HARMONY 1 by Barrie Nettles - Berklee COLLEGE OF MUSICi Copyright © 1987 Berklee College of Music All rights reserved.HARMONY I Harmony deals with the study of chords and their relationship 29 one anotner. The understanding of harmonic practice is essential to the uncerstanding of the language of music. As in learning any language, the first step in the learning process is the development of 2 vocabulary. THE STAFF The foundation of our notation system is a grid of five lines called a staff The position of notes placed on the staff visually represents relative “highness” or “lowness* of pitches. nigh low Each line and space of the staff may be assigned a letter name. The letter names are afranged alphabetically in ascending order: ABCOEFG The location of the letter names is determined by a clef placed at the beginning of the staff. The following example uses the F clef (also known as the bass Clef). The F clef locates F below "middle C" on the fourth line of the staff.Harmony | 2 The G clef, also known as the treble clef, locates G above “middle C” on the second line of the staff. SASCDBOEF The C clef locates “middle C" on the middle line (or, in some cases, on the fourth line) of the staff. ‘THE GRAND STAFF When two staves and the treble and bass clef are used together, the result is called the Grand Staff or Great Staff.Harmony | 3 EGER LINES ‘Small lines called Jeger lines are added to extend the staff a Notice that the notes in the spaces directly below or directly above = do not need added leger lines. £ The same applies to notes in the spaces beneath or above the leger lines To summarize, pitch placement devices used in music notation are: 1) the staff, which shows the high/low relationship between cifferent notes. 2) the clefs, which locate pitch names given to lines and spaces of the staff. 3) the leger lines, which extend the five lines of the staff for higher or lower pitches,Harmony | $l Homework numbers: 1, 2, 3Harmony | 5 A TAI The foregoing information about tne Grand Staff covers the letter names of the white keys on the Keyooard. What about the other five notes (the black keys)? : In order to maintain the integrity of the alphabet, the other five 9} represented 2s alterations of the basic seven pitches. The terms sharp and fat, Sharp = 1/2 step nioner, written as# ; flat = 1/2 written ash A"C#" ts the pitch 1/2 step above C and 1/2 step below 9, sharp sign is placed before the note for reading puraoses,Harmony | The names of tne twelve notes in ascending order are. This series of not chromatic scale $ called the chromatic scale These no! also be examined In descenaing order AS with sharps, flats are placed before the notes to wnicn they aociv Ay Ad G Eb O OD 8 Stee oe Note that there are two options for naming the five biack key plten or C#, Eb or D*, etc.) When there are two (or more) possible rer same pitch, it is said that enharmonic spelling !s being applied. oaHarmony 1 7 Once a sharo or a flat has occurred in 2 measure, there must de 2 means of canceling (neutralizing) it so the note reverts to its unaltered conaition. The symbol used for this is 2 natural ( # ). Collectively, sharps, ‘ats anc naturals are cailed accidentals within an octave (eight consecutive letter names), half-steps: i. octave ——_-_ In certain situations, it may become necessary to raise or lower 2 sitch by two half-steps. The symbols for these purposes are X for a double-sharp and pp for a double-flat. These symbols are also called acctdentais.q ; Harmony | 8 JESSE HE OEIBELIII HEHEHE HEHEHE AH nEaiEnesin IRE BE HEHEHE IIHS HI IIIT ISO I IE I Eee The rules for sharps (# ), flats (D 3, naturals (4 ), double-snarps (x double-flats (pp) are: 1. A natural cancels a sharp or flat. 2. A single sharp or flat will cancel a double-sharp or couble-f respectively. 3. One natural alone will cancel both double-sharos and doubie-flats. 4. An accidental remains in effect for the duration of the measure it 1s in, or for the duration of tied pitches, inside a measure or across the bar-line. To raise a note which has aiready been sharped, use 2 couple-sharp, to lower @ note which has already been flatted, use a coubie-f lat, 6. An accidental ONLY affects a spectfic note, in that octave, in that clef. Atl other notes of the same name are NOT affected w Homework numbers: 4, 5, 6, 7, 8Harmony 1-9 A scale is 2 series of ascending or descending notes in a stepwise pattern. This 1s achromatic scale. it uses all the notes between the F's and all the pitches move by 1/2 step. (Chromatic implies "1/2 step.") The following scale uses ali natural notes in an octave from C to C: s C major scale. The same notes can be used to begin and end at different points in the order of notes: DtoD E toe FtoF re i 3 = : 7 oom D Dorian E Phrygian - F Lydian G Mixolydian A Aeolian B