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JAZZ
THEORY (BeBop Drills)
The Use of Tensions
2
Music
flows in infinite variations of tension and resolution. In modern harmony, we
identify chords by their association with one or both of these phenomena. Tonic,
sub-dominant and dominant express varying degrees of rest and motion, and
functional harmony uses roman numerals to show locations and tendencies of
chords within a key. In BeBop the principal chord of resolution is the major
seventh chord, Roman numeral I. Our task here will be to apply the tensions
9-#11-13 to each of the twelve Imaj7 chords.
Previously
we learned to extend the scale in thirds and identify each tone with an odd
number: 1-3-5-7-9-11-13, returning to 1 when continuing to ascend. The chord
tones 1-3-5-7 constitute the major seventh chord, and 9 and 13 fit the sound and
function naturally, but for a major seventh chord in BeBop the 11 is altered by
raising it one half step to the position called #11 [shorthand for raised
eleventh]. Remember to adjust the 11 in each key upward by using the appropriate
b, #, or natural sign, not just by adding a # to the note.
Before
beginning any drills involving chord tones and tensions, fix the tonal center of
the chord in your consciousness. To do this, play the root of the chord you'll
be working on, and then sing or hum the pitch in a comfortable range. Horn
players and singers must then learn to retain the pitch mentally, while others
may do this or continue to sound the note physically. Harmony players may also
sound the chord while singing the note before moving into the drill.
Once
you feel grounded in the tonality, find the lowest possible chord tone or
tension and ascend, as in 1-3-5-7-9-#11-13-1 etc. The C major seventh chord will
appear as follows: C-E-G-B-D-F#-A-C. When you reach the highest point descend by
reverse order to the starting point. Next, find the chord tone or tension in
between the first two notes you played, and ascend and descend from this point
in the same fashion. Play each major seventh chord this way in the order of the
cycle of fifths [C, F, Bb, Eb, Ab, Db, F#, B, E, A, D, G]. String players should
do this exercise one string at a time; piano players use two hands in octaves.
The
sound of the tensions against the tonal center, especially the #11, may be
unexpected at first. Just hang in there and you'll be hearing it before you know
it! Harmonic players often use the #11 sound at endings and in ballads, and the
9 and 13 show up often in chord voicings and melodic lines. Listen for them, and
happy drilling! [top]
- Frank Singer ©2002
I
originally learned these concepts from Charlie Banacos, private instructor.
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BACK
TO THEORY DEN CONTENTS
The
Language of BeBop
The
Use of Tensions 1
The
Use of Tensions 2
The
Use of Tensions 3
The Jazz
Sub-Dominant Chord - II-7
The Jazz Dominant Chord - V7
The II-7 V7 Progression - II V series
The Key of the Moment
"Watch out for
those chromatics!"
Ear Training
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eCUTS
