Harmony theory

Jazz,blues,popular ( Basic , ,
advance)
harmony
, harmony, improvisation solo

Ex

, harmony ,
Triad Chord 4
 Negative Harmony 1

Negative Harmony ?
Negative Harmony Ernst Levy A Theory
of Harmony
Jacob Collier Jacob Collier
(Musical Prodigy) C/G Axis C ( Axis C
Perfect 5th ) G7 Negative G7 = Fm6 (
Dm7b5) Negative Scale C Ionian G Phrygian
Chord Sequence VI-II-V-I C A7 D7 G7 C Ebm6 Bbm6
Fm6 C
(1:30)
https://www.youtube.com/watch?v=DnBr070vcNE&t=193s
G7 C Major 5 - 7- 2 - 4
(Downward) G Phrygian
5 G Phrygian C
7 G Phrygian Ab
2 G Phrygian F
4 G Phrygian D
C Ab F D = Fm6

Cycle of Fifths Negative Harmony
C-G Axis Axis C G F
D

Negative G7 () 2
G B D F --> C Ab F D
Chord Sequence VI-II-V-I C
-A7 = Bb Gb Eb C = Ebm6
-D7 = F Db Bb G = Bbm6
-G7 = C Ab F D = Fm6
. "Mirror Harmony" 555+
^^

" "
 Negative Harmony ( )

Negative Harmony ( )
Negative Harmony
Chord Scale Chord Quality Negative Chord
Chord Scale C
Major
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5

-Cmaj7 = C E G B --> G Eb C Ab = Abmaj7
-Dm7 = D F A C --> F D Bb G = Gm7
-Em7 = E G B D --> Eb C Ab F = Fm7
-Fmaj7 = F A C E --> D Bb G Eb = Ebmaj7
-G7 = G B D F --> C Ab F D = Dm7b5 Fm6
-Am7 = A C E G --> Bb G Eb C = Cm7
-Bm7b5 = B D F A --> Ab F D Bb = Bb7
Transform Negative Chord V7
Dominant 7th m7b5 m6 VIIm7b5 Dominant 7th
Negative Chord General Terms
Imaj7 --> bVImaj7
IIm7 --> Vm7
IIIm7 --> IVm7
IVmaj7 --> bIIImaj7
V7 --> IIm7b5 IVm6
VIm7 --> Im7
VIIm7b5 --> bVII7
:

Inbox Cycle of Fifths 5th

???
Chromatic 12
b7(Bb) 6th(A) C ()
12 Reflection Line 6
E Eb Negative (C-G) ^^

7th Chord Root Form

Dominant7 Drop3
 Bi-Tonal Arpeggio
Bi-Tonal Arpeggio ? Bi 2
Bi-Tonal Arpeggio Ideas 2 Arpeggio Bi-Tonality
Chordal Sound Lower Arpeggio Dominant
Higher Arpeggio Major
G7 Arpeggio + A Major Arpeggio = G13b5
G7 = G, B, D, F 1, 3, 5, b7
A = A, C#, E 9, b5, 13

()

G7 + E = G13b9
G7 + Db = G7b5b9
Artful Arpeggio Don
Mock

Creativeness Line ^_^

Chord Embellishments
 Chord Embellishments
Chord Embellishments
Harmony
6
1. Maj7
2. m7
3. Dom7
4. m7b5
5. dim7
6. m(maj7)
Common Substitutions
1. Maj7: 6, 6/9, add9 ( #11 Occasional Extension Lydian
Sound)
2. m7: m9, m11
3. Dom7: 9, 13 ( 5th 9th Altered) Dim7 on 3rd
4. m7b5: None ( 11th )
5. Dim7: None
6. m(maj7): m6, m6/9, m(add9)
6th maj7 Melody Note Chord Root (
555+)
m7b5 vii Major Key Dim7
( Minor Key) m7b5 ii Minor Key

