HARMONY 1 by Barrie Nettles Berklee COLLEGE OF MUSICd Copyright © 1987 Berklee College of Music All rights reserved.HARMONY 1 Harmony deals with the study of chords and their relationship to one another The understanding of harmonic practice is essential te the uncerstanding of the language of music. As in learning any language, the first step in the learning process 1s the develooment of a vocabulary. The foundation of our ni ation 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. ee ————————————— nigh low CLEES Each line and space of the staff may be assigned a letter name. The letter names are arranged alphabetically in ascending order: ABCDEFG. The Tocation 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. ABCOEFGHarmony | 2 : The G clef, also known as the treble clef, locates G above “middle C” on the second line of the staff. GABCODEPF The C clef locates “middle C” on the middie line (or, in some cases, on the fourth line) of the staff. ABCOEFG —— FGOABCODE Note that the music alphabet goes from A to G, and then starts over. 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 ER LINES Small lines called Jeger lines are added to extend the staf? £ Spee ta _—— yer Notice that the notes in the spaces directly below or directly above che staff do not need added leger lines. £ The same applies to notes in the spaces beneatn or above the leger tines r JOSIE IIIS EIR III IO IIIT I DIE JE BBE BHO RISO BRE BHO BES HEHEHE EE ESRI SIS SII SERIE III, To summarize, pitcn placement devices used in music notation are: ) the staff, which shows the high/low relationship between cifferent notes. 2) the clefs, which locate pitch names given to lines and scaces of the staff 3) the leger lines, which extend the five lines of the staff for higher or lower pitches,Harmony | 4 | | | Homework numbers: 1, 2, 3Harmony | 5 Ac TAI The foregoing information about the Grand Staff covers the letter names of the white keys on the keyboard. What about the other five notes (the slack keys)? in order to maintain the integrity of the alphabet, the other five 0! es are represented as alterations of the basic seven pitches. The terms useq are sharp and flat, Sharp = 1/2 step nigner, written asi , fat = 1/2 steo '0. written ash A “C#" is the pitch 1/2 step above C and 1/2 step below 9. The sharp sign is placed before the note for reading purposes.4 Harmony The names of tne twelve notes in ascencing crder are: chromatic scale may also De examined in descenging order AS with sharps, flats are placed before the notes to wnicn they ace A AD G (Go phe D Ob Cc 8 Bb 4 Note that there are two options for naming the five black Key pitcn or C*, ir D*, etc.), When there are two (or more) possible nem same pitch, it 1s said that enharmonic spelling !s deing appl!Harmony | Once a sharp or a flat has occurred in a measure, there must de 2 means of cancelling (neutralizing) it so tne note reverts to its unaltered congition. The symbol used for this is a natural ( 2 Collectively, snarps, “fats and naturals are called accidentals. welve within an octave (eight consecutive letter names), half-steps: in certain situations, it may become necessary to raise or lower n oy two nalf-steps, The symbols for these purposes are ‘for a double-sharp ang bp for a double-flat. These symbols are also called acide:ool Harmony | 8 SHIRE EIU BEERS HISIBIHESAIECSE SIE SLA SE LS SEH | SS a tt a a et te The rules for sharps (# ), flats (b ), naturals (4 ), douole-sharps (£*), and douple-flats (Pp) are: A natural cancels a sharp or flat A single share or fiat wil! cancel a double-sharp or ¢ouble respectively. One natural alone will cancel both double-sharps and douple-f!ats. 4, An accidental remains in effect for the duration of the measi in, or for the duration of tied pitches, inside a measure or > dar- line, 5. To raise a note which has already been sharped, use 4 double-sharp; to lower a nate which has already been flatted, use a coudie-flat. 6. An accidental ONLY affects a specific note, in that octave, in that clef. All other notes of the same name are NOT affected ~ np q Homework numbers; 4, 5, 6, 7, 6 LeeHarmony | 9 A scale is a