HARMONY 1 by Barrie Nettles - Berklee COLLEGE OF MUSICi Copyright © 1987 Berklee College of Music All rights reserved.HARMONY I Harmony deals with the study of chords and their relationship 29 one anotner. The understanding of harmonic practice is essential to the uncerstanding of the language of music. As in learning any language, the first step in the learning process is the development of 2 vocabulary. THE STAFF The foundation of our notation system is a grid of five lines called a staff The position of notes placed on the staff visually represents relative “highness” or “lowness* of pitches. nigh low Each line and space of the staff may be assigned a letter name. The letter names are afranged alphabetically in ascending order: ABCOEFG The location of the letter names is determined by a clef placed at the beginning of the staff. The following example uses the F clef (also known as the bass Clef). The F clef locates F below "middle C" on the fourth line of the staff.Harmony | 2 The G clef, also known as the treble clef, locates G above “middle C” on the second line of the staff. SASCDBOEF The C clef locates “middle C" on the middle line (or, in some cases, on the fourth line) of the staff. ‘THE GRAND STAFF When two staves and the treble and bass clef are used together, the result is called the Grand Staff or Great Staff.Harmony | 3 EGER LINES ‘Small lines called Jeger lines are added to extend the staff a Notice that the notes in the spaces directly below or directly above = do not need added leger lines. £ The same applies to notes in the spaces beneath or above the leger lines To summarize, pitch placement devices used in music notation are: 1) the staff, which shows the high/low relationship between cifferent notes. 2) the clefs, which locate pitch names given to lines and spaces of the staff. 3) the leger lines, which extend the five lines of the staff for higher or lower pitches,Harmony | $l Homework numbers: 1, 2, 3Harmony | 5 A TAI The foregoing information about tne Grand Staff covers the letter names of the white keys on the Keyooard. What about the other five notes (the black keys)? : In order to maintain the integrity of the alphabet, the other five 9} represented 2s alterations of the basic seven pitches. The terms sharp and fat, Sharp = 1/2 step nioner, written as# ; flat = 1/2 written ash A"C#" ts the pitch 1/2 step above C and 1/2 step below 9, sharp sign is placed before the note for reading puraoses,Harmony | The names of tne twelve notes in ascending order are. This series of not chromatic scale $ called the chromatic scale These no! also be examined In descenaing order AS with sharps, flats are placed before the notes to wnicn they aociv Ay Ad G Eb O OD 8 Stee oe Note that there are two options for naming the five biack key plten or C#, Eb or D*, etc.) When there are two (or more) possible rer same pitch, it is said that enharmonic spelling !s being applied. oaHarmony 1 7 Once a sharo or a flat has occurred in 2 measure, there must de 2 means of canceling (neutralizing) it so the note reverts to its unaltered conaition. The symbol used for this is 2 natural ( # ). Collectively, sharps, ‘ats anc naturals are cailed accidentals within an octave (eight consecutive letter names), half-steps: i. octave ——_-_ In certain situations, it may become necessary to raise or lower 2 sitch by two half-steps. The symbols for these purposes are X for a double-sharp and pp for a double-flat. These symbols are also called acctdentais.q ; Harmony | 8 JESSE HE OEIBELIII HEHEHE HEHEHE AH nEaiEnesin IRE BE HEHEHE IIHS HI IIIT ISO I IE I Eee The rules for sharps (# ), flats (D 3, naturals (4 ), double-snarps (x double-flats (pp) are: 1. A natural cancels a sharp or flat. 2. A single sharp or flat will cancel a double-sharp or couble-f respectively. 3. One natural alone will cancel both double-sharos and doubie-flats. 4. An accidental remains in effect for the duration of the measure it 1s in, or for the duration of tied pitches, inside a measure or across the bar-line. To raise a note which has aiready been sharped, use 2 couple-sharp, to lower @ note which has already been flatted, use a coubie-f lat, 6. An accidental ONLY affects a spectfic note, in that octave, in that clef. Atl other notes of the same name are NOT affected w Homework numbers: 4, 5, 6, 7, 8Harmony 1-9 A scale is 2 series of ascending or descending notes in a stepwise pattern. This 1s achromatic scale. it uses all the notes between the F's and all the pitches move by 1/2 step. (Chromatic implies "1/2 step.") The following scale uses ali natural notes in an octave from C to C: s C major scale. The same notes can be used to begin and end at different points in the order of notes: DtoD E toe FtoF re i 3 = : 7 oom D Dorian E Phrygian - F Lydian G Mixolydian A Aeolian B LocrianAll of the aoove are scales, Dut they're not the same kind of scale, Th characteristics of the C major scale above are the 1/2 steps from the Sra to 4th degrees and from the 7th to the ist degrees. The distance becween the other notes ts a whole step (two 1/2 steps). In the otner scales snown above, the half-stens (from E to F and B to C) occur in different car’ respective scaie, This creates a coilection of related scales known modes. The modes shown above are ail relative to the C major sca‘: means that each mode starts and ends on a different note of ine scale. Cr Pog we bobo 1 Ve If this stepwise pattern Is applied starting on G, the result is 2G major scale. All major scates utilize the same steowise pattern,Harmony | iMODE NAME lonian (major) Dorian Phrygian Lydian Mixolyaian Aeolian (minor) Locrian Harmony | 2 CHARACTERISTICS SCALE 1/2 stegs between degrees 7 & 2-33 6 3-6 (Baraltel to °C" oe $ = Se a Pe =Harmony | 13 Scales may also be described by comparing them to tne parallel major or minor scale. — Thus, Dorian mode may be described a5 2 minor scale with the Sin degree raised ay s Phrygian mode may be described as a minor scale with the 2n¢ degree lowered: 7] # x = i Lydian mode may de described as a major scale with the 4th degree rats ch) 2 Z s Mixolydian mode may be described as a major scale with tne 7tn aegree lowered: Wo ed Aeolian mode (also Known as the minor scale): = Locrian mode may be described as a minor scale with the’2nd anc Sth degrees lowered: 0b) to) sHarmony ! The minor scale (Aeolian mode) is also known as “natural” minor or “pure” minor: ee The harmonic minor scale may be described as a minor scale w cegree raised: (4) att The melodic minor scale may be described as a minor scale with the 6th and 7th degrees raised in its ascending form; in its descending form the melodic minor scale reverts to pure minor: Se =e Homework numbers: 9, 10.Harmony | 18 KEY SIGNATURES Key signatures aliow us to place the required accidentals of the various scales at the beginning of apiece of music. They are placed directly to the right of the clef: The reader, before reading the music, will look at the xey signature the accidentals to be used for all the affected notes. With the acc the key signature at the beginning, the key is recognizable immes:a: if there is a lot of subsequent chromatic alteration, notice tals of iy even Refer to the homework for scales. The sequence of examples was not arbitrary (C, 6, D, A, etc.). This sequence is the result of a phenomenon which you will see throughout the study of music, it is called the cycle of Sths To be logicaily sequenced, the ouilding of key signatures follows the cycle of Stns. The placement and position of the flats in a key signature foilows the cycle down in fifths: Bb Eb Ab Db Gb Cb Fo ——— The key of Cb has 7 flats (all notes flatted),Harmony | 16 The placement and position of the sharps in a key signature follows the cycle up-in fifths: c* ce ge pt az ez ge )i == The key of C* nas 7 sharps; al! notes are sharped. in order to be immediately recognizable, key signatures must a placed consistently on the staff RIGHT WRONG = == The dest way to recognize any key is to know the number of sharps or flats used for it. Another way to recognize the key signature is ays be 1) For flat keys, the key Is represented by the flat BEFORE the last fiat: + 2) For sharp keys, the key is a half step ABOVE the last snaro: =cF 4 3) The key signature of one flat is F major. The key signature of no sharps or flats is C majorHarmony | 17 Note that there is no necessity to use leger lines for the piacement of any accidentals ina key signature. Unlike the general rules concerning the use of accidentals, key signatures affect all notes of the same name regardless of their octave. Homework number: 11d 3 4 & Coal - Harmony | 18 NTERVALS The relationship of adjacent notes in all the previous scales 1s 2 whoie-steo or half-step. As part of our vocabulary, we need 2 method to identify the relationship bétween any two notes. In order to do this, we need 2 logical means of snowing the distance, or Interval fram one note to another A simple numerical means of accomplishing this is to count each aossibie staff degree between the two notes to, find which number the top pite: represents, 123 4 8 = 8th 123 4 = 4th The intervals in a major scale between the first note and the other notes are ee Se Ss * perfect major major perfect perfect ©—mejor-=—=smajor perfect unison = 2nd 3rd ath 5th 6th 7th _ octave if a major interval is made smaller by a half-step (by lowering the tap note or raising the bottom note) the major interval becomes minor. ole = = ‘minor minor minor minor 2nd ire btn 7thHarmony 1 19 NOTE: Intervals may occur 2s melodic intervals (one note fotiowing the other), as the minor 2nd and minor 3rd in the above example, or as harmonic intervals (both notes together) as the minor 6th and minor 7th above. When a minor or perfect Interval ts made smalier by a half-steo, it secomes diminished. + e Re Oe im aim aim aim. 4th sth ath octave Notice that in ail intervallic relationships, one must first count the number of staff degrees invoived, and then qualify the relationship. Major and perfect intervals made larger by.a 1/2 step are called augmented intervals: ORS oF & Te e aug aug. aU aug. aug aug, aug akg unis. 2nd Sd ath sth eth 7th octHarmony | 20 Diminished intervals made smaller by an additional nalf-step secome double diminished: - oe ad couple Couble double dim. Sth im, 6th im. eet. Augmented intervals made larger by an additional nalf-step become double augmented: : az ye = couvie douple couble aug, Sra aug. 4th aug. 7th t is also possibile to have an interval which exceeds the octave: % This interval is called a = major 10th (or a major 3rd plus | octave). JERE HOHE BEBE CEH EEE HOHE HEBEL BEBE HONOD ED IOC Here are the basic rules and names (when examining the distance from the first note of a major scale upwards) 1) 2nas, 3rds, 6ths and 7ths are major intervals. 2) Unisons, 4ths, Sths and octaves are perfect intervals. Dd Major intervals made smaller by 1/2 step become minor 4) Major intervals made smaller by 2 half-steps become diminishes, 5) Perfect intervals made smaller by 1/2 step become giminished. 6) Perfect intervals mace smaller by 2 half-steos become double-diminished. 7) Major or perfect intervals made iarger by 1/2 step are augmented; by two half-steps they become double augmented. Homework numbers: 12, 13.Harmony | 21 IN} ial AVAL intervals describe the distance between two notes. The notes involved can appear and sound in two ways: or: ————_ SS n other woras, any interval can be turned upside-down (inverted) ——— oe When an interval is inverted, the note names involved are still tne same, and the intervailic relationship foliows a pattern, In the above example, one interval is a major 2nd; the inversion is a minor 7th. Some simpie rules for inversion of intervais follow: ang vice versa eS 4 Dn 9" minus the number of the interval equals the inversion interval: = eS Qminus 2nd) = — 7¢th) or: Sminus (th) = 2Cna) 2) Major intervals inverted become mu i SS ; Major 3ra Minor 6th fF intervals. » Minor intervals inverted become Major SS i Minor 6th Major 3rdHarmony ! Pertect Sth Per: 5) Augmented intervais ted become diminished == = sug. 4th Dim. 3ra 3} Diminished intervais inverted become ; fe aa Dim. 3rd ‘Aug. 6th 7) Double diminished intervais inverted pecome double augmentec: Double Couble Drm. tn ug. Sth - 8) Douple augmented intervals inverted become double dimin ve o ' > Doubie Oouble Aug, Sth Dim. 4th In geger to correctly produce an Inversion ot any interval, the po Must de raised one octave or the top pitch must be lowered one octave. _ inversion of a derfect unison becomes a perfect octave and vice versa =z 3 minus H(unison) = 6 (octave)Harmony | 23 The tritone interval (augmented 4th) is a special case. Unltke any other Interval, when it Is inverted, the number and qualifier change, buc it remains a tritone. Fs an augmented ath (tritone - 3 whole steas? FE ss ciminished Sth (still tritone - 3 whai Homework number: | 4,CHORD CONSTRUCT 9 TRIADS. We have looked 2t n¢ renin Salone in scale situations ang iws ao interval situat‘ons. Now, we w:'l place tires actes together te The terms usea to descrive thras note cnords will og the same as cefere major, minor, augmented, 201 diminished (*P with ontervais) Three note chords are called triads. The oasic Duiiaing oleck for-triacs 13 the intervai of a Sra, To start with, the major scale wilt oe us SS Above each note in the scale wili 32 clacec two more ditches — a 3rd above the note from the scale. the second pitch 2 2rd above ¢! pitch: Ail the pitches used to build the chords are from the key of C major They are alatonic to © major The diatonic triads in tne key of C major contain tnree of the feur sessible triagic chore structures (major, minor, and diminisned). if the interva Tic relationships within each chord are studied, these three chora types and their characterist:cs can oe seen: 1) Majer triads: chords witn intervals of 2 major Zra from the reat épottom note} to the middie note, and a verrect Sun from the root to tne top note: 2) GINGR TRIADS. chords with intervals of a minor 5rd and perfect 5: from the root respectively: Omin Emin AminHarmony | 25, 3) DIMINISHED TRIAD @ chord with an interval of a mincr Ird ana diminished Sth, respectively: 8 dim > ’ Note that in all cases, the letter name of the triad signifies the Sottom note. This note is called the root of the chord. In addition, each chord will be identified with a Roman numeral reer the scale degree of the bottom pitch: I maj 1 mim [im IV maj ¥ maj YI min VII dim | maj ae Here are some universally accepted aboreviations used for triads: C=C major triad Optionally “major” or its abbreviation “maj" may appear: i.e., C major or C maj “min” is the abbreviation for minor. Also used, though not universally, is the minus sign "~* (which will remain the choice for this course). "A minor’ will be notated in this course “A-.” Diminished is represented best by “dim” or a small circle above the triac name, ie; 8dim or 8° The diatonic triads are: Imaj limin |iimin iVmaj Vmaj Vimin Vit dim | maj OR: ' He ite Iv v WIE vitHarmony | 28 The fourth type of triad, besides major, minor and diminished, is the augmented triad, It is abbreviated either “aug” or” +." The augmented triad- has a major 3rd and an augmented Sth from the root: Fe Ay Eb+ Bb+ D+ The augmented triad is not diatonic to any major key. its usage will be discussed later. There is one more type of chord. It is a very common chord in contemsorary music, and it doesen't fit the normal pattern of stacked thirds. it is the “suspended 4th” chord. The chord symbol used is sus4. A suspendes fourth chord (sus4) is a triad in which the 4th degree replaces the 3rc degree: Gisus4) G-(sus4) SHORE SHEHEHOE To summarize; Major triads are constructed with major 3rds and perfect Stns from the root: Minor triads are constructed with minor 3rds and perfect Sths from the root: dim Diminisned-triads are constructed witn minor 3rds and diminished Sths from the root. ~ ce Augmented triads are constructed witn major 3ras == and augmented Sths from the root: oe Homework number: 15.Harmony } 27 CHORD CONSTRUCTION (CONT'D) SEVENTH CHORDS The logical extension of a diatonic triad Is the addition of another diatonic third above the fifth of the triad above the root. In triads there are only three intervallic relationsh! to 3rd, root to Sth and 3rd to Sth. With the added pitch of 7th ¢ complexity doubles. root to 3ra, Sth, 7th; 3rd to Sth, 7th, Sth to 7th chords are more complex than triads, Chords with a major 3rd, perfect Sth and major 7th from the root def! cmaj7_ Fmaj7 major 7th chord Chords with a minor 3rd, perfect Sth and minor 7th from the root define a: oe B+ minor 7th chord Acchord with a major 3rd, perfect Sth and minor 7th from tne root aeftnes 2: G7 dominant 7th ee chord = A chord with a minor 3rd, diminished Sth and minor 7th from the root defines a B-7(b5) chord 7 aHarmony ! 28 it helps to compare these seventh chords witn the triads on which they are built: The chords buiit on C and F are major triads with major 7ths: maj7 “ Fmaj7 SS The chords built on D, € and A are minor triads with minor 7ths: 0-7 E-7) A-7 The chord built on G 1s a majer triad with a minor G? == ‘The chord built on 8 is a diminished triad with a minor 7th: B-7(b5) + = 7 The chord symbols for seventh chords which will be used in this course are maj 7 = major triad w/major 7th 7 = major triad w/minor 7th -7 = minor triad w/minor 7th -7(bS) = dim. triad w/minor 7th The diatonic triads in C major are: tmaj7 II-7 IN-7 \Vmaj7 V7 Vi-7—-ViI-7(05) Cmaj7 0-7 a? Fmaj7 G7 AT B-7(b5)Harmony | 29 There are other 7th chord structures which are not diatonic to a majcr key’ oT | The +7 (augmented 7th chord) which consists of an augmented triad with 2 J Minor 7th: G+7 = 7 The °7 (diminished 7th chord) which consists of a diminished tried with a diminisned 7th C dim? Note: in the diminished 7th chord, the diminished seventh interval is sometimes written enharmonically. Cdim7 or: Ccim7 SSS The minor/major 7th chord [symbdoi: -(maj7}] which consists of a minor triad with a major 7th: c-(maj7) Notice in the chord symbol, tne “-" represents the basic chord sound (minor) wntle the “(maj7th)" indicates the 7th quality. The parenthesis is necessary to keep minor and major from being confused,Harmony 1 30 The major 6th chord and the -6 (minor 6th) chord which consist of a major or minor triad respectively and an “added” 6th degree. The dominant 7(sus4) chord which consists of a suspended 4th triad with a minor 7th; G7(sus4) G-7(sus4) Homework number: 16.Harmony | 31 - SION OF RDS The basic rule for inverting triads is the same as that for intervals: bring che dottom pitch up an octave. There are as many positions of inversion for a triad as there are notes in the chord (i.e. three in a triad), eH SS if the root is positioned on the bottom (where it would normally be for naming purposes) the chord is in root position: c ———=— The first inversion is accomplished by bringing the root up an octave: eS The second inversion is accomplished by bringing the root and the 3rd uo an octave: One more inversion would oring the chord back to root position. Notice that there are three possible choices for the top note of any triad3 - Harmony | 32 Since seventh chords contain four notes, there are four positions of i possibie: 1 Root position: Cmaj7 2 {st inversion with the root on top and the 3rd on the bottom — o 2nd inversion with the reot and 3ra brought to the top anc = on the bottom: 4 3rd Inversion with the root, 3rd and Sth brougnt to the too anc 7th on the bottom: o 7 Homework numbers: 17, 18, 19, 20. 