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able to merge functional harmonic procedures with modal harmonic procedures? Hancock attained national prominence as a member of the Miles Davis Quintet, playing piano with Davis between 1963 and 1968. With his tenure with Davis, his recordings as a sideman on numerous albums, and his own series of albums for the Blue Note label under his own name, Hancock was considered one of the most innovative, versatile, and accomplished jazz pianists of the decade. Bill Dobbins writes that âHerbie Hancock is certainly one of the most influential jazz pianists of the second half of the twentieth centuryâ (Hancock 1992, 6). Hancock studied piano and composition at Grinnell College until 1960, and he became a prolific and significant jazz composer, writing virtually all of the compositions on his seven Blue Note albums between 1963 and 1969.1 In order to set Hancockâs compositional practice in historical perspective, it is important to distinguish between functional harmonic progression on the one hand, and the harmonic procedures of modal jazz on the other. After providing this brief background discussion of functional harmony and modal harmony, I turn to Hancockâs compositions. Functional Harmonic Progression Through the late 1950s, functional harmonic relationships have provided the
Journal of Music Theory – Duke University Press
Published: Jan 1, 2005
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