HARMONY 1 by Barrie Nettles Berklee COLLEGE OF MUSICCopyright (€) 1987 Berklee College of Music All rights reservedHARMONY I Harmony deals with the study of chords and their relationsnio ta one anotner. The understanding of narmonic practice is essential te the uncerstanging of the language of music. As in learning any language, tne ‘irst step in the learning process is the development of a vocabulary THE STAFE 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 “nighness* or “lowness* of pitches. nigh low Each line and space of the staff may be assigned a letter name. The letter names are arranged 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 (aiso known as the bass Clef). The F clef locates F below “middie C” on the fourth line of the staff =a ABCOEFGHarmony | 2 The G clef, also known as the treble clef, locates G above “middle C* on the cond line of the staf? GABCODEF The C clef locates “middle C* on the middle line (or, in some cases, on the fourth line) of the staff When two staves and the treble and bass clef are used together, the result is called the Grand Staff or Great Staff.Harmony | LINE ‘Small tines called Jeger lines are added to extend the staff. Notice that the notes in the spaces directly Delow or directly aoove zhe staff do not need added leger lines £ The same applies to notes in the spaces beneath or above the leger lines, sl To summarize, oltcn placement devices used in music notation are: 1) the stafr, which shows the high/low relationship between different notes. 2) the clefs, which locate pitch names given to lines and soaces of ine 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 A NTAL 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 black Keys)? - in order to maintain the integrity of the alphabet, the other five 9! represented as alterations of the basic seven ottcnes. The ter: eS are sharp and flat, Sharp = 1/2 step higher, written asf , flat = 2 lower, written asp A“C#" is the pitch 1/2 step above C and 1/2 step below D. The sharp sign is placed before the note for reading purposes. es areHarmony | 4 The names of tne twelve notes in ascencing orcer are: This series Of notes 1s called the chromatic scale, These not enromatic scale may aiso dé examined in cescenaing orcer As with snarps, flats are olacea before the notes to wnicn they aco. A Ab G Go F Fo D Ob ¢ B Bb 4 obe , Note that there are two cotions for naming the five black key pitcnes or C#, Ep or O, etc.) When there are two (or more) possible na seme pitch, it is said that enharmonic spelling !s being appl! ae c# Ob DF EbHarmony 7 Once a sharp or a flat has occurred in a measure, there must be 2 Means of cancelling ineutralizing) it so tne note reverts Co its unaltered congition. The symbol used for this is a natural (4) Collectively, snarps, *2ts ang naturals are called accidentals. within an octave (eight consecutive letter names), there half-steos: cwelve in certain situations, it may become necessary to raise or lower 2 sitch ov two nalf-steps, The symbols for these purposes are X for a double-sharp. and bp for a double-flat. These symbols are also calted accicentais.Harmony t 8 LBRO REE HRB HE EHH IHE HEE RHEE EEE See IERIE IERIE KOHL HOTA A AIRES EAGER 66 The rules for sharps (# 1, flats (9 ), naturals (4 ), douole-snaros (%), ana double-flats (pp) are: p A natural cancels a sharp or flat. A single sharp or flat will cance? a doudle-sharp or cousle respectively. One natural alone will cancel both double-sharos and doudle-flats. An accidental remains in effect for the duration of the measure it 1 in, of for the duration of tied oitches, inside 3 measure or across the bar-line, To raise a note which has already been sharped, use a couole-snarp, to lower a note which has already been flatted, use a coudie-flat An accidental ONLY affects a specific note, In that octave, in that clef. All other notes of the same name are NOT affectec. flat “omework numbers: 4, 5, 6, 7, 8Harmany 1-9 A scale Is a series of ascending or descending notes in a stepwise pattern ++ — tt ae This 1s achromatic scale. it uses all the notes between the F's and all the pitches move by !