7.1 TEXT REFERENCES
Aebershold, Jamey (2010). Jazz Handbook. New Albany: Jamey Aebershold Jazz.
Bailey, Derek (1993). Improvisation: Its Nature and Practice in Music. Boston: Da Capo Press.
Baker, David (1988). Jazz Improvisation: A Comprehensive Method for All Musicians. Los Angeles: Alfred Publishing.
Benitez, Vincent P. (2008). “Messiaen as Improviser.” Dutch Journal of Music Theory 13, no. 2, May 2008: 129–44.
Bergonzi, Jerry (2000). Thesaurus of Intervallic Melodies. Rottenburg: Advance Music.
Bergonzi, Jerry (2006). Hexatonics. Rottenburg: Advance Music.
Brecker, Michael (1982). Improvised Saxophone Solos. Transcribed and edited by Trent Kynaston. Hialeah: Studio 224.
Coker, Jerry, Jimmy Casale, Gary Campbell, and Jerry Greene (1970). Patterns for Jazz. Lebanon: Studio P/R.
Crook, Hal (1991). How To Improvise. An Approach to Practicing Improvisation. Rottenburg: Advance Music.
De Marez Oyens, Gerrit (1997). “De stuurlieden van de toonklok”. Tijdschrift voor Muziektheorie 2/3: 241 – 248.
Delamont, Gordon (1973). Modern Twelve-Tone Technique. An Examination of Serial Writing for the Contemporary Composer and Arranger. New York, Kendor Music.
Forte, Allen (1973). The Structure of Atonal Music. New Haven: Yale University Press.
Garzone, George (2009). “Basics of the Triadic Chromatic Approach.” Downbeat 76/5: 58.
Green, Bunky (1985). Jazz in a Nutshell. A Short-Cut to Jazz Improv. New Albany: Jamey Aebershold.
Hoogstins, Theo (undated). “Peter Schat’s Tone Clock in Jazz and Improvised Music.”
Lacour, Guy (1972). 28 Etudes pour Saxophone sur les Modes à Transpositions Limitées. Paris: Gerard Billaudot.
Liebman, David (2013). A Chromatic Approach to Jazz Harmony and Melody. Rottenburg: Advance Music.
Messiaen, Olivier (1956). The Technique of My Musical Language. 2 Vols. Trans. John Satterfield. Paris: Alphonse Leduc.
Messiaen, Olivier (1992). Traité de Rythme, de Couleur, et d'Ornithologie: 1949-1992. 7 Vols. Paris: Alphonse Leduc.
Nelson, Oliver (1966). Patterns for Improvisation. Los Angeles: Noslen Music Company.
O’Gallagher, John (2013). Twelve-tone Improvisation. A Method for Using Tone Rows in Jazz. Mainz: Advance Music.
Perle, George (1991). Serial Composition and Atonality. An Introduction to the Music of Schönberg, Berg and Webern. Berkeley, Los Angels, Oxford: University of California Press.
Prasad, Anil (2012). “Bunky Green, Urgency and Continuity.”
Samuel, Claude (1994). Olivier Messiaen, Music and Colour – Conversations with Claude Samuel. Trans. E. Thomas Glasow. Portland: Amadeus Press.
Schat, Peter (1984). De Toonklok. Essays en Gesprekken over Muziek. Amsterdam: Meulenhof.
Schat, Peter (1993). The Tone Clock. London: Harwood.
Schat, Peter (1998). “Splijt de leeuwerik. Muziek in het tijdperk van de herverlichting.” Tijdschrift voor Muziektheorie 3/1: 40 – 44.
Slonimsky, Nicolas (1975). Thesaurus of Scales and Melodic Patterns. New York: Schirmer Books.
Van Norden, Maarten (1997). “Lux et Veritas. De set-theorie van Allan Forte en toepassingen hiervan voor componisten.” Tijdschrift voor Muziektheorie 2/2: 97-109.
Van Putten, Bas (2015). Alles moest anders. Biografie van Peter Schat. Amsterdam: De Arbeiderspers.
Weiskopf, Walt (2009). Intervallic Improvisation. The Modern Sound: A Step Beyond Linear Improvisation. New Albany: Jamey Aebershold Jazz.
7.2 MUSIC REFERENCES
Corea, Chick Electric Band (2003). Got a Match [Live recording]. The Hague, Northsea Jazz Festival. https://youtu.be/eF_ttulF9aA
Clazz Ensemble (2010). Federico On Broadway [CD]. Red Piano Records.
