Frank Zappa Octave Displacement Composition/Improvisation Concepts
Please watch video above for detailed info:
Hi Guys,
Today, a quick look at the way Frank Zappa exploits octave displacement.
This, is a really useful compositional device especially when writing for a string quartet or stringed instruments.
EXAMPLE 1:
In this example we can see the use of the displaced octave [or Maj7th interval].
Musical notation illustrating Frank Zappa’s octave displacement used in string instrument compositions.
With further analysis, we will notice the employment of the minor 3rd interval as a means of connection and predictive avoidance.
Musical notation illustrating frank Zappa minor 3rd intervals in a compositional example.
Although, this phrase/motif descends a minor 3rd it is actually, [quite cleverly] copied up a semitone:
Musical notation illustrating Frank Zappa’s octave displacement and minor 3rd connections
FULL LINE:
Musical notation illustrating octave displacement for string instruments, highlighting the use of minor 3rd intervals.
EXAMPLE 2:
This example is the same as that found in Pat Martino’s 12 chromatic forms:
This amazing shape creates a really nice resonance/blend on the guitar. It’s also useful for various inversions and shifting positions around on the fingerboard.
Here, once again we see the exploitation of the minor 3rd interval to move and connect the shape.
Musical notation demonstrating frank Zappa’s minor 3rd interval and octave displacement
EXAMPLE 3:
This application employs everything that we have looked at so far in one short example.
Notice, the minor 3rd connection, the open string, the shape, etc. It all becomes familiar.
Example illustrating the application of minor 3rd intervals and octave displacement shape.
EXAMPLE 4:
The final example is similar in concept to our first one.
It has a motif/phrase which is connected by the minor 3rd interval, that, then copies it up a half step.
Frank Zappa illustrating the connection of phrase/motif using a minor 3rd interval, copied up a half step.
Full Example:
Frank Zappa illustrating a composition example using octave displacement and minor third intervals.
Today, a look at the amazing orchestral chord from “The Rite of Spring”[“Augurs of Spring ” – Les augures printaniers] by composer Igor Stravinsky.
PART 1:
What is the “Augurs of Spring” chord?
This is a Bi-Tonal chord consisting of two parts or two different tonalities. In the Bass we have a chord of F flat Major and in the treble we have a chord of Eb7
Musical notation illustrating the bi-tonal chord of F flat Major and Eb7 from Stravinsky’s ‘The Rite of Spring.’
Stravinsky calls this F flat Major as opposed to its enharmonic [E Major] because, he employs an Eb Major key signature making it easier to read and follow, whilst removing any # accidentals that could create messiness. [The extra flats make it legible].
BUT……
In our modern analysis we can think of it this way,
Here, is how the rite of spring chord sounds in an orchestral context:
From Stravinsky’s score: Here, we can see Stravinsky’s mastery, displayed by his execution of rhythmic brilliance.
Below, is how it sounds as a pad on an modern keyboard
PART 2: GUITAR VOICING’S
Due, to the nature of the guitar we really need an extra finger and an extra string to do this unique chord justice.
But, here are two guitar voicing’s for harmony, strumming and chordal picking:
Voicing #1
Guitar voicing example for the Bi-Tonal chord from Stravinsky’s ‘Rite of Spring.’
Voicing #2
PART 3:
Investigating the harmony:
In the example below, we can see the amazing way Stravinsky’s “Rite of Spring” chord resolves and how the structure of the harmony moves.
CHORD PAIRS:
Due to the nature of the two chords being a semitone apart we can create some interesting chord pairs lines/licks from this:
Okay, now let’s develop this a bit,
PART 4:
We, can also build on this concept and create some interesting guitar or solo instrument lines with this approach:
Here is a lick/line example:
Musical notation highlighting the transition between E Major and Eb Major chords in Stravinsky’s ‘Rite of Spring.’Musical notation illustrating the E Lydian and Eb Major scales, highlighting the rhythmic structure and chord pairs from Stravinsky’s ‘Rite of Spring’.
In Conclusion:
This was just a quick look at the potential of just one chord!
This Bi-tonal and Polytonal approach opens up so much in terms of inspirational ideas, originality and fresh harmonic perspectives.
In this way, cliches can be rung of banality and forged into something interesting and unique andthoroughly challenging.
“Les Augures Printaniers/The Rite of Spring” is such a great example of this, possessing a little world within itself. Add, to this Stravinsky’s brilliant exploitation of rhythm and we have a [Bi-tonal]chord that’s an all time classic!
Here is some more information/Examples on Messiaen’s 3rd Mode: [Video and Tab/Notation]
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory LessonMessiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.
MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
INTERVALLIC IDEA: EXAMPLE 2
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.
Weaving in and out of F major 7th: EXAMPLE 3
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
Below is a Short Compositional Study where I use Messaien’s Modes.
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
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![Musical notation displaying the F flat Major and Eb7 chords, highlighting Stravinsky's "Rite of Spring" chord [augurs of spring chord]](https://jazzimproviser.com/wp-content/uploads/2025/05/screenshot-2025-05-19-at-16.32.59.png?w=322)
