Naturally, any study of music saust begin with an undersianding nf those simple elements which go tomake up music. The first of these elements to be discussed is Pitch, which is designated by the location of a rote ona musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the “treble” ” chefs. and “be FEE DE cae era FABCRIEFEABEC Ext Some definitions relating to pitel SEMI-TONE.*. . . The smallest distance between two notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The distance between two different pitches. .+ Each note ina scale is called a degr scale. e of - + A four-note scaie consisting of the follow- ing intervals: Whole-tone, whole tone, semi-tone t direct apnlication we will make of pitch struction of major scales, A scale may best be d 88 & Series of velated notes moving in a constantly asce! ing er descendi: direction. Saar Page? seu? KeFale anamnestic Ahn ON te MAIC SCALE CONSTRUCTION ‘The major scale is made up of seven different notes, one cn each suc~ cessive line and space of the stave and each having a different letter name. The eighth note, or octave, is added since this note gives a feeling of resolution and completion when the scale is played. Upon analyzing the intervals of the major scale built on C, you will find that the structure of the major scale is as follows: . (two tetrachords connected by a whole tone) Whole tone, whole tone, semi-tone, (Tetrachord) Whole tone. Whole tone, whole tone, semi-tone. (Tetrachord) ‘These intervals between the degrees of the major scale never vary, hence, major scales may be built on any note using the structure of the scale built on C as a guide. A major scale built on the root tone Ab would have the following appearance: Note that the fourth degree of this scale must be called Db rather than C#, since the third degree had the letter name C, and the definition of a major scale stipulates that each of the scale degrees must fall on the next successive line or space and reccive the next successive letter name. Just to be certain that the foregoing is perfectly clear, here is one more example of a major scale, this time built on the note E. Page 2) Although major scales may be constructed as described above, amore organized method for finding all of the major scales and key signatures is based on the application of the tetrachord. As may be scen in the following example, the major scale is di- visible into two equal parts, each part forming a tetrachord. These tetrachords are identical in construction and are con- nected by the interval of a whole tone. ° (o wa Pr ¥ weenes|_rowe row Breve \croves |_rone | ONE asthe oT oT Ex, 5 By using the upper tetrachordas the lower telrachord in our new scale, it is possible to arrive at all of the key signatures con~ taining sharps. tore vepen, rerescHone oF YS Cee brous Kev tét. SD Ex. 6 In the previous example it is evident that the F must be sharped, since each tetrachord must be composed of whoie tone, whole tone, half tone. By following the same procedure it is obvious that the next sharp key would begin with the tetrachord built on the nole D, i.e., the upper tetrachord of the G seale. - Page >ngcuaes ae waeveus CD Again, notice that the note C mustbe sharped in order to conform to the whole tone, whole tone, half tone structure of the tetra- chord. Beginning again with our C scale and this time using the lower tetrachordas the upper tetrachord of our new scale, it is possible to arrive at all of the key signatures containing flats, canes exouer rergesiase ps Pe Bp OE LS CRS o Soe v Bes Notice that in this case the B was flatted in order to conform to the tetrachord structure. Once again by using the lower tetrachord as the upper tetrachord of the new scale, it is evident that the next flat scale would have an upper tetrachord built on the note F and a new lower tetrachord constructed below it, cower TErgteheee 9° ema US area” ba, 7 a re Page 4 Ki,‘The following tables si flat keys in treble and hah w the signatures of all of the sharp and cleis. - ee A & tbl titel = Oe B. NOTATION ‘There are certain’ basic principles to be followed in the correctand legible notation of music. Hereare a few of them to help you in your work. 1. Make sure that every note is clearly centered on a line or a space. BAD GooD ie Ex 11 2. ‘The same applies to the use of sharps and {1 If you are sharping the note F, be sure Page §em tea mitt ame ma ae ionamin ane Ei sharp is centered directly before the nie. 3. If a note has a stem attached to it, make sure that the stems are straight and try to observe the following rule: If the note is above the third line stems go down; below the third line stems go up. =-_= 4, Always strive for neat manuscript. It may take a little longer to complete the work at the start, but as you progress you will develop speed to- gether with a clear, legible manuscript. = (At this point it would be advisable to complete Problems No. 1 through 6 of the assignment) - = = C. RHYTHM (Part I) Rhythm may Le defined as the factor which controls dura- tion {i.e., how’ long each note is to be held). Following is a table showing each of the rhythmic values which will be used in succeeding lessons and the duration of time each occupies. The corresponding rests whichare shown on the right repre- sent the exact opposite, i-e., the absence of sound for a specilied period of time. = = Page 6 =Name Duration Equivalent rest (when quarter note ~— & gets one beat) gi # \ : 4 beats foot f 4 halt note 2 beats x 3 : . iq quarter note 1 beat 2 =f i 5 half note ete if triplet Ae . y quarter note a triplet 2 beate a a eighth note 1 beat 8 triplet 4 | - sixteenth note dotted naif note 3 beats { dotted quarter Life beste note Ee Mt red cannot be represented by any single two noles with & “tie”. is not considered to bea s one duration. If the duration desi note, it is achieved by combining This mexns that the second note i new attack butis simply joined with the first a: Page 7The controlling factor in rhythm is the time signature. In each case the top number represents the number of beats or “counts” ina bar of music, while the bottom number tells us the kind of note that gets one beat, A os x2 A beats per bar 6 beats per bar 2 beats per bar quarter note gets I beat eighth note gets 1 beat half note gees 1 beat Ex. 16 Assuming thata bar of 4/4 time can be written as four quarter,notes, itis obvious that any combination of durations which add up to four will also form a bar of music in 4/4 time. Following are severai examples of measures in 4/4, Notice that each bar must contain some combination of durations that total four beats. Next, some examples in three-four time: Page 8Ex. 18 ‘The assignment work called for in this lesson should give you a good working knowledge of these simple rhythms, and an excellent foundation for uncerstanding the syncopated and more complex rhythms to be discussed in future lessons. . CHORD CONSTRUCTION (Part I) Using as a basis the major scales which are to be constructed as partof your lesson one assignment, it is possible to build all of the basic chords which are used in modern harmony and arranging The first of the basic chord structures which we will develop is the major triad, a three-part chord derived from the first, third and fifth degrees of the major scale. C Major Seale C Major Triad “bese BS Page 9 Ab Major Triadhowever, since simple triads are rarely used in modern writing we Ghali immediately move on to the more mudera and {ullor sounding Fersion of major, the major 6th chord. The major Gth is a four- part chord derived from the first, third, fifth and sixth degrees of major scale. C Majo: Seale C Major Sixeh bg these ros a abe SSH t 7 é ‘Asinay be seen, the major and the major sixth are basically of the fe tonality, and throughout the course we will use the major 6th chord exclusively. ‘All types of chords are built from scales. At this time, however, nt to learn and construct all of the major chords. This or Pe itis impo: is accomplished through: the development of “chord blocks” as below. SAMPLE PROBLEM a \ C ole rs Fill in the open blocks. w& ol Q C 716 o © @ (The above exercise deals with major chords, hence the degree 1, 3, 5, 6 are called for. (see Ex. 20). ‘The note *C” was selected L, arbitrarily. . Page 10First fill in letter names, without accidentals (sharps or flats). a. To fill in the blocks with *C” as “1” is a simple matter; merely count up alphabetically and use the letter names corresponding to the numbers called for. b. With (C) as “3”, merely count down to “1” and up to “5” and “6”. ace GAB j2[3]4|shs]7 8 c. Similarly with (C) as “5? count down to “3” and “1” * and up to “6”. > EF ciao ie[ele F a2 [a}4 [sist ¢ d. Same treatment with (C) as 6”. @ Assy 3} 4 [5 The first step in the solution is now complete and the chord block should appear as follows: 6\A\F\2\O S|ElE\OQ\S Be. 22 3|4\O\A4 [6 7 Ol4lelé Page It i q- The second step is to check our major chord structures for necessary sharps or flats. a. With C as “1 we refer to that scale which has “Cc” as the first degree and find no sharps and no flats, hence 1, 3, 5 and 6 in this case are correct as they appear. G s 3 N ORRIE @ oO @ Ex, 23 b, With C as “8", refer to that scale which has“C* (natural) as the 3rd degree. This we find to be the scale of Ab which has a key signature of four flats, (Bb, Eb, Ab and Db), We must, therefore, correct the letter names to suit the scale, In this case A and E must be flatted, A G| A ww fy fs Ee tt Page 12c. With C as the fifth degree, we find that the appropriate . scale is the scale of “F* with a signature of one flat. . (Bb). However, since there is’ no'*B” called for in this chord, the other notes remain unaffected. a w& | & @[m [9 [s&s © D ZO A F Ae oo © Ex. 25 te “C” as the 4, With C as “6”, we look for that scale which has the no! “Eb? with a ‘sixth degree. The proper scale in this case would be signature of three flats (Bb, Eb, Ab). ‘The notes that are affected in this case would be “B? and “B’, which must be flatted to conform to the scale. oN Page 13ASSIGNMENT 1. (a) Write five different examples of semi-tones. o 7 7” »' ® whole-tones. 