anding of those Naturally, any study of music inust begin with an under: ents simple clements which go tomake up music. ‘The first of these ele to be discussed is Pitch, which is designated by the location of ona musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the ‘treble? and “bass” clefs, Some definitions relating to pitch: SEMI-TONE.>. . . The smallest distance between two notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The distance between two different pitches. Palin 7 DEGREE ...... Each note ina scale is called a degree of . 2 Scale. TETRACHORD .. A four-note scate consi ing intervals: ng of the follow- Whole-tone, whole tone, semi-tone plication we will make of pitch is to the ales. A scale may best be d d notes moving in a constantly asi i or descending direction, Fie ae moce| CaanSON f- = A. MAJOR SCALE CONSTRUCTION ‘The major scale is made up of seven different notes, one on cach suc~ cessive line and space of the stave and exch 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. Ce eet) a y 1 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) ‘To Whole tone, whole tone, semi-tone. (Tetrachord) ‘Whole tone. Whole tone, whole tone, semi-tone. -(Tetrachord) = a Le be bat ‘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: = rr == Note that the fourth degree of this scale must be called Db rather than Cif, since the third degree hadthe 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 receive 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 See =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 seen 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. op b a rer ee — = = ws ee ia Se i ae, meens| rouse rove rove \creve)|_rowe rove Brews 3 Ex 5 By using the upper tetrachordas the lower tetrachord in our new. scale, it is possible to arrive at all of the key signatures con— taining sharps. tore vepen, rerescnone oF «Le eOlodS RES CE. SF ——— e = ‘ ‘ z a ig / Ex. 6 In the previous example it is evident that the F must be sharped, since each tetrachord must be composed of whole tone, whole fone, half tone. By following the same procedure it is obvious that the next sharp key would begin with the tetrachord built on the note D, i.e., the upper tetrachord of the G seale. PageAgain, notice that the note C mustbe shaped 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. cowlee Tergsghose gi PREYS SMe EES 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. caw TeTpsctone, OF RSIS ) Gth 7” » on: C, Db, D, Eb, B, F, Fé, Gb, G Ab, Ay Bb, B. inversions of the major 6th ehord 15, ‘The following problem is designed to familia TCR chord structures. In composing the origina! melodies this time, use only chord notesof the major chord indicated above each bar. —— 2 you Page 16Compose original melodies on the following progressions using choré notes only. in — F ae ~ As —e == — fe —? = == y] a oo e 35 ——— = SS a a | a oF F i ee res i Got yYrrr - 4 a 4 & == SS Ee EC rte yr et ' él y+ ee 2 === ESS eH ‘ * { 4A ¢ | Le Go Saas =— = b a S a : ae SSS a 2 4 <4 LO KK = SS ae ¥ it 7 1 oe 2 f &£ SSS a vr (a asemen LESSON NO. 2 CHORD CONSTRUCTION (Cont'd) -_ ee. ==. 1 Continve ot several more of the standard chord structures, The first of these is 2 Minor Triad. To construct the minor triad, simply refer to the major triad and wer the third degree one-half step. Bx. 1 D Major b Minor oe a > ; & 55 ap 1 naming the lowered third degree, rem ember that if the original major third was harped, the lowered third will be nacural; if the major third was a natural, the lowered lird will become a fiat; and in the event that the major third was preceded by a flat, ie lowered third will become a double flat (bb). , s explained in Lesson No. 1 the simple triad is rarely used in modern chord voicing, Some again, we move on to the more commonly used minor chord vith the added oon etinor sixth chord may be found by referring to the major sixth and simply wering the third degree one-half step. Ex. 2 1c Major 6h © Mins 6th Se ance again in order to properly construct and learn all of the minor, Sith chords, it isadvisable to make use of the “chord block” technique as described in Lesson No. L Here is a sample problem in constructing minor sixth chord blocks. E Major 6th LE PROBLEM Fill in the open blocks w Pe / 6 + b © woo 1s, hence the degrees -- one, lowered threq {The above exercise deals with minor cho ive and six are called for) Page?‘To continue with our study of the ir@ structures, we shall next cousider the Dominant Seventh Chord, a four-part chord which is derived from the fivst, third, fifihand lowered seventh degrees of the major scaie. ‘The si ever, is to refer to the major seventh chord and lower the seventh degree one-half step. Ex. 10 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 fiatted (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 a x BEEBGDHEREES SoS, |b] © Fill in the open blocks Or 1 1O| fq F ae a Since this exercise deals-with dominant seventh chords the degrees one, three, five —| and lowered seventh are called for. w 1% m Ex 1 hea ni SOLUTION: in letter names without accidentals using a. Cas the root b. Cas the third c. Cas the fifth d. Cas the lowered seventh 4] 7| ele] z10) zl@l4 alzlOl4]- a |@la4|el2 a ew @ Page 42. Next we check the dominant seventh chord structures for neces sharps or flats. ‘OF necessary a. WithCas the root we refer to the C major scale. All of the notes are correctas they stand with the exception of the *seventh degree “B*, which must be lowered to conform to the chord structure (dominant seventh). EE ei | s|G a) b. WithCasthe third, the appropriate scale would be Ab, with asignatureof 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. fal 7 5G $|G| 24° be — 3|4|O| . 7 |@| 44 ei ©) 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. Xt Ex. 15 sTe [so 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 ®sharped. Her: 2 natural is correct as the low ered seventh srate of D. The third degree is F#, ae © @ (Before going on, it would be advinabie to com; plete Problems No. 4 & 5 of the assignment.) NOTE: The fol wing chord symbols are used in reference to the chord structures discussed in Lessons No. 1 and 2. Cee C Major (6) : cm... € Minor (6) € Major Seventh + ++44++,.C Dominant Seventh CMaj?. . cr. ® HARMONIC CONTINUITY . The first actual arranging technique which we will discuss is the princi- ple of Harmonic Continuity, a method of producing smooth voice_lead ~ ing in & given chord progression. Once you are completely familiar RAB [his lechnique itis a 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 miatter what the inversion, we shall name the notes in terms of volcog ratherthandegrees. In other words, we shall consider the top flote or the chord to be the first voice, the next note below it to be the second voice, and so forth. Wire the position of the ti determined, to produce smooth Voice leading to the following chord simply apply the basic principle gf harmonic continuity, i.e., KEEP COMMON TONE (OR TONES) IN ee SAME VOICE (OR VOICES). To clarify this rule, let us assume that we are moving from a C chord to AbT 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 ee Page 6, . : [VEY 9 ere be va Upetcn Cue a Eww EEE Dea ee DU-zcase, theonly common tene would he the note C, J.¢., the only similar note found in both chords. In the following example, Cappearsas the first voice of the C chord, therefore, the C must remain as the first voice of the Ab7 chord, with the rest of the chord notes of the Ab7 being filled in below the'C: Ex. 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: x. 20 ‘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, Gh, the notes of the Fm chord are F, Ab, C, D. In this éase ‘there would be tvo common tones -- Ab and they appear in both chords), and to produce smooth voice leading they must be kept in the same voices. se ail sindthe voice leading of these three chords would appear as follows: Ex. 22 3 i Here is a longer example of a harmonic continuity with the common tones indicated. The position of the starting chord was arbitrary. Occasionally there will occur a situation where there are no common tones between adjacent chords. In this case observe the following principle: Yrw Oy a - Me wot WHERE THERE ARE NO COMMON TONES BETWEEN sy Sek ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE Q qo] NEAREST CHORD TONE OF THE NEXT CHORD (EITHER pe x rey ABOVE OR BELOW) AND CONSIDER THiS TO BE THE Vag e FIRST VOICE OF THE NEW CHORD. 5 a tt ee : Sy fm the case of C to Abm (no common tone}, either of the following would be correct. BUR REBo e- i Here is a continuity incorporating this principle as well as the one previously discussed. As you work out these harmonic continuities you will notice that the progression has a tendency tomovedownward on the staff. This is a resultof thenatural downward tendency of mostharmonic resolutions one of the points that will be covered later in the course when we dea with the probicms 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 LEADIN AS SOON AS THE CHCRD CIANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Bx. 26 c if Now, to make sure that all of the foregoing is perfectly clear, here is a’continuity containing al! three of the principles appiying to har~ monic continsity. ail ns sind pene iedSSIGNMENT . Work out 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, E, F, F#, Gb, G, Ab, A,'Bb, B. Gena renter ah er =p PeSei| ; 1 | Notate in all inversions, all major seventh chords. (same list as in Problem No. 2) = Cm oe ah Ex, 29 inversions of the Major Seventh chord 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 inversions of th 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) (i thicu ) fF? Be & wi Lr 2 “ogee igbegite Tate 7. Set up a harm progressions continuity plus an original melody on each of the following chord a three stave score as in the example below: Page 11 — . =eer @ pp ig ray af I! i LESSON NO. A. CHORD CONSTRUCTION (Cont'd) ‘To continue with our study of the asic 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. ee o 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 as described in Lessons No. 1 and 2. SAMPLE PROBLEM Fill in the open blocks. © way we) fe) (ad Since we are dealing with the minor seventh chord, the degrees one, lowered three, five and lowered seven are indicated. SOLUTION: 1, Determine letter name: a. with C as the root b. with C as the lowered third ‘al 78 e c. with C as the fifth d. with C as the lowered seventh S\GIE Ex. 3 |3|4|© 1@\4 raged2. Add whatever sharps or flats may be needed to produce the minor seventh chord structure. a. with C as the root, we refer to the C major scale (no sharps or flats) and lower the third and seventh degrees, Le., E and B to conform to the chord structure. "ee 4 We find that C is the lowered third of the scale of A. (C# would be the regular third). We must also lower the scale seventh G# to G. a] 7ele| . Bes SIG\E = SONAL IO] * 11©O\|A4 @ ® With Cas the fifth degree, we must refer to the scale of F. Again, to canform to ihe minor seventh chord construction, we lower both the third and the seventh degrees. is v|atla|e et slelz|O Sle lolol Ole @ © 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, F#, must also be lowered to become ¥ natural.Fe a\Gle1© Ex. 7 S|GIE|O|A 3|ZIO|A-E WI©@\A\4\2 a oe w@ 5-0 #2 next basic chord structure to be discussed is the 4uamented Triad, a three-part rd based on the first, third, and fifth degrees of the major scale. A simple to find the augmented triad would be to refer fo the major triad and raise the 1 degree one-half step. 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, ra "and lowered Seventh degrees. However, a simpler method would be to refer to dominant seventh chord and raise the fifth degree one-half step. yey dt Ex. 9 e Cae? « e oe Hl not be necessary to work out chord blocks on the augmented seventh. If you are ‘oughly farailiar with all of ‘he dominant seventh chord structures, you should have ‘diiculty in getting to know the augmented sevent [ar ( ther of the chords ¥ y t be familiar is th Sd. The inished triad is a thres-part chord do:lved fram the first, lowered third, and low- 7 fifth of the maior scale. Tt may aiso be located by referring to the miner triad simply lowering the fivth degree one-half step. Page 3 aa\ via-W- Sir) Since we will need a four-part version of the chord for our arranging work, we move on to the Diminished Seventh Cherd, a four-part chord derived from the first, lowee. Red third, lowered TiMiPane no oes seventh of the major scale. Although it is ‘f calied a seventh chord, the simplest method for building it would be to refer to the } minor sixth chord and lower the fifth degree one-half step. | Another feature of the diminished chord is that enharmonic spelling may be used freely j Without regard to scale degrees, i.e., F# may be called Gb; Bbb may be called A, etc. a ‘In the following illustration any of'the chord spellings shown would be considered to be correct. Ex. 12 Odean ie win, as in the case of the augmented seventh chord, it will not be necessary to work t diminished seventh chord blo: A thorough knowiedce of the minor sixth should ‘able you to locate the diminished chord structure with little difficulty. a n " x A " " # 7 n " a a mi . nm iCHORD SYMBOLS Every chord structure is designated by a special abbreviated name Following is a complete listing of the basic chord structures which we will use, and the symbols that identify them. STRUCTURE C Major C Minor C Major 7th C Dominant 7th C Minor 7th € Augmented 7th € Diminished 7th SYMBOL c : Cm or C- C Maj. 7 cr Gm or C-7 € Aug or Cx dim or Co In addition to these basic structures, you may occasionally encounter so-called Iiitered 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 D minor 7, lowered 5th Dm7 (b5) C. ‘(OPEN HARMONY NOTATION |All of the chord positions that we have covered thus far belong to 2 general class- Mination known as closed harmony. In addition to these closed voicings, certain ‘open voicings may oiten be efi fectively 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 sIlustrate this principle let us assume that we have a C major chord in the following closed position. Bx 3 ie eS Senge € dws Segovia we Bdy Seopat An GEEYR seve & ; val a bamopert fd SuaTo convert this chord from closed to open position we would sii | voice, G, down one octave. ex; M4 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. Bx. 15 Here are several more illustrations of open chords formed by dropping the second voice of clased chords, BREEZE TREN HBB BEB? tlOTE: When using open harmony, we may distribute the chord notes between the OTE: When using oppase clots, using the bas clef wherever the notes become so low that it would be inconvenient to write them in the treble clef, It is not necessary to keep a specified number of notes in each clef. Rather, not ee eear tet where convenient to avoid the necessity of drawing ledger lines. ly the principle It is of course possible (and quite effective musically) to ap 2). Here is an of open harmony to a harmonic continuity (See Lesson No. example of a continuity: a. in closed position b. converted to open posit octave tion by dropping the‘second