LocrianAll of the aoove are scales, Dut they're not the same kind of scale, Th characteristics of the C major scale above are the 1/2 steps from the Sra to 4th degrees and from the 7th to the ist degrees. The distance becween the other notes ts a whole step (two 1/2 steps). In the otner scales snown above, the half-stens (from E to F and B to C) occur in different car’ respective scaie, This creates a coilection of related scales known modes. The modes shown above are ail relative to the C major sca‘: means that each mode starts and ends on a different note of ine scale. Cr Pog we bobo 1 Ve If this stepwise pattern Is applied starting on G, the result is 2G major scale. All major scates utilize the same steowise pattern,Harmony | iMODE NAME lonian (major) Dorian Phrygian Lydian Mixolyaian Aeolian (minor) Locrian Harmony | 2 CHARACTERISTICS SCALE 1/2 stegs between degrees 7 & 2-33 6 3-6 (Baraltel to °C" oe $ = Se a Pe =Harmony | 13 Scales may also be described by comparing them to tne parallel major or minor scale. — Thus, Dorian mode may be described a5 2 minor scale with the Sin degree raised ay s Phrygian mode may be described as a minor scale with the 2n¢ degree lowered: 7] # x = i Lydian mode may de described as a major scale with the 4th degree rats ch) 2 Z s Mixolydian mode may be described as a major scale with tne 7tn aegree lowered: Wo ed Aeolian mode (also Known as the minor scale): = Locrian mode may be described as a minor scale with the’2nd anc Sth degrees lowered: 0b) to) sHarmony ! The minor scale (Aeolian mode) is also known as “natural” minor or “pure” minor: ee The harmonic minor scale may be described as a minor scale w cegree raised: (4) att The melodic minor scale may be described as a minor scale with the 6th and 7th degrees raised in its ascending form; in its descending form the melodic minor scale reverts to pure minor: Se =e Homework numbers: 9, 10.Harmony | 18 KEY SIGNATURES Key signatures aliow us to place the required accidentals of the various scales at the beginning of apiece of music. They are placed directly to the right of the clef: The reader, before reading the music, will look at the xey signature the accidentals to be used for all the affected notes. With the acc the key signature at the beginning, the key is recognizable immes:a: if there is a lot of subsequent chromatic alteration, notice tals of iy even Refer to the homework for scales. The sequence of examples was not arbitrary (C, 6, D, A, etc.). This sequence is the result of a phenomenon which you will see throughout the study of music, it is called the cycle of Sths To be logicaily sequenced, the ouilding of key signatures follows the cycle of Stns. The placement and position of the flats in a key signature foilows the cycle down in fifths: Bb Eb Ab Db Gb Cb Fo ——— The key of Cb has 7 flats (all notes flatted),Harmony | 16 The placement and position of the sharps in a key signature follows the cycle up-in fifths: c* ce ge pt az ez ge )i == The key of C* nas 7 sharps; al! notes are sharped. in order to be immediately recognizable, key signatures must a placed consistently on the staff RIGHT WRONG = == The dest way to recognize any key is to know the number of sharps or flats used for it. Another way to recognize the key signature is ays be 1) For flat keys, the key Is represented by the flat BEFORE the last fiat: + 2) For sharp keys, the key is a half step ABOVE the last snaro: =cF 4 3) The key signature of one flat is F major. The key signature of no sharps or flats is C majorHarmony | 17 Note that there is no necessity to use leger lines for the piacement of any accidentals ina key signature. Unlike the general rules concerning the use of accidentals, key signatures affect all notes of the same name regardless of their octave. Homework number: 11d 3 4 & Coal - Harmony | 18 NTERVALS The relationship of adjacent notes in all the previous scales 1s 2 whoie-steo or half-step. As part of our vocabulary, we need 2 method to identify the relationship bétween any two notes. In order to do this, we need 2 logical means of snowing the distance, or Interval fram one note to another A simple numerical means of accomplishing this is to count each aossibie staff degree between the two notes to, find which number the top pite: represents, 123 4 8 = 8th 123 4 = 4th The intervals in a major scale between the first note and the other notes are ee Se Ss * perfect major major perfect perfect ©—mejor-=—=smajor perfect unison = 2nd 3rd ath 5th 6th 7th _ octave if a major interval is made smaller by a half-step (by lowering the tap note or raising the bottom note) the major interval becomes minor. ole = = ‘minor minor minor minor 2nd ire btn 7thHarmony 1 19 NOTE: Intervals may occur 2s melodic intervals (one note fotiowing the other), as the minor 2nd and minor 3rd in