Introduction ‘Tietok’s foc the fling oie: deen. + Se ton bed on cod finn “Tech prgrssos and songs inthis book re based 08 “TonicDoninant and ol bamony ond a Jazz ad ‘Popular songs wel considered opr a th popular "Sandan repetive “Te pines nhs book ae Based on extensive research sod apletion. A pei thanks Chuck Anderson or many ‘tne cneyts pl forth in is book Adon isformation an sample worksheets can be and ‘athe webstart com/honks RMA ‘armonie Analysis (HA) ithe proces to determine thekarmonic in of chords within ached ropession Sng. A chor pogreson ls defned sequence af hod ‘ach chord has aout anda partic chord ye. The ‘latioshipof cor’ root tose determines anton ‘within tht cal tonaliy, Once chor cin Secrind, sole eeton slong with or and sale ‘Movement Analysis (RMA).‘The Harmonized Chord Scale "The mort common terial ed for bng card arerjor and mina hinds. This an beacompihed by staking ery ster note ofa rl mode. This stacking of ates creates chords sing a combination of aj ad mor hes Aman ote notes is ede to crete chord Thee thre noe chords ar calld tad, four notes ae pat hors ve ots are prt chords, note are 6a hors and sven notesare 77s Apu ors conta he notes datonle ‘ots The chords of asl ete baron chord sale that sed fora Root Movement Aalss (RMA). For the ‘urpse of harmonle andy his bok uses used the lads and part ears see Here re the lad an -prt chords {hat fom the aor Harmonize Chord Seale ‘spon emg? om emt matt mining pen dan ate cha ee, raping roman numerals othe chords of larmooled ale comparison of hard poessonscan be made and acho ‘umn anton within the tnaity can be determine ‘Pen ona? om? en unt trent cnr ter se onl Ineve rm one hr 8 an Fre msc appre ei oe ce ‘peerage al tore arin nl ‘een “These names arecommanly wed toladetea cons ‘aston and funcion within ts eorespondig mao sae 7 ee [eee a v | Vilar Ye Tene Doinan mony ‘Tistook foesesonTonc-Dominat harmony predominant in Western msi anda sapl of contemporary musians ‘perireTase Domiset harmony sees the oe of kay tonal ceters which are defined by the use of toni eho ‘Ther oie harder precoled and miporedy hoa hor Aominant chords someties preceded the sudonioant chord hat tends to resolve tomar the omit ed which ther esas totetone cow ot ts back to the subdominant, dling fal reshton othe tonic, ~ me sss ee Ting fing of estesnes and tends t dawn ois tonic Anat chor i rind th cots he forth ote Most progressions are Yn” with at eat neta ente mull tna centers nyo the songs hat are considered ofthe stud jazrepeole modulate rough several ey centers, Most folk and rock songs establish amin tonal center nd ot module ote onal cemtersFull Diatonic Aull Dato (FD )chor is dene ta chord tat arts ‘wot and spel (chord ype} nts hanna ewer ‘Harmonized cord charts for major and minor eysandthe Partial Diatooke Partial Diatonic( PD) chor is defined as chor that has ‘soot the chard eat butt species ot ats ‘armonic rin, secondary dominant chrds are over Anternal Modulation ‘Aa inter Modlin (IM iz wen change tonal enter ‘oe ocd UnvesoWed ‘nese (PB iswhena chords in tsharmonted coed ‘hurt bt doesnot ese tot shod tromatic ‘Chromatic (bors acon or descending by hal eps ecw ot The root and species are mtn shamed onde. ote Acyl (OTL swe heres neq distnce betwen ‘or rot nd same specie for oc bard. ascendingor Full Diatonic x = — $= sed apace (dor type) in harmon chard cart A Pall Disoncpoprenion ca behaed oa naraleor