voice down one Ex. 18 Page 7 aie“\ssIGNM| 7 Ss 4 ' "y. work out minor seventh chord blocks as indicated on the enclosed sheet. “y, Notate the following minor seventh chords in all four inversions: =" C, Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B ODD 3, Noite augmented seventh chords in all four inversions.on-the same list as given in problem No. 2. a ‘A. Notate diminished seventh. chords in all four inversions on the same list as given { in problem No. 2. i in prder to have a convenient guide to refer to as you work, complete the enclosed 8. whord reference chart by filling in each chord in the appropriate space as illustrated . Convert the following closed chords to open position: 7. Set up harmonic continuities as described in Lesson No. 2 on each of the following |" chord progressions. Do not allow the top note of any chord to go below the note E. foo) iaecnnea i = | ! SS | Where voice leading would result in a lower lead note, change position of previous | chord. | GI | | Ex. 20 Page 8CURR e ee ee MI c a Em? £57 a= aS - mm “oe —— ae e ae 8 i 4 | \ ray ™ Fa * & Su) + x alll bly & 9 Lu | aaa! eer == (au Dm? De? £7 On? 4 brite ‘lee by By a Con? dm? G78. Re-score each of the continuities which you have written in problem No. 7, . as illustrated below. Ex. 22 Original melody using chord notes only Harmonic continuity in open position + Root tone of chord Page 10SOUS . CHORD REFERENCE CHART L —.) mason(t) mivon(¢) MAJ. 7th DOM, 7th MIN, 7th AUG. Teh “SgLE A. RHYTHM (Cont'd) For preparation in the development and usage of swing figures» analyze the rhythm factors which tend to produce a feeling of "swing". First, let us consider the notes. Swing consists generally of a combin: at least one accent does not occur on occur on one of the "&" ex In order to avoid confusion in locating we shall rely on a system of naming wl Using this system (i.e. eighth note gets one deat), jurations may be represented by a single one beat. following a fact that a four-four bar contains eight eighth ation of accents in the above bar where the beat, i.e. one of the accents must s" rather than directly on SON NO. 4 we here setts: the one, two, three or four. 2 and naming "off-beat" attacks, hereby every eighth note gets the not! NOTE. DURATIO} EQUIVALENT RES’ so) 1 beat ’ d 2 beats a J 3 beats ee d 4 beats ca d 6 beats aa? 8 beats a 2 Pane 1aati a i Lo The rhythm "211 4 " would appear as followa: Be Following aze several bars of rhythm notated according to this method of naming: & Each bar should, of course, add up to eight "eighth" beats, 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 aa: ‘The rhythm plus "2" plus "5" would be notated: ee Page 2The arranger, or composer, must follow a definite system of notation so that even the most intricate swing thythms may be read easily and accurately. The + three principles by which this may be accomplished are as follows: BEAT or 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. Bee J wo 7 a i ES Lae 4 7] Ged ‘ w F 2 8 EXCEPTIONS: | == == WHEN TWO OR MORE CONSECUTIVE EIGHTH NOTES OCCUR IN A GROUP, THEY MAY BE "BEAMED", Beg j Ee Beamed eighth notes : ES== Fass HOWEVER, DO NOT "BEAM" EIGHTH NOTES OVER THE IMAGINARY, BAR LINES. - Ex. 10 RIGHT WRONG oe oped — ==BEe Page 33. NOTES SHOULD ALWAYS BE SPACED IN THE BAR ACCORDIN NG To TH VALUATION, i.e., = half note in a four-four bar should occupy one-halt of the total space in the bar; a dotted half note shou!d oceupy three-fourths of the bar, ete. BAD coop BAD Goop @Eeeueers (Complete problems #1 and #2 of the lesson assignment) 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., nutes 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 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 (ne). Cae. GC cucwe um ¢ec ecm ce uw ce (Before continuing with the lesson, it would be advisalle to complete Problem No. 3 assignment. ) Page 4 ae i ne | ike+ Once you are able to determine with little or no difficulty whether each note of the melody is a chord note or a non-chord note, the next step will be to “BM out the chord under each and every note in "block style", Here are the srules for producing 2 four-part block harmonization. 1, HARMONIZE CHORD NOTES WITH CHORD, BUILDING DOWN FROM - THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION. - Be j given melody ] Bembetain 1 a, HARMONIZE NoN-cHORD NOTES WreH CHORE, BUILDING DOWN FROM THE MELODY NOTE IN THE CLOSEST POSSi2LE INVERSION, | - BUT LEAVING GUT THE NEAREST REGULAR CHORD NOTE JUST + BELOW THE MELODY NOTE, rABenple, if we wern harmonizing the note "BM with a Gm chord (Cy Eby ‘A), we would have to leave out the note "A" (the nearest chord note below "B") defore filling in the rest of the chord notes. j y be van Gees pS. WHEE _ B < ove? : & & I> oe Here are several more illustrations of the harmonization of non-chord notes. Bx. 15 * given melody block "harmonization OMIT "C" OMIT "G" OMT WANNext, we move on to melodies which, Iike all stondard and popular songs, wil fi intermingle both chord and non-chord netes. Here is a melody of thie aort Bx V6 Dont G7 c 64 Om? 097 ¢ 4 complete with chord symbols, and an illustration of how it would be harmonized. pf = ee Se a On 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 regulting harmonizatious, while quite simple, would nevertheless produce the same professional sound featured by many leading bands. faye, 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- = might be i tr Bx. 17 treated; Ces oF nm eeu eee ee eee In the following illustration, the lower three vaices cannot be sustained, since they actually change from one chord to the next. Ee 18 Page 6‘Another situation where the above principle might be applied would be where oth the melody and the lower voices remain the same. Here, it would be possible to move only the top part while the three lower voices sustain. It would be wise to remember that regardless of how often this sustaining cechmique may be employed, it is far more effective in smooth ballads, rather than in tawing type tunes. (It is also more generally,used in saxes rather than in brass.) _ ASSIGNMENT : Le 1. Notate the following swing rhythms, as indicated in Example 20. Ex, 20 2111S 26235 2068 =e Spee ae 53 521 512 . 1223 si. 35 piss) Vesaur bees eea ts 323 3204 Biot i “B2r11 332 _ 7 1 7 733 11 SV. 2382 342 4121 sie 313k 412111wom 143 a241 M11 ia 21122 ‘ 314 ran2 Si 117 21321 ' 2214 1 24 4 pisaad li3s2k F eaat 22112 Pari. Soa I 22g T2212 Psy 21138 Z| 3212 Dei 2 a22aa0 211i2.t = fadn aa Deiai2 piaiz2a ip 2114.6 P1li23 [ete 2bili2 ~ “yae2a Biri r2riie2 pi2i2a a a2ztad ri2i3 M2i2i1 —_ | “aa22d pri4a Tad i te @2 111 . ie te 121i ait Pitiag I t2304 piaaid4 pyrerara Ce - odaste sry2g pr12dyr_ard -) et fl 3lLa2 P2213 ee pirrir2t a2131 312.1 Pir tra @rtil i? i ber that the principles of bar-subdivision apply to rests as well as to Gurations. i] i be tt J Pose 8 I ne = iNotate the following swing rhythma: 1 6201220612111 O1424211031100204420 & 2OVL1L0O200101125 420131 LOZLLVL2209L0102 101 ¢ 2201111121, 2@ 2 213,203. 2LULL003010141012@ 2, 1 1, Analyze each of the following melodies indicating chord notes (c) and non-chord notes (ne). Page 95a — | eCwe ce WNC CE c Le fie NC Sasaecy Ml SaaS So ze a= = WEEE E wee wl4. Harmonize each of the melodies from Problem 3 using the four-part block technique described in this lesson. Suatain three lower voleee wherever possible, 5, Write a four-part black harmonization on any twa standard tunes of your choice, : a A Page XALESSON NO. § Skee lo (Se. PRINCIPLES OF IMPROVISATION, 1, CHORD TONES Notes of any given chord may be used in any order, frequency, or rhythm pattern against thet chord. 2. CHROMATIC APPROACH NOTES Any note which chromatically approaches a chord 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 cale-wise"” may be used in of short duration). Any note which approaches a chord tone (Scale-wise approaches must aiso 5 an improvisation. A prerequisite to understanding this technique is a knowledge of "chord scales scale: siya wises hn paw Nwala of Prwiyaur wen Fer 6 ewa. MAJOR (éth or 7th) (\ owian ) In the case of the major chord, no alteration is necessary. The major acale, as is, goes with the major chord, A non-chord scale note may be used in an improvisation if it ent chord tone. Notice in the following example that every non-chord scale note moves directly into the nearest chord note (either above or below), approaches an a SeZangs Bove Syppeted denerb b. MINOR ( reloads <) ® Ss eC howee Sch hoes — “Recta, ImMeQ+) eee ee chord, the same alteration will be made in the minor "chord acale'" - Co (ng) iu a " fa | mi Again, an example of n chord scale tones of th cent chord tones. ninor chord scale" approaching adj: c-0-€b-F-6 - AV~ BC Cprce miner =oR ow ow ow at _— oo stm tm omy tm a te Se. poanant th (Mixcebydian) Here, the seventh degree is lowered in the chord scale just as it has been in the chord. Following is an example showing non-chord tones of the C7 chord scale moving into adjacent chord tones ATR SACS In the minor se hord, both the third and the seventh degrees are lowered, The same alterations have been made in the chord scale.Be 2 Every non-chord scale tone in the following example moves directly into the nearest chord tone, Ex. 10 ©. AUGMENTED 7th Here the scale building procedure is slightly different. Inetead of referring to, and altering the basic major seale, we construct a ‘whole-tone" scale, ive., a scale composed solely of whole tone intervals. This scale, necessarily, has only six notes plus the added octave instead of the usual seven, Here is an example of scale-wi Se approaches into chord notes of the augmented seventh chord,Fr r ° - ™ = = « geal {. DIMINISHED 7th Again, without referring to the basic major scale, we build the altered scale for the diminished seventh chord, as follows: Chord notes plus one whole step above each-chord note. 2 b8 4 bs be He? Ex. 13 Note: This scale will have eight notes, plus the added octave rather than the usual seven. Following is an example showing scale tones approaching adjacent chord tones of the diminished chord. Ex. i _ \ Note: When a minor seventh (b5) structure is indicated, use the | chord scale of the dominant seventh chord found four half- steps below. vreliten (dled) Em7 (b5) > use C7 chord scale —> Wt Fag scale | Bm (b5) - use G7 chord scale Fm7 (b5) - use Db7 chord scale Typical mistakes in the use of approach notes are shown below:~ In the following example, although Df would be chromatic to a regular chord note of the C chord (E), in this case it ered to be a chromatic approach note since ‘a chord note rather than approaching it cannot be cons: it is leaping into chromatically. Page 5Similarly, the Bb in example 16 would be correct had it been followed by either C or Ab, but cannot be considered to be a scalewise approach to Eb, Le., Eb is not an adjacent chord note. Be tb In example 17, F¥ would not be correct since it is neither a chromatic approach note nor is it present asa scale tone in the C scale, LRERS ERED Note: Although the foregoing will produce excellent musical results in virtually every situation, this should not be considered as a final and complete coyerage of scaie-chord relationships. In some cases the acale will be determined, not by the structure of the chord, but, by its function in the overall tonality of the chord sequence. This will be covered in more detail in the section of the course dealing with chord progression, B, IMPROVISATION The ability to “ad.lib", ive., to improvise around a given melody, or to create an original melodic improvisation on a chord progression is as essential to the arranger as it is to the instrumentalist. 1, CREATING AN ORIGINAL IMPROVISATION ON 4 CHORD PROGRESSION. Page 6{piss Serbo’ a. cHorpNores {i As otated earlier in thiz lesson, chord notes may be freely used in creating original melodies, Ps . b. CHROMATIC APPROACH NOTES ern Myssieque ous ree Chromatic approach notes may precede any regular chord note pro- - vided that they resolve directly to that chord note. : sou vie wheg aad Sle hon : €) ScALEWise APPRoacH Notes (Mow, s% soe so SY § ae Larven vines é Non-chord notes hich ar present in the related ceatd se ay be used, provided that they vonsive atsecene nied cord scale may, eee Gm? or & Fon Gc Following is an example of an original melody based on a given chord progression which utilizes: . chord tones b. chromatic approach notes €. scalewise approach antes IMPORTANT:— ALL APPROACH NOTES MUST BE OF SHORT DURATION, Q notes which occur on the fi izd beat should not normally * be harmonized 2s approach nies. Page?To be certain that the foregoing is perfectly clear, here, once again, is | an original melody composed exclusively of those materials covered-in this lesson. ASSIGNMENT Write out chord scales on each of the following notes as shown in Ex. No. 23. C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, Bfae] = ee 2,) In the event that you do have access toa piano, it is definitely advisable to spend some time playing and listening to the chord scales discuseed in Pe playing tain the closed chord in the this lesson. The most effective way is 18 9 left hand while playing the altered scale in the right. Remember that speed is not essential, but attentive lister (Play all chord scates notated in Problem No. 1) Page 9shai cas SiBoicwiaes SS haicicstt alt po a #2 approach aptes anti seatovioe approach notens eompece ssipinar eros WHprovisations based on each of the following Chord progression: 3. Using only chord notes, chr. ord notes, | Orne Ge _ fms) A? Oma Gu ESS eS Bon? Ebmt Abr6) Using cach of the following chord progressions aa a guide, aet up a original melody using chord notes and chromatic and scalewise approach notes harmonic, continuity root tone of chordAm? on? Fan? Cea «6 Gane 5, Write a four-part harmonization of each of the following melodies:6. Write a four-part harmonization in open position of each of the following melodies: 5 = pigs si Weiss =r oe ar | om : ee Spates r {ls | piyseee eo 1 Staab net yt Page 1LESSON NO. 6 ‘A. IMPROVISATION (cont.) - In Lesson #5 we covered some of the melodic elements to be considered in improvising. We continue now with some melodic figurations that may be effectively used. 2 5 1. DELAYED RESOLUTION rsJuscrenyt qn vara Mele nv 9 5t8 — see g3 treet Anpensys In this type of figuration, the chord note 1s approached Wyre) from both above ana below before resolution occurs. ‘the nh OY delayed resclution may take either of the following forme: \? ay Lah Le ee NC vee et a, approach —_——, ase note 1 Chord See mote 7 ee at note eh eas. anon chord r note approach ee note = Following are some typical examples of delayed resolutions. a * a io t once Poems feuds of two chromatic ‘The double chromatic ‘As indicated by the title, this melodic figuration © ¢ same direction into the chord te e of the following £ notes moving in approach alrnost always assumes = 2 t 7 : - . & Sos erbua BE Ue papel wee pret ob Se icv bu wae Oo ' Page am 8o © = chrom 1 3.chrom - chrom 5 o 1 chrom - chrom b3 @ fe) a) s chrom = chrom 3 5 chvom = chrom? BY chrom = chrom 5 C=, ba ASI és oe Sm de! regia Refteeing cbafstand nce» Following is an example of an original melody created