the above example, or as harmonic intervals (both notes together) as the minor 6th and minor 7th above. When a minor or perfect Interval ts made smalier by a half-steo, it secomes diminished. + e Re Oe im aim aim aim. 4th sth ath octave Notice that in ail intervallic relationships, one must first count the number of staff degrees invoived, and then qualify the relationship. Major and perfect intervals made larger by.a 1/2 step are called augmented intervals: ORS oF & Te e aug aug. aU aug. aug aug, aug akg unis. 2nd Sd ath sth eth 7th octHarmony | 20 Diminished intervals made smaller by an additional nalf-step secome double diminished: - oe ad couple Couble double dim. Sth im, 6th im. eet. Augmented intervals made larger by an additional nalf-step become double augmented: : az ye = couvie douple couble aug, Sra aug. 4th aug. 7th t is also possibile to have an interval which exceeds the octave: % This interval is called a = major 10th (or a major 3rd plus | octave). JERE HOHE BEBE CEH EEE HOHE HEBEL BEBE HONOD ED IOC Here are the basic rules and names (when examining the distance from the first note of a major scale upwards) 1) 2nas, 3rds, 6ths and 7ths are major intervals. 2) Unisons, 4ths, Sths and octaves are perfect intervals. Dd Major intervals made smaller by 1/2 step become minor 4) Major intervals made smaller by 2 half-steps become diminishes, 5) Perfect intervals made smaller by 1/2 step become giminished. 6) Perfect intervals mace smaller by 2 half-steos become double-diminished. 7) Major or perfect intervals made iarger by 1/2 step are augmented; by two half-steps they become double augmented. Homework numbers: 12, 13.Harmony | 21 IN} ial AVAL intervals describe the distance between two notes. The notes involved can appear and sound in two ways: or: ————_ SS n other woras, any interval can be turned upside-down (inverted) ——— oe When an interval is inverted, the note names involved are still tne same, and the intervailic relationship foliows a pattern, In the above example, one interval is a major 2nd; the inversion is a minor 7th. Some simpie rules for inversion of intervais follow: ang vice versa eS 4 Dn 9" minus the number of the interval equals the inversion interval: = eS Qminus 2nd) = — 7¢th) or: Sminus (th) = 2Cna) 2) Major intervals inverted become mu i SS ; Major 3ra Minor 6th fF intervals. » Minor intervals inverted become Major SS i Minor 6th Major 3rdHarmony ! Pertect Sth Per: 5) Augmented intervais ted become diminished == = sug. 4th Dim. 3ra 3} Diminished intervais inverted become ; fe aa Dim. 3rd ‘Aug. 6th 7) Double diminished intervais inverted pecome double augmentec: Double Couble Drm. tn ug. Sth - 8) Douple augmented intervals inverted become double dimin ve o ' > Doubie Oouble Aug, Sth Dim. 4th In geger to correctly produce an Inversion ot any interval, the po Must de raised one octave or the top pitch must be lowered one octave. _ inversion of a derfect unison becomes a perfect octave and vice versa =z 3 minus H(unison) = 6 (octave)Harmony | 23 The tritone interval (augmented 4th) is a special case. Unltke any other Interval, when it Is inverted, the number and qualifier change, buc it remains a tritone. Fs an augmented ath (tritone - 3 whole steas? FE ss ciminished Sth (still tritone - 3 whai Homework number: | 4,CHORD CONSTRUCT 9 TRIADS. We have looked 2t n¢ renin Salone in scale situations ang iws ao interval situat‘ons. Now, we w:'l place tires actes together te The terms usea to descrive thras note cnords will og the same as cefere major, minor, augmented, 201 diminished (*P with ontervais) Three note chords are called triads. The oasic Duiiaing oleck for-triacs 13 the intervai of a Sra, To start with, the major scale wilt oe us SS Above each note in the scale wili 32 clacec two more ditches — a 3rd above the note from the scale. the second pitch 2 2rd above ¢! pitch: Ail the pitches used to build the chords are from the key of C major They are alatonic to © major The diatonic triads in tne key of C major contain tnree of the feur sessible triagic chore structures (major, minor, and diminisned). if the interva Tic relationships within each chord are studied, these three chora types and their characterist:cs can oe seen: 1) Majer triads: chords witn intervals of 2 major Zra from the reat épottom note} to the middie note, and a verrect Sun from the root to tne top note: 2) GINGR TRIADS. chords with intervals of a minor 5rd and perfect 5: from the root respectively: Omin Emin AminHarmony | 25, 3) DIMINISHED TRIAD @ chord with an interval of a mincr Ird ana diminished Sth, respectively: 8 dim > ’ Note that in all cases, the letter name of the triad signifies the Sottom note. This note is called the root of the chord. In addition, each chord will be identified with a Roman numeral reer the scale degree of