Jazz Theory

The aim of this paper is to provide an overview of current streams in jazz theory and to discuss selected branches thereof. But before digging into the abstract spheres of theories in jazz, let us consider the fundamental meaning of the theoretic approach and its relation to music. The term theory is based upon the ancient Greek word theoros, which refers to »spectator of something«. 1 In a scientific sense, theories are products of thought processes and studies that lead to collections of rules and models, aimed at logical descriptions of certain phenomena. These phenomena can relate to natural objects, or abstract events, such as social behaviour. Music, as a truly fascinating and -besides its acoustic propertiesabstract phenomenon, has been the subject of diverse theoretic thoughts for a long time.

One of the challenges faced in post-secondary jazz education across the GTA is finding qualified instructors who are familiar with dialogical methods for teaching African American jazz histories. More specifically, finding and hiring African American instructors whose musical genealogy can be delineated from “black” oral/aural histories and can draw from these historicities. Unless the narratives of this music are unpacked, analyzed and taught from its internal elements, which embodies the symbiosis and synthesis of African American dance, theatrics, poetics and American black English that encapsulates the “African American-ness” in jazz, then there remains a risk that this folk music will become more and more diluted. Consequently, it is my belief that current music educators across the Greater Toronto Area (GTA) should consider alternative methods of pedagogy if students are to understand the historicity— the historical authenticity of this African American folk music. The idea for this study originated from my observation of a lack of “African American-ness”—African American narratives not being used as a pedagogical tool in post-secondary jazz curricula across the GTA. Therefore, this multi-case study will lead to the creation of an alternative curriculum that incorporates new teaching methods based on African American narratives. Dr. Barry Harris is one such educator who incorporates new teaching methods based on African American narratives. Therefore, I seek to unpack and analyze the musical and social upbringing that contributed to African American jazz pianist and educator Dr. Barry Harris’  primary contribution to jazz education, which is his concept of movement, while also expanding upon it.  When these antecedents of Harris’  concept of movement have been analyzed, they will use them as a compliance for the cultivation and filling in of gaps in post-secondary jazz curricula across the GTA.

Gillespie y Pozo fusionaron el Jazz y la música cubana. Mario Bauza, Machito y Graciela crearon el Cubop o Latin Jazz, el antecedente directo de la SALSA. Historia del Jazz. Parte XLIX
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Jimmie Blanton (1918-1942), best known for his tenure with Duke Ellington between 1939 and 1941, is by many considered to be one of the most influential bassists in jazz history. He has been widely studied, resulting in a paradigmatic depiction of his life and music. But a closer look reveals that all studies on Blanton focus on a single year, from November 1939 and November 1940, of his six-year career as a performer. Thus, a paradox is born. While many believe to profoundly understand Blanton’s music through the writings that abound, many of its aspects remain ‘hidden’, and only a partial and unnuanced narrative of this musician surfaces. Using 1941, Blanton’s final year with Ellington, as a case study, I will unravel the reasons, several of which are extra-musical, behind this period’s omission and detail its far-reaching consequences, which continue to pervade literature on the bassist to this day.

Modal Cadences Glen Halls © All Rights Reserved 'Modal' is a term with many inflections and uses both in the classical and jazz world. The word modal in the phrase 'modal cadence', which is transferable to both contexts, refers primarily to a kind of function distinct from other conventional functions of classical music, though oft found in folk musics. Specifically, the modal cadence is, like all resolutions in tonal music, essentially upper partials closing on lower partials, and refers to the sound of predominantly whole step motion as opposed to the 1/2 step motion characteristic of the other functions. For example, in D minor (dorian?) "Upper Partials closing on lower partials" e g b closing on d f a 9 11 13 closing on 1 3 5