from a given chord pre- gression using all of the techniques of melodic improvisation that have been discussed in Lessons V and VI. Each note used has been coded as follows:~ Delayed Resolution... Double Chromatic Approach. at could be developed her melody based on uurse, endless melodic vari ries of chords. Following is ar a given in Ex. #3.IMPROVISATION ON 4 GIVEN MELODY ‘The preceding has dealt with the construction of an original melody from a given chord progression. These same principles are in continual use by the instrumentslist or arranger. He has, however, the additional problem of writing a melodic variation (improvisation) on an already established melody. In improvising on a given tune, it is normally advisable that the original * “Relody be recognizable. “The type of band or combs for which you happen ‘To be playing or writing should de your guide in determining just how far from the original melody you dare to go. All of the melodie techniques discussed in Lessons V and VI (i.e., Chord Notes, Chromatic Approach Notes, Scalewise Approach Notes, Delayed Resolutions, Double Chromatic Approaches) may be applied to a given melody. Of course, in order that the original melody remain recognizable, notes of the original melody should be retained, especially those notes which are important in feeling or duration. Notice in the following éxamples that the cheracteristics of the original melody (a), have been kept in each of the improvizations (b). In addition to the coding deseribed previnusiy, notes of the original melody will now be indicated by "M". Note: Quarter notes which acenr on the first or th not normaily be harmonized as approach aotes. beat should(a) original melody (b) improvisation - is aS — = é ee OO 6 ae Dm? Bx 6 {e) original melody Be oe Gg Av Fm p= SSS SS aE (b) improvisation CON _ Fas Wilts Bx 7 (a) original melody ePod tad - ©. RHYTHM (cont.) Pl Any rhythmic pattern may asgume a umber of different forms and feclings depending upon ts relative location in the bar. To illustrate, the simple rhythm "4 plus 4" might be used in any of the following r wayst (NOTE: One equals eighth note.) o o r ‘To develop an understanding and awareness of the various forms which may be evolved from any rhythm pattern, we use the technique of “phythmic displacement". aa a 1, RHYTHMIC DISPLACEMENT PHONY) ere onNER a. Displacement by 1/8 In the following example, the pre-selected rhythmic pattern will by repeated eight times, but before each repitition an eighth rest will be inserted. As a result of this, the rhythm which begins on the first beat of the first bar will begin on the second beat of the next bar, the third beat of the following bar, etc. , until the original rhythm pattern has been displaced one full bar. a°9°9°4 4 = Page 5It is, ‘of course, possible to apply this same technique to rhythmic patterns which encompass any number of beats. In Example 10, a two bar (sixteen eighth beats) rhythm pattern has been displaced by 1/8 rest until it returns to its original form. ex. 10 original rhythm "2, 2, 3, 2, 2, 1, 2, 2)" Du 22 2 7 2 2i Woe b. Displacement by 3/8 ‘The technique of rhythmic displacement remains the same except that a rest of 3/8 beats is inserted before repeating the rhythm pattern. bl - ; 3 y a i BED EET ECHR RRHES (NOTE: In working with rests, be sure to use the same type of bar-subdiviaion that you would in working with notes.) Bx 1 original rhythm "2, 1, 1, 1, 3" (B777 Sh Next, a two bar rhythmic pattern displaced by 3/8. Page 6original rhythm "3, 4, 2, 25 le Ie 1s 2" Ss 4 2 277721 1s & 2 Ex 12 ‘The value of rhythmic exercises of this sort can not be stressed foo - strongly. Completion of the assigned problems will familiarize you - with the type of rhythm which is an essential part of modern music a and jazz. 2. NOTES REGARDING THE USE OF TRIPLETS IN 4/4 TIME - ‘a. Quarter note triplets may begin only on the first or third beats of the bar. - : Be : b. Eighth note triplets may begin on the first, second, third or fourth beats of the bar only. 3. NOTATION OF DOURLE-TIME RUYTEMS of eight pileations to the be notated properly by Double tins - war in 4/4 observing the following: _ a a. Consider four sub-divisions to the bar instead of the customary two.Miia ia anita a tcatcariinateSecalbid b. Reduce each value of the original 4/4 rhythmic pattern by cne-half, ice., quarter note becomes an eighth note; dotted half becomes a dotted quarter; two bars become one bar, ete. ¢. Beam each group of notes that occupy one-quarter - beat of double-time (i,e., two beats of regular 4/4 time). Bx 16 SES wee SSS Following are several examples of rhythmic phrases (a) as they appear in 4/4 time; and (i) as they would be notated if a "double~ time" feeling were desired. ae ofa — Ss BeLeeeroriginal rhythm a a) ' double-time notatiog i NOTE: Double-time is used exclusively in slow and medium slow tempos.ASSIGNMENT 1, Given are some chord progressions. (Ex. 19) (a) Write harmonic continuities based on these progressions. (b) Improvise original melodies on the chord progressions. Remember + that there must be an explanation for each and every note used. (See L L : L (©) Code,each note similar to Examples 3 and 4, Ex. 18 Given chord ei a Improvised metody f Harmonic continu!- Amis) OF \ IT | - c? F PALDADAS a en eee a =e w2. Given are some original melodies with chord symbols. (Ex. 21) jl (a) Write harmonic continuities in open position based on the chord pro- H gressions. u a (0) Write an improvised variation of each ofthese melodies. CMPORTANT: | woniGINAE MELODY MUST BE RECOGNIZABLE), i (c) Code cach note as in Example Sb. i i ‘Ex, 20 i | it Given chord progression ¢ c F Fm cs HL I |] 8 iH 7 Given original melody Improvised melody Harmonic éontinuity Page 13spe a eee =] \ a s Bhan? £47 a Cm%05) FT SSeS SSS == Bin? Bom? £87 = 752 = == =I] 3. Displace each of the following rhythmic patterns by 1/8. Continue until the pattern returns to its original form. 27s (20 62 8 » SSS Ee eS] Page 144 ~_ o i 4, Displace each of the following rhythmic patterns by 3/8. Continue until the pattern returns to its original form. 5. Convert each of the rhythmic continuities resulting from Problem No. 3 to double-time. Remember that each of the phrases will be reduced to half as many bars as the original.LESSON NO, 7 MODERN BLOCK HARMONIZATION A. MELODIC ANALYSIS Before attempting to harmonize a melodic line in the manner to be discussed, it iy important to understand the function of ‘each note of the melody. We may start by assuming that every note of a melody must fall into one of the following classifications. (T)CHORD NOTES .... l.e,, notes belonging to the 7 “chord indicated above the melodic line. Ex, 1 Chord notes (@)wow-cHoRD, NON-APPROACH NOTES «4... Lees hon chord notes whic do not function aa appreack motes. Ge ead Sue toeeet ye 7 ohan Aeaegnevow + Ex. 2 _Non-chord, no: approach notes NOTE: Since one of the conditions relating to approach notes stipulates that they must i yme that any non= shord note mors than one quarter beat in duration would automati- cally fall into this claesifieation. of short duration, we may 2:Nyrec uke sons sh pens 2 San papoce 3. SCALE-WISE. APPROACH NOTES .... (Ref. Lesson No. 5) Ex. 4 Scale-wise approach notes . pe best Epa Met weg (We 2 mee PT pmo r yyy ae oer veel Byrclarpe 4, CHROMATIC APPROACH NOTES .,, (Ref. Lesson No, 5) Ex, § Chromatic approach notes NOTE: In addition to the regular chromatic approaches discussed in Lesson No. 5, note§ that are classified as non-chord, non approach may also be approached chromatically. Ex. 6 In the following example, each note of the given melody has been appropriately coded as {allows;——— | cHorp NorEs. REGED 28 EB Page 2d MILA EEL A Aaa ia i NOTE: In certain instances more than one possibility for analysis exists. In these cases the most desirable choice has been noted. Where an approach note may be classified as either scale-wise or chromatic, it is usually (but not always) advieable to treat it as a scalewise approach. ‘As you complete the block harmonization of the assigned melodies, it is advisable that you play each of the possible harmonizations wherever a choice exists s0 that you may select the one that sounds best to you. (At this point complete problems No. 1 and No. 2 of the assignment) - IQDERN. BLOCK HARMONIZATION ‘Once each note of the melodie line has béen properly analyzed, the actual harmonization becomes a relatively simple procedure. CHORD NoTr: Harmonize chord notes with” Gesignated chord. (as in four-part harmonization: ++ Harmonize + omilting the Page 3Page 4 ee eee Following ig an illustration of the modern block harmonization of a given melody. In Example 13 the analysis has been made and each note coded, and in Example No. 14 the harmonization is actually completed. Ex. 13 Melodic analysis RR: Quarter notes which occu: on the first or third beat should not normally be harmonized as appr It is important that the chord sound be heard on these strong beats, when the attack lasts for a iit beat or more. Lbest or more, Just to be certain that the foregoing is perfectly clear, here is another example employing the techniques described in this lesson.ella el tstsitet | el nl TBE BRaerzasaFwt Saw —WDmiEB SE) weASSIGNMENT 1, Analyze and code each of the followinig melodies. (See Example No. 7)gE Site ont eat _ cor Cierra aa eas 20 Peewee ese we eee He 2. Ina similar manner, analyze and code any three standard. tunes of your choice, 3. Write a modern block harmonization of each of the melodies given in Problem No. 1. 4, Write a modera block harmonization of each of the standard tunes analyzed in Problem No. 2. Page 8A. RITETHMIG ANTICIPATION In Lessor No, 4 we discussed those factors which tend to produce a feeling of swing und also the methcds of notating these swing rhythms correctly. In chis lesson we cover "rhythmic an! ke any simple tune and alter it rhythmically so that it "swings". n ~ 7 r T m r = a pation", a technique whereby we NOTES ON THE BEAT MAY BE ANTICIPATED BY ATTACKING THEM AN EIGHTH BEAT SOONER THAN THEY ORIGINALLY OCCUR. In cach case, the eighth beat duration is taken from the value of the g note. prece Ex.1 (a) original c Ger (b) with rhythmic anticipation = (anticipat:on is indicated by>) zy . i i - NOTE: Although in the prec:ding exampic, rhythmic anticipation ou has been used wherever possil'c; in actual usage, antici~ ation is most effective when alternated with occasional "on-the-beat" attacks. (see Ex. 2b) al Following is an improvisation of the melody given in Ex. 1 utilizing rhythmic anticipation to produce swing feeling. ~~ Ex. 2 {a) Original melodySt () Improvised meledy using rhythmic anticipation au Ww B. MODERN BLOCK HARMONIZATION (Cont'd) 5 1, HARMONIZATION OF RHYTHMIC ANTICIPATION When working out the block harmonization of a note that has been rhytiunicaily anticipated, be sure to anticipate the harmony ae well as the melody. > Ex. 3 (a) Incorrect Correct 7 (b), Incorrect 2 Gm? x C7 x Gm? cr (a) Melody using rhythmic anticipation p O77 » C7 oy © Fae (») Block harmonization Gm? _ C7 a BEREBET ee eee aeNotice in the preceding examples that the chord symbols appear over the first or third beats of the bar even theugh the melody and the block harmony have been anticipated. | 2, HARMONIZATION OF THE DOUBLE-CHROMATIC APPROACH = (See Lesson 6.) Harmonize each of the chromatic approaches so that ll voice: move chromaticaily into the following chora. ~~" was pean ste cea Meee (Chrometic approach ——p chromatic approach ——p chord) e dyad a . 2 Sedan, fag aw . 3. HARMONIZATION OF THE DELAYED RESOLVE (See Lesson 6) Harmonize each approach note of the delayed resolve as though the other approach did not exist. APPROACH APPROACH CHORD NOTE eT Page 3 ‘ne ae ame cu, V7 to lly the minth may be low red one _balf step in the dominant seventh chord. vi With "one"! in thé lead of the V7 chord, the following alternate voicing may be used: . VA1ITGTIWAA Foiiowing is a reference chart showing the V7 to I cadence in every key. A detailed discussion of harmonic progression in- cluding all forms of cadence will be presented later in the "V7 to I" CADENCE CHART En D7... Following is an example of modern block harmonization which cribed in this lesson as contains all of the new principles well as those covered in Lesson No. Ex. 9 (a)_ given melody a4qy71074 . 9 cont'd on follows TPP(onaodern block aaemynigation emg C7 NOTE; It is important thar you siudy these examples I ‘ain that you understand each - harmonization procedure. depends upon your understanding of these examples, . HARMONIZATION (7 IMPROVISED MELODIES ALL of the techniques described in Lessons No. 7 and No. 8 apply not only ty the harmonization of given standacd or popular tunes, but to the harmon- raation of improvised melodies as well. Here is an example showing the modern block harmonization of an improvised melody, All techniques e-a- ployed in creating the improvization have been dicussed in Lessons 5 and 6, | Ex, 10 2 | Gm? oxy F Gn? 87 | POLEELs fa) given melody FAR Om=! (Ex. 10 ~ cont'd) | {b) improvisation of given melody and analysis of same. - & Dom? Gm? C7 Gon? CUS) Om? BF r iF a Dm? Gm? C7 Gm? 7g) a on? a iz NOTE: Necessarily, the preceding examples and {llustra- tions have dealt with extreme applications of the special cases relating to improvisation and block harmonization. In actual usage however, the best treatment is very often the simplest, with special cases such as the delayed resolve and the double chromatic approach used only for occasional effect. Remember, also, that the best block hdrmon- ization, and simple fou harmonization as described in Lesson fe Page 7 31 ||| D. OPEN VOICING OF MODERN BLOCK HARMONIZATION Open position, as explained in Lessun No. 3, may be effectively 1 modern Block harmonization. The technique remains the same, OPEN POSITION MAY BE PRODUCED BY DROPPING THE SECOND VOICE (FROM THE TOP) DOWN ONE OCTAVE. 7 Here is an illustration of modern block harmonization in open position. Ex. 1 (a) given melody 4 Ae : i Cee 1 one | | me ne |e Inencne i (b) block harmonization - closed position - | 7 FF Com FICO Shas? | 7 | i {c) block harmonization ~ open position 697 Cm? F789)SL a (a ae “T™ . ASSIGNMENT if Write a modern block harmonization to each of the following melodies. —_-_ Be sure to treat all rhythmic anticipations as illustrated in Example #3. aS S67. “2 ~ CH dan? _ or G CH Om? SB x aaice EEL CEP SSS &2 Don? or c er c Or? Gm Gm? co Am) DF Al Aa EES San Page ?a 7 An Em? a) pa Ee t= sa a7 Bint reer Sas ——¥ . aie == Fu 2 10 Pag3. Complete a modern block harmonization of cach of the improvised melodies created in Problem No. 2'2. TT : : “ /@) . Using any standard or popular tune of your choice, complete the @ ig any Pop y PI following problem: i a. Write an improvised variation of the original melody. (3 ; (Original melody must be recognizable. ) Veoud »( : “wr b. Complete a modern block harmonization of the i" . improvised melody. ue | (8) once again, using any given tune ae s starting point complete 7 the following problem: - ts. Write an improvised variation of the original J tacdeod wpe nelody. Improvieo ae little or ax much as you T : please, but in any event, the original melody ipaP must be identifiable, iL: Complete a modern block harmonization of the improvised niclody in open position, 7 4 i a a iLESSON NO. 9 A. TENSIONS In this lesson we begin our discussion of tensions", ive. , high- degree chordal functions. These high-degree chordal functions . are treated, for our purposes, just the same as chord notes, and have the same properties as those regular low-degree chord . notes already discussed. 