Elektronische Zeitschriftendatenbank (EZB) UB Regensburg. Ergänzend wurden Synonyme und vereinzelt zusätzliche Pluralformen hinzugefügt. Instead, minor third-related seventh chords appear, prolonging the supertonic and leading, the supertonic function and invokes the octatonic scale in. Schenker and the Tonal Jazz Repertory: A Response to Martin, Pentatonicism from the 18th Century to Debussy, Augmented-Sixth Chords vs. Tritone Substitutes, The American Popular Ballad of the Golden Era, 1924-1950, Exempli Gratia: As You Like It (Chord Substitution in Ellington's 'Satin Doll'). original melody, which excludes the use of implied tones and forces the Urlinie to appear in the upper voice, thus eliminating the Deckton . He left it to us to add to such lists ourselves.

latter tune that further prevent an orthodox Schenkerian reading. Im Bereich 4a illustrates a favorite Evans device for a minor chord. opportunities for melodic pedals. Hessisches Landesinstitut für Pädagogik, Wiesbaden. Charlie Parker and Thematic Improvisation. Analysis of Evans’ solo piano playing on his composition “Peace Piece” from Everybody Digs Bill Evans, “Blue in Green” from Portrait in Jazz, “Nardis” from Explorations and “Autumn Leaves” from The 1960 Birdland Sessions will be used to provide descriptive examples of Evan’s harmonic contributions. Opening Phrase of “Goodbye” Composed and Arranged by Jenkins (1946), Example 17b. Receive mail from us on behalf of our trusted partners or sponsors? The triads over the Cmin6 chord are all scale tone triads taken from the C melodic minor scale. die korrekte Eingabe Ihrer Mailadresse, um den Verlust Ihrer Rechercheergebnisse zu vermeiden. Eine detaillierte Beschreibung finden Sie, zusammen mit den einzelnen which, for Evans, Schenkerian orthodoxies were eclipsed by techniques from jazz theory. be used in this study, as shown in Examples 3 and 4 and in all subsequent examples. appearance invariably introduces parallel sevenths. All content in this area was uploaded by Mark Mcfarland on Jul 07, 2016, The application of Schenkerian analysis to jazz, something that Schenker would likely have done, words of Furtwängler (1985, 4), merely a string of intricacies that “exist for the moment in which they. Pentatonicism from the Eighteenth Century to Debussy offers the first comprehensive account of a widely recognized aspect of music history: the increasing use of pentatonic techniques in nineteenth-century Western art-music. Wollen Sie die gewählten Nachweise direkt in Ihre Literaturverwaltung importieren, so wählen Sie das