DICK GROVE MODERN HARMONY SERIES - BOOK ONE FUNDAMENTALS OF MODERN HARMONY PART 1FUNDAMENTALS OF MODERN HARMONY DICK GROVE MODERN HARMONY SERIES - BOOK ONE - PART 1 LESSON ONE CHAPTER ONE, Computing the Distance From Note to Note ASSIGNMENT #1 Introduction to Scales. ASSIGNMENT #2 Key Signatures W Memorizing Key Signatures 13 ASSIGNMENT #3 won CHAPTER TWO Basic Triads. 18 ASSIGNMENT #4 19 ode CCU i aa) Minor Triads 23 Acer ec Fee Se nn 2] (htt a ASSIGNMENT #58 ASSIGNMENT #65 LESSON TWO CHAPTER THREE Diatonic Triads ASSIGNMENT #7 60 ASSIGNMENT #8 44 CHAPTER FOUR Modes 50 ese eG) Ts aT Ierermarale# Ap falter ste Moca nee Gg) LESSON THREE CHAPTER FIVE Diatonic Intervals FSS CGN Tg 0 Sess G7 Chromatic Intervals. 70 TTT TSP € 0) a Altered Triads 79 Suspension 80 ASSIGNMENT #12. 81Fundamentals of Modern Harmony ~ Book One ~ Part 2 is the next book in the Dick Grove Modern Harmony Series. This book will cover the following material: LESSON FOUR CHAPTER 51x Four-Part Chords - Group One ASSIGNMENT #13 Tnversions of Four-Part Chords ASSIGNMENT. #14 CHAPTER SEVEN Minor Scales ASSIGNMENT #15 Minor Scales as Altered Major Scales ASSIGNMENT #16 Relative Minor ASSIGNMENT #17 LESSON FIVE CHAPTER EIGHT Four-Part Chords - Group Two ASSIGNMENT #18 Altered Four-Part Chords Double Alteration ASSIGNMENT #19 CHAPTER NINE Diatonic Four-Part Chord ASSIGNMENT #20 LESSON Six CHAPTER TEN Four-Part Chords - Group Three ASSIGNMENT #22 Pentatonic Scales ASSIGNMENT #23 The Whole Tone Scale ASSIGNMENT #24 Diatonic Whole Tone Scale Chords ASSIGNMENT #25 LESSON SEVEN CHAPTER ELEVEN The Blues Scale ASSIGNMENT #26 The Chromatic Scale ASSIGNMENT #27 The Diminished Eight-Note Scale The Diminished 7th Chord ASSIGNMENT #28 CHAPTER TWELVE Ninth Chords ASSIGNMENT #29 LESSON EIGHT CHAPTER TEEN The Dominant Eight-Note Scale ASSIGNMENT #30 Altered Ninth Chords ASSIGNMENT #31Page 1 LESSON ONE CHAPTER ONE 1)_ This course in Modern Harmony is designed to give you the necessary founda- tions in harmony as we use it today. It is the first area where you are exposed to musical relationships and patterns, how they go together to form the basics of scales and chords. 2) Because this information is so important to the more advanced levels of harmony it is essential that you learn these basics as well as possible which means you need to UNDERSTAND AND MEMORIZE the information. 3) As you study the lessons in this course, try to completely absorb each lesson as it is presented to you, before proceeding to the next as each lesson is dependant on the last for a complete understanding. 4) Some of the difficulty in learning this material centers around the ability to concentrate effectively and to THINK musically. Even if you have played an instrument for years, you could still find it very different to be required to use your mental processes the way we require it. It demands a discipline and a use of logic that is critical to a successful ability to absorb and execute the material. 5) As this is a theory course, we place a secondary importance on actually executing the scales and chords on your instrument. We say secondary importance because it is essential to also learn what the scales and chords sound like, and you should play everything to become familiar with the sounds. Therefore all the assignments should be played. COMPUTING THE DISTANCE FROM NOTE TO NOTE 6) Each formula presented in this, course gives you the pattern or relationship to find the specific notes that create a scale or chord. Our first step is to be able to determine accurately how to find each note in a pattern, based on a starting point. We begin with the distance of a halfstep and the ability to THINK in halfsteps. 7) A HALFSTEP IS ALWAYS THE CLOSEST NOTE ABOVE OR BELOW A GIVEN NOTE. The total Possibilities are all the notes within an octave of the keyboard. (See Example #1) Example #1Page 2 8) The boxes containing two letternames are called ENHARMONICS, meaning there are two names for the same pitch. Whether you arrive at C¥ by raising C natural, ‘or Db by lowering D, you have moved a halfstep in either case. Calling the note C# or Db is correct for our purposes at this point. 9) As you can see in Example #1, there are twelve possible notes in an octave as each double note name enclosed in a box is ONE NOTE sharing two names. When we ‘talk’ enharmonics we can say: a) C# is the enharmonic of Db b) Db is the enharmonic of C# 10) Using Example #1 as a guide, the note one halfstep ABOVE C is C# or Db. The note one halfstep BELOW G will be Gb or F#. To find the note a halfstep ABOVE any note, simply proceed to your RIGHT in Example #1. To find the note ‘a halfstep BELOW any note, proceed to your LEFT in Example #1. 11) A halfstep ABOVE Eb or D# would be E: RI 4 12) Ahalfstep BELOW 8b or Af would be A: 13) When counting halfsteps the note you start on can be thought of as zero. Therefore a halfstep above £ would be counted: = Example #2 e CF OT halfstep 14) If we wanted the note 4 halfsteps above ~ we would count: Example #3 ce 09192 —9 39 The answer would be G# or Ab is 4 halfsteps above E. ASSIGNMENT #1 EXERCISE #1 a) Find the note above or below the starting points listed below: (Use Example #1 as a guide) 1) 1 halfstep above 6 is 2) 1 halfstep below B is 3) 1 halfstep above D is 4) 1 halfstep below Eb is5) ” 9) 1) 13) 15) 17) 19) au) 23) 25) 21) 29) 31) 33) » 2) 3) 4) 5) 6) 7) 8) halfstep halfstep halfstep halfstep halfstep halfstep halfstep halfstep above halfstep above above above above above above above above halfstep above halfstep above halfstep above halfstep above halfstep above halfstep above Ab is FH is Db is Ais Bb is G# is Eis At is Fis Bis Eb is Cis c# is Gb is D# is 6) 8) 10) 12) 14) 16) 18) 20) 22) 24) 26) 28) 30) 32) 34) EXERCISE #2 halfstep halfstep halfstep halfstep halfstep halfstep halfstep halfstep halfstep halfstep halfstep hal fstep halfstep halfstep halfstep Page 3 below C is below DF is below Gb is below CH is below Fis below Af is below Eis below G# is below Bb is below A is below Db is below FF is below Ab is below D is below G is a) Find the note two halfsteps or a whole step above or below the starting points listed below. halfsteps hal fsteps halfsteps halfsteps hal fsteps halfsteps hal fsteps halfsteps or or or or or or or or 1 whole step above 1 1 1 whole whole whole whole whole whole whole step below step above step below step above step below step above step below D# is Gb is CH is Eb is Cis (Use Example #1 as a guide)Page 4 9) 10) 2 nu) 2 12) 2 13) 2 14) 2 15) 2 16) 2 7) 2 2 2 2 18) 19) 20) a) 2 22) 2 23) 2 2a) 2 25) 2 26) 2 27) 2 28) 29) 30) 31) 32) 33) 34) halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps hal fsteps hal fsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps or or or or or or or or or or or or or or or or or or or or or or or or or or 1 whole 1 whole 1 whole 1 whole T whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole 1 whole step above step below step above step below step above step below step above step below step above step below step above step below step above step below step above step below step above step below step above step below step above step below step above step below step above step below Eis Gis Bb is Db is F# is Ais Dis Gis1) 2) 3) 4) 5) 6) ) 8) 9) lo) n) 12) 13) 14) 15) 16) 17) a) 2) a) Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting Starting EXERCISE # 3 Page 5 Find the notes above and below the starting points listed: (Use Example #1 as a guide) on Ab: 4 halfsteps above is on Df: 4 halfsteps on G: on Cf: on 8: on D: on Az on Eb: on F#: on C: on Fr ‘on Db: on Af: on E: on Gf: on Bb: on Gb: 4 4 4 4 4 4 4 4 4 4 4 halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps halfsteps hatfsteps halfsteps halfsteps hal fsteps above is; 5 above is 35 above is ao above is AG above is aD above is___s 5 above is au above iss 5 above iss 5 above iss 5 above is___; 5 above is___; 5 above is 5 above is 5 above is; 5 above is___; 5 EXERCISE #4 halfsteps halfsteps halfsteps halfsteps hal fsteps halfsteps halfsteps halfsteps halfsteps halfsteps hal fsteps halfsteps hal fsteps hal fsteps halfsteps halfsteps below below below below below below below below below below below below below below below below 3 5 halfsteps below is is is is is is is is is is is is is is is a) Find the notes above or below the starting ponts listed: (Use Example #1 as a guide) Starting on Gb: 3 halfsteps below is Starting on Eb: 3 halfsteps below is 3 6 halfsteps above is 3 6 halfsteps above isPage 6 3) Starting on Cf: 3 halfsteps below is 3 Ghalfsteps above is 4) Starting on C: 3 halfsteps below is 3 Ghalfsteps above is 5) Starting on F: 3 halfsteps below is ___; 6 halfsteps above is ___ 6) Starting on Af: 3 halfsteps below is ____; 6 halfsteps above is ___ 7) Starting on D#: 3 halfsteps below is 3 Ghalfsteps above is 8) Starting on B: 3 halfsteps below is ___; 6 halfsteps above is ___ 9) Starting on E: 3 halfsteps below is ___; 6 halfsteps above is 10) Starting on G#: 3 halfsteps below is ___; 6 halfsteps above is 11) Starting on Bb: 3 halfsteps below is ___ 6 halfsteps above is ___ 12) Starting on Db: 3 halfsteps below is __; 6 halfsteps above is 13) Starting on F¥: 3 halfsteps below is ___; 6 halfsteps above is 14) Starting on A: 3 halfsteps below is 3 6 halfsteps above is 15) Starting on 0: 3 halfsteps below is ___; 6 halfsteps above is 16) Starting on G: 3 halfsteps below is ___; 6 halfsteps above is ____ 17) Starting on Ab: 3 halfsteps below is ___; 6 halfsteps above is INTRODUCTION TO SCALES 10) Any correct introduction to harmony and theory must begin with scales. Too often, scales are thought of as tiresome exercises and their real importance is missed. Many people, perhaps yourself, were given the task of learning to play your instrument by playing scales (particularly the major scales). Scales are also used by private teachers to build technique on your instrument. 11) Scales, their meaning and various uses are the basics for building chords, intervals and the relationships of chords in chord progressions, transposition, improvising, memorization and areas of theory such as passing chords and reharmoni- zation as well as in composing and songwriting. 12) Any single area of music such as scales, which can be the common denominator of so many categories, must not be underated. A clear, complete and accurate understanding of scales at this point will make all of the subsequent and more advanced processes much easier to master.Page 7 13) Melody depends upon scales for its structure. Improvising for example, is the art of spontaneously conceiving and executing musical ideas— all built from scales. Unless you have developed an automatic response to the sound and tech- nique required to execute all scales in all keys, you do not have a solid founda- tion to build upon. 14) All this can fall into a natural, logical step-by-step learning process, if you train yourself FROM THE BEGINNING to comprehend the material we must cover in harmony and theory in terms of its relationship to scales, especially the major scales. We need to think scales, speak scales, write and play scales. 15) What is a scale? A scale may be referred to by many terms: Pitch-scales, modes, tropes, etc.. A scale can theoretically have from two tones up to twelve or more tones. Consequently, for all practical purposes, A SCALE IS ANY PRE- DETERMINED RESTRICTED GROUP OF PITCH TONES, from which vertical (chordal) and horizontal (melodic) combinations can be chosen. One meaning of this definition is that chord symbols are nothing but VERTICAL forms of the same scales that Produce melodies. If the melody and chord are from the same scale it sounds right to our ears. 16) By studying these pre-determined relationships of notes that produce scales we condition ourselves to know all the practical combinations that are used in today's music. 17) In this course we will concern ourselves with only those scales that have a practical application— scales containing five, six, seven eight and twelve DIFFERENT tones. 18) Of these many scales, the seven-note scale is the most conventional and numerous group and of the seven-note group, the major scale is our starting point. 19) Major scales are built by constructing a series of halfsteps and whole steps from a given note. This series of half and whole steps form what is called a TETRACHORD. 20) A tetrachord means a distance of a fourth,(See Example #4) Example #4 21)_ The tetrachord for a major scale is constructed by the following series of half and whole steps (the number 2 means 2 HALFSTEPS OR A WHOLE STEP; the number 1 means 1 halfstep). a2 1Page 8 22) You should think of this MAJOR TETRACHORD as a set formula that creates the FIRST FOUR NOTES OF ANY MAJOR SCALE. This means that you could start on ANY note (C, C#, Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B, Cb) and build the first four notes of a major scale from that note. The beginning note is the NAME of ‘the major scale. 23) We think of the tetrachords as "building blocks". A major scale requires ‘two tetrachords to complete a major scale as seven different notes are needed. The tetrachord shown in Example #5 is therefore the LOWER TETRACHORD of a C major scale. 24) The UPPER tetrachord is found in the following manner: a) Construct the lower tetrachord. cxanple #6 O—| es ze 1 b) From the last note of the tetrachord skip one whole step above. Example #7 =| ~ 6s This is called the LINK between the two tetrachords. c) Starting on G construct an identical tetrachord (2-2-1) Example #8 == oe? 24) As you build the various tetrachords you will be involved with certain flats and sharps. To help you understand how to make the choice between two possible Jetternames (i.e. Ff or Gb, Cb or B, C# or Db, etc.) remember these points: LOWER UPPER a) Each lettername in a major scale stays in the order of the alphabet. b) The lettername may be flatted or sharped depending on the tetrachord formula for constructing a major scale. c) You will never have TWO of the same letternames in a scale (i.e. Eb-E should be D#-E). d) Major scales will not mix flats and sharps.Page 9 ASSIGNMENT #2 a) Write the correct LOWER TETRACHORDS (2-2-1) from each of the notes below. EXERCISE #5 b) Some of these exercises are written in treble clef and some in bass clef. Check which clef you are to write the answers in each time. 28 29 30Page 10 EXERCISE #6 a) Write the complete major scale from each of the notes given below. Complete the lower and upper tetrachords separated by a whole step Tink. b) Place accidentals IN FRONT of the notes where needed. 13 14 15 16Page 11 KEY SIGNATURES 25) Each scale (with the exception of the C major scale) will have from one to seven sharps or flats. A key signature MEANS that predetermined flats or sharps are presented at the beginning of a piece of music to communicate to the reader which notes are to be flatted or sharped throughout the music. 26) This saves needless re-writing of the accidentals. THE KEY SIGNATURES ARE THE RESTATEMENT OF ALL THE FLATS OR SHARPS THAT ARE FOUND BY THE MAJOR SCALE YOU HAVE JUST WRITTEN OUT IN EXERCISE #6. 27) The following Exercise #7 illustrates each key signature. The NAME of the key signature is the name of the major scale that has the SAME number of flats or sharps. As you write out the scales starting on each given note, you will see that the key signature eliminates the added flats or sharps in front of the notes.Page 12 EXERCISE #7 a) Complete these major scales. = we _ EePage 13 MEMORIZING KEY SIGNATURES 28) There are seven DIFFERENT notes in each major scale. The C major scale has no flats or sharps, but it is possible to flat all seven notes in a scale or sharp all seven of the notes ina scale. Therefore, there are 15 different key signatures. Example #9 Flats Sharps None (Chas no flats or sharps) None F 1 ————_ Bb 2 D EE 3 A = SS Dp ———__- 5 ———_——— 8 6 6 ————._ ft Cb 7—— cf 29) Although there are only twelve different notes in an octave, there are fifteen key signatures, meaning THREE of the notes SHARE two different note names. This ‘is defined by speaking of the ENHARMONIC relationship between these notes that share the key signatures. They are Example #10 ——— same note, c# (7 sharps) Dp (5 flats) F# (6 sharps) Gy (6 flats) B (5 sharps) Ch (7 flats) 30)_ One easy way of memorizing the key signatures is by using the diagram shown ‘in Example No. 11. Example #11 Ferrer rr aeb eeriePage 14 31) The important aspect is to see the breakdown of numbers equalling seven. Writing these over and over is another technique which is helpful to memorize each key signature. HOW SCALES RELATE TO EACH OTHER 32) We know now that each major scale is made up of two identical tetrachords (2-2-1), a lower tetrachord and an upper tetrachord. Because the tetrachord construction IS identical, a given tetrachord such as C - D - E - F has two relationships. It can function as the: a) lower tetrachord of the C major scale b) upper tetrachord of the F major scale 33) This same relationship would hold true with a 2-2-1 tetrachord built from any note. ASSIGNMENT #3 EXERCISE #8 a) Complete the following statements: 1) G -A -B -C is the lower-tetrachord of a ____ major scale and 2) the upper tetrachord of a___ major scale. 