/2 step. (Chromatic implies “1/2 step.") Tne following scale uses all natural notes in an octave from C to C: > C major scale. The same notes can be used to begin and end at different points in the order of notes: 0 tod EtoE FtoF r = ; aoe oem D Dorian E Phrygian F Lydian Gtos AtoA BtoB 6 Mixolydian A Aeolian B LocrianAll of the apcve are scales, out they're not the characteristics of the C major scale above are tne 1/2 steps from ath degrees and frome the 7th to tne ist degrees. The distance betw other notes is 2 whole step {two 1/2 steps}. In the other scales snown above, the half-steos (from E to F and 8 to C) occur in different car’ respective scale, This creates a coilection of related scales «x modes. The modes sown above are all relative to the C major means that each mode starts and ends on a different note of the 2 ajor scale. e Mp we 4 boy f tnis stepwise pattern 1s applied starting on G, the result 1s 2G major scale All major scates utilize the same steow!se pattern,Harmony 1 11Harmony § 12 MODE NAM HARACTERISTIC SCALE 1/2 stoos vetween degrees (Parallel 16°07) a eS > Dorian 25 Phrygian 1-2; 5-6 Lydian 45; 7-1 Heolyaten OO SSS vse wa SS Se ZT Locrian 1-2; 4-5 ze =Harmony | 13 Scales may also be described by comparing them to the paraile! major or minor scale. see Thus, Dorian mode may be cescribed as a minor scale with ihe Stn degree raised (4) wp reese Phrygian mode may be described as a minor scale with the 2n¢ degree lowered: (9) s iz = Lydian mode may be described as a mf scale with the 4tn. degree wD é a S Mixolydian moge may be described as a major scale witn the Fn aegree. lowered: Ve Aeolian mode (also known as the minor scale): =e Locrian mode may be described as a minor scale with the’2nd anc Sih degrees lowered: () (o) =Harmeny | 14 The minor scale (Aeolian mode) is also known as “natural” minor or “pure” minor: 2 #2 = The harmonic minor scale may be cescribed as 2 minor scale with degree raised: (4) - The melodic minor scaie 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: The major pentatonic scale is a five note scale. |t contains scale degrees 1, 2, 3, 5, 6 from the major scale, and does not contain any half-steos Ss SS = Homework numbers: 9, 10Harmony 1 15 Key signatures allow 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, The reader, before reading the music, will look at the Key signature the accidentals to be used for all the affected notes, with the acc key signature at the beginning, the key is recognizable imme if there is @ 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 phenomencn whicn you will see throughout the study of music, it is called the cycle of Sths. To be logically sequenced, the building of key signatures follows the cycle of Sths. The placement and position of the flats in a key signature foilows the cycle down in fifths: re The key of Cb has 7 flats (all notes flatted). Bb Eb Ab Ob Gd Cb FbHarmony t 6 The placement and position of the sharps in a key signature follows « yo-tn fifths: Ff ct 6 DF AF ES BF a The key of C* has 7 sharps; al! notes are sharped, In order to be immediately recognizable, key signatures mu: piaced consistently on tne staff The best way to recognize any key ts to know the number of sharps or flats used for it, Anotner way to recognize the key signature Is: |) For flat keys, the key Is represented by the flat BEFORE the last flat. 2) For sharp keys, the key is @ half step ASOVE the last snaro =cF 3) The key signature of one flat is F major. The key signature of no sharps or flats is C majorHarmony | Note that there 1s no necessity to use leger lines for the placement of any accidentals ina key signature. Unlike the general rules concerning