2, Start with the scale of C, and through application of the fetrachord principle, work out all of the sharp key scales in both the treble and bass clefs. 3, In the same manner, work out all of the flat key scales in both the treble and bass clefs. 4. Complete the following problems as illustrated. fa) Cis the fifth note of the scale of F. (b) Foo” ® third ae (c) Ab ” ” second > eo” ° ” 8 D * ®* seventh ? 7 * ” ” le) F# 7 * sixth ne bbo” * fourth 7 7" ™ 5. Complete the following problems as illustrated. a) C is the fhird note of the scale of Ab. Fe? * ph 2 ™ = 2 1 Be Rone Qari gett bike oe » o> AD 6. Comptcte the following problems as tilustrated. Is the third note of the scale of Bb. > * seventh ® " ? ep? FB, ” fourth. so ® » ” Gb, i >» » seventh » 7 " % " De i » » sixth » os me 8 Ch. » » third a om om ee TH 1. Given are series of numbers. Write each of these series of Guration in fowr-four time as shown in the accompanying example. ty 44 eB (a) 3, 4, 2 2,OZLR3L531,4%31544 13% 1 U3 5, 3 1, 2 (©) 1/2, 1/2, 2 2, 1, 5, 1/2, 1/2, 4, 2, 1/2, 1/2, 172) 479) 8) 1 2 2) 1, 3, 1/2, 1/2, 172, v2 2,4, 4/2, 1/2, 5 8. Write the same series of numbers, this time in three-four time. fe 9. In this next problem dealing with rhythm, consider each of the circled numbers to indicate a corresponding period of rest. ‘The rhythm: 1,072) 1/2,@ 1/2, 1 1/2, CB 1/2, 1 would appear as follows in 4/4 time. Notate each of the following rhythmic phrases in 4/4 time. (a) 2, 1. GG) 1172, O3,@ v2, 12, © 4. 12, 3,G) 12, 124 @ 1 5. OD 1, 1172, Tz) 1, 1, 3,@) 1/2, 12, 11/2, CAPD 2. to) © 4, 1, 1,17 al2, 5, G72 1/2, 1/2, We, 3, 2,72) V2, 3, 11/2, 12, G) dy 2 112,37) 1, 2,@) 11/2, 17> 1, 4,2) 1/2, 1 4 (ce) 3,02) Va 112,01 uU@ ds 3 GAR 172, 1 12. GRD %4@ VG i V2, 12 CD 12, 44D) V2, 12, TPB) V2, 2. Page 1540, Again referring to the rhythmic patterns given in Problem #9, nolate each in 3/4 time. 11, Create a melody with a rhythm using notes of the EP major scale Create 2 four time signature. ‘This melody should be eight bars Jong and contain scale notes only. Since the purpose of this assignment is to further yor familiar Gaation with the notes contained in the various Fey, itisadvisable that you use accidentals where needed, rather than & key signature. Key oF & Ex. 30 12, Write eight bar melodies similar to that in Problem 11, but as follows: Key of A... 4/4 time Key of Ab. . 4/4 time Key of F .. 4/4 time Key of D . . 3/4 time Key of Db. . 4/4 time Key of Bb. . 4/4 time Key of E .. 3/4 time Key of G . .3/4 time 43, Construct major chord blocks as described in this lesson on. Cone rhe following notes. (See enclosed Work sheet) Cy Fy Bb, Eb, B, E, Ay Dy G. tag 14, Write out cach of the following major vhords 4m musical notation with: fa} Root as bottom note } 3a” > Aen > ’ 6) 6th” —” ” on: C, Db, D, Bb, E, F, FH, Gd, G Ab, Ay Bb, B. fy_imversions of the major a chord signed to fam 45. The fullowing problem e you with major sixth chord structures. Tn composi the original melodies this of the major chord indicated above Page 16ging SS Sganimene Compose original melodies on the following progressions using AL fe . chord notes only, xeYEE Ll”lt—— LESSON NO. 2 CHORD CONSTRUCTION (Cont'd) + continue with our study of chords as begun in Lesson No- 1, we shall now discuss ‘u’construct several more of the standard chord s ructures. The first of these is ¢ Minor ‘Triad. To construct the minor triad, simply refer to the major triad and wer the third degree one-half step. ore Ex —— dg 1 naming the lowered third degree, remember that if the original major third was ird was a natural, the lowered harped, the lowered third willbe nacural; if the major (h ‘rd will become a fist; and in the event that the major third was preceded by a flat) ye lowered third will become a double flat (bb). . imple triad is rarely used in modern chord voicing, ‘used minor chord with the added ing to the major sixth and simply is explained in Lesson No. 1 the si S once again, we move on to the more commonly fxth. ‘The Minor Sixth chord may be found by refer} owering the third degree one-half step. Bx 2 pone ¢ Mince 6tm pg — hig once again in order to properly con! isadvisable to make use of the “chord bloc! flere is a sample problem in constructing struct and learn all of the minor sixth chords, it ‘k® technique as described in Lesson No. 1. minor sixth chord blocks. SAMPLE PROBLEM Fill in the open blocks w f wy LS QD |= 1 iw a we we {The above exercise deals with minor chords, hence the degrees -- one, lowered ive and six are called for)‘To continue with our study of the basic chord structures, Dominant Seventh Chord, a four-part chord which is derived from the fivst, third, fifihand lowered seventh degrees of the major