This book presents a provocatively new interpretation of one of New Orleans' most enigmatic traditions, the Mardi Gras Indians. By interpreting the tradition in an Atlantic context, Dewulf traces the " black Indians " back to the ancient Kingdom of Kongo and its war dance known as sangamento. He shows that good warriors in the Kongo kingdom were per definition also good dancers, masters of a technique of dodging, spinning and leaping that was crucial in local warfare. Enslaved Kongolese brought the rhythm, dancing moves and feathered headwear of sangamentos to the Americas in performances that came to be known as " Kongo dances. " By comparing Kongo dances on the African island of São Tomé with those in Latin America, the Caribbean and Louisiana, Dewulf demonstrates that the dances on New Orleans' Congo Square were part of a much broader Kongolese performance tradition. He links that to Afro-Catholic mutual-aid societies that honored their elected community leaders or " kings " with Kongo dances. While the public rituals of these brotherhoods originally thrived in the context of Catholic procession culture around Epiphany and Corpus Christi, they transitioned to carnival as a result of growing orthodoxy within the Church. Dewulf's groundbreaking research suggests a much greater impact of Kongolese traditions and of popular Catholicism on the development of African-American cultural heritage and identity. His conclusions force us to radically rethink the traditional narrative on the Mardi Gras Indians, the kings of Zulu and the origins of black participation in Mardi Gras celebrations.

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This article explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and Ellingtonian Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing.

Odd meters were experimented variously in the album Time Out by Dave Brubeck Quartet. The audiences accepted it widely during the launching period especially the tunes “Take Five” composed by Paul Desmond and “Blue Rondo à la Turk” composed by Dave Brubeck. This article discuses how odd meters become more acceptable in jazz which has been nominated by duple and quadruple meters for long. Ranging the musicians from Fats Waller, James Reese Europe, and Stan Kenton to Jonathan Kreisberg, Maria Schneider, and Hiromi Uehara. It shows the history of time signature usage in jazz, development, and the relationship between early and contemporary irregular meter approaches.

L’attrazione esercitata dalla musica continua ad affascinare gli studiosi e, sebbene definiamo
generalmente la musica come ‘linguaggio’, non possiamo paragonarla affatto al linguaggio
verbale, perché essa non esprime nessun concetto univoco. Inoltre, ci siamo chiesti se anche la
musica nasconda modelli ricorsivi – tanto presenti in natura e nella sintassi verbale – e come
questi possano essere rilevati durante l’ascolto, seppur in maniera inconscia.

At the same time, a significant body of research literature addressing jazz improvisation has been developing over the last couple of decades. This work includes topics on jazz storytelling [5], including references on the concept by well known jazz musicians and scholars. Some [6] introduce the concept of re-telling to refer to the re-working of a standard, based on a famous recording of a master, stressing the important tension between individual voice and tradition. Others [7] explore machine learning of jazz grammars, using basic building-blocks or “slopes,” touching upon the antitheses of abstraction versus vocabulary, and attempting to codify harmonic tension. A relevant work that focused on Sonny Rollins’s thematic improvisation [8] will be explored further, below. Weimar’s Jazzomat Research Project [9] has produced several databases of annotated solos and licks, including the “Dig That Lick” database. Studies on the use of patterns in jazz [10], [11], have stressed the impor...

This paper examines specific musical elements of Clifford Brown’s improvised solo on “Hot House”, from the recording “Live at the Bee Hive". Solos from live recordings, such as this one, give a window into the history and existence of the art of extended improvisation from an era before such solos were being documented in studio sessions. Clifford Brown used the extended format to develop musical ideas and display a variety of techniques which add coherence and interest over this longer time frame.
Citing examples from the score, I have discussed and detailed his use of the following features:
1. Thematic Development and the Variety of Techniques Used to Achieve It 2. Rhythmic Tendencies and Contrasts
3. Phrasing Structure and Pacing
4. Melodic Construction and Intervallic Shapes
5. Harmonic Approach
6. Trumpet-Specific Instrumental Devices
In addition, I have mentioned other aspects of this solo which I consider to be important, and have described them with detailed analysis.

This paper is an analysis of Brad Mehldau's solo on the Charlie Parker/Dizzy Gillespie composition "Anthropology," itself based on George Gershwin's "I Got Rhythm." The focus is on devices deployed by Mehldau to break free form the traditional harmonic underpinning of "rhythm changes."

um físico teórico, cosmologista, saxofonista e escritor natural do Bronx. Caminhou por dois mundos diferentes, mas que se relacionam: A física teórica e a música. Dedicouse a estes estudos ao longo de duas décadas. Bacharelado em Ciência em Haverford College e Doutorado em Física Teórica em Brown. Foi investigador no Imperial College e no acelerador linear em Stanford University.