"Secondary" Function

V / vii
ii ( ) G7 Resolve
C Cm G7 Dm7 ( C)
Dm7b5 ( Cm V V7b9) Bdim7
C Cm ?
 "Tritone" Subs Dom7
Half-Step Up Db7 ( G7) C Cm (
Minor Key )
( Tritone Subs Link Altered Dom7s
Altered V7 bII Tritone Sub
Bass Note G7#5#9 = Db13#11 Resolve
C Cm Dom7 Version Work )
(Back Door Progression)
Dom7 Whole Step Below Bb7 Cmaj7
( )
Dm7-G7-Cmaj7
(Replaced)
D7-G7-Cmaj7 ( Secondary Dominant G7)
Dm7-Db7-Cmaj7 ( Tritone Sub G7)
Abm7-Db7-Cmaj7 (Tritone Sub Dm7-G7)
Dm7-Bdim7-Cmaj7 ( vii Cm, Dim7 Sub G7)
Dm7b5-G7b9-Cmaj7 (ii-V C minor)
Fm7-Bb7-Cmaj7 ( "Backdoor" Progression bVII (ii-V)
Fm7 C Minor )
Extensions Fancy Alterations G7
C6 Cmaj7
. Harmony 555+

Arpeggio Substitution
Arpeggio Substitution
Arpeggio Substitution
Chord Tone
Am7 Scale Choice A Dorian
One-Chord Vamp Arpeggio
Substitution
 Take Notes A Dorian ( A B C D E F# G) A A C E G Am7
Arpeggio B B D F# A, Bm7 Arpeggio Scale Degree
^_^
A : A C E G (Am7 Arpeggio)
B : B D F# A (Bm7 Arpeggio)
C : C E G B (Cmaj7 Arpeggio)
D : D F# A C (D7 Arpeggio)
E : E G B D (Em7 Arpeggio)
F#: F# A C E (F#m7b5 Arpeggio)
G : G B D F# (Gmaj7 Arpeggio)
Arpeggio Am7 Harmonic Results

Am7 Arpeggio Am7 = Am7

Bm7 Arpeggio Am7 = Am13(no 7)
Cmaj7 Arpeggio Am7 = Am9
D7 Arpeggio Am7 = Am11(no7)
Em7 Arpeggio Am7 = Am11
F#m7b Arpeggio Am7 = Am6
Gmaj7 Arpeggio Am7 = Am13
Cmaj7 Arpeggio Am7 Am9 F#m7b5
Arpeggio Am6 Mix Together Different Arpeggios
Chromatic Notes Embellishments Techniques
^_^

Family chords
 Tone
 1. SEQ = Sequence Melody
Melody Scale Steps 3 Step 4
Step 3 ( 3 ) IMIT Imitative

2. ACT = Altered Chord Tones b5,#5 b9,#9 #9
b9

The Dominant Bebop Scale

G Mixolydian (reversed)
G Bebop
G F E D C B A
G Gb F E D C B A

Bebop Scale Lines and Phrases

 Trione Substitution ii-7
-*-
Substitution Chords Tritone Substitution ii-7

G7 | Cmaj7
Tritone Substitution V7 Db7 | Cmaj7 Progressions Chords
V7(tritone) | Imaj7 Db7 V7 ii-7 ii-7 Ab-7
Progressions Chords Ab-7 Db7 | Cmaj7
bvi-7 bIV7 | Imaj7
Major Mode - Chord Chart
 1. CD = Chromatic Descent Chromatic (D, Db, C) 2 3

2. LT = Leading Tone Melodic Tone ( Guide Tones
Root) ( E#=F Slide F# Melodic
Tone 7th Gmaj7)

The Minor Bebop Scale

Advantages of the Minor Bebop Scale Minor Bebop Scale Fingerings
D Dorian Scale (reversed) D C B A G F E
1 b7 6 5 4 b3 2
D Minor Bebop (reversed) D C# C B A G F E
1 7 b7 6 5 4 b3 2
Minor Bebop Scale Lines and Phrases
 So What/Impressions

So What/Impressions
"So What" / "Impressions"
Harmonic Complexities Giant Steps Countdown 2
Form 555+
Basic 32-Bar AABA Form :
||: Dm7 (Dorian) :|| 8 (Repeated)
| Ebm7 (Dorian) || 8
| Dm7 (Dorian) || 8
Beginning Improvisers
2 Real "Changes"
"Dorian" Runs
Section Bridge Modulation 3 A Sections Dm7
24 Bars Ebm7
"Chordal Thinking" Internal
Harmonic Movement Section Extra
Chords Form
Basic Minor Cadences Break Down 8 Section
Segments :
Ex.1:
| Dm7 | Em7b5 A7 | Dm7 | Em7b5 A7 |
| Dm7 | Em7b5 A7 | Dm7 | (A+7) ||
(Note: A Section B Section (Ebm7) Transpose
Half-Step Optional A+7
Sections A1 A3 Section A2 Bridge)
"Modally" Superimposed Harmony
Generally Work Against Dm7 Chordal Accompanist
 Substitutions
Substitutions "Added Movement"
D Dorian II C Major Superimpose Diatonic
:
CM7 Dm7 Em7 FMaj7 G7 Am7 Bm7b5 ( Seventh Chords)
C Dm Em F G Am Bdim ( Triads)
( D Dorian Scale)