Coltrane, John (1962). Coltrane [LP]. Impulse! Re-issue (2002) Coltrane [CD].
CRY BABY! (2009). CRY BABY! [CD]. Soundroots Records.
De Graaf, Dick New Quartet (2015). A Crow Calling [Unpublished].
De Graaf, Dick New Quartet (2015). Bird Buzz [Unpublished].
De Graaf, Dick New Quartet (2015). Master Slow Feet [Unpublished].
De Graaf, Dick New Quartet (2017). Bird Buzz [CD]. Soundroots Records.
De Graaf, Dick Septet (1991). Polder [CD]. Timeless Records.
De Graaf, Dick (2002). Fo4r Winds [CD]. Turtle Records.
De Graaf, Dick (2007). Moving Target [CD]. Soundroots Records.
De Graaf, Dick (1995). Sailing [CD]. Challenge Records.
De Graaf, Dick (1999). The Burning of the Midnight Lamp. Dick de Graaf Septet Plays Jimi Hendrix [CD]. Via Records.
De Graaf, Dick and Tony Lakatos (1996). New York Straight Ahead [CD]. Challenge Records.
De Graaf, Dick European Quintet (2003). Schubert Impressions for Jazz Quintet [CD]. DiVox.
Dennerlein, Barbara (1995). Take Off [CD]. Verve.
Dicke Luft, Saxophone Quartet (2013). Carillon [CD]. Red Piano Records.
Garzone, George (1996). Four's and Two's [CD]. NYC Records.
Garzone, George (2009). The Music of George Garzone and the Triadic Chromatic Approach [DVD]. Jodyjazz.
Green, Bunky (2004). Another Place [CD]. Label Bleu.
Gille, Sebastian (2011). Anthem [CD]. Pirouet.
Hall, Jim (1975). Concierto [LP]. CTI Records.
Hoogstins, Theo (1997). Triosonic [CD]. A-Records.
Lacy, Steve (1990). Anthem [CD]. Novus.
Liebman, David (1990). Chant [CD].CMP records.
Octurn (2006). 21 emanations [CD]. Yolk Records.
O’Gallagher, John (2015). The Honeycomb [CD]. Fresh Sound New Talent.
Pozza, Andrea European Quintet (2011). Gull’s Flight [CD]. ABEAT records.
Rollins, Sonny (1963). Sonny Meets Hawk [LP]. RCA-Victor.
Sofas, Les De Bamako (2000). Les Sofas De Bamako featuring Dick de Graaf [CD]. Via Records.
Stewart, Bill (1997). Telepathy [CD]. Blue Note.
Thomas, Gary (1987). The Seventh Quadrant [CD]. Enja.
Wilkins, Jack (1977). You Can’t Live Without It [LP]. Chiaroscuro Records.
Records.
7.3 STYLE SHEET
Note names
Note names are written in lower-case letter, for example, “the triad e–g–b”. In the main text, accidentals are written in superscript: c, c♯, d♭, but in the musical examples, the accidentals are written in subscript.
Accidentals
Accidentals are arranged per bar. Flats and sharps apply to all similar notes in the bar.
Intervals
Intervals are notated with the names of the notes connected by a dash, such as in “the interval e♭–g”.
Both the terms “augmented fourth” and “tritone” are used to define the interval of the augmented fourth.
A figure between brackets indicates the number of minor seconds between two notes. For instance (4) means: a major third interval.
In the subchapters 3.3 – 3.7, I have followed the interval notations of the authors.
Chords and tonalities
Keys and tonal centers are marked in capital letter, followed by the abbreviations “maj” (major), “m” (minor), “dim” (diminished), and “augm” or “+” (augmented). The additions and alterations are written in subscript. For example, “the triads are Cm, F, B(omit 5), and C♯5”; “F# sounds as the tonal anchor”; “After the keys of Amaj and Cm, a G pedal point, also written as " /G”; “examples of chords are Ammaj7, Gmaj7, Bm7, Fsus4, Fmaj7#11, Gmadd11, and F#7omit5”.
For the sake of reading ease I sometimes omit abbreviations, such as in “This helps to evoke the tonal color of a D augmented triad, the triad of F augmented, or the E augmented scale”.
Bars
Bar numbers are notated in lower-case figure, such as in: “After the saxophone melody in bars 1–4, bar 5 starts with an ostinato in the bass.”
