Audio

Excerpts for Class 5

Excerpts for Class 6 and Assignment 4

Readings Class 6:

Richard Cohn, "Hexatonic Cycles," in Audacious Euphony: Chromatic Harmony and the Triad's Second Nature (Oxford University Press, 2012), 17–41.

Keith J. Waters and J. Kent Williams, "Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three-Dimensional Pitch Spaces; or Jazz Harmony after 1960," Music Theory Online 16/3 (2010)

Supplemental Readings:

Keith Waters, "Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock," Journal of Music Theory 49/2 (2005), 337–57.
Steve Strunk, “Notes on Harmony in Wayne Shorter’s Compositions, 1964–67,” Journal of Music Theory 49:2 (2008): 301–32.
Keith Waters, "'Giant Steps' and the ic4 Legacy" Intégral 24 (2010): 135–62.
Keith Waters, Henry Martin, Steve Larson, Steven Strunk, "Circular Thinking—A Roundtable on 'Blue in Green' and 'Nefertiti'" Journal of Jazz Studies 11/1 (2016): 105-120.
Steve Strunk, “Tonal and Transformational Approaches to Chick Corea’s Compositions of the 1960s” Music Theory Spectrum 38/1 (2016): 16-36.
Keith Waters, "Chick Corea and Post-Bop Harmony" Music Theory Spectrum 38/1 (2016): 37-57.
Garrett Michaelsen, "Chord-Scale Networks in the Music and Improvisations of Wayne Shorter" Gamut Gamut 8/1 (2018): 123–88.
Paul Steinbeck, "Improvisation and Collaboration in Anthony Braxton’s 'Composition 76'" Journal of Music Theory 62:2 (2018): 249–78.
Ben Geyer, "Maria Schneider's Forms: Norms and Deviations in a Contemporary Jazz Corpus" Journal of Music Theory 63:1 (2019): 35–70.