All the Tones Paper

8/6/2019 All the Tones Paper

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Applying Twelve Tone Constructions in a Standard Jazz Improvisation Setting:

All The Tones You Are

By

Alexander Graham

A RESEARCH PROJECT

Submitted to the Eastman School of Music

Rochester, NY

In partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

December 11, 2005

Advanced Projects in ImprovisationProfessor Harold Danko

Department of Jazz and Contemporary Media


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Introduction

Background Information

There is a good deal of research and study in the jazz education field that focuses

on the role of harmonic progressions in developing linear concepts for improvisation.

This is for obvious reasons; without understanding harmony, it would be impossible to

improvise melodic ideas that make any sense within the structure of a given piece.

However, there are numerous other methods of constructing a line separate from just

harmonic considerations. One of the more prominent of these methods is in twelve-tone

music and there is an opportunity in the field of jazz improvisation to find and establish

ways of incorporating twelve-tone rows and other linear-based concepts into the

mainstream of jazz performance, research and education.

Problem Statement

This study uses Jerome Kerns standard song All The Things You Are as a

palate for exploring different methods of incorporating twelve-tone rows into standard

jazz chord progressions. An etude encompassing three choruses of the form has been

composed by first transcribing 3 choruses of the authors recorded improvisations on All

the Things You Are followed by replacing some of the transcribed phrases with selected


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tone rows that match or approximate the original rhythmic phrasing. The focus of the

etude is to create an improvised sounding statement that includes melodic statements and

patterns that could potentially be explored further in different transpositions and settings.

As well, several of the phrases prove to be technically difficult to master and provide a

good technical exercise for practicing. Several melodic statements and patterns,

including ones over minor and major ii-V-I chord progressions, have been extracted from

the etude and are included in the Appendix for future study and practice.

Need for the Study

It would be fairly easy to get any number of books on twelve-tone music that

could give you thousands of patterns to practice, but not very many that deal with the

subject within a jazz context. As well, most study of twelve-tone music is concerned

with escaping from the confines of tonality, not incorporating it, as this small study

proposes to do. Whether or not there is an actual need for this study is a subjective

question: for the author of this study, it provides an opportunity to explore some different

concepts with the hope that he will be able to use some of what he has learned to create

music that is both loyal to the jazz tradition and unique in its attempt to successfully

incorporate more abstract ideas into this tradition.


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Research Questions

The research questions for this project will be limited to four basic questions:

Which tone rows of the ones researched are of musical interest to the author? Which rows

are idiomatic to the alto saxophone? What rhythmic and articulation choices need to be

made in order to apply the rows in an improvised setting? And, how can we justify

twelve-tone rows within a tonal setting like All the Things You Are?

Assumptions

The main assumption made in the course of this project is that, despite occasional

experimentation in twelve-tone settings by such jazz icons as Bill Evans and many others,

there is no standardized way of approaching the use of twelve-tone concepts within

improvising over standard jazz chord progressions.

Hypotheses

The main hypothesis of this project is that, when constructed carefully with an eye

towards musicality and functionality, twelve-tone rows could not only work but work

well within a tonal system such as with the song All The Things You Are. In doing so,

the author hopes to add some unique qualities to his abilities as a jazz improviser.


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Scope of the Study

Delimitations

Despite the vast amount of twelve-tone literature and materials available for this

study, it is only intended as an experiment as to how some of these concepts can be

incorporated into a traditional jazz setting and therefore will not be comprehensive in its

scope. Therefore, significant information, including information that could potentially be

useful within this context, was omitted from this study in the consideration of time

restraints and succinctness.

Limitations

There is little to no documentation in jazz history literature that documents

historical figures that may have experimented with these ideas within the same context

this study proposes to do. Therefore, it will be difficult and sometimes not possible to

find many, if not most, of the relevant recordings and available transcriptions.

Review of Literature

Due to the limited scope of this study, it only focuses on studying twelve-tone

literature in three books: The Tone Clock, by Peter Schat, Thesaurus of Scales and


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Melodic Patterns, by Nicolas Slonimsky and Introduction to Post-Tonal Theory by

Joseph N. Straus.