3) D -E -F#-G is the lower tetrachord of a major scale and 4) the upper tetrachord of a ___ major scale. 5) A -B -C#-D is the lower tetrachord of a___ major scale and 6) the upper tetrachord of a___ major scale. 7) — - FR-Gt-A is the lower tetrachord of a _____ major scale and 8) the upper tetrachord of a ____ major scale. 9) B -c#-p#-E is the lower tetrachord of a___ major scale and 10) the upper tetrachord of a ___ major scale. 11) Cy - Db - Eb - Fb is the lower tetrachord of a ___ major scale. 12) Ff - Gf - a#- 8 is the lower tetrachord of a major scale and 13) ‘the upper tetrachord of a major scale.14) Gy - Ay - 15) 16) c#- of - 17) 18) Dy - Ep - 19) 20) ct - af - 21) Ab - Bp - 22) 23) Ep-F - 24) 25) Bp-c - 26) 27) F -6 - 28) 29) c -D - 30) Bb ef Fe Gp i Db Ay i Ep ii is is is the the the the the the the the the the the the the the the ‘the the lower upper lower upper lower upper upper lower upper lower upper lower upper lower upper lower upper tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord tetrachord major ___ major ____ major ___ major ____ major ___ major __ major major major major major major major major major major major scale and scale. scale and scale. scale and scale. scale. scale and scale. scale and scale. scale and scale. scale and scale. scale and scale. Page 15 34) This combination of upper and lower tetrachords form an interlocking series of major scales that are as follows: Example #12 Example #13 Bb = Bp - Eb - Ab - Dp (CF) - Gh (FF) - Cp (B)- E - A - c D -A -E -B (Cy) ~ FH (Gy) - c# (Dy) - Ab - Eb - c Circle of Sths Circle of 4thsPage 16 EXERCISE #9 a) Write the Circle of Sths starting on the given note and continuing ‘in order until you reach the starting note again. Show all enharmonics in parentheses, the same as illustrated in Example #12. DaA- - - - a . 2) Gp (FF) ~ : - e 2 : 3) Ey - 5 . - - - b) Write the Circle of Aths starting on the given note and continuing in order until you reach the starting note again. Show al1 enharmonics in parentheses, the same as illustrated in Example #13. 1) #(0p) - - - - : - 2) By - - - a . - 3) E.- - - - - - c) Identify the following series of notes as being either a portion of the Circle of Sths or Circle of 4ths. 1) F = By - Eb 2) Op - Ab - Eb 3) D -6 -¢ 4) Ab - Dp - Gp 5) G -0-APage 17 6) Eb - Bh - F 7) Gp - 8) — -B 9) F -¢ 10) 8» - EbPage 18 CHAPTER TWO. BASIC TRIADS 35) A triad is the combination of three musical sounds, heard simultaneously, but of individual pitch. There are only four such triads to learn and we will do this in a step-by-step method. 36) The organization of notes that comprise the MAJOR triad is made of three of the notes of the major scale. In a sense, by learning your major scales, you already know the tones we need to construct major triads. We need to define which notes we require. 37) If we select the first, third and fifth notes of a major scale, we can construct a triad of three pitches. There are four half-steps between the first and second note. There are three half-steps between the second note and the third note. (See Examples #14-16). Example #14 "C" MAJOR SCALE: 5th Ast 3rd "C" MAJOR TRIAD _= = —1 & — eS ; ————— = ae root 4halfsteps 3 hal fsteps Example #15 Example #17 Example #16Page 19 38) As we can see from Example #14, the three notes in the C major scale are called the: a) ROOT - same as the name of the major scale the notes are selected from. The name of the root also is the lettername of the chord symbol. b) 3rd - is the same as the third note of any major scale. It is four half-steps above the root. c) 5th - is the same as the fifth note of any major scale. It is three half-steps above the 3rd of the chord and seven half- steps above the root of the chord. (See Example #17) ASSIGNMENT #4 EXERCISE #10 a) Construct major triads from each note given below. Think of the given note as being the NAME of the major scale from which you choose the 3rd and 5th notes of that particular scale. b) Show accidentals where needed. c) Do your homework neatly and in pencil. d) Indicate, with numbers, the root (1), third (3), and fifth (5). Use example in the first measure as a model.Page 20 Exercise #10 continued SS 13 14 15 16 Vv 18, 1g 20 29 30 21 32 INVERSIONS OF THE MAJOR TRIAD 39) The three notes in each major triad are symbolized by simply writing the lettername of the root of the chord, Therefore C means a C major triad which contains and ALWAYS means the notes C (root), E (third), and G (fifth). Ab would mean an Ab major triad (Ab root), C (third), and Ep (fifth). 40) The three notes included in each major triad can be placed in a different order by using what is called an INVERSION of the triad. (See Example #18)Page 21 Example #18a 5 #18b 5 #18c 3 3 5 1 1 3 5 Chord Symbol: C/E or C/3 C/G or C/5 means root means third means fifth on bottom of triad on of triad on = root position bottom bottom 41) Notice that when a triad is in ROOT POSITION, the notes are close together (four half-steps from C to £ or from the root to the third of the triad). When the third is on the bottom, there is a wider space between the top two notes (Example #18) (i.e. three half-steos between the third of the triad and the fifth, but there are FIVE HALF-STEPS between the fifth and the root, now in the top voice). When the fifth of the chord is in the bottom voice, the wider space ‘is between the bottom two notes (i.e. five half-steps between the fifth and the root of the triad, and four half-steps between the root and the third). 42) This explanation will help you recognize when an INVERSION is present. WHEN THERE IS A WIDE SPACE BETWEEN NOTES (5 half-steps) THE HIGHER NOTE IS THE ROOT OF THE TRIAD. Example #19 5 half-steps 5 half-steps therefore Ap is the root therefore D is the root. The correct symbol would The correct symbol would be Ab/Eb or Ab/S be D/F# or 0/3. 43) One way to spot the wider space is that in root position (where there is no inversion) the notes are either ALL on spaces or all on lines. When there is an inversion, two of the notes of the triad will be on a space and the other note on a line, or two notes on a line and the other note on a space.Page 22 EXERCISE #11 a) Identify the following major triads by writing the correct chord symbol and indicating if there is an inversion with either the 3rd or 5th on the bottom. b) Write in pencil. c) Write the chord symbols on the line provided below the chords. d) Be aware of which CLEF the notes are written in. The clef sign at the beginning of each line is in force for that entire line.Page 23 MINOR, AUGMENTED AND DIMINISHED TRIADS 44) There are only four basic three note chord structures. We have already learned one of them, the MAJOR TRIAD. The remaining three types can be learned by ALTERING certain notes of any major triad. 45) Musically speaking, to ALTER A CHORD means that a chord tone (like the 3rd or the 5th of a chord) will be raised (SHARPED) or lowered (FLATTED) by a half- step or the CLOSEST POSSIBLE NOTE ABOVE OR BELOW the original chord tone. 46) Follow these guidelines to correctly write an alteration of a major triad: a) When you Tower a natural note a half-step it becomes a flat. b) When you raise a natural note a half-step it becomes a sharp. c) When you lower a sharp a half-step it becomes a natural. d) When You raise a sharp a half-step it becomes a natural (the note above) OR the original note double-sharped (-X-). e) When you raise a flatted note a half-step it becomes a natural. f) When you lower a flatted note a half-step it becomes a natural (the note below) OR the original note double-flatted (bb). THE MINOR TRIAD 47) The construction of a minor triad can be learned from three different approaches. You should be familiar with all three ways of thinking. 48) The first approach is to ALTER the major triad by LOWERING THE THIRD OF A MAJOR TRIAD A HALF-STEP. A "C" major triad (C, E, G) becomes C - Eb - G. (See Example #20) Example #20 c mi F Fmi D Dmi Sb GpmiPage 24 49) A minor triad can also be formed by relating it to a major scale. We deter- mined the notes in a major triad by starting on the first note of a major scale and picking every other note of the scale, using the first, third and 5th notes of the scale (review Example #14 on page 18). 50) Using a major scale to find a minor triad, start on the SECOND note of a major scale and pick EVERY OTHER note (see Example #21) Example #21 "C" MAJOR SCALE: Ist 3rd 5th "DY MINOR TRIAD ———— SS 51) As you can see, the result of taking every other note of a major scale starting on the second note of the scale is the same as starting from a D major triad and lowering the third of the chord (F#) to F natural. 52) The third approach to building a minor triad is to count up in half-steps from the root in this way: a) There are three half-steps between the root and the third of a minor triad. b) There are four half-steps between the third and the fifth of a minor triad. (See Example #22) Example #22 Root 3rd 3rd 5th i of} a l 0 1 2 3 0 1 2 3 4 53) INVERSIONS of minor triads work the same way as inversions of major triads (see Example #23).Page 25 Example #23 5 1 3 3 5 1 1 3 5 mi Cmi/Ep or Cmi/3 Cmi/G or Cmi/5 54) The correct chord symbol for a minor triad is to first write the lettername of the root, then lower case mi or min. Do not use a dash (i.e. C-). AUGMENTED TRIADS 55) There are two approaches to constructing an AUGMENTED TRIAD. The first is to alter a major triad by RAISING the 5th of a major triad one half-step. (See Example #24) Example #24 Ent e 6—45— as =4a-ee 56) As you can see, the general symbol for an augmented triad is a + (plus) sign following the jettername (which is the name of the root). It is sometimes written with an abbreviation (i.e. Caug.). 57) The second approach is to construct an augmented triad by half-steps. There are always four half-steps between each note of an augmented triad. (See Example #25) Example #25Page 26 58) Inversions of augmented triads work the same as the previous chords, with one important difference. Because the distance between ALL the notes in the augmented triad are identical (four half-steps), you cannot identify the root when it is an inversion as we did with a major or minor triad. 59) Consequently each inversion of an augmented triad is also a new augmented triad. This is referred to as a SYMMETRIC construction meaning it is an equal distance from each note to each note. 1(See Example =26) Example #26 Ct, E+/5, GAH/3 a DININISHED TRIADS 60) There are two approaches to constructing a DIMIYISYED TRIAD. The first is to alter a major triad by lowering the 3RD and 5TH of a major triad ONE HALF-STEP EACH. (See Example #27) Example #27 i& c : co A yao F = : ie 61) The chord symbol for diminished is a small circle following the lettername (see Example #27). It is sometimes written with an abbreviation dim (i.e. Cdim). 62) The second approach is to construct the diminished triad by half step. There will be three half-steps between the root and the 3rd and three half-steps between the 3rd and the 5th. (See Example #28) Example #28 Root ard 3rd 5thPage 27 63) _Inversions of diminished triads work the same as the other triads covered to this point. With diminished triads it is possible to determine an inversion by noticing the wider distance between notes. The top note will be the root. (See Example #29) Example #29 co 6 half-steps Ge There will be six half-steps when the chord is inverted between the fifth and the root of the triad. 64) A summary of the HALF-STEP constructions of these four basic triads are as follows: Example #30 ROOT (half-steps) 320 (half-steps) STH Major: Minor: Augmented: 3 4 4 Diminished: 3Page 28 ‘ASSIGNMENT #5 EXAMPLE: EXERCISE #12 a) From each root written below write a major, minor, augmented and diminished triad. b) Include flats and sharps where needed. c) Write the correct chord symbol of each under the notes. d) Check the clef sign at the beginning of each line. e) Write in pencil. c mi ct coPage 29 Exercise #12 continuedPage 30 Exercise #12 continued (a = fo — 1 62 68 asPage 31 Exercise #12 continued 102 103 104 108 109 110 ul uz uz 11g 1g 120Page 32 EXERCISE #13 a) This next exercise contains major, minor, augmented and diminished triads in root position or in inversions. You are to analyze each chord and write the correct CHORD SYMBOL AND INVERSION if needed, above the notes. b) Write in pencil. c) Both TREBLE and BASS CLEFS are used.Page 33 ASSIGNMENT #6 a) The next exercise is a problem in INVERSIONS and CHORD SPELLING. Below is a box containing nine divisions: 3 °«5 1 Example #31 E b) In Example #31, the left column will ALWAYS contain the ROOTS of triads, the middle column will contain the THIRD of a triad, and the right-hand column will contain the FIFTH of a triad. Example #32 illustrates the problem to be solved: 1 35 Example #32 Liu c) In the top row you are given the root of a F major triad. If you were to fill in the 3rd and Sth spaces above to complete this F major triad --- It would mean that ..if the root of a major triad is F, then the 3rd of that triad would be A. -.if the root of a major triad is F, then the Sth of that triad would be C. d) In the middle row you are given the 3rd of a major triad. If you were to fill in the root and 5th spaces above to complete this major triad --- It would mean that. -+-if the 3rd of a major triad is F, then the root of that triad would be Db. «if the 3rd of a major triad is F, then the Sth of that triad would be Ab.Page 34 ) In the bottom row, you are given the 5th of a major triad. If you were to fill in the root and 3rd spaces to complete this triad --- It would mean that... f the Sth of a major triad is F, then the root of that triad would be Bb. ...if the 5th of a major triad is F, then the 3rd of that triad would be 0. f) The arrows in Example #32 indicate the direction you think in, from the GIVEN note of each triad.£xample #32, when complete, would then be: Example #33 g) Examples #34, 35 and 36 illustrate how this procedure works for MINOR, AUGMENTED and DIMINISHED TRIADS. The smal] numbers above each of the three columns tell you whether you are to work with a MINOR ( 1-b3-5 ), MAJOR ( 1-3-5 ), AUGMENTED ( 1-3-+5 ) or DIMINISHED TRIAD ( 1 ~ b3 - b5 ). Eicon, Hog 1 b3_ bs Fla | Fla | ce F [ab | co fx, | aed ex. | &x. | oj Fria | uD | ob] F [A | ®6 | fr [ab Bb| 0b | F ce fF | B yo Lf | EXERCISE #14 a) Complete the boxes: » 2 3 8 a bs 5) yy 13 a) Oh, fc al Fe E L c | A Fe o [c Lys FaPage 35 Exercise #14 cont. deetbaeees 1 163s 13 45 5) 6) TI 7) 8) 8b Cb fb B | B Bb 8 & r 4 8 Eb 8 L |e] 4 1° 103055 1 b3_ bs 1 p35 2 9) Te ort T ry Pr al ce Ge | 4 Ab | & LL [ec 13 45 1635 fleeeshenS eeebSEetbS) 13) 14) 15) 16) Bb 6 : | | Bb G E | 0 4 4 | a] LC e] LTE] LePage 36 TEACHER-STUDENT COMMENTS AND NOTES:Page 37 LESSON THO CHAPTER THREE DIATONIC TRIADS 65) Now that we have constructed the four basic triad chord forms, we need to study the relationships between them. If you can understand chordal relation- ships, you can begin to see how chords are actually used in music and how they move from one to the other. 