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Free jazz or Free Form in the early to mid-1970s is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes.
The first phase, known as "free atonality" or "free chromaticism", involved a conscious attempt to avoid traditional diatonic harmony. Works of this period include the opera Wozzeck (1917–1922) by Alban Berg and Pierrot lunaire (1912) by Schoenberg.
After a brief period of free atonality, Schoenberg and others began exploring tone rows, in which an ordering of the 12 pitches of the equal-tempered chromatic scale is used as the source material of a composition.
Much jazz is tonal, but "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".
Second period: Free atonality. The urgency of musical constructions lacking in tonal centers or traditional dissonance-consonance relationships can be traced as far back as Schoenberg's Chamber Symphony No. 1, Op. 9 (1906).
Rudolph Reti, an early proponent, says: "To replace one structural force (tonality) by another (increased thematic oneness) is indeed the fundamental idea behind the twelve-tone technique", arguing it arose out of Schoenberg's frustrations with free atonality, [page needed] providing a "positive premise" for atonality.
The Quietus called the album "confrontational" and "musically far-reaching" and praised its "bursts of reggae wooziness, gnarled free-jazz atonality, and electronic noise". Supreme Standard called the album "biting and acerbic, funny and furious, and [featuring] some of its creator’s finest, most accessible compositions to date" and made it ...
Free Jazz: A Collective Improvisation is an album by the jazz saxophonist and composer Ornette Coleman. It was released through Atlantic Records in September 1961: the fourth of Coleman's six albums for the label. Its title named the then-nascent free jazz movement.
Aleatory, atonality, serialism, musique concrète, and electronic music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century.
Around this time, a style known as free jazz also came into being, in which quartal harmony had extensive use, owing to the wandering nature of its harmony. Fourths in Herbie Hancock's " Maiden Voyage " [ citation needed ]