Giorgio Gaslini, scomparso il 29 luglio scorso, era nato a Milano il 22 ottobre del 1929. Pianista, compositore, arrangiatore, direttore d'orchestra, non era soltanto un protagonista della storia del jazz, ma un musicista multiforme che praticava con talento creativo e intel-ligenza critica anche altri generi musi-cali. Di formazione classica, compagno di corso di Claudio Abbado e Luciano Berio, consegue sei diplomi al Conservatorio di Milano studiando anche con Carlo Maria Giulini, ma si avvicina giovanissimo alla musica afro-americana, sua grande passione. Il suo primo disco è addirittura del '48. Fermamente convinto che il jazz sia solo un aspetto della musica contemporanea, dalla fine degli anni '50 inizia a promuovere contenuti innovativi, favorendo le condizioni per la nascita di un jazz di matrice europea. L'ampiezza degli interessi culturali e la sua lucidità programmatica lo portano a stabilire i fondamentali presup-posti teorici che contribuiscono subito a determinare le peculiarità della sua musica. Gaslini teorizza la musica totale in un Manifesto 2 del 1964, cogliendo utilmente il respiro delle neoavanguardie internazionali, che in quegli anni vanno riflettendo d'interdisciplinarità e di superamento delle categorie artistiche. Alcuni concetti essenziali, per molti versi già elabo-rati dalle avanguardie storiche, aprono ulteriori spazi di creatività. Dopo anni di disinteresse, le esperienze pionieristiche degli ismi novecenteschi diventano finalmente oggetto di grande attenzione. Da un lato, i critici e gli storici rivelano e valorizzano uno sterminato patrimonio di idee; dall'altro, gli artisti subiscono il fascino dell'interlinguaggio e via via ne consolidano le applicazioni, con un atteggiamento nuovo nei confronti della realtà e con efficaci strumenti tecnici e linguistici che amplificano le sollecitazioni verso l'intersezione tra le arti. L'idea di categoria è parzialmente assorbita da quella di continuità. La 1 Le foto vengono riprodotte per gentile concessione della Signora Marta Ceron: www.giorgiogaslini.it 2 Pubblicato in Giorgio Gaslini, Musica totale: intuizioni, vita ed esperienze musicali nello spirito del '68, Milano, Feltrinelli, 1975.

A jazz trumpeter, composer, bandleader, and painter, Davis played a vital role in the history of modern jazz. During a career that spanned more than fifty years, Davis developed an original, lyrical soloing style and emerged as a pioneering leader of several jazz idioms, including cool jazz, hard bop, modal jazz, jazz-rock, and jazz-funk fusion. | Goecke, N. Michael, "Miles Davis," in Great Lives from History: African Americans, Carl L. Bankston III ed., (Pasadena, CA: Salem Press, September 2011).

ENGLISH:
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.

In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study. 

Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
---------------------
DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.

In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.

Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.

Flamenco Jazz versus Jazz Flamenco: The Phrygian Metamorphoses.
Dr. Carlos Duque City University, London

Keywords: Jazz, Flamenco, Harmony, Influence, National Roots, Popular Music, Analysis, Flamenco-Jazz, Flamenco-Fusion.

Spain has a strong musical identity, and Flamenco-Jazz or Jazz-Flamenco is an ingredient of this singular conception. Since Franco’s period, Jazz and Flamenco have been searching for a National Identity, aiming for a distinctive sound via fusion. The development of Jazz and Flamenco, have many common points in the evolution of their histories. However, both styles, Jazz and Flamenco are very different in terms of scales, harmony and rhythm, and their advance has been complex but with clear stages. The approach to Flamenco-Fusion, depends on whether the musicians background is Jazz or Flamenco.

This paper will explore the different influences of flamenco in jazz and the influence of jazz in flamenco. Stemming from very different milieu, it has been easier for jazzmen to use flamenco in their music (harmonies and scales generally). Flamenco players have been more focused in keeping the roots of the “real” flamenco than in integrating resources from jazz. In fact some flamenco purists claim that it is a big mistake to lose the identity with the fusion of diverse styles.

