Glasper Harmony [PDF]

Zitiervorschau

A Cyclic Approach to Harmony in Robert Glasper’s Music Society for Music Theory Columbus, OH November 7, 2019 Ben Baker Eastman School of Music [email protected]

I. Introduction

Robert Glasper

hip-hop

R&B

jazz

neo-soul gospel

I. Introduction

Robert Glasper Blue Note releases: piano trio 
 piano trio + R.G. Experiment R.G. Experiment piano trio R.G. Experiment

Canvas (2005) In My Element (2007) Double-Booked (2009) Black Radio (2012) Black Radio 2 (2013) Covered (2015) ArtScience (2016)

I. Introduction

Robert Glasper

“…probably the most prominent jazz musician of his generation. He’s gotten there by playing within and without jazz, and pushing the music to reconsider its boundaries.” -Russonello (NYT, 2018)

I. Introduction

Glasper’s Harmonic Language diatonic collections

clear tonal centers

tertian harmonies root motion by: 3rd (ex. Imaj7 - vi7 - IVmaj7 - ii7) descending 5th (ii7 - V7 - Imaj7) two primary chord qualities: major 7th chords + upper extensions minor 7th chords

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

b˙

∑

F

œ œ

C7alt

œ œ bœ

j œ ˙

D/F#

w

œ œ œ œ œ J œ

∑

Ϫ

œ

Dm11

j œ œ

Gbmaj9

œ bœ J

Bbm9

Gm11

œ

˙

Fmaj9

Œ

˙

Bbm11 Gm11

b˙ ™

w

œ

œ œ œ œ

w

w

w w

w

w

˙

∑

∑

∑

™™ F7sus4

œ

œ ∑

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

b˙

∑

F

œ œ

C7alt

œ œ bœ

j œ ˙

D/F#

w

œ œ œ œ œ J œ

∑

Ϫ

œ

Dm11

j œ œ

Gbmaj9

œ bœ J

Bbm9

Gm11

œ

˙

Fmaj9

Œ

˙

Bbm11 Gm11

b˙ ™

w

œ

œ œ œ œ

w

w

w w

w

w

˙

∑

∑

∑

™™ F7sus4

œ

œ ∑

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

œ

Dmaj9

&b ˙

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

F:

Gm11 ∑ ii

j œ œ

Gbmaj9

b˙

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ ∑ Bbm9

j œ ˙

œ

˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

11 Dm ∑ ∑ Dbmaj9

œ œ

w

w w

œ œ

Œ

˙

w w

Gm11

w w

˙

Fmaj9 ∑ I

™™ F7sus4

œ

œ ∑

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

j œ œ

Gbmaj9

Gm11 ∑

b˙

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ ∑ Bbm9

j œ ˙

œ

˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

11 Dm ∑ ∑ Dbmaj9

œ œ

w

w w

œ œ

Œ

˙

w w

Gm11

w w

˙

Fmaj9 ∑

™™ F7sus4

œ

œ ∑

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

j œ œ

Gbmaj9

Gm11 ∑

b˙

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ ∑ Bbm9

j œ ˙

œ

˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

Dmaj9 11 Dm ∑ ∑ Dbmaj9

œ œ

w

w w

œ œ

Œ

˙

w w

Gm11

w w

˙

Fmaj9 ∑

™™ F7sus4

œ

œ ∑

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

j œ œ

Gbmaj9

Gm11 ∑ Gbmaj9

b˙

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ ∑ Bbm9

j œ ˙

œ

˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

Dmaj9 11 Dm ∑ ∑ Dbmaj9

œ œ

w

w w

œ œ

Œ

˙

w w

Gm11

w w

˙

Fmaj9 ∑

™™ F7sus4

œ

œ ∑

I. Introduction

“Rise and Shine” (Canvas, 2005) Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

j œ œ

Gbmaj9

Gm11 ∑ Gbmaj9

b˙

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ ∑ Bbm9

j œ ˙

œ

˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

Dmaj9 11 Dm ∑ ∑ Dbmaj9

œ œ

w

w w

œ œ

Œ

˙

w w

Gm11

w w

˙

Fmaj9 ∑

™™ F7sus4

œ

œ ∑

I. Introduction

Glasper’s Harmonic Language

patterns of root and upper-voice motion within and between diatonic collections

II: the ic3/4 dual interval cycle

— Outline — I. Introduction II. The ic3/4 Dual Interval Cycle III. Cyclic SLIDEs (cSLIDEs) IV. cSLIDEs in Glasper’s Music: Three Contexts V. Broader Connections