the bottom pitch: I maj 1 mim [im IV maj ¥ maj YI min VII dim | maj ae Here are some universally accepted aboreviations used for triads: C=C major triad Optionally “major” or its abbreviation “maj" may appear: i.e., C major or C maj “min” is the abbreviation for minor. Also used, though not universally, is the minus sign "~* (which will remain the choice for this course). "A minor’ will be notated in this course “A-.” Diminished is represented best by “dim” or a small circle above the triac name, ie; 8dim or 8° The diatonic triads are: Imaj limin |iimin iVmaj Vmaj Vimin Vit dim | maj OR: ' He ite Iv v WIE vitHarmony | 28 The fourth type of triad, besides major, minor and diminished, is the augmented triad, It is abbreviated either “aug” or” +." The augmented triad- has a major 3rd and an augmented Sth from the root: Fe Ay Eb+ Bb+ D+ The augmented triad is not diatonic to any major key. its usage will be discussed later. There is one more type of chord. It is a very common chord in contemsorary music, and it doesen't fit the normal pattern of stacked thirds. it is the “suspended 4th” chord. The chord symbol used is sus4. A suspendes fourth chord (sus4) is a triad in which the 4th degree replaces the 3rc degree: Gisus4) G-(sus4) SHORE SHEHEHOE To summarize; Major triads are constructed with major 3rds and perfect Stns from the root: Minor triads are constructed with minor 3rds and perfect Sths from the root: dim Diminisned-triads are constructed witn minor 3rds and diminished Sths from the root. ~ ce Augmented triads are constructed witn major 3ras == and augmented Sths from the root: oe Homework number: 15.Harmony } 27 CHORD CONSTRUCTION (CONT'D) SEVENTH CHORDS The logical extension of a diatonic triad Is the addition of another diatonic third above the fifth of the triad above the root. In triads there are only three intervallic relationsh! to 3rd, root to Sth and 3rd to Sth. With the added pitch of 7th ¢ complexity doubles. root to 3ra, Sth, 7th; 3rd to Sth, 7th, Sth to 7th chords are more complex than triads, Chords with a major 3rd, perfect Sth and major 7th from the root def! cmaj7_ Fmaj7 major 7th chord Chords with a minor 3rd, perfect Sth and minor 7th from the root define a: oe B+ minor 7th chord Acchord with a major 3rd, perfect Sth and minor 7th from tne root aeftnes 2: G7 dominant 7th ee chord = A chord with a minor 3rd, diminished Sth and minor 7th from the root defines a B-7(b5) chord 7 aHarmony ! 28 it helps to compare these seventh chords witn the triads on which they are built: The chords buiit on C and F are major triads with major 7ths: maj7 “ Fmaj7 SS The chords built on D, € and A are minor triads with minor 7ths: 0-7 E-7) A-7 The chord built on G 1s a majer triad with a minor G? == ‘The chord built on 8 is a diminished triad with a minor 7th: B-7(b5) + = 7 The chord symbols for seventh chords which will be used in this course are maj 7 = major triad w/major 7th 7 = major triad w/minor 7th -7 = minor triad w/minor 7th -7(bS) = dim. triad w/minor 7th The diatonic triads in C major are: tmaj7 II-7 IN-7 \Vmaj7 V7 Vi-7—-ViI-7(05) Cmaj7 0-7 a? Fmaj7 G7 AT B-7(b5)Harmony | 29 There are other 7th chord structures which are not diatonic to a majcr key’ oT | The +7 (augmented 7th chord) which consists of an augmented triad with 2 J Minor 7th: G+7 = 7 The °7 (diminished 7th chord) which consists of a diminished tried with a diminisned 7th C dim? Note: in the diminished 7th chord, the diminished seventh interval is sometimes written enharmonically. Cdim7 or: Ccim7 SSS The minor/major 7th chord [symbdoi: -(maj7}] which consists of a minor triad with a major 7th: c-(maj7) Notice in the chord symbol, tne “-" represents the basic chord sound (minor) wntle the “(maj7th)" indicates the 7th quality. The parenthesis is necessary to keep minor and major from being confused,Harmony 1 30 The major 6th chord and the -6 (minor 6th) chord which consist of a major or minor triad respectively and an “added” 6th degree. The dominant 7(sus4) chord which consists of a suspended 4th triad with a minor 7th; G7(sus4) G-7(sus4) Homework number: 16.Harmony | 31 - SION OF RDS The basic rule for inverting triads is the same as that for intervals: bring che dottom pitch up an octave. There are as many positions of inversion for a triad as there are notes in the chord (i.e. three in a triad), eH SS if the root is positioned on the bottom (where it would normally be for naming purposes) the chord is in root position: c ———=— The first inversion is accomplished by bringing the root up an octave: eS The second inversion is accomplished by bringing the root and the 3rd uo an octave: One more inversion would oring the chord back to root position. Notice that there are three possible choices for the top note of any triad3 - Harmony | 32 Since seventh chords contain four notes, there are four positions of i possibie: 1 Root position: Cmaj7 2 {st inversion with the root on top and the 3rd on the bottom — o 2nd inversion with the reot and 3ra brought to the top anc = on the bottom: 4 3rd Inversion with the root, 3rd and Sth brougnt to the too anc 7th on the bottom: o 7 Homework numbers: 17, 18, 19, 20. 