66) Each major scale that we learned in Lesson One produces a RESTRICTED GROUP OF NOTES. If, for example, the "C" major scale is made up of the notes C,D,E,F, GA and B, these notes are considered DIATONIC to the "C" major scale -- they BELONG to the scale. The notes omitted from the "C" major scale, (Db-C#, Eb-D#, Gb-F#, Ab-G#, Bb-A#) are considered CHROMATIC or NOT BELONGING to the scale. 67) The DIATONIC NOTES contained in ANY scale (and for now, specifically the major scales) produce a KEY FEELING or TONALITY when used with each other. This is like saying that when the ear hears a group of notes from the same scale, a related tonal feeling is produced. The more notes from the same scale, the stronger the key feeling is established. 68) A MELODY is a series of single notes chosen froma scale. A TRIAD is a series of three single notes chosen from a scale, played simultaneously, pro~ ducing a chord or HARMONY. 69) We can say that: a) a melody is a HORIZONTAL usage of a scale. b) a chord is a VERTICAL usage of a scale. 70) When the HORIZONTAL NELODY NOTES and the VERTICAL CHORD NOTES both come from the SAME SCALE, it sounds right to us. However, if the melody and the chord are taken from two contradicting scales, it will sound like a mistake or clash between the melody and harmony. 71) The first relationship we must learn is that of the DIATONIC TRIADS that can be built from the major scale. In this approach EACH NOTE of a major scale can be thought of as the ROOT OF A TRIAD. We have already used this approach when we constructed a major triad using the Ist, 3rd and Sth notes of a major scale (see Example No. 14, page 18). 72) Now we are going to use EACH NOTE in the major scale to become the FIRST NOTE or ROOT of a triad. We refer to these notes in the scale that will be used as roots of triads by THEIR ORDER IN THE SCALE. The written symbols for the notes in the scale or scale degrees are the Roman numerals I - II - III - IV - V - VI and VIT.Page 38 73) When you completed Exercise #10 (pages 19 and 20 ) you were actually con- structing the I chord of each scale. The name of the note in each measure of Exercise #10 became the name of the major scale from which you selected the Ist, 3rd and 5th notes of the scale. 74) As we construct a triad from each note of the major scale, we must remain DIATONIC or IN THE SCALE. This diatonic restriction therefore automatically shapes the KIND of TRIAD formed from the I, II, III, IV, V, VI and VII degrees of the scale (see Example #34). Example #34 o 3 5 C major triad = I 1 3 5 D minor triad 1 3 5 E minor triad —s F major triad — G major triadPage 39 Example #34, cont. A minor triad — B diminished triad 75) In Example #34, second line, we find that by starting on the second note of the "C" major scale, a MINOR TRIAD is formed by taking every other note of the scale. The point is that by restricting ourselves to a DIATONIC use of the "C” scale, the II chord must be minor. It can not be major ( D - F# - A ) because there is no Ff in the "C" major scale. 76) This same thinking is consistent throughout Example #34, regardless of which scale degree we start on. The predetermined notes of a major scale form the KIND of triad constructed from each scale degree. 77) Because all major scales have the same tetrachord construction, they will 2150 have the same DIATONIC TRIAD CONSTRUCTION. Therefore, when using ANY MAJOR LE: a) The triad built from the I degree will be a MAJOR TRIAD. b) The triad built from the II degree will be a MINOR TRIAD c) The triad built from the III degree will be a MINOR TRIAD. d) The triad built from the IV degree will be a MAJOR TRIAD. e) The triad built from the V degree will be a MAJOR TRIAD. f) The triad built from the VI degree will be a MINOR TRIAD. g) The triad built from the VII degree will be a DIMINISHED TRIAD.Page 40 ASSIGNMENT #7 EXERCISE #15 a) Build DIATONIC triads up from each degree of the following major scales, in both treble and bass clefs. b) Identify each triad by writing the correct chord symbol ABOVE each triad. Write the Roman numeral representing the SCALE DEGREE, BELOW each triad. ¢) The "C" major scale is completed below as an example and model of how you should complete this exercise. C MAJOR SCA c min Emin F G fi ee » e8 I 1 F_MAJOR SCALE:Page 41 cise #15, cont. Eb MAJOR SCALE:Page 42 Exercise #15, cont. Cb MAJOR SCALE: G MAJOR SCALE: eS] | A MAJOR SCALE: alPage 43 Exercise #15, cont. E MAJOR SCALE:Page 44 ASSIGNMENT #8 a) Now that we have a source of seven diatonic chords in each major key, certain specific diatonic chords can be chosen to produce standard chord progressions. The following exercises are to be completed by writing out the notes of the diatonic triads specifies by the progression stated at the beginning of each exercise. b) Write the chord symbol name ABOVE the chord and the scale degree numeral BELOW the chord. EXERCISE #16 I-W-V Progression C MAJOR SCALE: c F 6 Example: Vv v FY "Bb" ie "ED" — pp" "eb" "ep"Page 45 Exercise #16, cont. nan ope EXERCISE #17 -V-T Progression C MAJOR SCALE: Omi G c Example: _——) = == = Ul u ss pH "Bb "Db" “GbePage 46 Exercise #17, cont. "eb" ug ——— org! "ce" bee EXERCISE #18 I-11-tr-W Progression C MAJOR SCALE: Or Emi T I UL Vv ee a —_Page 47 Exercise #18, cont. "pb" "ebm fi "cb" ng “pg "cee EXERCISE #19 I-VI-l-V Progression C MAJOR SCALE: Example :Page 48 Exercise #19, cont. "pH "Bbe "Eb" "Abe "Db" "Gb" "cb" 1g" wee ge vege “cetPage 49 EXERCISE #19 a) Play Exercises 15-19 on piano or guitar if possible. If you play a single note instrument, these chords can be played one note at a time, arpeggiated style (see Example No. 35). Esavole No. 35Page 50 CHAPTER FOUR MODES 78) We have already defined what a "scale" means (paragraph 15, page 7). This definition holds true no matter what the particular scale happen to be. Because there are a number of different conventional scales that our contemporary music utilizes, each scale will always be some RESTRICTED use of the twelve possible pitches. 79) As you will discover in this course, we will study scales with 5, 6, 7, 8 and 12 notes. The majority of conventional scales however, contain SEVEN DIFFERENT NOTES. 80) This next GROUP of seven-note scales has a relationship with the scale you already know: the major scale. Do not let the fact that these scales are called MODES ‘instead of just scales confuse you. Modes are merely a specific group of inter-related scales. 81) The mode was a product of the ancient Greek culture. The Greeks evolved the earliest known TONIC IDEA, and in turn, that TONIC IDEA gave us the mode which was the forerunner of our "key area" concept or tonality. It should be remenbered that at the Greek period in history, ONLY seven pitches were possible to produce, instead of the twelve different pitches we have today. 82) The names of the modes still use the old Greek names, so you will be required to memorize them, which you will be able to do by using them and becoming familiar with them throughout the course of these lessons. 83) A mode is a specific set of half and whole steps forming lower and upper tetrachords similiar to those we learned with the major scale. Of course since these are different scales, the tetrachord combinations of half and whole steps will be different for the most part (see Example No. 36). The number 2 means a whole step or two half steps; the number 1 means a half step. Example #36 IONIAN MODE : 2-2-1-(2)-2-2-1 DORIAN MODE : ee 2G eae) PHRYGIAN MODE: 1-2-2-(2)-1-2-2 LYDIAN MODE: 2-2-2-(1)-2-2-1 MIXOLYDIAN MODE: 2-2-1-(2)-2-1-2 AEOLIAN MODE: 2-1-2-(2)-1-2-2 LOCRIAN MODE: 1 -(1)-2-2-2Page 51 84) It is certainly possible to learn the modes by constructing the tetrachord combinations listed above, and an understanding of the whole and half-step combinations is necessary. 85) However, there is a more concise and spontaneous approach to learning the spelling of the different modal scales. This approach relates the seven modal scales to the major scale which you learned in Lesson One. The relationship be- tween the major scale and the modal scales is predicated on the fact that EACH MODE IS A DISPLACEMENT or PERMUTATION OF THE SEVEN NOTES IN THE MAJOR SCALE. 86) If we were to DISPLACE or ROTATE the different notes in a "C" major scale it would mean that we would continue to use ONLY the seven notes that we know make up the "C" scale. The difference is WHERE in the scale (C,D,E,F,G,A or B) we start (see Example No. 37). Example No. 37 ( Major or C Ionian Mode eo D Dorian Node Continued on next pagePage 52 Example No. 37, cont. A Aeolian Mode 87) When we write or refer verbally to a specific mode, we indicate the NOTE or tonic of the mode first, then qualify the kind of mode second (i.e. "D" Dorian would mean a Dorian mode construction starting on the tonic note “D"). 88) The important connection you should understand is: a) All the modal scales shown in Example No. 37 are DIATONIC to the "C" major scale. b) The DISPLACEMENT or rotating of the “C" major scale in Example No. 37 is done in the same way that we rotated the SCALE DEGREES to construct the DIATONIC CHORDS in Example 34. 89) If we start on the TONIC DEGREE of any major scale we can construct a: a) I MAJOR TRIAD by selecting every other note of that major scale. b) I IONIAN mode by proceeding in order of the major scale to the octave. The IONIAN mode is IDENTICAL TO THE MAJOR SCALE. Example No. 38 F Major Triad _————1 @ = = 5 2 e = 2 |_———¥ Tiajor Scale I F Ionian Mode 90) If we start on the 2nd DEGREE of any major scale we can construct a: a) II MINOR TRIAD by selecting every other note of that major scale. b) II DORIAN mode by proceeding in order of the major scale to the octave. Example No. 39 6 Minor Triad I 6 Dorian NodePage 53, 91) If we start on the 3rd DEGREE of any major scale we can construct a: a) III MINOR TRIAD by selecting every other note of that major scale. b) III PHRYGIAN mode by proceeding in order of the major scale to the octave. Example No. 40 A Minor Triad nr A Phrygian Mode 92) If we start on the 4th DEGREE of any major scale we can construct a) IV MAJOR TRIAD by selecting every other notes of that major scale. b) IV LYDIAN mode by proceeding in order of the major scale to the octave. Example No. 41 Bb Major Triad a eo ° > 22 ig SSS — W Bb Lydian Mode 93) If we start on the 5th DEGREE of any major scale we can construct a) V MAJOR TRIAD by selecting every other note of that major scale. b) V MIXOLYDIAN mode by proceeding in order of the major scale to the octave. Example No. 42 C Major Triad 94) If we start on the 6th DEGREE of any major scale we can construct a: a) VI MINOR TRIAD by selecting every other note of that major scale. b) VI AEOLIAN mode by proceeding in order of the major scale to the octave. c) VI NATURAL MINOR scale by proceeding in order of the major scale to the octave.Page 54 Example No. 43 OD Minor Triad a cm 2 3 6 2 —— = : : D Aeolian Mode. Us D Natural Minor 95) If we start on the 7th DEGREE of any major scale we can construct a: a) VII DIMINISHED TRIAD by selecting every other note of that major scale. b) VII LOCRIAN mode by proceeding in order of the major scale to the octave. Example No. 44 E Locrian Mode RELATIVE MAJOR 96) Because each major scale generates seven modes by using the different SCALE DEGREES as starting notes, the seven modes built from each major scale are con- sidered RELATIVE or related to that major scale. 96) This means the seven modes in Examples 38 through 44 al] have the RELATIVE MAJOR SCALE OR KEY OF “F". All these modes SHARE THE KEY SIGNATURE of one flat, EVEN THOUGH THE NAMES OF THE MODES ARE NOT "F" and they do not start on the note ope, 97) The RELATIVE major of "A" Dorian (II DORIAN) would be "G", as "A" is the second (II) degree of the G major scale. To think this through I must think DOWN the scale, in this case a whole step. As Dorian ALWAYS means II, I am actually asking myself, “if "A" is the second note of a major scale, what is the name of the Major scale?” 98) The relative major of Bb Phrygian (III) is Gb. The relative major of D Lydian (IV) is A. The relative major of Ab Mixolydian (V) is Db. The relative major of F Aeolian (VI) is Ab. The relative major of A Locrian (VII) is Bb.Page 55 ASSIGNMENT #9 EXERCISE #21 a) Each of the notes below represent the starting note or name of a DORIAN MODE (11). b) You are to find the RELATIVE MAJOR of each and write in the key signature of that relative major. c) Then complete the notes in that Dorian Mode, up to the octave. Given notePage 56 Exercise #21, cont. adc EXERCISE #22 a) Each of the notes below represent the starting note or name of a Phrygian mode (III). b) You are to find the relative major of each and write in the key signature of that relative major. c) Then complete the notes in that Phrygian mode, up to the octave. Key signature of the relative major + Complete the C Phrygian Mode. Given notePage 57 Exercise #22, cont. EXERCISE #23 a) Each of the notes below represent the starting note or name of a Lydian Mode (IV). b) You are to find the relative major of each and write in the key signature of that relative major. c) Then complete the notes in that Lydian mode, up to the octave. Key signature of the relative major a t Complete the G Lydian Mode... Given note continued on next pagePage 58Page 59 EXERCISE #24 a) Each of the notes below represent the starting note or name of a Mixolydian mode ( V ). b) You are to find the relative major of each and write in the key signature of that relative major. c) Then complete the notes in that Mixolydian mode, up to the octave. Key signature of the relative major f 2 Complete the B Mixolydian Mode. Given note = #2 =—— — is o- Continued on next pagePage 60 Exercise #24, cont. EXERCISE #25 a) Each of the notes below represent the starting note or name of an Aeolian Mode ( VI ). b) You are to find the relative major of each and write in the key signature of that relative major. c) Then complete the notes in that Aeolian mode, up to the octave. ‘ey signature of the relative major oe 2 Complete the Bb Aeolian Mode... Given note Continued on next pagePage 61 Exercise #25, cont. EXERCISE #26 a) Each of the notes below represent the starting note or name of a Locrian Mode ( VII ). b) You are to find the relative major of each, and write in the key signature of that relative major. c) Then complete the notes in that Locrian mode, up to the octave. L Key signature of the relative major = Complete the F# Locrian Mode Given note Continued on next pagePage 62 Exercise # 26, cont. 4 Tee ee = iC a = i B to = = “go =i EXERCISE #27 a) Answer these questions: 1) The seven modal scales are diatonic to 2) What does RELATIVE MAJOR MEAN? 3) How do you find the relative major of a Bb Mixolydian Mode?Exercise #27, cont. Page 63 4) Modes had their origin in what ancient culture? 5) True or false: a) The b) The c) The d) The e) The f) The 9) The h) The i) The k) The note note note note note note note note note note c Fe Bb ot Eb 6b is DIATONIC to the F# Phrygian Mode is DIATONIC to the G# Aeolian Mode is CHROMATIC to the F Mixolydian Mode is DIATONIC to the C Locrian Mode is CHROMATIC to the B Mixolydian Mode is CHROMATIC to the Db Lydian Mode is DIATONIC to the Eb Dorian Mode is CHROMATIC to the F Locrian Mode is DIATONIC to the D Phrygian Mode is DIATONIC to the F Lydian Mode HARMONIC APPLICATIONS OF MODES 99) All the modes that share the SAME RELATIVE MAJOR scale and key signature can best be harmonized by using major triads BUILT FROM THE FOURTH AND FIFTH degrees of that relative major scale, against the TONIC ( or tonic and 5th) of the SPECIFIC MODE in the bass. 100) Example No. 45 illustrates this harmonization using D Dorian Mode.Page 64 Example No.45 "D" DORIAN MODE wv y wv yv IV of C major V of C major ns Sth degree Tonic of D Dorian of D Dorian EXERCISE #28 a) Name the MAJOR TRIADS built from the 4th and 5th degrees of the relative major of the following modes. b) Show the tonic of the mode as the bass note ( i.e. F/D ). NAME_OF MODE RELATIVE MAJOR IV TRIAD V_TRIAD EXAMPLE: G Dorian F Bb/G C/G ay D Mixolydian —- 2) A Locrian —— 3) E Lydian a 4) B Aeolian = ee 5) F# Mixolydian —— 6) C# Phrygian —— 7) & Lydian —— 8) Db Dorian _ 9) Ab Lydian 10) Eb Dorian 11) Bb Mixolydian 12) F LocrianPage 65 LESSON THREE CHAPTER FIVE INTERVALS 101) The musical unit of measurement is the INTERVAL. In the same way that we have inches, feet and yards to determine the exact distance from one point to an- other, intervals define the exact distance from one note to another. 