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| The JAZZ PAGE |
| Below is a list of jazz tunes written by yours truly (except as noted). Click and listen away... |
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Ask For A Raise
Written By: E.Vanduyne
Performed By: Ken Hall - Vibraphone, Kurt Yost - Sax, Eric VanDuyne - Guitar, Jeff Lackie - Drums, Brian Alleman - Bass
Recorded: July 2004
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Pig Roast
Written By: E.Vanduyne
Performed By: Ken Hall - Vibraphone, Eric VanDuyne - Guitar, Jeff Lackie - Drums, Dave Huber - Chapman Stick
Recorded: March 2006
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LA Makes A Joke
Written By: Ken Hall
Performed By: Ken Hall - Vibraphone, Eric VanDuyne - Guitar, Jeff Lackie - Drums, Dave Huber - Chapman Stick
Recorded: March 2006
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Walking With Jim
Written By: Ken Hall
Performed By: Ken Hall - Vibraphone, Eric VanDuyne - Guitar, Jeff Lackie - Drums, Dave Huber - Chapman Stick
Recorded: March 2006
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| LYDIAN CHROMATIC CONCEPT |
THE LYDIAN CHROMATIC CONCEPT OF TONAL ORGANIZATION
I studied George Russel's Lydian Chromatic
Concept of Tonal Organization for a year with Ben Schwendener
of the New England Conservatory. The whole thing is based
on the notion of "tonal gravity" and is a great
new way to think about chords, melodies, and how they
relate to one another. I use aspects of it almost all
the time in some way shape or form. Below is an article
that I wrote while studying the concept. I use this idea
almost every time I pick up a guitar. It sounds complicated
but it's really not at all.
Above are also a few mp3s for you to chew upon if you
see fit. Feel free to download them and trade them if
you wish to do so.
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| PAN MODAL IMPROVISATION |
PAN MODAL IMPROVISATION
An application of the Law of Resolving
tendencies can be used to achieve pan tonic effects in
a static, modal environment. This environment most likely
to occurs in the context of a rhythm section of a group
outlines primarily one Lydian tonic, while an individual
improvises. The improviser in this setting can use the
law of resolving tendencies to shift between pro tonic
and pan tonic tonalities in relation to the underlying
Lydian tonic sounded by the rhythm section. The shifting
can be accomplished by superimposing Lydian tonics that
are either flat lying or sharp lying from the key of the
music, depending on the desired effect.
The Law of Resolving Tendencies states that moving in
a sharp direction from a Lydian tonic sounds more final
than moving in the flat direction. Because of this phenomenon,
the pan tonic qualities of the flat lying keys and the
sharp lying keys to a harmonically static environment
are quite different. In general, the sharp lying tonic
in a pan tonic situation will try to dominate over the
flat lying tonic.
Superimposing a flat lying key over a sharp lying chord
creates a goal-oriented type of pan tonic tonal effect.
Modulating a melody in the flat direction contains the
quality of the strongest horizontal interval of the fourth,
creating an instability toward the sharp lying chord,
and in essence, creating the desire to resolve to it.
Because of the fourth interval, the flat lying keys will
have a mode that begins on the Lydian tonic of the chord;
these modes however are unstable with respect to the sharp
lying chord below. The improviser desiring to create a
pan tonic sound by using flat lying keys will be forced
to allude to the sharp lying Lydian tonic frequently to
avoid sounding too outgoing. The resolution from the flat
lying to sharp lying results in a horizontal type of effect.
The horizontal effect observed reverses the factor "A"
and factor "B" associated with horizontal tonal gravity
in the respect that now the melody is goal oriented (factor
B for chords), while the chord sounds a tonic station
(factor A for melody).
Creating a pan tonic, supra vertical environment by superimposing
sharp related keys above a flat lying rhythm section or
chord results in a more stable environment for the melody.
This returns the factor "A" to the melody; the underlying
chords tend to want to resolve to the sharp lying tonic
station sounded by the soloist. Modulating in a sharp
direction sounds more final and naturally extended from
the Lydian tonic of the chords; the improviser no longer
has to resolve to the flat lying Lydian tonic. In general,
flat lying keys support sharp lying keys when they are
below in respective register, while sharp supports flat
when it lies in the upper respective register.
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