Naturally, any study of music saust begin with an undersianding nf those simple elements which go tomake up music. The first of these elements to be discussed is Pitch, which is designated by the location of a rote ona musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the “treble” ” chefs. and “be FEE DE cae era FABCRIEFEABEC Ext Some definitions relating to pitel SEMI-TONE.*. . . The smallest distance between two notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The distance between two different pitches. .+ Each note ina scale is called a degr scale. e of - + A four-note scaie consisting of the follow- ing intervals: Whole-tone, whole tone, semi-tone t direct apnlication we will make of pitch struction of major scales, A scale may best be d 88 & Series of velated notes moving in a constantly asce! ing er descendi: direction. Saar Page? seu? KeFale anamnestic Ahn ON te MAIC SCALE CONSTRUCTION ‘The major scale is made up of seven different notes, one cn each suc~ cessive line and space of the stave and each having a different letter name. The eighth note, or octave, is added since this note gives a feeling of resolution and completion when the scale is played. Upon analyzing the intervals of the major scale built on C, you will find that the structure of the major scale is as follows: . (two tetrachords connected by a whole tone) Whole tone, whole tone, semi-tone, (Tetrachord) Whole tone. Whole tone, whole tone, semi-tone. (Tetrachord) ‘These intervals between the degrees of the major scale never vary, hence, major scales may be built on any note using the structure of the scale built on C as a guide. A major scale built on the root tone Ab would have the following appearance: Note that the fourth degree of this scale must be called Db rather than C#, since the third degree had the letter name C, and the definition of a major scale stipulates that each of the scale degrees must fall on the next successive line or space and reccive the next successive letter name. Just to be certain that the foregoing is perfectly clear, here is one more example of a major scale, this time built on the note E. Page 2) Although major scales may be constructed as described above, amore organized method for finding all of the major scales and key signatures is based on the application of the tetrachord. As may be scen in the following example, the major scale is di- visible into two equal parts, each part forming a tetrachord. These tetrachords are identical in construction and are con- nected by the interval of a whole tone. ° (o wa Pr ¥ weenes|_rowe row Breve \croves |_rone | ONE asthe oT oT Ex, 5 By using the upper tetrachordas the lower telrachord in our new scale, it is possible to arrive at all of the key signatures con~ taining sharps. tore vepen, rerescHone oF YS Cee brous Kev tét. SD Ex. 6 In the previous example it is evident that the F must be sharped, since each tetrachord must be composed of whoie tone, whole tone, half tone. By following the same procedure it is obvious that the next sharp key would begin with the tetrachord built on the nole D, i.e., the upper tetrachord of the G seale. - Page >ngcuaes ae waeveus CD Again, notice that the note C mustbe sharped in order to conform to the whole tone, whole tone, half tone structure of the tetra- chord. Beginning again with our C scale and this time using the lower tetrachordas the upper tetrachord of our new scale, it is possible to arrive at all of the key signatures containing flats, canes exouer rergesiase ps Pe Bp OE LS CRS o Soe v Bes Notice that in this case the B was flatted in order to conform to the tetrachord structure. Once again by using the lower tetrachord as the upper tetrachord of the new scale, it is evident that the next flat scale would have an upper tetrachord built on the note F and a new lower tetrachord constructed below it, cower TErgteheee 9° ema US area” ba, 7 a re Page 4 Ki,‘The following tables si flat keys in treble and hah w the signatures of all of the sharp and cleis. - ee A & tbl titel = Oe B. NOTATION ‘There are certain’ basic