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Approach Notes and Other Embellishments Approach notes have a linear melodic pu

Approach Notes and Other Embellishments Approach notes have a linear melodic purpose. They are short-duration notes that move by step to chord tones or tensions. (Chord tones and tensions have a vertical melodic purpose, helping to provide focal points that are in agreement with the underlying harmony.) Approach notes occur in melodic patterns as: 1. passing tones (PT), which move stepwise between two notes of different pitch 2. neighbor tones (NT), which leave and return to the same note in stepwise motion or proceed directly to a target note without preparation 3. indirect resolution (IR), which consists of two notes of short and equal duration that approach the target note by step from above and below 4. double chromatic approach (DCHR), which consists of two notes of short and equal duration that move by consecutive half steps to a target note Other embellishments include escape tones (ET), which interrupt the upward or downward flow of a melody by moving in the opposite direction by step and then leaping to “catch up.” xvi ET ET ET DCHR DCHR PT PT PT Prepared NT NT NT Unprepared NT NT IR IR jazz composition 1 5/28/03 4:32 PM Page xvi Anticipation and Delayed Attack Rhythmic anticipation (A) occurs when an on-the-beat note is attacked a half beat or a whole beat early. If a chord change is involved, the chord is also anticipated. A delayed attack (DA) occurs when an on-the-beat note is attacked a half beat or a whole beat late. If a chord change is involved, the chord is also delayed. Guide Tones Guide tones are chord tones or tensions that are voice led from one chord to a new chord tone or tension on a subsequent chord by common tone or stepwise motion. The 1 and 5 of a chord are weak guide tones because they duplicate the bass line. The 3 and 7 of a chord are the most harmonically definitive guide tones. Tensions, especially chromatically altered tensions, are the most dissonant guide tones and therefore the most unstable and dramatic. The following example shows all of the voice-leading choices when moving from a given note in a D–7 chord to G7. ( ! = usual voice leading; " = less common ) The choice of available tensions is often aided by designated tensions in the chord symbol. In any case, you must use your ears! xvii T9 D–7 to 7 G7 T13 T 13 5 T11 D–7 to G7 T9 T 9 1 7 5 D–7 to 3 G7 T 9 T9 T 9 1 7 D–7 to 5 G7 5 3 9 D–7 Given 1 to G7 Voice Leading Choices T13 T 13 5 T 5 D–7 Given 3 to G7 Voice Leading Choices 1 7 T13 T 13 A–7 D7 E Maj7 A Maj7( 11) A A A G–7 C7 F6 B 7 A–7 D7( 9) DA DA DA jazz composition 1 5/28/03 4:32 PM Page xvii FURTHER REFINEMENTS 1. Within the duration of a chord, a leap to another guide tone may occur before moving on. 2. If adjacent chords share a guide tone, you can leap between chords. 3. Compound lines are possible when two sets of guide tones “play tag” through a progression. A thorough discussion of guide tone usage appears later in the book. xviii G–7 C7 FMaj7 leap leap G–7 C7 FMaj7 B Maj7 leap leap A–7 D7 GMaj7 CMaj7 F –7 B7 E– jazz composition 1 5/28/03 4:32 PM Page xviii uploads/s3/ guide-tones.pdf