Форум гитаристов

In 1993 I began developing a harmonic analysis course at Berklee College of Music focussing mainly on the unique melodic, rhythmic and harmonic characteristics of the contemporary jazz and fusion group, the Yellowjackets. In the course, a comparative analysis was also made with other composers such as Chick Corea, Wayne Shorten Pat Metheny, Scott Henderson (of Tribal Tech), Bill Evans, Mike Brecker, and Eddie Gomez. It became apparent that the music written by these composers shared similar harmonic and melodic characteristics which made their style unique but much different from traditional standard tune-style composition. Having come from a more traditional background myself, I quickly discovered that the criteria which I used to identify and analyze the characteristics unique to standard tune composition was inadequate to justify and analyze the characteristics in tunes written by the aforementioned composers. Through the process of teaching the Yellowjackets course, a new set of criteria began to emerge which more accurately reflected the characteristics unique to the music of these composers.

I was happy to observe that when students applied the new set of criteria and characteristics, their compositions began to sound much like the composer's music that we were studying. The challenge for students was not so much deciding which techniques to use to create the sound we were after, but rather deciding which techniques to avoid. The techniques and characteristics we needed to avoid were the ones that were unique to standard tune composition styles. Inherent to these techniques were elements of predictability and expectation - the same two elements lacking in the contemporary jazz and fusion music that we were studying in the classroom. By first identifying the elements of predictability and expectation inherent to standard and pop tune-style composition, I felt it would then become obvious that these would be the elements to avoid when writing in a more contemporary jazz and fusion style. Ideally, the strongest compositions were those combining the techniques and characteristics unique to both standard and contemporary tune styles. For the purpose of the course and this text, I have adopted the term functional harmony to describe standard and pop-style time progression and non-functional harmony to describe contemporary jazz and fusion style harmonic progression. This text will identify the characteristics unique to both functional and non-functional harmonic styles. Through a complete understanding of both styles, the composer will have the necessary tools to compose in the style of today's leading composers.


Functional vs. Non-Functional
The term functional describes chords in a harmonic progression that derive their function from their relationship to a key center. Harmonic progression used in the styles of standard and pop tune writing is most often that of functional harmony. Chords found in a functional harmonic context are usually diatonic (of or belonging to the key) and key-related (non-diatonic); these are chords borrowed from other parallel modes. Key-related chords are often referred to as Modal Interchange chords (M.I.). These two categories, diatonic and key-related chords, certainly do not include every possible chord, but are the most common types found in a functional harmonic context.

Chords lacking a perceived tonal center or key fall into the category of nonfunctional harmony. Harmonic progression used in contemporary jazz and fusion is most often that of non-functional harmony.

Chords in a non-functional context derive their function from established patterns, adjacent chordal relationships, root motion and from a relationship to the melody.

For the purpose of composing music in a contemporary jazz and fusion style - which is predominantly non-functional but often a mix of both functional and non-functional styles - this text will identify and examine the characteristics associated with first functional, then non-functional harmonic styles.