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    Wayne Shorter Excerpt

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    This document provides an analysis of the jazz composition 'Miyako' by Wayne Shorter. It describes the harmonic structure and form of the piece, noting Shorter's craftsmanship and innovative approach in composing outside of standard song forms and bebop. It also gives an example of 'Footprints', discussing Shorter's use of embellishing chords in place of a tonic-dominant framework.

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    Wayne Shorter Excerpt

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    98 views1 page
    This document provides an analysis of the jazz composition 'Miyako' by Wayne Shorter. It describes the harmonic structure and form of the piece, noting Shorter's craftsmanship and innovative approach in composing outside of standard song forms and bebop. It also gives an example of 'Footprints', discussing Shorter's use of embellishing chords in place of a tonic-dominant framework.

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    Wayne Shorter Excerpt

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    This document provides an analysis of the jazz composition 'Miyako' by Wayne Shorter. It describes the harmonic structure and form of the piece, noting Shorter's craftsmanship and innovative approach in composing outside of standard song forms and bebop. It also gives an example of 'Footprints', discussing Shorter's use of embellishing chords in place of a tonic-dominant framework.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    98 views1 page

    Wayne Shorter Excerpt

    Uploaded by

    cem
    This document provides an analysis of the jazz composition 'Miyako' by Wayne Shorter. It describes the harmonic structure and form of the piece, noting Shorter's craftsmanship and innovative approach in composing outside of standard song forms and bebop. It also gives an example of 'Footprints', discussing Shorter's use of embellishing chords in place of a tonic-dominant framework.

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    of 1

    Table 5

    "Miyako"
    12 3 4 5 6 7 8
    A7sus F#7sus Em7 Ebm7 Dm7 G7
    [II V]
    I
    9 10 11 12 13 14 15 16
    Cmaj7 Am7 Gm7 Fmaj7 E7 Amaj7 Am7 Abm7 G7
    [II bll]
    rtii V I
    17 18 19 20 21 22 23 24
    Ftm7-5 B7 Em7b5 A7 Dm7 Cm7 Bm7 E7
    [II V]-> [II V]-> IV

    25 26 27 28
    Atm7 D?7 Bm7 E7
    (II V)
    chromatic neighbor II V

    later appearances (Example 1 Id, e). The initial pitches of the three trans
    positional levels of this motive, B, Ctt, and E, form the inversion of motive
    (y). Note also the variety of harmonization: none of these motives is
    harmonized exactly the same way twice. Shorter's craftsmanship extends
    also to form. As a twenty-eight-measure tune with no sectional divi
    jazz
    sions and no real cadence at the end, "Miyako" is unique, but representa
    tive of Shorter's ability to compose outside the standard forms of popular
    songs and bebop.19

    Alternatives to Tonic-Dominant Polarity

    Shorter's use of embellishing chords in the middleground in the ab


    sence of any tonic-dominant framework is one of the most innovative
    features of his harmony. "Footprints" (1965) will serve as an example.
    uses successive and lower chords as
    "Footprints"20 upper embellishing
    themain prolongation of its tonic: Cm7 E7 A7 Cm7. A twelve-bar minor
    blues, has a bass motive that expresses the opening I-IV-I
    "Footprints"
    blues The motive consists of an upward arpeggiation of these
    progression.
    chords, as shown in Example 12, mm. 1-8. The move to subdominant in
    mm. 5-6 is accomplished in a unique way by the bass in the upper voices
    of its arpeggiation: G3 and C4 are replaced by F3 and Bb3, producing a
    stack of three fourths and leaving the downbeat C3 as a pedal throughout
    are an motive in the melody, as well). Measures 9-10
    (fourths important

    314

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