Chord Sequence Logical Root Movement
2-5 Diatonic Chords Alternate Chords
Ex.2:
| Dm7 | Em7 | Dm7 | Em7 |
| Dm7 | Em7 | Dm7 | (A+7) ||
Ex.3:
| Dm7 | Em7 | FMaj7 | Em7 |
| Dm7 | Em7 | Dm7 | (A+7) ||
Ex.4:
| Dm7 | Em7 | Dm7 | CMaj7 |
| Dm7 | Em7 | Dm7 | (A+7) ||
Ex.5:
| Dm7 | G7 | Dm7 | G7 |
| Dm7 | G7 | Dm7 | (A+7) ||
Original Harmony Variation
"Full House" Wes Montgomery
Ex.6:
| Dm7 | G7(13) | Dm7 | G7(13) |
| Dm7 | G7(13) | 1. Bb7(13) | A+7 ||
| 2. Bb7(13) A+7 | Dm7 ||
Dm7 Alternate Chords
Map Out Sections Never-Ending Dm7 Vamp
Spelling Out Diatonic Chords Dm7 Extensions
Em7/D = Dm7(9, 11,13) G7/D= Dm7(11, 13)
^_^

4 Tonic System of Substitution

4 Tonic System of Substitution?
4 Tonic System of Substitution ... (
) Lecture Slonimsky's Symmetrical Scales-Diminished,
Wholetone. V7/iii SFD ( Special Function of
Dominant Chord ) Secondary Dominant
... 555+

SFD Dominants
Dominant Seventh Resolve 5th Half Step Resolve
Strong Resolutions Imaj7
Related 4 Tonic System of Substitution

Diminished Substitution Axis (G Bb Db E)

(1) D-7 G7 Basic Diatonic
(2) F-7 Bb7 Minor Subdominant/Backdoor Progression
(3) Ab-7 Db7 Tritone Substitution
(4) B-7 E7 Relative Minor
Bm7(b5) E7(b9) Resolve C A-7 C6
B-7 E7 Tritone Substitution F-7 Bb7 C Major
Minor Third Away etc.
(1) (3) Funtion Dominant (2)
(4) Special Function SFD ( ?)
Clear & Distinct
.

Substitutios MAP
 Drop2 Bass 4th String : Maj7

Dominant7 Drop3

Outside

Outside
1. (Conviction)
2. (Logic)
(Followed) Harmonic Thinking

3. Outside Inside - Outside - Inside
Inside Outside Inside
Tension & Release
: Outside Sequencing, Fourths, Triads,
Altered Cadences, Chord Substitutions, "Coltrane Changes", Mode substitution Half-Step Up
Side-Slipping

Modes Of The Melodic Minor Scale

1) A Melodic Minor min/maj chords
Note A B C D E F# G#
Scale Formula 1 2 b3 4 5 #6 #7

2) A Dorian b2 b9sus4 chords

Notes A Bb C D E F# G
Scale Formula 1 b2 b3 4 5 6 b7
3) A Lydian #5 Lydian augmented scale maj7#5 chords
Notes A B C# D# E# F# G#
Scale Formula 1 2 3 #4 #5 6 7

4) A Lydian Dominant Lydian b7, on 7(#11) chords

Notes A B C# D# E F# G
Scale Formula 1 2 3 #4 5 6 b7

5) A Mixolydian b6 Mixolydian b13 scale dom7b13 chords

Notes A B C# D E F G
Scale Formula 1 2 3 4 5 b6 b7

6) A Aeolian b5 Locrian #2 scale

Notes A B C D Eb F G
Scale Formula 1 2 b3 4 b5 b6 b7
7) A Altered Scale Super Locrian scale, Locrian b4 scale,
Diminished Wholetone
Notes A Bb C Db Eb F G
Scale Formula 1 b2 b3 b4 b5 b6 b7

