"PART ONECHROMATIC TONAL MUSIC by Dick Grove © Dick Grove Publications - 1988 14539 Sylvan Street, CA 91411 Produced on a Macil and Laser Writer Plus Applications: Page Layout - Ready, Set, Go 4.0a Music - Professional Composer Superpaint NrTABLE OF CONTENTS CHAPTER ONE - Melodic Resolutions Musical Context 1 TABLE ONE 2 First Generation Harmony. 4 Melodic Style ..... -_ 7 Second Generation Harmony 8 TABLE TWO 10 TABLE THREE u CHAPTER TWO - Chromatic Harmony Minor Harmony .. 2 TABLE FOUR .... 13 CHAPTER THREE - Chromatic Harmony Melodic Pivots v7 How Tones Pivot ~ 19 TABLE FIV! 20 a 26 30 Third, Fourth and Fifth Generations .. 32 SUMMAFY eer 37 CHAPTER FOUR - The Grid Concept Introduction. 39 GRID 1... 2 Movement Around the Grid g CHAPTER FIVE - The Imi7 Chord Introduction .. Horizontal Flow Arrows . GRID2... Moving Around Grid 2... The Imi7 Chord as a Substitution Chord ..oo TABLE OF CONTENTS Continued CHAPTER SIX - Altered Momentary Scales 00 61 ‘The Modified Line 7 Scale Altered Dominant Chord Families .. Summary ... 68 6 CHAPTER SEVEN - Momentary Key Center Categories Introduction .. TABLE SIX .. Summary... Yan CHAPTER EIGHT - Dominant Tritone Substitutions The Application of the Dominant Tritone Substitution Chord The Chromatic Dominant Approach Chord .... GRID: The Effect on Musical Style ... The Tritone Substitution .... The Plurality of the Tritone Substitution ...... SS9888 CHAPTER NINE - Grid 5 GRIDS... — Intermediate Line Il - V's as Approach Chords Tritone Substitutions Applied to Turnarounds Summary .. -Chapter 1 CHROMATIC TONAL MUSIC Page 1 CHAPTER ONE MELODIC RESOLUTIONS 1. The goal of every contemporary musician is to develop their musical abilities to their greatest potential. The aspiring musician may have the energy, desire and ambition but without the guidance that can lead to the goal, years can be wasted in reaching a profession- al level of musicianship. 2. Our approach to musicianship begins with the study of the natural relationships of mu- sic. When these relationships are understood in the proper order, it will be possible to gain a solid foundation that will allow the developing musician to hear, conceive and execute music at a competitive level ‘ MUSICAL CONTEXT 3. The cornerstone of musicianship is the fact that all elements of music have a connected relationship. This awareness is a necessary prerequisite to assimilate, hear and produce music. Without the conscious awareness that a natural context affects all the elements of music (melody, harmony, rhythm, form and style), it will not be possible to direct your mu- sicianship to a specific purpose in the shortest amount of time. 4. As all aspects of music are connected by a relationship, it is essential to learn to hear and comprehend the underlying principles that produce the styles of music required in the con- temporary music market. 5. We can begin with the following premises: 1. The basis of tonal melody and harmony is the major scale. 2. Harmony is the consequence of melody. 3. Any musical tension sets a reaction in motion. 4. All melodies and harmonies form an evolving context. 5. All natural music can be understood by the ear.Page 2 CHROMATIC TONAL MUSIC Chapter 6. The major scale as we think of it, is really a convenient term that refers to a relationship stemming from the Melodic Circle of 5ths. This is comprised of the "building block" of scales called a tetrachord. As we know, a major tetrachord is a four tone relationship mace up of a whole step, whole step and half step. When major tetrachords are linked by whole steps, a nev- er ending series (or circle) of tones is produced. The following table demonstrates this ser TABLE ONE LOWER TETRACHORD | ‘UPPER TETRACHORD MAJOR SCALE C-D-E-F G-A-B-C € Major Scale G-A-B-C D-E-F#-G G Major Scale D-E-F#-G A-B-C#-D D Major Scale A-B-C#-D E-F#-G#-A A Major Scale E-F#-G#-A B-C#-D#-E E Major Scale B-C#-D#-E FR-G#-A#-3 B Major Scale (Cb-Db-Eb-Fo Gb - Ab -Bb-Cb Cb Major Scale FH-G#-A#-B C#-D4- £8 - Fe F# Major Scale Gb - Ab - Bb - Cb Db-Eb-F-Gb Gb Major Scale C#-D#-E#-F# G#t- A#-B#- CH C# Major Scale Db-Eb-F-Gb Db Major Scale Ab- Bb -C-Db Ab-Bb-C-Db Eb-F-G-Ab Ab Major Scale Eb-F-G-Eb Bb-C-D-Eb Eb Major Scale Bb-C-D-Eb F-G-A-Bb Bb Major Scale F-G-A-Bb C-D-E-F F Major ScaleChapter 1 CHROMATIC TONAL MUSIC Page3 7. As Table One shows, each tetrachord is one half of a major scale. As the construction of the tetrachord is identical, there is a natural relationship of each of the identical tetra- chords to each other; ie., the upper tetrachord of the "C” major scale is the same as the lower tetrachord of the "G" major scale, etc. The result of this “linkage” of tetrachords forms a series of major scales, each a perfect 5th interval above the last. As this is the con- sequence of a series of single tones, it could be considered a horizontal relationship and can be referred to as a melodic circle of Sths. This relationship also presents the first natural “pivot” or plurality. ‘The interval from the first tone of the lower tetrachord to the first tone of the upper tetrachord is a perfect 5th. The identical placement of the first tone of each tetrachord has moved up a perfect 5th, and in doing so, has changed the key. This is the most natural modulation or change of key. Each tetrachord sounds "SO-LA-TI-DO" 8. This overview also demonstrates that although there are seven tones in a major scale, the octave (or eighth tone) completes the tetrachord formula and creates a tonal, musical context over and above the mathematical description of a major scale having seven tones. This relationship clearly establishes the interval of a perfect Sth (or perfect 4th) as the natu- ral interval of Western music, based on its position in the overtone series. 9, Modern Harmony Ili presented the concept of major scale resolutions which included the function of: a. Resting tones (DO, MI, SO) b. Active whole steps (RE, LA) ¢. Active half steps (FA, TD) d. Chromatic tones (DI-RA; RI-ME; FI-SE; SI-LI E; LI-TE) 10. The natural implications of these four categories of tones are an important founda- tion to the study of music, and the contemporary application of this foundation to improv- isation, composition, orchestration, arranging, eartraining and the study of musical styles. These scale resolutions all have predictable implications that can be considered the natural consequence of the use of any or all of the resolutions in their application to contemporary music. 11, These consequences are as follows: a. DO, MI and SO are resting tones and represent the resolution of an active tone. b. RE and LA are active whole steps and resolve to the scale tone above or below, or toa resting tone. c. FA and Tl are active half steps and resolve FA to MI or TI to DO (resting tones) or can skip FA to SO or TI to SO (resting tones). . Acting as a preparation, a diatonic tone can be raised or lowered, resolving to the next diatonic tone which becomes the diatonic resolution of the altered tone.Page 4 CHROMATIC TONAL MUSIC Chapter Example 1 SO FA Ww) (v7) 12. The resolving motion illustrated in Example 1 clearly demonstrates the “sound” of Western music and the starting point of gaining facility with harmony and composition. 13. One of the results of this study will encompass the ability to harmonize melodies i the various harmonic styles. Chromatic Tonal Music concentrates on those styles of tradi- tional and contemporary music that are based on the leading character of the horizontal voices. Example 1 shows the character of this style of music. Other contemporary har- monic styles such as the Blues, Modal and Symmetric will be studied in Modern Harmony VI. The understanding of leading character of the horizontal voices will become the basis to understanding the remaining harmonic styles. ' THE HARMONIZATION OF DIATONIC MAJOR SCALE TONES 14. The most basic and consonant vertical shape in that of the major triad. The implica tions of Example 1 outline a G major triad and a C major triad. Following this foundation, an approach to applying a harmonization to the degrees of the major scale would in its most natural form, be limited to only employing major triads to harmonize any tone of the major scale. The diatonic triads of a major scale include the major I, IV and V triads. Every tone of the scale can be harmonized by a chord tone of one of these triads. 15. To better organize this harmonization procedure and more sophisticated possibilities later in the book, we will refer to the limited major triad harmonization as FIRST GENER- ATION TONAL HARMONY. 