The Tone Clock is utilized as a guide for creating rows by using Schats system of

organizing rows into three-note groupings.

The Thesaurus of Scales and Melodic Patterns is utilized to find symmetrical tone rows

and other twelve-tone patterns more commonly heard and used in twelve-tone music.

Introduction to Post-Tonal Theory is utilized as a guide for the author to the common

practice, history and terminology of twelve-tone music in twentieth century music.

Methodology

Sources of Data

The sources of twelve-tone music used for this project come from the previously

listed literature as well as the authors own creative work.

Treatment of Data

Research was done to find twelve-tone rows within the literature that can fit into

the common chord progressions found in All the Things You Are. An analysis of the


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work is found in the next section of the paper that indicates the sources of the rows and

how they were made to fit the structure of All The Things You Are.

Analysis

For this analysis, we will look at each row in the etude All the Tones You Are and

discuss:

1. How the row is constructed,2. How it is intended to be justified within the tonal confines of All the Things You

Are and,

3. Does it work or not?

All of the provided excerpts are in treble clef, A-flat major and 4/4 time.

Row #1, Measures 1-2, Slonimsky #1296

& bbbb c bb n nF-7 n n

Bb-7#1296/ Slonimsky1st Chorus

This row is an example of four triads of the fourth hour (0-1-5) combining to

make a row. Its justification was attempted by matching its rhythm with that of the

original transcribed phrase and by adding a note at the end so that it could complete all


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twelve notes. Also, the first and last note of the phrase match the original phrase and are

strong harmonic notes of the chords (c and f.) The F isnt quite as effective as the C

because it falls on beat two instead of one. Overall, this row works moderately well, but

is certainly not one of the most effective of the etude.


n b n b Eb7

AbMaj7#1286/ Slonimsky

This row combines one major and one minor triad with two diminished triads. It

is displaced by one note, C, which happens at the end of the phrase. This same C is

the goal note of this row, as it is the beginning of the next, tonal phrase from the original

transcription. Overall, this works moderately well, but not great.

Row #3, Measures 5-7, Graham #1

& bbbb c J DbMaj7

# n nD-7 G 7

n n CMaj7

#1/ Graham

This row was constructed directly from the original phrase that was played. By

taking advantage of the key change here, only a couple of notes had to be changed to


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make this a twelve-tone row. This is a prime example of an important discovery made

during the composing of this etude: The more tonal these rows can be made to sound

through harmonic justification, the less effective they are as a means for creating unique

devices in a tonal setting. Because of this, this is one of the weakest of the twelve-tone

phrases outlined in this study.


n #n n b b

C-7 n n F-7

#1252/ Slonimsky

This row starts on the low E-flat and ends on the B of the second measure. As

with the second row, it is a quadritonal arpeggio built on two major and two minor triads

and is displaced by two notes. The first three notes are from the transcription and are

clearly in a C-minor tonality. The fact that the first three notes form a minor triad helps

to justify using a row that is made up of all major and minor triads (0-3-7 or the 11 th hour

as described in The Tone Clock.) The final measure of this example is from the

transcription and is an attempt at extending the C-minor tonality over the F-7 chord. Its

debatable as to whether or not this works, but the addition of the tone row preceding it

has the effect of making these notes sound more rational than before. As well, the A-

natural in this measure has the effect of implying F7 (ii7 of E-flat Major) which is then


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resolved at the end of the next measure by descending from A-flat to G on one of the E-

flat major 7 chord (seeRow #5.)

Row #5, Measures 10-12, Graham #2 (Derived from 6th hour in The Tone Clock)

Jn n # n # n n b bBb7

b j jnEbMaj7

#2/ Graham("6th hour" from "Tone Clock")

This row is constructed of two complimentary hexatonic scales, each of which

implies a major tonality (A-major and E-flat major.) This is also based on both the 6th

hour (0-2-4) and Slonimsky pattern #1293, and it is an attempt to imply a tri-tone

substitution (bII7/E7), followed by a standard V7 dominant chord (Bb7.) As mentioned

regarding the previous phrase, the A-flat to G resolution between the first and second

bars of this example resolve the A-natural which is clashing against the A-flat contained

in the F-7 chord. This works well, but when played, it is a little too smooth to raise any

eyebrows as to its unique content.



