This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc500764 |
| Date | 08 1900 |
| Creators | Mahoney, J. Jeffrey |
| Contributors | Dworak, Paul E., 1951-, Korsyn, Kevin Ernest |
| Publisher | North Texas State University |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | v, 114 leaves : ill., music, Text |
| Rights | Public, Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved., Mahoney, J. Jeffrey |
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