16. The implication is that in the process of hearing the most natural harmonization of a tonal melody, the first assumption will be that of a first generation choice. In this sense, each individual tone is heard as a root, third or fifth of the I (tonic), IV (sub-dominant) or V (dominant) chord:Chapter 1 CHROMATIC TONAL MUSIC PageS a.DO = Harmonized with al or IV chord. ¢ — b.RE = Harmonized with a V chord. 6 «MI = Harmonized with aI chord, c d.FA = Harmonized with a IV chord. Fe e.SO = Harmonized with alorV chord. = ¢ f.LA = Harmonized with a IV chord. E g-Tl = Harmonized with a V chord 6 17. When a melody is harmonized in this manner, those melodic tones that have a plur- ality with more than one triad can be determined by the specific context. In choosing triads to harmonize a melody, the characteristics of the scale tones are defined by the choice of triad. In choosing to use aI chord or a IV chord, you are deciding to use resting tones (DO, Ml and SO) or active tones (FA, LA and the resting tone DO). 18, The context of the melody will present the choice of moving from resting to active, active to resting, resting to resting or active to active. The best choice will be that choice that follows the normal characteristics of the scale degrees discussed before, relative to the thythmic placement of the harmonization. The next example will illustrate how this ap- proach would be applied to a traditional melody. (see Example 2) Example 2 CHOICE OF FIRST GENERATION rwiwvywitvtovviw «vy CHORDS: c FCFGF CGC GFEC ccc MELODIC FUNCTION: 3.1 5335 1 5 3 33 51 3 55Page 6 CHROMATIC TONAL MUSIC Chapter 1 19. ‘The Relative Minor of a key signature can also be approached from a Ist Generation standpoint. In this context, the basic triads would be the Imi triad, IVmi triad and the V major triad. The restriction of these three triads is based on the Harmonic Minor Scale of the relative minor. The Imi is plural with the Vimi plural substitute in major. The differ- ence is that as a Imi it is functioning as a definitive chord instead of as a plural substitute. The IVmi triad is plural with the Timi plural substitute in major with the same distinction detailed above. The Vma triad is unique as it introduces the chromatic leading tone (SD to the harmonic minor scale (LA) 20. The presence of the definitive minor triads and the chromatic tone in the V triad pro- duce a more sophisticated result. The technique of harmonizing a melody remains the same, in that each melodic tone would be the root, third. or fifth of the I, 1V or V chords in the relative minor. The rationale in determining which chord to use would be: a. LA, DO and M1 are resting tones and represent the resolution of an active tone. b. RE is an active whole step and resolve to the resting tone above or below, or skips to a resting tone. c. TI, FA and SI are active half steps and resolve Tito DO; FA to MI and SI to LA (resting tones) or can skip to a resting tone. d. All diatonic tones (preparation) can be sharped and resolve up to a diatonic tone; all di- atonic tones (preparation) can be lowered and resolve down to a diatonic tone. 21. The implication is that in the process of hearing the most natural harmonization of a tonal melody, the first assumption will be that of a first generation choice. In this sense, each individual tone is heard as a root, third or fifth of the Imi (tonic), 1Vmi (sub- dominant) or V (dominant) chord a. LA = Harmonized with atmi or IVmichord 4... Daw b. TL = Harmonized with a V chord. E ¢. DO = Harmonized with a Imi chord. Am d. RE = Harmonized with a IVmi chord 4 ° s v Harmonized with a Imi or V chord. é z " Harmonized with a 1Vmi chord Harmonized with a V chord. mn 2 ©Chapter 1 CHROMATIC TONAL MUSIC Page7 22. As with the major tonality, a melody will be harmonized in the same manner. Those melodic tones that have a plurality with more than one triad can be determined by the specific scale degree context. In choosing triads to harmonize a melody, the choice of triad is defined by the characteristics of scale tone resolutions. In choosing to use a Imi chord instead of a [Vmi chord, you are deciding to use resting tones (LA, DO and MD or ac- tive tones (RE, FA and the resting tone LA). 23. The next example will illustrate how this approach would be applied to a traditional melody. (see Example 3) Example 3 CHOICE OF FIRST GENERATION CHORDS: MELODIC FUNCTION: 135 1531 5 351 3 24. As harmony is a consequence of melody, those melodic styles that encompass leading tones can be said to have chords of the first generation in major and relative minor as the most obvious possibilities. The working technique is that the melody-is conceived first, and the harmonization of that melody will be restricted to those triads that allow the mel- ody tone to function as a root, third or fifth. MELODIC STYLE 25. The degree of sophistication of a melodic style will dictate the level of harmonic pos- sibilities. As we are investigating the first generations of harmonic choices, we could say that certain styles of music like traditional, folk, pop and orchestral would be included in this level of restriction. The possibility of changing momentary scales also is a primary factor in the development of a melodic motif, and as such, increases the level of sophistica- tion. Within each momentary scale, the same first generation possibilities exist, using the same approach as discussed above.Page 8 CHROMATIC TONAL MUSIC ‘Chapter 26. Another level of sophistication can be produced by increasing the level of harmonic density, or by using diatonic chord forms that are less definitive than the T- IV - V rela- tionships. We will term this category SECOND GENERATION HARMONY. SECOND GENERATION HARMON 27. Second Generation Harmony will be defined as: a. A four part chord setting of a definite I, 1V or V chord or of a plural substitute. b. A three part chord setting of a plural substitute, 28. To determine all the possible harmonizations of Second Generation choices, a work- ing knowledge of Major and Minor Plural Substitutes is needed. Example 4 illustrates the evolution of Ist generation harmony into 2nd generation harmony relative to the key of C major. Example 4 br Emi c Emi7 bb: Dmi b: Bdim b Ami c Ami7 Four part chord b. = Three part plural substitute of ist generation chord Four part plural substitute of ist generation chord .Chapter 1 CHROMATIC TONAL MUSIC. Page 9 29. As can be seen from Example 4, second generation possibilities are much larger than first generation. The principles are the same in the sense that second generation chords contain scale degrees that still resolve and behave in characteristic ways. Each melodic tone will be a chord tone of the four part chord, i.c., root, 3rd, 5th, 6th, 7th or the root, 3rd and Sth of a triad. Example 5 details second generation chords relative to the key of C mi- Example 5 Iv Dmi becomes: v E becomes: a: Ami6 a: Ami7 &Dmié_ a Dmi7 2k Three part plural substitute of Ist generation chord ¢. = Four part plural substitute of 1st generation chord 30. Examples 4 and 5 have detailed the plural substitutes of C major and minor. Of pos- sible minor plural substitutes, only those that are within the restriction of the harmonic minor scale will be selected. 31. The rhythmic context of a melody will also effect the "chord rhythms" and the choice of chords. Increased rhythmic motion will dictate that a greater number of melodic tones will be harmonized by a single chord. Following this thinking, it is possible to relate the chord rhythms to melodic tones as: One chord = One melodic tone One chord = Two melodic tones One chord Three melodic tones One chord = Four or more melodic tones 32. To see the scope of diatonic three and four part chords that can harmonize melodic tones, the following Table 2 will illustrate the possibilities that would harmonize two tones of the melody within the restriction of a major scale. Table 3 on page 11 will detail the same possibilities of harmonizing two melodic tones within the restriction of a har monic minor scale, These tables can be used as models to familiarize yourself with the ap-Page 10 CHROMATIC TONAL MUSIC Chapter proach by applying them to all keys in the exercises found in the workbook. 