102) The basis needed to measure these distances between notes is the MAJOR SCALE: we think of musical distance in terms of the relationship of two notes to DEGREES OF A MAJOR SCALE. 103) If we write out the "C" major scale through two octaves we would have: Example #46 ees FD * * a 2s i = oe = == 32 =o = = oe 8th 9th loth ith izth 13th 1éth 15th Tonic 2nd 3rd 4th 5th 6th 7th Octave we 104) Obviously al] we have done in Example #46 is to number the scale degrees starting on the TONIC or first degree in ORDER OF THE NOTE'S APPEARANCE IN THE SCALE. 105) Because the study of intervals involves determining the distance between two notes, we label intervals in terms of the distance from the tonic of the scale to the higher note and which scale degree the higher note is in the major scale (see Example #47). Example #47 2 r-5 SSS ee ee tbe cee soe eee eo Prime 2nd 3rd 4th Sth 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th unison Octave THE DIATONIC INTERVALS 106) Diatonic means notes that belong to a scale-or stay within the restrictions of a specific scale, such as the major scale.Page 66 107) The interval between two notes which are diatonic to a major scale is consid- ered a DIATONIC INTERVAL. All the intervals shown in Example #47 are diatonic intervals. 108) Diatonic also means, when talking about the distance between two notes, that we are always measuring the distance from the BOTTOM or LOWEST of the two notes, to the TOP or HIGHEST of the two notes. 109) The correct terminology for identifying intervals includes specifying: a) the scale degree (2nd, 7th, 10th etc.) b) an adjective spoken or written BEFORE the scale degree which describes the kind of interval we have. 110) The distance between the first note of a major scale and the second note of that major scale is called a MAJOR SECOND or whole step. 111) The first note to the third note is called a MAJOR THIRD. To condense these terms, the following breakdown divides the diatonic intervals in Example #47 into MAJOR and PERFECT intervals. 112) The MAJOR INTERVALS APE The PERFECT INTERVALS ARE: Major 2nd Perfect unison Major 3rd Perfect 4th Major 6th Perfect Sth =~ Major 7th Perfect Octave Major 9th Perfect 11th( a 4th plus an octave) Major 10th Perfect 12th( a 5th plus an octave Major 13th Perfect 15th( a double octave) Major 14th 113) Now when we look at Example #47 we would have the following diatonic intervals: Example #48 7 SS = = = = cs Oo a oo a Perfect or Maj.2nd Maj.3rd Per.4th Per.Sth Maj.6th Maj.7th Per.Octave Prime Unison o i a —SS - = = > = a a Maj.9° th Maj.10thPer.11th’ Per.12th = Maj.13th = Maj.14th Per. 15thPage 67 HOW TO DETERMINE A DIATONIC INTERVAL 114) To determine the distance (interval) between two notes, begin by thinking of the lower note as the first note of a major scale and then count UPWARD from that note. == 115) To determine the interval e Hl we would count UPWARD using the Eb major scale (Eb being the lowest of the two notes) until we arrive at the scale degree of the higher note (see Example #49). Example #49 Lowest note PROBLEM: is name of é == tial 116) Now we count up the Eb major scale until we locate the upper note of the problem (see Example #50). Example #50 Mson Maj.2nd Maj.3rd Per.4th Per.5 Maj.6th 117) Thus we can determine that the interval of é ye is a MAJOR SIXTH INTERVAL. The identical procedure (using whatever major scale is called for) should be followed in solving each interval problem. ‘ASSIGNMENT #10 a) Identify the following DIATONIC INTERVALS. b) Write the name of the interval above the note. EXERCISE #29 Maj.3rd = 3S Cont. on next pagePage 68 Exercise #29, cont. 21 22 23 onPage 69 ENHARMONICS 118) Occasionally there will be problems arising because of ENHARMONICS. For example we know that D¥ and Eb are actually the same note but can be written either way. If Eb was the LOWEST note of an interval, you would use the Eb major scale to determine the interval (as shown in examples #49 and 50). However if that same problem was stated using Df as the lowest note there is a contradiction as there is no major scale of D#! 119) To solve the problem you must, in your mind, change the D# to Eb and then use the Eb major scale to work out the interval. 120) This ENHARMONIC problem will only occur when D#, Fb, E#, Af, Bf or a double flat or double sharp ( -X+ ) is written as the lowest note. 121) Sometimes it is necessary to enharmonically change both notes. EXERCISE #30 a) Solve these problems by applying enharmonics to these intervals. b) Problems 12 - 16 require that =i signatures to determine the ni pay special attention to the key you are actually dealing with. Per.5th taPage 70 122) 123) 124) 125) THE CHROMATIC INTERVALS The next area of classification involves CHROMATIC NOTES. Al] of the previous intervals, the PERFECT and MAJOR, pertain to the diatonic notes of the major scales. Now we must discuss non-diatonic tones and their enharmonic meanings. Any interval we must name could contain notes written many ways enharmonical- ly. The specific way a note is written is critical when figuring the NAME of the interval. For example the interval of "C" up to "D#" has one name, while "C" to "Eb" is called by a different name, although "D#" and "Eb" are the same notes. Chromatic intervals are determined by ALTERING the diatonic notes of a major scale. The second scale degree of the "C" major scale could be lowered a halfstep or raised a halfstep. They are still considered 2nd intervals, but the adjective we use identifies the particular alteration made. The following diagram will show you a visual scheme of how the diatonic scale degrees of a major scale can be raised or lowered and,which adjective is used in each instance (see Example #51). Example #51 126) ‘AUGMENTED KL Af 7 Ze 2 qoiatonic tones: [_MAJOR | _ __ [PERFECT | S Ye | MINOR Me Mp \ DIMINISHED. The possible chromatic tones from "C" to “C" are illustrated in Example #52. Example #52 i ore ees Cont. on next pagePage 71 Example #52, cont. \“o-plpe-bel “a —o.nlbe-bs)Xa, oe a Ff erie eo 127) The definition of chromatic interval names are as follows: a) ANY MAJOR OR PERFECT INTERVAL WHEN EXPANDED (RAISED) BY A HALFSTEP, BECOMES AN AUGMENTED INTERVAL (see Example #53). Example #53 ‘Aug. 5th Maj.6th CTED ( LOWERED ) BY A HALFSTEP, b) ANY MAJOR INTERVAL, WHEN CONTRA ample #54). BECOMES A MINOR INTERVAL (see E: Example #54 Maj.3rd Min. 3rd Maj.9th Min.9th = oS po — 4 $ — te o o " c) ANY PERFECT INTERVAL, WHEN CONTRACTED ( LOWERED ) BY A HALFSTEP, BECOMES A DIMINISHED INTERVAL (see Example #55). Per. Sth Dim. 5th Per.ath Dim.4th I — —— rz =e bs é 2 oe d} ANY MAIOR INTERVAL, WH RACTED ( LOWERED ) BY A WHOLE STEP, BECOMES A DIMINISHED INTERVAL( see Example #56). Example #56 Maj.6th Dim.6th Naj.7th Dim.7thPage 72 128) When determining an interval these points should be understood: a) If the UPPER NOTE of the interval is: DIATONIC to the scale of the LOWER NOTE, the interval will be called a MAJOR or PERFECT scale degree. b) If the UPPER NOTE is CHROMATIC to the scale of the LOWER NOTE, extreme care must be taken to determine whether the upper note is a diatonic note that has been SHARPED or FLATTED. This point refers back to paragraph 123. The ENHARMONIC SPELLING effects the SCALE DEGREE that the correct interval name is called. INTERVALS BETWEEN MELODY NOTES 129) When figuring the interval between TWO ADJACENT NOTES of a melody, follow this procedure. Melody: a) We want to name the intervals between the notes in this two measure melody. Each numbered bracket identifies an interval. b) Although in a melody the notes are played one at a time, we take each set of two notes and examine it to determine the interval. c) The first two notes ( bracket 1) are middle C and D. The lower note is C which tells us which major scale to use: the C major scale. d) "D" is the 2nd degree of the C scale; therefore the interval between C and D would be a MAJOR 2nd or whole step. 130) Following the same process: BRACKET 2 D up to B D major scale B is the 6th degree of a D scale D to B is a MAJOR 6th INTERVALPage 73 BRACKET 3 B up to C B major scale C# would be the diatonic 2nd degree the given note is a LOWERED 2nd degree so... B to C would be a MINOR 2nd INTERVAL. BRACKET 4 C up to fb C major scale E natural would be the diatonic 3rd degree of a C scale the given note (Eb) is a lowered 3rd degree so... € to Eb would be a MINOR 3rd INTERVAL. BRACKET 5 Eb down to 0 D is the lowest note, so we would use the D major scale to figure the interval. E natural is the diatonic 2nd degree of a D scale the given note (Eb) is a lowered 2nd degree 30... Eb down to D would be a MINOR 2nd INTERVAL or halfstep. BRACKET 6 D down to Ab Ab is the lowest of the two notes so we would use the Ab major scale Db would be the diatonic 4th degree of the Ab scale the given note D natural would be a raised 4th degree so.. D down to Ab would be an AUGMENTED 4th INTERVAL. BRACKET 7 Ab up to © Ab major scale C would de the diatonic 3rd degree of the Ab scale so... Ab to C would be a MAJOR 3rd INTERVAL. TERVALS BETWEEN CHORD TONES 131) When determining the interval between notes in a chord, we again use the major scale based on the lowest note. A "C" major triad consists of C up to E; E up to G: é 132) C to E would be a diatonic 3rd degree of the C scale giving us a MAJOR 3rd INTERVAL. 133) E to G ( using an £ major scale now) would be a lowered 3rd degree of the £ scale, giving us a MINOR 3rd INTERVAL.Page 74 ASSIGNMENT #11 a) Identify the following chromatic intervals. b) Write the names of the intervals above the notes. EXERCISE #31 continued on next pagePage 75 Exercise #31,cont. EXERCISE #32 a) Identify the following diatonic and chromatic intervals. b) Write the names of the intervals above each interval. c) Check the key signatures against the given notes. d) Certain given notes are written enharmonically so that you will be required to "think" a different lettername of the same pitch to find the major scale name. Min3 Min3 Maj3 Maj6 fr me 3 id Tripp tie continued on next pagePage 76 Exercise #32, cont. rer EXERCISE #33 a) Identify the intervals between the notes of the following melodies. b) Write the name of the interval on the corresponding numbered line below the melody. i 6 lL 16, 2 7 12. v7 3 8. 13. 18. 4 9 4. 19,Page 77 EXERCISE #34 5 7 m—— t, 2, 1 sy eS “The: : — 16 1 5 9. 13, 2. 6. 10. 14, 3 7 lL. 15, 4 8. 12. 16, ee EXERCISE #35 a) Identify the intervals between the notes of the following chords. b) Write the name of each interval on the corresponding lines. oe = SS 1-2 3-4 5-6 = = : 6 + a i 13-14 = a = 5 2 >. oo =: —e- o— t 2 @ iF 3 = 7 “D308 4 Continued on next pagePage 78 Exercise #35, cont. 25-26 27-28 29-30 31-32 = 43-44 45-46 47-48 1. 13. 25. 37. 2, 14. 26. 38. Eb 15. 27. 39. 4. 16. 28. 40. 5. 7. 29. 4a. 6 18. 30. 42. 19, 31. 43. 8. 20 32. 44 9 a1 33. 45 10. 22. 34. 46. 1. 23. 35. 47. 1. 24. 36. 48.Page 79 ALTERED TRIADS 134) We covered major, minor, augmented and diminished triads in Lesson One. There are a group of less-used three-note chords that are BASED on the four basic triads but are ALTERED in some way. 135) When we use the term ALTERED we mean that some function of the triad (3rd,5th) will be raised or lowered a halfstep. 136) The chord symbol terminology for an altered chord is written so that the function of the chord which is to be changed is stated in parentheses after the basic chord. 137) Any function of a chord other than the root can theoretically be altered. However in actual practice only the fifth of a major or minor triad can be changed. 138) A MAJOR TRIAD can be altered by lowering the fifth of the chord ONE HALFSTEP. (see Example #57) F F(b5) Example #57 5 DS 139) A MINOR TRIAD can be altered by raising the fifth of the chord one HALFSTEP. (see Example #58) Example #58 rm betes) eos a 140) If the fifth of a major triad was raised, it would become an augmented triad and would not be considered an altered triad. 141) If the fifth of a minor triad was lowered, it would become a diminished triad and would not be considered an altered triad. 142) If the third or fifth of any triad is raised or lowered a halfstep it simply becomes a duplication of an existing chord...with the exception of those shown in paragraphs 138 and 139.Page 80 ‘SUSPENSIONS 143) One particular kind of chord form is called a SUSPENSION. In today's music the type of suspension that is commonly used is that of the SUSPENDED 4th. This means the 4th scale degree up from the root of a chord is used IN PLACE OF THE THIRD OF THE CHORD. In this sense, it is like saying the 4th is used as a SUBSTITUTION of the 3rd of the chord. 144) The effect of this suspension is to give the harmony the feeling of being Suspended cr unresolved and thus adds a dramatic quality. The following examples illustrate suspended 4ths applied to major or minor triads. (see examples 59 and 60) Example #59 Example #60 C (sus 4) T So 145) In lead sheets and arrangements the suspension is notated by using the abbreviation SUS. 146) The reason for using the suspension is usually caused by the melody note forcing the omission of the 3rd. If the 4th AND 3rd degrees are played together it creates an undesired clash. Therefore if the fourth degree is the melody note, the third must be omitted. 147) Typically, the suspended fourth in the melody will be followed by the third of the chord effecting the resolution....tension and release. INVERSIONS OF ALTERED TRIADS AND SUSPENSIONS 148) The major(b5) , minor (+5) , major (sus 4) and minor (sus 4) chords can al] be inverted into any position. This manipulation of the notes in an altered triad is handled exactly like the inversions we worked with in Lesson One, pages 21, 22, 25, 27 and 32. (see following Examples) Example #61 Fae F(bs)/3 F(b5) /b5 Example #62 Fini (+5)Page 81 Example #63 F (sus4)/5 F (sus4) F (sus4)/4 ho 3 Example #64 Fmi(sus4)/5 Fni(sus4) Fmi(susd)/4 be (bees ee =— 486 & by ASSIGNMENT #12 a) Write out the following ALTERED CHORDS AND SUSPENSIONS. b) Write in pencil. c) When notes are on adjacent lines and spaces, stagger the noteheads AND accidentals if required. EXERCISE #36 E(b5) 1 2 3 4 B (b5) Ab(b5) F(b5) > a ee ee 5 6 7 C(b5) F#(b5) A(bS) Continued on next pagePage 82 Exercise #36, cont. Gb(b5) Cb(b5) c#(b5) E(b5) 14 15 EXERCISE #37 Ami (+5) Fmi (+5) Obmi(+5) Abmi (+5) EXERCISE #38 a) Show the resolution to the 3rd of each problem below. Use Examples 63 and 64 as models. C (sus4) F (sus4) Bb (sus4) Continued on next pagePage 83 Exercise #38, cont. Ab (sus4) Db (sus4) Gb (sus4) Cb(sus4) c# (sus4) F# (sus4) B (sus4) E (sus@) 9 10 1 i2 A (sus4) D (sus4) G (sus4) Eb (sus4) = = 4 : 6 6 EXERCISE #39 Cmi (sus4) Gmi(sus4) Omi (sus4) Ami (sus4) Sa Emi (sus4) SS Cbmi (sus4) Gbmi (sus4) Dbmi(sus4) Abmi (sus4) = Ebmi (sus4) 1 12 Fmi (sus4) cmi (sus4)Page 84 EXERCISE #40 a) Identify the following triads and their inversions. b) If a chord has more than one possible name, write them both. c) Write the chord symbols above the notes.Page 85 FOUR PART CHORDS - GROUP ONE 149) The first group of four part chiwrds cavers the most used and definitive tonal chord structures. 150) In Lesson Two we learned the four basic types of triads...major, minor, aug- mented and diminished. We can soy use the major and minor triads as a basis to construct the MINOR 7th, LOMINANT 7th and MAJOP 7th and 6th chords. MINOR 7th CHORDS 151) A minor 7th chord is constructed by adding the 7th to a minor triad. The 7th is the note a Minor 3rd interval or three half-steps ABOVE the Sth of the minor triad (see Example 61) Gmi7 min3rd Example #61 a 7th 152) The distance from the root of a minor 7th to the 7th is a minor 7th interval (refer to Example #61) 153) We can also approach the construction of the minor 7th chord by relating it to a major scale. If you start on the second degree of any major scale and select EVERY OTHER DIATONIC NOTE of the scale it will form a minor 7th chord (see Examale #62) omi? Chord 7 Example =62 a 5 I 6 Dorian ModePage 86 154) You can see that Example #62 is similiar to Example # 39 on page 52. The difference is that we have EXTENDED the Gmi triad to the seventh producing the Gmi7. 