In the evolution of Flamenco-Jazz (or Flamenco-fusion), we find three periods:
• Pioneers (1950-1970): Tete Montoliú, Pedro Iturralde,
• Evolution (1970-2000): Manolo Sanlucar, Paco de Lucía,
• New Voices (2000- ): Jorge Pardo, Carles Benavent, Chano Domínguez
The New Voices period, has a wide variety of styles, which comes from the evolution period, combined with classical music (contemporary and from the Renaissance) as well as Progressive Rock. In this paper I will explore the evolution of Flamenco-Fusion, from the pioneers until the New Voices. I will analyze the different approaches to the Phrygian metamorphoses in the most representative musicians (from Spain), and will explain how National identity applied to Jazz, changed since the 1950s

All fourths tuning refers to tuning one’s guitar such that the intervals between the stings ascend in fourths. Why should you tune to fourths?

• Chord, arpeggio and scale shapes are uniform
• It’s ergonomic
• One has control over jazzy voicings
• One has control over intervals
• It’s easy to make quartal chords

This book includes:

• Over 100 fingering diagrams
• 14 sheets of song transcriptions
• Copious explanations of jazz theory
• Tips on composition and performance

The score of the 2 ½ hour “magnum opus“ named “Epitaph”  was reconstructed 10 years after Charles Mingus’ death in 1979. Most of the movements were probably composed in the late 1950s. As the finale was missing, Gunther Schuller, the conductor of the world premiere in 1989, decided to improvise one with the orchestra, using Mingus as a guide. The aim of this paper is to analyze “Main Score Part I ” and “Main Score Part II” and to look into the score of Mingus’ reconstructed compositions under particular observation of the new finale, “Main Score Reprise”. There, Mingus left instructions for a return to the opening section of “Epitaph“. By examining “Epitaph” in the historical context of Jazz between 1955 to 1967 and the 1980s and comparing the finale of “Epitaph“, created - or better said: improvised - by the musicians of the 1989 world premiere with the opening section, at first it will be interesting to discover at which point Gunther Schuller followed Mingus creative process and brought it to life in 1989. Finally, it will be speculated if Charles Mingus composition still represents a foresight of Jazz nearly 30 years after its creation.
Index Terms: Epitaph, Charles Mingus, Gunter Schuller, Jazz reception, Bebop, Hardbop, Duke Ellington, Black, Brown and Beige, African-American music, Free-Jazz

Jazz, power and freedom are historically closely associated. The word Jazz carries »(...) numerous ‛messages’ containing many attitudes and principles, playing a crucial role as an instrument of dissemination of political viewpoints« (Pinheiro, 2015). With this article, I intend to discuss the association between the concepts of freedom in improvisation, social freedom, and the musical processes developed by Miles Davis and his quintet in the 1960s. The main goal of this paper, departing from Afro- Modernist and Afrological perspectives (Ramsey 2003, Lewis 2000, Magee 2007) that point out the relevance of social phenomena over musical style and aesthetics in the study of African-American improvisatory practices, is to identify the flexibility in the harmonic approach developed by the Miles Davis Quintet in the 1964 version of Stella by Starlight and to reveal associations between freedom in the improvisational process and freedom as a social relation (Steiner 1994).

Irving Berlin (1888–1989) was one of the few popular songwriters of his time to write both melody and lyric, and he integrated both talents in crafting his songs. The author demonstrates one facet of Berlin’s ingenuity by addressing an aspect of melody–lyric coordination common to some songs that consist of a verse–refrain complex. These contrasting sections are examined in terms of large-scale linear/melodic features, employing analytic procedures adapted from Schenkerian techniques.
    In each song studied, the verse melody is found to enact a large-scale ascent to the song’s primary tone, which occurs at or near the beginning of the refrain. Such ascent well represents the dynamics of the verse’s lyric: just as it prepares or sets up the arrival of the refrain (which begins the main lyrical idea), so does the verse’s structural melodic line anticipate the refrain by ascending to its primary tone (which begins the main musical idea). Just as the verse’s melodic ascent serves psychologically to create anticipation, so does its lyric employ the language of preparation, its main function being to lead the listener to the “hook” line of the refrain. Berlin’s verse melodies are thus revealed to be dynamic constructs; they provide a metaphorical “inhalation” that can only be released with the refrain—the “exhalation.”
    Several songs are considered from the above perspective; other significant elements of text painting are also canvassed, as are relevant, idiomatic features of the repertory. In the concluding sections, the author reflects upon the connotations of the analyses for the aesthetic issues of form and balance, as well as performance.