33. When more than one melodic tone is harmonized by a chord, there will be the possi- bility of involving passing and neighboring tones. The use of these auxiliary however do not change the basic procedure of determining the first or second generation harmony from a given melodic phrase TABLE TWO Tute@valos en Modo MayoR C6,Cma7 = Dmi7,Dmi6 — Emi7,Cma7 G7, Emi? Ami7,C6 Amy Bmi7i5) Ge ma? Per.5 ‘F6,Fma7 G7, Emi7 Ami7,C6 C6, Cma7 Dmi?7mDmié Emi7,Cma7 Dmi7 ma? Ami? Bmi7s) G6 Pera , G7, Bmi705) G7, BmI75) ———— Aug = C6, Cmaz Fo, Fma? G6, G7, Ami7,Fma7_ Dmi?, Boi7(b5)_— Em i7, Cmay Maj.3 = Damir, Eimi7,Gé6,Cma7 Ami7,C6 mir), G7 Min3 Dmi7,F6 — Emi,G6 G7 Ami7,C5—Boxi7%b5) Fmay maz Min.2Chapter i CHROMATIC TONAL MUSIC Page 11 TABLE THREE TwteR vblos en Modo Menor Ami,Fma7 — Dmi, Dmi7 EE? F,Fma7 AmiMa7—_-Bmi7(b5), Dmi6 F6, Dmi7 Per.5. Dmi,Dmi7_—_E,E7 F,Ema7 Ami, Fma7 Bmi7(b5), Dmi6 F6, Dmi7 AmiMa7 Per Bdim, Bdim7 £7, Bdim7 Baim, Bdim7 £7, G#dim Dmi6é, Bmi7(b5)_GFdim Dmi6, Bmi7b5)__G#dim7 Aug Caug, Fma7 Caug,E,E7 —F,F6,Fma7 Ami, AmiMa7 — AmiMa7 Dmi, Dmi7 Maj.3 Ami, F Baim, Bdim7 Dmi,Dmi7 _E,Gédim, Fma7 Gdim7,E7 Bdim,Bdim7 Cmav(+5) Min.3 = Bmi7bs) EF Dmié Maj.2 Cma7(+5) Faz AmiMa7 Min.2Page 12 CHROMATIC TONAL MUSIC Chapter CHAPTER TWO CHROMATIC HARMONY CHROMATIC TONES WITHIN A KEY CENTER 34. The study of Chord Families included all of the altered 5th, 9th, 11th and 13th of the It- V ~I chords in minor. ‘These altered tones were learned in vertical relationships as functions of assumed roots within the Chord Families. They were also presented in a harmonic context that included the study of scale sources, along with their function in a major or minoz key cen- ter. 35. Ttis important at this point to tie in the altered functions of Chord Families to how they function in relationship to 2 composition, or treatment of a composition, To accomplish this, it is necessary to approach the “color” notes horizontally (or melodically). This can be best un- derstood in relationship to a major scale. 36. Starting with the presumption that minor (or altered harmony) comes from altering the tones of the major scale, we can summarize the material learned in Modern Harmony 3 by un- derstanding how these altered tones relate to a major scale. 37. In previous harmony lessons we have discussed how the two halfstep leading tones of the major scale create the "souna” of Western music, and are fundamental to the leading char- acter of contemporary music. The leading halfsteps (MI-FA and TI-DO) are considered diaton- ic halfsteps because each tone is contained in the major scale, (a diatonic fone, in this case, moves by haifstep to another diatonic tone). In this sense, itis the halfstep leading motion that gives tonal music its character and active fo resting harmonic motion. This again relates to the character of each scale degree as a resting, active whole step or halfstep degree of the major scale, 38. This movement also creates an impression of sophistication, within the boundaries that are imposed in a diatonic context. To make the music more sophisticated, the key center can modulate from one to another. The impression that results is that of introducing notes chro- matic to the first key center, still remembering that eachstays within the diatonic restrictions of each major scale. 39, “When the relative minor of each key is utilized, more sophistication is created, and an accidental is found in the leading TI-DO of the relative minor scale (IT of the relative minor is Slof the original major scale)Chapter 2 CHROMATIC TONAL MUSIC Page 13 40. If the style of composition or treatment requires more sophistication, it will be necessary to create more halfsteps. To accomplish this, the diatonic tones of the major scale can be al- tered to connect the whole steps of the major scale. This produces chromatic halisteps (a diatonic tone moves to a chromatic substitution, or a chromatic substitution resolves back to a diatonic scale tone). It is possible to do this between DO and RE; RE and MI; SO and LA and LA and TL This results in four chromatic tones that can be used in conjunction to the diatonic tones of the major scale. 41. The enharmonics involved with the chromatic substitution notes will depend on the con- text in which they are used. If a major scale tone is raised (sharped) it is connecting upwards to the diatonic tone above the starting note. If the scale tone is lowered (flatted or naturaled) it is connecting downwards to the diatonic tone below the starting note. 42. With this horizontal viewpoint of the chromatic substitution tones of a major scale, it is also necessary to understand their functions in terms of their relationships to the altered Chord Families. These four chromatic tones and their enharmonics define,the altered functions of Chord Families #4, 5,6, 7 (9) and 8. 43. We will now look at each chromatic halfstep in terms of its Chord Family relationship: > Me By » Ee) Functions as the +11 of the b5 of | CF. #6,7&8 | CF. #6,7 &8 44, The raised DO of any key will define the augmented 11th or b5th of any V chord. This chromatic substitution tone thereby literally determines the definition of Chord Families #6, 7 and 8, whose scale sources all contain the altered 11th or Sth. Although the augmented 1th form is used more than the bSth in jazz and compositional situations, the b5 will often be found used as a melody tone, in bossanova progressions and in Broadway compositions, for instance. The augmented 11th requires the 9th below it, while the b5th does not, as it is simply a four-part dominant 7th chord with an altered 5th.Page 14 CHROMATIC TONAL MUSIC Chapter 2 Functions as | | Functions as Functions as | the+5of || the b13 of the b3 of | CR#8 |) CH#s Che | a EFF 3 4 r 45. In this situation, the chromatic substitution connecting RE and MI or MI and RE is the aiitical definitive tone of Chord Family #8 and will commonly be found in both the #5 and bi3 forms. In modem styles, including jazz, the more complex characteristics of the style stiggests that even if notated as a +5, itis heard asa b13th, which requires the bth as a supportive scale tone contained in the BVI Melodic Minor scale source. 46, Italso defines the b3rd of Chord Family 4 (with DO as the bass tone). SI-LE Do. = ; | — | Functions as || Functionsas the b5 of | the #5 of CHS CE # | Gr altered L 47. When LA and SO are connected via LE, this chromatic substitution note qualifies Chord Family 5 (the b5th) and the b9th of Chord Families #7, 7a, 8 and 8a. This is the definitive tone of the Harmonic minor scale and derives harmonically from the tritone relationship between Tland FA 0 fthe relative major scale (review Modern Harmonic Relationships, Part 2). 48. When found as the raised SO of a key, SI, it functions as an altered form of Chord Fami- ly #1, in an augmented triad form, or major 7th(45) formChapter 2 CHROMATIC T Ll- ‘ONAL MUSIC Page 15 TE = —— RE so Functions as the +5 of CRS or +9 of CB's #7(9), 7a, 8 49. The enharmonic "Bb" in the example above will often be written when tone functions as the raised 9th of the V7 of a tonality. This as "TE" of a modified Line 7 scale; but in reality, SO). This sequence is due to the plurality of the rangement is looked at as the a VIlmi7(b5), it above the given key (e.g., Dmi7(b5) in Cmi is the VII chord in new key, the sequence is heard as SO-FA-MI. tones in Eb. so TE +9 TT | || Functions as the b13 of C. BAS or enharmonic +9 of CEs #7(9),7a,8 waits - Den technically, the ‘an be rationalized as functioning it resolves to LE, and finally to SO. (TE-LE= Mmi7(b5) or Mmi7(b5)/V. If this vertical ar- would define a new key center a minor 3rd Eb major). As a VII chord in the The altered tones in Cmi are heard as diatonic FA Mlin Eb LE bg SO inCmi 5inCmi SS Vilmi7(p5)in E Dh 7 50. The chromatic connection from 1'A to FI is that the tone FI (the tritone from DO) cannot be DOis the bass note (e.g. in the key of C), it woul when RE is the bass note it changes Dmi7 to D7 (V7 in G); G7 is changed to a Gma/, or I chord in the key of G. Our ¢ ny deals with eleven tones, ¥7(+9,b9) in Ci by Can is not included in this discussion. The reason is diatonic to the key of I major or minor. When Id create a C Lydian mode (Chord Family #1); and when SO is the bass voice the ‘onclusion is that chromatic harmo- seven diatonic and four chromatic.Page 16 CHROMATIC TONAL MUSIC Chapter 2 50. Viewed from the standpoint of how these chromatic tones define minor Chord Families, we can see that they become the critical tones that the ear uses to hear these more difficult note relationships. Each will be the tip-off of which altered Chord Family is in force. In addition, the workings of good definitive harmony will provide the diatonic scale tone that prepares the chromatic substitution, and the following diatonic tone that resolves the chromatic tone. 51. The following diagram correlates the four chromatic substitution notes of a major sc and aligns them with their dofinitive functions in the variouz Chord Families. They are ar- ranged in an order that reflects the degree of chromaticism, moving, from one altered tone to four, and then decreasing back to one alteration. This is suggested as a practical way to think of Chord Families, especially the secondary variations of families #7 and 8 L POSSIBLE ALTERED TONES OF A MAJOR SCALE: Posi AL. Ses sles ole mas 4lge Roobs | Chord Degree of Family # Altered Tone of Major Scale Chromatic SubstChapter 3 CHROMATIC TONAL MUSIC Page 17 CHAPTER THREE MELODIC PIVOTS ° tQive T@S Melo Dicos * 67. All of the relationships discussed in the previous chapters were based on the major scale of the key signature. In the key of C major, for example, Bb is heard as TE or the flat 7th of the C major scale. 