Chapter 16

Triads in Contemporary Practice Jazz Theory and Practice has been available for over a decade and has received welcome reviews for its comprehensive delivery of practical information for the jazz musician, both performer and composer/arranger. The book has not been updated since its initial publication and this additional chapter is long overdue, along with a substantial software upgrade. Version 3.0 of Now Hear This ear training software including practice drills and quizzes is now provided as a cross platform application compatible with Windows and Apple operating systems thanks to Revolution software. A new software partner, Steve Tjernagel, has migrated the old HyperCard stacks to a new, much more robust but similar platform offered by Revolution. Refer to the Read me file provided on this disc before using the software. Background The first edition of Jazz Theory and Practice lacked a section devoted the discussion of triads that sound above a foreign bass tone. This new chapter fills that gap by presenting a thorough discussion with examples of simple three note major triads in any inversion and accompanied by a forth note added as the lowest pitch in the voicing. This added bass tone does not serve as the root, 3rd or 5th of the triad and therefore is considered as a 'foreign' tone. This foreign bass pitch may be represented in the parent scale or be chromatically altered. Triads and seventh chords in inversions have become common expressions in the contemporary jazz and popular music language with the 3rd, 5th, or 7th functioning as the lowest pitch of the chord. This chapter will not touch significantly

on such cases but focus primarily on triads that appear with a foreign bass tone. These contemporary sounds, often dissonant by some standards, can create both challenges and creative opportunities for the improviser, as well as composers and arrangers if they know how best to utilize such harmonies. These harmonies often pose questions for the improviser such as which pitch should serve as a melodic guide through the harmony, the bass (foreign) tone or the triad? The composer/arranger needs to know in what ways such harmonies can serve: 1) as substitutes for chords in a progression based on functional harmony; 2) in modal situations; 3) as the basis for more contemporary harmonic progressions not bound by functional harmonic chord sequences, and; 4) as a means to simplify the notation of a chord that insures it will be voiced properly by rhythm section players. This new supplemental chapter will answer all of these questions and provide audio examples of how these harmonies can be used in context, pointing to compositions from the jazz repertoire as practical examples. If you like music by composers such as Billy Childs, Chick Corea, Kenny Wheeler, Pat Metheny, Michael Brecker, Maria Schneider and Russell Ferrante, and want to feel more comfortable improvising and composing using these contemporary sounds then this chapter is a must read! Dissonance and Consonance Major triads with a foreign bass tone can be classified as dissonant, consonant or somewhere in between - moderately dissonant, moderately consonant. The degree of dissonance or consonance is not precise or an absolute and the classification of these harmonies as either dissonant or consonant are somewhat dependent on individual taste, perception and experience with music making. In other words, dissonance and consonance is somewhat contingent on the 'ear of the beholder.' Example 16.1 begins with a C major triad in root position. As this example progresses, each measure moves farther away from a state of consonance with the final measure demonstrating the highest level of dissonance. While the final measure is clearly the most dissonant one could debate the order of consonance especially in measures three through 8. Is measure seven in this example more dissonant to you than the relationship shown in measures 5 or 3? Play them at the keyboard and decide for yourself. The point is, there are shades of gray that separate some of these examples. The harmonies in measures three, five and seven are nothing more than inversions of major triads or seventh chords, so it is understandable that they are somewhat consonant. As suggested in the previous paragraph, sometimes it is convenient to use a triad symbol over an alternate bass tone for the purpose of making the chord symbol easier to read or insuring that the correct voicing is used. Measures 3, 5, 7, 13, 17 and 19 in Example 1 demonstrate this approach to notation and the parenthesis shows a different way to express the chord using traditional triadic or seventh chord notation. In each case, the C bass tone is actually a member of a triad or seventh chord made complete by the notes above, so it is not surprising that these examples are not particularly dissonant when compared to triads over bass tones that are truly 'foreign' to the triad or combine with the triad to form a seventh chord. Notice that in these cases the relationship of the bass to the triad above represents the most dissonant situations in tonal music (minor seconds and

tritones). The level of dissonance in example 1 is indicated by a classification ranking of I-XI as shown below.