zne use of accidentals, key signatures affect all notes of the same name regerdless of their octave, Homework number: |iHarmony 1 12 INTERVALS. The relationship of adjacent notes in all the previous scales 1s a whole-si or naif-step. As part of our vocabulary, we need 2 method to identify th: relationsnip between any two notes. a3 In order to do this, we need 2 logical means of showing the distance, or interval from one note to another. A simpie numerical means of accomplishing this is to count eacn 90881 staff degree between the two notes to find which number tne cco represents. a ———— = 23 4 3 = 3th 12 3 4 = The intervals in a major scale Detween the first note and the other notes are ——————————————— ee SF Ss SF Se e & oe perfect major = major perfect perfect = major_«= major perfect. unison = 2nd 3rd ath Sth 6 Tin cxtave: if a major interval is made smaller by a half-step (by lowering the top note or raising the bottom note) the major interval becomes minor: SSS ej “Or +e Fe SS minor minor minor minor 2na are eth 7thHarmony | 19 NOTE: Intervals may occur as melodic intervals (one note foliowing 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, 't secomes diminished. + F te DS im im ‘im. aim ath Sth 6th octave Notice that in ali intervallic relationships, one must first count the number of staff degrees involved, and then qualify the retationsnin. Major ang perfect intervals made larger by. |/2 step are calied augmented intervals TT ARS Se Oe e ad ad aug aug. aug. aU, aug. aug. aug au, unis. 2nd Sd ath sth eth mth octHarmony { 20 Diminished intervals mace smaller oy an additional half diminished tep de = = a= ‘cousle coudle couble im. Sth dim. 6th dim. oct. Augmented intervals made larger by an additional nalf-step become double augmented: 7 Pa = couple couple 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 toth (or a major Sra plus | octave). IER HOI BO HIDE HOHE ODODE ADOT DOE I IIE NINE arene eres Here are the basic rules and names (when examining the distance ‘rom the first note of a major scale upwards): 1b 2nds, Irds, 6ths and 7tns 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 giminisnea. 5) Perfect intervals made smaller by 1/2 steo become diminished 6) Perfect intervals made smaller by 2 half-steos become gouple-diminisned 7) Major or perfect intervals mace larger by 1/2 sieo are augmented, by two half~steps they become double augmented. Homework numbers: 12, 15.Harmony | 2 INVERSION OF INTERVALS Intervals describe the distance between two notes. The notes involved can appear and sound in two ways: —————————— = a In other words, any interval can be turned upside-down (Inverted? ——— —| aonce versa 0 e When an interval is inverted, the note names involved are still tne same, and the intervailic relationship follows a pattern, in the above examole, one interval is @ major 2nd; the inversion is a minor 7th. Some simple rules for inversion of intervals follow: n 9° minus the number of the interval eguals the inversion interval: ad o oT 9 minus (nd) = — 7th) or: = 9 minus 7(th) = — 2Cna) 2) Major intervais inverted become minor intervals: = = Major Sra minor 6th dD Minor intervals inverted become Major: = Minor 6th Major 3rdHarmony ! 22 intervals inverted remain gertes: SSS Pertzet Sth Pertect tn 5} Augmented intervais inverted cecome giminisnes: = sug 5th im, 3a 5) Diminishea intervais inverted ecore augmentes oe Dim, 3ed Aug, 6th le diminished intervals inverted 2ecome double augmentsc Double Doubie Drm. atn aug, Sth 2) Doudle auqmentad intervals inverted become gdouble be Doupie Doudle Aug. Sth Dim. 4th in oraer to correctly produce an Inversion of any interval, tne pattem ov Must 0€ raised one octave or the top pitch must be lowered one octave. The ‘sion of a perfect unisan becomes a perfect octave and vice versa —————— S minus t{unison) = 8 (ontavey InviHarmony 23 The tritone interval (augmentee 4tn) is a special