principles to be followed in the correctand legible notation of music. Hereare a few of them to help you in your work. 1. Make sure that every note is clearly centered on a line or a space. BAD GooD ie Ex 11 2. ‘The same applies to the use of sharps and {1 If you are sharping the note F, be sure Page §em tea mitt ame ma ae ionamin ane Ei sharp is centered directly before the nie. 3. If a note has a stem attached to it, make sure that the stems are straight and try to observe the following rule: If the note is above the third line stems go down; below the third line stems go up. =-_= 4, Always strive for neat manuscript. It may take a little longer to complete the work at the start, but as you progress you will develop speed to- gether with a clear, legible manuscript. = (At this point it would be advisable to complete Problems No. 1 through 6 of the assignment) - = = C. RHYTHM (Part I) Rhythm may Le defined as the factor which controls dura- tion {i.e., how’ long each note is to be held). Following is a table showing each of the rhythmic values which will be used in succeeding lessons and the duration of time each occupies. The corresponding rests whichare shown on the right repre- sent the exact opposite, i-e., the absence of sound for a specilied period of time. = = Page 6 =Name Duration Equivalent rest (when quarter note ~— & gets one beat) gi # \ : 4 beats foot f 4 halt note 2 beats x 3 : . iq quarter note 1 beat 2 =f i 5 half note ete if triplet Ae . y quarter note a triplet 2 beate a a eighth note 1 beat 8 triplet 4 | - sixteenth note dotted naif note 3 beats { dotted quarter Life beste note Ee Mt red cannot be represented by any single two noles with & “tie”. is not considered to bea s one duration. If the duration desi note, it is achieved by combining This mexns that the second note i new attack butis simply joined with the first a: Page 7The controlling factor in rhythm is the time signature. In each case the top number represents the number of beats or “counts” ina bar of music, while the bottom number tells us the kind of note that gets one beat, A os x2 A beats per bar 6 beats per bar 2 beats per bar quarter note gets I beat eighth note gets 1 beat half note gees 1 beat Ex. 16 Assuming thata bar of 4/4 time can be written as four quarter,notes, itis obvious that any combination of durations which add up to four will also form a bar of music in 4/4 time. Following are severai examples of measures in 4/4, Notice that each bar must contain some combination of durations that total four beats. Next, some examples in three-four time: Page 8Ex. 18 ‘The assignment work called for in this lesson should give you a good working knowledge of these simple rhythms, and an excellent foundation for uncerstanding the syncopated and more complex rhythms to be discussed in future lessons. . CHORD CONSTRUCTION (Part I) Using as a basis the major scales which are to be constructed as partof your lesson one assignment, it is possible to build all of the basic chords which are used in modern harmony and arranging The first of the basic chord structures which we will develop is the major triad, a three-part chord derived from the first, third and fifth degrees of the major scale. C Major Seale C Major Triad “bese BS Page 9 Ab Major Triadhowever, since simple triads are rarely used in modern writing we Ghali immediately move on to the more mudera and {ullor sounding Fersion of major, the major 6th chord. The major Gth is a four- part chord derived from the first, third, fifth and sixth degrees of major scale. C Majo: Seale C Major Sixeh bg these ros a abe SSH t 7 é ‘Asinay be seen, the major and the major sixth are basically of the fe tonality, and throughout the course we will use the major 6th chord exclusively. ‘All types of chords are built from scales. At this time, however, nt to learn and construct all of the major chords. This or Pe itis impo: is accomplished through: the development of “chord blocks” as below. SAMPLE PROBLEM a \ C ole rs Fill in the open blocks. w& ol Q C 716 o © @ (The above exercise deals with major