1 is also interesting to note, at this time, that all of the so~ 7 called "non-chord, non-appreach notes" which we encountered jn modern block harmonization, are in reality high-degree chordal functions. (i.e., tensions). Locating these tensions may be simplified by recognizing that every high-dagree chord note is located one whole step above a related low-degree chord note. Following is a listing of practical tensions. In each case the related low-degree chord note has been indicated. ' rx.1 MAJOR: tensions are 739 iy a whole whole oad k il le | | \- “2 MINOR: tensions are 73 9 whole whole te nsfons are); raised Wy 15 whole st whole whole step, pteNOTE: ‘The scale eleventh {located one-half step above the third) iw alao quite cormoniy used with the Dominant Tth chord. Thore ave specific instances where this Seale eloventh ia more effective than the raised Gleventh and vice-versa, For the time being, expert fhout with both, and let your taste govern your choice. DOMINANT 7th: scale 11 dl BPHREEBZEHEERS Bx 5 MINOR 7th: tensions are 9 ; scale 11 L Cm? whole whole = ste ste Ss I Ex. 6 AUGMENTED 7th: tensions are 9 ; raised 11 whole whole ex DIMINISHED 7th: tensions are one whole step above every low degree chord note Coty? whole whole whole “Ble sey ‘stp “aes ————— j— = oS oS 7 we ss iw He tw ee ee (At this point it would be advisable to complete Problem No. 1 of the lesson assignment.) Page 2‘As previously rnterty we can now specifically identify thr'an antes which formerly had! been classified simply ag "non-chord, non-approach", Jn the analysis of the following melody, th’s general classification has been eliminated, and each of te tensions : pecifically named. Notice that this does not in any way a:fect the identification of those notes at the melody which could be treated as approach notess ~~ chord notes «+++ : tensions «+++ scalewise approach notes ++ .++% chromatic approach notes «+++ 2 Gm? C7 Ames) a 1 M4 4&3 B. BLOCK HARMONIZATION OF TENSIONS ' Phose notes which we now call tensions are still Smosized the same as they were when classified =; non_chord, non-approach,-i.e.y omit the related w degree chord note just below the lead. owing table may be used in checking the ,onization of any tension, Ex. 9 raise | 6 At = 5 5 ’ : la = wate 59 dud Page 3Dom, 7th: 9 13 oO 3 om b7 (ox. 9 cont'd) Aug. th: on “ b # 9 7 5 3 ) aL Is 9 b7 a5 Mia. 7thi 9 11 vay & ba 5 bT bs 5 * 9 for ! substitution in Dom. 7th chord. nn tented 6A) 1) b7 oF 5 bT 305 Dim. 7th: Omit related low-degree chord note Ex. 9 in musical notation would appear as follows: Ex. 10 AUG. Tth: DIM. 7th: 3 : 3 1 i 1 i Ce er ee ee ee i ies, ri Fr . ee 4 14 Here is a modern block harmonization of the given melody analyzed in Ex. 8. -: Cy TENSION-RESOLVE :(HI-Lo) -* - a Although they do not always do 90. there is a strong tendency for every tension to resolve to the related low degree chord i note found one whole step below. Technically this i rs as "tension-resolve"", or more simply "hi-lo", degree resolving to "lo" degree.) Following is an illustration showing all of the possibilities for hi-lo with each of the basic chord structures. MAJOR: 7 to 6; 9 to 1 MINOR: 7 to 6Bes Ex 16 MINOR 7th; AUGMENTED 7th: 9 to 1 y scale ll to 3 g to 14 raised 11 to 3 Cae? j= isa : 2 44 3 Bx 17 DIMINISHED 7th: one whole step above any chord note resolving down to the related low degree chord note. gee Here is an example showing how an‘original theme might be composed using only hi-lo. The resulting sound should give you some idea of the value of having a good working know- ledge of these tension-resolve patterns. Exley C Gm? C7 Ff ez pS Sea 9-1 7-6 WW -9% [9-5 9-/ 7-6 PU-Z 13-F Page & a | a fd a ee en ee |HARMONIZATION OF HI-LO Since the harmonization of both the tensio: ard its telated low degree call for the same lower voices, any hi-lo may be harmonized by simply sustaining the three lower voices while _the lead moves. “Ex, 20 MAJOR MIN. Ith: Teh: v7 13 ‘The following table may be used in checking the harmonization - =... of any tension-resolve pattern. : Page 7DIM, 7th: 9 bb7 bs b3 To be certain that the foregoing is perfectly clear, here is Ex. 20 in musical notation, ete. A —o3 y 6 bs bg —bS b: 3 1 6r rT Waa aa (tai | Utilizing the foregoing principles, the harmonization of Ex. 18 would appear as follows: Gm? | C7 | gr W-3 13-5 9-1 7-6 MI-3 B-F “ae ear ‘Am alternate technique used in the harmonization of tension-resolve is as follows: 3 Two simultaneous hi-lo!s may be used, provided that i they are separated by the interval of a third. ‘This "double hi-lo'' would appear as follows: Rigg oe) os) ‘The following Lulustration would be Incozreét, alnce the hitlo'w are not sopatated by the interval of a third. Incorrect Page 9Ex. 25 Harmonization of tension-resolve using "double hi-lo", (Only practical cases) MAJOR: MINOR: on DOM. 7th: 11 13 = a ‘MIN, ‘7th: WL = b3 me Go MINOR 2S te al By SE DOMINANT 7th MINOR 7th eePut PPR. Pe - r - ne ir —“ Using "double wherever possible, Ex. 18 might be harmoni: Sind se folle a To. i a AGT nie er !ASSIGNMENT + NoMfring on each of the following notes, similar = 25" Starting of @ach of the above notes, notate the sree showing harmonization of tensions+ (See Examples 9 and 10) Sik basié chord structures, Notate tensions of the to Example #1 through #7. “Bb, Eb, Ab, Db, Gb, (FH), By 5, Compose original melodies on each of the following chord progressions using "hi-lo" patterns only (See Example 18) ‘Again, using the list of root tones from Problem No. 1, notate the table showihg harmonization of Mhi-lo" {See Examples 20 and 21) ring tna similar manner, notate the table si harmonization of tension-resolve using ndouble hi-lo"s (See Examples 25 and 26) Page 12No. 6. Harmonize each of the melodies composed for Problem No. 4.5 Use "double hi-lo" only where desired. (See Examples 22 and 27) No. 7. Analyze each of the following melodies, using the indicated coding. Remember that those notes that appear to be approach notes are still classified as approach notes. All principles of melodic analysis remain the same, except that those functions which were formerly indicated as non~ chord, non-approach will now be named as tensions. chord notes (low degree) «+++ i tensions — i hiclo seeeeeeeeeeeees by name scalewise approach notes « . chromatic approach notes « —e double chromatic approach ..- vere dees delayed resolve : No, 8 Complete a modern block harmonization of each of the given melodies, (See Ex. 28) Page 14_ | 2) eo bm? 67 QL qenehatin E ue ciliate 2 eae _] peat IPSS Al Te pS Sa = —— aa e aa pntigen a= | Een SESra nig “Are Ys) 0? elesce Bic ensininitins cecisalis® sac ictal cks dalton at Ne Y PROGRESSIONS FOR PROBLEM NO. 3 ee See FAA ASA ZAAE — = a | ae Gm? |c7 - Fac? 8 eer FEZ Aizeeel S| £67 2 Gm? G4? a ee ee yz PAA} ar oe Fn? £m? a eeAL LESSON NO. 10 VARIATIONS OF HI-LO tension-resolve pattern which was discussed in In addition to the basic Yo that may be effect- Leeson No. 9, there are several variations of hi- ively used. 1, LO-HI-LO 2 Following is a listing of all of the possible forms of Lo-Hi-Lo on each of the six basic chord structures, Ex. 2 MAJOR: MINOR: 3-11-3: 5-13-5 DOM. 7th: MIN. 7th: L- b3- 11 -b3 AUG. 7th: 1-9-1: 3-#l- 3 DIM. 7th: chord note - Whole step above - chord note Example No. 2 in musical notation would appear as follows: MINOR: Page 14-9-6 B-U-3B IF -13-F op? MIN. Teh Ree peer f-9-/ 83-43 fon Hi-Lo Lo-Hi-Lo lo~ Lo Lo-Hi-Lo 6-7-6 Vea ge b3 gs bBo ee 2. HI-CHROMAT}C-LO 9- ch-/ os b-5 7-ch-6 Following is an illustration showing all of the various possibilities for Pe Hi-ch-Lo, Ex. 5 MAJOR: T-ch-6: 9-ch-1 MINOR: 7 - ch - -1 DOM, 7th: 9 - ch - he 3 1g ch MIN, 7th: 9 - ch - AUG..7th: 9 - ch - 1 :#ll ~ ch - 3 DIM, 7th: Hi - ch ~ Lo : Hi-ch-Lo is not possible when moving from scale eleven to three on the Dom. 7th chord. 2 C—O i ia: Example No. 5 in musical notation would appear as follows: - one MAJOR: - a aNOn ee = ESI teh ss 7-ch-6 — 9-cB-/ a6 ons wl DOM: 7th: | : = af rlpcpe =| =] = {PEE - 9-ch-/ SS 3 B-ch-5 La ~-MIN. 7th: ~- AUG, 7th: e-bob te-he—p— d porbgat? Bey & =Popcg=yttry | 9-ch-1 — W- c#3. .9-ch-/ HU ch-3 j ‘cor “2 pm. Teh: be. : ~p-be pele erate ‘Hi -ch-Lo 4hi-~ch-Llo ~ch-Lo Hi-ch-Lo Tom 6 erent a WS -e$s S 3. LO-HI-CHROMATIC-LO ee /~ 9-ch~ (5-i3-ch-F 6-7 ~ chEe MAJOR: MINOR: DOM. 7th: 1 - 9 - ch - 1: 3-#1l-ch-3: MIN. 7th: AUG. 7th: DIM. 7th: ‘The preceding chart of Lo-Hi notation. MAJOR: Tho following chart includes ail of the possible u: of Lo-Hi-ch-Lo. 6-T-ch-6: 2-9-ch- 7 6g oh 6: 1g 5-13-ch-5 1-9 - ch - 2 :b3 - WY - ch - BB 1-9 - ch - 1:3 - HL - ch - 3 Lo - Hi - ch - Lo i-ch-Lo would appear as follows in musical MINOR: aN 7, p= ho-Hée-ch- Lo g-T-H-8 eee OE 9 ch ft 54 ch 3 mM. Pk NT, =e Lo-Hi-ch-Lo eo [= = an ete Py Lo-Hi-ch-Lo Ag bb 8S | en ee he ee fe_et (At this point it would be advisable to complete Problems 1, 2 and 3 of the lesson assignment. ) ‘An interesting melodic line may be composed by applying the preceding variations to a given chord progression. In the following example, only Hi-Lo and variations of Hi-Lo have been used. z, 1-Q9-ch-/ G-/ B-ch-§ U-8% B-B-F 7-ch-6 B, HARMONIZATION OF VARIATIONS OF HI-LO 1, LO-HI-LO may be harmonized either of two ways, a. sustain three lower voices whil> lead :aoves: o a Exit b. sustain two lower voices while two upper voices move In thirds: {possible only where double Hi-Lo may be used; see Lesson 9) Ex. 122, HI-CHROMATIC-LO may bo harmonized as follows: : : [ a. guatain throa lower voices while lead moveu: x. 13 b, sustain two lower voices while two upper voices move in thirds; {possible only where double Hi-Lo may be used) | ” : | | LO-HI-CHROMATIC-LO may be harmonized by any of the following methods: a. sustain three lower voices while lead moves: Page 6i b. sustain two lower voices while zwa upper voices move in thirds: P| 2 eeaty sere double Bi-Lo contd appiy)ED TENSIONS already discussed, cer- a 2ddition to the regular ‘high degree chord no! They all occur with dain "altered tensions" may be used in specific cases. the Dominant 7th chord and are: The harmonization of these altered tensions would v9 v9 cv : v7 v7 pba Beat Toor Br Pert 3 3 1 ” BT 5 3 vs bis 3 3 9 Be eT v7 ‘An effective form of hi-lc using altered tensions is #9 to b9 on the dominant Zth chord, The harmonization is 2s follows: A - 09 9 - b9 b7 - 7 me 2 . aid 3 7 BeEPEER a MELODIC ANALYSIS (Concluded) ation of those melodic functions and patterns ve harmonizations. Following This completes our classifi at may be effectively used and their respec aL, melodic analysis. ‘a complete listing with appropriate cod Page a aeChromatic approach notes Delayed Resolution: 1 de. Double chromatic approaches... Unresolved tensions. sessee by degree name ss by degree name It is important that you have a complete and thorough understanding of each of these melodic possibilities if you are to derive the max: benefit from future lessons. Spend whatever time may be necessary in reviewing past lessons should there be any doubt whatsoever in your mind concerning their derivation or usage. improvisation utilizi Here is an example of a melod: ng the above possibilities. c Gm? CAR OF fasta seesot ay be employed in the melodic er discussions on improvi- the original melody while Logically enough, these ‘same possibi improvisation of 2 given melody. A setion, try to maintain the basic cha using various devices to form an interesting melodic variation. (a) given melody ae! Page 10<-ASSIGNMENT: Notate all possible forms of Lo-Hi-Lo on each of the six basic chord structures, starting on each of the following notes: (See Ex. 2 and 3) C.F, Bb, Eb, AD, Do, (FAB, EA, Dy Using the above lst of starting notes, notate all fornis of Hi-Chromatic- "(See Ex, 5 and 6) “Again, starting on each of the notes listed in Problem No. 1, notate all possible forms of Lo-Hi-Chromatic-Lo, (See Ex. 8 and 9) Using the following chord progressions as a guide, compose original ‘melodies based exclusively on Hi-Lo and its variations. (See Ex. 10) fF? Fm? 887 a Fmt Gm7Ze Don? G7 c er FAP BEES Harmonize each of the melodies composed for Problem No. 4 using nization techniques discussed in this lesson. (See any of the hary Ex. 19) Again using the chord progressions from Problem No. 4 as a guide, compose original melodies utilizing all of the melodic variations catalogued in this lesson. Code each note as in Ex. 23. Complete 2 modern block harmonization of each of the melo posed in Problem No. 6. (See Ex. 24) Again, utilizing these same melodic devices, write 2 melodic impro sation of any standard tune of your choice, being certain that the basic character of the original melody is retained. (See Ex. 25) Write 2 modern block harmonization in open position of the melody resulting from Problem No. 8. Page 12a Cc berGp&e F ) Gsecremstietel tp played on the piano, would sound the same as PBOVE cnt Ke pore 28 4 played on the tenor sax. this scal: In finding the transposed key for the tenor sax, simply think up one whole step, since the addition of the octave would not affect the key relationship in any way. If the concert key w Eb, the proper key for the tenor sax would be F. Following is a melody, first as it might appear in concert and . then transposed for the Bb tenor sax. ? Eb BARITONE SAX --- transpose up a major sixth plus an octave from the concert note. played on the piano would sound the same as -ULULmrmrmr™~—~—O this seale: [fy the baritone sax. Page 3 playEb Baritone Sax De i Peete flee a pa Since the extra octave does not affect the key relationships Simply figere a major sixth higher when determining the proper transposed key for the baritone sax: lithe concert key were C the baritone sax part would be vniiten in tho key of A (the same as the alto sax)- sro illustrate the foregoing, here is a melodic line, Szst de ihe concezt key and then transposed for the EP Bari- tone Sax. + Ex. 4 "NOTE: When transposing for the reed section, remember : se eet ake individual parts are always written in the treble clef, regardless of their appearance in the concezt score. B. RANGES Naturally, there are certain limitations 9s to Just how high and how low each instrument is capable of playnB+ The distance tow eon the lowest note and the highest note is called the range pene insteument. The fcllowing illustration shows Me sets Sf ranges for each instrument. The first is the “possible” physical limitations of the instru- range, i.e,» the ordinary sangey Tino second is the "practical" rangesi-e. + The Sooke Tay assume to be comfortable for any reasonably which you ex to confine your Wioguate instromentalist. it is always sesting to the practical ranges. The extrem: be used only where absolutely necessary oF *. fn the individual musicians’ facilities. ¢ ranges should cases where the arranger is familiar wi conceived Remember that the best planned and most musi© rtably less it can be com score is of no practical value wi ployed and interpreted by the jastrumentalist. (Refer to RANGE CHART on the following page.) Page 4‘ \ | { j t \ t ' i i RANGE CHART Bb CLAR, Eb ALTO Bb TENOR SOAS aaa 2b BARI, oec, VOICINGS ‘Although there are several different combinations of reed instruments that can be used in a four-part saxophone section, t the most common is: I. Eb alto M Ebalto I Bb tenor IV Bb tenor Let us assume that we have prepared a four-part block har- monization of a given melody in concert sketch form. Ex. ce SS Om? Go Cc fm Cc e et _ i — te i i ‘Yo apply the aforementioned saxophone voicing to this block harmonization, transpose parts for the individual instruments as follows: NOTE: | Remember that the transposed Key for Eb instruments will be a major sixth higher than the concert key, and the transposition for the Bb instruments will be one whole step higher than the concert key. 1. ‘Transpose the top note all the way through for the first Eb alto sax (See Ex. 6). Ex. 7 i ' E i i I i i i B E z i [ee \ 2. Transpose the seconé note (from the top) all the way through for the 2nd Eb alto sax (see Ex. 6). Ex, & : a: = (SSS aS 3. Transpose the third note (from the top) all the way through fo: the 3rd Bb tenor sax (see Ex. 6). 