155) Notice that the G Dorian Mode becomes the SCALE SOURCE or source of notes to improvise through the chord. The Gmi7 can therefore be thought of as a II chord in a major key. 156) The correct chord terminology for a minor 7th chord is: CORRECT: Gmi7, Gmin7 INCORRECT: G-7, Gm7, G minor 7, 67(b3) DOMINANT 7th CHORDS 157) A Dominant 7th chord is constructed by adding the 7th to a major triad. The 7th is a minor third interval or three half-steps ABOVE the Sth of the major triad. The distance from the root of a dom.7th to the 7th of the chord is a MINOR 7th INTERVAL (see Example #63). Example #63 7 min3rd oO rin7th ™ 158) The correct chord terminology for the dominant 7th chord is the LETTERNAME followed by a 7. A'"G7" chord symbol always means a dominant 7th chord. We will sometimes use the word DOMINANT when speaking the chord. 159) We can also approach the construction of the dominant 7th chord by relating it to a major scale. If you start on the 5th ( or dominant ) degree of a major scale and select EVERY OTHER DIATONIC NOTE of the scale it will forma dominant 7th chord (see Example #64). Example #64 C Mixolydian ModePage 87 160) Example #64 should be compared to Example #42 on page 53. The difference between the two examples is that the C triad has been extended to become a C7. The SCALE SOURCE is now a C Mixolydian Mode. The dominant 7th chord is therefore thought of as the V chord in a major or minor key. MAJOR 7th and 6th CHORDS 161) A Major 7th chord is constructed by adding the 7th degree of a major scale to the I chord or major triad. The major 7th is a MAJOR 3rd INTERVAL or four half-steps ABOVE the 5th of the major triad. 162) The distance from the root of a major 7th chord to the 7th of the chord is a MAJOR 7th INTERVAL (see Example #65). Example #65 maj3ra oer esa may 7th 163) The correct chord terminology for the Major 7th chord is: CORRECT: Cma7, Cmaj7 ACCEPTED BUT NOT PREFERRED: C#, CA INCORRECT: m7, Cmajor 7 164) A major 6th chord is constructed by adding the 6th degree of a major scale to the I chord or major triad. The 6th is a whole step or major 2nd interval ABOVE the Sth of a major triad. 165) The distance from the root of a Major 6th chord to the 6th is a MAJOR 6th INTER- VAL (see Example #66). Example #66Page 88 166) The correct chord terminology for the Major 6th chord is: CORRECT: C6 UNNECESSARY: Cma6, Cmajé , Cmajor6 INCORRECT: C (add 6) 167) We can also approach the construction of the major 7th or 6th chords by relating them to a major scale. a) If you start on the tonic or first degree of a major scale and select EVERY OTHER DIATONIC NOTE of the scale you can form a Major 7th chord (see Example #67) F major 7th 7 Example #67 t F major scale b) If you select the first, third, fifth and sixth degrees of a major scale you can form a Major 6th chord (see Example #68). Fo Example #68 F major scale 168) The SCALE SOURCE of both the Inaj7 and 16 chords would be the major scale (refer to Example #38, page 52). ASSIGNMENT #13 EXERCISE #41 a) Build a minor 7th chord from each of the following notes. b) Write the correct chord symbol above each chord you write.ise #41, cont. Page 89 + 1 = = oe 3 7 i be ‘| e . _ & ing a= a 5 vo Cae. ~ = = 4 9 ca = “Fe it as - veo . mn EXERCISE #42 a) Build a dominant 7th chord from each of the following notes. b) Write the correct chord symbol above each chord you write. i E == == = 2 ba 3 oe 4 o o . == == t bo -Page 90 Exercise #42, cont. EXERCISE #43 a) Build a major 7th and 6th chord from each of the following notes. ) Write the correct chord symbol above each chord you write.Page 91 INVERSIONS OF FOUR PART CHORDS ) In Lesson One we inverted the basic triads, major, minor, augmented and dim- inished. We know now that a chord inversion means changing the position of the notes in a given chord so that their PLACEMENT is rotated. 170) The same approach holds true with four part chords except we have one additional tone to invert, the 7th or the 6th (see Example #69). Example #69 7 13°85 Cols 5 5 7 1 3 Oe 1d OR 305 7 41 oo 6 106305 7 is) 5 6) 171) The chord symbol terminology for an inversion remains the same as a normal chord symbol except that the lowest function of the chord is indicated by a diagonal slash and the note or function (see Examples #70 and 71). Example #70 6 C6/e 6/9, c6/a co) = Ce/3) = C6/5) c6/6 Example #71 F7F7/aF/c F7/eD F7 FI/3 FI/C FU/7Page 92 172) If you were to analyze the inversion of a 7th chord, such as a major 7th, minor 7th or dominant 7th, you would determine the root by finding the major or minor 2nd interval between the notes (the remaining intervals will be major and minor 3rds). The higher of the two notes forming the 2nd interval will be the root. 173) In Example #71, the brackets indicate the 2nd intervals. You can see from this that the notes Eb and F form the 2nd interval. The higher of the two notes ye F, which is the root. ASSIGNMENT #14 EXERCISE #44 a) Hrite a chord symbol in all possible inversions (use Examples #70 and 71 as models). b) The clefs change on each line and affect that entire line,Page 93 Exercise #44, cont. 87 10° Eb7 06 12 7 14 F6 16 AT 18 Ebmi7 a1 22 CAmi7 Bb6Page 94 Exercise #44, cont. Gmi7 Bb7 ‘Abmaj7 Db6 31 % Gbmi7 bmi? é 33 4 3a C6 Bbmi7 Ami7 = == — —t 3% 07 40EXERCISE #45 2 Complete the following CHORD BOXES. 1-3-5 ~ 6 = major 6th 1 = b3_ - 5 ~ b7 = minor 7th Page 95 = Tne numbers above the vertical columns specify the type of chord: 1- 3-5-7 = major 7th 1 - 3-5 = b7= dominant 7th ¢: Use the simplest enharmonic spelling in situations where there is a choice. ¢) Study the following examples before starting the homework. ple #72 Example #73 Example #74 13 5 6 13 5 7 35 i c E G A c = 6 B c fb] G | i abl c [e| F a] c | eb | 6 alc fee reat fo Flalec le Fla|c le zo| ¢ [op | c ob} F | ab |c Dye llc | 10305 bp Example #75 CLE] Ss {e r Ab] C Eb | GbPage 96 Exercise #45, cont. 1) 2) 3) 4) 135 6 1305 7 1 b3 5 b7 1305 7 F | Bb | ] [e Ab ] Gt F Bb & [' +t— i Bb & I Ab Eb Ab [ : TT [=] a |_| 5) 6) 8) 1 b3 ee z 3 5 b7 = 6 7 3 5 7 6 D E st | D E L A = D 6 | a 6 A 1 | 7 [Te] 9) 10) 1) 1z) 1305 7 1 b3 5 b7 13 5 6 1035 7 TO T B Fe c# [ m 4 E B Fe ce cH L 8 of 7 ial | Db B | ce [ ce 1 13) 14) 15) 16) 13 5 7 1305 6 1305 7 1 b3 5 57 Gb Cb [e Bb Fe B E Bb |__| Gb B E | Bb + + E [Fe : E 8bPage 97 CHAPTER SEVEN MINOR SCALES ‘4, We have learned the major and modal scales to this point and will now begin the study of the three minor scale forms. 175) There are various approaches to learning the three minor scales. We will cover all three approaches, but will concentrate on the simplest and most practical. TETRACHORD CONSTRUCTI N_OF IINOR SCALES 176) Minor scales can be thought of as combinations of various tetrachords, similar to the method you used to learn the major scales. One similarity is that minor Scales are constructed of a lower and upper tetrachord as were major scales. We will now examine each of the different tetrachord combinations. MINOR SCALE LOWER TETRACHORDS 177) The lower tetrachord of the HARMONIC, MELODIC and NETURAL minor scales are identical. They are constructed as follows: Example #76 Lower tetrachord —— | 2s 178) The link between the lower and upper tetrachords is @ wholg step or two half- Steps. This is the same as in a major scale(see Exarsle #79) Example #77 Lower tetrachord Link 178) The difference between the three minor scales is in the contrasting upper tetrachords.Page 98 MINOR SCALE UPPER TETRACHORDS C HARMONIC MINOR SCALE - UPPER TETRACHORD (See Example #78) Example #78 : A ge % Ds 4 C MELODIC MINOR SCALE - UPPER TETRACHORD (See Example #79) Example #79 — 1 1 » C NATURAL MINOR SCALE - UPPER TETRACHORD (See Example #80) Example #80 180) The upper tetrachord of the HARMONIC MINOR SCALE is unique in that it contains a leap of a minor third or three half-steps. This larger interval gives this scale a special sound making it easier to identify. 181) The upper tetrachord of the MELODIC MINOR SCALE is identical to the upper tetrachord of the major scale. 182) The NATURAL MINOR SCALE is sometimes referred to as the “Descending Melodic". This is because traditional harmony teaches that the Melodic Minor is used in an ascending direction, but is changed to the Natural Minor uppeb tetrachord when used in a descending direction. For today's practical purposes, you are to think of these three minor scale forms as THREE SEPARATE SCALES,ASCENDING OR DESCENDING and not limited to the traditional way. 183) The NATURAL MINOR SCALE is the same as the AEOLIAN MODE we studied in Lesson Two. 184) An important factor to remember is that despite the differences between the UPPER TETRACHORDS of the three minor scales, the LOWER TETRACHORD REMAINS THE SAME FOR ALL THREE (see Examples #8] through 83).Page 99 < =ARMONIC MINOR SCALE (See Example #81) Example #81 C MELODIC MINOR SCALE (See Example #82) Example #82 C NATURAL MINOR SCALE (See Example #83) Example #83 CHARACTERISTICS OF MINOR SCALE NOTATION 185) Keep in mind that in writing minor scales with the correct musical notation, you will always be using the alphabet letternames IN ORDER OF THE ALPHABET. This is consistent with the approach you used to learn the major scales (see Examples #84 and 85). Example #84 > Letternames e Harmonic Minor Melodic Minor > 2 ° © & Natural MinorPage 100 Example #85 G AB C DE F G = Letternames Starting on: G#_ AF BCH DF E FX Ge Poe 1 ol ky ee GH AP BCH DH Ef FX Gf = Melodic Minor Poko .oroaio1 4 ee GH AY B OCH DF E ee eee = Harmonic Minor F# G# = Natural Minor 1 186) Although major scales will contain flats OR sharps, not both, you will find oe tha stances in the MINOR scales when, by following the correct spelling of the letternanes, the resulting scale will contain BOTH FLATS AND SHARPS, (See Example #86.) Example #86 6 A B C DE F G = Letternames ASSIGNMENT #15 EXERCISE #46 a) Complete the first five notes of a minor scale, beginning on the following notes.Page 101EXERCISE #47 a) Complete each HARMONIC, MELODIC and NATURAL MINOR SCALE from each of the given notes shown below (see Example #87). UPPER TETRACHORD 3 oo Harmonic Minor LOWER TETRACHORD oe Melodic Minor Estee — Natural Minor Continued on next pagePage 103 =47, cont. Continued on next pagePage 104 Exercise #47, cont. Continued on next pagePaye 105 Exercise #47, cont. Continued on next pagePage 106 Exercise #47, cont. Continued on next pagePage 1u7 Exercise #47, cont. 187) In the actual application of minor scales it is important to know the scales REGARDLESS OF THE PARTICULAR KEY SIGNATURE. The reason for this is the fact that even though the music you are reading has a key signature at the beginning of the music, you will often be in other keys momentarily, which means you are forced to think in terms of ISOLATED MINOR SCALES that have little or nothing to do with the initial key signature. 188) The exercise you just finished (Exercise #47) therefore gives you a practical way of thinking minor scales in this context of isolated keys. This approach is essential in improvisation and embellishing melodies. MINOR SCALES AS ALTERED MAJOR SCALES 189) A second approach to learning minor scales is to think of them in terms of major scales that have been altered, much in the same way we altered MAJOR TRIADS to construct MINOR, AUGMENTED or DIMINISHED TRIADS 190) From this standpoint: a) A HARMONIC MINOR SCALE can be constructed by lowering the 3rd and 6th degrees of a major scale one half step each (see Example #88). Example #88Page 108 b) A MELODIC MINOR SCALE can be constructed by lowering the 3rd degree of a major scale one halfstep (see Example #89), Example #89 ¢) A NATURAL MINOR SCALE can be constructed by lowering the 3rd, 6th and 7th degrees of a major scale one halfstep each (see Example #90), Example #90 ASSIGNMENT #16 EXERCISE #48 a) Alter the following MAJOR SCALES to become HARMONIC, MELODIC and NATURAL MINOR SCALES. b) Write out all scales ascending and descending one octave (see Example #91)Page 1:9 Te 29] C MAJOR SCALE 5 ey oo =e C HARMONIC MINOR SCALE 4 bec tere te. LODIC MINOR SCALE c @ o bo ee g © NATURAL MINOR SCALE apoe be be @ obo * MAJOR SCALE i F HARMONIC MINOR SCALE = - Continued on next p:Fage 110 Exercise #48, cont. Sb MAJOR SCALE Oe i, = —— Bb MELODIC MINOR SCALE ———— : — = Sj 5 “Bb NATURAL MINOR SCALE ———— 4 6 Eb MAJOR SCALE b HARMONIC MINOR SCALE & 5 fb MELODIC MINOR SCALE = 8 Eb NATURAL MINOR SCALE & Lt Continued on next pagePage i11 Exercise #48, cont. tb MAJOR SCALE bro be 2 bo be Ab HARMONIC MINOR SCALE ‘Ab MELODIC MINOR SCALE $, $, e C# MAJOR SCALE C# HARMONIC MINOR SCALE 13 C# MELODIC MINOR SCALE Continued on next pagePage 112, Exercise #48, cont. F# MAJOR SCALE Ff MELODIC MINOR SCALE F# NATURAL MINOR SCALE ge = = : B MAJOR SCALE é oe te Phos B HARMONIC MINOR SCALE _— 20 B MELODIC MINOR SCALE rat B NATURAL MINOR SCALE ' ae Continued on nextPage 113 Exercise #48, cont. E MAJOR SCALE = $ aot = A MAJOR SCALE (Gaps ate tS tte age A HARMONIC MINOR SCALE 26 A MELODIC MINOR SCALE a ‘A NATURAL MINOR SCALE Continued on next pagePage 114 Exercise #48, cont. 30 D NATURAL MINOR SCALE 31 G MAJOR SCALE $a ee te tee SS G HARMONIC MINOR SCALE 32 3 G MELODIC MINOR SCALE & G NATURAL MINOR SCALE €191) 192) 193) 194) 195) 196) 197) Page lle VE MINOR The third approach to learning minor scales has to do with their relationship to 4 major scale from the standpoint of key signatures. In musical terminology we refer to MAJOR KEYS and MINOR KEYS. Major keys relate to the major scales AND THEIR KEY SIGNATURES that we studied in Lesson One. In that lesson we could see how the key signatures were actually formed by the flats or sharps that were created by the tetrachord formula (2-2-1-2-2-2-1 ). All this seems quite logical and natural. From this basis a musician could say, “this tune is in the key of F, or this tune is in the key of Ab", etc. The MEANING of this reference to a major key would therefore be that he is referring to the KEY SIGNATURES of F or Ab and secondarily, to the major scales that come from the key signatures. There are fifteen minor keys in addition to the fifteen major keys. The problem is what key signature is used for the fifteen minor keys, as they obviously can not be the same key signatures as the ones used for major keys. For example, the key signature for a C major scale (no flats or sharps) would not work with 2 C HARMONIC, MELODIC or NATURAL scale, because you would have to write out too many accidentals. The solution to the problem is that the minor keys SHARE the same key signatures as the major keys, but with a different relationship. As the keys of C major and C minor do not both use the key signature of no flats or sharps, it leads us to find the specific relationship between the key Signature of C major and the minor key that shares that specific key signature. That minor key is called the RELATIVE MINOR of (in this case) C major. Once this relationship is determined it will be consistent throughout a11 fifteen keys The relationship between a major key and its relative minor IS THAT THE STARTING NOTE OF THE RELATIVE MINOR SCALE OR KEY IS THE 6th DEGREE OF THE MAJOR SCALE OR KEY The relative minor of C major would be A minor. This means the key signature of A minor is no flats or sharps. When the three forms of the A minor scales (Harmonic, Melodic and Natural) are constructed from the 6th degree ot the © major scale or key, there will be accidentals added because of the three Possible UPPER TETRACHORD INTERVAL FORMULAS (see Example #92 through 95). C MAJOR SCALEPage 116 Example #93 A HARMONIC MINOR Example #94 A MELODIC MINOR . oS se $a $e 0] se 199) The Natural Minor scale will have no added accidentals Example #95 A NATURAL MINOR Ss 200) If you will refer to Lesson Two, page 54, you will see that the Aeolian Mode is the same scale as the A Natural Minor. EXERCISE #49 a) Below you will find each of the Fifteen key signatures. Find the RELATIVE MINOR (6th degree) starting note and construct the three relative minor scales. >) Pay special attention to the accidentals in relationship to the given key signatures. ©) For Harmonic Minor Scales you will RAISE THE 7th DEGREE ONE HALESTEP 4) a Melodic Minor Scales you will RAISE THE 6th and 7th DEGREES ONE HALFSTEP, ©) For Natural Minor Scales you will not have any accidentals, the key Signature will supply all the necessary accidentals to form the scale.Page 117 Esercise #49, cont, Continued on next pacePage 118 exercise #49, cont. —S : = if? qu e 12 “o — 10 13 14 15 16 Vv Continued on next pagePage 119 rercise =49, cont. Continued on next pacePage 120 Exercise #49, cont. Continued on next pageFrercise #49, cont. Page 121 ci> BR | 38 a 7 2.5Page 122 EXERCISE #50 a) Identify the following major, minor and modal scales. b) Write the correct key signature at the beginning of each line. Continued on next pageExercise #50, cont. Page 123Page 124 Exercise #50, cont.Page 125 LESSON FIVE CHAPTER EIGHT FOUR-PART CHORDS - GROUP THO 201) The second group of four-part chords involves chord forms conmonly used, but. not to the extent of the Group One chords: minor 7th, major 7th and dominant 7th. MINOR MAJOR 7TH CHORDS 202) A minor major 7th chord is constructed by adding a major 7th to a minor tria¢. The 7th is the note a major 3rd interval or four half-steps ABOVE the Sth of the minor triad. (See Example #96.) Example #96 GmiMa? Maj3rd 203) The distance from the root of 2 miMa 7th to the 7th is a major 7th interval. (Refer to Example #96.) 