chords, hence the degree 1, 3, 5, 6 are called for. (see Ex. 20). ‘The note *C” was selected L, arbitrarily. . Page 10First fill in letter names, without accidentals (sharps or flats). a. To fill in the blocks with *C” as “1” is a simple matter; merely count up alphabetically and use the letter names corresponding to the numbers called for. b. With (C) as “3”, merely count down to “1” and up to “5” and “6”. ace GAB j2[3]4|shs]7 8 c. Similarly with (C) as “5? count down to “3” and “1” * and up to “6”. > EF ciao ie[ele F a2 [a}4 [sist ¢ d. Same treatment with (C) as 6”. @ Assy 3} 4 [5 The first step in the solution is now complete and the chord block should appear as follows: 6\A\F\2\O S|ElE\OQ\S Be. 22 3|4\O\A4 [6 7 Ol4lelé Page It i q- The second step is to check our major chord structures for necessary sharps or flats. a. With C as “1 we refer to that scale which has “Cc” as the first degree and find no sharps and no flats, hence 1, 3, 5 and 6 in this case are correct as they appear. G s 3 N ORRIE @ oO @ Ex, 23 b, With C as “8", refer to that scale which has“C* (natural) as the 3rd degree. This we find to be the scale of Ab which has a key signature of four flats, (Bb, Eb, Ab and Db), We must, therefore, correct the letter names to suit the scale, In this case A and E must be flatted, A G| A ww fy fs Ee tt Page 12c. With C as the fifth degree, we find that the appropriate . scale is the scale of “F* with a signature of one flat. . (Bb). However, since there is’ no'*B” called for in this chord, the other notes remain unaffected. a w& | & @[m [9 [s&s © D ZO A F Ae oo © Ex. 25 te “C” as the 4, With C as “6”, we look for that scale which has the no! “Eb? with a ‘sixth degree. The proper scale in this case would be signature of three flats (Bb, Eb, Ab). ‘The notes that are affected in this case would be “B? and “B’, which must be flatted to conform to the scale. oN Page 13ASSIGNMENT 1. (a) Write five different examples of semi-tones. o 7 7” »' ® whole-tones. 2, Start with the scale of C, and through application of the fetrachord principle, work out all of the sharp key scales in both the treble and bass clefs. 3, In the same manner, work out all of the flat key scales in both the treble and bass clefs. 4. Complete the following problems as illustrated. fa) Cis the fifth note of the scale of F. (b) Foo” ® third ae (c) Ab ” ” second > eo” ° ” 8 D * ®* seventh ? 7 * ” ” le) F# 7 * sixth ne bbo” * fourth 7 7" ™ 5. Complete the following problems as illustrated. a) C is the fhird note of the scale of Ab. Fe? * ph 2 ™ = 2 1 Be Rone Qari gett bike oe » o> AD 6. Comptcte the following problems as tilustrated. Is the third note of the scale of Bb. > * seventh ® " ? ep? FB, ” fourth. so ® » ” Gb, i >» » seventh » 7 " % " De i » » sixth » os me 8 Ch. » » third a om om ee TH 1. Given are series of numbers. Write each of these series of Guration in fowr-four time as shown in the accompanying example. ty 44 eB (a) 3, 4, 2 2,OZLR3L531,4%31544 13% 1 U3 5, 3 1, 2 (©) 1/2, 1/2, 2 2, 1, 5, 1/2, 1/2, 4, 2, 1/2, 1/2, 172) 479) 8) 1 2 2) 1, 3, 1/2, 1/2, 172, v2 2,4, 4/2, 1/2, 5 8. Write the same series of numbers, this time in three-four time. fe 9. In this next problem dealing with rhythm, consider each of the circled numbers to indicate a corresponding period of rest. ‘The rhythm: 1,072) 1/2,@ 1/2, 1 1/2, CB 1/2, 1 would appear as follows in 4/4 time. Notate each of the following rhythmic phrases in 4/4 time. (a) 2, 1. GG) 1172, O3,@ v2, 12, © 4. 12, 3,G) 12, 124 @ 1 5. OD 1, 1172, Tz) 1, 1, 3,@) 1/2, 12, 11/2, CAPD 2. to) © 4, 1, 1,17 al2, 5, G72 1/2, 1/2, We, 3, 2,72) V2, 3, 11/2, 12, G) dy 2 112,37) 1, 2,@) 11/2, 17> 1, 4,2) 1/2, 1 4 (ce) 3,02) Va 112,01 uU@ ds 3 GAR 172, 1 12. GRD %4@ VG i V2, 12 CD 12, 44D) V2, 12, TPB) V2, 2. Page 1540, Again referring to the rhythmic patterns given in Problem #9, nolate each in 3/4 time. 11, Create a melody with a rhythm using notes of the EP major scale Create 2 four time signature. ‘This melody should be eight bars Jong and contain scale notes only. Since the purpose of this assignment is to further yor familiar Gaation with the notes contained in the various Fey, itisadvisable that you use accidentals where needed, rather than & key signature. Key oF & Ex. 30 12, Write eight bar melodies similar to that in Problem 11, but as follows: Key of A... 4/4 time Key of Ab. . 