Pat Martino’s <i>The Nature of the Guitar:</i> An Intersection of Jazz Theory and Neo-Riemannian Theory

Capuzzo, Guy

doi:10.30535/mto.12.1.4

Cited by 7 publications

(4 citation statements)

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“…This approach is found in Richard Cohn (, p. 91, and , p. 151) . Cohn's work in this area, which develops the theories of Carl Friedrich Weitzmann and Benjamin Boretz, is drawn into the field of popular music by Guy Capuzzo (, paras 2.2–2.3) . In the blues, a level is usually articulated with only two or three notes; the root and minor ninth are never sounded simultaneously.…”

Section: Blues Tonal Space 1: the Networked Approachmentioning

confidence: 99%

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Two Approaches to Tonal Space in the Music of Muddy Waters

Curry

2017

Music Analysis

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The music of Muddy Waters is steeped in the blues tradition of the early twentieth century but also plays a key role in the development of the rock music of the 1960s and '70s. The importance of Waters's music can be understood more fully by exploring its engagement with blues music's harmonic and melodic characteristics. This article posits two approaches to blues tonal space: the networked and the laddered. The first is underpinned by the cyclical potential of equal temperament and is characterised by descending chromatic motions. The second is underpinned by the harmonic series and is characterised by the microtonal shaping of pitch content within the framework of a ladder that approximates an equal-tempered major-minor seventh chord.After explaining the details of these approaches with reference to an early blues recording by Alberta Hunter and Fats Waller, the article examines the ways in which Muddy Waters favours the laddered approach but develops novel ways of referencing the networked system, often combining or synergising aspects of each. This analysis yields insight into the potential for interchange in blues between networked and laddered tonal space. This interchange exploits (1) the structural importance of the major-minor seventh chord, (2) the special weight afforded the sonority of the minor third and (3) the affinity between microtonal and chromatic step motion in this genre.

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Section: Blues Tonal Space 1: the Networked Approachmentioning

confidence: 99%

“…Capuzzo cites Cohn () and Weitzmann () in positing the total chromatic as ‘the cross product of diminished seventh chords and augmented triads' (, para. 2.3).…”

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confidence: 99%

Two Approaches to Tonal Space in the Music of Muddy Waters

Curry

2017

Music Analysis

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“…It is clear that the progression in Table 2 is more complex than the progression in Table 1. Furthermore, the regularities that define the Coltrane changes are notoriously difficult to explain (Capuzzo, 2006;Waters, 2010). In the Giant Steps liner notes, Coltrane describes it as follows: "the bass line is kind of a loping one.…”

Section: The Coltrane Changesmentioning

confidence: 99%

Giant Steps In The Interpretation Of A Musical PDP Network

Hathaway

Dawson²

2014

Eureka

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We first introduce the notion of chord progressions by describing a particular example (the II-V-I) that is related to the Coltrane changes. Second, we describe the Coltrane changes using a formalism derived from previous musical investigations with neural networks (Yaremchuk & Dawson, 2005, 2008). Finally, we describe how we trained a neural network to generate the Coltrane changes, how we analyzed its internal structure, and the implications of this interpretation. In particular, we discovered that a network represented transitions between chords in a fashion that could be described in terms of a new musical formalism that we had not envisioned. In short, this paper shows that the interpretation of the internal structure of a musical network can provide new formalisms for representing musical regularities, and can suggest new directions for representational research on musical cognition.

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“… 29 This is a term used by Guy Capuzzo in ‘Pat Martino's The Nature of the Guitar : an intersection of jazz theory and neo-Riemannian theory’ (Capuzzo 2006, p. 5). Capuzzo's exploration of this network in relation to jazz provides a useful point of comparison.…”

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confidence: 99%

Blues music theory and the songs of Robert Johnson: ladder, level and chromatic cycle

Curry¹

2015

Pop. Mus.

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The blues is a complex and subtle musical language that warrants careful analysis and sustained debate. There are legitimate concerns with the application of music-theoretical paradigms to blues music, but we should not allow such concerns to undermine all attempts to address the blues as a serious and coherently structured music. This paper explores the notions of ladder, level and chromatic cycle as an insightful set of theoretical tools in analysing the music of Robert Johnson. Key sources in developing this analytical approach are the scholarship of Gerhard Kubik and the spatially oriented analytical methods of neo-Riemannian theory. The notions of ladder, level and chromatic cycle are explored with close reference to Johnson's 'Kindhearted Woman' and through a more general consideration of the scale-degree content of his vocal parts.

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Pat Martino’s The Nature of the Guitar: An Intersection of Jazz Theory and Neo-Riemannian Theory

Cited by 7 publications

References 0 publications

Two Approaches to Tonal Space in the Music of Muddy Waters

Two Approaches to Tonal Space in the Music of Muddy Waters

Giant Steps In The Interpretation Of A Musical PDP Network

Blues music theory and the songs of Robert Johnson: ladder, level and chromatic cycle

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