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.

j n

AbMaj7

##nn .n

b n

A-7 D 7

.nj n #

nGMaj7

jn

#1294/Slonimsky

This row is the first attempt at using intervals wider than a sixth. It is built on two

different tri-chords, 0-3-7(the 11th hour) and (0-2-5) and is aimed at the E-flat on the

fourth beat of the second bar which then resolves in to GMaj7 on the third bar. The wide

intervals as well as the fact that the first five notes of the row are in the key of A-flat

make this work very well. The wide intervals sound dissonant and consonant at the same

time, and the dissonant notes come in the middle before shifting again to notes within the

harmony (B, Eb and F which are the 13th, flat and sharp ninths of D7, respectively.)

Row #7, Measures 17-20, Graham #3

.njn . jn

A-7

n #D 7

. J# n n nGMaj7

.# jn n n n

#3/ Graham (derived from moving groups of perfect 5ths in minor 3rds)

As already described, this row uses groups of 3 perfect fifths and moves them up

in minor third intervals. The rhythm is derived from the original transcription and has

some nice landing spots in between the dissonant moments. There is a nice ascending A-


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Dorian scale that is hidden in this example connecting the first A with the final G

(displaced by an octave) at the end of the last measure. This phrase is very effective and

it is one of several examples of how versatile rows built on 4 th and 5th relationships can

be.

Row #8, Measures 21-23, Slonimsky #1219a

n jn # # b F#-7

n n nB 7

3

# n b EMaj7

.C7 #5

#1219a/ Slonimsky

Here again is a row constructed with 4ths/5ths, but this time ascending in whole-

steps. It works on several levels by starting on six notes contained in the F#-7 chord and

by aiming at the D on the end of three of the second measure which then resolves down

to a B. This is not an uncommon fourths pattern in jazz circles, and as such it is not as

fresh sounding as many of the other phrases presented here. The repetitive movement

also belies a general lack of character. That said, it is a very functional row, and with

some rhythmic and/or octave displacement could yield better results.



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b

Bb-7 n n

nn

Eb7(b9)

AbMaj7#1227a/ Slonimsky

This is the second row used that attempts to make use of larger interval leaps.

This pattern is constructed of alternating minor sevenths and major thirds (with a fourth

in between the sixth and seventh note to re-set the cycle.) The goal note of this phrase is

the C on beat one of the third measure, and this transposition of the row was used

because of the implied dominant sound that the final two notes (Eb and Db) create. It is

one of the most effective of the rows contained within this etude and it is interesting to

note that only two of the notes in the collection cannot be rationalized as extensions or

normal chord tones (Gb over Bb-7 and D-natural over the Eb7(b9) chord.)

Row #10-11, Measures 30-35, Slonimsky #1232a and #1232b

& bbbb c j

DbMaj7.n J j

Db-7 n # # n 3

b n C-7

. J n Bdim7 n b

Bb-7 n n b # n Eb7

AbMaj7 Gm7(b5) C 7(b9)

#1232a/ Slonimsky (Converging Spiral)

#1232b/ Slonimsky (Diverging Spiral)

( )


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Two tone rows are included here to demonstrate a more expansive use of the

concept over larger portions of the exercise. Most notably, the first of the rows is a

converging spiral that aims at Bb, and the second row is a diverging spiral that aims at

Ab, which is of course the final tonic of the form. The basic thematic material here is

borrowed from the original transcription with a couple of notes changed to fit the spiral

concept. As indicated in the example, the E-natural to Eb leap in the Db-7 measure is

connected with the Bb-G leap that begins the Bdim7 measure: The spiral begins on the

first leap and is just completed when the second leap occurs making for an effective bit of

thematic development. The second spiral aims at the final Ab and is made even more

effective through its incorporation of the standard melodic material that proceeds and

follows the actual row. The thing that makes these spirals especially effective is that they

can be plainly heard to be approaching certain notes in much the same way that one could

anticipate the final conclusion of a scale. However, their use is limited by this same

attribute, and they are perhaps only effective if used sparingly.