68. To this point, all diatonic and chromatic tones are heard and named in relation to DO of the key, This includes all seven diatonic tones, five sharped accidentals and five flatted accidentals. In this sense, ail relationships deal with the major and minor tonalities of the basic key of the key signature (major scale, relative minor scale, and altered major scale). 69. The altering of the basic major scale of the key signature involved all possible chromat- ic tones (review Table Four in the previous chapter). A more advanced type of chromatic harmony effects those tones in a way that is referred to as Chromatic Key changes. Based on the limi? - V7 - I approach to modern music (second generation chords), each different limi? - V7 - I sequence appears to change the momentary key center in the course of a com- position. This is essentially the thrust of Modern Harmony 2 in the sense that we learned to analyze chord progressions from the standpoint of how each chord functioned as either a I chord in major or minor, a Uimi7 in major, lmi7(b5) in minor, V7 in major or altered V7 in minor. 70. We also dealt with Phiral Substitutes in each major or minor scale to complete the to- tal number of possibilities. The importance of the Ilmi7 - V7 - I emphasis is to realize that these chords define the scale. The definition "focuses" on the third and seventh of the limi7 -V7-Ichords. The third and seventh of these chords are either MI or FA; TL or DO. These tones are related in that all four tones comprise the two half step relationships of a major scale. (see Example 3 on page 18). This fact underlines the importance of the leading tone half steps in the definition of a scale. The primary use of what we term "chord symbols" is to define a scale, and to indicaie a given generation of harmony within that scale. 71. In Modern Harmony 3, the study of Chord Families extended the basic triads (first gen- eration harmony) to their highest potential which would be seven and eight part harmony. Because of the interchangability of levels of harmony, the consistent point of definition therefore remains the speci‘ic scale in force which centers around the half steps of the scale.Page 18 CHROMATIC TONAL MUSIC Chapter: Example 5 Imi7 v7 Ima7 72. All of the aspects discussed to this point are based on the key signature of a composition. The possibility of changing momentary key areas or scales adds countless more combinations and musical expressions. Contemporary music must therefore deal with changing momentary scales within a composition and understanding the consequences of these modulations. 73. The ear can try to relate to these "inner modulations" by learning the sound of the mo- mentary key of "C" moving to the momentary key of "Ab’, or "G", etc. This is a case of expect- ing a theoretical explanation to help a musician hear these complex changes of tonal center in a rapid sequence of harmonic changes. Because the combination of changing centers is so largo, it is not realistic to expect one to be able to accurately “hear ahead’ in this fashion. To compound the problem, the vertical representation of a given scale is not always the same, so the possible combinations are increased even more. 74. In an applied sense, the ability to hear these rapid changes involving chromatic tones is complicated first by the need to identify what you are trying to hear, and secondly to then be able to actually hear the sequence. The conclusion is that a different approach is needed that will allow the musician to hear as he or she executes their music, and as importantly, under- stand how it is possible to change key centers in a natural flowing manner. 75, Before another approach can be understood, it is necessary to clarify what we are trying to accomplish. The first prémise is that within the context of a key signature, any chord or series of chords representing a major or minor scale is not really a key signature change, but an alter- ation of the given key of the key signature. 76. The result of this alteration works vertically as one of the nine Chord Family disciplines. The alteration works horizontally in a new way.Chapter 3 CHROMATIC TONAL MUSIC Page 19 HOW TONES PIVOT 77. We have seen how the whole steps in a major scale set up the possibility of using chromatic leading tones to connect the whole steps in that major scale. When any of these chromatic leading tones are used vertically, that can be thought of as functioning as substitutions for the diatonic tones of the major scale. 78. If an if one or more alterations of the major scale of the key signature are such that they, when combined with the non-altered tones would form a different major or minor scale, two things would be accomplished: a. the ear would recognize a familiar relationship of intervals. b. that new scale would be understood by the ear as containing a relative degree of chromaticism in relationship to the home base major scale. 79. It is now necessary to see how an altered tone of the home base scale can create a new scale. The strongest leading tones of a major scale are the half steps in the scale. They are called leading tones because in context to a key, the ear can determine the following tone before the tone is sounded. It could also be said that the half steps in a major scale are by their uniqueness (remember the tetrachords, each of which contained one half step), the most identifiable. This conclusion means that the half step becomes the most natural de- vice with which to create a new scale. 80. The half step occurs between MI and FA, and TI and DO of a major scale. When this relationship is recreated, the result will be a new major scale. To activate this "change" or inner modulation, it is necessary to use the concept of plurality to produce a melodic pivot. 81. A melodic pivot is a tone that functions by virtue of plurality, in two different scales. A home base scale establishes the basic tonality of a composition. All seventeen possible notes (the diatonic and chromatic tones) have a relative position to "DO" or the tonic of that tonality. We verbalize and conceptualize this relationship in solfeggio (See Table 5 on the following page). 82. The essence of a melodic pivot is that any of the functions in Table 5 can change their relationship to "DO" and become any other function. One way to conceptualize the inter- changability of this concept is to see that the tone "DO" could pivot and become any of the other tones in Table 5. The pivot therefore changes the position of the tone to a different one and in so doing, changes the scale. 83. To follow this approach a step further, the tone "DO" could pivot and become "LE" Not only has the scale changed, but the function to the scale has changed. As Chapter Two detailed, "DO" functions as a resting tone of a major key center. "LE" functions as the b5 of a Il chord ina minor key center. Therefore in the new scale, the Chord Family #5 has beenPage 20 CHROMATIC TONAL MUSIC Chapter‘ TABLE FIVE DIATONIC: FLATS: | SHARPS||Chapter 3 CHROMATIC TONAL MUSIC Page 21 defined by the chromatic definition of the flat 6th of the scale. In this way, two relation- ships are involved. The horizontal relationship changes the function in the scale (we row have an aliered chromatic tone "LE" instead of a diatonic tone "DO"). The vertical re- lationship ship changes the definition of the Chord Family (a Chord Family #5 instead of a Chord Family #1). To illustrate this pivot process, the Example 6 will demonstrate the complete procedure. Example 6 a. A DIATONIC MAJOR SCALE: 11" IS NOW ALTERED TO BECOME "TE" "TE" IS A FLATTED TONE, SO IT FUNCTIONS AS "FA" OF A NEW SCALE: c. "FA" TRIGGERS ITS TRITONE WHICH FUNCTIONS AS A NEW "TI" "EA" a ————= o or d. THE NEW "FA" AND "TP" HAVE A NATURAL HALF-STEP RESOLUTION: (FA resolves down to MI, and TI resolves up to DO, implying a C7 moving to a F major) "FA to MI" "TI to DO”Page 22 CHROMATIC TONAL MUSIC Chapter e. THE DEFINITIVE ALTERATION NOW FORMS A NEW MAJOR SCALE. IN THE PRO- CESS, EACH DEGREE OF THE ORIGINAL SCALE HAS NOW