As you listen to example 1 and play through the various combinations at the keyboard, you will notice that the chords seem to sound best when the triad is voiced in second inversion over the bass tone. This is not surprising since the second inversion triad offers the best intervallic distance from voice to voice. Triads can be used in any inversion to accommodate the situation, which might be dictated by the melody note that you are harmonizing. Chord Substitution Possibilities Contemporary composers make good use of triads with foreign bass tones as substitutions for what might be considered a more traditional harmony. In harmonizing a given melody note, the same level of dissonance can be maintained making sure that the relationship of the triad to the bass tone adheres to the same classification or level of dissonance.

Example 2 illustrates this principal. Play it at the keyboard and listen to the example to see how the level of dissonance never really changes. In the first example the melody note behaves as the 5th of a major triad, in the second measure the melody note has been re-harmonized as the 3rd of a major triad and in the last measure it serves as the root of the triad. In each case though, the bass note has been changed to maintain the same level of dissonance established by the classification, defined by the distance between the triad root and bass tone. In this case the distance is always a major third.

The choice of which harmonization or substitute chord is up to you and often dictated by bass movement considering the previous and following chords in the progression. There are often many possibilities especially if you change the quality of the triad to minor (as shown in the penultimate chord in variation 4 that follows)! Take for example the following example phrases. The first four-measure phrase illustrates the classic I-vi7-ii7-V7-I progression. The second and third chords of this progression could also be expressed as triads over a bass tone as shown. A classification number is also provided to indicate the level of dissonance/consonance. There is no doubt more possibilities in re-harmonizing the top voice in this simple progression than are shown in the 5 variations that follow. Notice that the variations do not necessarily adhere to the same level of dissonance/consonance. You may also notice how chords have been borrowed from one progression and coupled with new chords to complete the progression. For example, variation 3 combines the first chord of variation 2 with the second chord from variation 1 and the third chord borrowed from variation 2, and the last chord before the resolution is borrowed from variation I. The penultimate chord in variation 2 shows what you can do by altering the triad to its minor form. The final variation is the most dissonant as indicated by the classification labels. The penultimate chord steps back to a less dissonant classification to insure that the resolution isn't too jarring and serves as a contrast to the more dissonant middle of the progression.

The possibilities are certainly not infinite, but there are many in any given situation. Listen to these progressions and try to create some variations of your own. Look at lead sheets to standard tunes and see what new progressions you can create that are derived in part from the original. Often times creating successful progressions, or altering progressions from the original form is based on the strength of the bass line. You will notice that even the most dissonant example in the last variation is built on a strong bass line that is symmetrical in that it approaches tonic through a bass line that descends in

minor thirds and moves to tonic by a minor second - a very strong movement. Some composers actually compose a strong bass line that gets them to a particular target chord and then look to see what implications this bass line suggests. This aspect of music composition, or arranging can be fun and very rewarding in the end. Pedal Point, Modal and Planning Considerations Modal situations offer a perfect opportunity to stream triads in a parallel fashion over a static pedal point. This is sometimes refered to as "planing" or "parallelism." Triads derived from the parent scale can help define the particular mode. It may be helpful to review the section about "Deriving Harmony From Modes" found in Chapter 12 in Jazz Theory and Practice. Chromatic triads on the other hand without regard to a particular mode will serve to create a less stable and murky tonality, with the only stability being the bass pedal point.

Melodic Implications Through Chord – Scale Relationships

Much of the discussion to this point has focused on harmonic situations and applications of triads with foreign bass tones. As the case with harmonies discussed in earlier chapters (specifically Chapter 12) triads with foreign bass tones imply certain scales or modes. In most cases there is only one related scale that is most consonant, but in some cases there is more than one scale that can be related to the harmony as indicated in Example 16.5 that follows. Knowledge of such relationships is invaluable for the improviser and can quickly open up melodic possibilities for both the spontaneous improviser and composer/arranger. Listen to these examples and play them on a keyboard or your instrument while sounding the chord on a keyboard. You should also try to improvise melodies on your instrument using notes from these scales or modes while sounding the harmony on a keyboard. You can also use a software application like Band in A Box to create practice examples to work with and help you to build a better understanding of how to develop melodic material that relates to these contemporary harmonies. Play the example 16.5 audio file and scroll down as you hear the various examples in the order that they appear.

