Jazz Harmony – 30-hour module – CFA 4

Form: 30 hours
CFA: 4
Teacher: Pierpaolo Principality
Frequency: Weekly
Entry Requirements: Completion / knowledge of Harmony 3 materials
Class size: 15 students
Places available: 5
Limitations: O pen to students in academic courses of sound engineering, electronic music, composition, and film music. Open to the students as a personalized course for additional fees (for information on costs, contact the Educational Secretariat).

Contents:

  1. Topics of rapid review and in-depth analysis: Relationship between the MODES of the major scale and the relative agreements: compatible extensions and “Avoid Notes”; Harmonic substitutions: diatonic and “tritone”; The secondary dominants in major keys and their substitutions; Criteria for choosing the extensions (9a, 11a, 13a) based on the structure of the agreements and their function; Disposition in 4 parts in fundamental state of the extended agreements (9a, 11a, 13a); Melody harmonization with 4-part extended chords.
  2. The 7th chord diminished: structural and functional characteristics, relationship with the 7th chord (b9). The chord diminished by passing into a major key. Criteria for choosing and using extensions in the chord decreased based on the hue. Secondary dominants in minor keys. Harmonic substitutions in minor keys. Modulation techniques. Relationship between the modes of the minor scales (arm. And mel.) And the relative agreements: compatible extensions (summary), the “Avoid Notes”.
  3. The scales relative to the secondary dominants in major tones and min. (summary of compatible extensions and “Avoid Notes”). Melody harmonization techniques without data agreements: criteria for choosing chords. Voicings with 5 voices (narrow parts); use of the double extension. Voicings with 5 voices (late parts): “drop” technique, “Spread Voicing”, “Upper Structures”.
  4. Harmonic sequences with chords of 5 voices. The “Blues Minor” (basic harmonic scheme). The “Rhythm Change” (basic harmonic scheme). The symmetrical “Ottofonic” scales (T / S and S / T) and the related symmetrical chords and voicings.
  5. Tonal adjustment of the T / S scale in relation to the diminished chord. The possible resolutions of the dominant 7th agreement. Summary of scales relating to acc. of 7th of dominant and relative contextualizations.
  6. Harmonic pedals (tonic and dominant) and melodic pedals. The “Modal Interchanges”. The modes related to modal interchanges and the appropriate extensions. Harmonic analysis in major and minor keys with particular reference to the functions and harmonic techniques studied.

 

References:

  • “Jazz Harmony” by Andy Jaffe – Advance Music
  • “The Jazz Theory Book” by Mark Levine – Sher Music Co.
  • “Harmony & Theory” by Keith Wyatt & Carl Schroeder – Hal Leonard Corp.
  • Any other materials Dispensed by teachers

Written and Verbal Exam