II. The ic3/4 Dual Interval Cycle

+4 (pcs)

0

+3

4

+4

7

+3

E

+4

2

6

II. The ic3/4 Dual Interval Cycle 5

9

0

4

7

2

E 4

8

1

0

9

3

6

7

T

2

24-pc “multi-aggregate cycle” (Gollin 2007)

5

8 E

3

6

T

1

II. The ic3/4 Dual Interval Cycle 5

9

0

4

circle of 5ths

7

2

E 9 1

4

8

0

3

6

7

T

2

circle of 5ths

5

8 E

3

6

T

1

II. The ic3/4 Dual Interval Cycle 5

9

0

4

2

E 1

4

8

0

3

9

encodes all 12 diatonic collections

6

7

T

2

5

8 E

3

6

T

1

1b

7

II. The ic3/4 Dual Interval Cycle 0b

5

9

0

4

7

2

E 9 1

4

8

0

3

6

7

T

2

encodes all 12 diatonic collections

5

8 E

3

6

T

1

II. The ic3/4 Dual Interval Cycle 5

1# 0 9

4

etc.

7

2

E 9 1

4

8

0

3

6

7

T

2

encodes all 12 diatonic collections

5

8 E

3

6

T

1

C

G

D

II. The ic3/4 Dual Interval Ab Eb Cycle Bb Cb

5

9

0

4

2

E

T

2 6

3

9

8

4

8

5

Db

C Ab

Eb

A# Cbbb E# Gbbb B# Dbbb FX Abbb CX Ebbb C# G# D# A# E# A

E C

1

0

F

E

Cb Bbb and Ebb (1982) Fb others: Lewin ic M/m Cbb3/4 cycle Gbb relates Dbb Abb Ebb CX Ebbb GX triads DX AX EX bbb bb bb B F C

7

7

Gb

A

Ab

G Eb

Cb

D Bb

Gb

Db

Gbb bbb

F

Bbb

Ebb

E Cbb

F#

B

A

E

Ab

Eb

etc.C Cb

Fb Dbb

bbb

C#

Abb bb

Ebb bb

3

6

T

1

II. The ic3/4 Dual Interval Cycle 5

9

0

4

Lewin (1982) and others: ic3/4 cycle relates M/m triads

7

2

E

0

3

9 1

of 9th, (#)11th, and 13th…”


6

7

T

2 “[seventh chords] may, but need not, include the standard extensions

8

5

8

+ 9th, (#)11th, 13th

4

-Waters (2016)

Waters (2016, 2019): ic3/4 cycle relates M/m 7th chords

ex. Dm11 = D F A C E G

E

3

6

T

1

II. The ic3/4 Dual Interval Cycle

4

+ 9th, (#)11th, 13th

9

3

7

T

2

E

Waters (2016, 2019): ic3/4 cycle relates M/m 7th chords

6

9

7 2

5

0

4

8

0

1

5

8

Glasper’s voicings, melodies, and improvisations

E

3

6

T

1

II. The ic3/4 Dual Interval Cycle 5

9

0

4

7

2

E

T

2

9

3

7

6

4

8

0

1

5

8 E

3

6

T

1

II. The ic3/4 Dual Interval Cycle

1

5

8

0

3

7

T

2

Db F Ab C Eb G Bb D

5

F

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

A¨Œ„Š9

j œ œ™ œœœ œœ w

j œ œ

C‹11

œ œ

œ™ œœœœ œœ ˙™

j œ œ™

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D

Cm: bII

iv

VI

i

(read chords L to R)