PIVOTED TO BECOME A FUNCTION OF THE NEW MAJOR SCALE: DO RE MI FA SO LA TI DO SO LA TI DO RE MI FA SO eo = ——— SSS f. THE NEW MAJOR SCALE IS STILL HEARD IN RELATION TO THE BASIC MAJOR SCALE, IN THIS SENSE, THE EAR REMEMBERS THE BASIC "DO", BUT CLEARLY IS AT- TRACTED TO THE NUMBER OF CHROMATIC TONES FORMED BY THE NEW MAJOR SCALE, THE NEXT EXAMPLE STATES HOW MANY TONES IN THE NEW SCALE ARE ALTERED IN RELATION TO THE BASIC MAJOR SCALE. THIS IS THE DEGREE OF CHRO: MATICISM . = 77. As the original’ key of "C" changed to the key of "F", the actual "device" that defined and established the new momentary tonality can be understood by the preceding steps shown in Example 6. This will be our basic theory as to how key centers change during the course of a composition. It is also basic to the understanding of how to harmonize a melo- dy with definitive chords of other major and minor scales. No matter the change of scale, the method by which the scale is changed becomes a matter of ALTERING A TONE OF THE ORIGINAL MAJOR SCALE TO PRODUCE A LEADING TONE "TI" or 'FA", As we continue, we will understand the full implications of this simple method of changing keys. The importance of relating the changing of keys to the original major scale is that it provides a clear method of "hearing" the actual leading tones of the new scale. As each momentary scale is created it has a'degree of chromaticism" to the original scale. This is why it is always seen as an altered tone of the original scale. 78. To gain an understanding of the full potential of modulation based on the tritones of each scale, the following example will detail all of the possible tritones relative to the key of "C" major. In this example one tone of the tritone will always be a diatonic tone of the key of "C" and one tone will be chromatic. The chromatic tone can be a flatted tone of the original major scale, or a sharped tone. The one that contains no accidental will be the tri- tone of the original "C" scale ("TI and FA") .Chapter 3 CHROMATIC TONAL MUSIC Page 23 Example 8 as pe sig a rs ite 4 8 6 7 8 9 © Bb PR BD uM 8 79. A tritone interval contained in the major scale implies a Dominant 7th chord struc- ture. This means that the root of the dominant chord is a consequence of the leading tones “TT" and "FA". "SO" is therefore a result of leading half steps that actually define the dom- inant Chord Family of the key center. 80. The conclusion is therefore that "TI" will function as the 3rd of a dominant chord form and "FA" will function as the 7th of a dominant chord form. As "TI" naturally re- solves up we can determine that any sharped tone of the original major scale will most naturally function as “Ti” of a scale and the 3rd of the dominant form of that scale. As "FA" naturally resoives down we can determine that any flatted tone of the original major scale will most naturally function as "FA" of a scale and the 7rd of the dominant form of that seale. 81. Example 8 contains 15 tritones: the first is the diatonic tritone of the original major scale and the remainder all have one diatonic tone and one accidental (with the exception of #'s 8 and 14 which are enharmonics of the major scale). 82. Each tritone therefore defines 2 specific dominant chord, as shown in Example 9: Example 9 LAS De miwdw tes V > TRitd wos 1 2 3 4 5 6 7 s 9 © un Bw B WB G7 D7 AZ E7 BT FHT CH7 G#7 Ab? Eb7 Bb7 F7 C7 Gb? Db7Page 24 CHROMATIC TONAL MUSIC Chapter SUMMARY 83. Contemporary music characteristically modulates by direct modulation from momen- tary key to momentary key. The actual process by which this occurs is to create a new tri tone (containing the "TI and FA" leading tones) that define the new momentary scale 84. As "FA" naturally resolves down, any flatted diatonic note will function as the "EA" of a new scale when the diatonic tone or altered diatonic tone has pivoted to function as the "FA" of the new key. 85. As "TI" naturally resolves up, any sharped diatonic note will function as the "TT" of a new scale when the diatonic tone or altered diatonic tone has pivoted to function as the "TI" of the new key. 86. Once the pivot is made, the movement of the active halfstep continues in the sense that both leading tones will resolve, in contrary motion to each other. If the resolution is to the resting tones of the same momentary scale, the new scale is strongly defined. If the resolution is not to the resting tones of that scale, then the active V7 chord has resolved, but to tones of still another momentary scale by pivoting once more. 87. The principle distinction to remember is that the same natural intervals movements characteristic of the basic major scale are now duplicated to create the new major scale. The ear relates to this "restrictive sound" in a familiar way, although the new scales are heard as containing a greater or lesser degree of tension to the basie major scale. 88. This modulation has used the tritone to produce the diatonic definition of a new mo- mentary major scale. Any new momentary major scale can now be altered in the same manner as the original major scale to create Chord Families #4, 5, 6, 7, 8 or 9. This allows all nine Chord Families to be constructed in any key from the original major scale. 89. Using this approach with contemporary music will allow us to understand any modu- lation from the same point of view. One of the important benefits to this "consistent" ap- Proach is that the use of the pivot is very helpful in directing our ear to the critical "chro- matic’ leading tone that, by way of a melodic pivot, defines the active leading tones of each new scale. 90. The problems of “hearing” key changes have now been simplified by being able to fo- Cus on a tone of the existing scale that has been altered. This altered tone then pivots, de- fining the new leading tone which the ear identifies the new scale. No matter how many momentary keys a composition moves through, each definitive "TI or FA" can be seen as an altered tone of the original key. Example 10 on the following page illustrates this phe- nomenon. .Chapter 3 CHROMATIC TONAL MUSIC Page 25 Example 10 LEGEND | © Represents the Chromatic Pivot Tone of the C major scale. Represents the tritone of the Chromatic Pivot Tone (©) Represents the diatonic note of the scale that prepares the altered tone. | (e) Represents the diatonic resolution of the altered tone. | Active to: Active to: Resting to: Dia, Dia Dia Dia Prep. Prep. Prep. Prep. 91. Example 10 is designed to demonstrate the analysis of the pivot tones that define a modulatory chord progression and the relationship of these pivot tones to the major scale of the key signature. The solfeggio names shown in boxes first name the altered tone of the C major scale, followed by the function of the pivot tone (in these instances, always TI of the new scale because they are sharped). This tone is the diatonic definition of the 7th degree of the new major or minor scale. The determining factor that qualifies the new momentary scale to be a minor scale comes from the chromatic definition as described in Chapter 2, namely the use of TE(LD, LE(S)), ME(RI) and DI(RA). The chromatic definition will only be present when the scale has been altered, however the diatonic definition is al- ways present as we consider the definitive chords in minor to be the result of altering the major scale therefore the definition of the major scale is always present. 92. Most of the altered extensions of the Chord Families (altered 9ths, 11ths and 13ths as well as 5ths) will be found to be diatonic to the original major scale of the key signature. 93. The whole notes in parenthesis show the diatonic preparation into the altered tone, which is then resolved to another diatonic tone (shown as quarter noteheads in parenthe- sis). The arrows indicate the contrary resolution of the "TI and FA" of each momentaryPage 26 CHROMATIC TONAL MUSIC Chapter scale, 94. Above the musical example is a breakdown of the Chord Families, the function of each definitive chord in major or minor (including a pivot chord in the Bar 5 which func- tions as a C.F. #4mi7 form that then changes function to become a C.F. #2 in major). 95. At this point you should cross reference the dominant chords shown in this example to Example 9, where you will see the leading tone defining the dominant chord in Bars 2, 5,4and 2. 96. This illustration can be applied to any contemporary II - V - I composition. Some will have a greater or lesser degree of modulation, but the principle is the same. ORCHESTRATION 97. The focus of the first chapters has been on the character and function of the leading intervals of the scale. When the half step is used to melodically connect two tones a whole step apart, that chromatic tone will be understood as either a definitive chromatic tone of Chord Families #4 through 9, or as a pivot note functioning as FA or TI to create a new major scale. 