Scale modes
 Multi-Use Licks

Multi-Use Licks
The Masters
Limitations Limitations
Individual Voice ( Repetitions Sonny Rollins )
Idea
Lick (Modify) 1-2-3
ii-V Progression ()
 Chord Voicings

Chord Voicings
Chord Voicings
Jazz Piano Chord Voicings
.1-4 13
Jazz Piano Voicings

C Root 12
Basic Major, Minor, Dominant, Diminished, Half-Diminished
Voicings Two-Hand Comp Voicings (2 ) Left-Hand Voicings()
Piano Solos Voicings Beginning Sound
 Block Chords (Too Complicated)
Mehegan Voicings A & B Forms
Transpose 12

Inversion Chord

Cm7 Drop3

Blues 3 Jazz Blues

Blues 3 Jazz Blues

 Basic 3-Chord Blues
Jazz Blues Progression
1. Basic 3-Chord Blues:
| F7 | % | % | % |
| Bb7 | % | F7 | % |

| C7 | Bb7 | F7 | % ||
Form 12-Bar Blues
| F7 | Bb7 | F7 |% |
| Bb7 | % | F7 |% |
| C7 | Bb7 | F7 | (C7) ||
Variation I IV 2 ( I 3)
Mood I 4 Quick Change

3. II-V7 Line 3:
| F7 | Bb7 | F7 | % |
| Bb7 | % | F7 | % |
| Gm7 | C7 | F7 | C7 ||
*** Line : II-V7 "Jazz Territory"

4. VI7:
| F7 | Bb7 | F7 | F7 |
| Bb7 | % | F7 | D7 |
| Gm7 | C7 | F7 | (C7) ||
D7 Gm7 Functions V7/II
5. Diminished Chord(s):
| F7 | Bb7 (Bdim7 | F7 | F7 |
| Bb7 | Bdim7 | F7 | D7 |
| Gm7 | C7 | F7 | C7 ||
Bb7 Bdim7 Root 2 3rd (D),
5th (F), 7th (Ab) Bdim7 = Bb7(b9) Bdim7 6
2

6. II-V7 :
| F7 | Bb7 (Bdim7) | F7 | Cm7 F7 |
| Bb7 | Bdim7 | F7 | Am7(b5) D7 |
| Gm7 | C7 | Am7 D7 | Gm7 C7 ||

II Dominants D7 (VI7) 8 11
Turnaround (I-VI-II-V) :
| F7 D7 | Gm7 C7 ||
Jazz Blues Variations Substitutions
Progression Jazz Situation

Functional Harmony

Functional Harmony Relative Strength Root Progression

Basic Harmony

Functional Harmony 3 Basic Sound Groups
Tonic
Subdominant
Dominant
C Major
Tonic = Cmaj7 (Imaj7)
Subdominant = Fmaj7 (IVmaj7)
 Dominant = G7 (V7)
Group Relative Minor
Relative to the Tonic = Am7 ( VIm7)
Relative to the Subdominant = Dm7 ( IIm7)
Relative to the Dominant = Em7 ( IIIm7)
Sound
Tonic Sound = Cmaj7, Em7 Am7 ( Imaj7, IIIm7 VIm7)
Subdominant Sound = Fmaj7 Dm7 ( IVmaj7 IIm7)
Dominant Sound = G7 ( V7)
Relative Strength Root Progressions
1. Root Progressions :
Perfect 5th ( Perfect 4th)
Half Step
2. Root Progressions :
Whole Step
Perfect 5th ( Perfect 4th)
3. Root Progressions (Weak)
Whole Step
Half Step
Root Progressions ( 3rd, 6th Tritone) (Very
Weak)

Chords Family
 The Dominant Diminished Scale
Dominant Diminished 1 b9 #9 3 #11 5 13 b7 1
H W H W H W H W
G Dominant Diminished G Ab Bb B C# D E F
1 b9 #9 3 #11 5 13 b7
G Altered Dominant G Ab Bb B C# Eb F
1 b9 #9 3 #11 b13 b7
G Phrygian Dominant G Ab B C D Eb F
1 b9 3 11 5 b13 b7