4Harmony | 35 TENSIONS. Consideration is now given to further extensions of the 7th chord: C maj? i Z wo hords larger than 7ths exceed an octave and create intervallic re which are much more tense than the simple octave-or-less intervals of & and 7ths. No matter what the inversicn is, all the intervals in a triad or 7th chore less than an actave in size rad: Plus added 7th: Extend a 7th chord in rds as far as possible without repeating pitches: * 1 3.8 #7 8 it 13 There are now 2! intervals in this chord! A 7th chord in root position Aas 6, a triad 3. The number of intervals has more that tripled from those of the 7th chord, while the 7th chord has only twice as many as the triad. In adgition to the intervals which are less than one octave, there are now compound intervals (the 9, [1th and 13th). Some facts about these extended 7ths chords should be recognized: I. The added pitches are not chard tones of the 7th chords; 2. They create tense intervallic relationships with the chord tones.Harmony | 34 Because of this tense relationship with the chord tones of the 7tn chord these extensions are called tensions. |, 3,5 and 7 are the chord tones, 9, 11 and 13 form the basis for the chord's possible tensions. Here is aC maj7 chord with its possible tensions: 2 _— a = = The 9th (D) is a major Sth above the root; the 11th (F) is a minor Sth above the 3rd; the 13th (A) is a major 9th above the Stn. The tensions whicn sound dest will be those a major 9th above a chord tone. (A minor Sth interval is .. | extremely harsh sounding.) in the following examples all tensions are those 2 - major 3th above the chord tones Note that the “F" has been sherged in order to create the majar 9th Interval, maj 9th maj 9th maj. 9th The 13th (A) 1s a major Sth above the Stn; *11 (F*) 1s a major 9tn above the 3rd; 9 (D) is a major 9th above the root. Notice that tension 711 is not identified as “augmented | 1.7 Tensions are labeled as follows: The chart of available tensions for all chord changes is on the following page. Most of the avatlabie tensions are those which are a major 9th above @ chord tone. Any available tensions that are not a major 9th above 2 chord tone are listed separately as exceptions. Maj7 1s included In the list ag a special tension situation available on cat chord structures, :Harmony | 3S AVAILABLE TENSIONS, [EXCEPTIONS TO THE AVAILABLE SEN RATOMREEE AJ STH ABOVE A cuoan TENSIONS THEN feoRD" Tone RULE maj (triad) | ran Cri 3 | waren | at rs) ‘All available tensions must be a maj th above each chord tone dim (triad) | and diatonic to the key. a) susé (triad) | 11 (as chord tone) | 9 I maj7 ‘maj? (aa chord tone) min (maj 7) 9.14, 13 T pet walle neat min 7 " 9 [in Dorian mode context. min 7(b5) 11, 13 9 | 7 7 dom 7 911, 13 iis sceceteibeed : cen Teoma) | gas Gara ie Trey easy: 38790183 T aug 7 9,411 (or 05) ‘Al available tensions must be a maj 9th above each chord tone 2nd dlatonic to the key. Note t bS is a special tension situation involving an aiteration of the Sth. Note 2 - The avatlable tensions on dim 7th chords are not numbered 9, 11, 13, etc. Unlike other 7th chords, a major or minor 9th above each chord tone results in four possible tensions, not three. The numbering system to 13 will not work here. Soecific available tensions for dim 7ths will be shown’ when the chords are snown in context.y | Harmony | 36 JES HERE OBE SHO HERE E EBS HOBBIES EHS HASHES Jed SHE SHE HEHE HERS RHHEE HHS IHEHEO RSE BREHELEHHTHEHEHHHEEHEEE Summary of Available Tensions Tension: Avallapie on: maj 7 maj7; ~(maj7); majé; -6 9 All chords (when diatonic to the key) D9 ana/or #9 dom7; rarely, dom7(sus4) 1 all forms of minor chords; as a chord tone on dom7(sus4) =n maj? and majé when diatonic to key; dom?; +7 blz -7b5); dom7 13 ma}?; -(maj7); dom 7; dom7(sus4) Chord symbols used to show tensions fall into two categories: 1) The listing of tensions which are not diatonic; > 2) The optional “courtesy” listing of tensions which are ctatonic. Cy Tensions which would not normally be available MUST be included in the cnord symbol: 7 Cmaj711) = C maj? inc major implies only 9 and 13 availability. C maj7(#11) would indicate use of a non-diatonic tension Homework numbers: 21, 22.Harmony t DIATONIC HARMONY Ant tonic chord may pr: an. ri control factor is the relationship between the roots of the called root motion and falls into three categories: 1) The strongest diatonic root motion is movement down in Sths (the cycle of Sths). Imaj?