98. The interval between FA and TI is an augmented 4th or "tritone" and is present in all dominant chords as the 3rd and 7th of the dominant. Therefore it could be said that it im- plies the dominant chord which is the most leading in character of the definitive chords. 99. The organization of this approach explains each new aspect as a new factor in a chain of natural relationships, focusing on each new factor {rom its relationship to the major scale, or source. To continue this "evolution" of relationships, we need to now develop the ability to understand and hear how many voices can interact at the same time. If mu- sic was restricted to only melody (as it once was), any harmonic aspect would only be im- plied through overtones and would certainly not be an essential impression in the music. In the music of the past four hundred years, the style has evolved to polyphonic levels of great complexity creating difficult problems conceptually. To begin to understand and be able to hear this level of musical statement, it is necessary to have a sense of not only the character of the melodic intervals but also the inner voices that define and fill out the har- monic element of music. 100. It would be helpful at this point, in trying to understand a foundation of contempo- rary music that can be applied to practical present day music, to start with an idea that presents basically a skeleton of the inner workings of melody and their harmonic implica- tions. The actual finished product eventually arrived at is a matter of manipulating the skeleton (which is present in ail tonal music) to produce the specific result needed. Orches- tration plays a big role in this manipulation. A solo flutist will have to present the final product with a single note melody. A keyboardist will relate to his/her right hand arrange-Chapter 3 CHROMATIC TONAL MUSIC Page 27 ment of the harmony. Fach instrument therefore adapts the skeleton to the best solution for the particular instrument it is to be performed on, and to the role that that instrument plays in the aggregate instrumentation (a trio to a symphony). 101. Orchestration therefore defines the way the skeleton of music supports a specific product. This is another way of saying that the scale resohations of a momentary key cen- ter defines that key center. To adapt this basis to the instrumental sound is a matter of the orchestration. The orchestration in effect, applies the concept of shapes to the instruments to achieve the harmonic impression of the tausic, 102. Melody creates harmony (Ist generation, 2nd generation, etc.) and the creation of melody and its relationship to scale resolutions has a natural implication that defines basic Chord Families (vertical interval relationships). In the Western culture, the half step therefore becomes the identifying interval of the musical style. 103. To follow the function of the half step farther; the half step when looked at from a scale function standpoint (FA and TD, have a tritone or augmented 4th interval distance from each other. As shown in Examples 8 and 9, their leading quality outline a dominant chord form (Chord Families #3, 6, 7 and 8). ‘These tones now imply a third tone, which is the root. Example 4, for instance, illustrated only tritones. Example 9 repeated this illustra~ tion, but added the dominant chord that the FA and TI implied (thinking of them as the 3rd and 7th of each dominant). 104. As the 3rd and b7th of each dominant chord functions as FA and TI of the scale, they imply a reot, which is SO of the scale. The result of these three tones are as follows a. FA and TI resolve by half step to MI and DO. b. SO resolves by a Perfect Sth down to DO or Perfect 4th up to DO. 105. These strong natural resolutions comprise the leading interuals of the major scale and in effect predict their resolution and define a tonal foundation. For this reason, we shall call these TONAL INTERVALS. These intervals comprise the basis of Western mu- sic, and in essence start a continuing relationship that we call the Harmonic Circle of 5ths. At this point we should refer back to Table 1 in Chapter One to see the Melodic Circle of 5ths and compare the two. The next example will demonstrate this continuing relation- ship of resolutions. 106. The modulation from key center to key center is made possible by still another kind of pivot. In this case we could refer to this as another predictable movement because the pivot is based on the natural overtone interval of the Perfect 5th. It is also a leading tonal interoal in the sense that it is based on the 5th interval rather than the half step interval pivot we saw demonstrated in Examples 8 and 9. 107. In a diatonic pivot, MI becomes TI (the function moves up a Perfect 5th) and DO be-Page 28 CHROMATIC TONAL MUSIC Chapter 2 comes SO (again changing the function to the scale up a Perfect 5th). When the function of the scale degree pivots, a modulation has been created. Example 11‘Chapter 3 CHROMATIC TONAL MUSIC Page 29 “Table 1 which is called the Melodic Circle of Sths. The primary sound in that sequence is SO-LA-TI-DO. r i PR Bs p t PP 4 o LI r i rR, B84 4Page 30 CHROMATIC TONAL MUSIC Chapter 3 108. When a chord progression moves from chord to chord, in the same key center or modu- lating to any other key center, the roots of the chords can be considered a separate voice. The character of this root melody can be measured by the type of intervals that are between each root. A Imi? - V7 - I progression would be considered Tonal Root Intervals because the in- terval distance between each root is a leading Perfect 5th down or Perfect 4th up (as shown in Example 11). We shall refer to all root movement of leading intervals (including, half steps), as Tonal Root Movement and indicate such with a T. All other possible root intervals can be grouped into another category call Symmetric Root Intervals. SYMMETRIC ROOT INTERVALS 109. Symmetric intervals, as explained in Modern Harmonic Relationships, are produced by the equal division of the octave into 2, 3, 4 or 6 equal interval segments. Since the distance be- tween each tone is equal, the importance of each tone is the same (each tone sounds like a for- ic). In the context of a symmetric relationship, a given tone will not predict the next tone (or lead into the next tone). Because of this characteristic, symmetric intervals are much harder to hear, particularly in context to a tonai key center. 110. A review of symmetric intervals is as follows: a., Divide an octave (12 half steps) into six equal parts. Six into twelve = two, or two half steps between each tone. The result will be the same as a Whole Tone Scale. Six tones, each with a whole step between them. When the intervals makeup is symmetric, the ear hears each tone as a tonic, rather than all tones sounding in relationship to one tone - the tonic. We will refer to any whole step root interval as 6 TONICS, (56). b. Divide an octave into four equal parts. Four into twelve = three, or three half steps between each tone. The result will be the same as a Diminished 7th Chord. Four tones with a minor third interval between each tone. We will refer to any minor third interval (up or dewn) as 4 TONICS, (S4), © Divide an octave into three equal parts. Three into twelve = four, or four half steps between each tone. The result will be the same as an Augmented Triad. Three tones with a major third interval between each tone. We will refer to any major third interval (up or down) as 3 TONICS, (83). d. Divide an octave into two equal parts. Two into twelve = six, or six half steps between cach tone. The result will be the same as a Tritone. Two tones with a tritone interval between each tone. We will refer to any augmented 4th or diminished 5th interval (up or down) as 2 TONICS, (S2).Chapter3 CHROMATIC TONAL MUSIC Page 31; 112. We have now identified all the possible intervals between roots of chords as being ei- ther: a. TONAL: a Perfect 5th movement down, or Pertect 4th movement up. (T) a Minor 2nd or half step movement up or down. (T) b. SYMMETRIC: a Whole step movement up or down (S6) (symmetric whole step interval) a Minor 3rd movement up or down (S4) (symmetric minor 3rd interval) a Major 3rd movement up or down (S3) (symmetric major 3rd interval) a Tritone movement up or down ($2) (symmetric tritone interval) 113. The following example illustrates how a chord progression would be analy this terminology: zed using Example 12 ZING A MELODY Fma7 B9(+11) Bbmay = A7 Dmi7(b5) G7(b9) SYMMETRIC/TONAL: $2 T 2 7 s4 Bbmi7 Gbma7 c7a3) Fg Bbmi7 = Cmi7 8Page 32 CHROMATIC TONAL MUSIC Chapter 3 HARMONIZING A MELODY 1 NI NERATION: OF HARMONIC FORMS 114. Vertical forms of Chord Families include three to seven or eight part harmony. The study of Chord Families presented the possible combinations of intervals that as a relation- ship of tones, function as the IImi - V7 - I progressions in major and minor tonalites. The Chord Families therefore set up the rules’. With this book, we are now approaching the problem of harmonizing a melody in a different fashion. 