4Harmony | 35 TENSIONS. Consideration is now given to further extensions of the 7th chord: C maj? i Z wo hords larger than 7ths exceed an octave and create intervallic re which are much more tense than the simple octave-or-less intervals of & and 7ths. No matter what the inversicn is, all the intervals in a triad or 7th chore less than an actave in size rad: Plus added 7th: Extend a 7th chord in rds as far as possible without repeating pitches: * 1 3.8 #7 8 it 13 There are now 2! intervals in this chord! A 7th chord in root position Aas 6, a triad 3. The number of intervals has more that tripled from those of the 7th chord, while the 7th chord has only twice as many as the triad. In adgition to the intervals which are less than one octave, there are now compound intervals (the 9, [1th and 13th). Some facts about these extended 7ths chords should be recognized: I. The added pitches are not chard tones of the 7th chords; 2. They create tense intervallic relationships with the chord tones.Harmony | 34 Because of this tense relationship with the chord tones of the 7tn chord these extensions are called tensions. |, 3,5 and 7 are the chord tones, 9, 11 and 13 form the basis for the chord's possible tensions. Here is aC maj7 chord with its possible tensions: 2 _— a = = The 9th (D) is a major Sth above the root; the 11th (F) is a minor Sth above the 3rd; the 13th (A) is a major 9th above the Stn. The tensions whicn sound dest will be those a major 9th above a chord tone. (A minor Sth interval is .. | extremely harsh sounding.) in the following examples all tensions are those 2 - major 3th above the chord tones Note that the “F" has been sherged in order to create the majar 9th Interval, maj 9th maj 9th maj. 9th The 13th (A) 1s a major Sth above the Stn; *11 (F*) 1s a major 9tn above the 3rd; 9 (D) is a major 9th above the root. Notice that tension 711 is not identified as “augmented | 1.7 Tensions are labeled as follows: The chart of available tensions for all chord changes is on the following page. Most of the avatlabie tensions are those which are a major 9th above @ chord tone. Any available tensions that are not a major 9th above 2 chord tone are listed separately as exceptions. Maj7 1s included In the list ag a special tension situation available on cat chord structures, :Harmony | 3S AVAILABLE TENSIONS, [EXCEPTIONS TO THE AVAILABLE SEN RATOMREEE AJ STH ABOVE A cuoan TENSIONS THEN feoRD" Tone RULE maj (triad) | ran Cri 3 | waren | at rs) ‘All available tensions must be a maj th above each chord tone dim (triad) | and diatonic to the key. a) susé (triad) | 11 (as chord tone) | 9 I maj7 ‘maj? (aa chord tone) min (maj 7) 9.14, 13 T pet walle neat min 7 " 9 [in Dorian mode context. min 7(b5) 11, 13 9 | 7 7 dom 7 911, 13 iis sceceteibeed : cen Teoma) | gas Gara ie Trey easy: 38790183 T aug 7 9,411 (or 05) ‘Al available tensions must be a maj 9th above each chord tone 2nd dlatonic to the key. Note t bS is a special tension situation involving an aiteration of the Sth. Note 2 - The avatlable tensions on dim 7th chords are not numbered 9, 11, 13, etc. Unlike other 7th chords, a major or minor 9th above each chord tone results in four possible tensions, not three. The numbering system to 13 will not work here. Soecific available tensions for dim 7ths will be shown’ when the chords are snown in context.y | Harmony | 36 JES HERE OBE SHO HERE E EBS HOBBIES EHS HASHES Jed SHE SHE HEHE HERS RHHEE HHS IHEHEO RSE BREHELEHHTHEHEHHHEEHEEE Summary of Available Tensions Tension: Avallapie on: maj 7 maj7; ~(maj7); majé; -6 9 All chords (when diatonic to the key) D9 ana/or #9 dom7; rarely, dom7(sus4) 1 all forms of minor chords; as a chord tone on dom7(sus4) =n maj? and majé when diatonic to key; dom?; +7 blz -7b5); dom7 13 ma}?; -(maj7); dom 7; dom7(sus4) Chord symbols used to show tensions fall into two categories: 1) The listing of tensions which are not diatonic; > 2) The optional “courtesy” listing of tensions which are ctatonic. Cy Tensions which would not normally be available MUST be included in the cnord symbol: 7 Cmaj711) = C maj? inc major implies only 9 and 13 availability. C maj7(#11) would indicate use of a non-diatonic tension Homework numbers: 21, 22.Harmony t DIATONIC HARMONY Ant tonic chord may pr: an. ri control factor is the relationship between the roots of the called root motion and falls into three categories: 1) The strongest diatonic root motion is movement down in Sths (the cycle of Sths). Imaj?_{Vmaj?_ Vii-7(bS) 111-7 maj? Cmaj7?_ F*-7(bS) 8-7 The tensions available are determined by the function of the chord in th the t: key, sions that aré diatonic to the key and the tensions that are a major 9th Imaj? IVmaj7_ Vil-7(D5) I-7 VI (2) 13 CH) (4) (YG) ( 9) (an u 99 ( 9 ) 4 V7 to lis the strongest diatonic roat motion in the key, therefore it 2 special analysis symool ara =] The arrow will always be used to show dominant resolution down a perfect fifth i } Root motion down a diatonic 4th ts also strong although not as st 1 ow? 7 We ite vii 7708) wv G o7 As7?__E- 8- F#-7(b5} ¢Harmony t 38 3) Stepwise root motion is a little more subtie than root motion of 4ths and Sths. tole tile iv bY Msus4) Vie Y7 G ABC GC d7sus4) €- 07 esi F i = + ee 4 — ——= a rey Ho 4) The other diatonic root motion is down or up in thirds. Movement down is more common than movement up. Vie IN He TW He IY Vie ¥fsus4) GE Ce 6 B- A- C E- Ofsus4), in reviewing all of the previous examples, take note that they are repeated. If an ending point 1s sought, the best final chord will be the ! chord. The 1 chord may be followed by any other chord because it represents a point of harmonic arrivalHarmony | 39 Vz The V7(sus4) chord is usually built on the dominant degree of the key: D7(sus4) SS = +2 a & The strength of dominant resolution lies in the root motion of a perfect Sth down. Since the V7(sus4) does not contain a tritone, its diatonic function is dependent on context: Imaj?_ [Vmaj? V7(sus4)-N6 —V7(sus4) V7 Gmaj7_Cmaj7_D7(sus4) G6 _O7(sus4) 07 Another observation concerning the V7(sus4) chord can be seen if the structure is categorized as having a subdominant upper structure (since the tritone is not present), The chords sound subdominant but the root is dominant, We] Wing?/ Laat, / Sof key AT maj? o tess D bass The above two chords each contain a subdominant sounding upper structure and the dominant degree of the key as their root.Harmony | 40 These chords are common In contemoprary tunes: Hi \V maj? Sof key Jacteey ‘s(ace3) c tmay? 7 2009) a? "7 dass 7/0 bass ES \I-7 over 5 of the key and |Vmaj? over 5 of tne key are both subtle versions of V7(sus4) and should be analyzed as such: Vilsys4) 1 (VVIGsus4) <1 a? / Dass Siaea9) a === SSS The Ii (11-7) over S of the key and the IV (|¥maj7) over 5 of the key can be seen as chord.structures derived from the extended structure of the V7(sus4): 2008) a a ¢ cmaj?y — D7sus4), 11.13 % o ° 7DIATONIC REHABMONIZAT!ON Diatonic chaccs have names bas: scale. The | che: ec tonic, cailec subdominant the location of their roots within the he Vcnord 1s dominant, tae IV choy AU ciatonic chords can be categorized as sounding in ane of categories: 4 (tried) ute ve Tonic: imaj7 SUT fie ¥ (triad) Subdominant: vmey7 Y oe ie) stom Dominant: Vit-7(bS) = =; | i barmony ee as r (Bp @ @ @Q “4 @ a (2) wo J 1 W6 ¥70sus4) 7S ¥itsuse) 47 3 05 D7fsus¢) 3 OMsus4} 07 By substituting otner chords from the same Tunctional sound ca possible to reharmonize the above exampie. The end result w chord progression wnich sounds similar te DV _Veminant -20t wntn onic GO) =SuBDoMitianT CD) = Damian ( S% j = suadominert oper structure 2 original ®® @@ We? VE? 7 vie in comparing these two progressions, some important facts must be consicerec: the root mctions are not the same, though the melodies are; the melody anc renarmonization choices must be compataple; the original resolutions of the two dominant cho-ds are no longer cown a perfect fifth (the normal expected resolution for V7 or Vi(gus4) is cown a perfect fifth to the | chord),& & Harmony [ vio Vitsus4) Vie? V7lsus4), te? “a 07 0 7Isusa) o7susa) Notice that the analysis symbols for the “deceptive” resolutions of V7 or Vi-7 are different from those for the resolution of V7 to | motion is not down a perfect fifth, so there is no arrow, The analysis symbol is: V7/l. V7/I means V7 of 1, V7 Is expected to progress to |, but resolves deceptively (deceptive resolution) to another tonic chord. *~Harmony | 44 CADENCE The term cadence means melodic and/or harmonic movement to a point of rest. That point of rest is the cadence. Dominant cadence: 2 2 & 2 © 2 9 1 & VIF VIL: VIN * aes? D7 Gmaj7 BMT Ebmaj7 = F=7_— Bmaj7 Subdominant cadence: oe ©G@O O@ © O® © O8 © Flow | Bel W oF Gtow Poi OW l Bp oF 8b tb 8b cr c Foe OF A subdominant to dominant to tonic progression is considered a full cadence since ail the functional sound groups of the key are represented: IV to V to I Is the traditional full cadence.Harmony | 45 ‘Other cadential variations are possible: 7 IV to Visus4) to | is subtle since there is no tritone involved: WW ¥(sus4) 1 C — O(sus4) 6 !V to IV/dominant root to | is even more subtle because the moticn ‘rom tne += subdominant to dominant only involves root motion from IV to ¥ of che xey: IV visus4) 1 The II-7 to V7 to | cadence is very strong since all the root moticn is cown in perfect Sths, This particular variation of the full cadence is so strong that some styles of contemporary music rely on it almost exclusively 6 ie? VIN maz FT V7 Ima7 i Ae? 07 maj? 6-7. C7 Fai? 8b: te? V7 Sima i7 6 Ik? V7 ——>s maj? 767 Bomaj7 AT 07 ‘Gmaj7 SSHeemony | 46NAME HARMONY | HOMEWORK 27 HOMEWORK + 1) identify, by pitcn name, all the following pitches. —- —_ satay S ZFsre 7 Fare 2) Notate the melody in ex.i, above, in the bass clef. Us when necessary Both examples should sound exactly the o1ano 3) Identify, by pitch name, all the following notes in two of the C clefs NoteHARMONY THOMENORK 38 00 i iAbe eee ee eee eee eee HARMONY | HOMEWORK, Write this short melody: |. One octave BELOW: 2. Two octaves BELOW: | 7 One octave ABOVE: ————————— | < Two octaves ABOVE:ut NAME. = HARMONY 1 HOMEWORK SO 5) Notate chromatic motion between the given pitches. Observe the rules governing accicentals, 6) Rewrite the previous example 1/2 STEP HIGHER.war 7) identify by name all the pitches, the chore on the agprogriate key of the Keyboard below. The 15 completed. HARMONY | HOME’ Then, place the number for all= NAME 3) Comolete the following enharmonic pitch chart: Natural Sharp Flat Double-sharo Daudi Natation: Notation: Notation: Notation: Notati Tat t ‘Casa INAME HARMONY | HOMEWORK 53 $) Compiete the following chart of majcr and minsr steps. Do not use ennarmenic spefling. Oc net mix Number of shergs or flats necessary for MALIOR SCALE eaMEWORK 32 ONY | HO MAJOR SCALE NATURAL MINCR, Number of sharps or iI ttt HARMONY | HOMEWORK SS MAVOR SCALE: RELATED NATURAL MINOR: Number of sherps or flats: G minorEr HARMONY i HOMEWORK 56 10) Identify the following MODES: F DortanNAME. HARMONY | HOMEWORK 11) Write the key signatures for the following keys and identify the missing tonality: & major —major D major Bb mater — minor D_minor — minor — minor 2 Fi =z — major € major —major — major “i F= minor — minor C= minor F minor — major © major major Cb major A minor — minor A minor — minor 7 — major Gb major — major major O minor minor 6 minor 30 minor 5 : 2 7e HARTIONY | HOMEWORK 3¢Re HARMONY | HOMEWORK: 2) Complete the following chart of intervals from the key 9! highest pitch diatonic, Use the appropriate accidentals, Diatonic Diatonte interval Diatonie interval interval recuvea by 1/2 step: min 2nd aim 2nd may 2nd oo i 1 i cc | : i i ] fo — |HARMONY | HCMEWCRK 30. Diatonie Dietonic interval interval reduced by 1/2 step —,; Ee 7 ; 1 !NAME ee HARMONY | HOMEWORK 61 Diatonic Dietonic intervat Diatonic interval intervai: reduced by ‘nereesed by 1/2 step: 1/2 step:NAME, HARMONY | OMEWORK 62 13) Rewrite this melody: 1) Amajor 2nd higher: v7 2) Amajor 6th nigner: ——= 3) A major Sth lower (in bass clef}: 4) A major 13th lower: 5) Aminor 3rd lower: . ey 8) Acerfect ath nigner:RAN HARMONY | HOMEWORK 63 14) Complete the following chart of intervals and their inversions ciatoni¢ to the key of G. Label the intervals: Diatonic Inversion of Diatonic Inversion ot Interval: diatonic interval: interval: ciatonie interval min 2nd maj 7th == Se Sorte et SS ES(Ex. 14 continued:) Dietonte interval Inversion of anatonie intervalNAME. SARMOMY ! HOMEWORK In SCOT Pa 4S) Construct the ind! enharmonic spell Bo- Boe Eddim Bb(sus4) Eb ee AD AD- Abeug AD dim AD(sus4) Do- Doaug Comm dd Gb- Gdaug Ghdim Go(sus¢) Cb ope Cheug Cddim Ci susa Fe Fe. FH aug Fe dim FE(sus4) 8 B- Bag a == A 7 g & fag Ecim E(susd) A A- Agu Adin (suse) D- Day ddim D(sus4) 6 Gauy Gaim Glsus4) eeHARMONY | HOMEWCRK 86NAP ERC EE Eee ee eee eee eee 16) Construct the indicated SEVENTH HARMONY | HOMEWCRK RDS in root position: 8b aug 7 €b may7 Eb-(mal7) eb6 Bd7(sus4) soa? £b-5 e0-7PP lta oeslalsalestalie HARMONY | HOMEWORK E2 7005) Eb? Eb aug 7 ED? sus4) eb aim? AD maj? Ap-(maj7) ab6 A0-8 AD-7 Ab-7(b5) AD? ab aug? Ab? ( sus4) a = Db maj? Db=(maj7) Deé Db-6 Db-7 SS Do-7(b5) Db? Db aug? Db?(sus4) Docim? SSS = Gb maj? Gb-( maj?) Gb6 Gb-6 0-7 Gb-7( 05), 607 Gb aug? b7( sus) Gb aim?(tt \t E>E>E>~—_— SSS = €-7(D5) A aug? O-(maj7) A-7(b5) D aug? Gmaj7 \NAPE HARMONY | HOMEWCRK 7S {] 21) All the melody pitches below are available tensions. Incicate the tension number for each note: = omg? $ may? 7 FP? A-7 07 aT a-7 o7 G ma™ 1 ———t = TF ob may? may? ab maj? 6 mal? C#=7(05) C-(maj7) 8-7 8071 A 7 4 HARMONY | HOMEWORK 76 Realize chord symbols for this plano part. Place in parenthesis, tensions being used. All choras are in root position.HARMONY 2 by Barrie Nettles Berklee COLLEGE OF MUSICCopyright @)1987 Berklee College of Music. All rights reserved. 1HARMONY 2 . ECONDARY DOMINANTS, The strongest characteristic of dominant resolution is root motion down 2 perfect fifth, The “primary dom inant” in the key of C is 67. Gece : The “secondary dominants” in the key of C ai 7 v1 te? Au u-7 “WW lvmaj? AT “D-7 B7~ TE? 77 *Fmaj7 . A dominant chord's resolution may be to ANY quality of chord a perfect fifth lower except a diminished 7th chore: 67*cmajz7_ G7 SC-7_— G7 7-7-7005) 44 A leis ide Harmony 2 2 The chord of resolution could therefore be any diatonic chord in a major or minor key when a diatonic chord), an arrow is used to show ‘ondary dominant resolves 2s expected (down a perfect f e resolution. The analysis of a secondary dominant will reflect its expected ciatonic chord of resolution: 8b Ab: G: vz, vz, Vv Al 1-7 A I=? a !vmaj7 677 C-7 67 “C-7 677 maj? = ft az F: eb: Vy w7 Wave? 677 C7 er C7 As with the analysis V7/I (V7 of 1), the diagonal stash means “of”. (V7/II = V7 of 11.3 Aiso note that it is not necessary to indicate the quality of the chord of resolution in the analysis symbolHarmony 2. 3 All secondary dominants have certain common characteristics. 1} They are non-diatonic structures. (At least one of thetr chord tones is NOT in the key.) 2) They are expected to resoive to a diatonic cnord a cerfect fifth pelow. 3) They are all built upon a diatontc root, This last characteristic (a diatonic root) ts the reason for V7/Vi! ina major key being omitted from the category. The root a perfect fifth above 7 VIi-7b5) ts not diatonic, haHarmony 2 4 AVAILAE ONS - St JARY DOMINANT: : Tensions on secondary dominant chords will reflect the diatonic function of 7 the chord: c Wy 1) The tension pg 15 available on dominant chords if it is diatonic, | or if it is indicated in the chord symbol. , 2) Tension b13 1s available on dominant chords if it is diatonic. 3) Tensions b9 and #9 may coexist on the same dominant chord if either one (or both) is diatonic, A FEE SOE IIB III III SASSI III IOI III I A I HART OF AVAILABLE TENSIONS FOR SECONDARY DOMINANTS: Available Optionat Available Chore: Tensions: Tensions: 3 v7it 9, D135 9 (diatonic) and bo* V7sill b9, 1S #9 vay 3,13 v7iv 9,13 9 (diatonic) and bo* V7IVI b9, BIS *9 *Since 9 and *9 are both diatonic to these chords, either may be available to the chord, but not together. if *9 is available, b9 may aiso be used.Harmony 2 5 HARMONIC RHYTHM The number of beats per chord within @ progression is called "harmonic rhythm’. in 4/4 time, the most common harmonic rhythms are 2, 4, and 8 beats: Harmonic rhythm of 2 beats per chord G wi F Gxsus4) CAM F G7(sus4) - Harmonic rhythm of 4 beats per chord: ce AT 0-7 G? Harmonic rhythm of 8 beats per chord 0-7 co E-7 AT In 3/4, the most common harmonic rhythms are 3 or 6 beats: maj? Fmaj7 E-7 AT? 0-7 67 Cmaj7_ G7(sus4) eeHarmony 2 6 Chords in a progression will receive strong or weak stress, depending upon their placement. This relative strength or stress will often determine the chord’s function in any grouging of four pulsations, the first pulse Is the strongest the last pulse is the weakest; the second pulse is weak; the third pulse is strong. — S$ Ws w S Ws WS etc, (S = very strong; s= strong; W = weak; w = very weak.) This stress pattern holds true for harmonic rhythms of: 2 beats per chore: Cc AF GHsus4) CAN F G7(sus4) Ss Ww sow Ss ow s ow 4 beats per chord: cé Az 0-7 o7 = = a s Ww 8 w 8 beats per chord: 0-7 s7 E-7 AT A = ; =] $ WwW s w 3 or 6 beats per chora: maj? Fmaj? E-7 AT 0-7 G7 Cmaj7 G2sus4)Harmony 2 7 Cadences most often occur from a weak beat to a stronger Deat: Since the V7 chord is the primary cadence chord of the key, it is typically found on a weak stress point: WIV, WET VI? U7 V7 16 A-7_07 B-7_E-7_A-7_ D777 766 Ss W-+s w Ss W—s w Tonic chords are.therefore usually found at stronger stress points. This characteristic of dominant resolution from weak stress to stronger stress is also found when secondary dominants are present: V} Vv imayz rer viv? Wy v7 Cmaj7 B77 *E-7 EPA aaIcs @—s @——+s W—s O— v: iy ivmaj7 v7 16 C7 Fmaj? A 6776 za == = 4 —s @—-s @-—-+s W—+ w Thus, in addition to the other characteristics pertaining to secondary dominants must be added the observation that they are usually placed on a weak deatid Harmony 2 8 Dominant chords which are on strong stress points will NOT sound as secondary dominants. The typical location for these chords is either the beginning of 2 phrase or the beginning of the second half of a phrase Imaj7 Me? Fmaj7 Ac? = = s w Imaj? ¢7_—F maj? Such chords are “extended dominants* and have an expectation to resolve down a perfect fifth to another extended dominant or any diatonic chord. O7~G7 C77 Once the extended dominant pattern starts, there is an expectation for it to continue, and eventually end with 2 diatonic resolution: imaj7 Therefore, extended dominants have one of two characteristics different than secondary dominants. 1) Extended cominants are either found on a strong stress or; 2) they are continuations of an extended dominant pattern which starts with an extended dominant.4 Harmony 2 9 The analysis for extended dominant mation is an arrow to the resolution down a perfect fifth in order to locate the extended cominants’ relation to the key, the scale degree of the root of the first extended cominant is included in parenthesis using its Roman numeral (without chord quality’ (a v7 imaj7 D767 C7~_F7?7__Bbmaj7, 7 Each extended dominant in a series can be seen (and heard) as being temporarily in 2 key other than the eventual diatonic key: D7 G7 «OC? Bomaj? Fee = SSS 07 D7 G7 Ba (Expected resolution to C7: V7/V in F) 07 G7 C7 SS co tater vn D7 G7 OR z (Since this dominant is on the weakest ‘stress of the progression, most listen es will expect it to function as 7: key of BD.) Thus, each of the extended dominants will be V7/V in a “key of the moment,” except, usually the final dorhinant, if it is weakly stressed, will sound like the primary dominant. Additionally, to some experienced listeners, the chord which Is actually functioning as V7/V (the C7 above) sounds like V7/V and not an extended dominant; its anaiysis as either an extended dominant or as V7/V is correct (since all extended dominants sound like V7/¥). Since all extended dominants function as Y7/V in their key of the moment or ne primary key, their avatiabie tensions are 9 and 15, the same as V7/V.| Harmony 2 10 CEDTIVE RESOLUTION Another commonly found trait of extended dominants can be demonstrated if the previous example is continued with a secondary dominant occurring on a very weak stress point: va ai v7 Imaj7 Ait D777G7 C7 F 7 Boma? AT Sow sow 5 Ww s @ in context the A7 meets all the criteria for a secondary dominant. Its ~’ placement is weakly stressed and it has potential for a resolution to a strong stressed beat. Taken out of context however, it is the first in a series of dominant motion following the cycle of fifths: A7 07 G7 C7 F7. Therefore, this chord Sounds like a secondary cominant, but resolves as an extended dominant. This 1 a commonly found example of “deceptive resolution”, and requires an appropriate analysis. Chords are first analyzed for their sound within the progression: WY, ap v7 maj? WI 07~G7 Cr Fs ‘Bomaj7 AZ Any deceptive resolution ts parenthesized: (WD V7 maj? (Yu) 0767 G7 Fr ‘Bbmaj7 AZHarmony 2 11 Then, justification for the chord's actual resolution is added. In the case of A7, the resolution is down a perfect fifth (not as V7/II, but as V7 of the extended dominant D7), and therefore, an arrow will show that: ay, v7 imaj? Au) 07767 ™C7F7_~Bbmaj7, AI 7 1) Secondary dominants are dominant chords a perte diatonic chord. Their placement is on a relatively weak stress point with the chord of resolution on @ stronger stress. pox ifth above a Tougio' DokpoM CHE perfect fifth below. If a secondary dominant resolves deceptively, the analysis is placed in parenthesis, and an added analysis is used to justify its actual resolution. The available tensions will reflect the secondary dominant chord's expected ‘resolution, not its actual resolution. : ! 