n Bb-7

n # n nEb7(b9

) n n b AbMaj7

#1214a/ Slonimsky


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This row begins on the Bb that occurs on the end of the first beat of the second

measure and ends on the Gb on the third beat of the third measure. It is constructed of

augmented triads (displaced by one note) and it is aimed at the previously mentioned Gb.

This note doesnt fit the harmony of Ab but it works by implying an Ab7 that naturally

leads to the Db major tonality that occurs in the next measure. This row works

moderately well and works better than if the notes of some of the triads were not

displaced by an octave as they are here. These larger interval leaps supply the character

to this line.


# # n nDbMaj7

n

D-7 G 7

n nCMaj7

.n #1231a/ Slonimsky

Row #14, Measures 44-48, Graham #4 (derived from 4th hour)

This row is one of the most effective of the etude. It incorporates 6 consecutive

major seventh leaps but still manages to have a delayed resolution at the end. The

rhythmic material is derived from the original transcription and the row is aimed at the C

in the third measure. It is one of the best uses of a row in the etude.


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j3

n n 3

n #C-7

. jb 3 nF-7

3

b n Bb7(b9)#4 Graham (Derived from 4th hour)

This row is constructed of notes of the 4th hour. The three, circled notes are

original notes from the transcription and also form a 4 th hour triad which was the

inspiration for its use. They also represent the first time in the etude that multiple target

notes were aimed at within one row, something made more difficult by having to

construct the entire row with only 4th hour triads. It has a decent effect, and the line of

target notes helps to hold it together.

Row #15, Measures 49-52, Slonimsky #1236b

jn n nAbMaj7

b b jnA-7 D 7

n n n

GMaj7 #1236b/ Slonimsky

This row is quite simply a diverging whole-tone spiral. It is created by playing

one whole tone scale descending on the downbeats while playing the other whole-tone

scale ascending on the upbeats. Its aimed at the final E that constitutes the sixth scale

degree of the new key modulated to at the bridge. This row, while having an interesting


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sound and effect, doesnt work very well for a couple of reasons. Firstly, its range, with

leaps as big as 12ths and 13ths, does not easily fit the character of the saxophone or for

playing eighth notes in a standard jazz setting. Also, the alternating whole-tone scales

provide a sense of symmetry without any sense of motion; in some of the rows previously

covered, there are certain tonal implications that can be used as well as asymmetrical

themes that are longing for resolutions.

Row #16, Measures 52-55, Graham #5 (9th hour)

# n # n n 3 n

A-7

3

D 7

.nGMaj7

Graham #5/ 9th hour

The rhythmic and implied tonal movement for this row was taken from the

original transcription. It begins on the F# on beat one of the first measure and ends on

the E-flat of the second. It is constructed using the 9th hour as its basis, and all of the

notes can be justified as primary or extended members of the chord changes presented.

This fact is at once the reason why it does work, and the reason it doesnt. As discussed

with Row #5, the tonal effect is too bland and even seems to even obscure the fact that it

is even a twelve-tone construction. On the other hand, if one were to improvise using the

twelve-tone system as his main palate, it would be effective to use phrases such as these

to balance out the use of the more outwardly dissonant constructions. Worth noting is

that this row also implies a ii-7/bII7/IMaj7 movement.


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Row #17, Measures 55-57, Slonimsky #1236b

jn n n ##

n

3

n # n b # n n F#-7#1236b/ Slonimsky

This row is another diverging whole-tone spiral (see Row #15,) but it seems to be

slightly more effective than the phrase previously discussed. The fact that it so clearly

aims at the high Ab, which then resolves in a standard be-bop clich pattern, gives it

more motion and resolution than before.