mode. lscening Amina the hos eid or (le witht of the chordtbeae pe,Determining Tonalty "The fin thing to for Rot Moweent Asal (MA) to etrmin hestaraing tonality oe eter. Once the tut nay bus ben decvered a armani’ chord ‘Gartcanbeselectedo identi cord fantons “Tere at seveal cus that can be wad to determine stating nay Key Signatures ‘ots sed in sston of mse Tana ey pnts ‘prec major and hic rlatve ior hey hey igaatre ‘an represent any sae of mde, Thee signature fr mde ‘styl its pare major minor sgt ‘Example One ‘Sarting wth this sine, very common cord progression abd the Major and Minor Harmonie Chord Charts, we take each chord one a the thy of Mand VE chordie ey fF. oa nor toa Wsa bord in he ey of Dior anda con a ey ofA minor le le "The second cord Goud in bath the major and ine arts but ony as V chord in thee fC major or C minor. ‘Sorts information (thes two choles) aay for ite “The Cajy shor iI chord inthe ey of Cmajor andthe 1V ord inthe ke Gmar-tnamlaoe tonal ta ‘Gord ine of Amino or VL coed inthe ay o Emo. (4 ice) Hc re the pesto ing the Major and Minor Hormona Cort Chars Getting Started ‘Taek sgpatarecansometinerbe welt determine te string tonality Boron thelast coed one of song Weltnost ely ete too orehord apd the mano ental tomy ven ithe oat ano be determined, « harmonicanasiscan be stared. Sty determining the st oleate sgh des hey signature and/or sched or ie), fed sharon Shord cha. The mst con nays jr compesing ‘large monty f contemporary muse So sar wt the "jor hamontzed chord char. Suey asgnng roman named tothe ase ods othe roger. Ignore igs ards he sper pra chords nich ants cet an thie gore ‘erations sucha Mat and shar las and shar events horde yperin each fhe harmonised chard chart ae oH v4 2 mm wm oof wae Wecan rile ot numbers and 2a est ne ofthe chords Wecan then ule ot aumbars ands asthe do not hve Lor tonics. Thisleaes umber the she esc TH IGoneof te mast common progressions used in contemporary mide, You wise ths progression move than ty ther progression, expec In jaz standards. Key omar ema Netting Your nase sing wppeease roman mea plae «unde te Da. & ‘under the G7 ad under the Ca. To inte heey ace snupptcase ter before the with econ falming "hetero ete the nal center.ow le on Jo oe fe iw | Ate ghne this proesion may appea to be elther athe tay of major oFF major base on the sto st cord ‘Upon turthrinvestition, we ace the ma seventh ‘Gris fnctnn weiter aT and TV hor ia amor tonal ‘whee oth the rot ad eed ypearein the cart Car {stheonly kein wth both Cand fanction as major event ‘Gord The D7 ehoed and the En cord ow jor fer rw ‘Ty these Rll Diao Minor coe progressions in various Cat Elma? Aimy? Fins en Fat Aina? Oba? as 7 aa Gn? Bing??? ‘Song Examples ‘Progression for Gator Vol for be most omon Full Datnic eho progzssios wih hl nasi Alot of 0 a ehildons song as wll many rock and popular song cota al diatom pogesions or etons fl area pace o pectin your MA, tonic rth mat common harmo rnp, ae ge dee Sto wan UHV 1 mr oto yt so, ‘pacity Here the G7 ofthe est elu anti anctioning a ‘Cand we sete od standby 1 cond ev jw foro ‘Toy these fl leone Major ened progressions in vais sang the Major Harmonized Coed cars. tnt Fee? tute? Sim? OnT Fa? wT tn? 07 bmg? 7 tm? En? On? Fa? nef’ Oni??? ce? 7m? Aina? mast nev ‘arous HV Lpoesrsratarg rN Sourarg mgerial ara ta sp ive ltnepngyer man anrg raceme yt wit stoor ny soa alps barn aap met a rnPartial Diatonic