I was looking up how certain harmonies work, like Teen Town and Havona, and someone suggested the book Beyond Functional Harmony by Wayne Naus. I want to look into harmony that's a bit more unique sounding and non-diatonic than what I've studied so far, which has mostly been I IV V and II V II V II V I type stuff. Basically I'm just looking for advice on where to go from here with understanding more complex harmony, that I'll likely put to use with a jazz quintet and/or a progressive group. I read that the progressions in those Weather Report songs are similar to classical harmonic techniques, so books related to that style would probably be cool too. George Russell's The Lydian Chromatic Concept Of Tonal Organization was the book that finally allowed me to break free of traps or plateaus in my understanding & execution of jazz harmony. But the stuff that really rocked my world and took my composing/arranging to a whole new level was learning the integer model of pitch classification and applying that to non-classical (sic) musics. Check out - Introduction to Post-Tonal Theory by Joseph N. Beyond.functional.harmony Wayne.j.naus v2. Download as PDF File (.pdf), Text File (.txt) or read online. Scribd is the world's largest social reading and publishing. Beyond Functional Harmony Wayne Naus Pdf Printer. Best paper document online to eBook beyond the call of duty by v. Full text of 'Southern accent. Beyond Functional Harmony Wayne Naus Pdf Printer. 8bit After a cursory review of the act there. Wayne Duncan, Director. Press 5/1/02 New Harmony history. Beyond.functional.harmony Wayne.j.naus v2 - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Beyond functional harmony. Contrary to popular belief, MacOS is still susceptible to malware. Luckily, finding the best free antivirus for Mac isn't all that difficult, and there are a number of great solutions to pick from. Best free antivirus and antimalware for mac. Straus - Basic Atonal Theory by John Rahn - Simple Composition by Charles Wuorinen - Serial Composition by Reginald Smith Brindle. I was looking up how certain harmonies work, like Teen Town and Havona, and someone suggested the book Beyond Functional Harmony by Wayne Naus. I want to look into harmony that's a bit more unique sounding and non-diatonic than what I've studied so far, which has mostly been I IV V and II V II V II V I type stuff. Basically I'm just looking for advice on where to go from here with understanding more complex harmony, that I'll likely put to use with a jazz quintet and/or a progressive group. I read that the progressions in those Weather Report songs are similar to classical harmonic techniques, so books related to that style would probably be cool too. Click to expand.Harmony/composition are near and dear to my heart, probably more so than bass playing (gasp!) so I pretty much HAVE to respond, ha. To the best of my knowledge, there's never really been a book written as a method for fusion composition the same way that there can be a method or functional analysis for more traditional II-Vy kinds of tunes. There has been article after article written in music theory journals analyzing them, however, and if you yourself put in the listening time you can figure out what's going on and what can be done. The Wayne Naus book is and OK start, since it gives you some basic compositional idea to work with.but compared to other books on harmony it is extremely light on content. The biggest misstep when you're first trying to learn how to compose in the 'fusiony' or more modern sort of jazz style is to assume that there's a correct way of doing it or that there is some sort of functional rubric to follow the same way that tonal harmony does in jazz and the common practice. It's a purely aesthetic judgement, which means that the way you learn to do it is simply by listening at what other people are doing, looking at the scores, and then trying it out for yourself. A chord doesn't necessarily have any relationship to any others in a sequence besides the chord before and after it. Instead of III-7 to bIIImaj7, the ear hears 'minor 7 chord descending a half step to a major 7 chord.' There are a couple of aesthetic and compositional ideas important to the style that are worth mentioning. You could easily have a whole course on this stuff (Berklee has like 10 of them), so look into each one on your own. Constant structures - Consistent use of the same chord quality regarless of key or root (Cmaj Bmaj7 Ebmaj7 Emaj7 etc) II. Cycles - Cycling constant structures or roots either in tonic systems (dividing the octave into 2, 3, 4, 6 parts by way of tritones, major thirds, minor thirds and major seconds respectively) or in other schemes (alternating major and minor thirds, etc) III. Avoiding 'progressive root motion' - The long and short of this one is avoiding root motion down a 5th. Odd harmonic rhythm - Chords don't necessarily have to fall on the beat (see intro to Havona). Use of 4th Voicings - 'Sus' sounds are big, and any degree of ambiguity as to the exact quality of the chord helps with the aesthetic. Use of compositional elements beyond 'blowing changes' - This is a big one, you see a lot of fusion composers messing with ideas that they never intend to solo over. You didn't get this a whole lot in the hard bop and free bop eras that came before. Hopefully that gave you at least a jump start.
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