case, Unltke any other interval, when it 1s inverted, the number and qualifier change, but it remains a tritone, Homework number: 4, is an augmented 4th (tritone - 3 whole stens) 1s a diminisned Sth (st!il tritene - 5 wholeHarmony | if TRIADS alone in scale 3itv ang iwe notes te: interval situat‘sns. Now, w2 wi'l glace three setes together ts form The terms usea to descrice three note cnores will os 2 major, minor. augmented, a3 diminished ("Per ntervais). ie have looked at not Three note chores are called triads. The vasic ouiiain tne interuhof a 5rd. To Seare ith, the major scale wif! Above each note in the scale wili oe Flacec two more ditches - the 3 Src above the note from the sczle the second pitch 2 Ire above the pitch: Aji the pitches used to dutld the cnords are frony ine key of C major glatonic te ¢ major The diatonic triads in the key of C majer contain three of the four sessible triacic croru structures (major, minor, and diminisned). 'f tne interva lic relationships within each cnord are studied, these three chora types characteristics can oe seen: 1) Major triags: chergs wit intervals of a major Zrd trom the ret Harmony | 26 The fourth type of triad, besides major, minor and diminishes, is tne augmented triad. it is abbreviated either “aug” or" +.” The augmented triad has a major 3rd and an augmented Sth from the root: Fe Ae be Be OO SS 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 2 very common chord in contemporary 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 Suspended fourth chord {sus4) is a triad in which the 4th degree replaces tne Src cegree: G(sus4) G6-(sus4) * To summarize; maj c Major triads are constructed with major 3rds and perfect Sths from the root: c-- Mire triads are constructed with minor Srds and perfect Sths from the root: caim Diminished triads are constructed with minor 3ras and diminished Sths from tne root: + ce Augmented triads are constructed with major 3rds. = and augmented Stns from the root: = Homework number: }5,Harmony } 27 CHORD CONSTRUCTION (CONT'D) SEVENTH CHORDS The logical extension of a diatonic triad 's the addition of another diatonic third above the fifth of the triad. The result is a diatonic seventh chord which contains a diatonic 7th above the root. In triads there are only three intervaliic reiationsmc: to 3rd, root to Sth and Srd to Sth. With the addea ditch of 7th che! complexity doubles. root to 3ra, Sth, 7th; ra to Sth, 7th, Stn to 7th, 7th chords are more compiex than triads. Chords with a major 3rd, perfect Sth and major 7th from the root defire 4 cmaj7 Fmaj7 major 7th chord 7 Chords with a minor 3rd, perfect Sth and minor 7th from the root define 2: D-7- E-7— A“? minor 7th chord 7 A chord with a major 3rd, perfect Sth and minor 7th from tne root defines a: c7 dominant 7th chord A chord with a minor 3rd, diminished Sth and minor 7th from the root defines a 8-7(bS) chord 2Harmony | 28 it nelos to compare these seventn chords witn the trtads on which Dutlt: ey are The chords built on C and F are major triads with major 7ths: maj? Fmay7 == The chords ouilt on 0, £ and A are minor triads with minor 7ths: O-7 E-7 AW? eS The chord built on G is a major triad with a minor G7 —— The chord butlt on B is a diminished triad with a minor 7th: B-7(bS) + SS v 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(b5) = dim. triad w/minor 7th The diatonic triads in C major are: maj? oN-?i-7— maj? V7 VI-?_—VUI-7005) Cmaj? 0-7 +7 — Fmaj?_ G7 A~7?