2) Secondary dominants are analyzed as V7 of the diatonic chord a rc ESESE 3) Extended cominants are dominant chords which are placed at @ yun Poet! strong stress point, or within a pattern of _dominant : followine Je of fifths with an extended SERIE dominant as the stggting point for the pattern. The available : AcTeRAze# tensions are/SJand(!3)for extended dominants, people ; 4) Extended dominants are analyzed with an arrow, since their expectation is to resolve down a perfect fifth, The first extended dominant of the pattern has the added analysis of its \. Feot’s Roman numeral in parenthesis.Harmony 2.12 DIC ANALYSIS. Almost all music has one common trait: repetition. The repeating of musical ideas will be one focus of the melodic analysis process. Before d the process, it is necessary to understand the ways in which melodic repetition occurs. Most song forms (as described in Arranging) contain a certain amount of phrase repetition. In AABA form, three of the four phrases in the tune are the same or so similar that they can be said to be the same.Hermony 2 1 Some songs contain a repeated phrase which is only slightly different than the original phrase. AABA The form for the above song is AABA’ (AABA “prime"). The last phrase is so similar to the first two phrases that it can be identified as "A", even though it is not exactly the same. Phrase repetition will be found in almost all common song forms: AABA, ABAC, ABA, ABCA, ABABC, etc. The form AB is most often repeated over and over resulting in the form ABABABAB etc. Twelve-measure blues is repeated to produce the form AAAAA etc. Melodic repetition occurs within phrases. Most phrases can be broken down into three areas: 1) Antecedent - the first half of the phrase which requires 2: 2) Conseauent - the second half of the phrase which may end with a 3) Melodic cadence - movement to a point of rest.Harmony 2.14 ‘An exception to phrase repetition is found in “through-composed” songs Through-composed songs achieve unity through motivic repetition and manipulation rather than phrase repetition. A “motif” is a musical fragment. Most motifs are shorter than 2 measures in length. Melodic motifs may repeat themselves either exactly or in disguised fashion: Ppt + ——- —J si 7 = z ca SS SS Zz Bs. 2b. ar 28 29. — : 5 : 2. BI. 32. ‘33. 34._ Harmeny 2.15 Motifs may be manipulated using any of the following methods or combinations 1) Iransposition (Motif moved to another pitch level. This is also known as Sequence.) 1 2. 5. 6 2) Inversion (Motif is presented upside down.) vis, 20. ai ag, 3) Retrograde (Motif is presented backwards.) 5) Melodic interval variation teHarmony 2 16 MELODIC ANALYSIS PROCEDURES The first step in the melodic analysis process is to determine the song form, Phrases which repeat exactly will be analyzed exactly. AABA’ Bemaj7 Bbmaj7 Eomaj7 Bbma{7 cr Bomaj7 729) |! c-7 #7 soma? | | 77 a Se a 7 os oc i, caer) o7 oF Ebmaj? Bbmaj7 F? = 2S 5 aS = 2b. 21, 46. ‘29. Bbmaj7 G1*9) C-7 FT o-7 67 C7 FF. 8b =e =a] w. TEE ate 92. 33. a. Motifs should be enclosed in brackets ( (J).Harmony 217 The next step in the analysis process Is the identification of incivicual note relationships to each other and to the harmonies. Each notes will.be either: 1) an available pitch (a) 2 chord tone or (b) an available tension. 2) an approach note. ‘An “approach note” is 2 note which is a quarter note or less in curation and which moves by step to a chord tone or available tension. Approach notes are found in many configurations, Passing tones are approach notes which move by step between two chard tones, between two available tensions, or between a chorc tone 2nd tension (or a tension and chord tone). O- 0-7 =e == Peoes on eon FF Ove 357 = * bt S 9 bP 9 S57 8 If the passing tone is diatonic to the key of the moment, it is analyzed as a “scale” approach note ("S"). The pitches preceding the passing tone and following it are identified with the number representing their harmonic relationship to the chord. in addition, the approach note is identified with its scale relationsnip to the chord: D7 0-7 o-7 SSS SS 545 1 89 TO st oy 9 STH SoHarmony 2 18 Passing tones may alse be chromatic, Unlike scale passing tones, they will most often not be diatonic to the key of the moment. Chromatic passing tones are analyzed as “Ch” (for chromatic): $ oa + " ba ———— SS 5 CHI Ss 1 CHS 1 Approach note patterns may start during one chord but resoive to a note on another chord: 0-7, G7? SS So SS FD oT 5 bd CH——+1 67 5 CHS oO ALL APPROACH NOTES RESOLVE TO A NOTE AND CHORD OF RESOLUTION, They are analyzed relative to the chord of resolution. c a7 0-7 _ G7 g == + —= 4 1 S2-+1 S67 13 if Sb1=13 13 S4—> 5 (on: 1 S21 b7 Sb8—=11 b7 13 56 BT 5) An unprepared approach note, unlike a passing tone, has NO oreparatory pitch but, like all approach note patterns, it must resolve. Unprepared approach notes are either preceded by 2 rest, leaped into, or a rhythmically repeated pitch: cay 0-7 G7 or $639 5 S65 S613 (or: 49 5 9 5 13 13)Harmeny 2 19 Neighbor tones ere upper or lower movement from an available piten and back to the same pitch (either by scale step or chromatic step): Ss? Se “98399 1 (a: 93 99 1 In addition to the above approach note patterns which involve single melodic pitches, there are two easily recognizable multiple approach note patterns. ALL APPROACH NOTES (SINGLE OR MULTIPLE) MAY TOTAL ONLY ONE BEAT The double chromatic approach is consecutive chromatic motion in the t~ same direction to a note of resolution: 9CHCHICHCH 7 CAGHT (on: 9 63 CH 19 CH 7 CHT 1) Note that the analysis for any form of chromatic approach notes(s) is Ch. The other consecutive approach note. pattern is the indirect resolution Two approach notes appear, one above the note of resolution, and one below, and then the resolution occurs: 0-7_ G7 maj? SS As with ail approach notes, each note of the indirect resolution pattern is analyzed as $ or Ch: O-7 67 maj? $4823 CH CH (on: b75 3 cH 5)4 Harmony 2 20 SPECIAL MELODIC ANALYSIS SITUATION: There are possible rhythmic alterations to melodies which affect the melodic analysis. (See “Arranging 1”.) An anticipation is seen 2s a melody pitch occurring a 1/2 beat prior to a stressed beat (1 or 3). It may be tied into the beat it anticipates or there may be a rest on the beat. cmaj7 o-7 G7 cmaj? ANTICIPATIONS ARE ANALYZED WITH REGARD TO THE CHORD THEY ANTICIPATE AND THE CHORD SHOULD BE CONSIDERED TO ANTICIPATE ALSO: Cmaj7_-0-7 67 Cmaj? 5343 $203 3453 5455 (0a: 5543 363 11823 3455) Some styles of rock music and jazz incorporate double time feel notation. Anticfpations in double time feel will appear as sixteenth notes: Fmaj7 C7(sus4) 719518 $54 (oe: 1519 138 54 The opposite of an anticipation is a delayed attack. Here the chythmic alteration is seen a 1/2 beat after. the stressed beat (1 or 3)Harmony 2 21 Infrequently, anticipations and detayed attacks may occur by a whole beat. This is most often seen in jazz compositions and arrangements: £b6 me Bb7(sus4) ot ———— é are + = — — ¢ 5 5 5 5 § 1 8b7 €b7 + 1 7 A melodic suspension is a melody pitch which is tied into a different chord change for 2 beat or less. Melodic suspensions are analyzed as the *~ chord tone or tension of the chord from which it is suspended: The melodic analysts procedure in summary: 1) Note the song form, 2) Bracket each motif and include any melodic cadences, 3) Analyze each note in the motif as either an available note from the chord structure or as an approach note to an available pitch. (S = scale approach; Ch = chromatic approach.) 4) Analyze repeated motifs with a ceneated analysis, JERROD ERO III ORISSA III III IIT SESH III BOOS IIIA III IOI IOI TIES OOS ALI IIIC HARMONIC CONTINUITY — VOICE LEADING Chords presented so far nave deen in “close”position. All the chord tones are as close as possible to adjacent chord tones: Fmaj? ArT? 87 cmaj7 Chords have been seen in root position as well as inverted: maj? A7 i Note that the top voice defines the required movement of the chord tones beneath it. If the top voice were not the controling factor, the example could be “voice led” Any pitch (except the roots) from a chord structure would move to the nearest chord tone of the subsequent chord following an order of preference: 1 1) common tone (no movement) \ ' 2) half-step movement | 3) whole-step movement 4) movement in thirds (major or minor) Cmaj7 A7 D-7 «67 F#-7(p5) F-6 Cmaj7Harmony 2 23 When a harmonic progression is voice led (as above), “harmonic continuity” is said to be in effect. A progression can also be demonstrated by voice leading only the essential pitches of each chord. The essential chord tones are the root, third (or fourth on sus4 chords}, and seventh (or sixth on 6th chords); these pitches make each chord sound major versus minor, and the major or minor seventh further defines the chordai sound. maj? AT D-7 G7 F#-7(05) F-6 Cmaj7 Generally, the position for the starting chord structure is determined by sound; the best location for the chord tones (3rd and 7th) is within the following range: The roots of the chords will be the foundation for the essential chord tenes which are voice led following the previous list of linear intervallic motion. (Common tone; chromatic; whole step; thirds.) Cmaj7 07 0-7 G7 F#-7(05) F-7 9 D-7 BOT céJ ie i Harmony 2 24 Considering the list of preferential motion, chords progressing with unchanged root motion (chords with common roots) will use common tone and/or stepwise voice leading of the essential chord tones: cmaj7 D7 —«D-7 G7 F#-70bS) F=7_ D7 BO? cs ¢ = = = = = 3 z ins = f : = = — — foe F PARALLEL CUniike traditional practice, the use of sarallel motion [two voices moving in” the same direction with the same intervaitic relationshio] may occur in contemporary music.) Chords which have root motion in fourths and fifths will have voice leading of the essential chord tones by common tone, chromatic, or whole step: Cmaj7 07 D-7 G7 F*-7(bS) F-7 D-7 Bb7 cé Ss oe 4 Step-wise root motion will require voice leading by step in parailel or similar motion (movement in the same direction): Cmaj7 07 D-7 G7 F#-7(D5) F-7 D-7 Bb7 céHermony 2. 25 Root motion in thirds wilt usually require that at least one of the essential chord tones is voice led in thirds also: Cmaj? 07 D-7 G67 F#-7(bS) F-7 D-7 Bb? cs Intervallic voice leading larger than thirds Is generally not necessary. ©. =Harmony 2 26 IDE T INES. The result of the previous voice leading of the essential chord tones is root motion and the two “guide tone lines.” Guide tone lines are single lines. which are developed by the voice leading of the essential chord tones and guide the listener through the chord progression individuat guide tone lines may be one of three configurations: either one of the two Tines created from the previous process or a combination of the two lines from the voice “leading process: Cmaj7 D7 0-7 G7 F#-7(DS)F-7 0-7 Bb7 cé oe : = i = = i SSS | IF if the developing guide tone line appears to be approaching the limits of the given range, an adjustment may be made by utilizing one of the foliowing alternative: : 1) Within the duration of the chord, it is possible to leap from 2 guide tone toreither: a) the same guide tone note an octave higher, or (maj? A-7__Fmaj7_D-7 ; Zz b) another guide tone line. Cmaj7 A-?7__Fmaj7_D-72) Or voice leading may be suspended and the line started again at a different pitch level either: Hi a) following a cadence to the | chord, or b) at the end of a phrase. Ebmaj? gbmaj7 eomaj7 Bomaj7 facmony 2 27 c-7 FT — 4 Fre a PEEP Bpmaj767(=9)_| C-7F7 __Bomaj7 C-7F 8b6 == pe 7 5 : a fe z. Epmaj7 £b-6 abmaj7 Ebmaj7 Eb-6 Bomaj7 = = = — = s z - G7 c o7 «G7 or F —— = qo G7 0-7 Ebmaj7 ®bmaj7 4 i OF FF Bomaj7 G7(*9) or Fr Bb628 Harmony Ih MINOR KEY HARMONY - NATURAL MINOR Minor Key harmonies are similar to major key harmonies. The common minor key scales are e 5 Harmonic minor (natural minor with a raised seventh scale scale de! Melodic minor (natural minor with both a raised sixth and seventh degrees ascending and natural minor descending): Natural minor: It should be noted that the diztonic chords built upon the third, sixth, and seventh scale degrees are labeled relative to their location above the tonic: a minor third (bII1); a minor sixth (DVI); a minor seventh (bVIN).a 4 Harmony 1 29 Since natural minor shares the same diatonic structures as the related major key, the context in which the chords appear determines the tonality, major or minor -7 ve F-? C7 6- a4 4 F a ki v7 bVIH7 =F c-7 ey Bb7 7 = SSS = 5 te eee oe Two important characteristics about the diatonic chords in natural minor are: a, 1} The diatonic chord built upon the dominant scale degree of the key j | (Scale degree 5, the V-7) is not a dominant structure; it does not contain a tritone. T) 2) The diatonic chord which is a dominant seventh chord structure 1s “J built upon the seventh scale degree (bViI7). When observed in context, the V-7 does not receive an arrow for analysis since it is not a dominant chord wih resolution down a perfect fifth: 7 7 vo 7 ce c-7 -7 oe - as 5 a The diatonic chord in natural minor which is 2 dominant structure is not built upon the dominant (Sth) scale degree of the key. The DVII7 is an example of 2 dominant chord without dominant function: Zz W-7 bVII7 i-7 F-7 Bb7 XHarmony il 30 The typical cadences in naturai minor are: V-7 to I-7 (Melodic analysis is included.) v 1 Sb2 b3 1 \V-7 7 y. Fee c-7 = 9 63 ff 4 oe: 9 b3 SbT 1 ovii7 1-7 807 c-7 _ bVII to i-7 rT 7 oe: B57 S67 1 11-7(05) 1-7 D-7(05) c-7 11-7(D8) to 1-7 05 ba 1 oe 11 05 SBT 1 bVimaj7 \-7 Abmaj7 c-7 pvimaj7 to !-7 7: 319 1 oe: 71 SOT 1 4AVAILABLE TENSIONS ~ NATURAL MINOR The available tenstons for diatonic chords in minor tonalities are normally those which are diatonic. However, optional tensions exist’ which are generated from other forms of minor Keys. Optional Available Available Chord: Tensions(s) Tension(s) {+ (triad) 9 1-7 9, tt 13 I (triad) i 11-7(bS) i big bull (triad) 9 “iT we bilimaj7 9,13 Fil I= (trad) 3 i iVv-6 an maj7* \v-7 914 13 —P iv-(maj7™* 9,11, 13 V-(triad) 911 V7 VW 9,13 bvimaj7 9,711, 13 bvII7 9,211, 13 *The iV-(maj7) chord is not diatonic to any minor key since it contains scale degree major 3. It Is listed here since it is commonly found in place of IV-, IN-6, oF 1V-7.| — j Harmony ! HARMONIC MINOR, The lack of dominant seventh motion from V7 to | in natural minor ied to the development of harmonic minor. The diatonic chord built upon the Sth scale degree in harmonic minor is dominant reason for the name harmonic minor. Three unusual diatonic chord structures are found in harmonic minor. 1) j{(maj7) is a minor triad with a major seventh. 2) bill+maj7 is an augmented triad with a major seventh. 3) VIIP7 is a diminished seventh chord. In harmonic minor, an arrow is used to show dominant resolution from V7 to le id IW-7 - V7 H-7(b5) V7 - f-7_67 0-7005) =a —+ SF pVimaj7 v7 bvimaj7_ Vil°7 b Apma7 7 Abmaj7_8°7 c.Harmony {| 33 ome 1 6 3 7 (melocic analysis on: 1 bo ST 1 I$ inciuced.) a i) ‘ 3 9 4 +3 oe b3 9 SH 3 , we |-700S) V7(b9) - D-7d5) 67(b9)~_ C= 11-7(S) to V7 to i- (All root motion is down in perfect fifths.) VUE? - B7 c Vile 7 to t- T eT 1 1 mT bpT ST 1 {vile7 can be seen as the upper structure of V7(b9).] f GAbg) i bvimaj7 I-(maj7) Abmaj7? c-(maj7) — bVimaj7 to i-(maj7) 7 5 1$mar7 5 oS 1395 5 73 4 1 4 Phew Lo. Harmony 1] 34 AVAILABLE TENSIONS - HARMONIC INOR The available tensions for diatonic chords in minor tonalities are normally those which are diatonic. However, optional tensions exist which are generated trom other forms of minor keys. Optional Available Available Chord Tenston(s: Tension(s) i+ (triad 9 i-(maj7) au 13 nectriad) Hl uI-7(D5) WW bis blll+ (triag) 9 FIL at bliiemaj7 9 i iV-(triad) 9 W-6 311 maj7 * \v-7 911 13 iv-(maj7* 9,14, 13 V (triad) 9 v7 bis 90Rb9 and =9** bvimaj7 9,411, 13 vile7 All available tensions must be diatonic and 2 major ninth above a chord tone. The numbering system to 13 does not work here since there are four potential tensions. (0 The |V-(maj7) chord is not diatonic to any minor key since it contains scale degree major 3, It is listed here since it is commonly found in olace of IV-, 1V-6, oF IV-7. : %* bS is sometimes used as a special chord tone on the V7 chord.Harmony 11 35 Ml epic NOR Melodies built from the harmonic minor scale have an unusual sound because of the augmented second interval from scale degrees b6 to 7. rmonic Minor Melodic Minor (ascending) }-(maj7) 1-7 bill+maj7 The traditional melodic minor scale above utilizes a raised 6th and 7th scale degrees when ascending melodically. This allows for the use of a dominant seventh chord on the fifth degree of the scale. The 6th and 7th scale degrees are lowered when descending melodically. resulting diatonic chords are thus the same as those in natural minor. SSS The alteration of the harmonic minor scale for melodic purposes is the reason for the name “melodic minor~ As is the case with the pVII7 of natural minor, the V7 of melodic minor represents a dominant structure without dominant function: i-maj7) pVimaj7 1V7 1-7 DVT. 1-7 c-(maj7) Abmal7 F7 C-7 BT - C-7 = ree es Iv-7 bilimaj7 We? V7 o-7_—«G7 4aHarmony Il 36 The typical cadences derived from the ascending melodic minor scale are: vw . 87 c- zs V7 to I- (Melodic analysis gh is included.) : t 9 3 1 w 1 9 $7 1 a—* i. 11-7 to V7 to t= Dat OF 9 3 t 1 ct in perfect fifths.) : Iv? IV? to f= a: 9 3 87 1 0-7 c vor 1 5 8 7 vii-7005) (05) Ser : 0a 67 7 ee ob OT ST 4 Additional cadentiai motion may occur using chords generated from the descending melodic minor scale (see the typical cadences of natural minor).AVAILABI MINOR Harmony 11 37 The available tensions for diatonic chords in minor tonalities are normally those which are diatonic generated from other forms of minor keys. However, optional tensions exists which are The availabte tensions for the diatonic melodic minor chords derived in its descending form may be found under “Available tensions - natural minor”, Chord: I-Ctriaa 6 I-maj?) lI-étriad) H-7 ilisttriad) dill+maj7 1 (triad) —y v7 Vetriad) w7 Vi-7(05) ViN-7005) Available Tension(s): MW 9,711 9 9,11, 13 9 bis Vt, DES, 1, bis Optional Available Tension(s} maj7 W tl Fil 9 OR b9 and #9* 3 % pS is sometimes used as a special chord tone on the V7 chord.| baay ie Harmony ll 38 SECONDARY AND EXTEN! MINANTS IN MINOR KEY: In addition to the use of diatonic chords, minor key chord progressions may include secondary dominants and extended dominants: i WA vw Ir Wy v7 = —.- D- E709) AZ O- _E7(b9) Az eee i ; = SSS eee ——- F Vy IV- DVI IF pvimaj7 v7 a c7 F7 Bomaj7 AT SS — id WA v7 I- vA v7 ™p- £79) ‘A? ™=D- ExD9)7 AT Wy W- bvil7 ie ae iv. DB D7 GO o- ‘ —Harmony |! 39 ‘As with the use of extended dominant motion in major keys, the extended dominants in minor keys will function in a key of the moment and have available tensions 9 and 13, The available tensions for the secondary dominants will be diatonic and meet the criteria for available tensions However, since the 6th and 7th scale degrees of any minor key may be natural ar raised, these diatonic pitches allow for different options for some of the secondary dominants' available tensions. For example: B7(9) from B7(b9) from E7413) from E7(b13) from harmonic or natural minor — harmonic or natural minor melodic minor melodic. minor Additionally, bVII7 and IV7 can be seen as having secondary dominant potential; both are a perfect fifth above a diatonic chord (bII!_ and DVI! respectively). However, the diatonic function of these chords is stronger than their potential secondary dominant function; they are diatonic chords DVII7 and V7 as opposed to V7/bII1 or V7/DVII, even though they may progress as such: | f- 11-705) V7 I= DVII7 bill+maj7 iV? bVIi7 ¥7 1-7, D- E705) A? *D- «-C7_—sFemaj7?