Example 16.5

The chart that follows may provide a better way for the improviser to internalize these relationships.

Table 16.1 Triad - Bass Interval Relationship

Scale/Mode Choice Scale/Mode Choice

Minor 2nd above Phrygian Major 2nd above Lydian Minor 3rd above (maj. 3rd below)

Dorian

Major 3rd above (min. 6th below)

3rd mode melodic minor

Perfect 4th above (Perfect 5th below)

Mixolydian Major

Tritone above Locrian Perfect 5th above (Perfect 4th below)

Lydian Major

Minor 6th above (maj. 3rd below)

Phrygian Aeolian

Major 6th above (min. 3rd below)

Diminished (octatonic)

Minor 7th above (maj.2nd below)

Mixolydian

Major 7th above (min. 2nd below)

6th mode harmonic minor Diminished (octatonic)

Examples From Contemporary Literature As previously suggested, this chapter would point to creative applications of triads over foreign bass tones by some of the foremost contemporary jazz composers. In each case, only short excerpts are cited along with further recommendations for study and listening to insure you benefit from the full impact of this study. There are of course many more examples to be found by many more composers and those which follow represent only

some of the author's favorites. Look and listen for your own favorites. Billy Childs Chords over foreign bass tones are abundant in Childs’ music and uses both triads and seventh chords juxtaposed against a non-chord tone in the bass consistently throughout his music. The following relationships are frequently found in his music.

1) Triad over bass whole step above 2) Triad over bass whole step above 3) Triad over bass 1/2 step above 4) Triad over bass 1/2 step below (same as major 7th with 7th in bass) 5) Triad over bass a tritone away. 6) Triad over bass a Ma 3rd lower

The strength of motion to and from these chords can be based either on the logic of the triadic movement or the strong pull of the bass motion through primary root movements (1/2, whole, 4th or 5th) as show in the example which follows. Common tones and strong voice leading from non-common tones can insure that the movement from one triad to another is strong and logical. The first Childs’ example is an excerpt from “An Afterthought.” This example also features a major triad with a bass a major third below.

Example 16.6

Childs, like so many contemporary jazz composers, likes to use pedal point sections that are often reoccurring and serve a centerpiece, or “hook” for the entire composition. Such is the case with the excerpt from “Quiet Girl” shown below. Childs uses it not only as an intro but also throughout the piece.

Example 16.7

A selected Billy Childs Discography is provided as a footnote to this chapter. 1

Kenny Wheeler Certainly one of the most influential composer/performers in contemporary jazz, Wheeler's music shows abundant use of modal harmonies, altered 7th chords, and progressions that deviate from functional harmony. Take for example his well know recording of "Ma Belle Helene" from the ECM album The Window in the Window. This tune features an ostinato bass line with a progression of changing triads over foreign bass tones supporting a flowing melody. The example below shows the first part of this tune that is followed by a near exact transposition of the progression up a minor second while the bass ostinato remains constant. This tune is really worth listening to!

Example 16.8

Ab/G - E/F# - C/F - Ab/Bb - G/Eb - Eb/D - Cb/Db - G/F# - F#/B - Bb/B - D/Ab - C/Ab - Absus4 Wheeler’s abundant use of major 7th chords with flat and sharp fifths, triads and seventh chords in inversions and over foreign bass tones makes his music sound fresh and often completely free of the expectations imposed by functional harmony. His "Sweet Time Suite" included on the ECM recording Music for Large and Small Ensembles offers numerous examples of all of these applications and many more. These full scores can be found in Kenny Wheeler Collected Works on ECM.2 Chick Corea Of course Chick Corea is certainly one of the most important jazz composers since Duke Ellington and Thelonious Monk. He has teamed with many of the most influential musicians in contemporary jazz including Miles Davis, Michael Brecker, John McLaughlin, Stanley Clarke, Steve Gadd, Herbie Hancock, and early in his career, Stan Getz. It was during his early years with Stan Getz, before striking out on his own, that he composed "Times Lie." In the example below the melody is played alone first before it is accompanied by the harmonies.

