[1] Jazz theory texts have certainly come a long way since the 1970s and 1980s, when generalities and street talk often took precedence over serious academic rigor. The textbooks under review here are both robust volumes with much to offer the educated musician. Joe Mulholland and Tom Hojnacki primarily address jazz harmony-though they cannot avoid touching upon other fronts-in a way that is at once both conservative and forward-looking. They are the chairs of the Harmony Department at the Berklee College of Music, and their textbook, The Berklee Book of Jazz Harmony, presents a system that has been taught there since the 1960s.(1) The scope of Dariusz Terefenko's Jazz Theory: From Basic to Advanced Study is considerably broader. It addresses topics that do not always appear in jazz theory texts, such as jazz rhythm, music fundamentals (a very thorough treatment), and even post-tonal jazz with a primer on pc-set theory.[2] Both books include digital audio resources. Terefenko provides a play-along DVD and a companion website.(2) The website is open to everyone, requiring no password and stipulating no window of time for user access. It features ear-training exercises, recordings of examples, appendices, and an extensive workbook of written exercises. Mulholland and Hojnacki provide a CD with recordings of original compositions that serve as examples in the text. The Berklee Book would benefit from including some opportunities for readers' self-assessment. However, for the present edition such objectives are somewhat beyond (or peripheral to) the intent of the book, which is simply to introduce Berklee's harmonic system to new readers.[3] Despite their differences, these books do have enough in common to invite comparison. Consider the following passages, excerpted from relatively early chapters in each, where the authors differentiate jazz from other tonal musics. Mulholland and Hojnacki do this at the very outset:One thing that distinguishes mainstream jazz harmony from other tonal styles is the tremendous amount of harmonic color that arises due to the pervasive use of tertian extensions of the basic chord types. Jazz musicians refer to these notes as tensions.Jazz harmony is also characterized by a strong progressive drive or forward propulsion analogous to the rhythmic character of the music. (1)While the authors dedicate most of their energy to explaining jazz's "tremendous amount of harmonic color," they pay more than lip service to the "forward propulsion analogous to the rhythmic character of the music." In several cases, they even go so far as to consider how that propulsion works within jazz's rhythmic framework (a topic addressed in more detail below).[4] Terefenko makes a comparable statement that summarizes an introduction to tonic, pre-dominant, and dominant functions:As will be demonstrated time and time again, functional tonality in jazz has different properties than that of common-practice classical music. These properties are represented by a unique set of rules dictating the unfolding of harmonic function, voice-leading conventions, and the overall behavior of chord tones and chordal extensions. (26)Shortly thereafter, he makes the following observation about the relationship between harmony and rhythm, which further aligns his theory of jazz with that of Berklee's method:In this early exposition of harmonic progressions, we cannot ignore other important factors that contribute to the concept of tonality, such as metric placements and duration of chords. (31-32)[5] Claims that jazz is a different kind of tonal music are hardly profound. However, they are significant simply because jazz theory texts do not normally make such observations. These authors use similar differentiations to situate their discourses within spaces that allow critical inquiry from academically informed readers. In doing so, they establish points of departure for presenting innovative ideas on such topics as harmony and form. …
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Aug 1, 2022
Horace J Maxile Jr 
Open Access