F

Ϫ

j ™ œ ™ ™™

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

2

3

A¨Œ„Š9

C‹11

j œ œ™ œœœ œœ w

j œ œ

œ œ

œ™ œœœœ œœ ˙™

4

j œ œ™

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm: bII

iv

VI

i

F

Ϫ

j ™ œ ™ ™™

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

2

3

A¨Œ„Š9

C‹11

j œ œ™ œœœ œœ w

j œ œ

œ œ

œ™ œœœœ œœ ˙™

4

j œ œ™

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm: bII

iv

VI

i

F

Ϫ

j ™ œ ™ ™™

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

2

3

A¨Œ„Š9

C‹11

j œ œ™ œœœ œœ w

j œ œ

œ œ

œ™ œœœœ œœ ˙™

4

j œ œ™

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

F

Ϫ

j ™ œ ™ ™™

tritone substitute dominant

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

2

3

A¨Œ„Š9

C‹11

j œ œ™ œœœ œœ w

j œ œ

œ œ

œ™ œœœœ œœ ˙™

4

j œ œ™

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

F

Ϫ

j ™ œ ™ ™™

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

2

3

A¨Œ„Š9

C‹11

j œ œ™ œœœ œœ w

j œ œ

root motion Db F Ab 1 3

C 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

œ œ

œ™ œœœœ œœ ˙™

4

j œ œ™

melodic motion Eb G Bb

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

D

F

Ϫ

j ™ œ ™ ™™

II. The ic3/4 Dual Interval Cycle

Methodology for Upper Extensions I transcribe Glasper’s performance(s) (melody, bass line, comping, solos)

I treat Glasper’s chordal upper extensions as flexible networks of possibilities

Glasper’s jazz performance practice

Db F Ab C Eb G Bb D 3

root motion 1 3

2 3

43

Cm:

bbII II

V’maj7

F

melodic motion

iv

VI

i

II. The ic3/4 Dual Interval Cycle

Methodology for Upper Extensions 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

2

3

A¨Œ„Š9

C‹11

j œ œ™ œœœ œœ w

j œ œ

œ œ

œ™ œœœœ œœ ˙™

possible upper extensions (cf. Glasper’s melody, comping, solos)

4

j œ œ™

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D 3

root motions 1 3

Cm:

V’maj7

F

2 3

43 bbII II

Ϫ

j ™ œ ™

melodic motion

iv

VI

i

™™

II. The ic3/4 Dual Interval Cycle

Flexible Chord-to-Chord Transformations 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j[+1] œ œ™

2

3

A¨Œ„Š9

C‹11

4 D¨Œ„Š13(#11)

j [+1] [+1] j j[-3] j j j œ œ œ œ œ™ ™ ™ œ œ™ œ œ œ™ œ œ œ œ œ œ

b b} œœœ œœœ œ œ {f} {c} {A } {D œ œ œ œ œ œ œ œ œ œ œ 4œ ?{root+quality} œ b th b œ ˙™ œ = 7 chord with flexible combo of upper extensions 4 b w b ¢ w bœ w “CURSORs”

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

F

™™ ™™

II. The ic3/4 Dual Interval Cycle

Flexible Chord-to-Chord Transformations 1 [0:45]

F‹11

° bb 4 œ ™ & b4

j[+1] œ œ™

2

3

A¨Œ„Š9

C‹11

4 D¨Œ„Š13(#11)

j [+1] [+1] j ™™ j[-3] j j j œ œ œ œ œ™ ™ ™ œ œ™ œ œ œ™ œ œ œ œ œ œ

b œœœ6} œ œœœ b,7} {f, œœœ6} {c, {Aœœ, 5} {D œ œ œ œ œ œ œ ? bb 44 œ œ ™ b œ ˙™ œ th w = 7 chord with fixed range of upper extensions™ b w “height”} ¢{root+quality, bœ w

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

F

II. The ic3/4 Dual Interval Cycle

Flexible Chord-to-Chord Transformations 1

2

3

4

A¨Œ„Š9 C‹11 D¨Œ„Š13(#11) j ° bb 4 œ ™ [+1, j -1] j [+1, +1] [-3, +1] j j [+1, -1] j ™™ j œ œ™ b & 4 œ œ œ œ œ™ ™ ™ œ œ™ œ œ œ™ œ œ œ œ œ œ

b œœœ6} œ œœœ b, 7} {f, œœœ6} {c, {Aœœ, 5} {D œ œ œ œ œ œ œ ? bb 44 œ œ ™ b œ ˙™ œ th w = 7 chord with fixed range of upper extensions™ b w “height”} ¢{root+quality, bœ w

[0:45]

F‹11

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

F

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

2

[+1, -1]

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

A¨Œ„Š9

j œ œ™ œœœ œœ w

[+1, +1]

j œ œ

root motions

3 C‹11

œ œ

œ™ œœœœ œœ ˙™

4

[-3, +1]

j œ œ™

melodies

D¨Œ„Š13(#11)

j j œ™ œ œ œœœ œœœ œ bœ bœ w

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

[+1, -1]

F

Ϫ

j ™ œ ™ ™™

II. The ic3/4 Dual Interval Cycle

“No Worries” (Double-Booked, 2009) 1 [0:45]

