every semibreve in the cantus firmus.
•   The use of dissonant notes (intervals of a second, fourth or seventh) is allowed in certain circumstances.
The rules for second species counterpoint can be summarised thus:
•   The use of dissonant notes is allowed on the second minim of a bar only when connecting two notes by a solely stepwise motion.
•   The use of parallel perfect consonances (intervals of a fifth and octave) on the first minim of consecutive bars is not allowed (as this gives the impression of parallel motion between perfect consonances which is not allowed in the rules defined previously).
•   A stepwise connection between two instances of the same (consonant) note may be used if and only if the middle note is also a consonance, this is often called a neighbour-note figure.
 
•   The counterpoint may start with a single minim’s rest.
•   The final note is always the same length and name as that used in the cantus firmus.
Third Species

 
Listen to this extract [midi]
In third species counterpoint the oblique motion is subdivided into four notes in the counterpoint against one note in the cantus firmus. The rules for this species are very similar to the second species but include some modifications to incorporate the new rhythmic texture.
•   The counterpoint can start with a crotchet rest.
•   The final note of the counterpoint conforms to the practice defined in second species counterpoint.
•   The first note of every bar should be a consonance.
•   Notes on the second, third and fourth beats can also be consonant or unison.
•   Dissonances can occur on the second, third and fourth beats only when part of a stepwise movement between consonances.
•   Dissonances cannot be adjacent to each other (implied by the above rule).
There are only two exceptions to the above rules concerning the placement of dissonances.
•   The so-called double-neighbour rule that consists of a four note figure starting on the first beat that begins and ends on the same note with the second note a step above the original and the third note a step below the original. This will sometimes lead to a (legal) leap from a dissonance.
 
•   Nota cambiata (translated as exchanged note) is a five note figure acting as an embellishment to the melodic contour from beat one (or three) to the next beat one (or three) inclusive. The contour of a nota cambiata is a step down, a leap down a third followed by two upward steps. The first, third and fifth notes must be consonances but the second and fourth can be dissonant. There are only two possible starting intervals for counterpoint written above or below the cantus firmus. An upper counterpoint’s nota cambiata can begin on either an interval of an octave or a sixth whereas a lower counterpoint’s nota cambiata can begin on either an interval of a fifth or a third.
 
Both the above exceptions to the rule may be inverted in pitch (turned upside down). However, this is rarely used and also causes the starting intervals that can be used to be inverted from the upper to lower (and vice versa) practice. (An inverted nota cambiata in an upper counterpoint can only start on an interval of a fifth or a third whereas in a lower counterpoint the starting intervals can only be an octave or a sixth.)
Fourth species

 
Listen to this extract [midi]
Fourth species counterpoint introduces the concept of a suspension. This is when a consonance in the counterpoint is held over as the cantus firmus changes note so that it becomes a dissonance. Furthermore, it is essential that the now dissonant note ‘resolves’ in a downwards direction onto an adjacent consonant note. Thus, a suspension can be thought of in three parts:
•   A preparation that must be a consonance.
•   The suspension itself that is a dissonance.
•   A resolution down to an adjacent consonance.
As a result, the fourth species introduces the possibility of a dissonance at the start of a bar.
When writing fourth species counterpoint one changes pitch in the second half of the bar with a minim note (the preparation) that is tied over to another minim of the same pitch (the suspension) before moving to a new pitch that acts as both the resolution for the current suspension and preparation for the next.
Strictly speaking a suspension includes a resolving dissonance. However, one need not tie notes together to cause a dissonance and thus form a suspension. It is quite possible to leave out a suspension and tie notes of the same pitch that form consonances with the two different notes in the cantus firmus. In other words, step two of the suspension is changed into a consonance.
Fourth species counterpoint can be summarised with the following rules:
•   The counterpoint starts with a minim rest. The first heard note follows normal conventions.
•   The final note conforms to the practice defined in second species counterpoint.
•   Use tied notes (as described above) as much as possible. If this is not possible one should revert to second species counterpoint for as short a period as possible.
•   The only dissonances allowed as suspensions are the movement of an interval of a seventh down to a sixth or the movement of a fourth down to a third. Sometimes a movement of a ninth to an octave is used (infrequently).
•   If the note that is tied over is a consonance (i.e. there is no suspension) then the note need not resolve down. As a result, movement in any direction by step or leap is allowed so long as it moves to a consonance and follows the generic species counterpoint rules concerning movement.
•   The penultimate bar must include a move from a seventh down to a sixth type suspension.
•   Include as many suspensions as possible but do not allow more than three of the same type in succession (to avoid repetitiveness and an endlessly downward moving counterpoint).
•   Use leaps of an octave if the two parts are getting close to each other.
•   Use leaps after consonances to add interest to the the counterpoint.
Fifth species