_ 67 C7_AZ_—O-? ==Harmony 40 LIN = A line cliche is a single line which moves through a single chord, The ii cliche will always move chromatically: i= [maj7) 1-7 D-_D-(maj7)___ 0-7 ox ao The above line cliche can be identified as the single line: While the basic chord remains. = D- ———— Line cliches are very common to minor key harmonies. Other characteristics of line cliches are: 1) They may occur on the top; in the middle; or, if the line cliche starts on the root of the chord (as the above line cliche does), on the bottom of the voicings. 2) They are used a6 guide tone lines ana as lines developed in the voice leading process. 3) They always appear in the area of the chord above the Sth and below the root.Harmony It 41 Another of the most common line cliches is: Line cliches do not always continue their motion in the same direction: When a line cliche is present, the available tensions are those for the triad. Other line cliches can be found by starting on 6, -7, or maj7 chord degrees and moving chromaticallyHarmony II 42 Though line cliches are fundamentally associated with minor tonalities, they may be seen in major key harmonies. Most often on the | or IV chords: 1 iv ° 6 : or on the fi- or VI- or IV- chords. When the line cliche occurs on the il- chord, it often progresses to the V7 chore: l- vw E, AT d ViI- 7 We G- Less often the line cliche may appear on the I!1- chord.Harmony 1 43 MODAL INTERCHANGE {S THE BORROWING OF DIATONIC CHORDS FROM A PARALLEL MODE (SCALE) AND USING THEM IN THE PRIMARY KEY: F-7. G-7(b5) AMaj7 Bb-7 C-7 Domaj? £7 F-7 Primary key (patural miner) F-(maj7) G-7 Ab+maj7? Bb? C7 O-7ibS) E-7(d5)F-(maj7) Paralelxey (melee minor) 7 ma Modal interchange between minor tonalities is a very common harmonic practice in contemporary minor key tunes: F natural minor: FH? Bo-7 —b7 C-7 = = Z = 7 6-7 eT iF F-7 = — =———-= | Borrowed from F melodic minor—_— Harmony Il 44 The use of minor tonality chords in major key harmonies is a commonly found example of modal interchange. Such chords are borrowed from the parallel minor key (the key of !-), and used in the parallel major key (the key of | major). Fmaj7 G-? Ax? Bbmaj7 C7 7tb3) Frnaj? Primary key € major) F-7 G-7(b5) Apmaj7 8b-7 C“7 Domaj? Eb7 Parallel key (natural minor) 7 The natural minor mo¢al interchange chords borrowed for major key use are: V-, 1V-6, 1V-(maj7), IV-7 (all the forms of the 1V- chord.) W- Imaj71V-6 [maj 1V-7_—imaj?_1v-(maj7) Imaj7 Bb-Fmaj7_ 8-6, Fmaj?_Bb-7,_Fmaj7 Bomaj7) Frnaj7 bVimaj7: bvil7. bvimaj7: imaj7 bvIt7: Imaj? Dbmaj7 Fmaj7 £07 Fmaj? + 5 t o se + # $e oS S = The harmenic minor modal interchange chords borrowed for major key use are: 1I-7(b5)- V7(b9) t1-7(b5) V7(b9)— Imaj7 6-705) C7(b9) Fmaj7 Z —— + -Harmony {1 45 i | bViImaj7, though not diatonic to any minor key, is 2 very common modal interchange chord: bilmaj7, though not diatonic to any minor key, is a very common modal interchange chord. The tonic natural minor chords |-, 1-7, dll! and blilmaj7 are also found as modal interchange chords in major: ima? 1-7 Imaj7 1-7 Fmaj? F-7 Fmaj7 F-7 == ee ae & + 7 imaj7 oilimaj7 maj? biiimai7 Fmaj7 Abmaj7 Fmaj7 Abmaj7 , ! The available tensions for modal interchange chords are the same as listed in their minor key context.Harmony 2 45 RELATED II-7 CHORDS The fuil cadence is represented by the progression of supdominant to dominant to tonic chords: ® © q 2 S The most common variation of the full cadence has strong root motion of perfect fifths throughout: &—? Just 2s an arrow is used to show the perfect fifth root motion between the dominant chord and its chord of resolution, the relationship between the lI-7 and the dominant V7 is so strong as to require recognition. A solid bracket beneath the 11;7_\7 is used to show the perfect fifth root motion: mt Yt Taj" Gt Fmaj7Harmony 2 47 The above progression is all diatonic; II-7, down a perfect fifth to V7, down a perfect fifth to |. This |I¢Z_\47 relationship is so strong that: ANY DOMINANT CHORD MAY BE PRECEDED BY ITS RELATED H1-7 CHORD. A-7.07 D-7 G7 G:7.C7 Cj7F7 Fy7_By? BbGZER? Eb? Ab? Lat Pe Sel Ab-7 Db? Db-7 Gb7 F*-7 87 B:7 £7 £7 A? The related 1i-7 chord-of some secondary dominants will also be diatonic. Such diatonic minor seventh chords have DUAL FUNCTION. . ate ~—. 1 z(t) L nr ME gr z F a Gi_ff e() os Be eB rt Bait Eat) at f) pT at Gt ¢t Foaj™ The diatonic analysis and the bracket show the dual function. The available tensions for dual function chords (i!I-7, VI-7, VII-7(b5)) are usually diatonic. ei Other related II-7 chords which are not diatonic have available tensions from the key of the moment: Iasi? Waa te Fea! eta Dt 1g {)= 11-7 in D = 17 in 3? Ba! ) Sa—~m7 or” ) basi? 32g At @t FF : ({)- a saa dHarmony 2 48 The Ls relation may appear as 115 7(b5)_V7{b9) (as in harmonic minor): ahd ee indeed, any of the following variations to the L_—4 may occur without changing the dominant function of the V7 chord: 265) oti) Gh) eHarmony 2 49 Harmonic rhythm directly affects the ‘L__srelationship. With the inclusion of a dominant chord's related 11-7 , harmonic activity is increased without deterring from the dominant resolution. The harmonic rhythm of the 1 may be even: ate’ OA or the II-7 may appear for longer duration than the dominant: txt gt Bb wW sow (_et BP SWsw SWsw or, less often, the dominant chord may appear for longer duration than the Ue?| Harmony 2 50 Therefore, the lI-7 will appear on a strong stress, the V7 on a weaker stress, and the resolution will be to a strong stress. A (4 may repeat prior to progressing: most ot oe ot ME Yee D7 @ opt GET AT gt At Line cliches commonly occur with a liz V7: dz GT Cwait™ ‘P feeseeea 3 Related I1-7 chords of extended dominants may be either the chord of resolution: i At 7 Gil a : or, they will be INTERPOLATED prior to the chord of resolution (the extended ' vy: —. oot Apt Date! @tg” Gatea Harmony 251 Blues harmonies have their basis in early American church music. The primary cadence used in hymns of the Protestant church has deen subdominant (with dominant cadence being of less importance). Subdominant cadence is traditionally called “plagai cadence’: Vv Bb F = Typical of piagal cadence is the sound of “A-men’, used following most nymns: Thus, the primary chords found in blues are the | and IV chords (and occasionally the V7 chord). The basic scale used for Dues melodies is a pentatonic (5 note) scale, but NOT the major pentatonic scale. The blues scale is NOT diatonic to the harmonies: SSSHarmony 2 52 The above blues scale (scale degrees 1, b3, 4, 5, b7, 1) can be seen as a minor ~ pentatonic scale. The important characteristic of the blues scale is its exclusion of any half steps and the relationships it creates with the major key harmonies; the scale degrees 03 and b7 being the basis for the minor pentatonic scale create an unusual sound when supported by the major key harmonies. This melodic relationship results in wnat is called “blues notes” When the blues melodic pitches are superimposed over the basic harmonic structures, the extensions for the seventh degrees of the fundamental chords can be added: pitas The | and IV triads therefore become I7 and 1V7 respectively: F? Bb7 The basic available tensions for the primary chords are those which eppear melodically: F729) B79) SS - “4075 s4 #9 5 o7st 9Harmony 2 53 An exception to the previous observations regarding available tensions should be noted in the case of the 17(#9) chord in blues. Though b9 and #9 normally may coexist, D9 should not be used with #9 on the 17 in blues since it is not part of the blues scale, ‘ The blues form has its origins in the poetic form used for the improvisation of lyrics. The lyrical content of blues is based on a “rhymed couplet” with the first line of the couplet repeated (to allow for additional time to improvise the second line). The rhythm of the lyrics can be notated as dotted quarter, eighth notes with five stressed pulsations (this lyrical rhythm is known as iambic pentameter”): By studying the stress placement of the melody and lyrics, it can be noted what the overall form will be: ii = { Sung lyrics - First couplet line ____ > > > > ‘Sung lyrics - Repeated first Tine ___ 2 > > 2 > == epee fo = —= SSS Sung lyrics - Second couplet line. —— The above will therefore be a 12 measure form (also known as "12 bar blues").3 4 7 Harmony 2 54 The placement of the primary chords follows a logical sequence: the 17 chord receives the most stress; it will also be cadenced to irom the |V7 chord. In order to have a variance during the repeating of the first line of the couplet, the IV7 chord Is used with a cadence to 17; the final line of the couplet contains the final cadence: —— — Strum — = 807, a. in F7 ce g ——— = . oe First couplet line repeated (lyrics and melody) Strum _.-------- Bb7 57 Second couplet line with cadence it should be noted that all the lyrical content of a fundamental olues, as the one above, is within the first 2 measures of each 4 measure phrase; the remaining 2 measures begins with a cadence and the chordal content Is the 17 chord. Since blues was most often performed by a soloist, accompanying himself/herself, the last 2 measures of each 4 measure phrase came to be known as the “strum”, for obvious reasons.Harmony 2 5S The next higher level of complexity would be for blues harmonies to contain dominant motion, This action would then incorporate diatonic souncs from major key harmony. F7 v7 7 Bo7, °7 z = oe = = Ww7 OI? = Bb? C7 #7 sete : Se ee : Dominant cadence The basic Dlues melodic scale has become more complex also; it now contains chromatic motion between the 4th and Stn scale degrees - 05 or =4. The contemporary blues notes are 3, 05 (*4), D7: *4 5 j7 b7 S bS 4 bS4 bey Hermony2 $6 ~ AVAILABLE TENSIONS - BASIC BLUES The available tensions for the three basic blues chords are those from the extended structures which meet the previous criteria: diatonic to the blues scale and either a 9th, or a *9th or an allowable b9th above a chord tone: Optionai Structure Normal blues with diatonic major key Chord structure: tensions: 7 17 9) 17 (#9, 13) OR 17 (9, 13) \v? 1v7 (9) 1v7 (3, 13) w _ v709) V7 (b9, #9, b13) OR V7 (9, 13) (Any diatonic chords or secondary dominants from major key. harmonies will have available tensions from their major key context.)Harmony2S7 BLUES VARIATION: There is one important characteristic which can be Seen in all blues: the placement of the primary chords within the 12 measure form: Tonic oS” First couplet ie ——— ese stim .—-————— Subdominant Tonic —— = First couplet line repeated ____—_-—___ Strom tees Cadence Second couplet line Variations to biues demonstrate this pattern in two different ways’ 1) Harmonic motion from and back to the primary chord in each area of the form, and/or 2} Harmonic motion to the next primary chordPeer ere Harmony2 38 Thus, a tonic chord wili appear in the first measure; any subsequent harmonic activity in the first 4 measure phrase will be back to @ tonic chord and/or motion to the subdominant chord which will appear in measure 5: Tonic F7 Bo? eS eS Fi a » 2 Subdominant 807 in the above example, there is a subdominant cadence back to the primary chord (tonic) from measure 2 to 3; measure 4 contains 2 commonly used blues chord which approaches the IV7 chord. The !!!-7(bS) chord can be identified as an upper structure of the 19 chord (which may also be seen as the secondary dominant of 1V7 [V7/tV] ): 17 or IN-700! Wy H-7(D5) A-7(bS)Harmony2 59 Measures 5 and 6 will start with the subdominant and contain motion back to subdominant and/or have movement to tonic in measure 7: Tonic °7 8b? F7 A-7005) ca 2 3 4 Sub-dominant Tonic 8b? F7 Bb7 B°7 Ye i ——a onan 5 6 a 8 = 5 ¢ 0 Ti ME The B°7 occurring in measure 6 is another commonly found blues chord. The *|¥°7 chord is an approach chord to | from IV; most often the resolution of its root is chromatic and therefore the 17 chord aopears inverted:Harmony2 60 Measures ? and 8 start with the tonic and either move back to tonic and/or have motion to cadence chords in measures 9 and 10. The cadential motion may be either dominant, suodominant, and/or modal interchange cadence chords borrowed from minor: vi 2 5 7 Supominant Tonic ie _ Bos FF Bo? B°7 Ye Bo7 F7 oD? 3 3 cd Cacence 6-7 C7 9 10 TT 12 The above cadential motion contains dominant (C7 - V7), subdominant (BD7 - 1V7), and a non-dominnt chord borrowed from natural miner (Eb7 - DVII7).Harmony2 61 Since measures 11 and 2 begin with the tonic and the first measure is also tonic, any harmonic motion here will be back to tonic: Tonic FT Bo? F7 A-7(D5) Se eee “4 2 3 4 Sub-dominant Tonic Bo7 F7 Bo7 B°7 Ve Bb7 F7 OF = Sj s e Cadence 6-7 Qa Bb7 £b7 F7 «(D7 a C Another contemporary blues chord (also found in major key harmonies) has its basis in subdominant cadence. in the following blues progression there appears a lV of the | chord and a 1V/IV (IV of the IV chord: ie 1aHarmony2 62 In a more complex situation, the same chord (I\V/IV) would be analyzed as DVI: } 17 v7 DVI? 7 1-705) # C7 7 67 B-7(b5) 7 7, WW7 bvLI7 17 vA, c7 F7 7 Earn — z i-7 V7 bVII7 7 ey, by fF? 67 The following chart includes examples of blues progressions. The 12 measure form and placement of the primary chords adheres to the previous requirements. Note that some of the examples use blues chords only, some use major key harmonies and some use minor key harmonies. 3Harmony 2° 63 Towic SUBDOMINANT TONIC - — z — T 2 5 4°65 6 7 ' > © HN F Bo? i B07. 7 2 a 4 5 6 D2 67 c7_ 807, 207. +t ==] 7 @ 9 10 17 2 £7 iad b-7 crea) = T 2 3 a 3 £2 Abmaj?___6-7(08) e709) £7 Bb-7 el Fay? 7 A777 CT E?___Bbmai7 Bb-6 7 2 a 4 3 5 Fai? AcT D7 G7 C7 8b7_f7_Fmaj? @-7_Ac?_ 8-7 i = ee : 7 3 g 70 7 2 £7 _Bh7 77S. 7_fh7__A-7_07 78 3 6 7 12Harmony 2” 64 : Touc SUBDOMINANT TONIC 079) 67105) £6 7c? 08 67 ¢7___ébmai7 Fimaj7)___eb-6 T 3 10 2 aor_sor % 70S) __—Bbmaj?_ ab? 7 T 7 3 a 5 6 Abmaj7 Dbmaj?7__C7_-Eb7__—G-7_Bb-7_T_ OFC 7 a gv 10 in 2 Frisusd) __£7_A-7bS)_B7 omai7 F2_A-7005)__6b7_ B07 7 2 + 7 = é E?_£b7__Abmai7 0bmai7_C7(sus4)_8b7(sus4)_F_Abmaj7__Dbmaj7 Sbmaj7_ f : —— 7 8 g 10° WW 12 zm z 7 abe ob 7 1 z 3 7 > . b £ be 7 Bb 7 2 3HARMONY 3 by Barrie Nettles Berklee COLLEGE OF MUSICHARMONY 3. ' i ‘SUBSTITUTE DOMINANT CHORDS 7 The characteristic of dominant chord sound can be attributed to the tritone which exists between the third and seventh of the dominant chord: Therefore, the above tritone may be notated as either an aug. 4th or a dim, Sth (as in the above two examples). Thus, the same tritone may be notated enharmonically to produce another +4th tritone which inverts to another “Sth tritone. Though the tritones involved appear different, they all contain the same sound (tritone = 3 whole steps): 4 aHARMONY 3 2 Since the dominant chord quality requires the tritone to represent chord tones three and seven, the root must be present for a complete chord sound: : pes = ———— Te 3 ces The resulting two dominant chords contain the same tritone and may therefore function similarly. The context in which either chord appears determines the function. The dominant chord and its substitute dominant chord share the same tritone and their roots are a tritone apart. (These chords are 2lso known as “tritone substitute” chords.) The substitute dominant for V7/I is subV7/I, Just as the expected resolution of V7/i resolving to | requires an arrow (showing the actual resolution), the resolution of the subV7 has a special analysis, a dotted arrow. vy x sub? ot iG ar Gti En SOLID ARROW INDICATES DOMINANT RESOJUTION DOWN A PERFECT FIFTH: A TE F. oe ype 7 ™ Gb G7 Gr aS ‘ 5 = SSeS = oHHARMONY 3 3 The primary dominant and secondary dominants are chords which have an expected resolution down a perfect fifth. The expected resolution for substitute dominants is down a half step. The substitute secondary 4 dominant chords are subV7/1I, suDV7/1V, subV7/V: One characteristic of substitute dominant chords is that their roots are not latonic. (The primary and secondary dominant chords have diatonic roots.) 1V7 also has a diatonic root. It rarely sounds as though its function will be as a substitute dominant (though It may resolve down a half step to HI-7). a, DylI7's function as a modal interchange chord is more common than the 3 possibility of a subV7/Vi function. In unusual situations (most often dictated by harmonic rhythm) subV7/1!1 and subV7/VI may occur, but V7/IV ts never subV7/VHARMONY 3 4 Substitute dominant motion is also common to contemporary minor key chord progressions: woe pr Gdmngj7 = —F Tei Oe J abee--HARMONY 3 $ A RELATED 11-7 CHORDS - SUBSTITUTE DOMINANTS: Any dominant chord may be preceded by its related II-7. The related 11-7 1 chords of the secondary dominants are diatonic except the related II-7 of 4 V7/li1, which has a non-diatonic root. However, the related II-7's of substitute dominants are non-diatonically rooted. Therefore, since the related II-7 chords of the substitute dominants cannot have dual function, they will be analyzed in terms of their relationships with substitute dominant chords; the ——4 relationship. 4 With the inclusion of the related iI-7 chords for both primary or secondary dominants and their substitute dominants, a four-way chordal relationship can exist: qr? bE? ot gbe7 pete a = ; ; “1 ze a Ae GIT 7 & : The related If-7's of the primary or secondary dominants may progress a normally: Imi? Cong?HARMONY 3 6 The related li-7's of the substitute dominants may progress normally: sue rites) use” BOT ABT Ag rhage) ABT DOT ed a QR, any of the above II-7 chords may progress down a half step to the substitute for tts dominant chord. Since the root motion from the Il-7 to the dominant will be down a half step, the analysis symbol used ts a dotted bracket, mg? Tie xxurs) DI Gre) ar ob % A solid arrow or bracket Indicates root motion down a perfect fifth: — pact a ee f= = eee TF a so eer: z HARMONY 3 7 AVAILABLE TENSIONS-SUBSTITUTE DOMINANTS. Inasmuch as substitute dominant chords are not diatonic structures, their extended structures do not require a diatonic orientation. The tensions available on any substitute dominant are the pitches a major ninth above any chord tone (whether diatonic to the key or not). a, st0E7 sue Te sb or sth Cs pt eM or ; AT A (§ eS SS ae | z In all cases, it should be noted that the tension =11 on a substitute | dominant represents the root of the original chord of dertvation (the [7 primary dominant or secondary dominant). All substitute dominant chords have available tensions 9, *11, Ona If the extended structure of the substitute dominant is supported by the root of the respective original primary or secondary dominant chord, an & alternative to the normal available tensions for the primary or secondary (dominant chords may be found: subz? sub at sub Ipr sere CoD bass 2a bass ONG bass Alp bass veHARMONY 3 8 V7/\ normally has available tensions 9 and 13; it may optionally use @ pratt) ) 4 | bo tensions 9, =9, ®5, and 15 xz plait) ) f Sy Any dominant chord with the above alterations (altered 9, 5, 15) is notatec~. as “altered”, abbreviated as (alt). (Although not universally used, this abbreviation 1s generally understood.) use the altered tensions: may optionally use the remaining altered tensions: ¢ we ree ries pia) per) Diet Although V7/1V normally has available tensions 9 and 13, it may optionally V7/V normally has available tensions 9 (alternatively, bg, #9) and 13; ItHARMONY 3 9 V7/\i normally has available tensions 9 (alternatively, ©9, #9) and P13; it may optionally use the remaining altered tensions: KE Tr tae If the option of altered tenstons is used, the chord symbol MUST reflect that option. Qa csp cl8) - = ——s aa 7 The available tensions for the related l!-7 chords of substitute dominants are drawn from the key in which the chord is the diatonic |i-7: Cmj?HARMONY 3 10 Though the primary and secondary dominants and their respective supstitute dominants are substitutes for each other, the same is not true for the related I-7 chords. By comparing the available pitches for both kinds of li-? chords, it can be seen that totally different available note options are produced D-7 as related II-7 of V7(G7) AD-7 as related 11-7 of suov7(0°7) D7 ety Available to D-7: I | i i | Il J | Avatlable to AD-7:HARMONY 3 1 SBOE IO OBO IDIOTS I HII IRI Summary of available tenstons: primary dominant, secondary dominants, ~ substitute dominants and related !1-7 chords. Available Optional Chord: tensions: tensions. VAL 9,13 (att) suDV7/1 9,711, 13 vl 9,013 D9, #9, 015 or (alt) subV7/41 g*tl,13 VIA bg, £9,913 fall) V7/IV 9,13 (alt) subV7/IV 9,411, 13 * vv 9,13 D9, #9, 13 of (alt) 4 V7NI Dg, #9, 13 (alt) Related {1-7 ' of V7/I 9,11 < Ganmy ~ 11 (as HI-7) 9, 11 (as related I!