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Authors

Paul Musso

Abstract

This paper examines a jazz pedagogical method, based on a Bill Evans composition, that utilizes Schoenberg's serial tone row in a harmonically tonal setting. By exploring the extensive harmonic possibilities produced by one tone row, this method guides students through the creation of harmonic options to produce tonal accompaniment against atonal melodic content. The result of this exercise establishes numerous harmonic possibilities for the tone row and may also serves as a rigorous theoretical exercise in chord construction. The paper further discusses the unique capacity of the exercise to help students connect intuitive organic music choices with empirical pedagogical elements.

ex 2.mp3 (121 kB)
Example 2 Tone Row

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Example 3: Tone Row in Groups of Four and Two

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Example 5

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Example 6: Pitch Group 1 D♭ Root Context

ex 6.1.mp3 (446 kB)
Example 6.1: D♭ Lydian Augmented Mode

Ex 7.mp3 (66 kB)
Example 7: Pitch Group 1 D Bass Context – D Minor

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Example 8: Pitch Group One, D Root Context – D Altered Dominant

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Example 9.1: Pitch Group One E♭ Root Context

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Example 9.2: Pitch Group One E♭ Root Context

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Example 10: Pitch Group One, E Root Context

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Example 11.1: Pitch Group One, F Root Context

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Example 11.2: Pitch Group One, F Root Context

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Example 12.1: Pitch Group One, F# Root Context

Ex 12-2 mp3.mp3 (59 kB)
Example 12.2: Pitch Group One, F# Root Context

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Example 13: Pitch Group One, G Root Context

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Example 14: Pitch Group One, A Root Context

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Example 15.1: Pitch Group One, B♭ Root Context

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Example 15.2: Pitch Group One, B♭ Root Context

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Example 17

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Example 18

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Example 19

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Example 20

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Example 21

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Example 22

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Example 23

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Example 24

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Example 25

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Example 26

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