 
Listen to this extract [midi]
Fifth species counterpoint is a combination of the other four types with a few new decorative techniques introduced. As J.J.Fux stated in Gradus ad Parnassum, “As a garden is full of flowers so this species of counterpoint should be full of excellences of all kinds…” (Fux ed. Mann, 1943, p.64). In other words, a liberal mixture of all the previous species will produce the best results.
The most obvious new technique is the use of quavers as decoration to the counterpoint. Nevertheless, as in all things to do with species counterpoint, their use is specific and very clearly defined.
Fifth species counterpoint can be summarised as follows:
•   The opening note of fifth species counterpoint should use the same conventions as the fourth species starting note.
•   The penultimate and final bars should also use the same conventions as the fourth species.
•   Quavers (always used in pairs) are only allowed on the ‘weak’ second and fourth beats.
•   They can only be used in two possible ways:
o   As a neighbour-note figure (a stepwise connection between two instances of the same (consonant) note may be used if and only if the middle note is also a consonance).
 
o   As passing notes that connect two consonant notes an interval of a fourth apart (rarely used).
 
•   All quaver notes should be entered into and left by step.
•   Only use quaver figures once in a bar.
•   Do not over use quaver figures. Do not use them more than once every three bars.
•   Suspensions that make use of a movement from a seventh to a sixth sound especially good if the suspension is decorated with a neighbour-note quaver figure.

[sjonathan02]

If I may be so bold, what's with all of the crossed out lines???? 

[diverse379]

If I may be so bold, what's with all of the crossed out lines???? 

I have no idea it isnt like that on my copy and i tried copying it twice
i guess it is there way of protecting the content on the site where i retrieved this

[redone520]

Yo im takin ur lessons, please be patient cause i might have allot of questions. May God bless you. ONE

[diverse379]

this stuff is beneath your level redone stop playing

[darkwing]

Shouldn't the Major Blues Scale be:

1 2 b3 3 5 6

C D Eb E G A

It's basically the Minor Blues Scale of the relative minor.

[diverse379]

Shouldn't the Major Blues Scale be:

1 2 b3 3 5 6

C D Eb E G A

It's basically the Minor Blues Scale of the relative minor.

NO THAT IS NOT  THE MAJOR BLUES SCALE YOU WERE MISINFORMED

[darkwing]

No need to shout...

"Comprehensive Technique for Jazz Musicians" by Bert Ligon (published by Hal Leonard), p.71, shows the C major blues scale as C, D, Eb, E, G, A, C.

Interestingly enough, neither Jamey Aebersold's "Scale Syllabus" nor Mark Levine's "The Jazz Theory Book" make mention of the major blues scale.

Did your instructor cite a reference?

NO THAT IS NOT  THE MAJOR BLUES SCALE YOU WERE MISINFORMED

[diverse379]

I didnt realize my cap lock was on

i wasnt shouting
we use the levine book in my class as well as others
as far as my teacher citing a reference

i dont think he did i didnt think to ask

but he teaches music at  at princeton i dont think he is misinformed about something like this


below is his pedigree
i just googled his name and got this stuff below

we have a tendency to believe what we read in writing

mark levine although talented and well informed left a lot of information out of his books
the people i studied with jaki byard who taught mark levine

and the late enos payne the director of the acclaimed jazz mobile in new york
stated that what mark presented was not really what the really hip cats play

so just the abersold book or the levine books are not the gospel according to jazz
i would much rather listen to a cat who is out there right now doing what i want to be doing


 

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GEOFFREY BURLESON, PIANIST, has performed to wide acclaim throughout Europe and North America, and is equally active as a recitalist, concerto soloist, chamber musician and jazz performer.  The  New York Times has hailed his solo performances as “vibrant” and “compelling”, and has praised his “command, projection of rhapsodic qualities without loss of rhythmic vigor, and appropriate sense of spontaneity and fetching colors”.   And  the Boston Globe refers to Mr. Burleson as a “remarkable pianist” and “a first-class instrumental presence” whose performances are “outright thrilling.”   His numerous acclaimed solo appearances include prominent venues in Paris (at the Église St-Merri), New York (Carnegie Recital Hall), Rome (American Academy), Athens (Mitropoulos Hall), Mexico City (National Museum of Art), Chicago (Dame Myra Hess Memorial Series), Boston, Washington, Switzerland, England, the Netherlands, Spain, and elsewhere. 
 
