[manual manipulation of the Piano strings, Harmonic and ‘false’ tone production, and experiments in the use of voice and instrumental combinations].
Electric amplification of instruments and voice was not new - the Amplified Guitar and the Microphone were around for considerable time. What did occur was the advances in electronics made it relatively cheap, reliable, and applicable to any instrument - but more important, direct electronic manipulation of the sound envelope and harmonic organization of the tone became possible. A new sound source had now entered into the music and with it new colors.
These many sources for new musical color reflected: the era’s quest for different, new, or more intense musical stimuli, a freedom and spirit of experimentation to make music by any means available, and a need to communicate on the artist’s own terms. What resulted was a new Jazz where sound was not just a means to an end but an end in itself. The music became a sound oriented rather than a Theme oriented music - not in totality, but still at a very basic level influencing even the most conservative artist.
With the on going search for color, Jazz increasingly became Sound rather than Theme oriented - again, not in totality but still at a very basic level. This concern for color was closely linked (as Michael J.
Budds states in ‘Jazz in the Sixties’, University of Iowa Press, 1978) with Texture and Volume.
The music of the 40’s and 50’s had a transparency in which the instrumental line and quality was both distinctive and distinguishable. This was now complicated by the new colors and coloristic techniques.
But, a new element was added to the mix - a growing contention that ‘it’s not about notes any more, it’s about feelings’ (Albert Ayler). This new orientation sparked a break from traditional procedures and sense of musical order - it was the effect produced and the summation of sound which became an end in itself.
To meet these dramatic demands, more instruments were added to the standard quartet or quintet - sometimes to add drone and ostinato functions or just to augment the percussion section with rhythm and color. But, the ensembles did grow in size - if just as a result of added instrumental colors - and the musical texture gained in density and complexity.
Accompanying this change in Texture was a general - and pervasive - demand for greater volume. This music was to be felt, not just heard - it was to envelop the listener in sound. As such, performance practice changed with respect to Volume: dynamic range increased, a louder sound ideal emerged for individual instruments, and ‘acoustic’ instruments were increasingly replaced by electronic instruments or supplemented by amplification.
Jazz, as a result, lost some of the intimate qualities of the small and acoustic groups of the 40’s and 50’s.
It was no longer suitable to the small club but almost a return to the large venues of the Big Bands - the concert hall rather than the large dance hall. This additive process with regard to volume affected both the vertical and horizontal components of the music - it was a bigger sound and with little use of silence.
Jazz traditionally borrowed from preexisting material - both as a source of thematic material and a harmonic structure for improvisation. As the complexity of the harmonic content increased, the vocabulary of improvisation was forced to expand and adapt in accommodating this evolving complexity - use of chromatic alterations, increased harmonic rhythm, and chordal substitution.
Each era in Jazz has a ‘characteristic’ harmonic rhythm reflective of the currently available music sources. The 20’s: triadic harmony and one chord per measure (Muskrat Ramble), the 30’s: appearance of two chords per measure and four note voicings with the addition of the 6th and 7th interval above the root (Georgia On My Mind), and by the 50’s: three to four chords per measure with increasing use of Chordal Substitution (Round Midnight).
The 60’s continued this tradition of utilizing preexisting source material - expanded in complexity - but also explored new approaches. These new approaches effectively resulted in a structural assault on the Traditional - both attempts to extend or modify functional harmony and in attempting to replace it altogether. This structural ‘assault ‘ was not a single and radical leap but rather a series of incremental steps - ultimately culminating in the Free Jazz Movement where none of the traditional performance practices were thought obligatory or indispensable. This challenge directed at Functional Harmony is one of the major events of the decade -it focused on the concept of the ‘Tonal Center’ (the major organizing principle for manipulating musical sound).
The introduction of Modal Scales was not a rejection of Functional harmony, but an attempt to obscure it without destroying the presence of a Tonal Center. 20th Century Fine Art Music had already used these in melodic construction which resulted in: the avoidance of the leading tone; permitted unconventional voice leading; and unorthodox chord progression. In Jazz, it created a static harmonic content by: the use of the drone or pedal point to establish the tonal center (rather than a defining chordal progression); the leading tone and the Tonic/Dominant relationship were avoided; and allowed the vertical component to be improvised (Modal 4th’s in Mehegan).
For the soloist, this resulted in a freedom from the ‘rigidity’ of making the changes. The jazz improviser could create with the resources of a single mode which in turn offered a freedom to concentrate on the improvised line without constraints from the Vertical Chord structures - the phrase was also liberated from its relationship to harmonic rhythm. As Miles Davis stated: ‘When you go that way you can go on forever. You don’t have to worry about changes and you can do more with the line….I think that there is a return in jazz emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them….Too much modern jazz has become thick with chords”.
Early on, the modal idea was a conservative one. It was grafted onto inherited form, tonal framework, and metric patterns. Coltrane took the next step - his treatment of modal principles was much freer: he expanded the pitch material to include elements outside the modal scale and increasingly used irregular phrases which further obscured the four and eight measure subdivisions of form.
This modal experimentation opened up the jazz world to other cultures and musics which were not organized with vertical chord structures but horizontally with the melodic elements. Indian music - with its characteristic drone, scale system, and rhythmic patterns attracted much attention. It was not so much a complete acceptance of this musical system but attempts at fusion.
Our traditional musical system is based on harmony constructed of superimposed thirds - but this is not the only system resulting in vertical structures. Quartal harmonic and melodic organization was another - again a way of reflecting or expanding beyond the limitation dictated by tradition. Melodic and Thematic material in parallel, consecutive, and displaced fourths - accompanied by chords constructed of superimposed 4ths were increasingly used. In some ways this was an extension of the chromatic harmony of the 50’s - a search for a new ‘sound’ but closely related to previous practice.