Jazz Theory And Practice Module 1, A, B, C: Tetrachords .

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Jazz Theory and PracticeModule 1, a, b, c:Tetrachords and ScalesA. The basic tetrachords, and other melodic patternsModules 1 and 2 are about jazz basics: chords and scales. Thechords could have come first, and often do, but chords andscales (or modes) are always linked in the jazz world: everychord, especially every 7th chord, has a matching scale. Everyscale can be broken into parts, or melodic cells. We begin ourstudy with these short 3-note and 4-note melodic cells, whichmay stand alone as a melodic source for jazz improvisation, (seeexamples of “licks” at the end of this section) but also combineto form larger melodic patterns and scales.A tetrachord (literally “four strings”) consists of four notes in arow, and has been recognized as an important musical elementsince the music of the Ancient Greeks. Almost 2500 years agothe Greeks defined the tetrachord as the smallest melodicelement, and combined tetrachords to form the “Greater PerfectSystem” which became the foundation for scales and musictheory. Significantly, a textbook known to many Canadian jazzmusicians: Delamont, Gordon: Modern harmonic techniquebegins the study of jazz theory with tetrachords.Most musicians would associate a tetrachord with the bottomhalf or the top half of a scale or mode. There will be a detailedintroduction to various scales later in Module 1; for the momenta few different scales will show how tetrachords are combined.The tetrachord is usually contained within a perfect fourth. Thefamiliar major scale, for example, consists of two identical majortetrachords; identical because each tetrachord has the samepattern of whole steps (W) and half steps (H):1a1Copyright 2012 Peter J. Clements1

The pattern of whole steps and half steps in the minor tetrachordforms the lower half of the minor scale, and many similar scales:1a2When two minor tetrachords are joined, they form a dorianmode (or dorian scale), a scale that sounds very close to thenatural minor scale:1a3The natural minor scale combines two tetrachords: a minortetrachord and a Phrygian tetrachord:1a4The Phrygian scale, another scale that sounds very close to anatural minor scale, is composed of two Phrygian tetrachords:1a5The harmonic minor scale combines the minor tetrachord andthe harmonic tetrachord. Notice that the harmonic tetrachordhas a larger interval in the middle: a whole step and half stepcombined (an augmented second):2

1a6Any pair of tetrachords may be combined. A Gypsy Minor(Byzantine) scale combines two harmonic tetrachords:1a7The four basic tetrachords, then, are Major, Minor, Phrygian, andHarmonic.1a8There is another important four-note cell that is made upentirely of whole steps:1a9It is not a tetrachord by the strict definition (since the overallspan is an augmented fourth, not a perfect fourth), but will beincluded in our study, and we will identify it as the tritonetetrachord. (Tritone 3 tones, or whole steps). There are twoof the seven common modes (“church” modes) that contain the3

tritone tetrachord, the Lydian, and the Locrian. The tritonetetrachord produces a feeling of instability in both modes:1a10The whole-tone scale can be seen as two overlapping tritonetetrachords:1a11The whole-tone scale contains only whole steps, and has astrong feeling of instability (there is really no tonic or dominantnote) created by the tritones. You will see that the whole stepsare usually written as major seconds, but one of the intervalshas to be respelled (as a diminished third) in order to come backto the beginning note. The scale above could also be writtenwith the sharps rewritten as flats (G-flat, A-flat, and B-flat), butthere would still be one “odd” interval in the scale.There are two common three-note cells, filling in a perfect fourthjust like the tetrachord, and using just two intervals: a minorthird and a major second (or whole step). We will refer to theseas the major trichord, and the minor trichord:4

1a12One version (there are several versions!) of the pentatonic scaleuses two major trichords:1a13Children throughout the world know a chant (sometimes called“The Teasing Song”) that uses only the notes of the minortrichord:1a14The minor pentatonic scale (often used in jazz improvisation) ismade up of two minor trichords:1a15A single note inserted between the two minor trichords producesthe common Blues Scale:1a165

The two trichords provide ideal raw material for “licks”: shortmelodic cells, typically two bars long, and often used for a callresponse improvisation. The “lick” also needs a rhythmicpattern, usually with some syncopation. Here are some licksusing only the trichord pitches.1a17Any of the tetrachords are good sources for licks, especially ifthey contain a “bluesy” minor 3rd.1a18The following chart summarizes the tetrachords and trichords:TETRACHORDCOMPOSITION(W whole; H half rMinorWWHHWWHWW HWM2(W)m3(W H)m3M2HWWHW6

Something to listen to: Keith Jarrett: “de drums” from thealbum Priceless Jazz. (listen for trichords).Miles Davis: “Blue ‘n’ Boogie” (by Dizzy Gillespie) (Thesame minor trichord!)You should be able to find both of these pieces on YouTube.7

The pattern of whole steps and half steps in the minor tetrachord forms the lower half of the minor scale, and many similar scales: 1a2 When two minor tetrachords are joined, they form a dorian mode (or dorian scale), a scale that sounds very close to the natural minor scale: 1a3 The natural minor scale combines two tetrachords: a minor

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