F‹11

° bb 4 œ ™ & b4

2

[+1, -1]

j œ œ™

œœœ œ ? bb 44 œœ ¢ b w

A¨Œ„Š9

j œ œ™ œœœ œœ w

[+1, +1]

j œ œ

root motions

3 C‹11

4

[-3, +1]

j œ œ™

D¨Œ„Š13(#11)

j j ™ œ œ™ œ œ œ œ œœœœ œ œœœ œœ œ ˙™ œ bœœ bœ w common tones

Db F Ab C Eb G Bb D 3

1 3

2 3

43

Cm:

bbII II

V’maj7

iv

VI

i

[+1, -1]

F

Ϫ

j ™ œ ™ ™™

— Outline — I. Introduction II. The ic3/4 Dual Interval Cycle III. Cyclic SLIDEs (cSLIDEs) IV. cSLIDEs in Glasper’s Music: Three Contexts V. Broader Connections

III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009) ↓cSLIDE [1:02]

D‹11

° bb 4 œ œ œ œ w & b4 ? bb 44 ¢ b

n œœœ nœœœ ‰ œ Œ J

↑cSLIDE

D¨Œ„Š13(#11)

˙

b œœœœ bbœœœ œ™ b œJ w

œ œ œ

D‹11

w

n œœœ nnœœœ ‰ œ Œ J

D¨Œ„Š13(#11)

˙™

b œœœœ bbœœœ œ™ b œJ w

œ œ ™™ ™™

III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009) ↓cSLIDE [1:02]

D‹11

° bb 4 œ œ œ œ w & b4 ? bb 44 ¢ b

cSLIDE

↑cSLIDE

D¨Œ„Š13(#11)

˙

œ œ œ

D‹11

w

n œœœ nœœœ ‰ œ Œ J

b œœœœ bbœœœ œ™ b œJ w

D F

A C

E

Db F

Ab C

Eb G Bb

Cm: V’maj7 bbII II

n œœœ nnœœœ ‰ œ Œ J

G B

D¨Œ„Š13(#11)

˙™

b œœœœ bbœœœ œ™ b œJ w

œ œ ™™ ™™

III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009) [1:02]

5

6

D‹11

D¨Œ„Š13(#11)

° bb 4 œ œ œ œ w & b4

˙

œ œ œ

D‹11

w

n œœœ nœœœ ‰ œ Œ J

b œœœœ bbœœœ œ™ b œJ w

D F

A C

E

Db F

Ab C

Eb G Bb

? bb 44 ¢ b

C:

5

n œœœ nnœœœ ‰ œ Œ J

ii 5 3

cSLIDE

63

Cm: V’maj7 bbII II

G B

6 D¨Œ„Š13(#11)

˙™

b œœœœ bbœœœ œ™ b œJ w

œ œ ™™ ™™

III. Cyclic SLIDEs (cSLIDEs) 5

9

0

4

7

2

E 9

3

6

7

T

2

[±7]

4

8

0

1

5

8 cSLIDE

D F A C E G B Db F Ab C Eb G Bb

E

3

6

T

1

III. Cyclic SLIDEs (cSLIDEs) 5

9

0

4

7

cSLIDE:

2

E

T

2

[±7]

highlights 7-cycle common tones

9

3

6

7

voice-leading manifests on musical surface

4

8

0

1

captures how it feels to play the transformation

5

8 cSLIDE

D F A C E G B Db F Ab C Eb G Bb

E

3

6

T

1

III. Cyclic SLIDEs (cSLIDEs)

“No Worries” (Double-Booked, 2009) 5 [↓0, +1] 6 [1:02]

D‹11

° bb 4 œ œ œ œ w & b4

D¨Œ„Š13(#11)

˙

œ œ œ

D‹11

w

n œœœ nœœœ ‰ œ Œ J

b œœœœ bbœœœ œ™ b œJ w

D F

A C

E

Db F

Ab C

Eb G Bb

? bb 44 ¢ b

C:

5 [↓0, +1] 6

[↑0, -1]

n œœœ nnœœœ ‰ œ Œ J

ii 5 3

cSLIDE

6 3

Cm: V’maj7 bbII II

G B

D¨Œ„Š13(#11)

˙™

b œœœœ bbœœœ œ™ b œJ w

œ œ ™™ ™™

— Outline — I. Introduction II. The ic3/4 Dual Interval Cycle III. Cyclic SLIDEs (cSLIDEs) IV. cSLIDEs in Glasper’s Music: Three Contexts V. Broader Connections