204) We can also approach the construction of the miMa 7th chord by relating it to a Harmonic or Melodic minor scale. If you start on the first degree of any Harmonic or Melodic minor scale and select EVERY OTHER DIATONIC NOTE of the scale, it will forma miMa 7th chord. (See Examples #97 and 98.) Example #97 T GmiMa7 chord G Harmonic Minor ScalePage 126 Example #98 I GmiMa7 chord G Melodic Minor Scale 205) Notice that in Example #97, the G Harmonic minor scale becones the SCALE SOURCE or source of notes to improvise through the chord. A miMa 7th chord can, therefore, be thought of as a I chord in a minor key. 206) As shown in Example #98, the G Melodic minor scale can also be a SCALE SOURCE to melodize or improvise on the miMa chord. This chord can ALSO be thought of as aI chord in a minor key. 207) We are discussing two minor scales, the Harmonic and Melodic, because the Ist, 3rd, 5th and 7th degrees of both scales are the same. 208) A miMa 7th chord can also be formed by lowering the 3rd of @ major 7th chord one half step. (See Example #99.) Example #99 Gma7 Gmima7 209) The chord terminology for a miMa 7th chord is: CORRECT: miMa7, minMaj7 INCORRECT: -Ma7, mM7, Maj7(b3), min(¥7) UNNECESSARY: minor Major 7th MINOR 6TH CHORDS 210) A minor 6th chord is constructed by adding the 6th to a minor triad. The 6th is a major second interval or whole step ABOVE the 5th of the minor triad. The distance from the root of a minor 6th to the 6th of the chord is a MAJOR 6TH INTERVAL. (See Example #100.)Page 127 Example #100 Gmi6, Majnd aie 211) We can also approach the construction of the minor éth chord by relating it to a MELODIC MINOR SCALE. If you start on the firs: degree of a Melodic minor scale and select the Ist, 3rd, 5th and 6th cearees of the scale, it will form a minor 6th chord. (See Example #101.) Example #101 ic Gmi6é chord —— Tt Sat te = 6 Melodic Minor Scale 212) A min 6th chord can be formed by lowering the 3rd cf a major 6th chord one half step. (See Example #102.) Example #102 #13) As shown in Example =101, a G Melodic minor scale is the SCALE SOURCE for improvisation on a minor 6th chord. This chord can ALSO be thought of as a I chord in a minor key. 214) The chord terminology for a minor 6th chord is: GRRECT: mi6, min6 INCORRECT: -6, 6(b3) NECESSARY: minor 6thPage 128 ASSIGNMENT #18 2) You are to build miMa7th chords from each of the following given notes. EXERCISE #51 b) You are to also (in the same measure) write the inversions of the same chord. ¢) Write the correct chord symbol ABOVE each chord and inversion. 4) As miMa7th chords function as I chords, consider each of these chords a I in minor and based on this fact, add the correct KEY SIGNATURE. GmiMa7? GmiMa7/3 GmiMa7/5 GmiMa7/7 ee 2 bor : : ate | 1o -Page 129 Lxerc ise Continued a) You are to build minor 6th chords from each of the following given notes. 5) You are to also (in the same measure) write the inversions of the same chord. ¢) Write the correct chord synbol ABOVE each chord and inversion. 4) As minor 6th chords function as 1 chords, consider each of these chords a I in minor and based on this ‘act, add the correct KEY SIGNATURE. Gmié — Gmi6/3Gmi6/5 Gmi6/6Page 130 Exercise #52 Continued EXERCISE #53 a) Identify the following miMa7 and min6th chords. b) Indicate the inversion if the chord is not in root position c) When miMa7 or min6th chords are inverted, look for the major or minor second interval between notes, The upper :ivte oF the second interval will be the root of the chord.Page 13) Eaercise #53 Continued d) Write the chord symbol above the chord. e) Pay particular attention to the CLEF at the beginning of each line. Complete the following chord boxes made up of miMa7 (1 - b3 - 5 chords and minor 6 (1 - b3 - 5 - 6) chords.Page 132 Exercise #54 Continued 1 b3 0065 6 1 bs 56 7 1 bs 5 6 Tobs 5 6 c A Fe ib r lal It #1 c #2| #3 Fe #4 Eb Let tet | jel | |. c A Fe fb c A Fe fy L “4 163 5 7 13 5 7 163 5 6 1 bss 7 8 c# be F | B cH Eb F #5 #6 _| 7 #8 —. - 8 ce i] F T B C OF F # t 1 b3 5 6 : b3 5 6 1 b3 5 66 Bb Oo ] e| Jeo] | Tt | D G #9 | nd ”l n2 J Bb G E “{_] 7 Bb Do G 1 b3 05 c 1 b3 5 6 1 b3 5 7 1 b3. 5 € E Ae | | wy F tH 413 E nd 8b #5 & n¢ F 4 | 1 E At DF F t+ E At De rPage 133 ALTERED FOUR-PART CHORDS 215) We now begin to learn a series of altered four-part chords. The reason we have altered chords is that there are a limited number of conventional chord symbols, al] representing specific harmonic groupings of notes. However, there are move harmonic groupings of notes than conventional symbols. The only way we can accurately notate these less used symbols is to base our notation on the CLUSEST conventional chord symbol we can find and then add an instruction that specifically tells you to alter one or more notes of the conventional symbo). 216) This group of altered chords has the alteration of the Sth in common: The 5th of a chord can be lowered or raised a half step. "TH(b5) CHORDS 217) A minor 7th(bS) chord is a normal minor 7th whose Sth has been lowered one half step. (See Example #103.) Example #103 Omi? Dmi?(b5) 218) We can also approach the construction of the min?(b5) chord by relating it to a Major, Harmonic or Natural minor scale. a) If you start on the 7th degree of any major scale and Select EVERY OTHER DIATONIC NOTE of the scale, it will form a min7(b5) chord. (See Example #104.) Example #104 Bmi7(b5) chord C Major ScalePage 134 bl If you start on the 2nd degree of any Harmonic minor scale and select EVERY OTHER DIATONIC NOTE of the scale, it will form a min?(b5) chord. (See Example #105.) Example #105 LT Dmi7(b5) C Harmonic Minor Scale ¢) If you start on ihe 2nd deyree of any Nutural minor scale and select EVERY OTHER DIATONIC NOTE of the scale, it will form a win?(b5) chord. (See Exampts °106.) Example #106 L Dmi7(b5) chord C Natural Minor Scale € Aeolian Hode 219) The chord terminology for a min?(b5) chord is CORRECT: mi7(b5), min7(b5) ACCEPTABLE BUT NOT PREFERRED: ® (means half min7,b5, min7, iminished), mi7,b5 5b INCORRECT: m7(b5), -7(b5), © (add b7), mi7bS, min7oe MINOR 7(45) CHO) 220) The Sth of a minor 7th chord can be raised one half step to construct a min?(+5) chord. (See Example #107.)221) 222) 223) 224) Page 135 Example #107 Omi7 bmi7(+5) 6 = 1 4 This chord form is seldom used except when the raised Sth of the minor 7th is the melody note and, therefore, the altered version of the minor 7th cannot be avoided. The chord terminology for a min?(+5) chord is: CORRECT: = mi7(+5), min7(+5) ACCEPTABLE BUT NOT PREFERRED: mi7,+5; min7,+5 INCORRECT: m7(+5), -7(+5), mi7+5, mi7(b6) DOUBLE ALTERATIONS In certain circumstances you will find a double alteration of the 5th of a minor 7th chord. This “double alteration” means that the regular Sth of the chord has been replaced by both the raised and lowered Sth. When this fs applied, it becomes a five part chord: root, 3rd, b5, #5 and 7th. (See Example #108.) Example #108 +5, os) Omi? bmi 7( The chord terminology for this chord form is: correct: wi (*8), min?(f2), mi7(+5,65), min7(+5,b5) mi?,+5,b5; min?,+5,b5 INCORRECT: ~7+5b5, m7#5b5Page 136 ASSIGNMENT #19 EXERCISE #55 a) You are to build min7(b5) chords from each of the following given notes. b) You are also (in the same measure) to write the inversions of the same chord. c) Write the correct chord symbol ABOVE each chord and inversion. Dmi7(b5) /b5 Dmi7(b5) Dmi7(b5)/3 Dmi7(b5)/7Page 137 Exercise #55 Continued EXERCISE #56 a) You are to build min?(+5) chords from each of the following given notes. b) You are also (in the same measure) to write the inversions of the same chord. ¢) Write the correct chord symbol ABOVE each chord inversion. Dmi7(#5)/45 oi 7(45)77 Dmi7(45) omi7(+5)/3Page 138 Exercise #56 Continued EXERCISE #57 a) Identify the following altered minor 7th chords. ) Indicate the inversion if the chord is not in root position. ¢) Write the chord symbol above the chord. d) Pay particular attention to the clef sign at the beginning of each line.Page 139 7 Continued EXERCISE #58 Complete the following chord boxes made up of min?(b5) (1 - b3 - bS - 67) chords; min?(+5) (1 - b3 - +5 - b7) chords; miMa7 (1 - b3 - 8 - 7) chords and mié (1 - b3 - 5 - 6) chords. 1 b3 #5 b7 1 b3 5 7 1 b3 5 € F c | E i c# 2 F B c | #4 E = a c| i + cH F | c 1 b3) +5 7 1 b3 5 6 1 b3 bS b7 ee 7 oat o: Ab Bb D a} 5 Ab #6 Ab a7 Bb 8 0 Ab Bb D | Rb Ab [ee cPage 140 Exercise #58 Continued is tty) 1 b3) +5 b7 Bb #9 eS BI + 6 be | #10 al Eb | #2 7 Bb 163 5 6 5 b A Eb | 14] #5 #16 #13 a # if = | A D ‘Eb | A |Page 141 CHAPTER NINE DIATONIC FOUR-PART CHORDS 225) In Lesson Two, we studied DIATONIC THREE-PART CHORDS based on each scale dearee of @ major scale. If necessary, review pages 37 - 30. This same approach would apply to four-part diatonic chords. (See Example #109.) Example #109 CMaj7 (C6) Dmi7 Emi? FMaj? (F6) G7 @ re tor 1 (0) ev cv) v VI VII 226) Because a11 major scales have the same tetrachord construction, they will also have the same DIATONIC FOUR-PART CHORD CONSTRUCTION. Therefore, when using ANY MAJOR SCALE: a) The four-part chord from the I degree will be a MAJOR 7TH CHORD OR MAJOR 6TH CHORD. As both the major 7th and 6th are built from the first degree, they are considered I chords and are interchangeable. b) The four-part chord from the II degree will be a MINOR 7TH CHORD. ¢) The four-part chord from the III degree will be a MINOR 7TH CHORD. 4) The four-part chord from the IV degree will be a MAJOR 7TH CHORD or MAJOR 6TH CHORD. As both the major 7th and 6th are built from the fourth degree they are considered IV chords and are interchangeable. e) The four-part chord from the V degree will be a DOMINANT 7TH CHORD. f) The four-part chord from the VI degree will be a MINOR 7TH CHORD, 9) The four-part chord from the VII degree will be a MINOR 7(b5) CHORD.Page 142 EXERCISE #59 2) Build DIATONIC four-part chords up from each scale degree of the following major scales, in both treble and bass clef. b) Identify each chord by writing the correct chord symbol ABOVE each chord. Write the Roman numeral representing the SCALE DEGREE, BELOW each chord, ¢) The "C" major scale is completed as an example and model of how you should complete this exercise. 4) Show both forms of the I and IV chords (major 7th and 6th). MAJOR SCALE: CMaj7 C6 Omi? Emi? FMaj7 F6 G7 Amj7 Bmi7(b5) +=) — Sr =| FAP ¥ $s 8 SS VI VII =] 2 & PR D MAJOR SCALE:Page 143 A MAJOR SCALE: B MAJOR SCALE: = =] DE = ; F# MAJOR SCALE:Page 144 Cb MAJOR SCALE: #9 Db MAJOR SCALE: a ‘Ab MAJOR SCALE:Page 145 Eb MAJOR SCALE: ASSIGNMENT #21 a) Now that we have a source of seven diatonic four-part chords in each major key, certain specific diatonic chords can be chosen to produce standard chord progres- sions. The following exercises are to be completed by writing out the notes of the diatonic four-part chords specified by the progression stated at the beginning of each exercise. b) Write the chord symbol name ABOVE the chord and the scale degree numeral BELOW the chord. ¢) Always show both alternate forms of the I and IV chords (i.e., the major 7th and 6th).Page 146 EXERCISE #60 IMaj7 (16) - IvMaj7 (1V6) - v7 Progression C MAJOR SCALE: CMaj7 (C6) FMaj7_(F6) Example: M wou) ov er ee ie. oe wu ge ope ? FS “gpm "Dp" = Es !Page 147 Exercise #60 Continued EXERCISE #61 IImi7 - V7 ~ IMaj7 (16) Progression C MAJOR SCALE: Dmi7 G7 cMaj7_— (C6) Example: tt v 1 mMPage 148 Exercise #61 Continued “cee “cpm "Gb" "pp" gay ———_—— "Bp" npe EXERCISE #62 IMaj7 (16) - IVMaj7 (1V6) - I11mi7 - I1mi7 - IMaj7 (16) Progression C MAJOR SCALE: (Maj7 (C6) FMaj7 (F6) Et Dmi7 CMaj7 (C6) Example (2) Iv (iv) oT ie T a) ngn ee SS]Page 148 Exercise #62 Continued "cen “ep é i "Gb"Page 150 Exercise #62 Continued EXERCISE #63 IlImi7 ~ VImi7 - I1mi7 - V7 - IMaj7 (16) Progression C MAJOR SCALE: Emi7 Ami? Omi7, «G7 CMaj7_— (C6) Example: II VI bs v )Page 131 Exercise #63 Continued “qn é e= [= 3 age en EXERCISE #64 a) Play Exercises #59 - 63 on piano or guitar if possible, If you play a single note instrument, these chords can be played one note at a time, arpeggiated style. (See Examole #110.)Page 152 Example #110 Emi7 Ami7 +f vrPage 153 LESSON SIX CHAPTER TEN FOUR-PART CHORDS - GROUP THREE 227) The fourth group of four-part chords (chords with four different notes) covers ALTERED MAJOR CHORDS. Major chords must contain a major 3rd, otherwise, its TYPE or QUALITY of chord would change from major to minor. They must also contain a seventh or sixth that is DIATONIC to the major scale. If the seventh were altered, it would also change the type of chord and it would no longer be major. This brings about an important conclusion that you should know and observe: the 3rd and 7th of a chord DEFINE THE TYPE OF CHORD you have. 228) The root obviously cannot be changed, consequently, the only possible alteration to a major chord concerns the Sth. The following variations of altered major chords are: a) The Sth of a major 7th chord can be LOWERED a half step. (See Example #111.) b) The Sth of a major 6th chord can be LOWERED a half step. (See Example #112.) c) The Sth of a major 7th chord can be RAISED a half step. (See Example #113.) 4) The Sth of a major 7th chord can be RAISED a half step and LOWERED a half step AT THE SAME TIME. (See Example #114.) This is called a DOUBLE ALTERATION. It creates a sophisticated "clustered" sound that only is characteristic of certain styles, such as jazz and other modern progressive idioms. Example #111 Example #112 Example #113 Example #114 Ma 7(b5) c6(b5) cMaj7(+5) cmas7($8) € zs PO ge pe ep te uuPage 229) 230) 231) 232) 233) 234) 235) 154 The double alteration shown in Example #114 is similar to the min?(f8) chord we learned in Lesson Five, page 135, Example #108. It become’. @ five-part chord: root, 3rd, b5, +5, and 7th, Taking each of these four altered versions of a major chord separately, the chord terminology would be: MAJOR 7th(b5) CORRECT: Maj7(b5); Ma7(b5); Ma7,b5; Maj7,b5 ACCEPTABLE: A(b5); 2(b5) INCORRECT: M7(b5); M7(-5); Ma7b5; Ma7+5 MAJOR 7th(+5) CORRECT: Ma7(+5); Maj7(+5); Ma7,+5; Maj7,+5 ACCEPTABLE: A (+5); 7(+5) INCORRECT: M7(+5); M7(+5); Na7+5; Maj7#5 MAJOR 6th(b5) CORRECT: 6(b5); 6,b5 INCORRECT OR UNNECESSARY: 65; 6-53 C add 6 mayor 7th(#8) CorRECT: ma7(38); Maj7(22); Ma7,#5,b55 Maj7,+5,b5 INCORRECT: H7#5b5; _M7+b5 The practical usage of this group of altered major chords is limited, but will be found on occasion. To summarize the possible alterations, remember that they all revolve around the altered Sth. The Sth of a major chord a) can be lowered a half step, b) raised a half step, or ¢) lowered and raised a half step. These altered four-part chords can be INVERTED in the same way as the other four-part chords we have studied. (See Example #115.) Example #115 7 1 3 + or bs 6 1 3) bs + or b5 7 1 3 op 5 6 1 3 3 + or bS 7 0) 65) 6 | 1 3. + or bS 7 es thePage 155 236) The chord symbol terminology for an inversion remains the same as any inverted chord. (See Example #116.) Example #116 (Ma7(b5)/B cMa7(b5) CMa?