_—B 745)Harmony | 29 There are other 7th chord structures which are not diatonic to a mater key: The +7 (augmented 7th chord) which consists of an augmented triad with a minor 7th: G7 = — 7 The °7 (diminished 7th chord) whicn consists of a diminished tr diminished 7th: C dim? Note: in the diminished 7th chord, the diminished seventh interval is sometimes written enharmonically Cdim7 or: C dim? The minor/major 7th chora [symooi: ~(maj7)] which consists of a minor triad with a major 7th: a}?) Notice in the chord symbol, the "-" represents the basic chord sound (minor) while the “(maj7th)" indicates the 7tn quality. The parenthests 1s 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” 6tn degree: cé C-6 : z = The cominant 7{sus4) chord which consists of a suspended 4th triag with a minor 7th: Gi(sus4) G-7(sus4) Homework number: 16.Harmony | 31 INVERSION OF CHORDS. The basic rule for inverting triads is 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 (i.e. three in a triad) S== if the root 1s positioned on the bottom (where it would normally ne for naming purposes) the chord is in root position: c QS The first inversion is accomplished oy bringing tne root up an octave: = The Second inversion is accomplished by bringing the root and the 3rd ua an octave: ‘One more inversion would bring the chord back to root position. Notice that there are three possible choices for the Lop note of any triad.Harmony 32 Since seventh chords contain four nates, there are four positions of i possibie !, Root position: maj? 2. {st inversion with the root on too and the 3rd on the bi == v a 2nd inversion with the root and 3rd brought to the top ana = on the bottom: 4 3rd inversion with the roat, 3rd and Sth brought to the too and she 7th on tne oottom 7 Homework numbers: 17, 18, 19, 20.Harmony | 35 TENSIONS, Consideration is now given to furtner extensions of the 7th cmaj7 ~-e SS Chords larger than 7ths exceed an octave and create intervallic relat:onsnips which are much more tense than the simple octave-or-less intervals of triads and 7ths. No matter what the inversion is, all the intervals in a triad or 7th crore are less than an octave in size. Triad: Plus acaea 7th: c C maj? Extend a 7th chord in 3rds as far as possible without repeating oitches: Ps 13 5 7 9 13 There are now 21 intervals in this chord! A 7th chord in root position nas 6, 3 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 addition 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 chords should be recognized: |. The added pitcnes are not chord tones of the 7th chords; 2. They create tense intervallic relationsnips with the chord tones,Harmony | 34 Because of this tense relationship with the chord tones of the 7th chord, these extensions are called tensions. 1, 3,5 and 7 are the chord tones; 9, | 1 and 13 form the basis for the chord's possible tensions. Here is aC maj7 chord with its gossible tensions: al5 2S = The 9th (D) is a major Sth above the root; the | 1th (F) is a minor Sth above the Srg; the 13th (A) is a major Sth above the Sth. The tensions wnicn sound best will be those a major 9th above a chord tone. (A minor Sth interval is extremely harst sounding.) In the following examples all tensions are those 2 major 9th above the chord tones: ay 13 Note that the "F” has been sher ed in order to create the mejor 9th e interval. maj 9th maj 9th maj 9th The 13th (A) Is a major Sth apove the Stn; #11 (F) 1s a major 9tn apove the rd; 9 (D) is a major 9th above the root. Notice that tension #1 1s not identified as “augmented 11.7 Tensions are labeled as follows 13 fri cmaj7\ 9 == The chart of available tensions for all chord changes is on the following page. Most of the availabie tensions are those which are a major 9th above a chord tone. Any available tensions that are not a major Sth above a chord tone are listed separately as exceptions. Maj7 1s included In the l!st as a Soeciai tension situation available on certain chord structures.Harmony | AVAL ONS XCEPTIONS TO THE AVAILABLE AVAILABLE TENSIONS Fry oH ABOVE A TENSIONS WHEN DIATONIC jORD™ TONE RULE ‘CHORD TO KEY mma) (triad) min (triad) 3 aug (triad) | 9,11 (or 95) All available tensions must be a maj Sth above each chard tone dim triad) | and diatonic to the key. susd (triad) | 11 (as chord tone) Tray? tas chord tone! 9.13 a Taj? (as chord tone) min (maj 7) | 9, 11,13 