You are on page 1of 75
Harmony 3 Workbook by Barrie Nettles Berklee ‘COLLEGE OF MUSIC © Copyright 1993 Berklee College of Music Allrighis reserved Printed on recycled paper. INTRODUCTION This is the text for Harmony 3. It continues the investigation into contemporary harmonies. The previous texts concentrated on major key, minor key, and blues progressions, and melodies. Here will be found more chords which are chromatically altered but functioning in the diatoni¢ as well as the concept of chord scale theory. In Part 1, the chord scale will define the basic melodic and harmonic activity associated with the chord of the moment. For this section itis important for the student to have a command of modal terminology and immediate recognition of ‘modal scales. (Although modes are used to describe the pitches of a chord scale, this, isnota topical discussion of “modal” theory. Modal theory will be presented in Harmony 4.) In this part of the text will be found descriptions of the chord scales for all the chords previously introduced. From this point on in the curriculum, chord scales for the topic at hand will be included with the topic. Part 2 is a continuation of the previous Harmony 1 and 2 courses with an intro- duction to additional dominant chord functions. This includes substitute dominant motion and those deceptive resolutions for the primary dominant which havea diatonic.function. Harmony 4 will continue to look at dominant /non-dominant chord functions. Diminished seventh chords and their patterns and a chord with similar function are the focus of Part3. Note that not all diminished chords are presented here-only those common to the gente we commonly refer to as “contemporary”, whether dixieland, jazz, Broadway, pop, rock, country and western, etcetera. Part 4 of the text involves modulations, primarily within songs, and secondarily, as a creative devise. As is the case with the diminished chords, not all possible modulatory techniques are discussed, only the most common. ‘The texts for the core Harmony courses are not intended to be self-teaching, methods. Other sources of explanation are necessary, primary amongst them, your teachers and other experienced musicians. Use this book and all the other Harmony texts as a first step in the learning process. Contained herein is all the information, but in its basic form. These texts should be viewed as references to the curriculum. Lengthy descriptions of topics, multiple examples, in depth analysis, are al left to your teacher and for your personal discovery. ‘The Harmony courses were developed as a logical means of cataloging contem- porary music in contemporary terms; some of those terms are not universally under- stood, particularly by conservatory trained professionals. Therefore, keep an open mind when it comes to other musician’s opinions about any given topic or the terminology they may use. Someone else may not be as well trained as you! ‘The Berklee harmony curriculum is unique. This uniqueness is directly attribut- able to many, primarily previous Chairmen Michael Rendish and Alex Ulanowsky (1992), Provost Robert Share (1964), and Chancellor Lawrence Berk. ‘Their contributions to the world of music will be remembered by the thousands who Jeamed the language spoken in these classrooms and studios.