9 =I] ; + Sp = Has 1_gp tegor yo tre hte es iss f "Pf = fF = [= 4. Transpose the bottam note all the way through for the 4th Bb tenor sax (see Ex. 6). 2 Concert =j Bom : a oe = IV Bb tenor Spe Jef Page 7Ex, 1 NOTE: In transposing individial parts, use en- harmonic spelling wherever resulting notation seems more practical, ‘The resulting parts when played by the respective instru- mentalists willproduce the same sound as the original con~ cert score, but with that distinctive quality which comes from the particular sax voicing used. Another four-part sax voicing which is quite frequently used is as follows: I Eb alto Bb tenor Ii Bb tenor IV Eb baritone ‘The above reed voicing is particularly effective when the four-part harmonization is converted to open position as discussed in Lesson No, 3. As a reminder, here isthe rule for producing open harmony, TO PRODUCE OPEN HARMONY, DROP. THE SECOND VOICE (FROM THE TOP) OF ANY CLOSED CHORD DOWN ONE OCTAVE, (Refer to Lesson No. 3 for further detail regarding open harmony.) Here is an example of a four-part harmonization in open position and the transposed parts written as they would appear using the above voicing. melody So ee eT z=, erI Eb Alito s pees = Se = Sr =I i | “Although the transposed pasts have been written one above the {thes in the preceding example for the sake of convenience, {t would be necessary to transpose the individual parts on ceparate sheets of manuscript if they were to be performed | by individual instrumentalists. ‘Also, be sure to remember that it is essential that the parts le to = be legibly and clearly written. The musicians will be give a better and more concentrated interpretation of the music if they are not forced to struggle to understand the notation. © pr msmitting his intentions and interpretation to the instrumentalist. Conversely, it is also essential that the instrumentalist understand and ob- marks car ¢ effectively p fully if the arrangers" serve these ex musical ides ‘ Following is a reference chart of the most commonly used : expression marke and their meaning.symbol V.S. 8va vb NOTE: REFERENCE CHART EXPRESSION MARKS forte fortissimo fortississimo mezzo forte piano pianissimo pianississimo mezzo piano accent staccato marcato drop bend gliss. slur fermata ‘ezescendo decrescendo trill ritard Da Capo Del Segno Segno Coda volto subito loud very loud very, very loud medium loud soft very soft very, very soft medium soft attack sharply short give full value attack on pitch - slur off Lift, or upward slur off itt or drop to givennote legato (play smoothly) hold gradually louder gradually softer trill gradually slower to the beginning back to the Segno (sign) the sign Coda the end start back at the sign ~ play until Coda sign ~ then jump to Coda (play to Fine) turn page quickly octave higher octave lower In sll fsture assignments, try to make use of expression marks in both sec indicate your intentions as p: Page 10 parts to cisely as possible. = ee ee eewal postonice ' 1, _Write a four-part block harmonization of each of the follow! | iy _ _ a ellis otras ame LS : al: "om? t ge en Awe? a ie ea 7 ' 4 bea J Ep | Ves ae yt +5 ae % q oo Ce Gee G20 7O5IET Fon Bm? £07 | c ua aa an LOD Eb Alto | IL” Eb Alto ail - If Bb Tenor | : WV Bb Tenet \ =| ‘Transpors the individual paste (rom the harmonizations in | Problem No "I for the feed section. Write a four - part block harmonizatica of the following mel- odies in open posi Frit £7 ayy £F(Prob. No. 3 - eoat'd) : De) Gm ey Foart 0789) I "Problem No. 3 using the following voicing: \ 1_ Eb Alto - Wo Bb Tenor 2 EES ets Ul “BbTenor _~ | TV .Eb Baritone " 5, sveite « four-part block harmonisation of any standard tune | cof your choice and transpose parts as follows: = : I) Bb Clarinet | ED Alto UI Eb Alto IV Bb Tenor ' | Page 12LESSON 12 ‘A. PRINCIPLES OF BACKGROUND WRITING ‘The past several lessons have dealt primarily with various devic y lating to block harmonization, i.e., the technique of concerting under’. voices to a moving melodic line in "block" fashion. u The importance of a thorough ‘understanding of the following material ince the ability to play or write effective. to a given melody. 1, USING CHORD NOTES ONLY;WRITE A’SMOOTH MELODIC COUNTER-LINE BASED ON THE FOLLOWING PRINCIPLES: Where melody moves, "sustain background; where melody sustains, ‘move, backgr: given relody \ckground Sythe only , m7 G7(b9) Dm7 city ic aut | SHES ieee leapt ped Meine ple: | ‘As in single harmonic continuity, try to establish a smocth Melodic connection between chords by i sustaining, oF moving chromatically’or stepwise. z However, leaps may occur freely while the chord remains, the same. ;sabrina Bist 4 man Emt(o5) Roc Eb? pat — G7(b9) eS Az u — | z 7 SS : SSS postal Dm7__G7(b9)_ S Eye G7(9) eS Where melody”and counter line attack at the same ime, it is best (for the present) to keep the counter Tine at least a third, and not more than an octave from the melody.* a) gc ER! m7 Em7(b5)_A7 G7(9) ___ the following illustration all points marked (x) ‘would be considered to be bad. et ope CoO a CD OD Dm7___G7b9)_— Em7(b5)_- AZ a7(b _ > hme — Fa d. Where melody and counter line do not attack at the ~ same'time, they may cross freely. cA ‘an Eb? Dm? Gib9) Gis) mbarT ,T a) | Ju bh lo FEA Ex. 5 Inelody AFTER A LINE HAS BEEN COMPOSED IN ACCORDANCE WITH THE PRECEDING FRINCIPLES, COMPLETE A BLOCK HARMONIZATION OF THIS COUNTER-LINE. Dm? ___G7(b9)_ Em7(b5)__A7 top voice of background * harmonized background = bé Dm?_g 9 G7(b9){ Here ia another step-by-step illustration of the construction of a simple background to 2 given melody. Ex. 6 |e. piven, = a i _fnelody Te : fe {Fm 2. Bb7(b9)_\ Ebmaj7_E° =e == == ee top voice at : thigoma fp { “pb7(b9)_“Ebmaj7_E® Fpl Eb == = background — ¢ pep i os 4; + Bb7b?) __Gmi(b5)_GI =(At this point it would be advisable to complete Problem #1 of the lessen assignment. } 2 UNRESOLVED TENSIONS may often be used effectively in composing the melodie counter-line which is to serve as the.top voice of the backgroun x use of these tensions will create many new and interesting < i¢s for emooth melodic Connections betwe top voice off ~ /Bhckground’d 9 Ip. Hiclo and variations of hi-le may also be used in background writing and ‘often serve to provide melodic interest where needed. _Jltop:voice of eff background " bz) D7(b9) _ w= DU EEE SS eeBm7 Jt Am 7 D7{b2) Eee pre [ ET(bo og Am7 To be certain that all of the foregoing is perfectly clear, here is another daample of a background to a given melody employing not only low degree Chord notes in the top voice, but unresolved tensions and variscions of Hi- "top voice of [backgroundco ee : . : eal co te foe tm ck om mo ei es a Rl harmonized < background 7 ‘As with regular block harmony, a closed background may be converted to open position by dropping the second voice down one octave. Here is ex- ample #8b as it would appear in open position.reese are a harmonized 2 thackground sa position) - — em, sa Bm7 Am? ____D7(b9) E2(b9) i “The eubject of background writing will be continued in Lesson No. 13 with @ discussion of some additional techniques which are effective in writing ‘good musical backgrounds, and a description of some of the many = Ritterent styles of backgrounds which the arranger may be called epon to produce. “Write a background to each of the following melodies using the pro- cedure described below: =-Sunpose a puitable top voice for the background using low degree chord notes only. : “complete the background by Siting in the block harmonization of : thie top voice. {See Examples No. 5 & 6) deena, Once again, write a background to each of the following mélodies ” using the procedure described below: : 7 a. compose a suitable top voice for the background using not only low degree chord notes, but unresolved tensions and variations of hi-lo as well. we i complete the background by filling in the block harmonization of this top voice. (See Example No. 9) Page 10 iCompose a background to each of the following melodies similar to = Problem No. 2, but harmonize each of the backgrounds in open, “position. In each case, compose the top voice first before com- © pleting the harmonization. (See Ex. No. 10) Ge Fm7 Bb7 Eb Gb4, Using the techniques described in this lesson, compose 2 background “2 to any two standard tunes of your choice. ~ ~ Lesson No. 13. Page 12 i “relating to swing backgroun’ parts from either one of the tunes in Problem #4 as jt would be advisable to select smooth ballads rather geen than swing type tunes, since many of the techniques ds will be covered in Bb Tenor sax Bb Tenor sax Eb Baritone saxLESSON NO. 13 BACKGROUND WRITING (continued) * ‘A. APPROACH NOTES ‘ : ‘Anal the melodie approach teghniques degeribed in earlier lessons)! Jealing with improvization may also be used in background writing, ‘These approach techniques are effective in'creating added melodic interest in the background and will serve to provide many new and jnteresting possibilities for melodic variation. In the following example note the smooth melodic motion achieved through the occasional use of approach notes. é PUP LAL ALA LAL $k c Drn7 G7 7 jelody post jice of f = Ph wadpnized lckground LE, In order to avoid any melodie conflict, be sure to avoid attacking an approach note in the background at the same time that a chord note is being attacked in the melody. FL Following is an illustration of this point: enle + _tpunoayoeq pazquowsrey seayou ysvosdds jo sen OSTIOS ous Sure swe oydurexo ue sy oz0y ‘9fdroursd owes sx ArsPI9 OURAN OL punox8992q, pazjuowrey, ) punesBy22q yo anyon doy Apepaer uoatdB. RESTS ‘The use of rests in the background will often serve to provide relief from the ménotony that may result from a continuots sustained sound. “There is nd set rule 4s'to when it is most advisable’to use rests, but the following applications are frequently employed Rests may be used to sub-divide the backgroud into natural -“ttphrases™, ‘These phrases are usually either two or four bars fn length, and rests may be used in the background to eniphasize the natural phrase division of the original melody. ‘given melody ~ fop voice of ackgrousd SUSU Farmonized {) ackground FFIjn creating a background made up of 'g are short melodic frag~ terest during sustained Following is an example ily of these fill-in figures. Rests may be used detached “figures, These figure : ments which provide background ‘or open portions of the meledy- wef a background made up prima ckground Gm? ct | a en ee Ts c. SEQUENCE ‘Although the Subject of 5} aaneee jeasons, the principle of sequence in Fe) round writing will be introduced at this time. srevesenta the reiteration of @ previous phrass &° Fee uable form. Any variation of the origina! thers Ms auity between the two may be recognized by the figure in some may be used, Page 4Note the sequential relationship between the first two bars and the next two bars of the following example. Bo io? en Fi : Fine I> E ly lo 5 B B, by Ro 9 g Q " > & a a 9 i co | | | Example 10 shows the use of "sequenée" in composing the background 10 to a given eight bar melody. 1 Gmaj7 -- E709) ny Be _ D7 AmUGN D709)" - Dm __(b13) EF. "te ton Ween“Dp, “SWING BACKGROUNDS | In composing the background to’a Swing type melody, the following principles should be observed: . Compliment and emphasize the swing feeling of the melodic Line through the use of anticipations and rhythmic figures in the background. "+ Ex. HM .(bad) a sc cH Dm7 Gaug?(b9) Em7 c#e Dm7 vgiven FI 1 f melody me | a Page 6 tEx. 12 (good) H Lea = Although sustained passages may"occ effectively used in a swing background; rely pri marily on the Thythimic (and melodic) fill-in figures for added interest. LEL Lit Fm7 —-Bb7(b9)_- Bbin? © Eb7(b9) =F ' Ls ss e e g é 8 3 LR Leri E. BACKGROUND STYLES i Probably the most important factor in background writing fs the I . preservation of the same feeling and mood in the background as a 4 a_-4=@4é=(+— he ta ashe Emooth and flowing in character, then the background rie oey ceplinient it in similar manner. Ina case where the showy nasa strong swing feeling, this same swing feeling should be present in the background. - ‘every tune rhust be treated as an individual problem 998 itis Every tal that you exercise your own musical imagination and cosemiie l times. ‘It is important that you remember Fh the Peincipies set forth in these lessons are designed f0 £656 as B guide rather thas a restriction, ‘A careful study of the following examples should give You a A cattiefinite idea of some of the many different stylee of Gackgrounds that the arranger may be called upon to produce. Pace 8x. 14 . Smooth ballad Gm?Ex, 15 Waltz i 2 Dat 22s Gib9) c oe . = Dm7 G7b9)- Gi ——Erit(ps) "AT TRANSPOSED | «+= - Possiile Practical Possible ~ prdetical ~ NOTE: No definite, possible upper limit may be set for the trumpet or trombone, the range being dependent solely upon the proficiency of the performer. In any event, it is advisable to adhere to the given practical range unless you are personally familiar with the capabilities of each member of the brass section. : voIcinc * ~ . . . = ‘The four-part brass section normally consists off I Bb trempet IL Bb trumpet MI Bb trumpet -- <1 Bb trombone _ block harmonizatt: Let us assume that we have prepared a foyy The individual parts transposed according to the above voicing would ‘appear as follows: Ex. 5 I Bb Trumpet oo. 1 J 2. — Sa Sea a 1 ce er SS oe oe Io ete Pm, exe a eee An alternate combination of instruments for a four-part brass section would be: 1 ‘rombone 2a a 2, ae ee & om Dem Pen be, : = . :q ec C ; (concert sketch) Lt Be trombone a _ tS le _ _ " 3! The five-part brass section would normally consist of: -_ I Bb trumpet II Bb trumpet I Bb trumpet -_ I Bb trombone II Bb trombone =D. FIVE-PART HARMONY Since our Work up to now has dealt cielusivety with fous pvt writing, iis necessary at this time te diseuce gongs cs relating to five-part