4/4 time Key of F .. 4/4 time Key of D . . 3/4 time Key of Db. . 4/4 time Key of Bb. . 4/4 time Key of E .. 3/4 time Key of G . .3/4 time 43, Construct major chord blocks as described in this lesson on. Cone rhe following notes. (See enclosed Work sheet) Cy Fy Bb, Eb, B, E, Ay Dy G. tag 14, Write out cach of the following major vhords 4m musical notation with: fa} Root as bottom note } 3a” > Aen > ’ 6) 6th” —” ” on: C, Db, D, Bb, E, F, FH, Gd, G Ab, Ay Bb, B. fy_imversions of the major a chord signed to fam 45. The fullowing problem e you with major sixth chord structures. Tn composi the original melodies this of the major chord indicated above Page 16ging SS Sganimene Compose original melodies on the following progressions using AL fe . chord notes only, xeYEE Ll”lt—— LESSON NO. 2 CHORD CONSTRUCTION (Cont'd) + continue with our study of chords as begun in Lesson No- 1, we shall now discuss ‘u’construct several more of the standard chord s ructures. The first of these is ¢ Minor ‘Triad. To construct the minor triad, simply refer to the major triad and wer the third degree one-half step. ore Ex —— dg 1 naming the lowered third degree, remember that if the original major third was ird was a natural, the lowered harped, the lowered third willbe nacural; if the major (h ‘rd will become a fist; and in the event that the major third was preceded by a flat) ye lowered third will become a double flat (bb). . imple triad is rarely used in modern chord voicing, ‘used minor chord with the added ing to the major sixth and simply is explained in Lesson No. 1 the si S once again, we move on to the more commonly fxth. ‘The Minor Sixth chord may be found by refer} owering the third degree one-half step. Bx 2 pone ¢ Mince 6tm pg — hig once again in order to properly con! isadvisable to make use of the “chord bloc! flere is a sample problem in constructing struct and learn all of the minor sixth chords, it ‘k® technique as described in Lesson No. 1. minor sixth chord blocks. SAMPLE PROBLEM Fill in the open blocks w f wy LS QD |= 1 iw a we we {The above exercise deals with minor chords, hence the degrees -- one, lowered ive and six are called for)‘To continue with our study of the basic chord structures, Dominant Seventh Chord, a four-part chord which is derived from the fivst, third, fifihand lowered seventh degrees of the major scaie, The simplest method however, is to refer to the major seventh chord and lower the seventh degree one-half step. ¢ shall next cousider the Ex. 10 . CMaj7 (C7 (Dom) Asin the case of the lowered third, if the original major seventh was a sharped note, welower it by making it natural; if the original major seventh was a natural the low- ered seventh will become a flat; and in the event that the major seventh was already a flatted note, the lowered seventh would be double flatted (bb). As we have already done with the major and minor chords, the chord block technique may once again be employed in constructing and learning all of the dominant seventh chords.” SAMPLE PROBLEM Fill in the open blocks d Ex i b E @ & ww Since this exercise deals.with dominant seventh chords the degrees one, three, five and lowered seventh are called for. SOLUTION: 1. Fill in letter names without accidentals using a. Cas the root b. Cas the third c. Cas the fifth d. Cas the lowered seventh eT Bal 7]ale|z|O L i“ | 1 s|G|4IO}4 Bee 3|4|©Ol4 | 4 1JOQVAL FI 2 we Page 42. Next we check the dominant seventh chord structures for neces sharps or flats. Or necessary a. WithCas the root we refer to the C major scale. All of the notesare correctas they stand with the exception of the *seventh degree “B”, which must be lowered to conform to the chord structure (dominant seventh). i Ex. 13 w fo [~ a b. withCasthe third, the aporopriate scale would be Ab, with asignature of