scaie, The simplest method however, is to refer to the major seventh chord and lower the seventh degree one-half step. ¢ shall next cousider the Ex. 10 . CMaj7 (C7 (Dom) Asin the case of the lowered third, if the original major seventh was a sharped note, welower it by making it natural; if the original major seventh was a natural the low- ered seventh will become a flat; and in the event that the major seventh was already a flatted note, the lowered seventh would be double flatted (bb). As we have already done with the major and minor chords, the chord block technique may once again be employed in constructing and learning all of the dominant seventh chords.” SAMPLE PROBLEM Fill in the open blocks d Ex i b E @ & ww Since this exercise deals.with dominant seventh chords the degrees one, three, five and lowered seventh are called for. SOLUTION: 1. Fill in letter names without accidentals using a. Cas the root b. Cas the third c. Cas the fifth d. Cas the lowered seventh eT Bal 7]ale|z|O L i“ | 1 s|G|4IO}4 Bee 3|4|©Ol4 | 4 1JOQVAL FI 2 we Page 42. Next we check the dominant seventh chord structures for neces sharps or flats. Or necessary a. WithCas the root we refer to the C major scale. All of the notesare correctas they stand with the exception of the *seventh degree “B”, which must be lowered to conform to the chord structure (dominant seventh). i Ex. 13 w fo [~ a b. withCasthe third, the aporopriate scale would be Ab, with asignature of four flats. In addition to flatting the A and ure . E to conform to the scale, the G must also be lowered to conform to the chord structure. : . Pelz] of et : 5|G| 24° be : 3|4|©} 11©| 44 @) c. With C as the fifth degree of the F scale the only alteration necessary would be to lower the seventh degree from E to Eb. d. Here we base our figuring on the fact that the note C is al- ready the lowered seventh of some scale - in this case, the scale of D. We know that in the scale of D major the C is Page ®NOTE: The following chord symbols are sharped. Hence, the given 2 natural is correct as the low- ered seventh ia the erate of D. The third degree 1s Fa. 7 ane © 4 Ex 16 I= JOl oO @ © (Before going on, it would be advisabie to complete Problems aanignment.) 4 US of the used in reference to the chord structures discussed in Lessons No. 1 and 2 Corecess eee... C Major (6) : Ome. lil! + Minor (6) CMaj?. 6222.22 6 Major Seventh ci. te eeeeeess. © Dominant Seventh HARMONIC CONTINUITY . The first actual arranging technique which we will discuss is the princi- pleof Harmonic Continuity, a method of producing smooth voice-lead ~ ing in 2 given chord progression. Once you are completely familiar with this technique iis relatively simple matter to write interesting, effective backgrounds for any instrumental or vocal combination. In these continuities any chord may appear in any inversion, but no matter what the inversion, we shall name the notes in terms of voices ratherthandegrees, In other words, we shall consider the top Rotecor tre chord to be the first voice, the next note below it to be the second voice, and so forth, ce the position of the tirst chord is determined, to produce smooth voice leading to the following chord simply apply the basic principle gf harinonic continuity, i.e., KEEP COMMON TONE (OR TONES) IN I LOR TONES) IN SAME VOICE (OR VOICES). To clarify this rule, let us assume that we are moving from a C chord to Ab7 chord. We know that the notes of the C chord are C, E, G, A, and that the notes of the Ab7 chord would be Ab, C, Eb, Gb. In this —_ Page 6 . , vey Gan oe Vag yyy kad Lo Cul \ wih Wow Re _ a Ew ME ED eta ass 2 7se, theonly common tone would he the note C, j.¢., the only similar note found in both chords. In the fcllowing example, Cappcarsas the fixst voice of the C chord, therefore, the C must remain as the first voice of the Ab? chord, with the rést of the chord notes of the Ab7 being filled in below the'C: Ex. 18 CL. Were the C chord in the following position with the C as the second voice, then the C would become the second voice of the Ab7 chord and the following position would result. : Ex. 19 In the event that the C chord were voiced so that the C was in the third or fourth voice, the Ab7 would appear as follows: Ex. 20 (e) ‘To go on let us assume that the Ab7 chord was. followed by an Fm chord, Now,a common tone relationship must be established between the Ab7 chord and the Fm chord. The notes of the Ab? chord are Ab, C, Eb, Gb, the notes of the Fm chord are F, Ab, C, D. In this éase Mere would be tvo common tones -- Ab andT {iley appear in both chords), and to produce smooth voice 1 ust be kept in the same voices.Here is a longer example of a harmonic continuity with the common tones indicated. The position of the starting chord was arbitrary, Ex. 23 Occasionally there will occur a situation where there are no common tones between adjacent chords, In case observe the following principle: | WHERE THERE ARE NO COMMON TONES