Example 16.9

Pat Metheny The Pat Metheny Song Book3 is a treasure trove of important contemporary jazz tunes featured over the course of 29 recordings! “Have you Heard” is one lead sheet found in this massive collection of tunes composed by Metheny or with collaborators. Written in Cmi and featuring mixed meter throughout, Metheny approaches the repeat of the ‘A’ section of this tune with a series of triads which move while the bass tone remains static.

Example 16.10

Ab/Bb - Eb/Bb - Db/Bb - Ab/Bb - Gmi9sus4 - back to Cmi7 Other tunes in this collection feature triads over foreign bass tones, seventh chords over foreign bass tones and both triads and seventh chords in inversions. Tunes worth mentioning here are “Homecoming” recorded on Map of the World, and “Minuano” (Six-Eight) recorded on Still Life (Talking). “Homecoming” features triads in inversions that create strong bass lines, and the latter tune shows how a triad can remain constant while its relationship to an ever-changing bass tone can create interest and motion. Rick Lawn (the author) Two charts featured on the author’s Unknown Soldiers recording (available from his web site at http://www.RickLawn.com) illustrate the application of the concepts described throughout this chapter. The ballad and tenor saxophone feature "Chasing After Dreams" recorded on this album features several examples of principals discussed throughout this chapter. Example 16.11 that follows includes two such phrases. The first phrase shows an ascending bass line

with foreign triads moving toward F which had been previously been well established as tonic. In the second phrase this same bass motion with a slightly different triadic progression motivates a modulation to the key of Ab.

Example 16.11

“At this Point in Time" found on the same Unknown Soldiers recording is included here to illustrate additional examples of moving bass lines with foreign triads. In Example 16.12A the strength of the chromatically descending triads is in contrast to the movement of the bass line, all serving to gravitate to a simple V7 chord (preceded by a tritone sub effect created by Ab/D) and a resolution to tonic (Gmi).

Example 16.12A

This next example from "At This Point in Time" serves as a transition between contrasting themes. The strength here comes from the strong primary root movements (4ths and 5ths) outlined in the bass contrasted by triads that move in thirds, all moving toward what is essentially a suspended dominant (Gbma7/Ab).

Example 16.12B

Example 16.12C that follows is derived from the earlier harmonic scheme shown in 16.12A. At this point in the arrangement the earlier progression is embellished melodically while also augmented in terms of chord duration.

Example 16.12C

Both of these charts can be purchased from Walrus music (http://www.walrusmusic.com/). The lengthy excerpt shown in Example 16.13 is from "The Narrows," a movement from the four movement suite Hill Country Miniatures recorded by The University of Texas Trombone Choir on their CD by the same name. It is a good illustration of how a composer can imply triads over foreign bass tones with only two voices (bars 1-15), gradually expanding into larger chords. The strong sequential melodic line and harmony that moves up a major second then down a major 3rd is juxtaposed against a less predictable bass line. Play the example that follows and scroll down to follow the score. The chords shown in measures where only two-part writing exists are harmonies implied by the two voices.