3

n n B 7

n n b # #EMaj7 n #

C7 #5#1299/ Slonimsky ( )

What is most interesting about this Slonimsky pattern is that it too is a diverging

whole-tone spiral. The only difference is that the notes have been transposed up an

octave halfway through the second measure, thus avoiding the awkward large leaps that

exist in the previous whole-tone spiral examples. As well, the diverging whole-tone

spiral turns out to be an alternating combination of 0-2-5 and 0-1-3 tri-chords (the


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seventh and second hour,) a combination suggested by Peter Schat in The Tone Clock.

Once again, this use of the spiral is more effective than the first because of its smooth

incorporation into the tonal line that begins and ends the phrase. It is aimed at the E-

natural on beat one of the third measure, an effective progression because E is the next

note in the spiral pattern.

Row #19, Measures 63-65, Graham #6 (consecutive perfect 4ths)

3

j JEb7(b9) b b b

nAbMaj7 DbMaj7#6/ Graham

The construction of this row speaks for itself. Besides pointing out that it is

constructed by using the circle of 4ths, it should also be noted that the beginning note of

the cycle was chosen carefully so as to give it a tonal relationship with the chords. The

final few notes of the row are an implied D7 sound that helps to tonicize DbMaj7 on the

next measure. Its symmetry is a little bland, but the variation in the rhythm and the

flowing shape of the line help to make this more effective than it otherwise could be. In

any case, it is another instance of a phrase built on patterns using fourths and fifths as the

subject.

Rows #20-21, Measures 65-72, Slonimsky #1290 and Graham #7 (diminished chords)


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& bbbb c j DbMaj7

n Jb . b Db-7 . Jn # n

C-7

n nBdim7

& bbbb n Bb-7

n # n bEb7

AbMaj7

Gm7(b5) C 7(b9)

#1290/ Slonimsky

#7/ Graham

Two rows are shown here to demonstrate an attempt to outline a larger guide-tone

figure using more than one row. As outlined in the diagram, the target notes are E-

natural, Eb, E-natural (again), A-natural, Bb, G and F. Since most of these notes fall on

downbeats (or anticipated/delayed downbeats), it helps to give a strong sense of harmonic

movement despite the presence of the tone rows. The first of these rows is a quadritonic

construction built on the four available augmented triads. It was chose to be used here

after carefully seeking a row that could successfully hit all of the target notes in the right

places, as this one does. The second row makes use of the three available diminished

tetra-chords and was chose because of its contract to the augmented sound and its

flexibility of construction that allows the row to once again land on important target notes

while still maintaining its own symmetrical integrity.



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jn b Bb-7

n b b n

Eb7(b9)

b

AbMaj7

#734/ Slonimsky

This row represents the etudes first exploration of Slonimskys rows that are not

contained within the Twelve Tone Patterns section of the Thesaurus. It begins on the

high F of the first measure and ends on its target note, the Eb that begins the third

measure (which represents the beginning of a new phrase.) The combination of

alternating dissonant intervals (major sevenths, tri-tones and fourths) is quite effective, as

is the fact that the row spans the space of more than two octaves. Despite the large range,

it is quite playable on the saxophone unlike the first two whole-tone spirals, which are

unwieldy. This is one of the more effective phrases of the etude.

Rows #23-24, Measures 77-80, Graham #8 and Graham #9 (inspired by Slonimsky #754)

DbMaj7n n n n #

D-7 G 7 .3

n n b .n 3n CMaj7

3 n3

n #

#8/ Graham #9/ Graham

Both of these rows are original constructions that simply alter the notes of the

original transcribed figures without changing the overall rhythm or direction of the line.