series of ascending or descending notes in a stepwise pattern + f at This 1s achromatic scale. it uses all the notes between tne F's and pitches move by 1/2 step. (Chromatic implies "1/2 step.”) The following scale uses all 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 Eto£ Ftor D Dorian E Phrygian F Lydian G Mixolydian A Aeolian B Locriana00ve are Scales, Out theyre not the ud of scale. The characteristics of the C major scale above are the 1/2 steps from the Sra te 4th degrees and from the 7th to the Ist degrees. The distan other notes is a Whole step (two 1/2 steps). In the other sc above, the half-steps (from £ to F and 8 to C) occur in different oar respective scale, This creates a coilection of related scales Modes, The modes shown above are ail relative to the C major means that each mode starts and ends on a different note of the scale. ef rove 44 f if tig stepwise pattern 1s applied starting on G, the result 1¢ 2G major scale. All major scales utilize the same steowise pattern,Harmony | 11Harmony | 2 CHARACTERISTICS SCALE 7 1/2 steos between degrees (Parallel to "C") lonian (major) i es @ 4 q | q | Dorian eS Phrygian 1-2; 3-6 4 us Lycian 45; 7-1 rixoiate SSS ve = a Aeolian (minor) 2-3; St Ges bi q ¢ Locrian 2; ‘) <Harmony | 5 Scales may also be described by comparing them to the parallel major or minor scale. =e Thus, Dorian mode may be described as a minor scale with the Sin degree raised: ay s Phrygian mode may de described as a minor scale with the Zne cegree lowered: (b) x zz + Lydian mode may be described as a mate scale with the 4th degree raised: wD 2 z s Mixolydian moae may be described as a major scale with the 7tn degree lowered: De Aeolian mode (also known as the minor scale): a Locrian mode may be described as a minor scale with the’2nd and Sth degrees lowered: () (b) sj Harmony! 14 The minor scale (Aeolian mode) is also known as “natural” minor or “pure” minor: ae The harmonic minor scale may be described as a minor scale wiin the 7th degree raisec (4) =e The melodic minor scale may be described as a minor scale with tne 6th and 7th degrees raised in its ascending form; In its descending form the melodic minor scale reverts to pure minor: The major pentatonic scale is a five note scale. |t contains scale ceorees 1,2, 3, 5, 6 from the major scale, and does not contain any half-steos. > —— Homework numbers: 9, 10Harmony | 15 KEY SIGNATURES Key signatures aliow us to place the required accidentals of the various scales at the beginning of a piece of music. They are placed cirectly to the right of the clef nd notice 7 of eiy even The reader, before reading the music, wil] look at the key signature the accidentals to be used for all the affected notes. With the acc the key signature at the beginning, the key is recognizable imme if there is a lot of subsequent chromatic alteration. Refer to the homework for scales. The sequence of examples was not arbitrary (C, G, 0, 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 building of key signatures follows the cycle of Stns. The placement and position of the flats in a key signature foilows the cycte down in fifths: 8b Eb Ab Db Gb Cb Fb ————— The key of Cb nas 7 flats (all notes flatted),Harmony | & The placement and position of the sharps in a key signature follows the cycle Se (a The key of C* has 7 sharps; ali notes are sharped. FF C2 Gt DF AS EF BF in order to be immediately recognizable, key signatures must always oe placed consistently on the staff RIGHT WRONG —— The best way to recognize any key is to know the number of sharps or flats used for it. Anotner way to recognize the key signature is: 1) For flat keys, the key is represented by the flat BEFORE the ast flat 2) For sharp keys, the key is a half step ABOVE the last sharp. : 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 in a key signature. Unlike the general ruies concerning the use of accidentals, key signatures affect all notes of the same name regardtess of their octave, Homework number: I i4 4 Harmony 13 The relationship of adjacent notes in all the previous scales 1s a whoi or half-step. As part of our vocabulary, we relationsnip