BETWEEN ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE NEAREST CHORD TONE OF THE NEXT CHORD (EITHER pra X . ABOVE OR BELOW) AND CONSIDER THiS TO BE THE pee Naa ers FIRST VOICE OF THE NEW CHORD. ca bot ~ 9S >. \ eff the case of C to Abm (no common tone}, either of the following, would be correct. bed BEEAEG BEREERE DEELHere is 2 continuity incorporating this principle as well as the one previously discussed. —-_s | to nearest position Ex. 25 As you work out these harmonic continuities you will notice that the progression has a tendency to move downward on the staff. This is a resultof the natural downward tendency of mostharmonic resolutions, one of the points that will be covered later in the course when we deal with the problems of setting up our own chord progressions or rehar- monizing those that we are working with. ~ ‘The following simple principle allows us to control the range of the continuity, a necessary device when we apply these chord patterns to orchestral writing. AS LONG AS THE CHORD REMAINS THE SAME; POSI- TION MAY BE FREELY CHANGED WITHOUT REGARD TO VOICE LEADING. AS SOON AS THE CHCRD CIANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Bx, 26 inversions of the C chord 11 of the foregoing is perfectly clear, here Now, to make sure th: } three of the principles appiying to har- is a'conti contain monic conti Pare 9 abla illic pail ibis «inversiona of the ssme chord to nearest position SSIGNMENT . Work cut all minor sixth chord blocks indicated on the enclosed sheet. . Netate minor sixth chords in all four inversions on each of the following notes: C, Db, D, Eb, £, F, F#, Gb, G, Ab, A,’Bb, B. s Com y . Notate in all inversions, all major seventh chords. (same li . Ex, 29 inversions of the Major Seventh chord x 3 C Maj 7 Work out dominant seventh chord blocks as indicated on the enclosed sheet, Page 105, Notate inversions of the Dominant Seventh chord, again referring to the list of root tones given in Problem No. 2. Ex. 30 Inversion of the Dominant Seventh chord 6. ‘Write harmonic continuities on the following chord progressions. In working out these continuities be sure to consider all of the principles covered in this lesson. (See Ex. 27) (yi upucu ) - Ff? a eer F G co - 7. Set up a harmonic continuity plus an original melody on each of the following chord pregressions using a three stave score as in the example below: Page 11I ' f ' ' an 7 LESSON NO. 3 ] ‘A. CHORD CONSTRUCTION (Cont'd) } {fo continue with our study of the basic chords which are used in dance band work, we ] will next consider the Minor Seventh Chord. ‘The minor seventh is a four-part chord + based on the root, lowered third, fifth, and lowered seventh of the major scale. A simple method which may be used to find the minor seventh chord would be to refer | to the dominant seventh and lower the third degree one-half step. 1 h Once again in order to be certain that all of the minor seventh chords will be learned » and constructed properly, we make use of the “chord block” technique 2s described in _ Lessons No. 1 and 2. . SAMPLE PROBLEM , Fill in the open blocks. Oo OQ © ww ew Since we are dealing with the minor seventh chord, the degrees one, lowered three, five and lowered seven are indicated. ~ SOLUTION: 1, Determine letter names: with C as the root Ne, 7 with C as the lowered third with C as the fifth with C as the lowered seventh ‘ Bese 9] % ®lm S1Olm lo ays ol ays2. Add whatever sharps or flats may be needed to produce the minor seventh chord structure. with Cas the root, we refer to the C major scale (no sharps or flats) and lower the third and seventh degrees, 1.e., E and B to conform to the chord structure. @ the lowered third of the scale of A. (C# would be We must also lower the scale seventh G# to G. -b, We find that C i: the regular third) 7 S\G Zz Je ¢. With Cas the fifth degree, we must refer to the scale of F. Again, to canform to the minor seventh chord construction, we lower both the third and the seventh degrees. fy 7| 8G |e Ex. 6 S/E\4|O Mls lelol# \@lale d. With C as the lowered seventh degree, the proper scale would be D major (regular seventh degree, C#). In addition to the lowered seventh degree the scale third, must also be lowered to become F ratural.