This study documents and analyzes cyclic patterns used as melodic vocabulary in John Chlorate’s improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that Is derived from the cycle of descending major thirds progressions found In the compositions of 1 959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Solemnity’s Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated In the treatise.
Musical examples consist of patterns from the Thesaurus and excerpts from selected Improvisations of John Coloration as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Hollowed, Lewis Porter, David Dempsey, and Walt Whiskies are Included. Every effort has been made to cite Interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the Important influence of Theologies Monk, Males Davis, and Ornate Coleman.
Chapter headings include: Literature Review and Methodology: Theologies Monk, Miles Davis, and Ornate Coleman: Converging Influences; Analysis: Chlorate’s Major Thirds Harmonic Cycles used as Melodic Vocabulary; Interval Cycles in Chlorate’s Melodic Vocabulary Based on Patterns from Colonialism Thesaurus; Summary and Conclusion. This study documents and analyzes cyclic patterns used as melodic vocabulary in John Chlorate’s improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections.
The first section analyzes melodic scapulars that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Solemnity’s Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John Coloration as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Woodcock, Lewis Porter, David Dempsey, ND Walt Whiskies are included.
Every effort has been made to cite interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the important influence of Theologies Monk. Miles Davis, and Ornate Coleman. Chapter headings Include: Literature Review and Methodology; Theologies Monk, Miles Davis, and Ornate Coleman: Converging Influences; Analysis: Chlorate’s Major Thirds Harmonic Cycles Used as Melodic Vocabulary; Interval Cycles In Chlorate’s Melodic Vocabulary Based on Patterns from Colonialism Thesaurus; Summary and Conclusion.
John Coloration By Artistic that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John to the subject by Carl Woodcock, Lewis Porter, David Dempsey, and Walt Whiskies are included. Every effort has been made to cite interviews with musicians and n the important influence of Theologies Monk, Miles Davis, and Ornate Coleman.