-7) i of V7/III out 11, 13 fas #1v-705)] of V7/IV 9,11 of V7/V aN a of vai $eDichonces 11,13 [as ViI-705)]_ 9, 11 (@s related 11-7) of all subV7's aiHARMONY 3 2 EXTENDED SUBSTITUTE DOMINANTS. Extended dominants are dominant chords which are placed at strong stress points, or within a pattern of dominant resolution following the cycle of fifths with an extended dominant as the starting point for the pattern. The same characteristics apply when substitute dominant chords are involved. The root motion during extended dominant motion follows the cycle of fifths; the root motion during extended supstitute dominant motion is chromatic: wn) ere Chromatic ID) e i eee gre ga 7 bra? om), Chromatic in the first four measures of the above examples, every other chord represents an extended substitute dominant chord, while the remaining chords are extended dominants though they resolve by half step: ( Tre)? apa 99 GI CI FI pia wa {The same example using no substitute dominants.} The decision to hear an extended dominant versus an extended substitute dominant 1s made by the listener based on the function of the dominant in the key. If the root of the first dominant chord in the pattern 15 diatonic, it wil] sound like an extended dominant: Nea _Diatonic! 5 HARMONY 3 13 If the Foot of the first dominant chord in the pattern is not diatonic, it will sound like an extended substitute derinant. Non-diatonic It should be observed that the complexities resulting from the inclusion of substitute dominant chords within a progression make that progression very difficult to hear. This, in turn, allows for more freedom in the choice of usable tensions. Generally, 1) if movement from an extended dominant is down a perfect fifth, the following dominant will sound like another extended dominant; 2) if movement from an extended dominant is down a half step, the following dominant will sound like an extended substitute dominant; 3) if movement from an extended substitute dominant is down @ perfect ‘Lifth the following dominant will sound like another substitute dominant;HARMONY 3 14 4) if movement from an extended substitute dominant is down a half step, ‘the following dominant will sound like an extended dominant The available tensions for extended substitute dominant chords are 9, *11, 13 (the same as all subV7’s). The extended substitute dominant may be interpolated prior to the resolution of an extended dominant ye ee aad Br Re It is more common for the substitute dominant to follow the extended dominant (as above) than for the substitute to appear first, Related I1-7 chords may precede their respective dominant chords (either ore aap Gr GF id See SSS = = SS SSeS SS EE EEE: ‘As is the case for all extended dominant motion, harmonic rhythm will be increased with the inclusion of related 1-7 chords. Further, a !l-7 may itself be the target chord of resolution.HARMONY 3 15, DIATONIC CHORD SCALES CHORD SCALES are used to identify a chords available melodic and harmonic pitches, Chord scales may be described as extended chord structures, with tensions and other non-chord tones displaced down an octave to create a scale. (g 3) Ca 7bji) © Lydian The above extended maj7 chord may be identified either as CmajX* 1.1) or, as a Lydian chord scale. Modal terminology (Lydian) is used to identify the interval relationships between adjacent pitches. Available tensions are those non-chord tones which are a whole step above a chord tone (a major ninth reduced by an octave) ve, © Tondan Cmej UG i 2 i The modal name for the chord scale above is C lonian. The chord symbol would be Cmaj7. Both the chord symbol and the chord scale refer to the same structure, but the chord scale !s more complete. The scale shows all the available melodic pitches including the fourth degree (F), which is available as a scale approach note. AVOID NOTES are avoided harmonically but available melodically. (Note: Avoid notes are indicated by filled in note heads, while the available chord tones and tensions are written as whole notes. Also, note that the fourth degree of any lonian scale 1s an avold note.)HARMONY 3 16 DIATONIC CHORDS USE DIATONIC CHORD SCALES. Available tensions will be a whole step above a chord tone. Other pitcnes (a half step above a chord tone) will be avoid notes. {All examples for this topic are demonstrated in C major.) The | chord uses an lonian chord scale; the fourth degree is avoided: Cmaj7 = Imaj7 = ¢ Ionian a 3 3 a The 11-7 chord uses a Dorian chord scale, The sixth degree is avoided, even though it is a whole step above the Sth, because it creates a tritone with the 3rd of the;chord. This suggests @ dominant quality rather than subddom inant * sone D-7 = II-7 = D Dorian q wu The 11-7 chord uses @ Phrygtan chord scale; the second and sixth degrees are avolded ILI-7 = E Phrygian 7 The IV chord uses a Lydian chord scale; there are no avoid notes: Fmaj7 = IVmaj7 = F Lydian 9 ay B i . Cotte harmonically avoided 6th degree in the Dorian scale is the only exception to the availability of 8 non-chord tone @ whole step above @ chord tone.HARMONY 3 7 The V7 chord uses a Mixolydian chord scale; the 4th degree is avoided: G7 = V7 = G Mixolydian 7 7 The VI-7 chord uses an Aeoltan scale; the 6th degree is avoided: A-T © VI-7 = A Aeolian q : a“ The V11-7(05) chord uses a Locrian scale; the 2nd degree is avoided: B-7(°5) = VII~: ) = B Locrian Ww 43 For diatonic chord progressions, available tensions and ather non-chord tones will be diatonic. Hence, the chord scales will be diatonic We =) 7 gyz Fie) p 7 jE ee niattt == = = ad 7 aE ae ? a wi Ting}? Zogyj7A HARMONY 3 18 DECEPTIVE RESOLUTIONS = V7/1 ‘Two of the standard deceptive resolutions of the V7 chord have been seen in diatonic harmonic analysis. V7 of | resolving to the HI-7 or VI-7 (both tonic substitute chords) are common examples of deceptive resolution. soe? m7 Ur wey F a7 & Seawet = wate ; 7 These deceptive resolutions are so common that they do not require a deceptive resolution analysis (the use of parentheses). The justification for the above harmonic motion 1s diatonic progressing to dtatonic. The following deceptive resolutions of the V7/I chord have the same basis and are analyzed without parentheses, though the chords involved. are. non-diatonic. Pee Me V7/1 may resolve deceptively to #1V-7(5): “O.K. ry-78) Els) V7/I may also resolve deceptively to the other maJ7 modal interchange chords,HARMONY 3 19 when V7/I resolves deceptively to any of the above chords, it most often occurs at a melodic cadence and sounds as though the progression will eventually move to tonic, The strongest melodic pitches at cadence points are degrees | and S of the key, These two diatonic notes have the most “final” Sound melodically:_ HARMONY 3 20 ‘An examination of the available pitches for 1I1-7, VI-7, #1V-75), Puimaj7, Diimay7, Ovimaj7, and Pvitmaj? shows each deceptive resolution of V7/1 to have scale degree | or 5, or both, available a Oe = gs Z Dyimaj7 a — 7 5 ==HARMONY 3 When V7/I resolves deceptively to a maj7th chord, the progression often follows the cycle of fifths to return to tonic: 7 Ginaj?__Chmaj?__Fhmaj?__E* eS When V7/1 resolves deceptively to *1V-7(5), the progression often continues with chromatically descending motion to the tonic: ar gt) AY le GT g-7_phnal? le GT pr pina V7/ resolving deceptively to IlI-7 or VI-7 most often occurs in progressions which are strictly diatonic. eee 1 JHARMONY 3. 22 CHORD SCALES - DOMINANT CHORDS Chord scales for secondary dominants reflect their expected diatonic 7 resolutions. All secondary dominants are expected to resolve down a perfect fifth The root of the expected resolution chord will be the fourth degree of the chord scale. The dominant chord scale whicn contains an avoided fourth degree is Mixolydian, so all secondary dominant chord scales are some form of Mixolydian. ‘The chord scale used for V7/1V is Mixolydian; the 4th degree (the root of the expected resolution chord) is avoided: vas 7 “= a 1 7) Root of Fmaj7 ‘The chord scale used for V7/V is Mixolydian, as above, the 4th degree is avoided: viv D7 Ma \\ Root of G7 \ The chord scale used for V7/II is Mixolydian 13; the fourth degree is avoided and there 1s @ condittonal avoid note. Though °) ts an exception to the “major-ninth-above-a~chord tone” rute (and is therefore a half step above a chord tone), 1t and the Sth may not normally appear simultaneously together. Conditional avoid notes are both enclosed in parentheses: VI/TI i a 2 Ses —= { 7 a ~- Root of D+7HARMONY 3-23 The chord scale used for V7/1I1 is Mixolydian ©9 (optionally #9), 513; the 4th degree ts avoided, and 5 and 213 are conditional avoid notes: \ ) Root of E-7 The chord scale used for V7/VI is Mixolydian °9 (optionally *9), 913; the 4th degree is avoided and 5 and 13 are conditional avoid notes VIVE 27 4 7 oo Root of A-7 There are optional chord scales for the primary and secondary dominant chords. In addition to the above chord scales, any secondary dominant chord and the primary dominant chord may have added alterations: V7 (Mixolydian) v7i9) (Mixolydian D9, #9) yer yen) && ee fen 7 + 7 7 oe #F a v70g, °13) (Mixolydian 9, #9, 513) V7(alt) (altered) 5 glee) : = 13 ‘ bg FF 5 Bs V7/1V and V7/V may utilize any of the above alterations also.HARMONY 3-24 V7/\1 may use any of the following chord scales: veg, P13 v70b 139/11 (tttxolydtan P13) (rtixolydian P9, #9, D3) 4d) a es i nis F 33 WB vaalosit (altered) ana) : cae a= - = - : : Yi rz V7/1M and V7/Vi may be either Mixolydian 59, #9, 13 or altered: v7tP9, 5139/11 (Mixolydian bg, £9,013) v7¢alty/tIt (altered) wilh) gree) —— ; a= 7 iF ee bE SSG Pe v7(b9, 213)/Vi (Mixolydian bg, £9,013) Va(alty/VI (altered) 1h ene = es / a9 # b3 7 bq #4 ts .cted resolution down 2 perfect ‘ds with an expe terations) or an altered As a general rule, all chor ie (with or without al fifth use a scale. ay dominant chord not expected to resolve down a pert uses a 7 scale. This distinction 1s the reason for pot using the term “mixolydian #4.HARMONY 3 2S The Lydian °7 chord scale 1s used for all substitute dominant chords (expected resglytion down a half step), Dvit7 (expected resolution up a whole step) jin a major key context (expected resolution down a perfect fourth), and extended substitute dominant chords (also expected to resolve down a half step). subV7 (Lydian 7) subV7/11 (Lydian °7) pen i= = = Fe fo: = SS Tae, #i aE 7 7 Fy a subV7/1¥ (Lydtan ®7) ‘) “T 3 mT B 7 Dyii7 (Lydian 7) 1V7 (Lydian 57) 7(#) pe) & & pote Te ae ae 9 Fi a All extended subV7's (Lydian 57) 2) ——$——~4 perm ‘ & an oat ? 7% 7 3 Extended dominant Extended dominant Nixolyéian Mixolydian ne) Extended subV subv7 Lydian 7 Lydian 67 | The chord scale used for extended dominant chords is the same as that used for V7/V (expected resolution down a perfect fifth): Mixolydian.- HARMONY 3-26 Though alterations are possible to all forms of Mixolydian scales, the only alterations normally available to the Lydian 7 scale occur on the substitute dominants of 1, 1V, and V. Since those chords have an expected resolution to 4 major chord, the major third of the chord of resolution may occur in the Lydian °7 (#9) chord scale as an alternative. Although infrequent, =9 on aLydian °7 chord 1s more likely to be found on sub V7/I subV7 (Lydian 7) to Imaj7 subV7(9)/1 [Lydian °7(#9)] to Imaj? ple" “he pere- subV7(#9)/1V {Lydian ©7(*9)] subV7(#9)/V {Lydian °7(#9)} cantar ane gry WB wa Though &9 and #9 may normally coexist, °9 & not available in the above alterations to the Lydian °7 scale. 5)| HARMONY 3 27 DIMINISHED CHORD PATTERNS 1 Diminished seventh chords are most often found in major keys as linking chords between neighboring diatonic chords, or as approach chords to diatonic chords. The most common patterns for these diminished seventh chords are: #1°7 approaching II-7 or f : passing to 11-7 from I(maj7) \ I#11°7 approaching II1-7 or Passing to HI-7 from 11-7 a D 45 i 1V"7 approaching V7 or j passing to V7 from iv(maj7)HARMONY 3 28 approaching VI-7 or lbassing to VI-7 from V7 bitt+7 approaching II-7 or passing to |!-7 from II|-7 oyret SSS yi*7 approaching V7 or | passing to V7 from Vi-7 i | |3 eas HARMONY 3 29 LZ. as an auxiliary to | the tonic (l(ma}7)] I cy FF i i “y*7 as an auxiliary to the dominant (V7) “F F om These examples of root motion can be used to categorize tne three different types of diminished chords: 1) The ascending diminished seventh chords have root motion up a half step from non-diatonic to diatonic 2) The nd inish ven eds have root motion down a half step from non-diatonic to diatonic, 3) The auxiliary diminished seventh chords have a common root with the tonic or dominant chord respectively. aHARMONY S — 30 All diminished seventh chords contain two tritone intervals. Because of > e these tritones, diminished chords are extremely unstable, and have a clear \ tendency or “need” to resolve. Additionally, all diminished seventh chords contain non-diatonic pitches; the. ascending and descending diminished seventh chords have roots which are not in the key. ALL DIMINISHED SEVENTH CHORDS HAVE A VERY STRONG DEMAND FOR RESOLUTION In most cases, the expected resolution 1s to a neighboring diatontc chord or / diatonically rooted chord. Se ; The ascending diminished seventh chords are derived from the secondary < dominants of their target chords and have smooth voice leading characteristics. #1°7 can be seen as an inverted V7(°9)/I1 Craj7 Aaa) po #1/°7 fs derived from an inverted V7(°9)/II1 Ci Cmajt CAT ya gi) ger =HARMONY $31 #1V‘7 Is derived from an inverted V7(P9y/V. j ; Fra? p17) EG eS a *E #V°7 ts derived from an inverted V7(Pay/Vi fej? RT @ The descending diminished seventh chords are not derived from secondary dominant function since neither contains the tritone of the expected : resolution chord's dominant . These two diminished chords are derived from chromatic voice leading. 7 Di11°7 is expected to resolve to Ii-7: CET gn D7 bore? a MaHARMONY 3 32 Note that PilI"7 and #11°7 are enharmonically the same chords but the expected resolutions are different; the context in which they appear determines the function. cf Similarly, vIt7 Is expected to resolve to V7 (and !s enharmonicaily the same as #V"7): The tonic and dominant chords of the key may be approached by their respective auxilary diminished seventh chords (/*7 and V°7). Like the descending diminished chords, the auxilary diminished seventh chords are derived from chromatic voice leading and not dominant function. They are found either delaying the resolution to the target chord or creating harmonic motion in a relatively static situation. 1*7 fs the auxiliary to the tonic chord: g9 TY, may? C97 maT V*°7 is the auxilary to the dominant chord: p77 G7 GT G7 @7HARMONY 3-33 Unlike dominant chords which have a potential for deceptive resolution, diminished seventh chords have an absolute expectation for resolution. 1T 1 IS RARE FOR A “7TH CHORD TO HAVE A DECEPTIVE RESOLUTION. However, the ascending and descending diminished chords do have alternate chords of resolution. If an alternate resolution does occur, the chromatic root motion is still retained. =|'7 has an expected resolution to |/-7 and an alternate resoiution to !I-7's related dominant: the V7 chord with its Sth in the bass *|I°7 has an expected resolution to the tonic IIl-7 chord and an alternate resolution to the tonic | chord with its 3rd in the bass: of” coe 2 — | *1V"7 has an expected resolution to the dominant chord and an alternate resolution to the tonic | chord with its Sth in the bass: = wer Ge SSS *V"7 has an expected resolution to VI-7 and an alternate resolution to the secondary dominant chord built on the same root: V7/II: Gea ownHARMONY 3 34 Di11°7 has an alternate resolution to V7/Sth in the bass: wn Ce SS Dy1-7 nas an alternate resolution to I/Sth in the bass: a Gh ee The auxilary diminished chords do not have alternative resolutions.HARMONY3 35, AVAILABLE TENSIONS ~ DIMINISHED SEVENTH CHORDS AS was pointed out in previous topics, the tension numbering system to 13 does not work for diminished chords since there is a potential tension above each of the chord tones in the extended structures of diminished seventh chords: #171 pi ede Therefore, the possible tensions in the extended structures for diminished chords are not numbered, but simply identified as Tension if available (a major ninth above a chord tone). Tensions for diminished seventh chords can be characterized as either diatonic for a diatonic situation or, non-diatonic for a non-diatonic situation. If an extended structure is created with all the tenstons available, the resulting diminished chord can not be diatonic to any key. The available tensions will not fit into any valid key signature: cHHARMONY 3 36 If the above chord's tensions are displaced an octave lower between each chord tone, a scale is created which is known as a SYMMETRIC DIMINISHED SCALE. This scale is composed of alternating whole steps and half steps, cher Hence, the above diminished seventh and its available tensions would be found in a non-diatonic situation. If the target for any diminished seventh chord is diatonic, the available tensions must be diatonically oriented Those resulting pitches a major ninth above a chord tone are labeled as “T” (for available Tension). The available tensions for 1*7, #117, Ol11°7, and #1V*7 in the key of C major are: xy #0? oe? egrer (Filled in note heads represent pitches which are diatonic, but a minor 9th above a chord tone.) Since all the above diminished seventh chords contain the same enharmonic chord tones, the potential tensions generated from the extended structures are identicalHARMONY 3 37 The available tensions for *v'7 and Pvit7 (which contain the same ennarmonic chord tones) in the key of C major are “yt ig So aasaageernageHARMONY 3 38 CHORD SCALES ~ DIMINISHED SEVENTH CHORDS We have already seen that the symmetric diminished scale {s appropriate for use when a diminished seventh chord is not functioning in a diatonic situation: Co ay Z po ts, q 5 ‘ \ e 4 In this scale all non-chord tones are available tensions, and as Is the case with all diminished seventh chords, the numbering system to 13 does not- work. The tensions are labeled as “T” without an associated number. Diminished seventh chords which have diatonic resolutions, however, should imply this diatonic orientation with the use of diatonic non-chord tones. The resulting chord scales contain chord tones, tensions, and avoid notes: "7 *1°7 07 x one 2 : z sais : = ee a : “1-7 bur? 7 en : (ees s = a =HARMONY 3 39 217 v7 or sp yy p64 rt eS 7 ed byez , ot rote , 47 piles SS & =—— F 7 a Unlike previous chord scales, the above diminished scales appear to have no names. However, a comparison with secondary dominant chords reveals identical chord scales for diminished and dominant chords. 1"7 is expected to resolve to Il-7 v70g)/11 has a similar function: in many cases: cen - io Ate) z SaaS = SS SSS The chord scale for #1°7 can be identified as the same scale as vioy/it starting on the root of the diminished chord. The conditional avoid note situation occurring for the dominant chord does not occur for the diminished chord since the third of the diminished chord must be used. ‘Since V°7 contains the same chord tones as 7!°7, it uses the same scale as v7@9y/11HARMONY 3 - 40 *11°7 is expected to resolve to Ili-7: v7(9)/1I1 has @ similar function: Is ror gts?) & $ 2 og #i ws The chord scale for #II°7 can be identified as the same scale as V7(P9)/111 starting on the root of the diminished chord. As in *!*7, there are two avoid notes. Since DiIe7 and I°7 contain the same chord tones as *I!