four flats. In addition to flatting the A and ure . E to conform to the scale, the G must also be lowered to conform to the chord structure. : . Pelz] of et : 5|G| 24° be : 3|4|©} 11©| 44 @) c. With C as the fifth degree of the F scale the only alteration necessary would be to lower the seventh degree from E to Eb. d. Here we base our figuring on the fact that the note C is al- ready the lowered seventh of some scale - in this case, the scale of D. We know that in the scale of D major the C is Page ®NOTE: The following chord symbols are sharped. Hence, the given 2 natural is correct as the low- ered seventh ia the erate of D. The third degree 1s Fa. 7 ane © 4 Ex 16 I= JOl oO @ © (Before going on, it would be advisabie to complete Problems aanignment.) 4 US of the used in reference to the chord structures discussed in Lessons No. 1 and 2 Corecess eee... C Major (6) : Ome. lil! + Minor (6) CMaj?. 6222.22 6 Major Seventh ci. te eeeeeess. © Dominant Seventh HARMONIC CONTINUITY . The first actual arranging technique which we will discuss is the princi- pleof Harmonic Continuity, a method of producing smooth voice-lead ~ ing in 2 given chord progression. Once you are completely familiar with this technique iis relatively simple matter to write interesting, effective backgrounds for any instrumental or vocal combination. In these continuities any chord may appear in any inversion, but no matter what the inversion, we shall name the notes in terms of voices ratherthandegrees, In other words, we shall consider the top Rotecor tre chord to be the first voice, the next note below it to be the second voice, and so forth, ce the position of the tirst chord is determined, to produce smooth voice leading to the following chord simply apply the basic principle gf harinonic continuity, i.e., KEEP COMMON TONE (OR TONES) IN I LOR TONES) IN SAME VOICE (OR VOICES). To clarify this rule, let us assume that we are moving from a C chord to Ab7 chord. We know that the notes of the C chord are C, E, G, A, and that the notes of the Ab7 chord would be Ab, C, Eb, Gb. In this —_ Page 6 . , vey Gan oe Vag yyy kad Lo Cul \ wih Wow Re _ a Ew ME ED eta ass 2 7se, theonly common tone would he the note C, j.¢., the only similar note found in both chords. In the fcllowing example, Cappcarsas the fixst voice of the C chord, therefore, the C must remain as the first voice of the Ab? chord, with the rést of the chord notes of the Ab7 being filled in below the'C: Ex. 18 CL. Were the C chord in the following position with the C as the second voice, then the C would become the second voice of the Ab7 chord and the following position would result. : Ex. 19 In the event that the C chord were voiced so that the C was in the third or fourth voice, the Ab7 would appear as follows: Ex. 20 (e) ‘To go on let us assume that the Ab7 chord was. followed by an Fm chord, Now,a common tone relationship must be established between the Ab7 chord and the Fm chord. The notes of the Ab? chord are Ab, C, Eb, Gb, the notes of the Fm chord are F, Ab, C, D. In this éase Mere would be tvo common tones -- Ab andT {iley appear in both chords), and to produce smooth voice 1 ust be kept in the same voices.Here is a longer example of a harmonic continuity with the common tones indicated. The position of the starting chord was arbitrary, Ex. 23 Occasionally there will occur a situation where there are no common tones between adjacent chords, In case observe the following principle: | WHERE THERE ARE NO COMMON TONES BETWEEN ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE NEAREST CHORD TONE OF THE NEXT CHORD (EITHER pra X . ABOVE OR BELOW) AND CONSIDER THiS TO BE THE pee Naa ers FIRST VOICE OF THE NEW CHORD. ca bot ~ 9S >. \ eff the case of C to Abm (no common tone}, either of the following, would be correct. bed BEEAEG BEREERE DEELHere is 2 continuity incorporating this principle as well as the one previously discussed. —-_s | to nearest position Ex. 25 As you work out these harmonic continuities you will notice that the progression has a tendency to move downward on the staff. This