Paria Batol or ist aa shod tht asi ot {nthe harmonised chord cart buts spe ocoed pe ‘notin barmoniad chordal Dato hors ae ‘tad comet 0 Ful Dato cards tho evn the lew |e ie |e | freed og ng te ahve chord progr sd Majer harmonied So ers ait Vt they of mr Boat ‘Sout Dy Abert isthe wc dee rin te ey {&C morte chr pet coe Tel one Syerteyic mer ry ts Te ra ‘Sno hr wlan ay dT ye trary dy srian o oneet {creed ter Forth pups fe Rotten Ae, & ‘econ dant cordcan be conse el ‘noe rd. ov | ee |e ‘yt Re ero pe en trv esa red Ce So owt ar Omg re? ar ce eo Fey 07 ca? fn? Cn? FP Big? on? Fou? ta? fay? A? Ow? nt ya ne Martner “ty these Fut Datni Minor chord progressions in ‘aio kee wg the Minor Harmonie Chord char a on? etna? a8? Ce ed Ge? G7 Fag? Bing? a at‘Secondary Dominant V of... Acommonfastin ofa prt atone chord in Toe A Secondary Dominant cond isdefioed as any seventh hand ‘alton ase oe thats not toni tothe ky that sas up pert fourth tol dani eed These ‘rds function a. dominat (cord to he next eed ‘ersing to emporai tonic the flowing hod prone it Seodary Demian! chordal nde the Pat Diatnicarmoni prince and are abd assch. ‘Heese the pail Secondary Donat chorea deed ‘bythe aboe definition fr bath jor and natalie > Votw a cor cy Par Partial Diatonic Song Examples 7 | HiyMe To The Moos bar + laste tur + Desainado bars +The Gil From tpanema bars + On Green DotphinStreet= urs + Sesey Bounce ber + Watch What Happens brs Musee bor ww + Aloft bars3-4unars9-20 wr 1 Thereore itofeamplerofthitseondary mint horde tmarands or orb Wr =>Votv 1 WT vor Dr Gr om Ge Note rae tone pone U7 vot 1m cy Amar ca Ey Ame Now ere norton ose V7 =>Votll 1 ow cm ay a op — Aly — Dhar ow oreo: WHT > V of mt PWT nt cay mea omy — nom gore ‘They. rand ty arepastle bth major ond mince ‘ones. The V7 an Vy are pose ia mafor totes wr + Natale afeumples of tis secondary dina are sound ite sondern Chained Secondary Dominant Cycles ‘When several secondary Dominant chords are sein a0 tnd eso up fourth a seventh cord ths aed hale seca dominant ee lv le A Secondary Doman hora be precede bythe Jew» are jaro lore | Forse seton treat thse cand secondo dominant chords ase of uresoved Vor I cord, ‘Secondary Dominant Cycle Examples ox oom ge) Catan mo secrady dont gees nee_stompistteSvey Contanea sony ornate m ie gen Fe fot, eat te Conanea sco amma cet cag wth Internal Modulation L ok Anltaraa Medutatin sen 2 temporary shit ante toa centers oceured It npbes tua theo tonal centr Thismdlaton canbe sudden, prepared 2 temporary modulation oan seta lation The Aooal center.Amodalation cane froma major to majo tnaty, minor to minority, major to minor tna oom mine {ose onal, From toni tonality oa mol only ‘toda dtonie ean be fom oe tonality to at ‘oa. Basal om any tonaty to anyother onal ‘onc mulation has occured ws the ote armonie Princes to ie aehods ato, Determining a Modulation yout geting et of part toni or matic doris in stesso then yosshle modulation has oesre Rel the anal of the corn question and apy he ‘rnc fo Fulland Patil atone determine a ‘talation om tonality a ky center has occured Pivot or Double Function Chords ‘einen oh the caren nat andthe ne tena “This chord sooty prepares modulation wo the bow he eter This isa common modelo technique, ‘Tiree de Picardy ‘ied Peary (Peary Thi) se cammnon practic of etablshing amino ey bt cashing mabe Thi seo cal dept resolurion. ample tt V Lin they of C minor wou be Drs, 670 (Cap. Wih the Peary Tird salut would be ‘wep wr ‘escenag Whae Seps setr ow ssenar wnak s sete tabs Ht Spe sucete BSE Cocomng noe sips Daas, Gy to Cm. Snge empath ue hs armonic ‘oe inca" How High the Moon” ane” Common Modulations ‘woud sem fon he dscsption of modulation tat tything spose bat there ae common modulations tobe taro + lose td tai Funiatonie otha Bample © Dm En F vw + lose tony by ky signatre with no more than a thre acide diferens + Distant tmalty by ey signature wth ore than & thre accident diferene, Songs Examples Seth author's ton Te Adsened Gide to Chord Progestins jor Guar Val forthe mst amon ‘ute Neduatons. Most pop, ll, ack and bes song remain one ey Moc nz standard wl module to new ey eters, ‘Tho his You Ae terou it Upataertme ou ig The enUnresolved a v = a “The trate harmonic pcp is whe acorn the ‘Mostcominon woul eV cord oH corde ot ean total Tor toni che Thee smetines refered ara ‘eptve resition, Unease chor pear ntc to {rl ditonic hors and ar ace ard (IV, ¥, VU) Tat donot soot pane chord VI). ‘The Duke lingo, Bly Stason casc"Stin Dal isa reat cxampleoftheunreoed amon principle ‘Songs Examples - Unresolved IV ‘roi Hoh oy SoriaChromatic ‘aromas thesate as Pati isto tt ns to Fall, ‘ioone cor eeep Hs oo and specs ae nein he Ibumonind cord charcand toe, ‘Crome cords ype bend or descend by homie sano Jw |e |e le | ‘m7. 67 and Cnn ented aa ¥ Lin te ey of ‘Cait. Bt... what about that by The ot Bis etin he ey oC major An ED? chords the Vardi he ey of Ab ‘jor or Ab ine. The progression has ot modulated toa ‘ne onal ete. The 7 chords funtion es achromatic king ehord fom Cua to Dar Label is ehordas bt ont ona? a? aa’ FET Ga? kT Gea? ok? nF eae? Aa? a? mg? 07a? en ow |e |e le reremnrenaateinn > er fe Susan Crane com me ‘Example Two borat we |e le vm eat E44 sk : woe ow ‘meta i oma oe ova ew ‘Chromatic chords ae often result of using the Minor Third Sng Examples _SubsttonPrnple hat wil De coordi ater chapter Progreiansfor Gitar ~ Val fe he most eas homie coed progressionsre ih 2nd enarg, gh he to cto ea. au Moon avert br Socata? se Totac ola? Cycle bye ea tele pine iho creting defined tea eter Ace contin ten troechorde wth th ote seca ntant internal apart wit atleat mot the same Sond peAbyee is when tees an equal stance tween 0085 (a Teast three chore a these specs foreach chor, ‘sending or desending Corea ascend oF esend by Intra amir seconds), major second (2, moe ‘thi ae hid) pera furs (4). 10| ‘der comamon toast sommon 4, me, a, m9. ‘gee of dominant seventh chord moving perk fourths (Chained Secondary Dominant) an enanplethe mos ‘omiman Cle armoni prin. Ce ssametimes us ‘ea means to modulation to anew tonal ore ete. ‘ample C7 A7DyG7 CMV YD, “The standar"Wateh What Happens cata eee the ‘stand second endings wing nujor seventh chords ior second apr Song Examples ‘Scethe authors book The Advan Guide to Chond ‘Progression for Guitar ~ Voll te ot common ord (es: en ymatrapans ‘stenang eamptios er crow eooea o Sona merase 2nd andr carne Mar Terr scr 16 ‘nap et Secon Dora er wh @ ‘asaee ot pret been os Scale Selection Woo ‘Once harmonic antes ar ben completed sae aeons Trion cio regecoare ne sermantnurm oc, Soop atte Soy roe conan ve dormant ser rere cos. ‘Serra Oona chars we aan of apace ‘eurn neereto sng mh sean eho.