3.1 Introduction
  3.1.1 The chord-scale technique
  3.1.2 Playing outside the changes
3.2 David Liebman (2013)
  3.2.1 Theory
  3.2.2 Practical applications
  3.2.3 Twelve-tone techniques
  3.2.4 Evaluation
3.3 Jerry Bergonzi (2000)
  3.3.1 Theory
  3.3.2 Practical applications
  3.3.3 Twelve-tone techniques
  3.3.4 Evaluation
3.4 George Garzone (2009)
  3.4.1 Theory
  3.4.2 Practical applications
  3.4.3 Twelve-tone techniques
  3.4.4 Evaluation
3.5 Walt Weiskopf (2009)
  3.5.1 Theory
  3.5.2 Practical applications
  3.5.3 Twelve-tone techniques
  2.5.4 Evaluation
3.6 Jerry Bergonzi (2006)
  3.6.1 Theory
  3.6.2 Practical applications
  3.6.3 Twelve-tone techniques
  3.6.4 Evaluation
3.7 John O’Gallagher (2013)
  3.7.1 Theory
  3.7.2 Practical applications
  3.7.3 Twelve-tone techniques
  3.7.4 Evaluation
3.8 Comparing the models
 
4.1 Introduction: tonal and twelve-tone music
4.2 Peter Schat’s Tone Clock
4.3 Theoretical context of the Tone Clock
  4.3.1 Allen Forte’s pitch set class theory
  4.3.2 The problem of the three-ness
  4.3.3 Controlled revolution and natural evolution
4.4 Applications of the Tone Clock in jaz
  4.4.1 “7th Hour Blues” (Theo Hoogstins)
  4.4.2 “Green Room” (Frank Carlberg)
  4.4.3 “Petulant Snoot” (John O’Gallagher)
4.5 My applications of the Tone Clock
  4.5.1 “Onsa”
  4.5.2 “Pontiac”
  4.5.3 “Dicke Pitter”
4.6 Trichord operations instead of “composite scales”
4.7 Generative compendium of melodic patterns
  4.7.1 Trichord 1+2
  4.7.2 Trichord 1+3
  4.7.3 Trichord 1+4
  4.7.4 Trichord 1+5
  4.7.5 Trichord 2+3
  4.7.6 Trichord 2+4
  4.7.7 Trichord 2+5
  4.7.8 Tetrachord 1+5+1
  4.7.9 Tetrachord 2+1+2
  4.7.10 Tetrachord 2+3+2
  4.7.11 Tetrachord 5+1+1
  4.7.12 Tetrachord 1+2+3
4.8 Conclusion
5.1 Introduction
5.2 Messiaen’s seven modes of limited transposition
  5.2.1 First mode (M1)
  5.2.2 Second mode (M2)
  5.2.3 Third mode (M3)
  5.2.4 Fourth mode (M4)
  5.2.5 Fifth mode (M5)
  5.2.6 Sixth mode (M6)
  5.2.7 Seventh mode (M7)
5.3 Applications of Messiaen’s modes in jazz
  5.3.1 Master class (Nelson Veras)
  5.3.2 “Calcutta” (Bo van der Werf)
  5.3.3

“Let’s Give This Tree A Little Friend”

(Jasper Blom)
  5.3.4 “Prayer” (Steve Lacy)
5.4 My applications of Messiaen’s modes
  5.4.1 “A Crow Calling”
  5.4.2 “Sparrows”
  5.4.3 “Dicke Luft”
  5.4.4 “Another Hero’s Journey”
5.5 Connections between Messiaen’s modes and traditional harmony
  5.5.1 CM1
  5.5.2 CM2
  5.5.3 CM3
  5.5.4 CM4
  5.5.5 CM5
  5.5.6 CM6
  5.5.7 CM7
  5.5.8 Summary
5.6 Generative compendium of melodic patterns
  5.6.1 CM1
  5.6.2 CM2
  5.6.3 CM3
  5.6.4 CM4
  5.6.5 CM5
  5.6.6 CM6
  5.6.7 CM7
5.7 Connections with the Tone Clock and the jazz models
5.8 Conclusion