13 not availanle exceot ‘min 7 i 9 in Dorian made content min 7008) U1, b13 9 73, ray dom 7 9.11, 13 ba ee TaN “a tare, 5 dam 7 (susay | 3318 shard Tore} Ivery rarely: 29,4013 aug 7 9, #11 (or 88) 7 ‘All available tensions must be a maj 9th above each chord tone aim and dlatonic to the key. Note 1 - bS is a special tension situation involving an aiteration of the Sth. Note 2 - The available 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. Specific available tensions for dim 7ths will be shown’ when the chords are snown in context.Harmony } 36 JONES BH OER DBR IDI BEI EHBB BEB IIE HBBIO SEO SOE Jo OEE HHH SEE EHE HE EO HIRE RHEE SHEDS HEEHHReett 1 f Available Tension: Tension. Avallaple on: maj 7 maj7; ~(maj7); maj6; ~6 9 All chords (when diatonic to the key) 09 anc/or #9 dom7; rarely, dom7(sus4) i} ali forms of minor chords; as a chord tone on dom7(sus4) #1) maj? and maj6 when diatonic to key; dom7; +7 ols -%b5);, dom7 13 maj?; -(maJ7); dom 7; dom7(sus4) Chord symbols used to show tensions fai! into two categories: 1) The listing of tensions whicn are not diatonic; OQ 2) The optional “courtesy” listing of tensions which are ciatonic. O Tensions which would not normally be available MUST be included in the chord symbol: Cmaj7#11) = C maj? In C major implies only 9 and 15 availability. C maj7(#11) would Incicate use of a non-diatonic tension Homework numbers: Z2!, 22.Harmony t QLATONIC HARMONY Any diatonic chord may progress to any other diatonic chord The control factor is the relationship between the roots of the chores. This '$ called root motion and falls into three categories: 1) The strongest diatonic root motion is movement down in Sths (tne cycle of Sths), Ima]? 1Vmaj? VN-7(05) 1-7 VIEP He? VF Gmaj7 Cmaj? F#-7D5) 8-7 ETAT OW The tensions available are determine by the function of the chore the tensions that are diatonic to the key and the tensions that are above 4 chord tone. TENSIONS. (7) (8) Ch) (11) 3) ea) V7 to lis the strongest diatonic root motion in the key, therefore a special analysis symool: va The arrow will always be used to show dominant resolution down a perfect fifth 2) Roat motion down a diatonic 4th is also strong altnough not as strong 2S root mation down a diatonic Sth. vii- 7008) Ww E- B- F=-7(05), c TENSIONS: (5) (3 ‘) (9) (218) (9)Harmony | 38 3) Stepwise root motion is a little more suotie than root motion of 4ths and Stns. Foie He Ive THe HY Misus4) vie v2 GAB c B- A- GC O7(sus4) E- 07 Se gS 7 a oo 4) The other diatonic root motion 1s down or up in thirds. Movement down 1s more commen than movement up. PoVIe fY et He IY vie v(susay 8 Go & CAG BA CE Olsusdy oe oO oo In reviewing all of the previous examples, take note that they are repeated. |f an ending point 1s Sought, the best final chord will be the | chord. The 4. chord may be followed by any other chord because it represents a point of harmonic arrivalHarmony | 39 v7 (SUS HE IS The V7(sus4) chord is usually built on the dominant degree of the key: D7(sus4) SS 12 3 4 5 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: Imaj7_IVmaj?_ V7(sus4)—46 V7(sus4) V7 6maj7_Cmaj7 O7(sus4) 66 _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: u-7, Vina)? ‘Sof key oot key % bass nye, ‘Dass 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: Wy 1 Vo Wvmajz Satkey WA of key 7 (2049) © cma? 84ede8) ove Vocus SSS SSS {1-7 over S of the key and |Vma}7 over 5 of the key are both subtle versions of V7(sus4) and shouid be analyzed as such: vitsusa) 1 Vv ViKsusa) <1 Siade9) c ‘6(aaa9) The It- (l1-7) over S of the key and the !V (Vmaj7) over 5 of the key can be seen as chord structures derived from the extended structure of the V7(sus4):Olatanic chovcs have names based 5 scale. The | chera ig <2liee tonic; * cailec subdominant fon of thei roots within the iz dominant, tre lv Al diatonic cnorgs san be categor’zed as categories ip one af the three 1 (tried) lie Imaj7 INe7 =e SS Tonic: Y (triad? Subdom inant: " . yma)? a : 5 = \ (tried) Yilerm Dominant: Ww vs-7(08) =(30) G NY ¥703us4) $i "5 Dsuse) 3 f = : = : \ 2 = { ro! sr az : G = = 7 ~ ZV _ dominant -20t wn @) =tonic Gd) susdoririant (DY =04 suocominart uoper ueture By substituting other chords from the seme functional soune ¢ possible to reharmonize tne above exampie, The end result chord pragression wnich sounds similar te ene original DQ @F * i We In comparing these two progressions, sone important facts must De considerea: 1) tne root motions are not the same, though the meioaies are; 2) the meloay and reharmonization choices must be compatable; 3) the original resolutions of the two dominant chords are no longer gown 2 perfect fifth (the normal expected resolution for V7 or VXsus4) is cown a perfect fifth to the | chord),Harmony | 43 vay Vitsusd) V7, Vier VIGeus4) tie? A { o7 07 6 Disus4) 6 £7 DM%susa) 8-7 _——————— Notice that the analysis symbols for the “deceptive” resolutions of V7 to IN-7 or VI-7 are different from those for the resolution of V7 to |. The root motion is not down a perfect fifth, so there is no arrow. The analysis symbol ts: V7/I, V7/\ means V7 of 1; V7 is expected to progress to |, but resolves deceptively (deceptive resolution) to another tonic chor.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 22 9 9 ,@ © 1G 7ST VI Qi * amas? D7 Gmaj7— Bb zanai? F27 Bmaj7 Subdominant cadence: O@O CGO O© © 08 © fe: Mee we Sof oe mE A subdominant to dominant to tonic progression is considered a full cadence since all the functional sound groups of the key are represented: IV to V to | Is tne traditional ruil cadence.Harmony | 45 Other cadential variations are possible: IV to Visus4) to | is subtle since there is no tritone involved: Wo ¥(sus4) 1 C D(sus4) 6 IV to IV/dominant root to | is even more subtle because the moticn fom the subdominant to dominant only involves root motion from 1V to ¥ of ine Key: 1V Visus4) 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 fuil cadence is so strong that some styles of contemporary music rely on it almost exclusively: Ge? VIS ima? Fe VT a7 AAT 07 Gmaj7 7. 07 Fmaj7 Bb: IK? V7 ——Stmaj7 6 IK? V7 —~simnaj7 7 #7 Boma)? Ae? 07 maj? SSHarmony | 48NAME_——___ HARMONY | HOMEWORK 27 HOMEWORK 1) identify, by pitcn name, all the following pitcnes. N01 ¥ sii wt $4 sll +H] MH ut re si ane Fare 2) Notate the melody In ex, above, in the bass clef, Use leger when necessary Both examples should sound exactly tne piano SS 7 nes nthe —————————————— D Identify, by pitch name, all the following notes in two of tne C clefs.HARMONY | ECMNAME HARMONY | HOMEWCRK 4) Write this short melogy |. One octave BELOW: | Two octaves BELOW: | 7 ‘One octave ABOVE: eS 4, Two octaves ABOVE: SSSNAME HARMONY | HOMEWORK 50 5) Notate chromatic motion between the given pitches. Observe the rules governing accidentals, 5) Rewrite the previous example 1/2 STEP HIGHER 6655 ——_———SS SSS sNAME HARMONY | HOMEWORK 3! tes of exam: 7) loentify oy name all tne citches. Then, piace the number for 21! the chord on the aoorooriate key of the keyboard below. The fir 13 completed. WOLe >NAME HARMONY | 3) Complete the following enharmonic pitch chart: Natural rp Flat Doudle-shera Notation: Notation: Notation: Notation: He = =NAME HARMONY ) HOMEWORK 52 $) Complete the railow:ing chart of majer steps. Co not use enharmonic spe! and minor sca!z3. Indic: De net mix shares with umber of sheras or flats necessary for related major MAJOR SCALE. BELATED NATUGAL MINORNAME MAJOR SCALE: Number of ‘sharps or fats HARMONY | HOMEWORK SS RELATED NATURAL MINOR: Ab majorNAME HARMONY | HOMEWORK 56 10) \dentify the following MODES: F DorfanNAME 11) Write the key signatures for the following keys ang icentify the missing tonality: 6 major —majer D major 3b mayor — minor 0 _minor — minor — minor mayor Eb major _— major F= minor — Minor C#* minor 2 cy] mayor major — major cb major A minor — minor A* minor — Minor = 2 : major Gb major — major — major O* minor minor 6 minor 3D minorHARMONY | HCMEWORK 5:NAME HARMONY | HOMEWORK 5! 