[vel 7 | 2] |4°|O] E.7 S\|GIE\OQ\A | 3 | AOA A l@l4l4]o 4 ew oF ©) a p T-L- Zz next basic chord structure to be discussed is the Auzmented Triad, a three-part rd based on the first, third, and raised fifth degrées or the major scale. A simple to find the augmented triad would be to refer to the major triad and raise the \ degree one-half step. Bg * Cas & ee Pouce , stated previously, three-part chords are not often used in dance band arranging: more commonly used form of this chord is the Augmented Seventh. In relation 1e major scale, the augmented seventh chord would consist of the first, third, raised |, and lowered seventh degrees. However, a simpler method would be to refer to dominant seventh chord and raise the fifth degree one-half step. be pure © Oo gsr Bove? cr Cae? — =F oe ill not be necessary te work out chord blocks on the avgn nted seventh. If you are soughly farajliar with all of the dominant seventh chord structures, you should have Utdleulty in getting to know the augmented sevent | ther of the chords with which you must be familiex is tneeDigntbchedetas inished triad is « three-part chord derived fram. the first, EEC i fifth of the major si it may aiso be located by referrin simply lowering the fi ee one-nalf step. Page 3 (Ex. 10 [nei wa) Since we will need a four-part version of the chord for our arranging work, we move i] on to the Diminished Soventh Chord, a four-part chord derived from the first lawee, ‘bed third, lowered tHUPE AOI enon seventh of the major scale. Although it is } calied a'seventh chord, the simplest method for building it would be to een 4 minor sixth chord and lower the fifth degree one-half step. - i i Bence eom amas | Another feature of the diminished chord is that enharmonic spelling may be used freely ipithour regard to scale degrees, i.e., F# may be called Gb; Bbb may be called A, etc. An the following illustration any of tho chord spellings shown would be considered to be a correct, Ex. 12 sain, the case of the augmented seventh chord, it will not be necessary to work t diminished seventh chord bl A thorough knowiedce of the minor sixth should table you to locate the diminished chord structure with a aa a aB. CHORD SYMBOLS Every chord structure is designated by a special abbreviated name. Following Every plete listing of the basic chord structures which we will usey and the symbols that identify them. UCTURE SYMBOL . C Major c ‘ ¢ Minor Cm or C- C Major 7th C Maj. 7 C Dominant 7th cl * C Minor 7th Cm or C-7 C Augmented 7th C Aug or Cx C Diminished 7th C dim or Co In addition to these basic structures, you may occasionally encounter so-called + eee chords”, where one of the regular chordal functions has been altered to produce a sound Slightly-different from that of the basic chord. STRUCTURE SYMBOL NOTATION D minor 7, lowered 5th Dm7 (b5) C. (OPEN HARMONY [All of the chord positions that we have covered thus far belong to a general class- {Hostion known as closed harmony. In addition to these closed voicings, corait bpen voicings may often be effectively used. A simple method for converting any- Chord from closed to open position may be described as follows: ‘TO PRODUCE OPEN HARMONY, DROP THE SECOND VOICE (FROM THE TOP) OF ANY CLOSED CHORD DOWN ONE OCTAVE. ‘To jllustrate this principle let us assume that we have a C major chord in the following closed position. (: oS. Supe pe De epee dons Seuavia , wage Ex. 3 a SOR gam & ‘ 1 \ . SramnopreS (d Sueels Page $To convert this chord from closed to open position we would voice, G, down one octave. Ex, 14 | \ | If the closed C major chord had been voiced with the note E on top, dropping.the ‘second voice would result in the following open version of the C major chord. Ex. 15 Here are several more Illustrations of open chords formed by dropping the second yoice of closed chords, Dee Bea RED RREET BEE BFOTE: When using open harmony, we may distribute the chord notes between the Wet se eige bass clefs, using the bacs clef wherever the notes become trephey that it would be inconvenient to write them in the treble clef. It is so low Ussary to keep a specified number of notes in each elel. Rather, nol ihe bass clef where convenient to avoid the necessity of drawing ledger lines. Ex. 17 It is of course possible (and quite effective musically) to apply the principle of open harmony to a harmonic continuity (See Lesson No. ). Here is an example of a continuity: a. in closed position : b. converted to open position by dropping the‘second voice down one octave Page 7\ssIGNMENT __ SSSIGNMEN Ca 1. Work out minor seventh chord blocks as indicated on the enclosed sheet. =, Notate the following minor seventh chords in all four inversions: _ =" C, Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B OO 3. Notalg augmented Seventh chords in all four inversions on-the same list as given in problem No. 2. - _ Notate diminished seventh chords in all four inversions on the same list as given t in problem No. 2. f In praer to have a convenient guide to refer to as you work, complete the enclosed chord reference chart by filling in each chord in the appropriate space as illustrated ft %. Convert the following closed chords to open position: chord progressions. Do not allow the top note of any chord to go below the note E. | = | | Where voice leading would result in a lower lead note, change position of previous | chord. go Ir f Set up harmonic continuities as described in Lesson No. 2 on each of the following ) Ex. 20 Paue &¢ ase ne 2 | pa ace 3 ™ meen neBRuusaea rr as illustrated below. Ex. 22 Original melody using chord notes only Harmonic continuity in open position * Root tone of chord . Re-score each of the