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The transition from DbMaj7 to CMaj7 allows the first row (which begins on beat three of

the first measure) most of the notes of a twelve-tone row without having to use notes

outside of the tonality. The only exception is the Ab in the second bar, which acts simply

as a passing tone to A-natural. The second row begins where the first row ends, with an

F# at the crest of the overall phrase. The CMaj7#11 tonality implied by the F# is

continued through the row until the first four notes of the fourth measure which

constitutes an Ab major tonality before returning to the C major tonality now that the row

has been completed. This shift to the Ab-major sound and back to C major functions like

a bVI7-I progression, but sounds abstract nevertheless. This characteristic of the second

row makes it more effective than the first of this group which is somewhat bland it its

adherence to the harmonic structure.


n

C-7

n n bF-7

n n # #Bb7(b9)

jn b jEbMaj7#417/ Slonimsky

This row is aimed at the F that appears on the downbeat of the fourth measure,

and when its rhythm is displaced, it simply forms four distinct 0-1-2 (first hour) tri-

chords moving in ascending minor thirds. The disjointedness of the wide interval leaps

does a good job of disguising the chromaticism of the phrase and it is approached and

resolved in a way that keeps it coherent within the overall framework of the chord


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structure. Notice how the last three notes of this phrase, which are resolving downward

in a V-I movement to AbMaj7, constitute an 0-1-2 tri-chord. This row works

exceptionally well, and it belongs in a class with the other phrases that employ several

larger interval leaps including rows #6, 9, 13 and 22.


This row is a kind of answer phrase to the similar triplet phrase that precedes it.

It is constructed by using groups of three notes that a separated by perfect fifths and

repeating the pattern by descending in minor thirds. The transposition chosen for use

here was chosen for two reasons: Firstly, it creates a tension and release pattern by

starting with groups of notes not related to the key of G, cycling into groups of notes that

are related to the key, and then going back out before resolving to the A-7 chord on beat

one of the fourth measure. And secondly, it is aimed specifically at the A which begins

the fourth measure. Notice, too, that the primary row ends midway through the third

measure but the pattern is continued afterwards, the first instance of extending the tone

& bbbb c jn3

n n #3

n n nA-7 D 7 n # 3

b 3 GMaj7

& bbbb3

n n n 3# n #3

b b b3n

GMaj7

.n J n n n

A-7

#508/ Slonimsky


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row past the twelfth note that is contained in this etude. This phrase is very effective and

also very difficult to play up to tempo.


& bbbb

.n J n n n

A-7

# #

n

D 7

nn

GMaj7#370/ Slonimsky

This phrase is constructed of three identical tetra-chords moving in descending

major thirds. It begins on the D-natural of the third beat of the first measure and is aimed

at the D-natural that is positioned at the first beat of the third measure. The notes of these

tetra-chords outline a dominant 13-chord sound, and as such, this phrase can be justified

as a progression of dominant chords that eventually resolves to GMaj7 (G7-Eb7-B7-

GMaj7.) In final analysis, this is one of the more mediocre rows of the etude due to its

obvious and repetitive symmetry.


& bbbb c J

F#-7 3n n n

3n # #B 7

3 3

b b EMaj7

3 3 n C7 #5

#415/ Slonimsky


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This row is similar to Row #26 in that it employs four three-note groups that are

comprised of perfect fifth relationships moving in descending minor thirds. As with Row

#26, this row is extended past the twelfth note in order to match the rhythm of the

original phrase. But unlike Row #26, this row reverses the direction at the end for a nice

effect. Notice the diatonic triplet pattern at the end of the fourth measure and how it

thematically gels with the twelve-tone triplets that precede it.

Rows #29-31, Measures 99-109, Slonimsky Scale #12/Pattern #1, Slonimsky

#1229a(variation), Graham #10 (quadritonal arpeggio)

& bbbbc

b n n

Eb7(b9)3#

3

n n # n

AbMaj7

jn

3

D

bMaj7

n J n

Db-7

& bbbb b n n b n

Cmin7 n jBdim7

3 n3 n b b

Bb-7# n # n b

Eb7

& bbbb AbMaj7

n jGm7(b5) C 7(b9)

F-7

Scale #12/Pattern #1/ Slonimsky

#1229a(variation)/ Slonimsky#10/ Graham

This final example is an attempt to use three rows over a span that covers a longer

guide-tone sequence than previously used. The guide-tones are circled in the example.