bétween any two notes. “step eed @ method to identify the In order to do this, we need 2 logical means of showing the distance, o interval from one note to another. A simpie numerical means of accomplishing this is to count each oossioi staff degree between the two notes to find which number the top Itc! represents, $a RESEESEESESLSESSSSEEESSSEEEIESE ——— > 7 = T z sth 102 3 4 = ath 2345 The intervals in a major scate between the first note and the otner notes are: ——— oe a et & ~~ Se * perfect majer major perfect perfect «= major. «=—smajor-—_ perfect unison 2nd 3rd ath Sth ein 7 ccteve if a major interval is made smaller by a half-step (by lowering tne top note or raising the bottom note) the major interval becomes minor minor minor minor minor 2nd gra 6th 7thHarmony | 19 NOTE: Intervals may occur as melodic intervals (one note fotlowing 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 Tinor 7th above When a minor or perfect interval ts made smaller by a half-steo, it secomes diminished: + ie e He aim, aim. im, aim, - 4th Sth sth octave Notice that in all intervallic relationships, one must first count the number of staff degrees involved, and then qualify the relationship. Major and perfect intervals made larger by.a 1/2 step are called augmented intervals: Ee iS ad Co ~ oe au aug ag, aug. aug aug ag ag unis. 2nd 3rd 4th ‘Sth 6th 7th oct.Harmony 20 Diminished intervals made smailer 9: diminished: additional naif-step be te & - ‘ouble couple “ouble dim. Sth aim, 6th dim, oct Augmented intervals made larger by an additional nalf-steg become double augmented: counie double couble aug, Sra aug. 4th aug. 7th It is also possible to nave an interval which exceeds the octave: z This interval is called a major 10th (or a major 3rd plus | octave) ewer enn ener er eenee eee ete nen eneneneceeme mes comeeereens nts ZEB RHEE REE HB OBESE IIH E II IEEE IIH A AHHH Here are the basic rules and names (when examining the distance from the first note of a major scale upwards): 1) 2nds, 3rds, 6ths and 7ths are major Intervals. 2) Unisons, 4ths, Sths and octaves are perfect intervals. 3) Major intervals made smaller by 1/2 step become minor 4) Major intervals made smaller by 2 half-steps become diminished 5) Perfect intervals made smaller by 1/2 step become giminisned 6) Perfect intervals made smaller by 2 half-stess become gouble-diminished. 7) ‘Major or perfect intervals made larger by 1/2 step are augmented, by two half-steps they become double augmented. Homework numbers: 12, 13,Harmony | 24 INVE IN OF INTERVAL Intervals describe the distance between two notes. The notes involved can appear 2nd sound in two ways: In otner words, any Interval can be turned upside-down (Inverted? = isthe inversion of SS arene F When an interval Is inverted, the note names involved are still tne same, and the intervailic relationship follows a pattern, in the above example, one interval is a major 2nd; the inversion is a minor 7th. Some simple rules for inversion of intervais follow: » “g" minus the number of the interval equals the inversion interval 9 minus 2(nd) 7th) or: = Sminus 7(th) 2n0) 2) Major intervals inverted become minor intervals: Major 3rd Minor 6th a) Minor intervals inverted become Ma jor: See Minor 6th. Major 3rd 6 :Harmony ! oo Pertect Sth Perfect 4th verted become gimnisned: SS ug. éth im, 32 5) Diminisheg intervais inverted become augmenzec. eo fe Dien, Sr Aug. 6th cet le ciminished intervals inverted become couble auamentec a Double Doubie Dim. stn ug. Sth 8) Dounle augmented intervals inverted become ge be 7 = Double Double Aug. Sth Dim. 4th In orger to correctly produce an inversion of any Interval, the pottom miust Oe raised one octave or the top pitch must be lowered one octave. The : Inversion of a perfect unison becomes a perfect octave and vice versa zs SSS 3minus i(unison) = 5 (octaveyHarmony | The tritone interval (augmented 4th) is a special case. Unltke any other interval, when it 1s inverted, the number and qualifier change, but it remains a tritone, eS Homework number: 14, ts an augmented 4th (tritone - 3 whole stens) is 2 diminished Sth (still tritone ~ 3 whole sHarmony | a4 TRIADS Wwe Nave looked at ne alone in scale sit: Ons anc iwe notes intervai situat‘ons, Now, we wi'l place inrzt votes together te farm Tne terms use to descrige thres cote cnorcs w major, minor, augmented, 2x2 diminished © ntarvais) Three note chores are called triads. The dasic burlaing lock far-triacs the intervai of a Sra, To start with, the major scale will be usec: — Above each note in the scale wili 2¢ clacec two more ditches - a 3rd above the note from the scale ihe second pitch a Ird above the giten: Ali the pitches used to butla the chords are fram tne key ef mi alatonic to ¢ major The diatonic triads inthe key of C major contain three of the triagic chore structures (major, minor, and dimiatsned), if tne relationships within each cnorg are studied, these three chora types and thei~ characterist:cs can oe 5 1) Major triads: cherds with intervals of a major Zr¢ from tre reot épattom note} to the middle note, and a oerfect Stn from the root zo tne top note: 2) MINGR TRLADS. chords with intervals of a minor 3rd and perfect Sn trom the root resgectively: Dmin Emin AminHarmony | 25, 3) DIMINISHED TRIAD: @ chord with an interval of a miner Ira anc diminished Sth, respectively 8 dim ? Note that in all cases, the letter name of the This note is called the root of the chord. In addition, each chord will be identified with 2 Roman numeral re: the scale degree of the bottom pitch: Tmaj 1 mim [min IV mej ¥ maj YI min YI dim | maj ey Here are some universally accepted aboreviations used for triads: C = C major triad. Optionally “major” or its abbreviation “maj” may appear: Le, C major or ¢ 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 th name, i.e; 8dim or 8° The diatonic triads are: maj limin Ilimin 1Vmaj Vmaj Vimin Vil dim 1 maj OR: ' ie ile Ww v Vie vilHarmony | 26 The fourth type of triad, besides major, minor ang diminished, is the augmented triad, It Is abbreviated ertner “aug” or" +." The augmented triad- has a major 3rd and an augmented Sth from the root: Fe AY Eb+ Bb+ O+ The augmented triad is not diatonic to any major key, Its usage will De discussed later. There is one more type of chord. It is a very common chord in contemsorary music, and it doesent fit the normal pattern of stacked thiras. e “suspended 4th” chord. The chord symbol used is sus4, A suspended fourth chord (sus4) is a triad in whicn the 4th degree replaces the 3r¢ degree: G(sus4) 6-(sus4) To summarize; Cmaj Major triads are constructed with major 3rds and perfect Sths from the root: Minor triads are constructed with minor Srds and perfect Sths from the root: i aim Diminisne¢-triads are constructed with minor Sras and diminished Sths from the root: tl c Augmented triads are constructed with major 3ras and augmented Stns from the root: > Homework number: 15.Harmeny | 27 CHORD CONSTRUCTION (CONT'D) SEVENTH CHORDS. The logical extension of a diatonic triad ts the addition of another ciatonic third above the fifth of the triad. T diatonic seventh chord which contains a diatonic 7th cect above the root. In triads there are only three intervallic relationsh: to Sed, root to Sth and Srd to Sth. With the addea pitch of 7th cheras, the complexity doubles: root to 3rd, Sth, 7th; 3rd to Sth, 7th, Sth to 7th Thes, 7th chords are mare complex than triads. Chords with a major 3rd, perfect Sth and major 7th from the root define a + 7° cmaj7_ Fmaj7 major 7th chord Chords with a minor 3rd, perfect Sth and minor 7th from the root define 2: D-7 +7 At? minor 7th chord ov A chord with a major 3rd, serfect Sth and minor 7th from tne root defines 2: G7 dominant 7th chord A chord with a minor 3rd, diminished Sth and minor 7th from the root defines a B-7(bS) chord 7 ZHarmony | 28 it helps to compare these seventh chords with the triads on which built: The chords butit on C and F are major triads with major 7ths: Cmaj7 | Fmaj7 a The chords built on D, £ and A are minor triads with minor 7ths: The chord built on G 1s a major triad with a minor 7th: G7? = The chord built on B is a diminished triad with a minor 7th: (DS) 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 I-7 IN-7 \Vmaj7_ V7 Vi-7?