IV. cSLIDEs in Glasper’s Music: Three Contexts 1) Single-chord modal mixture in vamps 2) (Extensive) traversal of parallel modes 3) Joining three cSLIDE-related subsets

successively longer progressions

IV. cSLIDEs in Glasper’s Music: Three Contexts 1) Single-chord modal mixture in vamps 2) (Extensive) traversal of parallel modes 3) Joining three cSLIDE-related subsets

major: ii

minor:

vi

I

2̂

IV 4̂

6̂

1̂

3̂

5̂

7̂

2̂

b2 ̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

bII

iv

VI

i

4̂

IV. cSLIDEs in Glasper’s Music: Single-Chord Modal Mixture in Vamps

“Of Dreams to Come” (In My Element, 2007) [0:00]

1

2

B¨‹11

G¨Œ„Š9(#11)

° bb b 3 & b b 4 ˙™ ‰ œ œœ ? bb b 43 œœœ˙ ¢ bb ™

Ϫ

œ œ œ œ

3

[↓]

G‹11

n œœ ™™ nœœœ nnœœ ˙™

vi 3

Bb:

cSLIDE

˙™ œ œœœ œœ ˙™

[↑]

4 E¨‹11

n œœ ™™

œœ b bbœœœœ œ˙ ™

Eb G Bb D F

A C

E

Eb Gb Bb Db F

Ab C

Eb

4 3 Bbm: iv

2 3 VI

1 3 i

œ œ œ

œ

™™ ™™

IV. cSLIDEs in Glasper’s Music: Single-Chord Modal Mixture in Vamps

“F.T.B.” (In My Element, 2007)

[0:00]

1

2

3a

4

B¨Œ„Š9

G‹9

E¨Œ„Š9

D‹11

E¨Œ„Š9 œ ˙

D‹11 œ™

° b 4 œ™ & 4B¨Œ„Š9 ° b 4 œ™ œ & 4 œœœ ? b 44 œœœœ œœ ™ ¢ ? b 44 œ ™ ¢ B¨Œ„Š9 1

° b œ™ & B¨Œ„Š9 ° b œ™ œœœ & œœ ? b œœœ œœ ™ ¢ ?b œ ™ ¢

j œ ˙ G‹9 j œœœ ˙ œœ œœœ œœJ ˙ œJ ˙

G‹9 2

j œ ˙ G‹9 œœœj ˙ œœ œœœ œœJ ˙ œJ ˙

j j œœœ ˙ bœœœ œ ™ b œœœ ˙ bœJ œ™ bœ ˙ J œ™ œ™

Ϫ Ϫ Ϫ Ϫ

E‹9 3b

j E‹9 #œ j # œ n #œœœœ # œ n œœœœJ

œJ

˙ ˙ ˙ ˙

œœœœ ™ œœ œœœ œœ˙ ˙ D‹11 4 D‹11 œ™ œœœœ ™ œœ œœœ œœ˙ ˙

A9(“4)

œœœ œœœ œ œ

œ œ œ œ œ œ

˙™ œ n œœœ ˙™ œ ‰ n œœœ ‰ œ ˙ J œJ ‰ œ ‰ œ ˙ J J A9(“4)

œœœœ œœœœ

A9(“4)

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

w A9(“4)

œœœ n w œ œ n ‰ œœœ ‰ œ ˙ J J œ ‰ œ ‰ œ ˙ J J

™™ ™™ ™™ ™™

j ° b 4 œ™ j œ œ œ œ ˙ œ™ œ ™ & 4 œ œ ˙ œ œ œ œ œ ˙™ in Glasper’s Music: Single-Chord Modal Mixturen œ in Vamps œœœ IV. cSLIDEs œ œ œ œ œœœ œœœ œœ œœœ œœ œ Be Alright œœ (F.T.B.)” 4 œ ?“Gonna (Black Radio, 2012) b œ ‰ ‰ œ œ œJ œJ ˙ œJ ˙ œ™ bœ ˙ ¢ b4 œ ™ ˙ J 1 2 3b [↓] 4 [↑] B¨Œ„Š9

G‹9

E‹9

j œ ˙ œœœ œœ œJ ˙

° b œ™ & œœœ œœ ?b œ ™ ¢

…no matter if the rain falls;

D‹11

j #œ ˙ # œ n œœœ œ

œ ™ œ ˙ J œ™

œ™ œœœ œœœ ˙

when you call

A9(“4)

