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In this on-line dissertation, jazz saxophonist Dick de Graaf investigates a variety of compositional and improvisational models and techniques in contemporary jazz and Western art music, and discusses possible applications of these materials in current jazz practices. The study includes examinations of educational publications by five selected jazz artists (Dave Liebman, Jerry Bergonzi, George Garzone, Walt Weiskopf, and John O’Gallagher), and the analysis of compositional techniques by two composers of the 20th century: Peter Schat's Tone Clock and Olivier Messiaen's modes of limited transposition. In addition, these theories and techniques are illustrated by selected examples (transcriptions and audio excerpts) and by examples of applications by various musicians, including the author. All examples are thoroughly analyzed and evaluated in order to determine their potential use in contemporary jazz practices. The research results provide comprehensive insights into compositional and improvisational processes in jazz, and offer materials that can be useful for the personal artistic development of jazz practitioners, including musicians, composers, and educators.

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  • contents
    • ABSTRACT
    • TABLE OF CONTENTS
    • 1. INTRODUCTION
    • 2. CONTEXT
    • 3. IMPROVISING WITH JAZZ MODELS (section I)
    • 3. IMPROVISING WITH JAZZ MODELS (section II)
    • 4. IMPROVISING WITH THE TONE CLOCK (section I)
    • 4. IMPROVISING WITH THE TONE CLOCK (section II)
    • 5. IMPROVISING WITH MESSIAEN’S MODES (section I)
    • 5. IMPROVISING WITH MESSIAEN’S MODES (section II)
    • 6. CODA
    • 7. REFERENCES
    • Dick de Graaf
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  • abstract
    In this on-line dissertation, jazz saxophonist Dick de Graaf investigates a variety of compositional and improvisational models and techniques in contemporary jazz and Western art music, and discusses possible applications of these materials in current jazz practices. The study includes examinations of educational publications by five selected jazz artists (Dave Liebman, Jerry Bergonzi, George Garzone, Walt Weiskopf, and John O’Gallagher), and the analysis of compositional techniques by two composers of the 20th century: Peter Schat's Tone Clock and Olivier Messiaen's modes of limited transposition. In addition, these theories and techniques are illustrated by selected examples (transcriptions and audio excerpts) and by examples of applications by various musicians, including the author. All examples are thoroughly analyzed and evaluated in order to determine their potential use in contemporary jazz practices. The research results provide comprehensive insights into compositional and improvisational processes in jazz, and offer materials that can be useful for the personal artistic development of jazz practitioners, including musicians, composers, and educators.
  • Dick de Graaf - Beyond Borders. Broadening the Artistic Palette of (Composing) Improvisers in Jazz. - 2017
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1.1 The subject of this study
1.2 My motivation to undertake this study
1.3 The utility of this study
1.4 Developing my personal sound
  1.4.1 Improvising outside the chords
  1.4.2 Constructing contrafacts
  1.4.3 Pushing boundaries of style
  1.4.4 The need for innovative harmonic issues
1.5 Design of this study
  1.5.1 Improvising with jazz models
  1.5.2 Improvising with the Tone Clock
  1.5.3 Improvising with Messiaen's modes
  1.5.4 CODA
1    INTRODUCTION
2.1 Michael Brecker: tonal superimpositions, and harmonic displacements
2.2 Mike Sim: “incorrect” parallel ii-V chords
2.3 Paul Bley: non-tonal superimpositions, and melodic and rhythmic sequences
2.4 Bunky Green: stacked perfect fourth intervals, and superimposed triads
2.5 Gary Thomas: changing expected scale qualities
2.6 Conclusion
2    CONTEXT
3.1 Introduction
  3.1.1 The chord-scale technique
  3.1.2 Playing outside the changes
3.2 David Liebman (2013)
  3.2.1 Theory
  3.2.2 Practical applications
  3.2.3 Twelve-tone techniques
  3.2.4 Evaluation
3.3 Jerry Bergonzi (2000)
  3.3.1 Theory
  3.3.2 Practical applications
  3.3.3 Twelve-tone techniques
  3.3.4 Evaluation
3.4 George Garzone (2009)
  3.4.1 Theory
  3.4.2 Practical applications
  3.4.3 Twelve-tone techniques
  3.4.4 Evaluation
3.5 Walt Weiskopf (2009)
  3.5.1 Theory
  3.5.2 Practical applications
  3.5.3 Twelve-tone techniques
  2.5.4 Evaluation
3.6 Jerry Bergonzi (2006)
  3.6.1 Theory
  3.6.2 Practical applications
  3.6.3 Twelve-tone techniques
  3.6.4 Evaluation
3.7 John O’Gallagher (2013)
  3.7.1 Theory
  3.7.2 Practical applications
  3.7.3 Twelve-tone techniques
  3.7.4 Evaluation
3.8 Comparing the models
3    IMPROVISING WITH JAZZ MODELS
7   REFERENCES
 