‘This seae per chord approach When ne hard encountered, the scales change based on the chat eo. "Tis ieasisa seston approach. Additonal sales can Ire pied again thse bods using the sane pines tha roused with chord ebstuton ‘mie ance scae(stngan fast) ao meas? ee Horizontal Scale Choices ‘Sele choioescante mae based onthe aera of ‘ec un the anal eles diferent ele Here rete sae choles apple tothe si harmon Princes Partial Diatooke ‘Use the vertical eae pr cbr approach erect fourth oa major chord ype we awl eae fearthtoa mina chen pees Maopan-2-6seae Aeterna! Modan Uorosves ove ‘seth etal ale percha appraah, Orromatc ‘se the vert sale per dard approah Full Diatonle Chords FullDatone Majer Fall tone Minor ‘sete Harmon Minor scl ofthe choon Vand VIL ‘Use the Natural Minor seleor Harmonic Minor al of ‘he dor on Vand VI cords Sample Seale Chales form Vea WL 2) Marmont ino ofthe ond (adona Sound) 2) eet fet or aoe comterparary sand ‘Alternate Scale Cholees Alera seae ccs should be hase on the same principles ‘chad eusttuton. ‘The Lyin Scale Uses vs. lonian Seale ‘hen the Lydian cle the betervertel ae coeLegal Mumbo Jumbo ‘Once Rost Movement an Harmonic Anais has Been ‘fom chord and scale tation choice an be made ved ore chor ncn within stony.Diatonc Chord Substitutions Passe ‘Tads with the hiro the seal present re pes Far ‘Major and Mino tnaites the passe cor arth 1 ete Active chords canbe bated for er axive hon “Tad withthe furth the scale present ae ate Fur Major an Minor Sey tanates the active chords are he c I V G em om oom an vio vB woo Direct Substitutions Aire subst when the rot the sb chant xpasion Orisa chord reine, pos the sett in these tie fame. == y oust berries 7en ew 1 =a) o 9 ow berries sy ev 1 “There are two ype of direc eatin, ceplacenent epacement fz} a ont eee | = ¢ ut bere 7 rr 77n Sierimposed Von wpe pail 1,1). No ew harmonic nabs eed, sae Sea ches ap oo eee QLTTNTTEAITIINITTAN o ewe beeeayece ayer eer een replacing expunding te ering chowor-suprinpssble Aeration 4,45, bo, #8, #1, bg). None harmonie ‘anal needed: possible ew seals nies ap ‘Nonsupeinposed substitutions are diet substitutions, cher replacing orexanding the esting chord By ow QTTINTT TTT INTITA peer Ad ere AN Note Substitution ese sme sees ches ep. QTE aaa ea QL TIANLIAN TIAN ow Acommonsshaittion Sometimes ony the WV ori ‘Gord ae ued. Ths subtition efered to at Backdoor ‘Progression, deo the salutin thes aproaced "The tacoor powesion can befoundin poplar az standards in se places as measures 7a 8 ofthe Aston (of Cherokee," measires9 and it of-My Romane" or BTL TNE TEE Peed ead aad ae wr “Tice the mos commo® Minor Thin Seti se in {ja ele the one sbsttuton. Tits a Full Ditonie roression into a Chromaticprogession. Chord inversions None bartonc nai eed: same sae choles api Linking Chords (One chords anew harmonic ras needed, e-harmonizations Nev chords: anew harmonic amass nde, resting in ew eck, ‘The Minor Third Substitution Principle ‘The nor Te Subttuion Pepe sates that aco, ay pe, hse routs are and 1/2 tps, a minor hid apart tse for inchs, These cons ca be preety hi I ‘horde, vo obvi sr errr oo ’ oo QIAN NET TA QL ANE LITT weCommon Progressions v = a th mot te of msc apd song there ae como eye {Common tar Keys tox EAoac romney coc “Thee relatve minor heysaralso comwon. {Common Chord Progressions Fora throug sting ofommon chord progressions se the ators took The Advan Gade to Chord Progestins or (Guitar Vot and I Veme covers chord progressions ‘wing the Pll Data Pata Datole and Chroma ‘monic pines Volume overs