By Chick Corea
Out of print self released ebook through Chick Corea with a few of his insights into taking part in the piano, comping, making time, composing, and his own rules as a musician.
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Extra resources for A Work In Progress: On Being a Musician
But it is possible to hear the dissonant chord (C–E–F-sharp) accompanying the motif as implying a resolution to B major (ex. 10a). In that case the C–G–C of the motif is merely an expansion of one element of the chord, and the three final lonely C’s are unresolved neighbors. In a larger context, however, one can accept the B of the entire concluding section as a hugely expanded neighboring key to the overall C major. In that case, F-sharp is the dissonant member of the chord—a holdover from the B major episode—and the C–G–C motif attempts to reestablish the global tonic (ex.
The two often occur in association. A chord that the listener has accepted, say, as a dominant seventh—because, in fact, it sounds like a dominant seventh—may fail to resolve immediately, either normally or deceptively. , a chord that invokes a similar disposition although at a different harmonic level. Yet the first one should not be forgotten, for the transfer may not preclude but only postpone an ultimate resolution of the original dominant. That is exactly what happens in the Prelude. Through multiple transferal, the dominant of m.
In the music of both composers the thematic repetitions pervade the texture of the more normal multi-movement structure, surfacing periodically. The designs they produce are musical, but also more than musical: their thematic techniques support a narrative or dramatic structure of extramusical connotations, whether verbally identified by Berlioz, or left unstated by Tchaikovsky. Sometimes the composer’s story requires him to quote the music or to imitate the style of another. Thus Mendelssohn introduces a chorale at the climax of his E minor Fugue Op.
A Work In Progress: On Being a Musician by Chick Corea