œ œ œ

œ

œ

œ

œ

I’ll be okay…

w

n œœœ œœ ‰ œ ‰ œ ˙ J J

melody

3b cSLIDE

E

G

Eb G

3a bII Dm: bV’maj7 II

2 iv

B

D

Bb D 1 VI

4

i

F# A

C# E

F

C

A

E

G

™™ ™™

IV. cSLIDEs in Glasper’s Music: Three Contexts 1) Single-chord modal mixture in vamps 2) (Extensive) traversal of parallel modes 3) Joining three cSLIDE-related subsets

major: ii

minor:

vi

I

2̂

IV 4̂

6̂

1̂

3̂

5̂

7̂

2̂

b2 ̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

bII

iv

VI

i

4̂

IV. cSLIDEs in Glasper’s Music: (Extensive) Traversal of Parallel Modes

“Always Shine” (Black Radio, 2012) 1

[↓]

2

[↑]

3

4

° b œ œ œ œ bœ œ bœ œ œ & œ œ œ œœœ œ b œ n œ œ œ œ b œ n œ ?b w œ bw n œw ¢

[0:00] FŒ„Š9

D¨Œ„Š9

F:

cSLIDE

ii 4

G

D‹11

IV

vi 3

Bb D

6 bbII Fm: V’maj7 II iv

B¨‹13

F

i

G¨Œ„Š9(#11)

œ œ œ b œ œ œ œ œ œ œ œ œœœ b œœœ œœœ œœœ b b œœw bw b œ b œw

1

2

VI

G‹11

6

I

Gb Bb Db F 5

5

[↓]

A

C

Ab C

E

G

Eb G

IV. cSLIDEs in Glasper’s Music: (Extensive) Traversal of Parallel Modes

“Always Shine” (Black Radio, 2012) 1 [0:54]

[↑]

B¨‹11

° b 4 ≈bœ œ œ œ & 4 bœ œ œ b œ ? b4 œ b 4 ˙ ¢ F:

2 D‹11

œnœ œ œ œ

ii

G

[↑]

G¨Œ„Š9(#11)

nnœ œ œ œ ˙ nœ

IV

4

œ œbœ œ œ œ œ œ™ œ ≈ nn œ œ œ œ ˙ nœ

vi

1

[↓]

G‹11

bbœ œ œ œ ˙ bœ

4 cSLIDE

3

[↓]

5

œ œ œ bœ™™

B¨‹13

nb œ œ œ b bœ œ œ ˙

F‹9

œ œ œ œ ˙

I

2

Bb D

F

Gb Bb Db F 5

1

3 bbII Fm: V’maj7 II iv

VI

i

A

C

Ab C

E

G

Eb G

3 G¨Œ„Š9(#11)

œ bœ œ ˙™ R bbœ œ œ œ bœ w

IV. cSLIDEs in Glasper’s Music: Three Contexts 1) Single-chord modal mixture in vamps 2) (Extensive) traversal of parallel modes 3) Joining three cSLIDE-related subsets T-3(maj.) 2 ̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

major

2̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

minor

b2 ̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

4̂

IV. cSLIDEs in Glasper’s Music: Three Contexts 1) Single-chord modal mixture in vamps 2) (Extensive) traversal of parallel modes 3) Joining three cSLIDE-related subsets

???

???

1̂

3̂

5̂

7̂

2̂

major

2̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

minor

b2 ̂

4̂

6̂

1̂

3̂

5̂

7̂

2̂

4̂

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“North Portland” (Canvas, 2005) œ

EŒ„Š9

5 Ó™ &4 A‹9

œ #œ

œ œ

& w

E:

Em:

F©‹11

#œ ™

F# A ii

IV

F

A iv

nw

F‹9

j œ œ

bœ

C©‹11

#œ ™ #œ œ J C©‹11

œ

œ

Ϫ

œ J

F

Ab C

Eb G

C# E

G# B

D# F#

vi

I

C

E

VI

i

#œ ™

œ œ J

CŒ„Š9

nœ ™

œ œ œ

œ œ J

œ

CŒ„Š9

w

cSLIDE

cSLIDE

G

B

D

F#

œ œ œ

™™

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“North Portland” (Canvas, 2005)

1 EŒ„Š9

5 Ó™ &4 5 A‹9

& w

2

[↑] œ œ #œ [↑]

œ œ

nw

F‹9

F©‹11

C©‹11

#œ ™

F# A F

C©‹11

6

j œ œ

5

œ

œ

œ J

F

Ab C

Eb G

C# E

G# B

D# F#

C 4

1

E

#œ ™

CŒ„Š9

nœ ™

[↓]