continuities which you have written in problem No. 7, Page 10CHORD REFERENCE CHART leit mason(t) MiNon(g) MAJ. 7th DOM, 7th MIN, 7th AUG. Tek =LESSON NO. 4 A. RHYTHM (Cont'd) we here | For preparation in the development and usage of swing Figures analyze the rhythm factors which tend to produce feeling of "swing". First, let us consider the fact that a four-four bar contains eight eighth notes. . sasisebbchinaie Swing consists generally of a combination of accents in the above bar where aoe one accent does not occur on the beat, i.e., one of the accents amust ot cur on one of the "k's" rather than directly on the one, two, three OF four. 3 In order to avoid confusion in locating and naming ‘off-beat! attacks, 1p ortait yely on a system of naming whereby every eighth note gets ve peat. Using this system (i.c., eighth note gets one beat}, the following durations may be represented by @ single note: NOTE DURATION EQUIVALENT R. ha) 1 beat 1 d 2 beats a 4 est . . 3 beats BT 6 beats aa? d 4 beats ot ad. 8 beats aw ° Page |The rhythm "21 1 4" would appear as followa: Bed Following are several bars of rhythm notated according to this method of naming: 3 422 444422 2/4/22 8 SEE SS] ° . Each bar should, of course, add up to eight "eighth" beata, Whenever a duration can not be represented by a single note, a "tie" is used to link two notes into one duration, The duration "5" might be indi- cated as: Ex 6 The rhythm "1" plus "2" plus Ex. 7 Page 2The arranger, or composer, must follow a definite system of notation 0 that even the most intricate swing rhythms may be read easily and accurately. The + three principles by which this may be accomplished are as follows: 4) A NOTE, WHETHER HEARD OR NOT, SHOULD APPEAR ON THE THIRD . BEAT OF EVERY BAR, THIS MAY BE ACCOMPLISHED BY SIMPLY PICTURING AN IMAGINARY BAR LINE IN THE MIDDLE OF THE BAR AND ONLY ALLOWING FOUREIGHTHS(OR THEIR EQUIVALENT) TO - SHOW ON EITHER SIDE OF IT. | me FOS wo 7 # 27 ES GSssa Loe Le UA Ne we fF “ w FS 2 3 . == PEE L4 ty Li 4 4 - EXCEPTIONS: es Es =] peel - @) WHEN TWO OR MORE CONSECUTIVE EIGHTH NOTES OCCUR IN A GROUP, THEY MAY BE "BEAMED". Ex 9 FPF eames teh notes co . i pet Se ‘ HOWEVER, DO NOT "BEAM" EIGHTH NOTES OVER THE IMAGINARY - BAR LINES. - Exe 10 RIGHT WRONG = Page 3| (Before continuing with the lesson, it would be advisalle to complete Problem No. 3 ¢ assignment. ) 3. NOTES SHOULD ALWAYS BE SPACED IN THE BAR ACCORDING To THe VALUATION, ie., 3 half note in a four-four bar should occupy one-half of the total space in the bar; a dotted half note zhou!d occupy three-fourths of the bar, etc. BAD GOOD = 1 = BAD GOOD = qe c= : SS ase (Complete problems #1 and #2 of the lesson assignment) = a a " ib a a B, FOUR-PART HARMONIZATION OF A GIVEN MELODY In this lesson we come to what is certainly one of the most important techniqu of arranging, i,e., how to harmonize a given melody in the modern "block" style. We will start out with a given melodic line with chord symbols and set! up a four-part block harmonization suitable for adaptation to’ any instrumental combination. In past lessons we have dealt exclusively with chord notes, i.e., notes con- tained in the given chord. When working with standard and popular tunes, hows ever, we find that not all melody notes are simple chord notes. Therefore, for the present, we may analyze any melody note according to one of the follo-'= ing classifications: 1. Chord Notes 2, Non-chord Notes oe In the following example a melody with chord symbols is given and each note + of the melody has been analyzed as either a chord note (c), or a non-chord note (nc). | Ee 2 by res fevers ie Bee cmoMm we 6 6c cw weoc Page 4 lk raOnce you are able to determine with Little or no difficulty whether each note of the melody ie a chord note or a non-chord note, the next step will be to “Gill out the chord under each and every note in “block style". Here are the srules for producing @ four-part block harmonization. 1, HARMONIZE CHORD NOTES WITH CHORD, BUILDING DOWN FROM - THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION. Ex. 13 j given melody block ‘parmonteation 2, HARMONIZE NON-CHORD NOTES WI'TH CHORE, BUILDING DOWN FROM THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, | BUT LEAVING OUT THE NEAR: REGULAR CHORD NOTE JUST . BELOW THE MELODY NOTE, 7A ple, if we were harmonising the note "BM with a Om chord (C, Bb, G, ‘A), we would have to leave out the note "A" (the nearest chord noty below "B") pefore filling in the rest of the chord notes. ! ex Pea Cts clecea. | chs vars eS Pegs AU HERE ES "AM omitted sr Green B : & & Pe Here are several more illustrations of the harmonization of non-chord notes. Ex. 15 * given melody block ‘harmonization 4 1Next, we move on to melodies which, like all standard and popular songs, will intermingle both chord and non-chord nctes, Here is a melody of this ort complete with chord symbols, and an illustration of how it would be harmonized. Remember that this same