_{Vmaj?_ Vii-7(bS) 111-7 maj? Cmaj7?_ F*-7(bS) 8-7 The tensions available are determined by the function of the chord in th the t: key, sions that aré diatonic to the key and the tensions that are a major 9th Imaj? IVmaj7_ Vil-7(D5) I-7 VI (2) 13 CH) (4) (YG) ( 9) (an u 99 ( 9 ) 4 V7 to lis the strongest diatonic roat motion in the key, therefore it 2 special analysis symool ara =] The arrow will always be used to show dominant resolution down a perfect fifth i } Root motion down a diatonic 4th ts also strong although not as st 1 ow? 7 We ite vii 7708) wv G o7 As7?__E- 8- F#-7(b5} ¢Harmony t 38 3) Stepwise root motion is a little more subtie than root motion of 4ths and Sths. tole tile iv bY Msus4) Vie Y7 G ABC GC d7sus4) €- 07 esi F i = + ee 4 — ——= a rey Ho 4) The other diatonic root motion is down or up in thirds. Movement down is more common than movement up. Vie IN He TW He IY Vie ¥fsus4) GE Ce 6 B- A- C E- Ofsus4), in reviewing all of the previous examples, take note that they are repeated. If an ending point 1s sought, the best final chord will be the ! chord. The 1 chord may be followed by any other chord because it represents a point of harmonic arrivalHarmony | 39 Vz The V7(sus4) chord is usually built on the dominant degree of the key: D7(sus4) SS = +2 a & The strength of dominant resolution lies in the root motion of a perfect Sth down. Since the V7(sus4) does not contain a tritone, its diatonic function is dependent on context: Imaj?_ [Vmaj? V7(sus4)-N6 —V7(sus4) V7 Gmaj7_Cmaj7_D7(sus4) G6 _O7(sus4) 07 Another observation concerning the V7(sus4) chord can be seen if the structure is categorized as having a subdominant upper structure (since the tritone is not present), The chords sound subdominant but the root is dominant, We] Wing?/ Laat, / Sof key AT maj? o tess D bass The above two chords each contain a subdominant sounding upper structure and the dominant degree of the key as their root.Harmony | 40 These chords are common In contemoprary tunes: Hi \V maj? Sof key Jacteey ‘s(ace3) c tmay? 7 2009) a? "7 dass 7/0 bass ES \I-7 over 5 of the key and |Vmaj? over 5 of tne key are both subtle versions of V7(sus4) and should be analyzed as such: Vilsys4) 1 (VVIGsus4) <1 a? / Dass Siaea9) a === SSS The Ii (11-7) over S of the key and the IV (|¥maj7) over 5 of the key can be seen as chord.structures derived from the extended structure of the V7(sus4): 2008) a a ¢ cmaj?y — D7sus4), 11.13 % o ° 7DIATONIC REHABMONIZAT!ON Diatonic chaccs have names bas: scale. The | che: ec tonic, cailec subdominant the location of their roots within the he Vcnord 1s dominant, tae IV choy AU ciatonic chords can be categorized as sounding in ane of categories: 4 (tried) ute ve Tonic: imaj7 SUT fie ¥ (triad) Subdominant: vmey7 Y oe ie) stom Dominant: Vit-7(bS) = =; | i barmony ee as r (Bp @ @ @Q “4 @ a (2) wo J 1 W6 ¥70sus4) 7S ¥itsuse) 47 3 05 D7fsus¢) 3 OMsus4} 07 By substituting otner chords from the same Tunctional sound ca possible to reharmonize the above exampie. The end result w chord progression wnich sounds similar te DV _Veminant -20t wntn onic GO) =SuBDoMitianT CD) = Damian ( S% j = suadominert oper structure 2 original ®® @@ We? VE? 7 vie in comparing these two progressions, some important facts must be consicerec: the root mctions are not the same, though the melodies are; the melody anc renarmonization choices must be compataple; the original resolutions of the two dominant cho-ds are no longer cown a perfect fifth (the normal expected resolution for V7 or Vi(gus4) is cown a perfect fifth to the | chord),& & Harmony [ vio Vitsus4) Vie? V7lsus4), te? “a 07 0 7Isusa) o7susa) Notice that the analysis symbols for the “deceptive” resolutions of V7 or Vi-7 are different from those for the resolution of V7 to | motion is not down a perfect fifth, so there is no arrow, The analysis symbol is: V7/l. V7/I means V7 of 1, V7 Is expected to progress to |, but resolves deceptively (deceptive resolution) to another tonic chord. *~Harmony | 44 CADENCE The term cadence means melodic and/or harmonic movement to a point of rest. That point of rest is the cadence. Dominant cadence: 2 2 & 2 © 2 9 1 & VIF VIL: VIN * aes? D7 Gmaj7 BMT Ebmaj7 = F=7_— Bmaj7 Subdominant cadence: oe ©G@O O@ © O® © O8 © Flow | Bel W oF Gtow Poi OW l Bp oF 8b tb 8b cr c Foe OF A subdominant to dominant to tonic progression is considered a full cadence since ail the functional sound groups of the key are represented: IV to V to I Is the traditional full cadence.Harmony | 45 ‘Other cadential variations are possible: 7 IV to Visus4) to | is subtle since there is no tritone involved: WW ¥(sus4) 1 C — O(sus4) 6 !V to IV/dominant root to | is even more subtle because the moticn ‘rom tne += subdominant to dominant only involves root motion from IV to ¥ of che xey: IV visus4) 1 The II-7 to V7 