—-VII-7(b5) Cmaj7 0-7 E-7 Fmaj?7 G7 A-7 B-7(b5)Harmony | 29 chord structures which are not diatonic to a majer key: There are other 7 aes ' The +7 (augmented 7th chord) whicn consists of an augmented triad with a J minor 7th The °7 (diminished 7th chord) which consists of a diminished triad with a diminisned 7th: C dim? Note: in the diminished 7th chord, the diminished seventh interval is sometimes written enharmonically Cdim7 or: Cdim7 SSS ~(maj7)} which consists of a minor The minor/major 7th chord [symbol triad with 2 major 7th: c-maj7) Notice in the chora symbol, the “~" represents the basic cnord sound (minor) wnile the "(maj7thy" indicates tne 7th quality. The parenthesis 1s necessary to keep minor ang major from being confused,Harmony | 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 tried with a minor 7th: Gr(sus4) G-7(sus4) Homework number: 16.Harmony | 31 INVERSION OF CHORDS. The basic rule for inverting triads ts the same as that for intervals: bring the bottom pitch up an octave. There are as many positions of inversion for a triad as there are notes in the chord (1.2. three in a triad) at Cc = If the root is positioned on the bottom (where it would normally be for naming purposes) the chord is in root position: The first inversion is accomplished by oringing the root up an octave: Ss The second inversion is accomplished by bringing the root and the 3rd uo an octave: a One more inversion would dring the chord back to root position. Notice that there are three possible choices for the tap note of any triad.e Harmony | 32 Since seventh chords contain four notes, there are four positions of i ie 1. Root position Cmaj? {st inversion with the root on top and the 3rd on the bottom. = 3. 2nd inversion with the root and 3rd brought to the top ang on the bottom: 7 np 4 3rd Inversion with the root, 5rd and Sth brought to the top anc she 7th on the bottom: = Homework numbers: 17, 18, 19, 20Harmony | 33 TENSIONS Consideration 's naw given to further extensions of the 7th chord, C maj? ray * coe 13 Chords larger than 7ths exceed an octave and create intervallic relat:onsnigs which are much more tense than the simple octave-or-less intervals sf triacs and 7ths. No matter what the inversion is, all the intervals in a triad or 7th ess than an octave in size. Triad: Plus added 7th: c Cmaj? = eae + re Extend a 7th chord in 3eds as far as possible without repeating pitches: | eee it 13 There are now 21 intervals in this chord! A 7th chord in root position nas 6, 2 triad 3, The number of intervals has more that tripled fram those of the 7th chorg, while the 7th chord has only twice as many as the triad. In adaition to the intervals which are less than one octave, there are now compound intervals (the 9, 11th and 13th), Some facts about these extended 7ths choras should be recognized: |. The added pitcnes are not chord tones of the 7tn 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 chora, 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 witn its possible tensions: pS a == The 9th (D) is a major Sth above the root; the 11th (F) is a minor 9th above the 3rd; the 13th (A) is a major 9th above the Sth. The tensions whicn sound best will be those a major 9th above a chord tone. (A minor 9 extremely harsh sounding.) in the following examples all tensions are major 9th above the chord tones: ay e138 Note that the “F” hes been sherged In order to create the mejor 3th - interval maj 9th maj 9th maj 9th The 13th (A) 1s a major 9th above the Stn; 11 (F#) ts a major 9th apove the 3rd; 9 (D) is a major 9th above the root. Notice that tension #11 is not identified as “augmented 11.” Tensions are iabeled as follows 13, Fit cmaj7\ 3 The chart of available tensions for all chord changes is on the following page. Most of the avaiable tensions are those which are a major Sth above 2 chord tone. Any available tensions that are not a major Sth above a chord tone are listed separately as exceptions. MaJ7 Is included in the list as a special tension situation availabie on certain chord structures. -Harmony | 3S AVAILABLE TENSIONS, EXCEPTIONS To THE AVAILABLE AVAILABLE TENSIONS Fria, OTH ABOVE A pins TENSIONS bil CHORD” TONE RULE maj (triad) | 3 | min (triad) 3 aug (triad) | 9,11 (or 08) ‘All available tensions must be a maj Sth above each chord tone = [_dim (iad) | and diatonic to the key. sus4 (triad) | 11 (as chord tone) | 9 maj 7 ‘maj? (aa chord tone) min (maj 7) | 9, 11, 13 13 not availale exceot min 7 Mw 9 in Dorian mode context | min 705) | 11, 913 9 | vue wane 99,79, ae rate om 7 (suse) | Py “AS sara tone) Ivery rarely: $9.