7.1

Text references
7.2 Music references
7.3 Style sheet
4.1 Introduction: tonal and twelve-tone music
4.2 Peter Schat’s Tone Clock
4.3 Theoretical context of the Tone Clock
  4.3.1 Allen Forte’s pitch set class theory
  4.3.2 The problem of the three-ness
  4.3.3 Controlled revolution and natural evolution
4.4 Applications of the Tone Clock in jaz
  4.4.1 “7th Hour Blues” (Theo Hoogstins)
  4.4.2 “Green Room” (Frank Carlberg)
  4.4.3 “Petulant Snoot” (John O’Gallagher)
4.5 My applications of the Tone Clock
  4.5.1 “Onsa”
  4.5.2 “Pontiac”
  4.5.3 “Dicke Pitter”
4.6 Trichord operations instead of “composite scales”
4.7 Generative compendium of melodic patterns
  4.7.1 Trichord 1+2
  4.7.2 Trichord 1+3
  4.7.3 Trichord 1+4
  4.7.4 Trichord 1+5
  4.7.5 Trichord 2+3
  4.7.6 Trichord 2+4
  4.7.7 Trichord 2+5
  4.7.8 Tetrachord 1+5+1
  4.7.9 Tetrachord 2+1+2
  4.7.10 Tetrachord 2+3+2
  4.7.11 Tetrachord 5+1+1
  4.7.12 Tetrachord 1+2+3
4.8 Conclusion
4    IMPROVISING WITH THE
     TONE CLOCK
5.1 Introduction
5.2 Messiaen’s seven modes of limited transposition
  5.2.1 First mode (M1)
  5.2.2 Second mode (M2)
  5.2.3 Third mode (M3)
  5.2.4 Fourth mode (M4)
  5.2.5 Fifth mode (M5)
  5.2.6 Sixth mode (M6)
  5.2.7 Seventh mode (M7)
5.3 Applications of Messiaen’s modes in jazz
  5.3.1 Master class (Nelson Veras)
  5.3.2 “Calcutta” (Bo van der Werf)
  5.3.3

“Let’s Give This Tree A Little Friend”

(Jasper Blom)

  5.3.4 “Prayer” (Steve Lacy)
5.4 My applications of Messiaen’s modes
  5.4.1 “A Crow Calling”
  5.4.2 “Sparrows”
  5.4.3 “Dicke Luft”
  5.4.4 “Another Hero’s Journey”
5.5 Connections between Messiaen’s modes and traditional harmony
  5.5.1 CM1
  5.5.2 CM2
  5.5.3 CM3
  5.5.4 CM4
  5.5.5 CM5
  5.5.6 CM6
  5.5.7 CM7
  5.5.8 Summary
5.6 Generative compendium of melodic patterns
  5.6.1 CM1
  5.6.2 CM2
  5.6.3 CM3
  5.6.4 CM4
  5.6.5 CM5
  5.6.6 CM6
  5.6.7 CM7
5.7 Connections with the Tone Clock and the jazz models
5.8 Conclusion
5    IMPROVISING WITH MESSIAEN’S MODES
6   CODA
 

 6.1

Carillon (2013)
  6.1.1 “Onsa”
  6.1.2 “Seiko”
  6.1.3 “Mondaine”
  6.1.4 “Ancre”
  6.1.5 “Pontiac”
  6.1.6 “Swatch”
  6.1.7 “Heuer”
  6.1.8 “Emporio Armani”
  6.1.9 “Dicke Pitter”
  6.1.10 “D.H. Quartz”
  6.1.11 “Junghans”
  6.1.12 “Omega”
6.2 Bird Buzz (2017)
  6.2.1 “Bird Buzz”
  6.2.2 “The Titmouses”
  6.2.3 “Master Slow Feet”
  6.2.4 “Why Birds Always Sing”
  6.2.5 “Count Your Blessings”