is a resultof the natural downward tendency of mostharmonic resolutions, one of the points that will be covered later in the course when we deal with the problems of setting up our own chord progressions or rehar- monizing those that we are working with. ~ ‘The following simple principle allows us to control the range of the continuity, a necessary device when we apply these chord patterns to orchestral writing. AS LONG AS THE CHORD REMAINS THE SAME; POSI- TION MAY BE FREELY CHANGED WITHOUT REGARD TO VOICE LEADING. AS SOON AS THE CHCRD CIANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Bx, 26 inversions of the C chord 11 of the foregoing is perfectly clear, here Now, to make sure th: } three of the principles appiying to har- is a'conti contain monic conti Pare 9 abla illic pail ibis «inversiona of the ssme chord to nearest position SSIGNMENT . Work cut all minor sixth chord blocks indicated on the enclosed sheet. . Netate minor sixth chords in all four inversions on each of the following notes: C, Db, D, Eb, £, F, F#, Gb, G, Ab, A,’Bb, B. s Com y . Notate in all inversions, all major seventh chords. (same li . Ex, 29 inversions of the Major Seventh chord x 3 C Maj 7 Work out dominant seventh chord blocks as indicated on the enclosed sheet, Page 105, Notate inversions of the Dominant Seventh chord, again referring to the list of root tones given in Problem No. 2. Ex. 30 Inversion of the Dominant Seventh chord 6. ‘Write harmonic continuities on the following chord progressions. In working out these continuities be sure to consider all of the principles covered in this lesson. (See Ex. 27) (yi upucu ) - Ff? a eer F G co - 7. Set up a harmonic continuity plus an original melody on each of the following chord pregressions using a three stave score as in the example below: Page 11I ' f ' ' an 7 LESSON NO. 3 ] ‘A. CHORD CONSTRUCTION (Cont'd) } {fo continue with our study of the basic chords which are used in dance band work, we ] will next consider the Minor Seventh Chord. ‘The minor seventh is a four-part chord + based on the root, lowered third, fifth, and lowered seventh of the major scale. A simple method which may be used to find the minor seventh chord would be to refer | to the dominant seventh and lower the third degree one-half step. 1 h Once again in order to be certain that all of the minor seventh chords will be learned » and constructed properly, we make use of the “chord block” technique 2s described in _ Lessons No. 1 and 2. . SAMPLE PROBLEM , Fill in the open blocks. Oo OQ © ww ew Since we are dealing with the minor seventh chord, the degrees one, lowered three, five and lowered seven are indicated. ~ SOLUTION: 1, Determine letter names: with C as the root Ne, 7 with C as the lowered third with C as the fifth with C as the lowered seventh ‘ Bese 9] % ®lm S1Olm lo ays ol ays2. Add whatever sharps or flats may be needed to produce the minor seventh chord structure. with Cas the root, we refer to the C major scale (no sharps or flats) and lower the third and seventh degrees, 1.e., E and B to conform to the chord structure. @ the lowered third of the scale of A. (C# would be We must also lower the scale seventh G# to G. -b, We find that C i: the regular third) 7 S\G Zz Je ¢. With Cas the fifth degree, we must refer to the scale of F. Again, to canform to the minor seventh chord construction, we lower both the third and the seventh degrees. fy 7| 8G |e Ex. 6 S/E\4|O Mls lelol# \@lale d. With C as the lowered seventh degree, the proper scale would be D major (regular seventh degree, C#). In addition to the lowered seventh degree the scale third, must also be lowered to become F ratural.