°9.15, aug 7 9, #11 (or 0S) ‘il available tensions must be a maj Sth above each chord tone sim? and diatonic to the key. Note | - bS is a special tension situation involving an alteration of the Sth. 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 avatlabie tensions for dim 7ths will be shown when the chords are shown in context, Note 2Harmony | 36 SSB BEEBE BOE HEH I ED HHEE HOH HOB GHHH HEB RnR iEE JOSS EEE HEHEHE ERE ROO EIEIO BEG O ES HB IEG HE IEC Summary of Availzble Tensions. Tension: Available on. maj? maj7; ~(maj7); majé; -6 3 All chords (when diatonic to the key? 09 and/or 79 dom?; rarely, dem7(sus4) t all forms of minor chords; as a chord tone on dom7(sus4) il ma]? and maj6 when diatonic to key; dom7; +7 bid -7(b5); dom7 maj7; -(maj7); dom 7; dom7{sus4} Chord symbols used to show tensions fall into two categories: 1} The listing of tensions which are not diatonic; oO 2) The optional “courtesy” listing of tensions which are diatonic. OQ: Tensions which would not normally be availabie MUST be included in the cnord symbol: Cmaj711) == . Cc maj? inc Major impltes only 9 and 13 availability. C maj7(#11) woul indicate use of a non-diatonic tension. Homework numbers, 21, 22.Harmony 1 DIATONIC HARMONY, ny diatoni: ri her diatonic chord The control factor is the relationship between the roots of the chords. This called root motion and fails into three categories 1) The strongest diatonic root motion is movement down in Sths (ine cycle of Stns), maj? IVmaj7 Vil-7(bS) I-27 Vie? H-7 Gmaj7_ Cay? F*-7(b5) B-7 E-7 A? OF —— The tensions available are determined by the function of the chord in the the tensions that are diatonic to the key and the tensions that are 2 maj above a chord tone. imaj7 1Vmaj7_ ViI-7005) I=? VIET NI-P V7 TENSIONS: 13 13 ais) (11) (3 (3! ¢ \ (3 ) (1) u ole cy] 9 a V7 to [is the strongest diatonic root motion in the key, therefore it receives a special analysis symbol. via The arr r perfect fifth. 2) Root motion down a diatonic 4th is also strong altnough not as streng 25 root motion down a diatontc Sth.- Harmony | 38 Steowise root motion is a little more suptie than root motion of 4ths and Sths. Poe He We We He WV Msus4) Vin V7 GAB c - An GC OMsus4) E- 07 4) The other diatonic root motion 1s down or up in thirgs. Movement down is more common than movement up. Tove WV He EW ie WY Vie sua) T+ e in reviewing all of the previous examples, take note that they are repeated. if an ending point is Sought, the best final chord will be the t chord. The 1 ot rd be: int i iv:Harmony | 39 V7 (SUS 4) CHORDS The V7(sus4) chord is usually built on the dominant degree of the key: O7(sus4) SS Bee a eee 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 f dependent on context: is Imaj?IVmaj? v7(sus4)~46 V7(sus4) V7—* Gmaj7_Cmaj7_O7(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 suodominant out the root is dominant: Toe key ot key “% ‘Dass ae ‘Oass: The above two chords each contain a subdominant sounding upper structure and the dominant degree of the key as their rootHarmony | 40 These cnords are common in contemoprary tunes: yi WV maj Satay Petey 7 62099) cma? Stade) / oss osu SSS 1-7 over 5 of the key and !Vmaj7 over 5 of the key are both subtle versions of v7(sus4) and should be analyzed as such: VItsyse) 1 IV V7susa) aA? maj? a Vows Suen 0s SS The Ii (11-7) over 5 of the key and the |v (IVmaj7) over 5 of tne key can be seen as chord structures derived from the extended structure of the V7(sus4}REHASMONI TATION Diatonic charcs have names based of the location of their roots within the scale. The | cher is 7alie¢ tunic; the V crord 18 dominant, tie IV crarc's cailec subdominant. AL! diatonic chords can be categorized as sound’ categories: in