harmony if we ace to eat with a five-part brass section, A simple five-part harmonization may be produced by the original melody one octave below the lead. doubling Ex, 8 a. four-part harmony a FZ > Am7 3, +5 dF oO zd = 5 sue ee | oer a 1, -Aled-patt harmony (four-part plus doubled aay The transposed parts from the preceding example (EX. 8b) would appear as follows: Ex. 9 I Bb Trumpet 2 a a 2 S22 Se Se I] IL Bb Trumpet1 Bb Trumpet as ee ae Bb Trombone A five-part harmony in open position may be achieved by doubling the original melody one octave below the lead AND dropping the second voice down one octave as well. Ex. 10 a. five-part harmony CLOSED p Gm? Caug7 cm b, five-part harmony OPEN Spl eeE. BRASS SOLI principles of modern block ha: on to the sax section may be effectively applied te the ion as well. (See examples 4, 6, § and 10 of this Jesson.) All of the previously mentioned approach techniques Fay be employed as well ae all of the principles of impres vization covered in earlier lessons. smonization as discussed in NOTE: When scoring a block harmonization for brase (either closed or 0; pen), it is best to keep the lead trumpet above Eb concert | Ss= A brass soli (or background) scored any lower than this will result in a muddy and cumbersome : sound, ~ hog \ eopro pte ginal melody for the y more effective than ng an improvised Version of the ori; brass section, a rhythmic treatment is usuell the smooth, flowing melodic style that is so effective in the eax fection. Although it is true that brass may occasionally be written ib this flowing "sax-like"' style (ust as saxes aze occasionally used to Frovide a rhythmic, percussive "brass-like" effect) , it is gene erally advisable to maintain some rhythmic interest in the brase coli, a. given melody Ab? amPPN Tg AN Ay = 5 — ; =] Ee FT c FT ¢Malto Sax Solo - et) -Following is an example of a brass background of this type. BRASS BACKGROUNDS mooth sustained melodic lines are often effective in brass backgrounds, particularly when applied to slow-tempo ballads, waltzes, etc.. All principles of background writing as applied “ to the sax section still apply.a BL oy eee 2 eeASSIGNMEN’ 1, “ Write an improvised version of each of the following melodies so ; that it would be effective as the lead of a brass soli. In cases where the, melody line goes too low, transpose to a higher, more suitable kee fier ie 2 BESS Seay ; =P cr | SS Saree bestEmi(ts) Aag? - Score each of the improvised melodies in Problem No. 1 for a five- part brass section (see examples 8 and 10b). Score at least two of the harmonizations in open position, for: Be Bb Bb Bb Bb Ban |. Trenspose parts from each of the harmonizations in Problem No. 2 trumpet trumpet trumpet trombone trombone |. Using each of the following melodies as a guide, set up concezt, scores as shown below, Brass Background — foo = = a 7 = oe a oe oO em aySAX SOL med awing of el ee oY = : a e a 7 —, =5 Ss =| EG ee Am7_ ab ©) Br “(ee ahs ae Gm7 C7(b9) Arift5) _D: Gm, C7{b9) Fr eh : eee = zs CLAR UNISON Moat? Beguine te fg a fe Gator WE ESS Se teplle GIRL vocaL Med 4It is important that you consider the character ani d feeling of each, of the given melodies in deciding what ¢ a ype of background to use. Also, a5 you compose each background, try to imagine the sound? = =o of the given melody as played by the indicated instruments swell as the sound of the brass background. Use five-part harmony, either Closed or open = Using any standard tune of your choice, score a five-part brass soli in open position. Adapt the original melodic line in any way you choose and , if necessary, transpose the melody to a more suitable key before scoring the under voices. - Transpose parts from the score written for Problem No. 5 for five brass (three trumpets and two trombones). Using any swing tune of your choice, write a five-part brass background. Picture the-original melody being played by a unison sax section, (Note: Set up the score as deseribed in Transpose parts from the above score for the regular‘five part brass section. . Seem: PoP CPGP Ss ig In the event that you dre not fam: he brass section, following is a brief description of eac! NOTE: Avoi LESSON No. 15 RASS SECTION (cont.) ~ rao) seve Aaty ve ws x with the mutes commonly used a. Straight mute --- produces a thin metallic sound --- most effective in Latin-American style arrangements. b. Cup mute --- best all around mute in the braas sec- tion --- has soft metallic sound --- effective in both ballads and swing tunes. effec- most ¢. Harmon mute --- has soft, distant quality tive in medium high to high register only common in trumpet section. d. Brass hat --- unlike other mutes, does net come into direct contact with the bell of the horn softens and mellows the sound almost to a French Horn timbre --~ same effect often produced by blowing "in stand", €. Plunger --- primarily used to produce Mopens closed" etfect --- (listen to Glenn Miller records for excellent illustration of piunger work in the brass section) --- similar effect may be produced by using Brass hat or cupping hand over bell ~ indicated as follows: + + closed © = open d the use of mutes # bell (cup, straight, h: low or med 1 directly into the on, etc.) when writing in the low register.BL USE OF Following is a listing of the most INNER “WHEREVER POSSIBLE, HI MAY BE SUBSTITUTED FOR LO IN THE SECOND VOICE (from the top) OF ANY OPEN VOICING." employing the preceding principle: Majo 5 79 5 6 13 Dominant 7th: ctical and best sounding voicings 5 Minor: 5 9 9 7 é 3 b3 lord 5 b7 13° 9(b9) 11 oy 8 v7 3 5 Minor 7th: 5 bT7 b7 1 B35 b9 or #9 b13 b13 bg 3 bT b7 3 The preceding in musical notation would appear as follows: Major: tA cee ee | 3 yo oyMinor 7th: ‘These voicings are generally most effective when the lead voice Lies between Ifa —“concert. NOTE: The preceding voicings should be-used only where the lead voice goes no lower than With voicing marked #, the lead voice may be as low as concert. position Here is-an example of a four-part sax soli in open jllustrating the usage of inner voice tensions: these opfén voicing conti ‘re good taste dictates. Do not e possibilitiy It is important that you understand that cice tensions should be used only wh ice tensions every time ireelf with these sounds and try to use 1 be most effective. inner vi feel that you must use inner voi exists. Rathe: iliarize you them where you feel that their tense quality wil example, the given melody has been scored for = five doubled lead) in open position, Voicin; a used where desired, jn the part brass soli (fou employing inn iNOTE: Five-part brass soli in open position (2ad dr is most effective when the lead voice is between: pple (22) concert, C. THE FIVE-PART SAX SECTION The mest commonly used instrumentation in the five-part sax section is: I Eb Alto Neo Ul Eb Alto Il Bb Tenor IV Bb Tenor V Eb Baritone bee, Either four-part, doubled lead in closed position; or four-part, doubled lead with second voice dropped, may be used with the above combination, Following is an example of a five-part sax soli in open position. (Second voice dropped 8vb.) Page 4Another pepular voicing for the five-part reed section is as follows: 1 Bb Clarinet SODAS Sq COT ey i BDAlto Nae HI EB Alto a = ie ecirener or) YBb Tener ‘This particular voicing is most effective in closed position and in a fairly high register, with the lead clarinet written no lower than = concert.” (a It is also interesting to note that this particular sound is commonly associated with the Glenn Miller band ay well as those bands which have adopted the basic Miller style; Ralph Flanagan, Tex Bencke, etc. re ee Following is an example of a five-part sax soli scored for the above instrumentation. Su Ex. 6 am mq rm = = ri —= l ®SemmesLd ASSIGNMENT 1, Notate the chart of open voicings utilizing inner voice tensicn 1 - in all keys. (See Ex. 2) _ 2, Score each of the following melodies for a four-part sax i section (A, T, T, B). In each case use open position and | utilize voicings containing inner voice tensions where desired, a (See Ex. 3). 7G7(b9) poe D7(69) a C709) “(9 ""@ q oct F Fee Gm? cr 2 = oeCompose a melodic improvisation based melodies so thet it would be suita’ of 3 breay soli, Where necessary, transpose to a higher key cince each of the brass solis is to be ecored in open position. following Score each of the improvised melodies from Problem No. 3 for five-part brass solis in open position. Again, apply the principles of inner voice tensions as described in thia lesson. 5. Using melodies (a) aad (b) from Problem’Mo. 2, set up a concert score as indicated below: trumpet solo (given melody) five-part sax background {closed or open) AVA,T,T,B6. Using melodies (c) and (d} from Problem No. 2, set up a concert score as shown below: five-part brass background (closed or open) (muted if desired) sax unison (given melody) 7. Transpose any standard tune of your choice to a higher key so that the melodic line will be suitable as the lead voice of a five-part clarinet lead reed section. Feel free to alter the original melodic Hine in any way you see fit. 8. Score the transposed melody from Problem No. 7 in closed position for: I Bb Clarinet Eb Alto UI Eb Alto Iv Bb Tenor Vv Bb Tenor Page &LESSON NO. 16 At this point in the course we come to one of the most essential an understood subjects in modern music ~. least -Modern Chord Progression. In the course of the next few lessons you should achieve an excelfent under- standing of those principles which control present day harmonic progres- sion. You should ultimately be able to harmonize given melodic lines, correct "in-correct" chord changes and reharmoni to suit your personal taste. ize basic chord progressions A. TERMINOLOGY For the purpose of this study, all chords will be named in relation to their position in the major key scale. : Let us assume that we are composing (or analyzing) a chord progression in the key of C Majo Diatonie (i.e.,.using scale tones only) seventh chords built on the scale degrees will assume the following structures: lm? Wim? = IVMaj?_—sV7 IMaj7 Non-diatonic chords may be indicated in a similar ma: x. 3 Key of C major: C# dima Dominant sever is used as 2 V7 chord (e+ moves to another chord a fifth below), we will name she ¢ tendency. For exampl§, C7 to F analyzed as Hom? to IV, but rather, he symbol —* will be used to indicate the resolution of dny V7 chord, ive., V7 Of IV Iv, Some additional examples of this point follow: Ex. 4 Key of C Major: ——~ B7 to Em Vi of HI to. um ——— D7 to G7 Vi of V to v7 oo AT to Dm? V2 of 0 to “nm7" etc. Following is an example of a simple chord progression outlined in the manner described and its appearence when related to a given key. Key of Cr] am? [D: Key of Ebi{ Eb Cm? [Fm7 Bet [Eb Eb7 | Ab Abm | Eb co7 | Eb eyo AA me (em ey fi) oe a leeneeaaaesemiee B. PRINCIPLES OF MODERN HARMONY Loanyie VT. (Dominant Cadence) This uoualty= Ex. 6 — oa p : Key of C: | cc Key of Ab: EbT | Ab .. % ANY V7 MAY BE PRECEDED BY THE V7 OF V. (Extension of the dominant cadence.) Again, this usually (but not always) occurs over the bar Ex. 7 —.- —_.~ 7 cs MTefv [vr [a - ~ KeyofC; v7 [| G2 Te : ae, _ Key of Ab: Bey] Bey [Ab This same principle may be further extended as follows: wT wth : Repel ny a wits Tete Key of Ab? ct | ~ por” [ eb? [ae 3. ANY V7 MAY BE IMMEDIATELY PRECEDED BY THE RELATED Im7. This usually occurs within the bar. Ex 9. - 7 — on ee ean = Key of Cz pm? a7 [e Key of Ab: Bbm7 Eb7 | Ab The use of the above does not affect the V7 of V relationship as established in Principle Ex. 10 Kefg a8 a basis the progression: vr ot | VPofv | viety [oe]: This same principle may be developed as follows: Ex. 11 Key of G: aD oe viofv | viotv es | v7 pt ET AT D7 Gn 4c Am7 D7 iin7-V7 of D7) of G7) of 'C Leading into the key of A, the preceding progression would” appear as follows: Ex, 12 —_~_ oF VIofV | V76fV | V7orv v7 I Db7 G7 BT ET A en ee a Abm7 Db7 [Dbm7 Gb7 |F¥m7 BT | [eem7 Bz m7 BT |_B: “IbaT - V7 [iim7 - vr =V7| lm of Gb (7) | of B (7) ‘or EA) | of NOTE: Changing from sharps to flats is pe over the bar line rather than within the bar. 4, ANY IIm7 MAY BE PRECEDED BY THE V7 OF I, This usualiy occurs over the bar line. Ex. 13 V7 of Um? Key of C: of Ab issable, but always or re i ee er oe er eeTe 7 ze FD by of Ab: Em7__AT i “mT SVT aw] } Te Vay of C: Abm? Db? ee —™. (m7) v7 of | (tmz) v7 of | (m7) "v7 Fim7__37 ‘Em? ~ aT | Dm? Tat amv? | Serie | SS of F3(m7) of E(m7) of D(m7) oC | Bm? Gf | “cmt rf} Bam? e07 ray | mer | Sie | Sel; of D(m7) of C(m7) of Bb(m7) of Ab The preceding progressions ma: realizing that ANY V7 chord, ete...may be preceded by the related Ilm7, i.e 2 7. cea [amen vf y be more easily understood by » whether it be V7, V7 of V, V7 of Il, Since the Ilm7-V7 pattern plays such an important part in modera chord progression, it would be advisable at this port to yeurself with this pattern in all keys. Ex. 15 oa Dm7 Ebm7 Em7 Fm? Fim7 Gm? Abm7 Am7 Bbm7 Bm7 m7 Cim7 * Major, Minor, Dominant 7c a. = SIL, -o_. oo ADT Db AT D BT Eb _- BI _tB- c7 F Db7 tery D7 G Eb7 Ab Ev A FT Bb > FAT B us far may be or the familiarizex. 16 Key of C: reel Smi"Et | am? | Da Bd my v7 | met-vr. | umt- vr | amt - val of & (7) of A (m7) of G (7) of C Following is ancther example of the result obtained by combining the V7 of V and the V7 of If in a chord progression. | a a — — (um7) V7 of V | (U7) V7 of | (im?) V7 of 1] (m7) v7 || € ~ oo —~ —~ Key of C:. Cim7 F#7 Fim7_ 37 Em7_AT Bm7 G7, ai Ura7-V7 “om? - v7) aua7-v7 | um7-v7 : o> > EBT] of Bl7)_ | “of D7) of C at (At this point it would be advisable to complete Problem No. 1 ~) ©. CHORD PATTERNS _ _ a sis of the chord changes to many hundreds of d tunes has revealed the existance of certain, so fre- A detailed an: popular and standar definite harmonic patterns, Since these patterns occ queatly, it is certainly advantageous to be able to-identify them and apply them in all keys. The value of a thorough knowledge of these patterns cannot be stressed too strongly. Sufficient familiarity with them will enable you to transpose or memorize the chord changes to any x a a x ¥ x E very same elements which go to make up the chord changes to most tunes, you should have no difficulty whatsoever in compos- ing original chord progressions in the same style. Key of C: Key of Ab:PATTERN #4 Hm7 V2 Viofv| Um? v7 | 2 Key ~ Key of C: C Ebdiml Dm? G7_ Key of Dr lon cr ic Key of Ab: Ab “Bim |Bbm7? | Eb? Key of Ab: “Bb7~"[Bbm7 E57 [ee PATTERNS 7 PATTERN #6 in * ‘Vr of b9)|um7-v7 | 1 = oo L V7otiv I¥m [1 Key of CG: A7(b9)-| Dm7 G7 om Ker ofc: -o—c7 Ir mic = Key.of Ab: _F1(b9) | Bbm7_ By Key of Ab: Ab Ab7 [Db “Dbm [Ab Using only those techniques which have been discussed up to this point, it is possible to create an infinite number of musical and practical (though still very simple) chord progressions. ‘One further principle, however, must be known and applied; i.e., ANYTHING MAY FOLLOW THE "I"" CHORD. Following are some logical eight bar chord progressiéns along with an éxplanation of the function of each chord, Only materials contained in this lesson have been used. Ex, 18 & 2 . a. Key of C: z PATTERN #1 ~~ PATTERN #2 T Vim? Tim? Eat vil c Am7, DmZ — PATTERN #6 = PATTERN #4 7 Wan Iv Tm Tl Wav Tim? Va i C7 Fr b. Key of C: fiM7 wen Db7 >< Ebm7 —> Ab7 V7 of V Any combination of the above may be used providing that the t forward motion is maintained. Following are some examples of chord progressions employing ail of the substitutions described in thi: s lesson. be Bea Dm7__G7 =f A109 gn im? Subst vel A viTim? 