 
 
 

Mr. Burleson made his New York City solo recital debut at Merkin Concert Hall  in 2000, sponsored by the League of Composers/ISCM (International Society for Contemporary Music.)  He has appeared as concerto soloist with the Boston Musica Viva,   Arlington Philharmonic,  New England Philharmonic, and the Holland Symfonia in the Netherlands, performing repertoire ranging from Mozart, Weber and Saint-Saëns to Gershwin and Klaas de Vries.   In New York, he has also appeared as soloist with the New York Art Ensemble, as part of the Tribeca New Music Festival, and at the Knitting Factory as part of David Sanford’s Pittsburgh Collective, a progressive jazz ensemble.  Mr. Burleson's work in jazz has also taken him as far as Baku, Azerbaijan, where he performed as both soloist, and with vocalist CoCo York, under the auspices of American Voices.

 


 

Mr. Burleson currently performs as principal pianist with the  Boston Musica Viva and the New York Art Ensemble,  as well as IMPETUS, a dynamic trio featuring vocalist Maria Tegzes, and guitarist Dave "Knife" Fabris.  He is also a member of Princeton University's Richardson Chamber Players.  Formerly, Mr. Burleson performed in Greece and the United States as principal pianist with ALEA III, the contemporary ensemble-in-residence at Boston University, for five seasons. He has also appeared in duo performances with many prominent musicians, including Boston Symphony Orchestra concertmaster Malcolm Lowe, former BSO principal flute Jacques Zoon,  violinist Bayla Keyes, and cellist Rhonda Rider.   He has collaborated with numerous world-renowned composers, and has given solo and duo premieres of works by Gunther Schuller, Vivian Fine, William Kraft, David Rakowski, Hayes Biggs, Barbara White,  Jeffrey Stadelman,  Jason Eckardt, Evan Johnson, and others. As a jazz pianist, Mr. Burleson has performed extensively at home and abroad, both as soloist and in many ensembles.  The Boston Globe has lauded his jazz performances, praising his "solos filled with complex harmonic and rhythmic figures", as well as his "compact and dramatic" arrangements of works by such diverse artists as Eric Dolphy and Patti Smith. 
 
 


 

Mr. Burleson was winner of the Silver Medal in the International Piano Recording Competition, and won Special Commendations in the Vienna Modern Masters International Performers Competition.   He was also the recipient of a DAAD grant from the German government to support a residency at the Academy of Arts in Berlin.  A graduate of the Peabody Conservatory, where he won both the Lillian Gutman Memorial Prize and the Azelia H. Thomas Award, and the New England Conservatory (MM), Mr. Burleson's  principal teachers include Leonard Shure, Veronica Jochum, Lillian Freundlich, Tinka Knopf, and Audrey Bart Brown.
 
 
 
 

Mr. Burleson has made solo, chamber and jazz recordings for Albany, New World, Music & Arts, Centaur, Oxingale, VMM, CRI, and Neuma that have been praised by the international press, and include several world premieres.  He has been on the music faculties of Brandeis University,  MIT,  the Berklee College of Music, Clark University, and the College of the Holy Cross.  Currently, Mr. Burleson teaches piano at Princeton University, and is a faculty member at  Queensborough CC-The City University of New York.  He holds the Doctor of Musical Arts degree from the State University of New York at Stony Brook, where he studied with Gilbert Kalish.




 

[darkwing]

That's interesting.  Thanks for the insights!

Ya gotta love music theory!

[diverse379]

That's interesting.  Thanks for the insights!

Ya gotta love music theory!

and to be honest who am I to say what is and is not

I am just a student like everyone in this world we are all still growing

i dont think that the scale you illustrated is any less useful then the one i cited

why is it not possible that they are both major blues scales with different origins
like a memphis major blues scale
versus a chicago major blues scale

blues originated and developed in several places simultaneously so it is possible that there are different possibilities as to the formulations of scales.

I will be in class today I will ask about this discrepency

thanks for the honest opinions

I welcome the challenge

[darkwing]

That's cool that you're very willing to talk it through.

Before I start teaching music theory to students who I know will one day learn to play by ear, I always tell them this:

"Music theory is just that - a theory.  It's a way we explain what we see in the real world around us, just like any other theory.  Theories are not laws.  Sometimes there are multiple theories that try to explain the same occurence.  Sometimes there isn't theory for what you see.  And lastly, there are just as many theories as musicians, so learn to adapt."

[redone520]

Yo what up brotha in Christ. I need to know what the species counterpoint is. Im trying to follow but its kind hard if i dont understand. Im working on the 2 5 1 in every key that u posted and cant wait to learn more. Hit me back