Dominant Diminished Scale Licks

 Pat Martino

Pat Martino
Pat Martino ...
Scale Substitutions "Out" ... Choice of Keys
Modes Logic ?
Pat Martino ...
" Scales Modes Consonance Dissonance
Minor 7th V7 Minor7
Maj7 Consonant 5th Root Root = A7 / 5th = Em7
A6, A7, A9, A11, A13, etc.
Dissonant Alterations Minor 2nd Root Root =
A7 (b5) / Minor 2nd = Bbm7 A7 (b5), A7 (#5), A7 (b9), A7 (#9), etc. "

Dominant7Sus Chords??

Sus Sus2 Sus4
2 4 3
C7sus Gm7\C = C G Bb D F = R 5 b7 9(2) 11(4)
3 Focus
b7 Scale b7 Mixolydian. , Dorian.

 Common Diatonic Chord Progressions

Common Diatonic Chord Progressions

Basic Concepts
Chord Progressions Sequences ( )
Diatonic Key Mode Chord Progression Diatonic Major
Key Major Scale Improvise Chord Progressions Chord
Sequences
Common Chord Progressions Roman Numeral Analysis
Key of C Major:
Em7 Am7 Dm7 G7
IIIm7 VIm7 IIm7 V7
Tonic Tonic Subdominant Dominant
Key of F Major
Gm7 C7 Fmaj7 Bbmaj7
IIm7 V7 Imaj7 IVmaj7
Subdominant Dominant Tonic Subdominant
Common Tones Tonic, Dominant
Subdominant Standards II V I Progression
32-Bar Standard Jazz Tune Chord Sequence

Minor Conversion Concept Pat Martino

 Minor Conversion Concept Pat Martino
Pat Martino How many scales do you want to learn? Pat Martino
Zen Minimalism ( Pat
Martino Dorian, Melodic etc. Passing
Tones Adding Colour ) Chords Groups
Substitutions (Relative to the Chord Itself):
Maj7: VI Minor
Minor 7: Sub.
Minor 7b5: bIII Minor
Dominant 7th: V Minor
Altered Dominant 7th : bII Minor
""
Maj7: VI Minor Lydian (VI Dorian) Lydian #5 (Melodic Minor)
Minor 7: Sub.
Minor 7b5: bIII Minor Locrian ( Dorian) Locrian Natural 2nd ( Melodic
Minor)
Dominant 7: V Minor Mixolydian Lydian b7
Altered Dominant 7th: bII Minor Altered Scale

Pat Martinos Signature Licks Wolf
Marshall

*** Minor Chords ***

Minor 7 - Dorian 5th /Dorian Root / Dorian 4th / MinorMaj7 Arpeggio 5th / Blues
Scale Root
Minor 7b5 - Dorian Minor 3rd / Dorian b5th
Minor 9 - Dorian 2nd / Minor Arpeggio Minor 3rd / Minor Pentatonic Minor 3rd /
Hexatonic 4th
*** Major Chords ***
Maj7#11 - Dorian 6th
Maj7 - Dorian 6th
Maj9 - Dorian 6th / Minor 7 Arpeggios Major 3rd
*** Dominant and Altered Dominant Chords ***
Dom 7th - Dorian 5th / Dorian Minor 3rd / Dorian Major 3rd
Dom 7#9 - Dorian b6th / Dorian 7th / Dorian 2nd / Dorian b2nd
Dom 7b9 - Dorian 7th / Harmonic Minor 4th / Minor Pentatonic 2nd / Blues Scale
2nd
Dom 7#9#5 - Dorian b2nd / Dorian b6th
Dom 7b9#5 - Dorian b6th / Dorian b2nd / Harmonic Minor 4th
Dom 7#9b5 - Dorian b2nd
Dom 13th - Dorian 5th / Dorian b6th / Dorian 2nd / Dorian Major 3rd / Minor 7
Arpeggios 7th / Minor 7th Arpeggios 2nd
Dom 9#11 - Dorian 5th
Dom 9th - Dorian 5th / Dorian b2nd

*** Augmented Chords ***

Aug Chord - Melodic Minor 6th
Aug 7th - Dorian b6th / Dorian 3rd / Dorian b2nd / Dorian 7th
:

Scale Mode chords V7b9b13