115. The scale of the tonality, with its definitive scale tones (active half and whole steps, resting tones and chromatic substitutions) are the source of melody. The harmony is a consequence of the melody. This means that the possible chord that will harmonize (or re- harmonize) a melody note is dictated by the placement of the tone in the scale and the As- sumed Root of the Chord Family, The melody dictates the Chord Family, and the Chord Family form. The style and mood of the music dictates the voicings or choice of shapes (triads, open or closed fourths and hybrid, inverted and open versions of these three basic shapes). 116. The basis for the harmonization of a melody is the fact that we can think of a melody note as being the root, third or fifth of a triad shape. We saw that in first generation har- mony, all the tones of the scale can be harmonized with a 1, IV or V major triad. The prin- Gple remains the same as we develop this approach. Every melody note can be considered to be the root, 3rd or 5th of a triad shape (or three part Assumed Root). In this sense, 2nd generation harmony follows this rule, with this distinction: a. Every melody note can be considered to be the root, 3rd or 5th of a triad shape, but the triad shape can function as any Assumed Root of a Chord Family. 117. This means that in 2nd generetion harmony, the triad may be an Assumed Root 3 or 6 of the Ist generation triad. The following example illustrates this principle: (See Example 13 on the following page)Chapter 3 CHROMATIC TONAL MUSIC Page 33 Example 13 C] Ami7 Ami7 EmiEmi7 [F] Dmi Fma7 F6 G] G7 Bmi7(bs) Ist 2nd 2nd 2nd2nd ist 2nd 2nd 2nd Ist 2nd 2nd Generation ARI AR6 AK1AR3AR5 AR6 ARI AR3 AR3(Cl4th) ARI AR3 ARS AR6 — AR3 ARI ARI ARI 3) do not include all three tones of the first generation triad, but do inclide the 3rd and 5th of that triad (you will see the AR3 notation below). 119. Below the musical examples you will find the Ist or 2nd generation classification of each example, and below these notations are the Assumed Root explanations of each first and second generation chord (including the Plurai Substitutes) 120. All this is designed to illustrate the natural evolution of all the second generation possi- bilities from the original first generation chords, as well as the function of the Shape Concept to understand how the larger and plural forms of the first generation chords are formed. 121. Harmonizing a melody therefore starts with the premise that any melody note will be the root, 3rd or Sth of a triad or Assumed Root triad. The melody noie can function as any tone of the scale source of a Chord Family. The consequence of this is that the possible har- mionization of a melody may require a larger form of a Chord Family, utilizing Assumed Roots larger than Assumed Root 3 or 6. 122. The evolution of chord generations can include a 9th, 11th or 13th form of a Chord Fam- ily. The specific voicing (which would include the high tension melody note) will be a matter of orchestration and harmonic texture desired. We know from the Shape Concept studied in Modern Fiarmonic Relationships that the larger chord forms are the result of combining more three part shapes to achieve the effect wanted. The following Example 14 illustrates the full possibilities. (see Example 14 on the following page)Page 34 CHROMATIC TONAL MUSIC Chapter Example 14 FIRST GENERATION A SOURCE: GENERATIONS: FIRST GENERATION UA‘ SOURCE:Chapter 3 CHROMATIC TONAL MUSIC Page 35 123. Each vertical column in Example 14 increases from a three part chord form to a sev- en part (Line 1). Line 5 assigns our terminology of ist, 2nd, 3rd, 4th and 5th generation to. these forms (although an 11th chord, for example) does not require 2 six note voicing). 124. On the left side of Example 13, the shaded box of Lines 2, 3 and 4 represent the first generation source of the lines. In Lines 2, 3 and 4, the forms extend down a third interval, showing that the first chord (the triad) remains as the top triad shape, and change the As- sumed Root function in successive column (i.e, AR1, AR 3, ARS, AR7, AR9). 125. Lines 6, 7 and 8 extend the first chord (the triad) by adding a third interval above the previous Assumed Rooi. In this case the first chord remains the bottom triad shape (the opposite of Lines 2, 3 and 4). Lines 6, 7 and 8 add the next Assumed Root (ie., column 2 adds AR3; column 3 adds ARS; column 4 adds AR7 and column 5 adds 4p 126. For the purposes of analyzation, any form of a 9th chord will be considered 3rd gen- gration; any form of an 11th chord will be considered 4th generation and any form of a 13th chord will be consi d generation. ‘ 127. Any lead sheet can now be seen as a changing series of chord generations, triggered by the relationship of the melody to the root of each chord. The next example shows four measures of a lead sheet, and demonstrates how each chord change alters the chord gener- ation. Example 15 3rd oth 13th 2nd Gen. 3rdGen. 5th Gen. 128. This lead sheet in the key of C major has a held tone in the melody. The harmony changes in Bar 3 toa D7 chord. The melody note however is the 9th of the D7, implying a five part chord form, or third generation. Bar 4 changes to a G7 chord, however the melo- dy note functions as the 13th of the G7, implying a seven part chord form, or fifth genera- tion. 129. This same analysis could be applied to any tonal composition. The point to be made is that as these generations of harmonic forms change (triggered by the melody note’s rela- tionship to the root of a chord), the melody note itself is still the root, 3rd or 5th of one of the Assumed Roots of the specific Chord Family. The following example illustrates this relationship. (See Example 16 on the following page)Page 36 CHROMATIC TONAL MUSIC Chapter Example 16 Melody Function: 5th 3rd 7th Sth Sth 3rd 7th Root 5th Root 7th Cma7 Ami7 Dmi7_ G7 Cma7_ Ami7 Dmi7 G7 2ndG, 2ndG. 2ndG. 2ndG. wndG. 2ndG. 2nd G. Ind G. ARI ARG = ARS ARI ARL ARG AR3 ARI ARI AR: Plural Sub: * . * & Melody Function: 3rd 3rd 5th ard Root 5th oth 13th Emi7 Ami7 Fma7 G9 Emi7 AZ Dmi7 G7 iF 2ndG, 2nd G. andG. 3rd G. QndG. 2ndG. 3rd. SthG. ARI ARI ARL ARS ARI ARI ARS ARI3 PLSub: * . . * * * 130. Example 16 shows the relationship of each melody note to the chord, and whether the chord functions on a first generation I - IV - V basis, or as an Assumed Root second generation chord. In Bars 6 and 8 however the melody functions as an extension in the Chord Family and implies a third generation form or a fifth generation. 131. The small triads next to each melodic tone illustrate the Assumed Root approach to harmonizing a melody from the standpoint of each melody tone functioning as the root, 3rd or 5th of a diatonic Assumed Root triad to the Chord Family in force. Each asterisk de- notes that the chord symbol is a Plural Substitute of a definitive chord. .‘Chapter 3 CHROMATIC TONAL MUSIC Page 37 132. The many possibilities of a melody note functioning as a tone of a triad shape magni- fies the ways a melody can be harmonized. A °C" triad for example can be found in twenty five different chords, either as an Assumed 1, or 5, or 9, or +11, etc., of the nine Chord Fam- ilies in the various major scales, The problem is to decide on a harmonization that accom- modates the melody and at the same time allows the inner definitive leading voices to re- solve correctly, following their natural predictable paths SUMMARY 133. This approach of evolving all possible interrelationships in a logical natural manner brings us to a point where we should review the foundation that has been established. The harmonic characteristics of contemporary music are based on certain natural relation- ships that are present in all tonal music. The esthetic "impressions" created by Western music can be traced back to specific laws and consistencies that are the most efficient means by which one can become familiar enough to create their own music and function in a pro- fessional world. 