°7, their chord scales can be identified as the same scale as V7(P9)/I11. Each sterts on the respective ciminished chord’s root and contains two avoid notes 5 7 "7 er a Cer z Fo Gere SS Fee *IV'7 also shares the same chord tones as the above three diminished seventh chords and may therefore share the same chord scale. However, 1V"7 is expected to resolve to V7: v7(9y/V has a similar function: per ant = 70) A ee Se Pot ae i= SF a 3 In this case, #1V°7 may use the same scale as either V7(P)/III or v7(9)/V, starting on the root of the diminished chordQ HARMONY 3 4l 1v-70°5) *\y-75) is a chord functionally related to the previous passing and approach diminished seventh chords. It is also commonly found as the related 11-7095) of V7/IIE ee AT ? zz Its structure contains a 55 since that pitch ts the tonic of the key. It can also be built as a diminished triad with a minor seventh. This type of seventh chord structure has traditionally been called “half diminishers, (occasionally abbreviated as ®). There are rare instances in contemporary music when a -7(85) chord truly functions as a half diminished chord; | v-7(5) may function tn this ashton. 1-705) is found as an approach chord to V7 or as a passing chord to V7 from IV or IV B10 oF Braj? B16) 7 gb-7 pests) 07 As with the alternate resolution possibilities of the diminished seventh chords, an alternate resolution to the above pattern Is to the tonic | chord with its Sth in the bass: ag-70) IYse inet WT aj Yoon TET 2-18) Dy B10) 2% Boas? 3-708) Fnyai Ze BI Bilis e je == =HARMONY 3 42 : #{V-7(05) Is also found_as an approach chord to IV or |V- or as a passing chord to IV or 1V- from V7 in the above example, the V7 chord can be seen deceptively resolving to =1y-7(D5), The expected resolution for V7 is down a perfect fifth to I, but, like all dominant chords, V7 may resolve deceptively down a half step (as substitute dominant root motion demonstrates) to *1V-7(05): This most often occurs as a means of delaying the cadence to tonic. An j examination of the available tensions for *|V-7(05) and comparing its available pitches to those available on the | chord shows that common melodic possibilities exist. = i As is the case with most -7005) tif all those seen so far), the available tensions for, #1V-7(PS) are 11 nde 3 N24HARMONY 3 43 CHORD SCALES - OTHER MAJOR KEY CHORDS. Though the diatonic IV chord usually uses a Lydian chord scale, there are two instances in which an lonian scale is more appropriate. 1) If the 1V chord is preceded by its dominant (either V7/1V or subV7/I¥), the listener prefers to hear a IV lonian chord scale. x a $5. po _ gt eS 4 Pe Soo7 2) If the intent is to have the listener expect the IV Chord to progress to IV-, the listener prefers to hear a IV lonian chord scale. wl z n z ¢ i == 7 oT = AS a general rule, the above |V chord and the | chord are the only major key chords which use an lontan chord scale. All other major chords in major key use Lydian: Dyimaj7 bilimaj7 Dog? eimai? & — SSS SSS 3 Ey 9. 3 : pVvimaj7 Dviimaj7 i , Abmaj7 a Bina? : ee aoe wd =a Te Frys ioeHARMONY 3 44 Other modal interchange chords borrowed from the parallel minor keys use the following chord scales 1-7 Dorian 1V-7 Dortan er == —= a ‘ = 7 ? 77 1V-6 either Dorian or Melodic minor ——— & = See ee ——s ra, V-7 Dorian 1-700) Locrian natural 9 oe p-10) 55 a SSS == U-7(°5) Locrian, [This is @ more common use of v7(9) Mixolydian 9, #9, 513 1-705) ots) es Fore 4 1B SoS The above scales are appropriate when the modal interchange chord occurs in a major key,HARMONY 3 45 l1-7 chords which appear because of their —W or v..... relationship use a Dorian scale: #1 V-7(05), like almost all minor seventh (>) chords, uses a Locrian chord scale: (23) as a 8S Dominant 7th sus4 chords use mixolydian chord scales but the 4th degree is available and the 3rd degree is avoided: gus? 7 = Dominant seventh chords which nave an indicated *5 use a Wholetone scale (each pitch is a whole step above the previous pitch): gt 171 me wert Whole stepsHARMONY 3 «6 CHORD SCALES - MINOR KEYS: Due to the different configurations of the tonic minor key scales, more ‘options are generated for the chord scales for diatonic minor key chords. However, DIATONIC CHORDS IN MINOR KEYS USE DIATONIC CHORD SCALES. The criteria for avoid notes remain the same as in major keys (with the exception of I-7 Dorian). The 1-6 chord uses either a Dorian chord scale with the 7th degree avoidec or aMelodic minor chord scale: ce Ce = so: = Ce a eu wait ‘The 1-7 chord uses either a Dorian chord scale or an Aeolian chor: Unlike the avoided 6th degree for a II-7 Dorian scale, Dorian minor does. allow for the use of tension 13. 3 vo The I-(maJ7) chord uses either a Melodic minor chord scale (ascending version) or, less often, a Harmonic minor chord scale: poy) = aS of eo et pci) =HARMONY 3 47 It should be noted that though uncommon, it is occasionally possible to find a Phrygian tonic minor chord scale. oe? All other diatonic chords from minor tonalities have chord scales based on the different tonic scales of those minor keys. Any non-chord tone a half step above a chord tone remains an avoid note. A review of the many minor key chords and the minor keys they are found in will demonstrate the, freedoms available in the choice of an appropriate chord scale for any diatonic chord All dominant chords similar in function to those found in major key harmony (secondary dominants, substitute dominants, extended cominants, extended substitute dominants, etc.) have chord scales which meet necessary criteria for their construction: diatonic orientation = diatonic non-chord tones; expected resolutions of down a perfect fifth - some form of Mixolydian chord scale; expected resolutions of any root motion other then down a perfect fifth = Lydian ®7. Basically, if the root of a chord is diatonic, think diatonic for chord scale construction; If the root of a chord fs non-diatonic, the construction of the chord scale needs a logical Justification.HARMONY 3 48 CHORD SCALES - BLUES a The chord scales common to blues harmonies are constructed using the chord tones and pitches from the blues scale. The 17 chord in blues uses a Mtxolydian *9 chord scale: In addition, it is possible to use diatonic pitches from the major scale as 2 basts for the chord scale: 17 (Mixolydian): ov) Other blues chord scales can be derived by using diatonic pitches from other parallel tonalities and other pitcnes associated with blues (e.g. #4): 1-7 (from minor key) Dorfan: - 17 Lydian 7, #9: ph) = & =e z ana cee Ts es 7HARMONY 3 49 The 1V7 chord in blues uses a Mixolydian chord scale: The V7 chord (borrowed from major Key harmonies) is elther a Mixolydian scale, or a Mixolydian with some alterations, or an altered chord scale go) — re a “lit #7 B Z greet) qe === ae o3 = by #9 oF FS Other chords found in blues progressions are usually borrowed from major or minor key harmontes and therefore use their normal chord scales. V7/II, however, often takes a Mixolydian 9, #9, 13 chord scale. yr? ad 3sHARMONY 3 50 9S IES III IO IIE IE IIS SII ROA III III II ‘SUMMARY OF CHORD SCALE CONSTRUCTION CONSIDERATIONS (The following generalizations shoulc be considered suggestions and not absolutes.) HARMONIC AVOID NOTE CRITERIA: Any note appearing in a chord scale which is a half step above a chord tone should be avoided harmonically, except 29 and 013 are availabie on dominant chords. The 6th degree of the Dorian scale should be avoided excent in a tonic Dorian minor context. Either the Sth or the 013th of a dominant chord should be avoided if the is other pitch is used. CHORD SCALE CRITERIA: Diatonic chords take diatonic chord scales, with the exception of IV when It is preceded by its dominant or expected to progress to IV-. Any dominant chord with an expected resolution down a perfect fifth uses some form of Mixolydian or altered chord scale, ‘Any dominant chord not expected to resoive down a perfect fifth takes a Lydian 97 chord scale. If a dominant chord's chord scaie is some form of Mixolydian, the scale may have added altered tensions. Any dominant chord wih a non-diatonic root uses Lydian 7, any major chord non-diatonically rooted uses a Lydian scale. The only alteration possible to Lydian D7 is *9, If the expected chord of resolution is major. dg and #9 may coexist in 2 MIxolydian scale except on a | chord in biues or on.atydian 07, #9 scale.HARMONY 3 51 For minor 7 chords, it’s usually a good practice to use Dorian when in doubt! Most minor seven (P5) chords use Locrtan. All suspended fourth chords use Mixolydian. A wholetone scale is used for dominant chords with 3. Most diminished seventh chords use a chord scale identical to one of the secondary dominant (9) scales.HARMONY 3 52 MODULATION Modulation is the movement of melodies and/or harmonies from one key into another. In order for a modulation to occur, the listener must shift from the original tonic reference to anew tonic reference. sual ie 4 7 rts) ore 7 geri) Bee co a Bing? agg ttt) Fong? “Bios Bs =e = The above 16 measure tune contains a modulation from F major into 8b major and returns toF major. Notice that typical of this type modulation, the phrase in Bo may stand alone: err h-7 7 tajt ubieet = ye pe pana? 4 Lng? — Wing? gpg -rlte) 8 Zmaj7 Boj? Ebina? gto) ghee Braj? a However, BP major is the SECONDARY Key and F major 1s the PRIMARY key. The relationship of the secondary key to the primary key Is shown with a small arrow in the direction of the modulation and the intervalic distance to the new key. fw i tHARMONY 3 33 When modulations occur within tunes, it Is common practice to use accidentals as opposed to changing key signatures. Generally, the less accidentals necessary in a modulation, the more closely the keys are related and the more subtle the modulation. The previous modulation required only the use of one additional flat to accomplish the modulation from F major (one flat) into 8° major (two flats). Modulations to distantly related keys are more obvious. ft BT Ft wT A = — 7 z a ee a GF oe eT 37 par BT FO ie The above modulation (up a half step) requires accidentals for all the melody pitches. This type modulation, though sometimes found in tunes, is also a common device used by arrangers. The use of modulations upward tends to keep the music “forward moving’. Therefore, most modulations are percelved as occuring in an upward direction. The above example 's shown modulating from F major into F* major. It Is easier however to notate and read the example modulating from F major into G? major: e a wn oe a chr es? bir & aes eae SS 4 = Although written enharmonically in G®, the modulation sounds like“tonic motion upward from F to F*. GP requires 5 flats, but the listener perceives the modulation as going to F* (all pitches raised a half step from F). -4 4 HARMONY 3 54 DIRECT MODULATION Modulat ions may occur directly from any diatonic chord. The most common form of DIRECT modulation is from the | chord, since the | chord establishes a point of tonal finality. When the harmony modulates, the melody may or may not modulate. For example the melody may repeat while the chord progression modulates. AS seen above, however, when the nee modulates the harmonies must modulate. seri uk 7 pr eee ee Ly fF? a The above example shows a modulation from the diatonic li-7 chord directly to the new key a minor 3rd higher. _Di oe MODULATIONS eaott 1A THER TI v y IHARMONY 3 55 PLVOT CHORD MODULATIONS. Chords which function in both the original/primary key and in the new/ secondary key are PIVOT CHORDS. Their dual functions are indicated by two analysis symbols; one in parentheses showing initial function, and one Justifying the function in the new key: As ts the case for all chords requiring parenthetical analysis, the choice of chord scale for a pivot chord is based on the chord's initial function, a?) Ing? I xmj7 no? nt & Z ee Lai? xz? Zomaj7 4h Zoai7 te = ss = 4 The usual practice of determining chord scales by initial function is done to present the listener with a deceptive, but acceptable surprise. Therefore, a pivot chord is heard and analyzed first in terms of the preceding key, and then in terms of the new key to be established.HARMONY 3 56 DOMINANT CHORD MODULATIONS Modulations from dominant chords, like other pivot chord modulations, may exhibit dual function (deceptive resolution), Also, dominant chords which resolve deceptively will be analyzed in terms of both old and new keys. All dominant chords have an expectation for resolution. However, the different resolutions demonstrated by different types of dominant chords ailow for the following root motton patterns to new keys: DOWN A PERFECT STH: V7 to Imaj7 G7 Oma? a = oa DOWN A HALF STEP: subV7 to Imaj7 GT Ghmaj7 UP A WHOLE STEP: Dvit7 to Imaj7 DOWN A TRITONE: v7 tomaj7-DOWN A MAJOR THIRD: V7 to DilImaj7 UP A HALF STEP: v7 to bvimaj7 HARMONY 3 57 G7? my G1 Amajt Additionally, the expected diatonic chord of resolution for @ secondary dominant may deceptively change quality and become a chord functioning in the new key 7/11 to new Imaj7 V7/INN to new Imaj7 V7/IV to new Imaj7 (This may not sound like a modulation since IV is a diatonic maj7 chord) Al Drraj7 (D+? expected) - BT Ema? (E-7 expected) ee eT maj?3 Nave HARMONY 3 58 V7/V to new Imaj7 7 Cra)? md GY expected) V7/VI to new Imaj7 oF iain é maj7 (A-7 expected) Therefore, ANY DOMINANT CHORD MAY RESOLVE DECEPTIVELY INTO A NEW KEY. Though the other above patterns may occur, the root motion from a dominant seventh will usually be either down a perfect fifth or down a half step or up a step.HARMONY 3 59 Extended dominant and extended substitute dominant motion (with or without the related !I-7 chords) may eventually result in a modulation. a swt Te Se-7 FIle)" eee = The same exampie may be used to demonstrate modulation to a different key by adding one or more dominant chords: 79) aaa Zag? Fen) er Bal) atten) —— Ce} becnened The previous transition from the original key into the new key can be seen as a modulation, because all the dominant activity makes it difficult for the listener to hear the original tonic-reference. This transitional type modulation, though not very common in tunes, is an occasionally used arranging device.HARMONY 4 by Alex Ulanowsky Berklee COLLEGE OF MUSIC4 © Berklee College of Music 1988TABLE _OF CONTENTS Chapter ‘Subject Page 1 Deceptive Resolutions of Dominant Seventh Chords 1 2 * Contiguous I V"s 6 3 Special Function Dominant Seventh Chords & 4 Modal Harmony 18 5 ‘Modal Interchange 82 6 Pedal Point and Ostinato 43 1 Compound Chord Symbols 46 8 Constant Structure Chord Progressions 56Chapter 1 Harmony 4 1 D [ONS OF DOMINANT SEVENTH CHORDS A. deceptive resolution usually occurs in one of the following situations: 1, A dominant seventh which normally resolves to a specific diatonic chord goes somewhere else, 2. A repeated pattern in a particular piece of music is changed. 3. A familiar harmonic form (such as blues) is altered with an unusual chord of resolution. Of these possibilities, the first is by far the most common. PRIMARY DOMINANTS. (Review) ‘The primary dominant and its substitute (V7/I and subV7/D resolve deceptively when they go to any chord other than I. V7/I resolves deceptively more often than any other, dominant 7th. and.usually goes to one of the following chords: III-7, I-7tb9) VIM, VI-T,: Sfilmai?,. CVimai7, bftmaj7, IV-7, alv-20) a Sues? ON Se ene ‘Aller a deceptive resolution of V7/I, the progression usually returns to I in a familiar pattern of chords and root motion. ‘The pattems have many variations, but the following are typical: c cr | B17 _A7 DT G7 c £7005) axb8) | D-7 G7 ¢ B7 AT DI G7 c Boat” | Roai'omear] § aj Abmaj7 DI! o Admaj7 DPmaj7 c Dbmaj7 c F]_ BbT Cc Pay) pe | ET BbT pig? | c Secondary dominants and II V's in these pattems may of course be replaced by substitute dominants and chromatic IT V's. A few possibilities: Gi | B7 Dz pi | Cc B7 aby Der ET AT Ab7 DDT AT AUT D-1 DbT At Abr | Aby Dbra 4 Chapier 1 Harmony 4 2 SECONDARY DOMINANTS Secondary dominants and their substitutes traditionally resolve down a perfect Sth or down a halfstep to the appropriate diafamic chord, Any other resolution is considered deceptive, even though deceptive resoltuions are not unuswal, especially in contemporary jazz and fusion music. The following resolutions, then, are considered “normal”: ae nak vit 1 eT sb 1 vim th sob Wut 1 HLT a , oe ~ ne, viv | Nima? subVuIV 1 VimajT —“, s VIN IVT subV7/V — a7 vit 1 ¥ sibVINT 1 V7 TF An Jndirect resolution is aot considered deceptive: Other exceptions to these "normal" resolution patterns will be considered in a future i topic. “Special Function Dominant 7th Chords”. When a secondary dominant, or its substitute. resolves deceptively, the Roman numeral analysis is placed in parentheses. Faaj7 cy Emaj?. z 4 + 4 eaayr UD. poutsay? na) Dye" =-eDbmaj7 7 Fuaj? e a | - t t Z subV7/II__IE-7 grey? ae X6-7 e7 Fmaj7 ue iS = | (subv7/11)__ Pytmaj7 Faaj?___Ab?————>dbaaj7 c7 Faaj7 ee ] + tChapter 1 Harmony 4 3 Please note that arrows and dotted arrows show the actmx/ resolution of the dominant 7th (down a perfect 5th or down a half-step), and that parentheses only are used to indicate deceptive resolutions. In the same way, brackets and dotted brackets show the aefuz/ root motion for IT V patterns, and are not intended to indicate deceptive resolutions. F vy Fmaj? G7 G7 C7 te Faaj7 WW) 2 = Fmaj7 G7-~ Fuaj7 7 subv7/¥ = -g Foaj? Db7~ aaj? oe 4: A Faaj? Fnaj7 Fnaj7 A complete analysis for the examples above would use the Roman amneral I-7 for G-1 (the diafanic II-7), but not for D6-7. The technical term for DT would be, "the related II-7 of subV7/I," but a bracket or dotted bracket is sufficient. The analyses below are complete: 1-7 visit F: tna}? 1 Imaj7 Fmaj? G7 G2 c7————» fal? (at 4 j = U7 subV7/T 7 Ina}? (subY7/-——Goy Naar - -- Imaj7 Fmaj? ‘DBT ob ~pnaj7 imaj7 77> >Fmaj7 Inaj7 (subv7/Y)——————__ Fuaj7 — Db7 Db-7 nh tl uu Imaj7 v7iy Fuaj7 7i 5 4 Chapter 1 ‘i Harmony 4 4 Some deceptive resolutions are only slightly deceptive and very subtle. For example, ‘Secondary dominant may resolve to the correct root, but the wrong chard £ype. In the keyofB), AT is V7/II which normally resolves to I1I-7, ItE-7V7/IE via 3 abmaj? al) ca FT Bbaaj? + cy t “. If VIMII resolves to a dominant 7th on the same root, a parenthetical analysis is reauired. cva/tit, cv7/vt) >rttmaj7 sbmail Al Dien="Npbmai? Ce? 87 Sbma}7 ROOT MOTION In contemporary music, the most common forms of root motion in deceptive ~ resolutions of Secondary dominants are, 1) upahalf-step, 2) up a whole step, and 3) down a half-step. For example, V7/V may normally resolve to V either directly or indirectly. Ebmaj7 a i ‘The examples below show three common deceptive root motion patterns from VIN. mmaj7wv7/) brrina37 ebnaji F7 (suas? rage Ef Imaj7 7/¥) III-7 epnaj? F7 gr £-1__3b7 Imaj7 cy7/v) bLimaj7 Ebmaj7 F7-7 B-7 £7 p= : = 2Chapter 1 Harmony 4 MODULATION A deceptive resolution sometimes resuits in a modulation. When this occurs, 2 pivot chord analysis becomes necessary since the dominant 7th chord assumes a new ‘meaning in the second key. The example below includes a pivot chord modulation from F to AD, as well as several other deceptive resolutions of secondary dominants. Root motion patterns are typical. (V7/VI) if f 42 abs sub0/E 9957 : —S i Abmaj7 o7(P9) Dbmaj7 p-76b5) e769) Abmaj7 F76P13) & Se Se FF ms 4 = oe SS az CHORD SCALES: ‘The chord scale for a deceptively resolving secondary dominant is derived from the aim analysis, regardless of its resolution. This remains the rule. even in a julation. In the preceding example, the A7 in the second measure takes a chord scale for VINI (Mixolydian bg, BS oraltered), oe Lydian OT for subV7. ‘This application of chord scales reinforces the original meaning of the chord, and therefore enhances the deceptiveness of the resolution. Although occasional exceptions to this principle can be found, it is nearly always the ‘most effective way to treat deceptive resolutions.Chapter 2 Harmony 4 6 CONTIGUOUS TI V's ) The Il V patter is sometimes used in ascending rather than descending motion. {When this occurs, functional analysis (Roman numerals in a key) is no. longer relevant. The chord progression is justified on the the basis of continuity and S epetition in the melody, harmony and root motion, This is known as © “non-fanetional” analysis. In the following example, the E-7 A7 pattem is contiguous to (or “next to") the F-7 BD7 pattern, bat has no fictional relationship to the other chords in the key of ED, It is therefore called a cantiguoas II Y. ---Contiguous ef imaj7 ay P-7 Be7~ | Ebmaj7 —— A contiguous I Vis usually a whole or half step away from another II_V which is |. ‘analyzable in a key. In the preceding example, the E-7 was a half-step away from the ~ F-7. In the following example, the A7 is a half step away from the B&7. ‘A contiguous {I V may be interpolated in an otherwise fictional progression. in these cases, the dominant 7th chord frequently resolves in a normal way. In the following examples, the A-7 D7 pattem is reharmonized with a contiguous I V(A®7 DPD which does resolve to the next Il V. i B-T Bb-6 Adz pj 7 cr Fmaj7 Bis =| (os) gy-7O9 0 subV7/V - = 2. Doe Ga? Scr Fuaj7 B-7'5) Bb-6 A-7 BLT. j i aiy-7°P5) 5, sf tes) 1V-8 subV7/Y = Tos 8 Be?! Bo-6 Ab-7 Db? 6-7 sc? Fmaj7 ae > etree: ? =Chapter 2 Harmony 4 ‘The next example involves a series of ascending Il V's. y>~Contiguous- vI/Ut Ab? a—> ‘The final example combines contiguous II V's with modulation and deceptive resolution. jrcentiguous-7 ati guous: Myy-7 ytr7) | ape? DBF 1ma}7 a dbaaj7 Pas‘The word “dominant” in harmonic theory can refer either to a_ {ype of chord or to the function of a chord, C7 is a dominant 7th (chord type), and as V7 in the key of F. it ‘also has dominant fimction. As 17 in blues in C, however, it has fomic blaes ‘fimetion, 7 is therefore a special function dominant seventh. A dominant seventh s#7&# dominant function nonnally resolves directly or indirectly to another chord whose root is down a perfect Sth (arrow) or down a half step (dotted arrow). ne rom | Direct Resolution: | b71G-7 C7 1 Fmaj7 11 —™ LAT DT 16, bT| Fmaj7 1 ey Indirect Resolution: | D-7_Db7 1 Db-7 G27 | Fmaj7 || ago 1D? DET G:7_C7 i Fmaj7 1 Substitute dominant fiction is a kind of dominant fumction, and is not considered A chord with dominant fumetion may also resolve deceptively without changing its fametional analysis. F: wip wy \ Fmaj7 A7 | Bbmaj? G7 TLand IVT Specialfenction dominants, on the other hand, are not deceptive resolutions. 