Ϫ

3

A

4

[↓]

#œ ™ #œ œ J 3

bœ

2

6

3

[↓]

œ œ J

œ œ œ

œ œ J 4

œ

CŒ„Š9

w

cSLIDE

cSLIDE

G

B

D

F#

œ œ œ

™™

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“59 South” (Double-Booked, 2009) 1

[↓]

2 [↑] 3

B‹11 G©‹11 j œe œ œ œ nœ œ™ œj œ™ #### # 4 n ee # ee & #4Œ ‰ e [↓] 5 [↓] 6 F©Œ„Š9

F©‹7

#### # nœe ™™ & # n e™

F©‹7

#### # nœe ™™ & # n e™

j œ œ™

G‹11

j nœ œ nn ee ™™™

G# B

j œ œ™ 3

G‹11

D

2

G 6

D©‹11

DŒ„Š7/E

j œ # œe ™™ e™

œ œ œ J œ w 7 D‹9

j œ œ

nœ

Bb D 7

j1 œ œ nœ

G©13(“4)

F# A 5

F

A

™™™ # œ e #e

DŒ„Š7/E

Ó™

nnn w%%

j œ #œ

C# E C

E

C©Œ„Š9

œ

œ œ

™™ ˙™

D# F# A# C# E# G#

j nœ ™ œ nn ee4™™

B

4

#œ

œ œ

BŒ„Š13

cSLIDE œ œ œ œ œ

G# B G

cSLIDE

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“59 South” (Double-Booked, 2009) B‹11 G©‹11 j œe œ œ œ nœ œ™ œj œ™ #### # 4 n ee # ee & #4Œ ‰ e F©Œ„Š9

F©‹7

#### # nœe ™™ & # n e™

F©‹7

#### # nœe ™™ & # n e™ ↓cSLIDE ↓cSLIDE ↓cSLIDE

j œ œ™ j œ œ™

G‹11

j œ nnnœee ™™™ G‹11

j nœ ™ œ nn ee ™™

G# B B G

D©‹11

j œ # œe ™™ e™

œ œ œ J œ w

nœ

DŒ„Š7/E

Ó™

nnn w%%

G©13(“4)

™™ # œ e # e™

j œ #œ

C©Œ„Š9

œ

#œ

Bb D

F# A

C# E

G# B

F

C

G

A

E

F# A# C# E# G# B# D#

œ œ

BŒ„Š13

œ œ œ

D# F# A# C# E# G# D

œ œ

™™ ˙™

D‹9

j œ œ

j œ œ nœ

DŒ„Š7/E

œ œ

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™ &b

œ œ ∑

j œ œ

Gbmaj9

Gm11 ∑ Gbmaj9

b˙

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ ∑ Bbm9

j œ ˙

œ

˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

Dmaj9 ∑ Dm11 ∑ Dbmaj9

œ œ

w

w w

œ œ

Œ

˙

w w

Gm11

w w

˙

Fmaj9 ∑

™™ F7sus4

œ

œ ∑

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™

Gb &

Gb

œ œ ∑ Bb

Bb

j œ œ

Gbmaj9

b˙

D ∑ D Db

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ

F# ∑ F F

j œ ˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

∑

œ œ

w

w w

w

A A Ab

œ œ

Œ

w

w

œ

˙

˙

w

∑

Gm11

˙

C# C C

∑

™™ F7sus4

œ

E E Eb

œ ∑

G G

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

j œ œ

Ϫ

C7

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™

Gb &

Gb

œ œ ∑ Bb

Bb

j œ œ

Gbmaj9

b˙

D ∑ D Db

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

C7alt

œ œ bœ

F# ∑ F F

j œ ˙

Fmaj9

Bbm11 Gm11

b˙ ™

œ

∑

œ œ

w

w w

w

A A Ab

œ œ

Œ

w

w

œ

˙

˙

w

∑

Gm11

˙

C# C C

∑

™™ F7sus4

œ

E E Eb

œ ∑

G G

IV. cSLIDEs in Glasper’s Music: Joining Three cSLIDE-Related Subsets

“Rise and Shine” (Canvas, 2005)

Fmaj9

& bC œ

Dmaj9

&b ˙

œ

œ

Dbmaj9

œ bœ

Ϫ

œ J

Dbmaj9

Ϫ

Gm11

Ϫ

C7

j œ œ

& b bœ œ œ œ œ œ œ œ œ œ™ Gm11

1.