As mais diversas tendências da harmonia moderna são explicadas neste método inédito no mercado nacional, de autoria do pianista e professor Bebeto von Buettner. O livro é direcionado aos instrumentistas, arranjadores e estudantes que desejam se aprofundar no estudo das técnicas de harmonia. Entre outros, o método aborda os temas - blocos abertos, substituição das dominantes e interpolação dos acordes.

This research focuses on the intellectual encounter between an Afro-American jazz musician and a Russian musicologist producing a "new" dialect in this spontaneous, creative compositional genre.
The majority of jazz musicians create music that leans on "well known"
standards which are organized in a "Fake Book" way of writing. The creator, performer, and the listener share it in a "collective memory", upon which the interpretation is improvised. Both the discussion of interpretation and the creating of a new musical dialect
raise questions that concern the need for both composers and performers to innovate the language with the passing of time. Theoretical methods were shaped that internalized them became essential musical background for the creator and formulated them as a myth in themselves. John Coltrane musical compositions were a milestone in the forming of the late bebop dialect. In the sixties, as a result of the Slonimsky encounter, Coltrane almost totally set himself free from the jazz standards. Coltrane and his compositional associates opened up an entirely new direction for modern jazz.
In this study, I will look if the tension between traditional aesthetics and that formed create contradiction or a direct continuation to the musical evolution.

So-called “Jazz” is one of America’s most distinctive contributions to global culture. The origins of the music are fairly well understood. It arose from the songs and field hollers of plantation slaves and evolved over the years under the influence of church hymns, Creole music, the music of brass bands, and traditional Western harmony.  But what about the word jazz? The source of the term is something of a mystery – and it makes a good case study of the difficulties in tracking down word origins.

This article explores the potential of artistic practice as an analytical method in historical jazz research. The introductory discussion of historical research strategies involves an inquiry regarding the epistemology of jazz practices as well as the identification of historical predecessors of artistic research in publications of musician-based jazz theory. A case study on the history of jazz in the Austrian city of Graz proposes the application of artistic practice as research in combination with approaches in structural jazz analysis and historical research. By employing compositional and performative research with the aim of identifying and communicating aspects of historical jazz practices, the study exemplifies the relevance of embodied artistic knowledge for the analytical understanding of historical jazz.

Storytelling is an age-old tradition that is found in every culture. Stories capture the essence of the morals, attitudes and world views through the characteristics of the characters in the story, the story arc and the moral resolution of the story. Stories are told to pass down information from the older generation to the younger generations. Stories were told and retold as primary ways of retaining cultural information in the days of past before the advent of written language. Stories later became codified through the medium of written language and commercialized through theatre and moving pictures.  This book is accordingly entitled Sonic Storytelling. In this book, we look at how stories are told using musical tones and rhythms, instead of words. I especially anchor sonic storytelling within the context of jazz because it is only in jazz that one finds the express intellectual effort to tell stories through song. Jazz has a story. Jazz tells a story. With every reharmonization, jazzers are changing the context of the story. With every improvisation, jazzers are plotting a new story arc for the main character(s). Let’s create our own sonic stories. Let’s learn how to reharmonize and improvise. There is a method to the jazz madness.