tera Moulton sd Unrest and Ce pines ‘common Chord Functions nv ord can be eatgorized by their most common Dajr Harman chords aoa chore 1 Yenie seen MW Supertonie sw o0401 V Dominant scion pagers Fat scent Bonet s 2g 45 ga sete gs geese ‘nue oranered ere a inchs ‘re, den cry Dama Vat " ty peceaee Supartente-toctrs os sedonney Neauaen etches orau ey ae, dogies Sse Doma Vo m ons Seay ome ve foe seh pense Metant sos Vet Seon Dorn ‘ee ry as Fs Oe ra easton et Sate ey tra, aeguas Secon Comma et 17, cequea Seen Conran (VV) Dominant etn? (att) Sse ast wa BVCommon Harmonic Sequences “Tie chapter presente for common ad nts common [monic nonce nds onal with cal cin,Aik ‘aration are "More ele” “Embrace Yon and Stayt een: Seale Chee: eon (Natural Moe) on them aon (eta fine} on he Doran onthe in ~or-theAetan (Nato sealeove ‘heen sequence stressing tbe inher ex i745 ns Examples ofsnge wth ths armoel soqunce "Weta "Seret Agent a Thee Seale Chalees: agian (Netera Mine) onthe Doran onthe in {sethe Mixolydian sale on the V chord ‘confirmation Sequence ‘he Confimation sequence gets its mame rom ‘he Chae Parker song ofthe same ame This Sequence ply eis the ear fhe ‘oy ad works iw to he chard key tog sexes of. The 1 cord woul bee major ha pe nao event) Hees an oxo net” breerierraerenreee bole | bere l 1 VIL tip VE ys vm 7h a Vs resolving tthe coeds le ave abe funtion chet To he Vand atthe neat te Picardy Third {wader dot not the expected Minor ‘Gord arly ots the reverse happen where a Indo LV resoves to Mio, ‘Seale chokes 2)Mameste minor oe chord (Tran ‘Sound 2) teeta of the (Conterporary Sod) For the ofall Vie mor ofthe oe bydian tte Chromatic Sevenths 1 bviy bvIr Vv 1 pvr xamplesfsongs with this homonie sequence ite Road Jack (1 3V0 BV Kier Joe" 781. {seth Marsala the teho bste Wir dhoxds yan +4 ssl on th ru vau va wu Seale Cries: vow ")Marmante minaret chor (aditona Sound) 2) Asean othe 1 (Contemporary Sound)Major & Minor Harmonized Chord Charts Ww ¥ v = a “The mao of ong andprograins rhe sound either Mor or Minor tonality th major beng the ost ‘mime For fol rk county and Bras the cond wil Termaay nde ithe chord often event oe. Por ‘more conterporry song, 4p hone quite common Major ~Trads Fatt Hao Koy eay | ProeerbbpegEes PRPRssr PERS Eres SESESETLTaM>oo DSR ER- rams c wal PESPrae FPP Perey FOG eE BET en roe PEE eer oe LTE moe Eroeerr eee eeeeNajor~4-Part Chords Fats Hao Koy eay a mer as Minor ads Fatt Koy eay im‘Minor—4-Part Chords FarDston Mne Koy ay LEELicqiatil i Eeraegr gree eager ul c e Harmonized Chord Charts — The Modes Iv \t = L ok “The mudes area stem of eas and eords dating ek ‘rings of acent Greece. They were helm wsefor ‘eid of heh muse knw as Gregorian Cha. They have sb inueneed the music many dere Wester alteeyo he aneoptof Major and Mina ey the Modal ‘Stem isthe mest mint wring ad impos ‘ion casa! musiedil nat sete mods the concep ‘ofthe ides as esd over inion tron mse ‘nfunsing the character of teentith century compesition. The Mages spel the Dorian, mob and the Arslan ~ aa found theses lng Insel sd by op and rock songwriter asthe 19608. The great tml sol ms Ax any things nthe wet rind wander nan out of oor ich ke shen ‘The Modes Tonal Tendencies very mode as thee primary eos, te secodary dans Ce minrtrnts containing the haratrt scale depres ad ‘@od ineach mode tn the eae fhe Lan nde the ‘Siminihed cordial the ni chord» pay chord Mode Characteristic Scale Degree