3bz Subst win V7 Vidi 22 (D7) = =" OR Ean? ABT “/Gui?_C? Bn? ET = T : 1 z | subst abs Subst van vidi. VT fons . NOTE: Principle of the substitute dominant may be more easily mastered by remembering the followin asily $2... y7.RESOLVES DOWN A FIFTH. “ss-9/ #4 Substitute V7 may be used where desired ‘The preceding list of variations would appear as follows in the key of C. = ¢ Am7 Dm7 cr B oC Eb dim Dm? Gt ee CB dim Dm? cr aS D7 Dm7 Gi = ¢ AbT Dm7 Gt ic c A7(b9) Dm? Gt ee ¢ Eb7 Dm7 GT ho Dm? Em7 — Ebdim = Dm7 cr c Dm7 Em7 9 Ebm7)— Dm7 cr co c Dm? Em7 Ai(b9) Dm7 G7 es Dm7 Em? Eb7 Dm7 G7 LR c Eb? Ab Maj? Db7 More complex variations may be produced in patterns d. e+, f.»g- and 1, by preceding the V7 chord in the first bar with the related Iim7. Ex. 13 Subst Page 6‘adence"" is Used to indicate the arrival of the harmonic qj Progreasion at a point of rest (isually on the I chord), L SUB-DOMINANT CADENCE SUB-DOMINANT MINOR CADENCE - wl vty The SUB-DOMINANT CADENCE is the least final-and most Lo, fubile in feeling ofthe three possible forms. Inncy eo ne cessed ' ~ in any of the following ways Ww. ey Sum? is?" ie ee . — * og aa ee primarily in blues, or _ to establish volves feeling ' a? fe fuPttr key of G2 orers ie £ oe ce oC - Da? te ¢ i a = Feo lID US 25 Tie 2. - F2 2 to Cz _ <2, The SUB-DOMINANT MINOR’ CADENCE has a 3 “stendency toward resolution than the sib-dominant, sad is somewhat more modern in feeling. ‘The sub-demieant rminoz cadence may be represented ss: a stronger = Ex. 16 at 2 - Ivm 1¥m to 1 1 Um7(bs} to 1 Po byu to $ Page 7 coPossibilities for sub-dominant minor cadence would appear as follows: : Ex.17 Key of Cz Fm to + C * Dm7(b5) to c BbT ee 3. DOMINANT CADENCE, which is the strongest and most final in feeling is the familiar form most commonly associated with the term "cadence Dominant cadence may be achieved through’: Ex. 18 Mw to fl pu? tot Key of Cr Gi tc DoT to Seeeeeeaunneressesseoeek ‘There are also several less commonly used forms of sub- dominant and sub-dominant minor cadence whch bear men- tioning at this time. Although not usually found in basic chord progression, these variations may often be,effective- ly applied in reharmonization or in the Composition of original chord progressions. : SUB-DOMINANT CADENCE (less commonly used form) Ex. 19 vu7 to 1 Key of Cza ee SUB-DOMINANT MINOR CADENCE (leas commonly used forms) Ex, 20 : ae BVI Maj? ‘BVIT bI Maj7 Ab7 :Dbmaj? Different cadential tendencies may be used in combination in leading toward the I chord. Any ¢ jmbination may be used providing that forward motion is maintained by using these : tendencies in order of their relative strength. This order may be.described as follow: SUB-DOMINANT - SUB-DOMINANT MINOR --- DOMINANT --- TONIC Following is a listing of al! of the possible cadential f that could result from the aboye outline: a. SUB-DOMINANT =. - TONIC b. SUB- DOMINANT MINOR TONIC © DOMINANT -- TONIC 4. SUB-DOMINANT -- SUB-DOMINANT MINOR TONIC e.SUB-DOMINANT --— DOMINANT -- TONIC SUB-DOMINANT MINOR -- DOMINANT -- TONIC £ g. SUB-DOMINANT -- SUB-DOMINANT MINOR -- DOMINANT -- TONIC To illustrat® further, let us assume that we have selected as our cadential form: SUB-DOMINANT --- SUE T MINOR --- TONIC -DOMIN, Referr: bed ies for each tendency as des gto the possibil earlier in this lesson, we find that this particular cadence Page 9Ex. 21 seine “Dm7. 1... Um7(b5)- +. Um? .... BVH. i av SVT ete., ete. . i Let us assume that we have selected as our cadence form: : SUB-DOMINANT -='SUB-DOMINANT MINOR DOMINANT -- TONIC Here are some of the possible variations that might result: | Ex. 22 . ! : Im?... Him7(b5).... V2 . Ss _. 64s OO cece BVIIT ees WT. Gore ete., ete. It should by now be apparent to you that literally hundreds of varied and interesting cadential progressions may be evolved through the use of this system. Most of these forms are cur- rently in common use in the basic chord changes td standard and popular tunes; all may be effectively used in reharmon- ization or in the composition of original chord progressions. Remember, however, that forward mot Page 10 a ToS ee | 1ies en ate i tt I Ir IM, Se ee Mat Sj 1, (a) Analyze each of the following chord progressions according to the techniques described in Lesson #16. (b) Reharmonize each progression by employing substitute chords as described in this lesson. c7 D7(b9) Gm? G7 E 4 = | =} a _D7(b9. Smt 2 == at = =I LT Wali wh G Boo wl a ) em? Bb . Ree =I =e . Es - Page 1@) 7 {SSS Saat 6) oP Fim? __B7 Em? hie 7 —t i c Gm D___-Br(esy. EZ == ==3 F 5 # 2) Eb Am7 D7 G hea —- == Fm? Bb? ED {Et =£ 2, Work out all variations of the basic I, Vis Ml, Vs. pattern J in all keys. 3. Work out all possibilities for SUB-DOMINANT cadence in g all keys. 4. Work out all possibilities for SUB-DOMINANT MINOR a cadence in all keys. 5, Work out all possibilities for DOMINANT cadence in all keys.6. Working in all keys, show one possibility for each of the cadence forma listed on page 9- Using all of the materials contained in lessons sixteen and seventeen, compose two eight-bar progressions in every key. Using any standard tune of your choice as a guide, work out the following: a. Transpose to a key suitable for a female vocaliet. Range : Score a suitable background (to the vocal lead) for a five sax section (A, A, T, 1, BY using closed and/or open position. aRGe a LESSON NO. 18 =i PRINCIPLES OF HARMONIC PROGRESSION (cont'd) 7 REPETITION OF THE [m7 - V7 In the course of a harmonic progression, the Iim7 - V7 of the Key may be repeated without affecting the basic forward motion of the progression. cl Ex, 1 (a) Key of C: (b) Key of Ab: o subst. vi [a Det Ty | pom7 czy] ¢ Bbm7_E57 4] poem? azl| Ab 1 unt ova |oumt ova [x mr v7 | m7 B. PASSING DIMINISHED CHORDS Very often it is possible to Progress from one "diatonic" chord to another through 2 "passing" diminished chord, In each case, the function of the diminished chord is to provide smoother and stronger near motion between the two diatonic chords. Following is a list of the passing dim 1. 2 3. 4. 5. I vi . r fies . . .g of the most commonly use¢ applications ished chord : Idig Vein #Idim #ildim billdim fvdim bvdim Page 1 v7 iim? 1§ (3rd in the bass) Lim? 18 (sen in the base] Vv© appearence of each of the preceding 7 of C. Note the chromatic linear motion achieved through the use of the passing diminished chords. adTo illustrate further, here is a short theme in which the chord Progression effectively emplsys several forms of the passing diminished chord. : : = y Ex. 3 Gm? Ge, SSS Sa oi te ©. DECEPTIVE CADENCE The normal tendency for any V7 chord is to progress to another chord located a fifth below, Ex. 4 : : Gi_to C4 G7_to c7 ; G2_to cm? ; etc... 3th . 3th Sth down down down 4 When @ V7 chord is followed by some root motion other than that of down a fifth (or down a half step if it is a substitute dominant) the result is known as a "de eptive cadence", Deceptive cadences may generally be classified as being either: &. non=modulating ; or b, modulating For the present we shall be concerned exclusively with the first type, ive., those forms of deceptive cadcace which under normal conditions usually continue to a conventional cadence in the same key. dbelow. In eac ceptive cadence are aleo indic ‘The commonly used forms normally follow ¢ case, whieh Page 3Ex. 5 1. v7 tol uim7 2. V7_tolim7(b5) 3. WT tobe of v of or vnyiv7 of Vor [vi hv VT oe ain) se yrtel vim? yr ‘or v [nme v2 | a [iter ove fa V7 of ne9)|um7 v7 | x ) Example #5 would appear as follows in the key of Cj *, Ex. 6 : yor | oemty at | ma a | 2 G7 | Em7es), —“are9y | - D7 cz | | ele at. [ovr “or | ajar | ama pr | bm a | Although lessons to follow will continue with a further discussion Of the techniques of rhodern harmionic progression, we have by this time progressed far enough to be able to identify and analyze the chord changes which might be used with many standard and popular tunes. It should be clearly understood at this time that there is no such thing as the correct set of chord changes toa tune. Many differ- ent harnionic variations may be used with a given melody depend- ing upon the harmonic style desired (commercial; modern; ete. In the following examples, the most commonly used basic changes have been indicated. Ex. 7 . (a) "DON'T BLAME ME" Bb7 Poth __G7__ =f = = = viav 7 Imi@ay— V7 T — — I re 7 — pay(Ex. 7 cont'd) Io) eimtaceva tion" ery? m7. 1 5 7 _ bei D7 il 2 7 7 Ss | Vi yt fd m7 v7 | Tyco pn75 Viet iy ] Gm7 oF Ab7 Gm7 C7 l = im? 7 . cm SS c Bee Am? —_~D? Gort Ge == = —= : . bHIT — m7 Vi To. bVIT 7 i j= pie oe = -Sub-dominant 9137) eee ee tei ee (a) "I MAY BE WRONG" I Eh St pymt eer me pe : = = ; iim?___wa Iv TWmn(sabet) . Eb Eb |). EE 1; at D. ADDITIONAL “APPROACH TECHNIQUES In conjunction with the work on harmonic progression, we now return to the technique of scoring with a discussion of some additional methods of harmonizing epproach notes.“s 2, a - ~ it will necessarily take @ certain amount of experimentation to 4] a determine just where each type will be most effective, bar the a —.—LUrt—“—__SsC‘ Tonic (b) Tonic ————>>- Sub-dominant Shown below are examples of some effective uses of the diatonic approach. Ex. 16 ny inversion of the above forms may be used. PARALLEL APPROACH In the parallel approach, all voices move ‘in the same direction and exactly the same interval as the lead, i-e., parallel. Ex. 17 ot om a cae a Com Cag Ca Se Sgt San ot co4, DOMINANT APPROACH = To lise this type of approach, simply harmonize the Spproach note with some altered form of V7 of the chord being approached. "h dominant approach into a C chord (oF'C7, Gm Cm, ete.) would consist of some altered form of G7; a dominaat approach into anytype of Bb chord would be produced by using an altered ‘form of F1. a Ee Ex, 18 (oy, BRT FIA Bbm7 Jn order to achieve the most effective result, it is'dssential that the approaching V7 be used in something other than its original form. Any of the following may be effectively used: : v7 (5) - re fo v7 (9) - v7 (#5) = vi (#9) - V7 (05,09) . Vi (25,09) : — VT (85,89) “Following are several examples of the application of the dominant approach in the block harmonization of a given L. Sumelody. 2 2Ex. 19 Page 9NOTE: In rolating the new approach methods described in this lesson to previously niques, it sh chromatic approach” ly in all voices" sidered to be applications of the iy approach. (V7 59} Also, notes harmonized ™ Following is an illustration of a given meiody employin, this particular example is of the four-part block harmonization 8 these new approach sounds. Naturally somewhat overdone for Purposes of * itlustration, Ex. 20 IL.... Independent lead di +++. Diatonic approach Par... Parallel approach dom +. Dominant approach Ly puJ ee ii Jn view of the varied approach techniques described in thi as well as in former lessons, it shoul: that there is’no single "best" As in the case of the selectios itself; style, factors. id become increasingly obvious to you method of harmonizing a given melody. n of the basic harmonic progression instrumentation and taste will all be determining based on your increasing knowledge and experience, will guide you in your selections and you will find yourself objectively using a particular technique becawse you are able to associate it with a specific soun More and more your taste,. ASSIGNMENT 1. Notate variations of the passing diminished chord in all keys, . similar to Ex. 2. i 2. Work out the four forms of deceptive cadence described in the this lesson in all keys. (See Ex. 6) 4 3. Analyze each of the following chord progressions which might be used with the standard tunes indicated, (See Ex. 7) (a) "TALK OF ZHE TOWN" ° } EF Ab°__Gm7_c?__ Fat Bb _EDT = J — z == =e: 74 a 7 = Eb? _D7___G7 Gm7_¢ (bys BUT BEAUTIFUL 7 cee Abo Am7 - S 7 =F It eu ___BmybSE7 AT Am?_DI___Bm7 7 at it Sta . Em? AT Am? Te = =|i YNTHIA'S IN LOVE" Em7_* BUI) == E (c)" ‘ Bb7 ~Eb Db7__c7 Em7 = wey (a, "BLUE ROOM" Ab? bY a {c) "THERE'S NO YOU" « : F Bbm F Db? Gb7 FP - (9 "MOONGLOW" 4) Eb Ebm Bb cz m7 i L E rE K I i ti a r x! =a ease na I t a i i i v(a) "GONE WITH THE WIND" Fim7_Bb7 Eb cri) Em7 Bb7 Eb Am7__D7 Gnms) C7 Db7_Bb7 ' 4. (a)Compose one eight bar chord progression in every key, 1 employing any and all of the harmonic techniques des-_; : eribed in lessons 16, 17 and 18. oa (b) ‘Show the analysis of each progression as in Problem #3.” 5. Work out three practical examples of each of the six types 4 of independent lead. (See Examples 8 through 13) 6, Notate in all keys the applications of the diatonic approach chord that have been described in this lesson. (See 16) 7. Complete a block harmonization of the follow g melody, using some form of dominant approach at each point marked | 7 T pbgame mu co G_pp? mi MoS) ET. : ees E SEE i Ej He S= L § bad = 2 mt — CE@) 7 an Sa Page 16 1 shin an dina uct nt a am nin. LESSON NO. 19 =~. A. As previously stated, some key other than the main key of the com- . position may be established in the course of a chord progression, One of the commonest and most effective changes is achieved by establish- : ing the relative minor key, i.e., that minor key that has the same . signature as the relative major key. oT EX. 1 ' : . Major key Relative Minor Key 4 © Major A Minor - “Ab Major F Minor D Major B Minor ~ The minor key is established by using: = _ Im7(b5) v7(b9) In 1 Ex. 2 . © Major (A Minor) aia] Bm7(b5) E7(09) Am Ab Major (F Minor) a : . Gm7(b5) 7069) Fm = D Major (B minor) . Cim7(b5)—F87(b9), Bm - A smooth transition back to the major key is achieved by using the Im asa pivot chord as follows Coat) Vit8) | mates [fin] DSRS] : naj [zat fercey [amr val Ex. 3 Major: Bm7(05) — E7(b9) aminsin ||+ cent'd) Ab Major: ; Gmi(b5: C79) [P= Fiona | Fm7 | Bb7 | pom EDT D Major: C#m7(b5) F479} Bm Bm(maj7) | Bm?| E7 [mt AT J> Following are two eight-bar chord progressions further illustrating the application of this principle: Ex. 4 * F Major: | : Je fpm7 soar yor sfr ry) [emres) 1 axes) 1 | | pe fF Dmimain fom 1 ot [om 1 7 eras |j G Major: : Jamrss 1 [pr tt |e vl 1 |Fem7065) 1 709) / | [em 1 eminem /[em7 a7 Flame ror itor ss I. B. FORM Thus far we have applied the principles of harmonic progression to single eight-bar phrases only. These same p es, however are still va! ying or constructing the chord progression to a complete tune. For purposes of this study, we shall discuss the two forms most nonly used in song construction (although there are other variations). B Ab 8 bara S bare a c 8 bars 8 bare "channel" or "release", contrast. 