17 in the blues sounds like the tonic chord, and IV7 sounds like the subdominant chord. IT; Tonic blues function TV7: Sabdominant blues function 1V7 is also diatonic to melodic minor, and has subdominant function in that context as well. Melodic . SSSChapter 3 Harmony 4 9 The following examples use 17 and IV7: 12 1? Blues: C7 FT fv es Another special function dominant, DVI, is derived from natural minor. Natural minor: 7 . bVII7 normally resolves to I, and is closely related to the IV- chord in natural minor. Forexmple, ifthe ret of DVIIT is placed below IV-6, the resulting structure becomes v7. byrt7 1 Bb7 (9) 6 ¢ minor: be Since IV- (or IV-6 or IV-7) is the subdominant chord in natural minor, other chords closely related to it have suBdaminent minor fimction. Therefore, when either IV- or OYII7 resolves to J, it is called a subdominant minor cadence. YIIT; Subdominant minor fanction. IV-7 and VII7 are frequently used together in a subdominant minor pattern. bk 1-1 DVI? 1 IG ET BT IG Iwhee Chapter 3 Harmony 4 10 ‘Dwo other diatonic natural minor chords are related to IV-: 11-705) and bVimaj7 y1-73) 7(b5) Nacurgl mino} Abmaj7 —— a : = 1-105 has the same chord tones as IV-6: ‘bVImaj7 can be seen as an extension of 1V-7. 11-789) C minor: 5_7(b5) Putmay7 1-6 ytmaj7 1-7 abmai7?F-7 ‘These chords all have the common tone 6§ (Ab in the key of C minor), and all are subdominant minor. Only DVII7, however, is a special function dominant 7th. © minor: ‘The process of .oda/ interchange allows diatonic minor key chords to be used in the paralle! major key (see Harmony 2). Subdominant minor chords are often used this way, especially in strong cadential patterns such as the one below. Imaj7 vat cna? 6-7 a7 ____ 4 r say Taste clit eee 1v-7 vETY tna? F-7 Bb7 cnaj7 = =H (Please note that the C7 above falis on a weak beat and functions as V7/IV, not as a tonic blues chord).Chapter 3 Harmony 4 ul | DVITis usually analyzed as subV7/V, with substitute dominant function. sub VV i a= ay } | Cmaj7 A-7 1Ab7 GT! Cmaj7 1! ‘The same chord, however, has a reasonably common resolution to I of the key, creating a special fiction cadence: PVIT to I. ImajT naj? ‘The OVIT chord is originally derived from chromatic harmony of the 19th century. Chromatic passing tones used between familiar voicings created fresh new melodic and harmonic sonorities such as the augmented 6th chords. The simple voicings below show a familiar pattem. In this example, traditional figured bass indications appear below the bass notes, showing the intervals between the bottom and upper voices. For an 18h or 19th century harpsichordist, the bass notes and figures were “chard symbols,” sufficient to indicate this cadence from IV to I in C major. Below, chromatic passing tones are added in the top and bottom voices creating an augmented 6th. “Toe sealing apg wi tolled augmented 6th chord, which; spelled enharmonically, equals an APT or PVIT in the key of C. - Vv byt? 1 i F/A C/G 2) P/A Ab7 C/G a aaa SS a | ‘IE maa petal \\EeChapter 3 7 Harmony 4 12 In contemporary practice ¥VI7 can resolve to | in either root position or second inversion, but it must resolve to, ‘The same chord resolving elsewhere is analyzed as sobV7/V, as usual. ‘The root of bVIT is the scale degree (66) which all subdominant minor chords have in common. DVI7 is therefore closely related to the IV- chard, although not diatonic to a minor key. Since the 7th of the chord is not in natural minor, PVIT has affered subdominant minor function. 117 is similar to BVIT in several ways. It shares the same tritone, and is nonmally analyzed as V7/V, with secondary dominant fimetion. The chord is analyzed as IIT primarily when it resolves directly to J, and this resolution involves chromatic motion | from #4 to 5 of the key (comparable to the augmented 6th passing tone in DVI7). te yr I 17 F/A Ab? C/G F/a Di/a__ C/G 1) 2) tT? oe (no | root) | 2 ITT is even more closely related to #TV-7(5) which, although not a dominant 7th, i contains the same tritone, almost the same chord tones, and often uses the same resolution pattern to I over its Sth. Ee vie pav-7065)° b -Chapter 3 © Harmony 4 13 Like #TV-705), a first inversion of IIT can also resolve with bass motion chromatically down to IV or IV-. t7_ ov 1 DI/FH F6 ‘The following resolution patterns, then, are available for. IT7: 1. [17 over its 3rd (Ist inversion) may resolve to I over its Sth (2nd inversion) or to IV or IV-. 2. 117 in root position may resolve to I or | over its Sth. 4 WeeChapter 3 Harmony 4 1s If the same chord resolves in some other way, it is analyzed as V/V. waa 7” "> Db? Egy (9 7 a7 (#tYD | Lael j = = jr | ee

ytmaj7 burt?” . . ; bor S_RARMORTG MINOR * a new diatonic chord * 1 I- ire Pyrite ¥r- v byt VIIe & = z S52 ag 2 : I-(maj7) 11-7605) Srrtmay76t5? Iv-7 y76b9) Pyimaj7, VIIS7 fl 4 bg) Lg ba Se aE oe = See eet Harmonic minor IV © MELODIC MINOR (ascending) e . * A new diatonic chord t- ou Pirie ov vo vis vate =p ore pe 23 wee I-(maj7) 1-6 ri-7 0 Prtmag7'?5? 17 Ww vr-7025)vtr-7 41 q-(maj7) E. Fe (pai /E Se ————— SoM >ytmay7 Dima j7 Chapter 4 Harmony 4 ~ 19 Fanetional classifications are not absolutely clear cut in minor, but they are still based on the Tonic (1), Subdominant (IV), and Dominant (V) chords. I minor and DAT major chords are Tonic. V7 and VII°7 chords are Dominant. IV, 1 DVI and bYIT chords are all Subdominant. Harmonic cadences in minor keys are based on motion from Subdominant and/or Dominant chords to Tonic. Line Cliche’Chapter 4 Harmony 4 20 OTHER MINOR MODES : Any mode containing a minor 3rd above the tonic is considered minor. Although i many different minor modes are available, the discussion here will be limited to Dorian, Phiygian and Aeolian. These are traditional church modes, with names + from ancient Greek usage. frequently found in contemporary Westem harmonic practice. ® ‘The modal quality of any of the less familiar modes is determined by 3 characteristic note: the note in the scale which makes it different from natural minor (or different from lonian for a major mode). Dorian: The characteristic note of the Dorian mode is 46. C Natural minor ¢ Dorian 72 ‘The Dorian mode is like 2 natural minor scale with a raised 6th. It can be found on the white keys of a keyboard by starting on D. aL D Dorian D Neural minor 2 & ee = ‘The accidentals for C Dorian came from BP major, its relative major. The relative major of D Dorian is C major (no accidentals), 2 major 2nd below. Because Dorian gets its modal quality from the characteristic note 4 6, most diatonic chords which cantain that note are called chanseteristic chords . i It is important to remember that we are not asing "Dorian" as the name for a I-7 chord scale here; we are referring to a fanie mode. Listed below are the diatonic triads and seventh chords in the £ey of C Dorian. 1-7 1-7 Prrtmaj7 V7 vr vr-7°5) yrinas7 IChapter 4 Harmony 4 a "T" means tanie. The letter °C" denotes a characteristic chard, and “A’ means an. avoid chard. *C/A* denotes a chord that contains the characteristic note; but is only sometimes modal sounding. Unlike standard minor key harmony, modal harmony does not use subdominant and dominant categories. The I chord is tonic and the others are nomtonic. Characteristic chords establish the modal flavor, and a resolution from a characteristic chord to I is a modal cadence. ‘The diminished triad and the minor 7 (5) chord are avoided in modal chord progressions, even when they contain the characteristic note. They are quite unstable, do not resolve effectively to I in these modes, and may imply the relative major key instead. ‘The following progression establishes the sound of C Dorian effectively. Bf 'VIImaj7 & tena} ! z= T +1, | = i ; | = —— ‘The DVIimaj7 was introduced in Harmony 2 as a non-diatonic cadential chord, frequently used in modal interchange to the parallel majar key. The chord can now be derived from the Darian mode. However, when it is used in a amamoda/ major kkey progression, it is considered subdominant (related to the IV chord). sp SP. E major Imaj7_ VI-7 1vmaj7? PvITmaj7—Imaj7 aaj? D-7 Bbmaj7 Ebmaj7 Fnaj7 e ez Fat = ‘The next progression fails to establish C Dorian, even though it is "technically" correct. ee c/a C Dorian? 1-7 >yttmej7 7 I-7 Cc-7 Boma j7 c-7 Bll j . ee = Z ae 3 . \EBEE f f In this example, the F7, although characteristic, is V7 in the relative major key (BP). Because of its instability and the harmonic rhythm of the phrase, F7 implies a tonic on BD instead of C.Chapter 4 Harmony 4 2 ‘The same chord, IV7, has already been seen resolving to I in blues and in melodic minor progressions. it can also be used in an effective Dorian pattern, if the relative major sound is avoided. fone C dorian = I- ve 1- w7 - deter Tye be W ke 1b a s a. ee eae 5 ; = iat v i oT a at ete 2 — $o3 pe mE = ‘The use of.a tonic triad instead of a seventh chord increases the stability of the mode. Key Signatures: Normal major and minor key signatures are used throughout this book, but modal key signatures are also possible. A modal key signature is the same as its relative major key signature (BP Major for C Dorian). To avoid confusion, the name of the mode (eg: “F Phrygian’) should be written along with a modal key signature. It is at also possible, but probably time-consuming, to use no key signature and to add all =” appropriate accidentals before notes. PHRYGIAN: The characteristic note of the Phrygian mode is 62. € Wacural minor © Phrygian rs de = SoS = e ‘The Phrygian mode is like a natural minor scale with a lowered 2nd. It can be found on the white keys of a keyboard by starting on E. E Phrygian & Natural minor zd = Se ‘The accidentals for C Phyrgian come from Ab major, its relative major. The relative major of E Phyrgian is C major (a major 3rd below).Chapter 4 Listed below are the diatonic triads and seventh chords in C Phrygian, with the tonic chord, characteristic chords (containing 2), and avoid chords indicated. a c ve Byte te fe ~Pir Mire ’ \ oa. hom A ¢ c Lv-7 v-7 623) hye? ‘ ‘The DITI7 in Phrygian is avoided because it almost inevitably implies the relative major key. he Intended sound, ie briny 1ve7 byrr-7 Pria7 vtmas7 in ¢ Phrygian: 1117 t-7 setual sound in Ab major:(V7/1) 1II-7 (V7/1) VI-7 7 _C-7 ER? Fe7 aE = ‘The following progressions establish the Phrygian mode effectively. (Key signatures are for the normal minor key, as usual). ¢ F Phrygian: [- I-7 Prtmaj? ie = B-7 obaaj? Fe sre 4 ¢ Phrygian: I- 1-7 byreay7 we? Pftmay? 1 : e- G27/F Ebmaj7_C-7_.abmaj? é- : = j Ss2E= Bat A vF. vf. vf AsPhrygian:I-7 VII-7 T-7 VII-7 °TImaj? 1-7 as? s-7 AT G-7___Bbnaj?_A-7 BeChapter 4 Harmony 4 rt bilmaj7 was introduced in Harmony 2 as a non-diatonic cadential chord. It can now be derived from the Phrygian mode. However, it is frequently used in 2azzmoda/ : major or minor key progressions. In these situations, Milmaj7 is considered a subdominant minor chord, related to the IV- and -7 (65) chords in natural minor. Tt does contain scale degree 66, common to all subdominant minor chords. SDM SOM (ys) SDM ive 11-7883) Tymaj7 = spi oot VImaj7 maj? x. Dbmaj? Coma}? | | | ‘a SoH 11-7 yr6 vr Imaj7 G7 pbs or Fa}? 2 i 1 = ——— Fr FO o o> | = & roaChapter 4 Harmony 4 25 AEOLIAN: The Acolian mode is identical to the natural minor scale, and therefore does not have an mustial modal quality. Most minor key harmony, however, draws on natural, harmonic and possibly melodic minor chords, as well as secondary and substitute secondary dominants. When a piece of music is composed exc/asévely of Aeolian chords and cadences, it does have a "modal" sound. The characteristic note of the Acolian mode is 56, The mode can be found on the white keys of a keyboard by starting on A, and its relative major is a minor 3rd above (C major). Listed below are the diatonic triads and seventh chords in C Aeolian, with the tonic, characteristic and ane chords indicated. b re re Pry Iw. ve zmaj7 I~ I-7 Bbmaj7 b= Do7/c Bbma: G Aeolian: Ie 1-7Chapter 4 Harmony 4 26 MAJOR MODES ‘Any mode containing a major 3rd above the tonic is considered major. (It is rare but possible to have a mode with both a major and a minor 3rd: this would be a special case), The major church modes are Ionian, Lydian and Mixolydian. lonian is our major scale. The others will be described in terms of their characteristic notes: those notes which make them different from normal major (fonian). LYDIAN: The characteristic note of the Lydian mode is #4. ¢ iydien p = a = on ‘The Lydian mode is like a major scale with a raised 4th. It can be found on the white keys of a keyboard by starting on F. yf biden F najor &€ ‘ # ‘The accidentals for C Lydian come from C major, its relative major. The relative major of F Lydian is C major (a perfect 4th below). Listed below are the diatonic triads and seventh chords in C Lydian, with the tonic, characteristic and avoid chords indicated. 4 c, ave ov Vie VEI- c I tr TI ¥ c/a A c/a c maj? 17 rit-7— gtv-7025? vmaj7 vie? VII? ; 2 BE & SS ‘The [17 (C/A) is similar to [V7 in Dorian in that it may imply the relative major key. C Lydian? — Imaj7 m7 vmaj7 Imaj7 ee ae ely ? In the example above, D7 to Gmaj7 sounds like V7 to Imaj7 in G, and Cmaj7 sounds like [Vmaj7.Chapter 4 Harmony 4 21 ‘The Vmaj7 (C/A) may sound like | in the relative major. even if it is not preceded by 7. G Lydian? Ima j? yma $7 Imaj? cma}? Gmaj7 cmaj? In this example, the progression really sounds like IV, I, IV in the key of G. In general, the relative major is easily implied, simply beeatsse major key chord patterns are so familiar. 117 has already been seen as a special fection dominant 7th. In the Lydian mode, the If major triad is usually more effective. Vmaj7 can be used if the harmonic rhythm is carefully controlled, and the I chord emphasized. : ‘The following examples establish the Lydian mode effectively (normal major key signatures are used). c & c Bb_Lydian: Imaj7 ba Ina}? VII-7 an IL Bbmaj7 c Boma j7 aT ¢ , = = == = 4 c ¢ D Lydian: Imaj7 VII-7 11-7 VI-7 1 vite? or PRESS! yma] Cf-7 Fi-7) | 8-7 B19) ca? 3?)Chapter 4 Harmony 4 28 MIXOLYDIAN: The characteristic note of the Mixolydian mode is b7. p_& major C Mixolydian fs = = = 7 ‘The Mixolydian mode is like a major scale with a lowered 7th. It can be found on the white keys of a keyboard by starting on G. G Mixolydian G major $ ete & i ‘The accidentals for C Mixolydian come from F major, its relative major. The relative major of G Mixolydian is C major (a perfect Sth below). Listed below are the diatonic triads and seventh chords in C Mixolydian, with the ‘~~ tonic, characteristic and avoid chards indicated. T vf. T tt- Tit? ov v vi- 9 Pyrr c <7 VI-7 ’yttmaj7 ‘The. I7 chord in Mixolydian contains the characteristic note, making it a characteristic chord as well. The chord is of course a tonic blues chord, and only becomes a *modai" I chard in the presence of a Mixolydian cadence. The J major triad and the I7( ) are often used as Mixolydian tonic chords, since the [7 could, in some cases, imply the relative major- © Mixolydian? 7 IVmaj? 7 7 Fmaj7, cr ‘The progression above really sounds like V7, Imaj1, V7 in the key of F because the sound of dominant cadence is so familiar. 7Chapter 4 Harmony 4 29 The following progressions establish the Mixolydian mode effectively. ; be besten * 17 ses) vf. 4 17 (sus4) c p7(ousé) tbeas? F7(susd) be} F : ie? = | ae | oo | oS \" | nt | = ¢ ¢ b Eb Mixolydian: I v7 1 vlmaj7? 1 seme ax8 Eb Bb- p69) Dbmaj7 gp(?) fo | t T Gey Ss B - 1 | | | EAS # af Both /-7 end bVIimaj7 are familiar chords from the Dorian mode, but are considered ‘Mixolydian cadential chords when resolving to I aafar. AVAILABLE TENSIONS ‘Available tensions for chords in the modes are like tensions for diatonic major key chords: 1) they must be available an the given chord, and 2) they must be diatonic to the mode. For example, an E-7 chord can take tensions 9 and 11 E-7 1 bs 5 (B79 aL E Phrygian mode, however, the note F# is not diatonic. F4 jis diatonic, bat « Raldbe s 8 which isnot avalable on a minor Tth chord. ‘Therefore, a Phrygian 7 chord takes tension 11 only.Chapter 4 Harmony 4 20 ‘The characteristic notes of all three minor modes (Dorian, Phrygian and Aeolian) are avoid notes on their I chords. We will make an exception for the Dorian mode here, but other modal voicing techniques must wait for "Advanced Modal Harmony*. The modes are established harmonically with modal cadences. To voice a 4 6, or tension 13, on the Dorian I-7, use an apper structure trisd. 23) ay DB Ddorian: EX = +7 * [As illustrated above, a Dorian voicing can be created with an upper structure trisd above the original chord. The first is a minor triad a whole step higher, and the second is a major triad a perfect fourth higher. The chord symbols for upper structure triads can be called campoand chard symbalz. A compound chord symbol with 2 sanimata/ line, like the ones above, indicates a chord over a chord - two chords played simultaneously. A compound ders syanbol with 2 igo? ‘Tine , like the ones below, indicates a chord over 2 singie note. E-/D = £-7 (3rd inversion) _G/D = G (2nd inversion) (A chord over a single bass note may represent an inversion, as above, or a hybrid voicing of the kind discussed later in this book.Chapter 4 Harmony 4 St The characteristic notes of the two major modes are available on their I chords. ‘The Mixolydian mode's 47 is a chord tone on 17, and the Lydian's #4 becomes tension #11 on I major in any form. Tension #11 is frequently a member of an upper structure triad. Tensions on other modal chords will be available on the chard and diatonic to the mode, Melodic approach notes should be either diatonic or chromatic, and are treated as usual.Views bred fale We may determine which of these are available chords are listed below (triads, althoagh not listed, are of course available instead of seventh chords). : Chapter 5 Harmony 4 2 MODAL INTERCHANGE ‘We have already examined the use of subdominant chords from natural minor in the parallel major key. This process, called modal interchange, accounts for several very ‘common cadential patterns. SDM Imaj7 VIAV IVmaj71V-6 Imaj7 re Fmaj? FT 1 Bbmaj? BOS | Fmaj7 II SDM §DM Imaj? ViMV_1V-7 PyiT —tmaj7 Fmaj? FP? 1 BO? EET | Fmaj7I! SDM_ SDM. 1-7 (V1) Vimaj?