(b5)/E CMa? (b5)/Gb bg. Cz 49 SSeS SF 5 cMa7(b5) (CMa? (b5)/3 (Ma7(b5) /b5 Ma7(b5)/7 ASSIGNMENT #22 EXERCISE #65 a) Build a major 7th (b5) chord from each of the following notes. 5) Write the correct chord symbol above each chord you write. = Ss ————— SSS 6 s 7 = n 2 3 S 13 4 6 bor icePage 156 EXERCISE #66 a) Build a major 7th (+5) chord from each of the following notes. b) Write the correct chord symbol above each chord you write. = == & 9 SS —————— = o— = = — ZS Se EXERCISE #67 a) Build a major 6th (b5) chord from each of the following notes. b) Write the correct chord symbol above each chord you write.Page 157 Exercise #67 Continued rr ae nT = 12 a = eo E eo a == be j EXERCISE #68 a) Build a major 7th (¥2) chord from each of the following notes 05 >) Write the correct chord symbol above each chord you writePage 158 PENTATONIC SCALES 237) The PENTATONIC scale is a unique five-note scale characteristic of rock and some styles of blues music. It is derived from the circle of 4ths. (See Example #117.) Example #117 238) When the above notes are compressed within one octave, it produces: te 239) If we compare this five-note scale to the major scale, we will find that it is the same, except the 4th and 7th degrees of the major scale have been removed. (See Example #119.) Example #118 Example #119 I I NI ay) v vI (VII) 240) This has eliminated the half step intervals between the notes of a major scale. 241) Although some diatonic chords can be formed from the Pentatonic scale, it should be thought of as a special "melody-oriented" source of notes a¢ opposed to a fundamental scale such as the modal or major scales which are actually the source of our chord symbols.Page 159 242) Because it "sounds like" a melody rather than just a scale, it is an important "sound" in improvising, particularly in the rock styles. It is not used that much in jazz styles. In essence, you can think of the Pentatonic scale as a SHORT SCALE or INCOMPLETE MAJOR SCALE that can be used in limited situations. 243) The interval construction of the Pentatonic scale is shown in Examples #120 and 121. Example #120 (1 represents a whole step interval) (1 represents a minor third interval) Example #121 ASSIGNMENT #23 EXERCISE #69 a) Construct Pentatonic scales from each of the following given notes. b) Write in the correct key signature at the beginning of each Tine (use Example #121 as a model).Page 160 Exercise #69 Continued ¢) Place accidentals in front of the notes also, » even though there is a key (Use Example #121 as a model.) where required signature. a = Ss 4 5 - +E = Al ee 3 te = aj $= be 10 eo d = = - i a 4Page 161 EXERCISE #70 Complete the following chord boxes made up of Maj7(b5) (1 - 3. - bd - 7); 6(b5) (1 - 3 - b5 - 6); and Maj7(+5) (1 = 3-45 - 7)’ chords. U8 8 1.3 0S 6 13045 7 Meee bee + 7 a c | ] F Bb eb | t n a r asf 8b ” e c F aM eb + c F L » | or | flee ese soo ua ee gee o a7, 13 bs 7 13 5 6 A Db & 8 | fT [EL fA 5 oe #6 cH "7 fe #8 B Ab c# 6 Cb [ | [ Ge ct F B [Ts 1 C1 1 3 45 7 1 365 7 13 BS 6 13°45 °7 € A [ | 9] 6 #9 E #10 [a ay o #2 i E | Bbb bb Fx E | | A D 6 13 bs 7 lees ieee bGt 13 45 7 4 T Fe ca} Bb | & alt s1a{_| Fe ng [ce #5 » | #16| 8 ® [| ® : Fe [ [co Bb BPage 162 THE WHOLE TONE SCALE 244) Up to this point, we have concerned ourselves with understanding and learning seven-note scales (major, minor and modal) and one five-note Scale, the Pentatonic. Three approaches were used: a) memorizing the tetrachord construction of each scale, b) altering the major scale to create a new scale, and ©) forming a pentatonic scale by omitting the 4th and 7th degrees of the major scale, 245) We approach the WHOLE TONE scale differently. Each of the previously discussed scales were made up of NON-UNIFORM construction of whole end half steps. To understand a new approach toward this scale, we must First Took at the total range of twelve notes within an octave, 246) If we divide the twelve tones in an octave in an equal, Proportionate manners we will arrive at a SYMMETRIC or EQUIDISTANT ‘relationship of notes. 247) A WHOLE TONE scale is formed by dividing the twelve tones by two (representing two half steps or a whole step) and getting six notes, each a whole step apart. (See Example #122.) Example #122 (The number 2 represents a whole step or THO half steps.) 248) Because of the symmetric construction of the scale, EACH NOTE IN THE ABOVE SCALE CAN BE THE TONIC OF A NEW WHOLE TONE SCALE. (See Example #123.) Example #123 Afi Whole Tone Scale {G8 oie Tone Scale i E Whole Tone iSeate m4 C Whole {Tone Seale : ' SS FH Whole Tone Scale per ele dtoneiscalene ee,Page 163 249) Example #124 illustrates how each note can become a new tonic of its own whole tone scale. Example #124 D whole tone scale whole tone scale whole tone scale whole tone scale A whole tone scale + Cwholetonescale: CDE At atc DoE FF GH Ac oD cee Cte afe ce ple! a a Sree cee ahec oD Eff GF AF coo © FH Gt AF 250) There are six tones not included in the C WHOLE TONE SCALE. These six tones would make up the C# WHOLE TONE SCALE. (See Example #125.) Example #125 7 2 2 Fy 251) Each of these notes can be the TONIC OF A NEW WHOLE TONE SCALE. (See Example #126.) Example #126 B Whole Tone Scale ———et!_ —, 1_A Whole Tone Scale ‘ Coe lsaie at F Whole 1 Tone ; Scale Ele Tone jSente CH Whole [Tone Scale v m4 moa + 2 2 Df Wrole | Tone Scale eee ne Seeks G Whole Tone Scale eee tone ScotsPage 164 252) We can draw the following conclusions regarding the SYMMETRIC Whole Tone Scales: a) There are ONLY TWO ACTUAL SELECTIONS OF TONES, from which all twelve whole:tone scales are constructed, b) Because the whole tone scale is a SYMMETRIC division of the twelve tones in an octave, each tone in a whole tone scale can become the tonic of a NEW whole tone scale. ) An even interval relationship between notes of a scale or chord breaks down the TONAL or KEY FEELING. In this case, the whole tone scale Produces an ethereal, unresolving sound. ASSIGNMENT #24 a) Construct whole tone scales from each of the following notes. EXERCISE #71 5) The enharmonic spelling of the notes can be mixed flats and sharps.Page 165 Exercise #71 Continued DIATONIC WHOLE TONE SCALE CHORDS 253) Diatonic chords (meaning every note in the chord belongs to the scale) can be formed from a whole tone scale. The most prevalent is the the AUGMENTED TRIAD which we learned in Lesson One. 254) An AUGMENTED TRIAD can be constructed by selecting every other note of a whole tone scale. (See Example #127.)Page 166 Example #127 [SSS 4 é er = = 3 7 = _ aaa oT a = SS SS | Age & = SS, 255) An AUGMENTED 7th chord can be formed by: a) raising the 5th of a dominant 7th chord one half step, (See Example #128.) Example #128 c7 baPage 167 b) adding the minor 7th degree to an augmented triad a whole step above the fifth of the augmented triad, (See Example #129.) and Example #129 mninor 7th = oy interval c) selecting the Ist, 3rd, Sth and 6th notes of a whole tone scale. (See Example #130.) Example #130 Degrees of the whole tone scale: 6 5 1 3 c+7 SSS Chore oO functions: Root 3rd +5 b7 256) The chord terminology for an augmented 7th chord is: CORRECT: +7 ACCEPTED BUT NOT NECESSARY: Aug7, 7(+5) INCORRECT: 7+ 257) A Dominant 7(b5) chord can be formed by: ) lowering the Sth of a dominant 7th chord one half step, (See Example #131.) Example #131 c7 c7(bs)Page 168 b) selecting the Ist, 3rd, 4th and 6th notes of a whole tone scale. (See Example #132.) Example #132 Degrees of the whole tone scale: 1 3 4 e c7(b5) Chord “a functions: Root 3rd 5 b7 258) The chord terminology for a dominant 7th(b5) chord is: CORRECT: 7(b5); 7,b5 INCORRECT: 7b5; 7-5 ASSIGNMENT #25 EXERCISE #72 a) Build diatonic AUGMENTED TRIADS up from each of the following notes. ) Write the correct chord symbol ABOVE each augmented triad. #1 _ #2 = a2 = i tee #3 | == — 6 . oo = —— aPage 169 Exercise #72 Continued —— 5? EXERCISE #73 a) Build AUGMENTED 7th chords from each of the following notes. b) Write the correct chord symbol ABOVE each augmented 7th chord.Page 170 EXERCISE #74 a) Build dominant 7(b5) chords from each of the following notes. b) Write the correct chord symbol ABOVE each 7(b5) chord. @. ro = — = 14 15 bo 16 EXERCISE #75 Complete the following chord boxes made up of +7 (1 - b7) and 7(t5) (1 - 3 = b5 - b7) chords.Exercise #75 Continued Page 171 13457 13 bs b7 13 45 ob? 13 bs br F B Eb ] A ] F 8 fb A | #1 #2 8 fab Gal Cb L | | Bob F B 2 | A El L 13 bs ob? 1345) ob 13 45 by 13 bs ob? ce 6 8b | E ] | L #5) c# #6 6 47 Bb #8 E 0b 6 aM Fb L +--+} 4 0b G Bb E 13 45 7 13 bs ob 13 bs 7 13 45 7 . Ab D fll c Gt D Fe c # #g— al #12} Ge D & | [ee % if o [os [ ‘| c eee ee tuabT, 3 b5_b7 Pe ee a eetboe stb Db [ F E 6 c | al | # F E 6 A To A #15 [ | fl t— ce F f fi 0b F E | 6Page 172 EXERCISE #76 Tdentify the following scales, (minor major, modal, pentatonic, whole tone). —— m= 1) 2) —————— 4) > > = = 2S 5) SSSPage 173 Exercise #76 ContinuedPage 174 Exercise #76 ContinuedPage 175 LESSON SEVEN CHAPTER ELEVEN THE BLUES SCALE 259) The BLUES SCALE is one of the most unique and stylistic of all the possible scales. It is used in the idioms of jazz, blues, rock and soul music. 260) The BLUES SCALE is important because it is the first real scale of American origin. Al] of the previous scales stem from the European musical culture They are the backbone of traditional musical training and although today's jazz, rock and pop music has borrowed and adapted much from these older scales, they all fall short when trying to explain the “sound” that has come to be known as “blues, funky or down home" music. 261) Some scales, such as the Dorian mode and the minor scales sound similar to the Blues Scale, but do not have the CHROMATIC character. 262) The reasons for the flexibility and FEELING inherent in the BLUES SCALE are: a) The European scales al] began and developed in an atmosphere of disciplined conditions. b) In contrast the BLUES SCALE had its root in the black, untrained, natural VOCAL origin. The Blues sound was the folk music of early America, not conceived by trained musicians. It was the natural vocal expression of the black slaves, reflecting their bondage and lifestyle. They HEARD and FELT their music, and that. is what makes it so melodically important, 263) Example #133 illustrates a C BLUES SCALE. Example #133 264) These points should be understood: a) Each number in Example #133 represents combinations of half steps. (i.e., 2= a whole step, 3 = a minor third interval, etc.)Page 176 b) The BLUES SCALE is a six note scale. c) The upper and lower tetrachords contain only three notes instead of four. They have an identical interval construc- tion. 4) The scale contains a 5th degree AND a lowered fifth. e) The lowered fifth links both tetrachords by a half-step interval. f) The BLUES SCALE contains a lowered 7th degree, lowered Sth degree and a lowered 3rd degree of the major scale. 9) The black noteheads shown in Example #133 are optional, possible passing tones not considered in the basic scale, but sometimes used as an embellishment. h) The BLUES SCALE is played in both an ascending and descend- ing direction. (See Examples #134 and 135.) Example #134 F BLUES SCALE Example #135 ‘Ab BLUES SCALE oo a EXERCISE #77 a) Write an ascending and descending Blues scale from each of the given notes. b) Include accidentals wherever required,Page 177 2) 6s 1 i 4 5) i == =j _§) eS ql a=Page 178 Exercise #77 Continued 10) 9 Re ! 13) 14) = =] 15) to Ad 265) The CHROMATIC SCALE i CHROMATIC SCALE are o1 correct way to write descending CHROMATIC Example #136 ————————— THE CHROMATIC SCALE is just what the name implies. ne half step apart. an ascending CHROMATIC SCALE. SCALE. All tones of the Example #136 indicates the Example #137 is aPage 179 Example #137 266) The ascending chromatic scale treats all accidentals as sharps or cancel- lations of the key signature. The descending chromatic scale treats ctl accidentals as flats or cancellations of the key signature, 267) The main function of the chromatic scale, or portions of the scale, is to fonnect certain selected IMPORTANT tones. In other words, some of the tones of ‘the chromatic scale have more importance than others in the sense that tones with a strong harmonic relationship serve as “landing points" on Strong accents of the measure. The other notes in the chromatic este ace s connecting tones INTO the more emphasized tones. 268) hen writing ascending or descending chromatic scaies in key signatures of many flats or sharps, it is correct to make use of double flats and dove sharps. These are easier to read and fewer accidentals are required. Examples #138 and 139 illustrate the use of double flats snd sharps. Example #138 Example #139 ee oxo oan 8 te en ot 269) Paragraph 267 stressed the fact that CHROMATIC SCALES are used Primarily to CONNECT chord tones. This means the STARTING and ENDING notes bf tre CHROMATIC SCALE will function as strong chord tones of «chord you already know. (See Example #140.) Example #140 ae 7th Root BA = — = € © f= oe =} 4 + ut tt Chromatic Connecting TonesPage 180 a) b) EXERCISE #78 Fill in the chromatic passing tones to connect the chord tones stated in the problems below. Some are to utilize an ascending chromatic scale and others a descending chromatic scale. Pay particular attention to your use of sharps and naturals when ascending and flats or naturals when descending. Use Example #140 as a model. Write the connecting tones as black noteheads.Page 181 Exercise #78 ContinuedPage 182 Exercise #78 Continued ——— — = — = 2 19) =— 20) 157Page 183 THE DIMINISHED EIGHT-NOTE SCALE THE DIMINISHED EIGHT-NOTE SCALE. 270) An eight-note scale means there are eight different tones selected within one octave. This larger number of notes is rare, compared to the more conventional scales we know. 271) To this point, we have studied: Major Harmonic Minor Melodic Minor Natural Minor Dorian Mode Phrygian Mode Lydian Mode Mixolydian Mode Aeolian Mode Locrian Mode SIX-NOTE SCALES Whole Tone Blues Scale FIVE-NOTE SCALES Pentatonic Scale 272) As soon as we get to an eight-note scale, it requires a new approach to understand its construction and implications. 273) In the same way that the whole tone scale is considered a SYMMETRIC scale (page 162), the DIMINISHED EIGHT-NOTE scale is based oro symmetric concept. 274) If we divide an octave into four equal divisions, we will have three half steps or a minor 3rd interval between each note. (See Example #141.) Example #141Page 184 275) From this symmetric division, we have picked four basic tones: C, Dé, F# and A. We will now go a step farther to complete the EIGHT-NOTE SCALE. Between each of the four basic tones, there are two connecting tones. In Example #142, we choose the connecting tone, PRECEDING EACH OF THE FOUR BASIC TONES. This now gives us eight tones: the four basic tones and the four connecting tones. We call this scale, the EIGHT-NOTE DIMINISHED SCALE. (See Example #142.) Example #142 276) The interval construction, (2 - 1) - (2-1) - (2-1) - (2-1), gives us again a symmetrically constructed scale. Example #143 shows the permuta- tion of the four basic tones. Example #143 C Dim. Sc. 277) We can draw these conclusions regarding the EIGHT-NOTE DIMINISHED SCALE: a) There are three actually DIFFERENT selections of tones from which all twelve eight-ngte diminished scales are constructed.278) 279) 280) 281) Page 185 5) Because the eight-note diminished scale is a symmetric division of the twelve tones of the octave, each of the Four basic tones in the scale can become the tonic of ¢ new eight-note diminished scale. ©) The effect of the eight-note diminished scale is one of @ non-tonal, non-key relationship. THE DIMINISHED 7TH CHORD THE DIMINISHED 7TH CHORD A diminished 7th chord can also be constructed by altering a dominant 7th chord. By lowering the 3rd, 5th and 7th of ¢ dominant 7th chord, you can forma diminished 7th chord. (See Example #144.) Example #144 c7 c°7 A diminished 7th chord can also be constructed by adding a note a minor 3rd or 3 half steps above the Sth of a diminished tread. (See Example #145.) ae Example #146 defines the interval construction of the DIMINISHED 7TH CHORD. Example #145 Example #146 o He min3 DimS — Dim7Page 186 282) The DIMINISHED 7TH CHORD symbol can be written in the following ways a) Dim.7th bya! °7 is the normal, fastest way to write the symbol. Dim.7th is very clear, but not necessary. When speaking, always refer to the chord a3 a DIMINISHED 7TH. 283) The inversions of the DIMINISHED 7TH CHORD are as follows: (See Example #147.) Example #147 Fe7 — F°7,'7(D°7) Fe7’5(B°7) FO7/3(Ab97) 284) The DIMINISHED 7TH CHORD is one of the more unique chord forms. It is one of the group of SYMMETRICALLY formed chords. Each tone of the chord is exactly a minor 3rd interval apart. Because of this equal construction, ANY CHORD TONE IN A O7 CAN BECOME THE NEW ROOT OF A 7, Example #148 defines the symmetrical relationship of this chord. Example #148 Ebe7 Gbo7 ASSIGNMENT #28 EXERCISE 479. a) Construct eight-note diminished scales from each of the following notes. b) To the right of each line, write the diatonic diminished 7th chord, in all four inversions. Write the chord symbol above each inversion. c) Use #1 and #2 as a model. d) Because this is a symmetric scale, enharmonic spelling of 27 €97/3C07/5 C977 Ae?Page 187 Exercise #79 Continued notes will not be consistant with a key signatures choose your own enharmonics.. 