12) Complete the following chart of intervals from the key of £5. Xesp the highest pitch diatonic. Use the appropriate accidentals. Diatonic Dratomte interval Diatonte intervai interval reducea by Increased Dy 1/2 steo: 1/2 3te0 min 2nd dim 2nd may 2n¢ ou ' 1NAME HARMONY | HCME'WCRK 30) Srarenic snterval recuced by 12 step:NAME HARMONY | HOMEWORK 61 Diatonic Diatonic interval Distonic interval interval: reduced by incraesad by 1/2 steo: 1/2 step:Nam HARMONY | ROMEWORK &: 13) Rewrite this melody: 1) major 2nd higher 2) Amajor 6th nigher 53) Amajor 9th lower (in bass clef): SS] 4) Amajor 13th tower: SSS) 5) Aminor 5rd lower: | 5) A perfect th nigner: ————————————|NAME HARMONY | HOMEWORK 63 14) Complete the following chart of intervals and thetr inversions diatonic to the key of G. Label the intervais: Dietonic inversion of Diatonic Inversion of Intervai Giatonic interval: interval: diatonic interval, min 2nd may 72h = 1 = = 7 7 = == ee —_ a= ae oeHARMONY | HOMEWORK 44 ( Ex, 14 continued:) Diatenic Inversion of interval: matonic interval: eaiS) Construct the enharmen: Cnim Osust) F f- Faug eb ay Ab- Ab aug ADGiM AD(sus4) Do p= Deaug Coa Oi ——————— Gb- Goaug Sbaim Gdisus4) Ch d= CD2xg Chaim Cotcuss ——— Se Fe- 7 aug Fim FH(sus4) 8 B- Sag Sim Hs sd & fag Edin E(sus4) A a Adim At sus4) D- Dawg Daim O(sus4) 6 G Gag Gain Gtsusd) ee36 TONY | HOMEWCRK HaRtNAME HARMONY | HOMEWCRK $7 16) Construct the indicated EVENTH CHORDS in root cosition: C-7(08) C7 Cau? C7( sus) aim? F may? F(a?) Fe F6 £=7(b5) F sug? 2(sus4) Fam? SSS SESS 8b may? Bb-( may?) 8D6 80-6 B0-7 eS 7 8b-7(08) B07 ab eug7 807(sus4) So am? SSS aS ee > may. £b-(maj7) £b6 Eb-6 eo-7HARMONY | HOMEWORK £b-7(05) £07 2 aug 7 ED7(sus4) Eb aim? SS AD may? Ab-( maj 7) D6 ab-6 Abe S—S———_—_—_—_—_—_—_——EEEEEEEE 8a-7(5) An7. Ab aug? Ab7(sus4)—Aain7 SS Db maj? Db-(maj7) be Db-6 Do-7 SS po-735) vb? Db aug? ObXsus4) Dd aim? ss EVE EE Sd may? Gb-(maj?} G06 Gb-6 7 807 eb aug? Gb7( sus4) 6b amNAME HARMONY | HOMEWORK © may? ep-(maj7) cee cb-6. 7 SS Cb-7(95) 7 €b aug? cb7( sus4) eb aun? Femay7 F=-(maj7) Fg Fe-6 F207 F#~7(b5) Fa? FS aug? F=7(sus4) Fe aim? > 8 may? B-(ma?) 36 a-6 3-7 8-795) 87 B aug? 87(sus4) Baim? E maj? E-(maj7) &6 £6 7HARMONY | HOME £-7005) £7 aug? €7(sus4) am? 7 A maj? ax( may?) 46 a6 ae? Ae 7108) ar Aaug? aT(3us4) Agim? = 7 2 maj? 2-(1maj?) 06 0-6 D7 $ may? &-(may7) 6 6 -7(b5) Geug? 67(sus4) Gaim?NAME HARMONY | HOMEWORK 71 17) Realize chard symbols for the following triadic chord structures:NAME, HARMONY | HOMEWORK 18) Complete this triadic chord progression by adding the remaining chord tones Deneatn the melody pitcnes. Then indicate, beneath the cnord, the inversion using the following: R= Root position; 1 = 1st inversion; 2 = 2nd inversion & aim c o- F aa "3 Bb Bb- F B aug — 67- a a Gaug Gb Faim A : ote te Z y@ ¢ LeNAME HARMONY | HOMEWORK 73 19) Realize chord symbols for the piano harmonizations below. Alt chords have their roots in the bass clef maj?NAME HARMONY | HOMEWORK 74 20) Complete this harmonization of the cycle of fifths py placing the remaining chord tones beneath the melody pitches. Then indicate the inversion for each chord. R= Root position; 1 = Ist inversion; 2 = 2nd inversion; 3 = 3rd inversion 0-7 «G7 Cmaj? Bb6 = C7(sus4) FS Rg 2 R c-7F7 3b maj7 F-7 807 & maj7 Ee x Ob6 = Eb7 Ab maj? GbE Ab?(sus4) Db6 SSS SSS i Ab-7 007 Gb maj7 C#-7 F7 BS re F2-7(b5) Baug? — Ema{7) 8-7(b5) Eaug7 AS * €-7(05) A aug? 0-(maj7) A-7(05) D aug? G maj7 \NAME HARMONY | HOMEWCRK 7S. 21) All the melody pitches oelow are available tensions. Incicate the tension number for each note: C#=7(05) C-(maj?) 8-7 807 E aug? a a aHARMONY | HOMEWORK 76 Realize chord symbols for this piano part. Place in parenthesis the tensions betng used. Alt choras are In root position.