Pisin ‘yelan Moyen aaortonaity there a posi of united medltin ‘CDonan avis FT 0 Dean avo V0 meee auto, | © PGi avid EB? to Parygian vow tot rs yan ciate oe Miso ogi | ©M@ONean avoid Cte ” Fai? ooian avon 0A v0 BOT to Fon? Basil, vod the teeny for ah chord wanting to esa tits tonics ft wee a mar or mioo tonality. This inkerent lonian—TadsTT TT Ta imTE aaPhrygian ~4-Part Chords ECE aMiotdan~Tads a TT a TaVil Ena a BER TOCOE SEL TOm> ReGraaczeeeaganeLocrian—4-Part Chords Beer ooo Leg Tam> : i ‘Additonal Scales and Mode Ter are many sales mids pase von toe ovr inthis book, Thee re seer soos tht ist addtional sles sd modes. Wikipedia goed place to tat so Sees nd odesRMA Worksheets a v = a Using workbeet yan capt the sit of yur ‘armonic ras igh llnring west ntti ad Full Diatonie "Ter eno new toned he hor pe wih ite oman mer Fe? | wba? [er | amar | rhea vu fm |v jr fw Partial Diatonie ‘abel Pata Dito hands wth upercate oman ‘uerlsand chord ype oration. sample 718,17 ‘te There so change atonal entr, ov or [nt cr mw im iv ‘Secontary Dominant ‘Secondary Dominant shorcanalteaely be ola ae aV fx or tt-¥ of with Xela he dominant neta of ‘acd Ty VotlV-oe- VEIN iy vot¥-or-mvorv ty VotvI-oe-tvatvt Mi Volt or-ttVt ‘vniyVottt-ge-ttV ttt Internal Modulation or Internal Modulation at th eatin fr Fl Dito Parl Datos ares, Chama Clea ele ‘by thelndvdul peep Label the change tna enter Pt or Dubie Funcon Chats -Apiut dole fection hor i dene aa chor tht fonctions oth he cuenta andthe neta ‘This chord smoothly prepress modulation othe neta center This ie common modulstion techie Thee canbe ata ls notton sucha /Y, with the X the ches fanctioninthecsrent tonality andthe a it fein the ne tonality, tral replacing the Xan ¥ with he proper oman amber ended inthe espetve chaUnresoWed ‘hetonaliyaf wat would have ben the cords dl ysl totale Tchrd, ‘tromatic ‘pumerl anchor peng the rman mer of ‘altered sole doe The tonal o by center doe at ange ev er | be? Diy m wm|n wm oyate [Bracket the chon of he Cyt nding the interac ‘atop etyenthe chords, These ical ot 8 angen tay or ny eater, Guten 16.1 nae Example RMA Worksheets Hero are fe sample RIA Worksheets. Alionl competed woraects are aval elie a ‘wo crslercom/bonks RMA! Misty Sample aay athe standard "Thing peal Ahonen the ey of when dnelnsemenay Tis Prgraslon ste Hamone Pine Fl Dstonke Pat Date, Untescved nd nena Moduton. Tis sample worksect ao coals the saeco.{Got Rhythm / Rhythm Changes ‘Simple isis thet Got yt” Rythn Changes. ‘hiss the orga von. an versions and chord ‘absttuinsarepsle Next the los pogesan this Isthestcond most commen chord pogesion ina Ts ‘rogreson wes the Harmonie Principle: Full Diatnle, atl Ditoniand Ove Supe Anais fhe jn standard "Bich" Thies it ‘pel dene inthe key ho C.This progression be Hannon Pri: Pll itn, Pata ito ‘Unreved and eternal Modulation, Arg selection of RMA worksheets songs inthe tard ja eperire canbe foun atthe ook ste sor cutieber combos) RAL)Movable chord forms are chords with no open stringe. These chords axe transposable by moving each neto ofthe chord tho same number effets up and down the mock Each movable form is based on a common open position chord, Movable forms allow vou to play chords not found in the open position rom theso movablo chord forms variations and more advanced “jaz chords can ho ereatod and added te your chen woeabulary “Ukulele + Ukulele + Ukulele + Ukulote » Ukulele - Ukulele