134. The major scale, its resolutions and chromatic connecting tones behave in a predicta- ble manner. Musical style adds various options that do not violate the laws, they simply re-focus their characteristics in a way that enables them to be recognized if not in a literal manner, then in a consistent fashion. The lesson is to be able to look for the consistencies of music so that, in the study and quest for improvement, one is aware that these natural laws of music can be counted on and heard. The leading half step is the most characteristic of contemporary music and therefore creates the "sound" and harmonic style of our West- ern music, These leading tones will function as the 3rd and 7th of the definitive Ilmi7 - V7 =I chords of a scale. All 3rds and 7ths become either FA, MI, TI or DO of the scale. 135. The vertical use of the major scale and its resolutions and chromatic connecting, tones can be conceptually understood from the standpoint of Chord Families and Shapes. Although the forms of the Chord Families are many, and the combinations of different shapes and endless, the focus of context and style bring out characteristics that again can be recognized, heard and imitated 136. The chromaticism of contemporary music involves modulation. The use of the pio- ot to create degrees of chromaticism becomes the device that allows the ear to follow the interactions of different keys as well as the manipulation of those momentary keys. These altered tones of the major scale are what we call the chromatic definitive tones of Chord Families #4 through 9. 137. The half steps of the major scale and their natural resolutions imply the harmonic motion of V - I. The major scale and its alterations also are the source of melodies, there- fore the harmonization of melody can be understood as being implied by the melody. This works on the premise that all melody tones (particularly those on primary beats) will natu-Page 38 CHROMATIC TONAL MUSIC ‘Chapter rally be some part of a triad shape, functioning as some Assumed Root of a Chord Family The complicated aspects of these factors (the melody, the leading 3rds and 7ths and the im- plied roots RE, SO and DO) present a formidable problem to be absorbed when compound- ed by the possibility of modulatory changes of scales and the chromatic alterations of major scales. The harmonizational problem described in paragraph 132 also presents an enor- mous set of problems and opportunities to "misjudge” the natural solution to the har- monization. A natural solution would be one in which melody note is accommodated as a chord tone (or auxiliary tone to a chord tone) of an Assumed Root triad of a Chord Fami- ly in which the leading tones move in a natural manner into the next chord, etc., creating a musical chord progression as well as supporting the melody correctly. 137. To deal with these basic musical problems and at the same time attain a grasp of the potential of tonal music, it is necessary to rely on some graphic system of conceptualizing the scope of these many "voices" and their applications to harmonization, improvisation, musical styles and impressions, composition and arranging as well as orchestration. We use a device called "the GRID".Chapter 4 CHROMATIC TONAL MUSIC Page 39 CHAPTER FOUR THE GRID CONCEPT TRODUCTION 138, The construction of the grid is designed to graphically represent the relationships of tonal music from the standpoint of the natural movement of scale resolutions through all possible momentary key centers in context to the primary major scale source of the melody. 139. Th> key signature of a composition is determined by the major scale that is the tonal basis of the melody. As the composers melodic ear automatically works from this center, all other possible manipulations (altering the major scale or modulating, to other scales) will be relative to that foundation. 140. Paragraph 138 states that the grid is based on the natural movement ‘of scale resolu- tions Following the previous discussion of how the active half steps of a major scale imply the V - I chord movement in tonal music, we can realistically use the consecutive move- ment of these resolutions to create a harmonic circle of Sths. Ususally a circle of 5ths is de- picted in a circle, similiar to Example 18 below. Example 18 G x F B/Cb Db/C# F#/GbPage 40 : CHROMATIC TONAL MUSIC Chapter 4 141. The circle of 5ths configuration represents a continuous, never ending movement from one tone to the next, based on the Perfect 5th overtone interval. In.this presentation (Example 18) all tones are equal to all others, with the point possibly being made that since the tone "C” is at the top, the other tones have a relationship to "C’, This circle of 5th movement could be thought of as a melodic circle of fifths moving counterclockwise or a harmonic circle of fifths moving clockwise. In the latter motion, the movement is predi- cated on the scale resolution of FA to MI (see Example 11 on pages 28 and 29). 142. The grid setup is different. Instead of using the "circle format" to visualize the rela- tionships, a "flat" circle is presented in which the major scale of the key signature is posi- tioned in the middle of the grid. Now the continuing movement of FA to MI is esta- blished in such a way as to have the keys below Line 7 (see Grid 1 on the next page) resolving and moving up to the "home" key of the key signature and the keys above Line 7 resolve away from the key of the key signature. 143. Grid 1 is made up of fifteen basic lines. In the center is Line 7. The lines above and below reflect the roots of dominant chords of the other possible momentary major scales. Again, the Example 11 illustration (based on the DO to SO, MI to TI pivot is now demon- strated in this Grid, relative to the key of C major. The resolutions of the scale intervals will change the physical position of the harmony on the Grid layout, as demonstrated in the following example. Example 19 GRID LINE 9 8a D7 G GG oc TLFA resolve to MI-DO TIFA resolve to MEDO G Major Scale Pivot C Major ScaleChapter 4 CHROMATIC TONAL MUSIC. Page 41 © 144. The order of the roots of the dominant chords of the new major scales appear in a spe- cific pattern: a. One flat moving upward to seven flats b. One sharp moving downward to seven sharps 145, The resolutions of the tritones in al] the momentary major scales determine the possi- tioning on the Grid. a, FA resolves down. ALL MAJOR SCALES WHOSE 4th DEGREE 18 CHROMATIC ‘TO THE MAJOR SCALE OF LINE 7 ARE PLACED ABOVE LINE7. This demonstrates that the character of FA is resolve down. The 4th degree of each scale is the b7th of the V chord shown in the circles. b. Th resolves up. ALI. MAJOR SCALES WHOSE 7th DEGREE IS CHROMATIC TO THE MAJOR SCALE OF LINE 7 ARE PLACED BELOW LINE7. This demonstrates that the natural movement of T! is always resolving up and in doing so, return to Line 7. The 7th degree of each scale is the major 3rd of the V chord in each of the circled V7 chords. 146. The panels in each Grid are called primary lines and intermediate lines. The primary lines are the lines containing the circled dominant chords (numbered 7,8, 9, 4, 5 etc.) whereas the in- termediate lines are called by 7a, 8a, 4a, etc.) Secondary lines contain the I major chord of all of the momentary scales as weil as the key of the key signature (on Line 7). 147. There are heavy lines at the top and bottom of the Grid. This calls attention to the fact that the dominant chords on these lines are the eniarmonic of each other (Db7/C#7 and Ab7/ Gk. 148. Below each circled dominant is a roman numeral "V" which represents the function of the dominant chord to a momentary scale, or the scale of the key signature as on Line 7. A ro- man numeral "I" is placed below each major chord representing its function as a I chord in each key. 149. The Grid is also a condensation of Modern Harmonic Relationships. In this sense, all the circled dominants are considered Chord Family 3, therefore any form of that family or any voicing using combinations of shapes are all represented by the circled dominant. All major chord symbols represent Chord Family 1, or any form or voicing of that family. 150. This palette of harmonic settings is a starting point from which we will gradually add more harmonic possibilities, evolving in much the same way that the history of contemporary music has developed in the past 100 years. The significance of Grid 1 is that this should be con- sidered the basic consequence of the resolution of the half steps of the major scales, clarifying the natural modulation of keys and harmonic definition,