Example 16.13

Michael Brecker Michael Brecker was no doubt the most influential tenor saxophonist since John Coltrane. His legacy is undisputed and rich with examples of how he moved jazz in new directions. For example his tune "Choices" serves as a good example to support the discussion in this chapter for it uses triads with foreign bass tones to elongate a simple ii7 - V7 - I progression. The tune can be found on his break through self-titled album recorded in 1986 on the Geffen label. The brief excerpt that follows begins with what might be described as the ii chord of the key resolving in the final bar to tonic. The progression in between shows a string of triads over foreign bass tones that are all in some way related to C7 or a substitute for this V7 chord in the key. The Gb bass in measure three is the tritone substitution and the triad represents the seventh, ninth and suspended 4th of the original V7 chord of the key. The Eb bass in the penultimate chord is related to the three possible substitutes for the typical dominant seventh chord in the key - Eb, Gb, and A. And the F/Db that precedes the penultimate chord could be explained as a tritone substitution for the original ii7 chord (Gmi7) and it strong ascending motion toward tonic (Db-Eb-C) is convincing.

Example 16.14

“Escher Sketch,” another strong Brecker tune, shows an elaborate harmonic scheme to wind back to Gmi7 as illustrated in the excerpt that follows:

Example 16.15

Before striking out on his own, Brecker had been a sideman or teammate in a number of bands including the Brecker Brothers with brother Randy and Steps Ahead. This band, that eventually became know as just Steps, recorded “Loxodrome,” attributed to bassist/composer Eddie Gomez. Among other tunes by this band, “Loxodrome” can be found in The New Real Book, Volume 2.4 Other interesting tunes by Gomez including

“Degado” and “Power Play” are also included in this volume. This later tune features an interesting phrase, shown in the following example, just after an introductory vamp around Emi. This tune is the lead track in Gomez’s Sony release by the same name.

Example 16.16

Maria Schneider There is no doubt that Maria Schneider continues to exert a significant influence on jazz and especially composers. Here music is completely free of cliché but without leaving the realm of tonality. It is passionate, adventuresome, challenging to the soloists and excitingly original on all levels - harmonic, melodic and rhythmic. Aside from her earlier arrangements of standards, every aspect of her original music is fresh and completely free of tired, shopworn, traditional jazz influences. The examples that follow barely touch on her harmonic originality and you should explore further her recordings made available through the Artist Share online label (http://www.mariaschneider.com/). The first example from Schneider’s repertoire is a short excerpt from the beginning of the tenor saxophone solo in “Wrgly,” the opening track on her first recording Evanescence.

Example 16.17

In “Gumba Blue” from this same recording Schneider likes to play around with augmented triads over pedal points (static bass tones) as shown in the example that

follows which is a fine illustration of chromatic planing discussed earlier in this chapter and in Chapter 12 in Jazz Theory and Practice.

Example 16.18

Of particular interest is the way that contemporary jazz composers who have strayed from functional harmonic progressions and typical tertian chord structures have found the need to provide rhythm section players and soloists more information than they have in the past. For example, Maria Schneider in “Some Circles” is very specific in suggesting to the soloist and rhythm section how best to approach the harmonies she has constructed. The following is an excerpt from the tenor saxophone solo section in this tune.

Example 16.19

“Some Circles” solo section excerpt

F Lydian/A - E harm mi/B - G Lydian/B - and so forth… “Green Piece” is rich with examples of Schneider’s use of triads over foreign bass tones and/or in inversions. The following excerpt is from this tune included on her Evanescence album.

Example 16.20

Other examples can be found throughout Schneider’s scores including “Dance You Monster to My Soft Song.” Full scores mentioned here are found in the collection edited by Fred Sturm entitled Evanescence and published by UE Publishing.5 Suggested recordings by Schneider’s Jazz Orchestra are also provided at the end of this chapter under Suggested References. 6