4 fe) fear a a— “ Examples of this (type "a. such as: “(MIN THE MOOD FOR LOVE" COVER THE WATERFRONT" c ‘EVERYTHING HAPPENS TO ME" o “ONCE IN'A WHILE" 7 7 Sc. ee : ") construction may be found in tunes — 4 : : oA The equally common Al, B, A?, Gstructure (b.) may be found in the construction of tunes such a: “DEEP PURPLE “EMBRACEABLE YOU" 9ENNIES FROM HEAVEN" : UT BEAUTIFUL" ETC. ETC... — — . rE __It should be understood that the techniques of song construction “actually an involved study in itseld) cannot be completely explored — “in this course. To gain a further understanding of harmonic progres~ « ! sion as applied to song structure, it will be necessary for you to b devote considerable time to the analysis of popuite ud saivease tunes. (See examples 5 and 6, and Problem #l of this leseon assignment.) _ =. wrourt eS 2 ee . “MOOD FOR LOVE" wet alAm7(b5) D7(39)__ Gm Gm Fz Fm7___Bb7 7 Im? vid V as Eb, Fm Fm? Bb? Eb im? v7 = ee =) T That va T Bm7(b5)_E7(b9) im GNOTE: A thorough discussion of the "blues-type* twelve bar construction will be included in a later lesson. ©. DECEPTIVE CADENCE = , ‘The following forms of deceptive cadcnce would not normally be found in the chord progression to a standard or popular tune but, rather, would be used to create a special harmonic effect for purposes of modulation or variation in the final cadence. 1 V7 to bVIMaj7__(1) AbMaj7?__(C)_ CbMaj7 ~~ (Edy Key of C: G7 Key of Eb: Bb7 v7“ to bi Maj7_* U) DbMaj7 F* (6) > E Maj? °_ (Eb) Key of © G7 Key of Eb Bb? NOTE: Where the deceptive cadence ig to be'followed by a modulation into another key, there is 'no need to return to the "I" chord of the original {as in parentheses above). 3. Modulating Deceptive Cadence a. Establish a strong melodic cadence on any following degrees of the I chord: 23 fe : this note to be either the ninth or or Seventh “the scale eleventh of some’ m: chord. . Assume this minor seventh chord to be a Tim? ... and continue on to related V7.d. Cadence directly to the I chord established by this m7 - V7, or progress as desized 2 aN & a are == eee eee | (Ch pati .c7_- pent EbT {pnt G7__—_sBbm’ Eb? 2 — ee D, COMPOSING INTRODUCTIONS AND MODULATIONS All cf the techniques of harmonic progression and melodization discussed in these lessons may be applied to the construction of introductions and modulations. One harmonic.factor that all introductions and modulations “will have in common is that the final chord or chords must form some sort of cadence into the first chord of the chorus. i, INTRODUCTIONS (most commonly four bars in length, but may be tw, four, six_or eight bars long.) Generally speaking, introductions may be classified as being either thematic, i. contained in the tune ftse!: ., based oa the material themati Gned in the body of based on new material not cont. the tune, y impossible to pres octive eover-= J 4 mop leal [eel (eel age of the writing of non-thematic introductions since | go many variations are possible. To be certain that the principle is clear however, following are some examples of non-thematic introductions. 5 Dm7 "G7 +, Em7 Dm7 “.G7(b9)_'E Fmt £7 DT Exo) Am7_ oy = + constructing this type of introduction, but it is inter-" | Thematic introductions (the most Commonly uéed typed mnay be based on any thythmic, melodic or harmonte motif contained in the arrangement or in the original Tuelody.” Again; countless variations are possible in esting to note that many are based on some sort of sequential development. - Following are examples-of thematic introductions to “1m In The Mood For Love".Ex, 10 Needless to say, the style of the introduction should compliment the style of the arrangement by establishing the mood and charac- ter of the music to follow. (a) Bright Swing - "Dancing On The Ceiling" £ i G7b9) Ex. 11 = = = MODULATIONS The primary consideration in constructing any modulation is to provide an interesting transition from one key to another. As in the case of introductions, modulations may be based on either thematic or non-thematic material. There are, of course, many ways in which this transition may be accomplished, and countless variations of the following examples would be possible. Be sure to consider these examples as a starting point for your thinking, rather tha an attempt at a com- plete coverage of the subject of modulation. (a) "PENNIES FROM HEAVEN" C to‘ ! eee = El. cL i ] 71 (b) ee IN _— Eb to Bb L : : _ i] TW] Tyg et ey me "bop ent 7p me cmt Gt, apy SS sae 3 L anes Seta I p= 7 © 7 (c) "LAURA" C,to Db (starting chord Bbm7) (last two bar's omitted) : Dies) - GT f as Bbm? Ee709) A S abs 3. (pS ESS ieee ‘* modulating deceptive cadence (2) "OVER THE RAINBOW" EB to Ge ; (two extra bars) modulation F7 Fm7 Bb7 Eb E> SS = aS EEEY” ae see ee | Ee TR ak d rl * d © ce m7) Bhm7 GT “G7 =.= ———— 22S=5 =e a (e) "DEEP PURPLE" a: = {no extra bars) & Gm7 c7 Dbmaj7 BS = SS 45= ee paeeeses —laa =) wt mere © fF Ur ASSIGNMENT Analyze the chord changes to each of the standard tunes included at the end of the assignment. (see Ex. 5 and Ex. 6.) Compose one_eight-bar progression in every key, establishing the relative minor key at some point in the progression. (see Ex.3) Notate the following deceptive cadences in every key. (2) V7 to. BVIMaj7 a Cy to bILMaj7 a) Utilizing the principle of modulating deceptive cadence as des- cribed in this lesson, construct a modulation of any length from the key of C into each of the eleven other keys. Compose both = - melody and chord progression for each of the eleven modulations. Compose a thematic introduction of any desired length (melody and chords) to each of the following standard tunes. (see Ex. 9) a. You Are Too Beautiful g- September Song b. Can't Help Lovin'ThatMan hy Somebody Loves Me c. Body and Sou! Someone To Watch Over Me . [Only Have Eyes For You j. I Cover The Waterfront e. How High The Mosn k. Jeepers Creepers £. Deep Purple 1. Gone With The Wind NOTE: In the event that you are not familiar wit any of the foregoing tunes, simply sub- stitute tunes of your own choice. Compose both the melody and the chord progression for twelve lematic introductions (one in every key) in each of the fol- ng styles. These introductions may be of any desired length. (see Ex. 10) (a) Waltz +(b) | Slow Ballad (c) Bright or Medium Swing (a) Beguine (or any ot Latin-American beat) (Qisted on next pa:a © to Geto a b. Bb to Db to Gp © abt A 7 Fr to Bb 4d. Eb to G iA to Eb 0D tm & k. Bb to c { G to oF LG to Eb NOTE; Any of the techniques of melodization and chord Progression discussed in these lessons may be used. The Trodulations may be either non-thematic or thematic (if based on specific tunes). Using any standard tune of your choice: a. transpose the melody to a key suitable for a five-part brass soli in open position. . - b. compose a percussive, rhythmic improvization of the original melody. &. score for: 1 Bb Trumpet . TH .Bb Trumpet . UL Bb Trumpet wy 1 “Bb Trombone : Il Bb Trombone NOTE: In scoring Problem No. 8, try to make use of inner voice ten: cussed in Lesson No. 15, sions as dis- = lg? a? gel. SE OSPR pte ee TC — . po {Progressions for Problem Now 1) __ >) (a) "1 CaN’? Give you anytime Bur Lover fav = J] ene waver ‘SutLe AGam™ Gm? Gb? 7 Em?__pet?__ Eb ema ; | (SSS"I'LL NEVER SMILE AGAIN" (cont.) Ac) #1/REMEMBER YOU" Cim7 FT S | 2 > nae (g) rock ana ro!l 111! 7% eet e above, the term "ad Hb" lowing the drummer freedom in follow: It is also customary to indicate the pr mn activity on the drum part. Pe ee pay ae is usually noted In using each of thi on the drum part the arrangement. dominant solo or sectio age for the d, give him NOTE: The tendency will always be to over: @rummer. Unless some specific effect is des as Little as possible to read. sens sapere arian en . STRING BASS (Bass fiddle)is notated in tie bass clef and wri it actually so ‘The four strings are ‘The practical range of the base (transposed) is: Ex. 6 z but higher notes are possible and are used for special effect in solo passages, . The foltowing illustrations will serve as a guide in the writing of bass parts: . : with one chord per bar (b) when a I chord is followed by its V7 ee Ce 7 ER ——— a Sa) {c) with two chords per bar Ex. 9 eet ‘a EE ave REVERE a. ae. a BERD| - ie} rests may be veplaced by repeated notes Ex. 1 ¢ Am7,, ;Dm7 cz FLA aa my u (f) chord or scale fiotes other than I and 5 (usually 3 or 7) may be used to provide melodic motion. . roe tw (g) where the root motion of the chiord progiesston | moves down a filth, a passing b5 may be used of tither dom, tth or minor 7th chords to provide L Chromatic base motion (5 = BS =" Me Ex. 13 : la & ie Den? = | | ‘The preceding must necessarily be considered as a general out and other techniques may be used where they appear to be musically justified. i sepenmiceenas an 3. GUITAR When used for si assages, the guitar is written one octave higher than it actually soun Guitar are tuned as follows: The six strings of the RP Pree rrhm work, the actual voicing of the chord is x left to the guitarist, with the arranger simply indicating the chord symbols and the number of beats each chord is to occupy. thmic effects may be indicated as in the following illustration: c Db SEE les in writing piano ¥ may use either of tw: ending upon: a. the style of playing desired, and;Following is an illustration of a piano part of this type. Ex. 18 It is also desirable in ceztain situations to indicate the melodie line in cue form to guide the piano player as hé improvises a background. : Ex 19 Cmaj7_—A7(b9) Although somewhat more demanding of the arrang following type of piano part should be used when: a. 2 specific piano effect is desired, or b. the pianist is unable to spontancously create his own part from the chord symbols and bass line, In writing this type of piano part, try to consid: principles: he following a. let the left hand duplicate the bass part. b. consider the technical limitations of the pianist. ce. write ne hiL “+ Keep smooth voice leading'between adjacent chords in the'right hand, e. tr pigno a5 a rhythm instrument; it is not necessary fer the piano part to outline every secceg and nuance of the ensemble, in‘writing “boom-chick'" style piano parts, use mostly saat 1 genera in the right hand (usually 13,5 with “85; 1,3,7, ox 3,5,7 with seventh chords), Following is an example of a ‘piano part of this type: Ex. 20+ op Pa == + “Wy a7 = >= a F ([2- An effective device "thumb counter-m: three-part harm in creating full sounding piano back lower two v. eats.i ‘The following example illustrates this principle of "eounter-melody." J Ex. 21 hf ‘The foregoing should not be interpreted 2s an exhaustive analysis of - the instruments of the rhythm section. A thorough study of each of the instruments individually would be necessary for this dnd, ob- viously, the scope of this course does not allow for concentrated - soverage of en ther, the information given eas 2 general guide in enablin you ples illustrating various rhythm4 Se =e a Gm7 7 Gm7 D7) es =eae Am7_? D7(b9) soe fee pe ee ee eo eea aa a a a come ee eeeeRe ; | { § i =p f G7(#11) d= 2k Ex. 22 (c) (cont.)kx 22 (e) Beguine Melody Aaa Borer ASSIGNMENT: 1, Following are the common chord changes to some standard tunes. a. correct and/or re-harmonize the given chord changes. b. score parts for the rhythm section as follows: Melody {as is or improvised) a_i Guitar ot : Drums - Boss ial : 4 Plano NOTE : In the event that any of the indicated tunes are not familiar to you, simply substitute standard tunes of your own choice. ~ = '(3) "LONG AGO AND FAR Awayn ; L ae Em? Ev. Bbmai7 Bb ZF pm Les eae, 1 i t = i (©) “How seh THE Moow Dk ff#——Eet py ES cé D7 Ems [2 G7 C6 GmBb7 {Eb | Bb? Eb -Bb7 | Eb BT Eb __Bb7 G7 Cm Fm Ab? G7 Cm CPL FE ci F Gm7_¢7 See ee ee ©| 7 2. Score each of the following melodies as indicated. If range of given melody seems impractical for indicated instrumentation, transpose to more suitable key.” By a: (2) Ballad ! = ts i Fm7 e Bbaug7 Eb Ab7 Gm7_. Gb7 Fm7 Baa ee ee Melody -. Sax Unison = Background -. Five Brass (Trp.,Trp.,Trp.,Tbn., Tb.) L Rhythm - ~Guitar, Drvms, Bess, Piano 1 gual Bbaug7 B a 7 _Eb__ Fm7_, 22s? ep Eb T(b9) ay 2 cal Fy ite Se =a Je gie9) a7 BB7 Eb _ Z ~ : = (SS - Five-part Sax Soli (A,A,T,T,B) Guitar, Drums, Bass, Piano(4) Ballad cm? FT at aaa Per Ee j= — 7 Trumpet Solo juitar, Drums, Bass, Piano (e) Rhumba Gm7 atom? er amas) ues a =r a D7(b9) = Five Brass (Trp.,Trp., Tzp.,Tbn., Tba.) Guitar, Drums, Bass, Piano (suggested piano accompaniment patterns) Gm = iF | ({) Slow Ballad > = ‘Ab Gm? Fm? Eb eres) Fmt’ 267069) abcm7 fof oO a —-Gr_, = olL 3. Using any standard tune of your choice : (a) transpose to key suitable for indicated instrumentation, (if necessary) (b) re-harmonize and/or correct chord changes. (c) make any desired rhythmic and/or melodic changes. : (8) score as follows: Melody - Trumpet Solo Background - Five Saxes (A,A,T,T,B) Rhythm -Guitar, Drums, Bass, Piano 5. (a) Compose thematic introductions to each of the tunes Listed in Problem #1 (or any six stendard tunes). (b) Score each introduction for rhythm section plus any one of the followin 1, brass soli 2. sax soli 3. brass solo (or unison); sax background 4, sax solo (or unison); brass backgroundeee ty wow ww wt a h ha h h h h h bh b l b LESSON NO. XXII SMALL BAND WRITING A. TWO HORNS When scoring for two melody instruments, any of the following may be used: 1, unison or octaves 2. duet style (i.e., two-part soli) 3, melody and counter-melody 1, Unison on or octaves is ‘The decision as to whether to use ti Jergely dependent upon the instruments being used and the range of the melodic line. Either is effective. 2. Duet Style try to observe the following principles in writing 2 two-part soli: use chord note (a) If lead voice is a chord notes y o2ch in second voice; if lead voice is an ap2 use an approach in the second voice; note, etc. .+ ervals of 3rds and éthe es 12uch Consecutive 3rds and 6ths may g 2nés (b) Try to use int as possible. be freely used, but avoid usin Sths and 7ths consecutively.Ex, 2 (b) wan 3rds or 6ths, to either a 3rd 2 motion, = voices move in opposite directions, CR REET Ss eeMstedy and Coustersnslody cettainiy the mast modera form of Sa ne cont ioresting ‘A detailed explanation of counter -melody fat part of the course “This technique is o-part writing, musically. {ting has been included in ths : dealing with backgrounds, J ] 1. |S ] ec technique: e, possible to intermingle the thr Ie is, of cot described|. THREE HORNS THREE HORNS in scoriig for three melody instruments, any of the following may be effectively used: 1. Unison (or octaves} 2. Unison melody with solo counter-melody ter-melody. 'h solo counter-melody k + Three-part soli Three independent linesfet ee ri l i Ex. 8 _ 2s Unison melody with solo counter-melody POPU5. Duet style Soli with counter-melody TSE oli with counter-melody 6. Three-part soli Thtee-part soli, Jn setting up a soli voicing for three horns, try to observe the following: (9) every chordal harmonization should include the third, (0) every Dominant 7th chord harmonization should include the seventh, (¢) altered chords (85, b5, b9, ete.) sheuld include the altered function, (4) do not use “him and related lo" in the same voicing, (e) harmonize chord not. ‘eS, approach notes, etc. , 328 they would norma! lly be harmonized ina four-part voicing, emitting the lease important note,3 GAs b9)* 7 79) (7 MINOR 7th FLead 1 3 2 3 n 1-2 sunger: T= a8 3 STE voices 3 3 33) AUGMENTED 7th AND DIMINISHED 7th 4 Irregular, but effective. : Noi. in tay ot the above vaicngs, the two uncer : Tn any of the Sefnverted to form open position.