Melodic Devices 2o2g6

JAZZ COMPOSITION THEORY ANO PHACTICE

ti-(

/

.1- '. /-: l<-r-. \ €.L 'l

3tr< Pt 7r.-ts

Melodic Devices and the Rudiments of Form REPETITION Motivic repetition

One of the most obvious melodic devices is simple motivic repetition.

If you look back

at the exercises on pages 7-9, yol will observe that each of the examples contains some degree of rhythmic repetition. When rhythmic repetition is combined with pitch

repetition, a distinguishing motivic "hook" usually emerges. (see "strays," page 3, measures 1,3, J.)

(Note the rhythmic displacement)

Phrase repetition-four measures This is very common in the blues. (See "After Breakfast," page 119.) Medium swing

F7($9)

Bbi

p'l

A-7(bs) D7(fe)

G7(be)

C,c, ,"",,^,..1

1B

G7

i l o.,i. Q",r e*

lr, | +e

C7(alt)

GHAPTEB

1 | MEL0DT[[0NStDERAT|ONS

Phrase repetition-eight measures This is the basis for standard aaba and abac song form in which the a section is repeated in conjunction with other complementary but contrasting phrases. (See "Strays," page 3 for aaba form, and "For Bill," page 141 for abac form.)

@

@

@

8

8

8

@

@

8

8

--7 A sequence occurs when you transpose

a melodic fragment or phrase to a different pitch level. This transposition may be diatonic (in which case the tonality is not disturbed) or elac! (in which case a temporary "key-of-the-moment" may be suggest itself). The use of sequence takes the concept of repetition to the next level and provides for melodic as well as rhythmic variety.

Motivic sequence Diatonic

Medium swing

GJ

F6

AJ

C]

D7

Exact

Medium swing

Abl

F6

Db7

(See also "Strays," page 3: compare measures measures 16 and 17.) i

!

t'

l-2

with 5-6, and 10-11 with 14-15; also / (t-';:::

tt

..l (

19

JAZZ COMPOSITION THEOHY ANO PRACTI[F TWo-measure melodic sequence Note that the chord progression is also sequential. l--l = interval at which sequence occurs. (see also "Scrooge," page r47 , measures g-r4.)-FV1

E

@

evat

the

- r.' E

'

' ''

,,i.s,p c+

F

e{'at*

A7(be)

, t, ':', ' {ii ( t i\'. / d \t-

/"1

i (r'.

t','1,

i, --',,^

1*

rI

---1 r'lContrastins ohrase

..-. ^ -Jd ')o af €:v' C i 'E{' ?-'..'

Four-measure melodic sequence (See als,o-"Scooter," page 728, measures

Il-14, 1s-18.)

i' !c,+- ;J'"j

4Jrtt

Medium swing

D-6

E1(b5)

c-6

A7(alt)

T,ntntlo

,,: :

o

i.. i .- .'

,1 :L

,-., i.

,1,'

Eight-measure melodic sequence

.

-7 (.co 1 +q"\

o

Oo.i* i

@

2B

Examples of this are relatively rare, but check out "Joy Spring" by Clifford Brown and "So What" by Miles Davis.

.

cl@@@@ ootiun

melody

,,

o

@

E

melody repeats

Eb

Donan g

D

melody up a, mrnor second

@

Dorian

;

melody as before

)

1 I MEL0DTCC0NSTDEffATTONS

IHAPTEH

MOTIVIC TRANSFORMATION Sometimes, too much repetition gets to be monotonous. Motivic transformation is a device that allows you to alter the intervals or the rhythm of a motif in order to prevent the overuse of an idea. You can keep the same rhythm and change the pitches; or you can keep the same pitches and change the rhythm.

Intervallic transformation: Same rhythm, different pitches.

Bbl

(See also "Samba de Goofed," puge 155, measures 17-20

i

,',..

.'

i.,

lljir

-t'.t'.'

Rhythmic transformation: Same pitches, different

Bbl

C7

G_:7

vs.2I-24.) / r i ,t--i l-L' , (L.r--l,*il{c',

rhythm. i :,J

t4

I

Medium swing B-7(bs)

G6

tt

r'r\

E7(be)

E7(*e)

D7sus4

A_:7

;...,.,."_t-:,

D7(be)

also "Samba de Goofed," page 155, measures 1-2 vs. 3-4.)

-fSee -_,,.,.,ir tt

iu,,tJ\ \

/

I

MOTIVIC

:

EMBELLISHMENT

.*'

.:

}

,

..

.,t,i

i

Motivic embellishment is a device that allows you to activate a simple motif before it becomes too repetitive and monotonous. iVledium swing

D-7

D_7

G]

(See also "Samba de Goofed." pag,e 155. measure 25. vs.

(r .,'

i

.)

("-'l :?l

G7

4-

)r,.'j-_:

! 21