The first row of this phrase is aimed at the first note in the sequence (F-natural at the end

of the second measure) and it is based on one of Slonimskys Complimentary Scales.


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The second row is a variation on pattern #1229a, and it contains the third note of the

guide-tone sequence (Eb) on the downbeat of beat one of the fifth measure, and the fourth

note of the sequence (D-natural) on the up-beat of beat one of the sixth measure. The

third and final tone row of the piece is a quadritonal arpeggio that uses two major and

two minor triads. The C# on the downbeat of the eighth measure represents the fifth note

of the guide-tone sequence. The final note of the sequence is also the final note of the

etude; C-natural, which functions nicely as both the fifth of F-minor (where this exercise

ends) or the third of Ab-major. For the most part, this seems to work well, but perhaps

some better choices of rows could have been examined for this final sequence of phrases.

That said, it does seem to reinforce the theory that if you can stick to a strong overall

structure with guide-tones, or to simply landing on chordal tones on strong beats and

aiming the rows accordingly, you can maintain a twelve tone color while still maintaining

the harmonic integrity of the original chord changes.

Conclusions

There are several important conclusions to be drawn from this etude, all of which

will enhance further study of the use of twelve tone rows over standard jazz chord

progressions.

Apparent Symmetry vs. Hidden Symmetry

Upon examining all of the phrases of this piece, it becomes apparent that the ones

that seem to be most musical and effective in their construction (i.e. Rows #6, 9, 13, 22


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and 25 to name a few) are also the ones that have a more complex or hidden symmetry to

their design. Conversely, most of the rows that are constructed from more simple or

apparent symmetrical formulae (Rows #8, 19, 27 and 28 to name a few) are generally

bland in color and also lack in their ability to catch the ears attention.

Methods of Justifying the Prevailing Tonality of a Given Section

Three basic principles are employed in an attempt to justify their use within the tonal

confines of the chord changes where they occur:

1. Justifying the notes through the existing chords,2. Justifying the notes through implied chord substitutions, and3. Justifying the notes through use of target or goal notes that fit into smaller

or larger goal note or guide-tone sequences.

Justifying the notes through the existing chords

Examples of this technique include Rows #3, 23 and 24. This concept seems to

work fairly well, but when all of the notes can be justified within the basic tonality of the

chords, as in Row #23, it tends to lose its punch. In a sense, these rows dont have

enough symmetry, and they sound like theyre not going anywhere.

Justifying the notes through implied chord substitutions


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Examples of this technique include Rows #5, 16, 19 and 27. Most of these

examples are instances of using a tri-tone substitution, and the end effect is just that:

Instead of sounding like a twelve-tone row, they simply end up sounding like run-of-the-

mill tri-tone substitution patterns. Row #27 is an exception to this as it implies a pattern

of dominant chords descending in major-thirds before resolving to the I Maj7 chord via a

III7-IMaj7 substitution. While that effect sounds more unique than the tri-tone

substitutions, it is weakened by the bald rhythmic an intervallic symmetry of this phrase.

Justifying the notes through use of target or goal notes that fit into smaller or larger

goal note or guide-tone sequences

Of the methods used, this is the most effective. Most of the rows of the piece are of this

ilk and their respective functions are explained in the analysis section. The main reason

why these phrases seem to be the most effective is that they allow for the true character

of the twelve-tone sound to be expressed without being dulled by the traditional rules of

harmony. Instead of using implied chord changes or even upper-extensions to justify the

notes, the construction of the row acts as its own justification and in the best examples,

this is apparent to the listener. Instead of creating dissonance by using substitution

chords to embellish the V-I relationship, these rows use patterns that create a kind of

linear dissonance . With this approach, notes that are completely outside of the chord

(for example, a major 7 on a dominant chord) can be used to great effect without having

to stick to the traditional rules of using non-harmonic notes. As well, when these phrases

are prepared and concluded properly through use of goal notes and the other previously


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discussed techniques, they complete a tonal resolution and do not sound free or out

just for the sake of being so.