Ϫ

&b w 2.

& b ˙™

G G&bb

j œ œ

œ bœ J

Bbm9

Ϫ

œ

F

œ œ

D/F#

w

œ œ œ œ œ J Dm11

œ

j œ ˙

w

D ∑ Db

F ∑ F

A ∑ Ab

œ

˙

Fmaj9

Œ

˙

Bbm11 Gm11

b˙ ™

œ

w

w

root motion C7altmelodic motion Gbmaj9 w w œ œ b#œ œ œ b˙D A F

Bb ∑ Bb

Gm11

C# C ∑ C

œ œ œ œ w

w ˙

™™ F7sus4

E œ œ E G ∑ Eb ∑ G

— Outline — I. Introduction II. The ic3/4 Dual Interval Cycle III. Cyclic SLIDEs (cSLIDEs) IV. cSLIDEs in Glasper’s Music: Three Contexts V. Broader Connections

V. Broader Connections The ic3/4 dual interval cycle… …shapes many of Glasper’s vamps, hooks, and opening gambits …coexists in longer progressions with other kinds of syntax

…but it (obviously) doesn’t animate all of Glasper’s music

V. Broader Connections The ic3/4 dual interval cycle… …as a transformational space Waters and Williams (2010), McClimon (2017), Smither (2019)

…as a prolongational model Strunk (2016), Martin (2018)

…as a model of relationships between diatonic collections Waters (2005), Michaelsen (2018)

…as a targeted expansion of chord substitution sets Strunk (1979, 2016), Waters (2016, 2019)

V. Broader Connections

The ic3/4 dual interval cycle…

…captures patterns of root and upper-voice motion within and between diatonic collections

Thank You!

Ben Baker Eastman School of Music [email protected]

Berkman, David. 2013. The Jazz Harmony Book: A Course in Adding Chords to Melodies. Petaluma, CA: Sher Music Company. Gollin, Edward. 2007. “Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók.” Music Theory Spectrum 29 (2): 143–76. Lewin, David. 1982. “A Formal Theory of Generalized Tonal Functions.” Journal of Music Theory 26 (1): 23–60. ———. 2002. “Thoughts on Klumpenhouwer Networks and Perle-Lansky Cycles.” Music Theory Spectrum 24 (2): 196–230. ———. [1987] 2007. Generalized Musical Intervals and Transformations. New York: Oxford University Press. Love, Stefan Caris. 2017. “Ladders of Thirds and Tonal Jazz Melody.” Unpublished manuscript. Martin, Henry. 2018. “Prolongation and Its Limits: The Compositions of Wayne Shorter.” Music Theory Spectrum 40 (1): 84–105. McClimon, Michael. 2017. “Transformations in Tonal Jazz: ii-V Space.” Music Theory Online 23 (1). Michaelsen, Garrett. 2018. “Chord-Scale Networks in the Music and Improvisations of Wayne Shorter.” Gamut 8 (1): 123–88 Mulholland, Joe, and Tom Hojnacki. 2013. The Berklee Book of Jazz Harmony. Boston: Berklee Press. Russonello, Giovanni. 2018. “A Month of Robert Glasper’s Experiments at the Blue Note.” The New York Times Online. Accessed 10/28/18. https://www.nytimes.com/2018/10/19/arts/music/robert-glasper-blue-note-residency.html. Smither, Sean. 2019. “Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz.” Music Theory Online 25 (2). Straus, Joseph. 1982. “Stravinsky’s Tonal Axis." Journal of Music Theory 23 (2): 261–90. Strunk, Steven. 1979. “The Harmony of Early Bop: A Layered Approach.” Journal of Jazz Studies 6 (1): 4–53. ———. 2016. “Tonal and Transformational Approaches to Chick Corea’s Compositions of the 1960s.” Music Theory Spectrum 38 (1): 16–36. Waters, Keith. 2005. “Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock.” Journal of Music Theory 49 (2): 333–57. ———. 2016. “Chick Corea and Postbop Harmony.” Music Theory Spectrum 38 (1): 37–57.

Discography

———. 2019. Postbop Jazz in the 1960s: The Compositions of Wayne Shorter, Herbie Hancock, and Chick Corea. New York: Oxford University Press. Waters, Keith, and J. Kent Williams. 2010. “Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and ThreeDimensional Pitch Spaces; or Jazz Harmony after 1960.” Music Theory Online 16 (3).