En este libro, al igual que Ximo Tébar en sus grandes producciones,  se han orquestado varios elementos: recortes y  noticias de prensa, reseñas discográficas,  partituras  y abundantes fotografías, conforman un todo que dibuja al personaje y a la persona en esta celebración de su 25 aniversario discográfico.  De la misma manera que un estándar jazzístico, el texto se divide en tres partes. En la amplia primera parte se desenvuelve la investigación discográfica a través de todos los materiales compartidos, que harán las delicias del lector melómano. La segunda parte incluye análisis musicales de las partituras más significativas del músico que clarificaran estos aspectos relevantes al lector más especializado, y por último, es el propio Ximo Tébar quien en primera persona nos aclara todas estas pesquisas en la entrevista más humana y sincera que probablemente haya concedido, en donde a través de las memorias y vivencias del músico podemos vislumbrar una significativa parte del último cuarto de siglo de la reciente historia del jazz valenciano.

Boston is a city steeped in history. Beyond the struggle for abolition, however, the historical experiences of the majority of black Bostonians, especially during the early twentieth-century, are lacking recognition. In this respect, the Jazz Age (represented here as circa 1919 – 1929) serves as a noteworthy case-in-point. For insofar as the impact of jazz music on social, political, and economic climates in cities such as New York, New Orleans, and even Kansas have been recorded, the music’s impact on and significance in Boston is yet to be addressed in any great detail. Simply put, the history of jazz in Boston, and with it an important period for black development in the city, exists in fragments such as discographies, newspaper listings, musical handbooks, potted witness accounts among others. Therefore, the principle aim of this thesis is to piece-together these fragments to form a mosaic history that reveals instances of black struggle, resistance, and progress during a period of heightened racial (Jim Crow segregation), political (the Red Scare), and economic tension. Essential to this process is not only the need to locate the voices of Boston’s black past, whether in text, testimony, sound and beyond, but also to create the conditions to hear them on their own terms. In order to achieve this, emphasis here is placed on tracing instances of voice, and as a by-product heritage, in musical form from the arrival of the first slaves to Boston in the first-half of the seventeenth century and analysing the ways in which these voices were perpetuated through methods of adaptation, appropriation, and evolution. This approach would ultimately assist in enriching the Jazz Age with a black art form that was not only unique but a distinct form of expression for a race lacking a significant voice in America at the time. In this respect, this thesis looks at the ways in which homegrown Boston musicians, such as Johnny Hodges and Harry Carney, and frequenting players, such as Duke Ellington, used jazz music as a way to oppose standard forms of white dominance, cultural elitism, and economic subjugation.

In this paper I will take a cue from two sentences of Miles Davis and discuss an important aspect of what improvisation can teach us about the normativity of human practices: actions, like improvised musical performances, surely follow different kinds of rules; however, unforeseen situations, perhaps unwanted, can be surprising stimuli for the exercise of creativity instead of remaining elements of disorder or just simple mistakes. Wittingly and unwittingly breaking the rules may be an exercise in creativity. And this is the way we build normative orders in our practices.

Tesi di diploma accademico di primo livello in Batteria e Percussioni Jazz presso il Conservatorio di Trento.
Analisi di come è cambiato il batterismo jazz, passando dal portamento swing al groove funk, attraverso quattro brani di (e con) Herbie Hancock.

This catalog of melodic and harmonic materials found in Yusef Lateef’s "Repository of Scales and Melodic Patterns" is meant as a study guide for practical and academic use.

I have listed only the materials Lateef employed as general headings and source material for the text’s many etudes and harmonic studies. I hope that this paper stimulates further inquiry into this text in particular and in Lateef's creative output in general.

This is not an analytical paper and analysis has been kept to a minimum used solely for the purpose to aid in the general understanding of the materials and how they are used within the text . This catalog could be used both with the original text and without when the original text is not practically available.

Thomas Scott McGill
6.27.16

Candidato: Cesare Lazzini Diploma superiore di I° livello in Chitarra Jazz SOMMARIO -Introduzione.………………………………………………pag. 3 -Cenni storici e stilistici…………………………………....pag. 3 -Premessa…………………………………………………..pag. 6 -Segmentazione e analisi morfologica……………………..pag. 8 -Analisi semiologica……………………………………….pag. 13 -Analisi funzionale dell'armonia…………………………..pag. 18 -Analisi retorica……………………………………………pag. 23 -Conclusioni………………………………………………..pag. 27 -Appendice…………………………………………………pag. 29 -Bibliografia………………………………………………..pag. 35