2) 07 9) 10) nu) = 12) s — = i ao be i 15) 16) —= —Page 188 Exercise #79 Continued 27) 28) 29) 30) 31) : 32) — =FPage 189 CHAPTER TWELVE NINTH CHORDS 285) This group of five-part or 9th chords are again extensions of four-part 7tn Ghords. In the same way that we can construct four-part 7th chords by building up the scale in 3rds, we can add the extension of » Sth este by Tsing, the tone @ 3rd above the 7th, or a major 9th interval fromthe rot. (See Example #149.) Example #149 : ° ' a i I 1) 5 ba be ba 2 Pa SS 3 a 1 286) The lower bracket in Example #149 illustrates the construction of a DbMaj7. The upper bracket shows the extension from the 7th which force the DbMaj9 chord, 287) Example #150 defines the diatonic construction of the major 9th, minor 9th and dominant 9th chords. Example #150 288) The interval construction of the chords in Example #150 are shown in Example #151.Page 190 Example #151 CMa 539 e oo. 2 Maj3 Pers Maj? Maj Dni9 mind PerS min? Mayo Go Maj = Maj3- PerS min? Maj9 289) The proper chord symbols for major, minor and dominant 9th chords follow the pattern of the 7th chords. a) Major 9th chords should be written: Maj9, Ma3, Mj9 b) Minor 9th chords should be written: min9 or mi9 Take care NOT to us -9 as it can be confused with and altered 9th. ¢) Dominant 9th chords should be written " example, C9, Ab9, F#9, For 290) The construction of the augmented 9th chord is accomplished by adding the Sth, a major 3rd interval above the 7th of an aug? chord. (See Example #152.) It can also be formed by raising the Sth of a dom. 9th chord, one half step. (See Example #153.) Example #152 Example #153 De? obey Db 291) The interval breakdown of the Aug.9th chord is shown in Example #154. Example #154 Maj3_ AuxS min? Mos9Page 191 292) The 6th chords can also be extended to include a 9th. This would apply to both the major 6th and minor 6th. In both cases, this can be done by adding the major 9th from the root of the 6th chord. Example #155 illustrates the major 9th chord, Example #155 Fo Fo? 293) Example #156 illustrates the minor 69 chord. Example #156 294) The interval breakdown of the major 6° and minor 69 chords are as follows: (See Examples #157 and 158.) Example #157 Example #158 Fmio? A GPES | SS Maj3 PerS Maj6 May min3 PerS Maj6 Majo 295) You should be aware that in both the major69 and minor6® chords, we have the first instance of a chord constructed with a perfect 4th interval. 296) The clearest way to write the chord symbol for the Major and Minoré’ chords, is ty raising the HIGHER FUNCTION (the Sth) ABOVE THE LOWER FUNCTION (the 6th). 297) The minMaj9th chord can be formed by adding the note a minor 3rd interval above the 7th of the minMaj 7th chord. (See Example #159.) It can alsc be determined by lowering the 3rd of a major 9th chord, one half step. (See Example #160.)Page 298) 299) 300) 301) 192 Example #159 Example #160 EmiMa? — EmiMa9 DM.59 DmiMad é ASE The chord symbol can be written: minMaj9 or miMa9. The interval construction of the minMaj 9th is as follows: (See Example #161.) Example #161 = min3 PerS Maj? M9 The diminished 7th chord, being SYMMETRICALLY constructed, forms its added fifth tone in a different way. We use the DIMINISHED 8-NOTE SCALE to accomplish this. (Refer to pages 184 and 185.) (See Example #162.) Example #162 D Diminished Scale By ‘adding @ tone to a diminished 7th chord, a major 9th interval from the foot, we construct a five-part diminished chord. This added tone is the {gale tone following the root of the diminished scale in Example #162, (See Example #163.) Example #163Page 193 302) The chord symbol should be written: a) 0°7(aaa9) b) 0°7(adae) Because of the unique chord structure, it is necessary to specifically Teor added tone as illustrated in version "a" or "db". Version 303) Example #164 shows you the comparative structures of the eight forms of 9th chords mentioned in this lesson. We can draw the following conclusions: a) The first four notes of a 9th chord are the four-part chords discussed in Chapters six, eight, ten and eleven. b) In each instance, the added 9th is a major 9th interval from the root of the chord. ¢) The °7(add®) is the only chord synbol utilizing a specific indication of the added 9th. Example #164 CMaj9 Cid oo C9 69 CmiG? COT mk 4) mia ASSIGNMENT #29 EXERCISE #80 a) Below, you will find 35 four-part chords. Add the tone to each, completing the five-part 9th chords. b) Write the correct chord symbol for the completed 9th chord below the chord. (Use #1 as a model.) 1) Fina? 2) 3) 4) 5) 6) 7) 8) 9) 10)Page 194 Exercise #80 Continued EXERCISE #81. Write the following 9th chords from the roots given. [20n.2) 1) 2) = = j = 5) 'Exercise #8] Continued Page 195 9) 10) nn) 12) SS SSS] [a3] 3) ; 14) 15) 16) = SS 17) 20) _ SS SSS 21) 22) 23) 24) SSS — = — be (ined) 25) _ 26) 27) 28) Hey = =— = +o =| ba 29) 30) 31) 32) == SS be ‘ 33) 34) 35) 36) & = = == + = 2 be re = — 38) 39) 40) 7 S= = > 41) 42) 43) 44) =: i tre i= —— = =+ = =]342 196 Faersise #81, Continued 4a) 46) 47) 7 48) 7) 78) 79)Page 197 Exercise #81 Continued 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) EXERCISE #82 The following is a list of chord symbol notations. Draw lines through those you think are INCORRECT ‘or UNNECESSARY. Domid 11) Cemi9(add6) £°9 12) 9 F#Maj9 13) Comi6? Bb-9 14) F+9 c+7(add?) 15) AMaj9 c9(addes) 16) 0-9 Ab6 17) Bdom Bming 18) cb6® DMaj6 19) Eminor major 9 EbminMaj9 20) F#7(9)Page 198 EXERCISE #83 Complete the chord boxes as follows. top of each box indicate: ya 3 5 7 9 21 3 5 b7 9 3) 1 B3 5 v7 9 1 3 +5 v7 9 5) 1 b3 5 7 9 6) 1 3 5 6 9 71 63 5 6 9 8) 1 bs Boe bb? 9 The numbers at the = Majo = dom.9 = Ming = Aug.9 = minttaj9 - 6 = mins? = °7(add9)Page 1¥9 Exercise #83 ContinuedPage 200 ise #83 Continued 1 B 7 9 b3 bS bb? & CH 16: 7) ce cH 13 45 br og 1 e J G 19 20)} 8b 6 Mt | [8 22)Page 201 Exercise #83 Continued Exercise #83 ContinuedPage 203 LESSON EIGHT CHAPTER THIRTEEN INTRODUCTION TO ALTERED NINTH CHORDS 304) We have studied eight forms of ninth (five-part) chords. These eight forms are considered the normal possibilities in 5-part harmony. 305) We've learned that all chords are derived from scales; however, we find that when we use minor or dominant eight-note scales as chord sources, the alter- ations inherent in these scales (b3, b6, b7) create note selections that do not conform to the standard eight 9th chord forms covered in Chapter 12. So, there are variations on two of these 5-part chord forms that allow us to ALTER (or adjust by a half step) the conventional chord symbols to conform with harmony based on the dominant eight-note or minor scales. 306) The only way we can NOTATE these derivative chords of the dominant 8-note or minor scales is to base the chord symbol on the normal 5-part chord and then ALTER either the Sth or 9th of the chords to achieve our new ALTERED 9TH CHORD forms. But to learn this, we must first learn the construction of the DOMINANT EIGHT-NOTE SCALE. THE DOMINANT EIGHT-NOTE SCALE 307) The Dominant Eight-note scale is a symmetric scale, and in that aspect is similar to the diminished eight-note scale discussed in pages 183 and 184. (See Example #165.) Example #165 SS = 308) From the syrmetric division in Example #165, we have picked four basic, equidistant tones: C, D#, F# and A. The relationship of these four tones to each other is Iike the construction of a diminished 7th chord. 309) To complete the Dominant Eight-note scale, we now need to add connecting ne which are a half step above each of the four basic tones (see Example #166).Page 204 Example #166 310) The interval construction (1-2) - (1-2) ~ (1-2) - (1-2), (the opposite of the construction used in the diminished 8-note scale) gives the scale its symmetric quality. An eight-note scale contains the same tones ascending or descending. Example #167 shows the permutation of the four basic tones. Example #167 C Dom. Sc. 311) We can draw these conclusions concerning the eight-note dominant scale: a) There are three altogether DIFFERENT selections of tones from which all twelve eight-note dominant scales are built. b) Because the eight-note dominant scale is a synmetric di- vision of the twelve tones of the octave, each of the four basic tones in the scale can become the tonic of a new eight-note dominant scale.Page 205 312) When writing any symmetric scale (i.e., whole tone, diminished or dominant 8-note scale) any choice of enharmonics is acceptable. Try to choose those that "read" the easiest and that conform to a given key signature. ASSIGNMENT #30 EXERCISE #84 Construct eight-note dominant scales from each of the following notes. (Choose your own enharmonic spelling as you construct the scales.)Page 206 Exercise #84 Continued & t= = —— = 14)Page 207 ALTERED NINTH CHORDS 313) The only chord types that can have an altered 9th are the Dominant 9th and Augmented 9th. The chord symbol for an altered 9th should be care- fully written. When writing any form of an altered Dominant 9th, the symbol is stated by calling the chord a 7, then the altered 9th is added (i.e., Bb7(b9)). Generally, this process should be followed: a) State the original basic symbol (i.e., C7). b) Second, the function of the chord to be altered is stated. It should be enclosed in parenthesis (i.e, C7(9)). c) Third, a flat or + sign is placed in front of the function (i.e., C7(b9) or C7(+9)). It is acceptable to use a #, C7(#9). 4) If a second or third function is required, they are stacked vertically, the highest function of the chord on top, within the parenthesis (i.e., bo. C7(p5))- e) A DOUBLE ALTERATION occurs if the 9th is both raised and lowered (i.e., C7(3)) ALTERATION OF THE 9TH 314) It is possible, on a dominant or augmented 7th chord to a) flat the 9th (see Example #168A); b) sharp or raise the 9th (see Example #1688); c) use a double alteration where the 9th is both sharped and lowered (see Example #168C). Example #168A Example #1688 Example #168C c7(b9) c7(+9) ere)Page 208 315) 316) 317) 318) When a raised 9th is notated, it will often be written enharmonically to conform with a key signature or to allow a clear notation of a double alteration. In Example #1688, the Df could be written as an Eb. If the key signature was Eb, it makes more sense to state Example #1688 as follows (see Example #169): Example #169 c7(+9) = In this situation (writing a chord) we would label the notes Eb and E natural so there is no confusion as to them both being flat or natural. In Example #168C, it is NOT FEASIBLE to write a Db AND a D# next to each other. Therefore, the solution shown in Example #168C is the only prac- tical way to notate the double alteration. It becomes necessary to recognize the raised ninth even when it appears to be a minor 3rd, ‘ASSIGNMENT #31 EXERCISE #85 Construct a dominant 7th(b9) chord from each of the following notes. <= ate 2) = — 5) 6) 7) 8)Page 209 Exercise #85 Continued 9) 10) n) 12) == EXERCISE #86 Construct a +7(b9) chord from each of the following notes.Page 210 EXERCISE #87 Construct a dominant 7th (+9) chord from each of the following notes. yy 2) 3) 4) 5) 6) = = 9) 10) = Fe 12) S5 bo 13) 14) 15) 16) Saas EXERCISE #88 Construct an +7(+9) chord from each of the following notes. 1) 2) 3) 4) 5) 6) 7) 8) re =" pe — | 9) 10) WW) J)Page 211 Exercise #88 Continued 13) 14) 15) 16) Se ee a = te - 1 EXERCISE 489 Construct a 7({3) chord from each of the following notes. 13) 14) 15) 16) |= lbs 1Page 212 EXERCISE #90 Construct an +7({3) chord from each of the following notes. 2) 3) 2 t = — = — 5) 6) 7) 8) : ee —— 9) 10) NW) 12) ae all Hi q y 16) al att y ail ALTERATION OF THE 5TH 319) It 4s possible, on a dominant chord to a) flat the 5th (see Example #1708); b) raise the Sth (see Example #1708); ¢) use a double alteration where the Sth is both sharped and lowered (see Example #170C). Example #170A Example #1708 Example #170C c9(b5) +9, C+9(b5)Page 213 320) In Example #170B, a raised 5th has formed a conventional augmented 9th chord, which we studied on page 190, paragraph 290. 321) Example #170C illustrates a oouble alteration, furciny tne use of the enharmonic spelling of the raised 5th to LOOK Tike 4 lowered 6th ASSIGNMENT #32 EXERCISE #91 Construct a 9(b5) chord from each of the following notes. = 8) EXERCISE #92 Construct an +9(b5) chord from each of the following notes. 1) 2) 3) 4)Page 214 Exercise #92 Continued 10) n) 12) 13) 14) 15) 16) ¢sie SS COMBINATION OF ALTERED STHS AND 9THS. 322) So far, we have examined the individual possibilities of altering the 9th or the Sth of a dominant or augmented chord by raising or lowering the 9th or 5th of the chord a half step. 323) Now, we can combine alterations of the Sth and 9th to produce a group of chords that are quite demanding and sometimes confusing. 324) To avoid confusion, key in on the fifth and ninth of chord symbols, so that your eye goes to the specific alterations enclosed in the parenthesis. 325) The combinations of altered Sths and 9ths are: Example #171 9, +9): ay 1b) a) co7tb9) cy 788) 5) 709) +9 _ 6), ott) - e)_cr7(b3) K) +9 c+7(b9) bs =Page 215 ASSIGNMENT #33 EXERCISE #93 Complete the following chords. +9 49 A) oy F709) 7) o67($3) 8) +7073) f = = =| 9) _cbe7(P3) to) _€7(P3) nn) a7($3) 12)_p+7(+9) 49 fa vay 67088) Aye 1s) F7%b9) 16) _b7(¢2) : SS — eoer(fg) ___18)_Aoe7b)_19)_c47(G5) _20)_Db+7(9) +9 Red A oe 22) F788) 23) _Be7(bs) aay_£7(09) 25) AT(y5) 26) 07(P8) 27) 67(73) 28) 047(+9)Page 216 EXERCISE #94 a) Identify the following chords. b) Write the name of the chord ABOVE each example. ‘SONCLUSION 326) To study the various possible forms of the ninth chords requires a consider- able amount of time. Your first goal is to UNDERSTAND their sources and construction. Memorizing them and recognizing them in all keys only comes from repeated exposure over a period of time. 327) As you continue your musical training,, the material covered in this book will be the foundation from which you can now understand the RELATIONSHIP between chords used in PROGRESSIONS, as SUBSTITUTIONS or within CHORD FAMILIES 328) Only by continuously working with the basics covered in this book will you attain a mastery of the practical information you need to apply modern harmony and theory to your personal goals -- playing, improvising, composing, arranging, sightreading and faking. The end result: attaining a maxirur level of musicianship. I would recommend that you continue your study of modern harmony and theory by obtaining my book, MODERN HARMONIC RELATIONSHIPS,Page 217 which 1s a study of how chords relate to major and minor key areas; the use of 9th, 11th and 13th chord forms (including altered forms); plurality; chord substitutions; chord families; scale sources for all chord forms; and polychords.. DICK GROVE