Wayne Shorter Wayne Shorter emerged as an important and influential jazz composer and improviser while contributing to the repertoire as a member of Miles Davis' famous quintet in the mid to late 1960s. Along with Herbie Hancock, Shorter was taking jazz composition to new heights. He did so in part by discarding many of the predictable harmonic characteristics and tendencies of functional harmony that had served as the foundation of jazz tunes for decades before. He clearly took jazz in a new direction and one that would not be encumbered by the past. His later work, along with Joe Zawinul, as member of the group Weather Report built on his earlier ground breaking work with the Davis Quintet. There are many Shorter compositions worthy of note and from various periods of his development, however, "Endangered Species" stands out as one example relevant to this discussion of triads over foreign bass tones. Example 16.21 shows the four-measure phrase that occurs just before the repeat of the 'A' section. The first three triads when viewed alone appear to be a simple V-IV-I cadence in C, but the bass tones provide an entirely different flavor. The F#MA7(b5) tritone motion that follows is unexpected but works because of the strong common connecting tone (C) and the half step motion of the other voices. The second phrase of this progression is somewhat more random but does show a strong stepwise ascending bass motion through the first three chords; and from that point on the last three chords are merely triads in first inversion moving down by minor thirds. "Endangered Species" can be heard on Shorter's 1995 <i>Atlantis</i> album.

Example 16.21

G/F - F/A - C/D - F#Ma7(b5) - D/E - F/F# - Eb/G - C/E - A/C#

The entire lead sheet for this complex composition can be found in The New Real Book7 and is worth looking at carefully as the example above is just a glimpse of the harmonic and rhythmic complexities found throughout "Endangered Species." The Three Marias," recorded on the same album Atlantis and found in notated form in the collection mentioned above, is another Shorter masterpiece that is as complex and detailed rhythmically as it is harmonically and formally. This tune is a true composition featuring multiple contrasting thematic sections and linking transitions. It also illustrates numerous examples of how Shorter uses triads and seventh chords in inversions and with non-chord tones in the bass to create harmonic accompaniments for melodies that produced contemporary results that break from traditional functional harmonic schemes. Just look a the following brief phrase that is the harmonic accompaniment that serves to close once section and link it to the return of an earlier them towards the end of this complex tune.

Example 16.22

Yellowjackets Certainly one of the most exciting contemporary small jazz groups that has stood the test of time is the Yellowjackets. With more than 19 recordings released since 1990, the band has left an impression on the jazz community and particularly the most prolific and inventive composers in the band - Russell Ferrante and Bob Mintzer. Both composers have successfully drawn on the jazz tradition and world music styles while also bringing new ideas to their music. Only one example is included here, but there no doubt are many that illustrate the principals discussed in this chapter. “Past Ports” is recorded on their Four Corners CD.

Example 16.23

Summary and Conclusions Numerous additional examples of the application of triads used over foreign bass tones can be found throughout jazz literature, particularly during the past 20-30 years as composers and performers pushed harmonic and melodic boundaries beyond traditional functional harmonic schemes. You should look and listen for applications of these harmonies on recordings you own and tunes you learn. Another exercise might be to apply these principals through chord substitutions made to standard tunes in your repertoire. These simple 4-note harmonies can make traditional music sound fresh and contemporary. Suggested References 1. Billy Childs:Take For Example This…,Windom Hill Jazz,WD-0113;Twilight is Upon Us, Windom Hill Jazz,WD-0118;His April Touch, Windom Hill Jazz,WD-0131; The Billy Childs Collection. 1996 Winona, WI. Hal Leonard ISBN-10: 0793531128; ISBN-13: 978-0793531127 2. Kenny Wheeler Collected Works on ECM. Edited by Fred Sturm. Universal Editions UE 70007

3. Pat Metheny Songbook. Hal Leonard. Milwaukee, WI ISBN 0-634-00796-3 4. The New Real Book Volume 2. Chuck Sher editor, 1991 Sher Music. Petaluma, CA

5. Maria Schneider Jazz Orchestra, Evanescence. Edited by Fred Sturm. Universal Edition UE 70008 6. Evanescence - 1994, Enja, ENJ-8048-2 Coming About - 1996, Enja, ENJ-9069-2 Allegresse - 2000, Enja, ENJ-9393-2 Live at the Jazz Standard, Days of Wine and Roses - 2000, Artist Share Concert in the Garden - 2004, ArtistShare Sky Blue - 2007, ArtistShare 7. The New Real Book Volume 1. Chuck Sher editor, 1988 Sher Music. Petaluma, CA 8. Yellowjackets Four Corners Hal Leonard 1988 Winona, WI