_ Mmaj7_—Imaj7 G7 CT. st DPmaj7_— GOmaj7_ | Fmaj7 1) ‘The use of the harmonic minor II V in the parallel major key is another common form of modal interchange. Imaj7 subV7M_ 0-705) V7. Imaj7 Fimaj7 ALT 1-706) CHO} Frmai7H canine ‘Modal interchange, then, is a process involving the use of chords from ane mode in the harmonic context of another parallel mode. It can also be described as ‘a chord from a different mode on the same tonal center. The harrowing chord suggests the sound of its own mode without actually modulating to that mode. ‘Theoretically, any chord from any mode is a potential ‘However, some chords are used in MI more frequently than others, and some almost never occur in other modes. modal interchange (MI) chord. begin by listing the possible chords for each scale degree. We can then ich of these ‘used MI chords and how they are used. The aE™ Harmony 4 Soe SCALES FOR POSSIBLE I CHORDS Chord. Modal Sources, Imaj7 Tonian, Lydian 16 Jonian, Lydian 17 Aeolian, Dorian, Phrygian 8 Melodic, Dorian Imai?) Harmonic, Melodic TT or 17(8u=4) Mixolydian, Blues These are all frequently used MI chords. Some progressions are actually based on a series of different I chords. 1maj7 (Jonian) 17 (S882) (Mixolydien oma}? pause 7 (fonian) (Lydian) Imaj7 i? & Fmaj7 (Tonian) F-7 (Aeolian) F = farmonic) (Dorian) ¢ &. FE ‘onian)Chapter 5 Harmony 4 34 Other tunes modulate freely between parallel major and minor keys. F I } 2 byrma)z ES Eb-7 ably Bema} ese a: prep 6b) vist 7 Via étstbs) gree nay ag 13) 7 Tos) T vire7{P5) vrivE 1 «b5) 9) 1t27 Es? ar vie 7 F [nena Sacaenies S When a chord can be derived from more than one mode, the choice of chord scale and available tensions may be determined by the composer, arranger or performer. If the melody does not clearly indicate a scale, the harmonic context should be considered. The following guidelines will work in most situations. Imai, and I are pormallyfonian unless #11 is indicated by the melody or chord symbol. EZ is normally Aeolian, although Darian is becoming a more frequently used tonic mode. Phrygian is indicated only by the chord symbol or a melodic 2. 6 is nearly always melodic minor. [4majD) can be either melodic or harmonic minor. TZ is csually interpreted as a blues chord. Ina series of different I chords, ‘however, it is usually Mixolydian, and 175884) is nearly always Mixolydian.Chapter 5 Harmony 4 35 POSSIBLE I CHORDS Chord Modal Sources 7 Tonian, Dorian, Mixolydian, Melodic I-7(65) Aeolian, Harmonic (maj7 Phrygian (also a subdominant minor chord) aT Lydian (normally a special Timetion dominant) A MIchord other than I will take a chard scale thatis diatonic tothe fanfic mode it comes from. IE-7 ina major key is normally from Ionian, so it takes a Dorian chard scale . F Major: 11-7 F lonian G-7 (Dorian) Tbs Til 5 (6) 87 II-7 in a Mixolydian modal context, on the other hand, would take an Aeolian chu! F Mixo : II-7 F Mixolydian G=7 (Aeolian) 1 19 b3 T11 5 (b6)* b7 I-7 ina Dorian modal context would take a Phrygian hand scale. F- Dorian: [1-7 F- Dorian ; G-7 (Phrygian) 1 (b2) b3 Tll 5 (b6)b7 11-7 in a melodic minor context would take a Phrygian 4 6 chard scale . F- Melodic: 1-7 F- Melodic 6-7" (Phrygian, 46) = 3 = == 1 (b2) -b3 Tll 5 (6) b7 By using these less familiar chord scales, 1-7 can sound like an MI chord - it can implya tonicmode offer than Ionian. Although we will not list every possible chard scale for every chord, this same process can be applied to any MI chord.Chapter 5 Harmony 4 36 1-75) is normally found in a harmonic minor HIV. In a minor key’ it always takes a Locrian chord scale, but when used in a major key as a MI chord it may take a Tocrian 49 scale. : gOS) F Major Tr-7%b3) 7(b3) F minor: ce (Loerian) {©5) (reerian 49) T9b3. TIL 65 Tbl3 7 The A4 (49 in Locrian 49 above is considered appropriate in F major because it is the major 3rd of the key. 1-105) can also resolve up by step to bffimaj7 and down by step to I. 6 1-6 6 6/c Prrtmaj7 Abmaj? 8 Other pattems for I-15) would be extremely’ rare. a anChapter 3 Harmony 4 37 HImaj7 always takes a Lydian chord scale (diatonic to [- Phrygian). rimaj? Dbmaj? (Lydien) TF ee 7 10079 30 TH 5 TR When used in a simple major key context it is generally considered a subdominant minor chord. sox SUM sox. Gnaj7 D7 bus}? Abnaj7? naj? C7 Bomaj7 Abuaj7 aaj? 1. i on In a more complex harmonic context, bflmaj7 sounds more like the characteristic Phrygian chord it is. z Fuaj? imaj? 87 cnaj? AT Fmaj7 Emaj7 Ee Fate =| fo SF SF IIT usually occurs as VI/V, When it resolves to I or IV it is considered a special famction dominant chard. Therefore, it can rarely, if ever, be heard as a Lydian Modal Interchange chord. MgHarmony 4 38 Chord. _ Modal Sources TH-7 Tonian, Lydian UlTimaj? Dorian, Aeolian Ulimaj7(#5) Harmonic, Melodic 7 Phrygian TH-705) Mixolydian IML-7. normally takes a Phrygian chord scale. An Aeolian chord scale would imply a tonic Lydian context. ¢ Lydian byfimai7, a familiar natural minor chord, takes a Lydian scale when used in 2 major key. Ina tonic Aeolian context it takes an lonian chord scale. = Prim: © Aeolian Ebmaj7 (Ionian) = az eo F batimaj7 (#5) takes a chord scale derived from either melodic or harmonic miner. Pritmaj7 >? Prrtmay7 645) zonaj7“#5) (grom ¢ Melodic) ebmaj7‘!5) (erom ¢ Haznonic) bg]. is heard as subV7/Il, or as a linking chord in a blues context. It is therefore not considered a real Modal Interchange chord from Phrygian. - I-75) js also frequently used as a linking chord in blues progressions. However, it is Clearly related to the 17 chord in Mixolydian and takes a Locrian chard scale. 475) 10-7 p-7(b5) C Mixolydian (Loerian) = IL-7 (5) is usually found as the related I of V2. cmaj7 705) 7D gp) a7 Bw D7 xa?Chapter 5 Harmony 4 33 POSSIBLE IV CHORDS Chord ‘Modal Sourre Winaj7 Ionian, Mixolydian 7 Dorian, Melodic, Blues 1-7 ‘Aeolian, Phrygian, Harmoni #TV-7005) isan” ‘JWmajZ takes a Lydian chord scale. IV7_ is usually heard as a blues subdominant chord. As such, it generally takes a Lydian 07 or a blues scale. IV-1 takes a Dorian chord scale. The IV- triad, IV-6 and IV-{maj7) chords are also used as Modal Interchange chords in the parallel major key. IV-6 and IVmaj7) take melodic minor scales. (IV-6 may also take a Dorian scale.) Lo a is considered an altered subdominant major chord, and therefore does not have Modal Interchange fiction. is normally found as the related II of V7/IV. When it moves to a I major chord, bowere, it i an effective Modal Interchange cadential chord which usually takes 3 Dorian chord scale. A Phrygian chord scale on V-7 would imply a tonic natural minor context. G7 (Phrygian) ce SS SZ maj? G-7 (Dorian) : maj? a : FFF] ar# bated Chapter 5 Harmony 4 40 ‘¥-Kb5) occurs only as the related 11-7(b5) of V7/IV, and is not considered a Modal Interchange chord. Ymai7 is a possible Modal Interchange chord, but difficult to establish, since in ‘context it tends to sound like a I chord. Imaj7 Vmaj7_ — Imaj7 Cmaj7 | Gmaj7 | Cmaj7l! (really sounds like) TVmaj7 | imaj? | TWmaj7ll Rhythmic emphasis and duration on I can help to create the somd of a Lydian cadence from Vmaj7. Bee yma 37 Vymaj7 cnaj7 Cea}? Gmaj?_—Cnaj? Gmaj7? Gna}? eee ee ee ee POSSIBLE VI CHORDS Chord. Modal Sources. Vi Ionian, Lydian, Mixolydian Vi-7 05) Dorian, Melodic DVimaj7 Phrygian, Aeolian, Harmonic YET normally takes an Aeolian chord scale. With a Dorian scale it implies a Lydian tonic mode, and with a Phrygian scale it implies a Mixolydian tonic mode. Z ¢ Ionian A+7 (Aeolian) = © Lydian A+7 (Dorian) & = SS at * © Mixolydian A-7 (Phrygian) zsChapter 5 Harmony 4 re VI-765) is uswally heard as a melodic minor chord, and therefore takes a Locrian 9 9chord scale. 7tb3) (25) (Locrian #9) © Melodic Minor = byImaj7 normally takes a Lydian chord scale. With an Jonian scale it implies a tonic Phrygian mode. Pytmaj7 © Phrygian Abmaj7 (Tonian), = POSSIBLE VII_CHORDS Chord. Modal Sources YUL-7 3) Ionian, Melodic ee SyiImaj7 Dorian, Mixolydian ed Pangan 7 ian by7 Aeolian vir Harmonic VE-705) usually occurs as the related I of V7/VI. and is typically preceded by a I chord. Its chord scale is Locrian. yir-7{P5? VIIVI phe) £70 a maj? It is rarely, if ever. used in a cadence to I. Dbyiimai7 is a frequently used cadential chord. and in major keys takes a Lydian chord scale. An Ionian chord scale would imply a tonic Dorian mode. >yttmaj7 © Dorian Bbmaj7 (Ionian) SSS = =4 Chapter 5 Harmony 4 a2 byYI-7 , although relatively rare, can be an effective cadential Modal Interchange chord. It takes a Dorian chard scale. VII-T is also a strong Modal Interchange chord, especially when going to I. Its chord scale is Phrygian. bYII7 is a familiar SDM chord which takes a Lydian 57 scale in major keys, and a Mixolpdian scale in minor keys. VIIP7 sounds like the first inversion of V7®9Y1, Its scale is based on the tonic harmonic minor.Chapter 6 Harmony 4 43 Pedal point derives its name from the organ, an instrument with pedals arranged like a keyboard for bass notes. A singie bass note sustained through a series of chords iscalled pedal point . In most cases, a pedal point is sustained on the tonic or dominant note of the key. The following examples, although bland, are typical uses of tonic and dominant points. Cmaj7 0-7/6 E-7/C_Fmaj2/C E-7/C__D=7/C maj? at Caaj7/G D-7/G E-7/G _Fmaj?/G__E-7/G__D-7/G__Cnia7/6 = Because a sustained pedal point creates a strong feeling of continuity within a key, a high level of tension and dissonance is acceptable above the pedal. Even “wrong” notes sound good if they resolve to available notes. Fmaj7 £/F Eb/F EF et zis eaeeae 7: " — = z Z LS = 5s 7 The pedal in the example above is slightly thythmicized. Some pedal points emphasive a rhythmic motive. ; Eomaj7 x cose a 4%, i a == ee T — r rT — T r Fmaj7/Eb Emaj7/£b Ebmaj7 es z a =e aE ae , ‘and would normally resolve to F major or F minor. These voicings, then. are charactensstically ambiguous sounding, because the 3rd would normally establish a major or minor quality, and would also create a tritone for dominant 7th chords. The following are some typical hybrids: 7 (sus) 2? G/c = Cnaj7 A-7/D = 0-7 cmaj7/F = Fmaj7( #1)? YS} [Ss The use of a compound ch ymbol does not in any way change the functional analysis of the chord. If C7 is V7 in the key of F, then Gb and GPC are also V7 in the key of F. C7 Any inversion of C7, such as C1/G, also remains V7 in F. POLYCHORDS: A chord over a chord is analyzed in terms of the function of the Jower structure. The upper structure simply represents tensions or extensions of the basic chord. The following progression is analyzed in-C in terms of the lower structures, The lower structures do not contain Sth’s. which are considered unnecessary unless altered. ‘S c: Imaj?V7/IV G a teas? eatChapter 7 Harmony 4 4g INVERSIONS : A chord over a bass note that is its 3rd, Sth or Tth is an inversion, and is analyzed as if it were in root position. The following example represents basically the same chord progression, but uses inversions instead of polychords. The sound is characteristically less complex. fo C: Imaj7 v7/1¥ Ww >rimaj? imaj7 Gay? ChB Dopaji/ab __Cnai7/6 ‘The analysis above is the same as the analysis in the previous example because it is the same progression. Although the Aass motion has changed. the roof motion remains the same, and the chords are essentially of the same type. HYBRIDS : A chord over a single bass note that is aof an inversion (rd, Sth or 7th in the bass) is usually a hybrid. Therefore, the bass note should be considered the root, and the notes of the apper structure used to determine the chord type. In the following example, C is the root and the notes of the upper structure create @ Sth, major 7th and major 9th above the root. ‘Since the voicing contains no 3rd above C. it could be interpreted as either Cmaj7 or C-Gmaj), In most situations the more common Cmaj7 would be the obvious choice, bat the overall harmonic context might indicate the atlemative. Because of the major. ‘Tth. it could not be interpreted as a dominant or miner 7th chord.Harmony 4 30 Each chord type in this progression is determined by the relationship of the upper structure notes to the root. We have seen that G/C equals a formula of 1.3.7.9. Ga/C equals a formula of 1, 65, 57, 09, E-7/F equals a formula of 1, 7,9. #11, 13, and C/D® equals a formula of 1. 7, 9, #11. oe eo/e c/o 2 es 5 : z CIS ie | | | ces =f Fos! = : In each case the chord formula derived from the voicing strongly suggests the chord 3 type. and therefore its fimetion in the key. fn some situations, however, the hybrid formula does not clearly define its chord type or femetion, = 31-7 Bb: Imaj7 oF viv 73884) 957 F/Bb oye E/E #730 a oo ‘The G-/C in this example equals a chord formula of 1. 5, 67, 9, which could be either C-7 or C7854), ‘The harmonic rhythm would allow either interpretation. so unless i the melody indicated one or the other. a choice would be mace on the basis of the overall musical context and style. Either choice would be technically correct.‘Another area of uncertainty involves an exception to the inversion rule (referred to earlier). A major triad a whole step above the bass note (F/EP) has two altemative interpretations: !) The inversion rule would make it a dominant 7th with the 7th in the bass (F7); 2) the hybrid interpretation would give it a Lydian sound (EP major Lydian or EP?, Lydian 7). Again, the choice must be made on the basis of musical context. ‘The first example below uses F/ED as an inversion of F7. The second uses the same compound chord symbol, and the same voicing, as 4 hybrid version of E° major Lydian. Eb: Imaj7_ maj. (Lyd.) 17°S884) (Mixo.) Imaj. (Lyd.) Ebmaj7 F/ED Db/Eb F/ED — a a agSE = | Se = = == eae Chapter 7 Harmony 4 82 TENSIONS AND CHORD SCALES Since the use of compound chord symbols does not change the rules of harmonic analysis. neither does it change the principles of tension and chord scale use. As alivays, the harmonic analysis dictates the choice of chord scale. However, specific voiings for polyghors and hybrids often indicate specific alternate chord scales. Our first example. o or GUC. clearly indicates an altered dominant seale, even if the chord is V7/I Gn F) or V7/IV Gn ©). In summ: tensions that are included in the voicing should also be included in the chard scal fay % the + 5 e —— r— 3 The use of inversions similarly does not affect harmonic analysis. Inversions are nearly always used to accommodate a stepwise bass line, but the reof motion stays the same even ifthe Aass motion changes. When the 3rd or 7th of cherd is in the bass. however, altered tensions are difficult to use because they sound more dissonant. In most cases. then. inverted chords sound best with chord tones and natural tensions.‘HYBRID CONSTRUCTION ‘We have seen that itis possible to reduce a polychord to ahybrid: Gb can become GUC for amore ambiguous, indefinite sound. - ar Its also possible to create a hybrid voicing from a simple chord symbol if the same effect is desired. A hybrid structure always creates a sense of harmonic instability, but its effect may be tither dissonant or bland, depending on the intervals within the voicing. It can be ‘sed in isolated situations, in combination with other compound chord symbols, or in a series of hybrids to create a very ambiguous sounding progression. A hybrid structure is made up of notes from the chord scale of the moment and retains the original root, but is indefinite sounding because it omits the 3rd of the chord. These principles are used in the following examples; the second is the same as the first except that some of the original chord symbols are replaced with hybrids. bg) (Tontan) 4. b7) oa (so BEND suv? /11" v ey imaj? 7 re? (re mag? po 4 Bn? ppg #11) ¢-7 709) sbmaj7 ——= = + Tt TF 7 ; | | Ly (85) Fay a7\ P43. De? EB/DbG=7/C Eb-/F Bbmaj7 A 4 oe = = ee a = = aoa | oo [= ] | __ re = 2 ss + jChapter 7 Harmony 4 5A Procedure ‘The procedure for deriving hybrid voicings fram simple chord symbols can be described as follows: 1. Choose potential melody notes to be harmonized with hybrids; these are typically notes of long duration. 2. Analyze the progression to determine the appropriate chord scales. 3, Determine which triads and sevenths chords can be used as upper structures above the root. Melody notes (except approach notes) mast be 1, 3, 5 or 7of the upper structure. a ‘The upper strachre is usually a major or minor triad or 2 major, minor or dominant 7th che b. The upper structure must contain only notes from the chord scale of the moment c. The upper structure should not contain any 3rd above the original root, d. The upper structure should not contain the original root itself. e. There areno other avoid notes in the chord scale. {. Relative dissonance or blandness is controlled by the intervals between the root and the notes of the upper structure. ‘The procedure given above is followed in the following example: (Dor. (ix0.) (Lydian) wii Tins}? Daa}? Ar asl? baa)? — a —: | Available Triads: 8- G E- Available Sevenths: Gmaj7 iCmaj7 Fg-7 E-7 1 Daa j7 'Chapter. 7 3 Harmony 4 58, If any of the available upper siructure triads or sevenths sound appealing, the progression may be rewntten with compound chord symbols. 7 Dmaj? Gmaj7/A Cmaj7/D biG AIG Dna j7 Dmaj7 The other voicings in the example above could also have taken compound chord mmbois; F*- /D and G/E. This, however. would be unnecessarily complex, since they are exactly the same as Dmaj7 and B-7 respectively. Therefore, compound chord symbols should be used only for specific harmonic techniques. ose8 Chapter 8 Harmony 4 CONSTANT STRUCTURE CHORD PROGRESSIONS ‘A-constant structure chord progression is @ series of chords, all of the same type. rmaj? Bhmaj7 Ebmaj7 Abmaj7 Dbnaj7 Sbnaj7 In the example above, each chord is a major 7th chard. It is therefore a constant Structure progression, and its analysis can be undertaken from two different perspectives. First, itis clearly a fumetional chord progression in the key of F: VImaj7 biImaj7 xrmaj? 1 Dbmaj7 Gbmad Emaj7 However, since all the chords are of the same type, and the rot motion is a consistent interval of descending perfect Sth's, the listener may hear the pattem of motion more clearly than harmonic fasction ina key. The description of pattems and sequences in constant structure progressions is called non-functional analysis. ‘The following example can be analyzed both functionally and non-fanctionally: ci brimaj? —-sTmaj7-bVinaj7? tVmaj7 brimaj7 mad? Dbmaj7 Cmaj7 Abmaj7 9 fmaj7 —-Dbmaj7 cmaj7 —— t : : = SSChapter 8 Harmony 4 87 A non-functional analysis of the previous example would include the following considerations: 1. It is a constant structure major seventh chard progression. .. The roct motion is in descending thirds. . The root motian spelis a D®maj7 chard, which is the cadential chord in the progression. : 4. The melody emphasizes common tones between chords, creating a smooth, linking quality. 5. The same melody note becomes richer sounding on each chord. It starts as the Sth of Cmaj,7, and becomes the 7th, 9th and #11th on successive chords. Some constant structure progressions are purely non-functional; this means that analysis within a key is difficult, if not impossible, and the real meaning er sound of the music lies in root motion patterns and melodic and rhythmic sequences. (Slow) pconstant St c-7 9 Ss (amos) Gb It ae —— IH RS = f rT Ab:subV7/T Imaj7 (#14). ETAT aAbmaj7 In this example, the first and second measures are almost identical: a melodic and harmonic sequence. The root motion pattern is up a minor third, then down a half-step. The E-7 acts as a pivot chard from non-functional to functional harmony. BES Mag Sa its extant erwtars maori ced, seed 1¢ becernes the relate LT of D. As in the example above, most non-functional progressions involve a statement (measure 1), a repetition (measure 2), and then a variation of some kind (measure 3).Chapter 8 Harmony 4 58 ‘Tunes with constant structure sections nearly always contain familiar functional harmony as well. Constant structure passages usually end with root motion that is +, stepwise or down a perfect Sth. * Constant structure progressions are usually made up of major or minor seventh chords. Other chord types, although possible, are often considered either too unstable or too bland for this kind of harmonic motion. _ Root motion can be either one consistent interval (all Srds or all Sths), or apattern of two or possibly three intervals (up a 3rd, then down a Sth). In the following example, the final interval is stepwise in order to return to EP: Ebmaj7 Gnaj7 Eme37 || a Dina? Bbmaj7 1}