Use of Larger Intervals

Phrases that use intervals larger than a third, either consecutively or in consistent

alternation with other intervals, are among the most effective of this etude. Good

examples of this formula include Rows# 6, 9, 13, 22 and 25. In them we find several

major and minor seventh leaps, fourths and tri-tones. As with hidden symmetry, these

leaps are one of the things that defines the most successful of the phrases composed for

this project. These leaps create a unique sound and tension that is not commonly found

in improvised jazz solos which tend to lean on scales and patterns of thirds, fourths and

sixths for the majority of its material.

There is a considerable amount of work still to be done with this concept, but this

project and the lessons learned from it constitute a considerable step in the right direction

towards finding new ways to incorporate these concepts into improvising on standard

jazz repertory.


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Selected Bibliography

BOOKS

Schat, Peter. The Tone Clock. Amsterdam: Harwood Academic Publishers, 1993.

Slonimsky, Nicolas. Thesaurus of Scales and Melodic Patterns. New York: Schirmer

Books, 1975.

Straus, Joseph N. Introduction to Post-Tonal Theory. New Jersey: Prentice-Hall, 1990.


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& bbbb c bb n

nF-7

n n n Bb-7

b n b Eb7(b9)

& bbbb4

AbMaj7

J DbMaj7

# n nD-7 G 7

n n CMaj7

& bbbb9

n # n n b bC-7 n n Jn

F-7 n # n # n n b bBb7(b9)

b j jnEbMaj7

& bbbb13

. j nAbMaj7 # # n n .n b n

A-7 D 7

.n j n # nGMaj7

jn

& bbbb17 .n

jn . jnA-7

n #D 7

. J# n n nGMaj7

.# jn n n n

& bbbb21 n jn # # b F#-7

n n n

B 7

3

# n b

EMaj7

.j

C7 #5

& bbbb25

jn b F-7

b Bb-7 n n n n

Eb7(b9) jAbMaj7

DbMaj7

& bbbb30

.n J jDb-7

n # # n 3

b n C-7

. J n B dim7 n b

Bb-7

& bbbb34

n n b # n Eb7

AbMaj7

Gm7

(b5

) C7

(b9

) j nF-7 n Bb-7

& bbbb39

n # n nEb7(b9)

n nb

AbMaj7 # # n nDbMaj7

n D-7 G 7

All the Tones You AreAlex Graham

2005

Concert

#1296/ Slonimsky

#1286/ Slonimsky

#1/ Graham #1252/ Slonim

#2/ Graham("6th hour

#1294/Slonimsky

#3/ Graham

#1219a/ Slonimsky

#1227a/ Slonimsky

#1232a/ Slonimsky (Spiral)#1232b/ Slonim

2nd Chorus

1st Chorus

#1214a/ Slonimsky

#1231a/ Slonimsky


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& bbbb80

3 n3

n # nC

Maj7

n C-7

n n bF-7

n n # #Bb7(b9)

& bbbb84 jn b jEbMaj7

J AbMaj7

jn3

n n #3

n n n

A-7 D 7

n # 3b 3

GMaj7

& bbbb88

3

n n n 3# n #3

b b b3n

GMaj7

.n J n n n A-7

# # nD 7

& bbbb91 n n

GMaj7

n n n

J

F#-7

3

n n n3

n # #

B 7

& bbbb95

3 3

b b EMaj7

3 3 n C7 #5

n J JF-7

3 n 3 b jBb-7

& bbbb99 b n n

Eb7(b9)

3# 3

n n # n

AbMaj7

jn

3

DbMaj7

n J n

Db-7

& bbbb103

b n n b n n

jBdim7

3 n3 n b b

Bb-7# n # n b Eb7

& bbbb107

AbMaj7

n j

Gm7(b5) C 7(b9) Fine

F-7

All the Tones You Are

3

#417/ Slonimsky

#508/ Slonimsky

#370/ Slonimsky

#415/ Sloinimsky

Scale #12, Pattern #1 with complimentary scale/ Slonimsky

#1229a/ Slonimsky (variation)

#10/ Graham (3 major and 1 minor triad)

All the Tones Paper

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