to | cadence is very strong since all the root moticn is cown in perfect Sths, This particular variation of the full cadence is so strong that some styles of contemporary music rely on it almost exclusively 6 ie? VIN maz FT V7 Ima7 i Ae? 07 maj? 6-7. C7 Fai? 8b: te? V7 Sima i7 6 Ik? V7 ——>s maj? 767 Bomaj7 AT 07 ‘Gmaj7 SSHeemony | 46NAME HARMONY | HOMEWORK 27 HOMEWORK + 1) identify, by pitcn name, all the following pitches. —- —_ satay S ZFsre 7 Fare 2) Notate the melody in ex.i, above, in the bass clef. Us when necessary Both examples should sound exactly the o1ano 3) Identify, by pitch name, all the following notes in two of the C clefs NoteHARMONY THOMENORK 38 00 i iAbe eee ee eee eee eee HARMONY | HOMEWORK, Write this short melody: |. One octave BELOW: 2. Two octaves BELOW: | 7 One octave ABOVE: ————————— | < Two octaves ABOVE:ut NAME. = HARMONY 1 HOMEWORK SO 5) Notate chromatic motion between the given pitches. Observe the rules governing accicentals, 6) Rewrite the previous example 1/2 STEP HIGHER.war 7) identify by name all the pitches, the chore on the agprogriate key of the Keyboard below. The 15 completed. HARMONY | HOME’ Then, place the number for all= NAME 3) Comolete the following enharmonic pitch chart: Natural Sharp Flat Double-sharo Daudi Natation: Notation: Notation: Notation: Notati Tat t ‘Casa INAME HARMONY | HOMEWORK 53 $) Compiete the following chart of majcr and minsr steps. Do not use ennarmenic spefling. Oc net mix Number of shergs or flats necessary for MALIOR SCALE eaMEWORK 32 ONY | HO MAJOR SCALE NATURAL MINCR, Number of sharps or iI ttt HARMONY | HOMEWORK SS MAVOR SCALE: RELATED NATURAL MINOR: Number of sherps or flats: G minorEr HARMONY i HOMEWORK 56 10) Identify the following MODES: F DortanNAME. HARMONY | HOMEWORK 11) Write the key signatures for the following keys and identify the missing tonality: & major —major D major Bb mater — minor D_minor — minor — minor 2 Fi =z — major € major —major — major “i F= minor — minor C= minor F minor — major © major major Cb major A minor — minor A minor — minor 7 — major Gb major — major major O minor minor 6 minor 30 minor 5 : 2 7e HARTIONY | HOMEWORK 3¢Re HARMONY | HOMEWORK: 2) Complete the following chart of intervals from the key 9! highest pitch diatonic, Use the appropriate accidentals, Diatonic Diatonte interval Diatonie interval interval recuvea by 1/2 step: min 2nd aim 2nd may 2nd oo i 1 i cc | : i i ] fo — |HARMONY | HCMEWCRK 30. Diatonie Dietonic interval interval reduced by 1/2 step —,; Ee 7 ; 1 !NAME ee HARMONY | HOMEWORK 61 Diatonic Dietonic intervat Diatonic interval intervai: reduced by ‘nereesed by 1/2 step: 1/2 step:NAME, HARMONY | OMEWORK 62 13) Rewrite this melody: 1) Amajor 2nd higher: v7 2) Amajor 6th nigner: ——= 3) A major Sth lower (in bass clef}: 4) A major 13th lower: 5) Aminor 3rd lower: . ey 8) Acerfect ath nigner:RAN HARMONY | HOMEWORK 63 14) Complete the following chart of intervals and their inversions ciatoni¢ to the key of G. Label the intervals: Diatonic Inversion of Diatonic Inversion ot Interval: diatonic interval: interval: ciatonie interval min 2nd maj 7th == Se Sorte et SS ES(Ex. 14 continued:) Dietonte interval Inversion of anatonie intervalNAME. SARMOMY ! HOMEWORK In SCOT Pa 4S) Construct the ind! enharmonic spell Bo- Boe Eddim Bb(sus4) Eb ee AD AD- Abeug AD dim AD(sus4) Do- Doaug Comm dd Gb- Gdaug Ghdim Go(sus¢) Cb ope Cheug Cddim Ci susa Fe Fe. FH aug Fe dim FE(sus4) 8 B- Bag a == A 7 g & fag Ecim E(susd) A A- Agu Adin (suse) D- Day ddim D(sus4) 6 Gauy Gaim Glsus4) eeHARMONY | HOMEWCRK 86NAP ERC EE Eee ee eee eee eee 16) Construct the indicated SEVENTH HARMONY | HOMEWCRK RDS in root position: 8b aug 7 €b may7 Eb-(mal7) eb6 Bd7(sus4) soa? £b-5 e0-7PP lta oeslalsalestalie HARMONY | HOMEWORK E2 7005) Eb? Eb aug 7 ED? sus4) eb aim? AD maj? Ap-(maj7) ab6 A0-8 AD-7 Ab-7(b5) AD? ab aug? Ab? ( sus4) a = Db maj? Db=(maj7) Deé Db-6 Db-7 SS Do-7(b5) Db? Db aug? Db?(sus4) Docim? SSS = Gb maj? Gb-( maj?) Gb6 Gb-6 0-7 Gb-7( 05), 607 Gb aug? b7( sus) Gb aim?(tt \t E>E>E>~—_— SSS = €-7(D5) A aug? O-(maj7) A-7(b5) D aug? Gmaj7 \NAPE HARMONY | HOMEWCRK 7S {] 21) All the melody pitches below are available tensions. Incicate the tension number for each note: = omg? $ may? 7 FP? A-7 07 aT a-7 o7 G ma™ 1 ———t = TF ob may? may? ab maj? 6 mal? C#=7(05) C-(maj7) 8-7 8071 A 7 4 HARMONY | HOMEWORK 76 Realize chord symbols for this plano part. Place in parenthesis, tensions being used. All choras are in root position.HARMONY 2 by Barrie Nettles Berklee COLLEGE OF MUSICCopyright @)1987 Berklee College of Music. All rights reserved. 