procedure may be followed in effectively harmonizing any of the standard or popular melodies with which you ere familiar. If scored and orchestrated properly, the resulting harmonizations, while quite simple, would nevertheless produce the same professional sound featured by many leading bands. devin In cases where the three lower voices do not change between chords, a smoothe: effect may be achieved by sustaining, rather than re-attacking the notes. Remem- ber that this applies only where each of the three lower voices would have re~ — peated. h wn fs treated: Om 5) In the following illustration, the lower three vaices cannot be sustained, since they actually change from one chord to the next. a BRHeWwWwEBeBaiwtBaBtuwRPteaw Page 6] Another situation where th possibl ex 19 It would be wise to remember that regardless of how often this it is far more effective in smooth technique may be employed, than in "swing type" tunes. than in brass.) _ ASSIGNMENT . 1, Notate the following swing rhythms, C1 72 ¢ above principle might be applied would be where oth the melody and the lower voices remain the same. a to move only the top part while the three lower voices sustain. Here, it would be sustaining ballads, rather (it is also more generally used in saxes rather as indicated in Example 20. 723 53 52 35 21 323 32 332 21 233 2321 za. 413 2123 122 341 4121 4.122123 Pi213 ,2r2an r2ri2d ai22. piaiad piiriirie 2221111 - 2b2r2 . pagar p2nbaiaraid pi1ri2z2 2. Inthe following problem, rhythms employing rests will be used. Remem~- ber that the principles of bar-subdivision apply to rests as well as to durations. = . ee ee ee eeNotate the following wing rhythms: a 441201, 2,2@1, 2,1, @O1221103,111 284, 4 2@ 2@MLUL10%26UL 10)12 5,126) 31 LVLL03L18229L1102 1100 1246 2,1, 2.@)2, 2,1, 3,203, 341441031140141411,2@ . U1, 1, 2 7LUk, 1 Analyze each of the following melodies indicating chord notes (c) and non-chord notes (nc). Fan? Bon? Page 9ce ew On? G7 c (=e EE ae ne OC Wl Me Le EEO? tm? 0% e ceN cm MBE Spas Ne WE Me Faas #? a. Boon 4 bo oS. — ~ - (ease Sa " im nee ice none c (Ne em “ee wee eee i F Gm? co? - . = age Pe eee eee SS dole A c Ne CNC WCNC UC We cone NUNC OC c Bi ene oC we Ara? oh l ‘ ‘e Ith 1 Cie oh5, Harmonize each of the melodies fr block technique described in this 1 wherever possible, om Problem #3 using the four-part lesson. Sustain three lower voices Write a four-part t black harmonization on any twa choice. " standard tunes of your Page U0 uyLESSON NO. 5 Slag bo Ls. ATION. A. PRINCIPLES OF IMPROV! 1, CHORD TONES Notes of any given chord may be used in any order, frequency, oF rhythm pattern against that chord. 2. CHROMATIC APPROACH NOTES Any note which chromatically approaches a chard tone may be used in an improvisation. These approach notes are always of short duration, (d or less). Notice that in the foregoing example each non-chord note chromatically approaches a regular chord note. 3, SCALE-WISE APPROACH NOTES Any note which approaches a chord tone "!gcale-wise" may be vse an improvisation. (Scale-wise approaches must aiso be of short duration). A prerequisite to understanding this technique is a knowledge of "chord scales". scale vipa wise 9058 paw t Swale of vere o>! oe wi ae wa yen Rovea. Ex 4 Ex. MAJOR (6th or 7th) (1 oMiny In the case of the major chord, no alteration is necessary. The major scale, as is, goes with the major chord, A non-cherd scale note may be used in an improvisation if it - approaches an adjacent chord tone. Notice in the following example that every non-chord scale note moves directly into the nearest chord note (either above or below). Bue bi i 2A0.8 2 BG i . StZpngs Groves Supeted dewed MINOR ( Maledic) A habeic bowee Sekt ilocos Mace / BH eQ Becue MEQ) Since the third degree is lowered in the minor chord, the same alteration will be made in the minor “chord scale". . Conloai?) Again, an example of non-chord scale tones of the "minor chord scale" approaching adjacent chord tones. wa) Ce Ey Ke GAH Be Cyrene -fecfla Pane 2=a 3 a oon” Fe, DOMINANT 7th (Mica Qybian) Here, the seventh degree is lowered in the chord scale just as it has been in the chord. i i Following is an example showing non-chord tones of the C7 chord scale moving into adjacent chord tones ae 4. MINOR 7th ( Dou ws) Flud Gevecos Doan Poke Secs In the minor seventh chord, both the third and the seventh degre are lowered . The same alterations have bee! scale. tm tm ta et 1 tm fgEvery non-chord scale tone in the following exams into the nearest chord tone. pie moves directly ¢. AUGMENTED 7th Here the seale building procedure is slightly different. Instead of referring to, and alterin g the basic major seale, we construct a whole-tone"' scale, i.e., a scale composed solely of whole tone intervals. Note: This scale, necessarily, has only six notes plus the added octave instead of the usual seven. Here is an example of scale-w ise approaches into chord notes of the augmented seventh chord,