one of the tnree + (tried) ie MIE Tonic: imaj7 : 1-7 ° 7 ¥ (tes20) Subdominant: simey7 = (triad) wilom Dominant: Ww _vie7(08)harmony | =: Dia Qy « wy wy) Visas4) “SI vitsest) 7 35 D7 sus4) 3 ORsusd} 07 JV _ Dominant rae wien © =Tonic GB) -susoor tint CD} = DOMINANT (Ps) supdsminert wager scructure By substituting other chords from the seme functional sound <: possible to reharmonize the above exampie. The end result wil chord progression which sounds similar to £98 original Q® Wwe? VET ® In comparing these two progressions, some important facts must > consierec: 1) the roct tions are not the same, though the meiaates are; 2) the melody and reharmonization choices must be compatable; 3) the original resolutions of the two dominant chords are no longer own a perfect fifth (the normal expected resolution for V7 or V2(sus4) is aown a perfect fifth to the | cnerd).Harmony | 43 vo Vitsus4) EY, Vie? V7sus4),i-7 A A 07 6 OMlsusa) 6 97 £-7 DUsusd) 8-7 qa Notice that the analysis symbols for the “deceptive” resolutions of \ 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 analysi: is: V7/1. V7/| means V7 of 1, V7 is expected to progress to |, but resolves deceptively (deceptive resolution) to another tonic chord. aoe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: oO G2 ,@ © ,@ YG: VIS eb: V7-NT BVI eng? 07 Gmej7 «BT Ebmaj7?— FF Bmaj7 Subdominant cadence: ©@®Q O@O O©®©® © O@ AlN tf BE WY oF Giow boot Ww j fF Bb oF Bb fb 8b CF c F 8b ae ; 4 A subdominant to dominant to tonic progression is considered a full cadence since ail the functional sound groups of the key are represented: 1V to V to I Is the traditional full cadence.Harmony | 45 Other cadential variations are possible: IV to Visus4) to | is subtle since there is no tritone involved: WV ¥(sus4) > C — O(sus4) 6 1V to IV/dominant root to | is even more suDtle because tne motion ‘rom the *~ subdominant to dominant only involves root motion from iV to v of che xey: WV vAsusa) 1 The 11-7 to V7 to | cadence is very strong since all the root motion is down. 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 IK V7 Sima? Fe? V7 maj? A707 maj7 67. 7 Fmaj7 2 0y7-——Simaj? GIL? V7. =a? c7 #7 Bbmay? AT 07 maj?Harmony | 46NAME HARMONY | HOMEWORK ~ 1) Identity, by pitch name, all the following pitches. NOTES, Ssieee zat 7 =FF7 2 2) Notate tne melody in ex.i, above, In tne bass clef when necessary Both examples should sound exactly tne s; a1ano. 3) Identify, by pitch name, all the following notes in two of the C clefs NoreHARMONY | HOMEWCR1) laesatnsnsesnsssnsassansasainassassasnasean HARMONY | HOMEWORK 49 4) write this short melody: = ———— ort saeee a One o¢tave BELOW: SSS] » Two octaves BELOW: SSS) 7 One octave ABOVE: a 4 Two octaves ABOVE:{XV} -BaEEBSEREESISEEED REESE SEEEESEEEEERSIEEEES HARMONY | HOMEWORK 50 5) Notate chromatic motion between the given pitches. Observe the rules governing accidentals ae = 7 eee 2 —=—= : a 6) Rewrite the previous example 1/2 STEP HIGHER 4ANGE Eee eee ee eee HARMONY | HOMEWOR! Identify by name all the pitches. Then, place the number for the chord on the appropriate key of the Keyboard below. The f is completed. & roi “c~=) NAME HARMONY | HOMEWORK $2 8) Complete the following enharmonic pitch chart: Natural Sharp Fat Ooubie-sharo —Dauble- flat : Notation: Notation: Notation: Notation: Notation: = = &Name HARMONY | HOMEWORK 53 $) Compiete the following chart of majcr and minor sca'ss. indicate the 1/2 steps. Do not use enharmonic spe! De not mix sharos with flats: Sumber of shergs or flats necessary for related major ‘and minor: MAJOR SCALE, BELATED NATUSAL MINOR 1sNumber of MAJOR SCALE RELATED NATURALNAME Number of sharps or fats: MAJOR SCALE: HARMONY | HOMEWORK SS RELATED NATURAL MINOR:RP Set HARMONY | HOMEWORK 56 10) Identity the following MODES: F DorianNAME HARMONY | HOMEWCRK wu 11) Write the key signatures for the following keys ana identit missing tonality: & major — major D major Bb mayer — minor D_minor — minor _— miner 4 7 —major €b major —major — major Z F= minor — minor C# minor # minor $ : # - — major C major — major Cb major A minor — minor A= minor — miner 2 = 2 = 7 — major Go major — major — major D= minor — minor G? minor 30 minorHARTICNY | HOMEWORK 3ft] Vy sesnsasnsinaisiesessnintnsasatnsasssasasanasens HARMONY | HOMEWCRK~ $= 12) Complete the following chart of intervals from the key of £b. Keeo the highest pitch diatonic. Use the appropriate accidentals. Diatonte Diatante interval Diatonte interval interval recucea by ner eased by 1/2 stan £2 steo im 2nd maj 2ndIX) Val dnsonsaateetonneareeetesnestrnrmatnseaseranr HARMONY | HCEMEWORK 40 Diatonic interval Diatonic interval ‘nereesea by 7(1), -SAaRnSSAGESaasaasassasssaaGaUansesnusuasee, HARMONY | HOMEWORK 61 Dietonic Diatonic interval Dietonic interval interval: reduced by, ‘ncressed by 1/2 step: 1/2 step:NaI E neste cece cece eee eee eee eee HARMONY | nOMEWORK 62 13) Rewrite this melogy 1) Amajor 2ne higher 2) A major Sth higher | 3) A major 9th lower (in bess clef): 4) A major 13th lower: i 5) A minor 3ed lower: 8) Agerfect 4th nigner:fj, saasannsnsnnaAtnannsnaanssnaantanansnanaians HARMONY | HOMEWORK 63 14) Complete the following chart of intervals and their inversions diatonic to the key of G. Label the intervals: Diatonic Inversion of Diatonic Inversion of Interval diatonic interval: Interval: ciatonie interval min 2nd ma} 7th = ae ——i HARMONY | HOMEWORK (Ex. 14 continued: Oretonte inversion of interval: aratonic interval: : Secestt Byes | ————Name MARMOMY | HOMEWORK 1S) Construct the indicated TEIADS in SCOT POSITION, D0 net enharmonic selling. c C Cau Osim S{sus4) F fies Faug Faim FC sus) asses ——— 7 > Bb Bbo- baw adim Sb(cus4) ie 4 = — 7 AD- Abeug ADGim AD(sus4) o~ Doaug Coan Gh- Gdaug Chaim Gd(sus¢) Ch p= CR aug Cdaim Cbi suse ‘al Fe- 7 aug F dim F=(sus4) 8 B- Bag S¢im 3fsuc4) —————— 7 ~ €- Eau Edim -E(sus4) A An Aaug Adim (sus) D- Daw ddim Ofsus4) G oe Geug Gdim = G{sus¢) ————= HARMONY | HOMEWORK 6 |NAME - HARMONY | HOMEWORK 16) Construct the indicated SEVENTH CHORDS in roct position: © may? C-(may7) ce c-5 o-7 6-708) c7 Caug? 7(sus4) Cai? F maj? Fo{may7) F6 F-6 FAT F-7(b5) F7 F sug F7(sus4) Fam? 8b may? Bo-(may7) ene 80-6 Be-7 = ‘| 80-705) 807 Bb eug 7 Bo 7(sus¢) Boom? £> may? £b-(matZ) €06 £b-5 e-7ie. iaeseeSOGnuanatAPaGsaaGSsSCnEesHEess=ee==ee==01 HARMONY | HOMEWGRK 22. eb? Ep aug 7 £p7(sus4) Eb aim? an-7 ab maj7 Ab-(19}7) D6 ap-7(95) Ab? Ab aug? Ab7(sus4) Adaim?, SSS Db maj7 Db-(maj7) Doe Db-6 Do-7 ——————————————— Db-7(95) Db? Db aug? Db? sus4) Db cm? 4 Gb-7(05) 7 6b aug? ab7( suse) eb aim?Ne HARMONY | HOMEWOR! Cb may? Cb-(may7} be ca-6 (b-7 = = 7 cb-7(08) coz Cb aug? cd7(sus4) Fama? F=-(maj?) Fa6 Fa-6 fas7 F aug? F=7(sus4) F= gim7 8-7(d5) 87 B aug? 87(sus4) Baim?i Ama? A-( maj?) a6 a6 a? “HH A-7(95) ay aug? AT(sus4) Agim? & 7 may? D-(maj7) 06 0-6 0-7 7 D-7(08) o7 D aug? O7(sus4) Daim? 6 ma? 6-(maj7) 66 66 6-708) 87 Gaug? 67( sus4) dim?NAME, 71 HARMONY | HOMEWCRK 7) _ Realize chord symbols for the following triadic chord structures.NAME. HARMONY | HOMEWORK 72 18) Complete this triadic chord progression by adding the remaining chord tones oeneatn the melody pitches. Then indicate, Deneath the chord, the inversion using the foliowing. R= Root position; 1 = 1st inversion; 2 = 2nd inversion F A O- 6G Bdim c ete é £ zZ 4 4 R Bo Bb- F Bag of Gt CH OD 6 te #, \ Lis 0 ete #2 = # £NAM HARMONY | HOMEWORK 73 (9) Reailze chord symbols for the piano harmonizations below. All chords have their roots in the bass clef:NAME remaining chord tones ben inversion for each chord. R= Root position; 1 = Ist inversion; 2= 2nd inversion; 3 = 3rd inversion HARMONY | HOMEWORK 74 t7 20) Complete this narmonization of the cycle of fifths oy placing the melody pitches. Then indicate 0-7 G? Cmaj7 Bb6 = C7(sus4) Fé a = i a2 a PEELE 8b maj7 F-7 Bb? ED maj7 2 ee , Obé 0b6 = Eb7 Ab maj? Gb6 Ab7(sus4) + et oF F2-7(5) Baug? — E-(ma}7) B-7(b5) Eaug7 — A6 s €-7(05) A aug? 0-(maj7) A-7(b5) D aug? G maj7 the theNAME HARMONY | HOMEWORK 75 ‘ we ) All the melody pitches below are available tensions. tension number for each note: ncicate the C#-2(D5) C-(maj?) B=? BHT _E aug? A7 a He NAME HARMONY | HOMEWORK 76 d 22)] Realize chord symbols for this piano part. Place in parenthesis the 1 tensions being used. All chords are in root position,