1HARMONY 2 . ECONDARY DOMINANTS, The strongest characteristic of dominant resolution is root motion down 2 perfect fifth, The “primary dom inant” in the key of C is 67. Gece : The “secondary dominants” in the key of C ai 7 v1 te? Au u-7 “WW lvmaj? AT “D-7 B7~ TE? 77 *Fmaj7 . A dominant chord's resolution may be to ANY quality of chord a perfect fifth lower except a diminished 7th chore: 67*cmajz7_ G7 SC-7_— G7 7-7-7005) 44 A leis ide Harmony 2 2 The chord of resolution could therefore be any diatonic chord in a major or minor key when a diatonic chord), an arrow is used to show ‘ondary dominant resolves 2s expected (down a perfect f e resolution. The analysis of a secondary dominant will reflect its expected ciatonic chord of resolution: 8b Ab: G: vz, vz, Vv Al 1-7 A I=? a !vmaj7 677 C-7 67 “C-7 677 maj? = ft az F: eb: Vy w7 Wave? 677 C7 er C7 As with the analysis V7/I (V7 of 1), the diagonal stash means “of”. (V7/II = V7 of 11.3 Aiso note that it is not necessary to indicate the quality of the chord of resolution in the analysis symbolHarmony 2. 3 All secondary dominants have certain common characteristics. 1} They are non-diatonic structures. (At least one of thetr chord tones is NOT in the key.) 2) They are expected to resoive to a diatonic cnord a cerfect fifth pelow. 3) They are all built upon a diatontc root, This last characteristic (a diatonic root) ts the reason for V7/Vi! ina major key being omitted from the category. The root a perfect fifth above 7 VIi-7b5) ts not diatonic, haHarmony 2 4 AVAILAE ONS - St JARY DOMINANT: : Tensions on secondary dominant chords will reflect the diatonic function of 7 the chord: c Wy 1) The tension pg 15 available on dominant chords if it is diatonic, | or if it is indicated in the chord symbol. , 2) Tension b13 1s available on dominant chords if it is diatonic. 3) Tensions b9 and #9 may coexist on the same dominant chord if either one (or both) is diatonic, A FEE SOE IIB III III SASSI III IOI III I A I HART OF AVAILABLE TENSIONS FOR SECONDARY DOMINANTS: Available Optionat Available Chore: Tensions: Tensions: 3 v7it 9, D135 9 (diatonic) and bo* V7sill b9, 1S #9 vay 3,13 v7iv 9,13 9 (diatonic) and bo* V7IVI b9, BIS *9 *Since 9 and *9 are both diatonic to these chords, either may be available to the chord, but not together. if *9 is available, b9 may aiso be used.Harmony 2 5 HARMONIC RHYTHM The number of beats per chord within @ progression is called "harmonic rhythm’. in 4/4 time, the most common harmonic rhythms are 2, 4, and 8 beats: Harmonic rhythm of 2 beats per chord G wi F Gxsus4) CAM F G7(sus4) - Harmonic rhythm of 4 beats per chord: ce AT 0-7 G? Harmonic rhythm of 8 beats per chord 0-7 co E-7 AT In 3/4, the most common harmonic rhythms are 3 or 6 beats: maj? Fmaj7 E-7 AT? 0-7 67 Cmaj7_ G7(sus4) eeHarmony 2 6 Chords in a progression will receive strong or weak stress, depending upon their placement. This relative strength or stress will often determine the chord’s function in any grouging of four pulsations, the first pulse Is the strongest the last pulse is the weakest; the second pulse is weak; the third pulse is strong. — S$ Ws w S Ws WS etc, (S = very strong; s= strong; W = weak; w = very weak.) This stress pattern holds true for harmonic rhythms of: 2 beats per chore: Cc AF GHsus4) CAN F G7(sus4) Ss Ww sow Ss ow s ow 4 beats per chord: cé Az 0-7 o7 = = a s Ww 8 w 8 beats per chord: 0-7 s7 E-7 AT A = ; =] $ WwW s w 3 or 6 beats per chora: maj? Fmaj? E-7 AT 0-7 G7 Cmaj7 G2sus4)Harmony 2 7 Cadences most often occur from a weak beat to a stronger Deat: Since the V7 chord is the primary cadence chord of the key, it is typically found on a weak stress point: WIV, WET VI? U7 V7 16 A-7_07 B-7_E-7_A-7_ D777 766 Ss W-+s w Ss W—s w Tonic chords are.therefore usually found at stronger stress points. This characteristic of dominant resolution from weak stress to stronger stress is also found when secondary dominants are present: V} Vv imayz rer viv? Wy v7 Cmaj7 B77 *E-7 EPA aaIcs @—s @——+s W—s O— v: iy ivmaj7 v7 16 C7 Fmaj? A 6776 za == = 4 —s @—-s @-—-+s W—+ w Thus, in addition to the other characteristics pertaining to secondary dominants must be added the observation that they are usually placed on a weak deatid Harmony 2 8 Dominant chords which are on strong stress points will NOT sound as secondary dominants. The typical location for these chords is either the beginning of 2 phrase or the beginning of the second half of a phrase Imaj7 Me? Fmaj7 Ac? = = s w Imaj? ¢7_—F maj? Such chords are “extended dominants* and have an expectation to resolve down a perfect fifth to another extended dominant or any diatonic chord. O7~G7 C77 Once the extended dominant pattern starts, there is an expectation for it to continue, and eventually end with 2 diatonic resolution: imaj7 Therefore, extended dominants have one of two characteristics different than secondary dominants. 1) Extended cominants are either found on a strong stress or; 2) they are continuations of an extended dominant pattern which starts with an extended dominant.