[vel 7 | 2] |4°|O] E.7 S\|GIE\OQ\A | 3 | AOA A l@l4l4]o 4 ew oF ©) a p T-L- Zz next basic chord structure to be discussed is the Auzmented Triad, a three-part rd based on the first, third, and raised fifth degrées or the major scale. A simple to find the augmented triad would be to refer to the major triad and raise the \ degree one-half step. Bg * Cas & ee Pouce , stated previously, three-part chords are not often used in dance band arranging: more commonly used form of this chord is the Augmented Seventh. In relation 1e major scale, the augmented seventh chord would consist of the first, third, raised |, and lowered seventh degrees. However, a simpler method would be to refer to dominant seventh chord and raise the fifth degree one-half step. be pure © Oo gsr Bove? cr Cae? — =F oe ill not be necessary te work out chord blocks on the avgn nted seventh. If you are soughly farajliar with all of the dominant seventh chord structures, you should have Utdleulty in getting to know the augmented sevent | ther of the chords with which you must be familiex is tneeDigntbchedetas inished triad is « three-part chord derived fram. the first, EEC i fifth of the major si it may aiso be located by referrin simply lowering the fi ee one-nalf step. Page 3 (Ex. 10 [nei wa) Since we will need a four-part version of the chord for our arranging work, we move i] on to the Diminished Soventh Chord, a four-part chord derived from the first lawee, ‘bed third, lowered tHUPE AOI enon seventh of the major scale. Although it is } calied a'seventh chord, the simplest method for building it would be to een 4 minor sixth chord and lower the fifth degree one-half step. - i i Bence eom amas | Another feature of the diminished chord is that enharmonic spelling may be used freely ipithour regard to scale degrees, i.e., F# may be called Gb; Bbb may be called A, etc. An the following illustration any of tho chord spellings shown would be considered to be a correct, Ex. 12 sain, the case of the augmented seventh chord, it will not be necessary to work t diminished seventh chord bl A thorough knowiedce of the minor sixth should table you to locate the diminished chord structure with a aa a aB. CHORD SYMBOLS Every chord structure is designated by a special abbreviated name. Following Every plete listing of the basic chord structures which we will usey and the symbols that identify them. UCTURE SYMBOL . C Major c ‘ ¢ Minor Cm or C- C Major 7th C Maj. 7 C Dominant 7th cl * C Minor 7th Cm or C-7 C Augmented 7th C Aug or Cx C Diminished 7th C dim or Co In addition to these basic structures, you may occasionally encounter so-called + eee chords”, where one of the regular chordal functions has been altered to produce a sound Slightly-different from that of the basic chord. STRUCTURE SYMBOL NOTATION D minor 7, lowered 5th Dm7 (b5) C. (OPEN HARMONY [All of the chord positions that we have covered thus far belong to a general class- {Hostion known as closed harmony. In addition to these closed voicings, corait bpen voicings may often be effectively used. A simple method for converting any- Chord from closed to open position may be described as follows: ‘TO PRODUCE OPEN HARMONY, DROP THE SECOND VOICE (FROM THE TOP) OF ANY CLOSED CHORD DOWN ONE OCTAVE. ‘To jllustrate this principle let us assume that we have a C major chord in the following closed position. (: oS. Supe pe De epee dons Seuavia , wage Ex. 3 a SOR gam & ‘ 1 \ . SramnopreS (d Sueels Page $To convert this chord from closed to open position we would voice, G, down one octave. Ex, 14 | \ | If the closed C major chord had been voiced with the note E on top, dropping.the ‘second voice would result in the following open version of the C major chord. Ex. 15 Here are several more Illustrations of open chords formed by dropping the second yoice of closed chords, Dee Bea RED RREET BEE BFOTE: When using open harmony, we may distribute the chord notes between the Wet se eige bass clefs, using the bacs clef wherever the notes become trephey that it would be inconvenient to write them in the treble clef. It is so low Ussary to keep a specified number of notes in each elel. Rather, nol ihe bass clef where convenient to avoid the necessity of drawing ledger lines. Ex. 17 It is of course possible (and quite effective musically) to apply the principle of open harmony to a harmonic continuity (See Lesson No. ). Here is an example of a continuity: a. in closed position : b. converted to open position by dropping the‘second voice down one octave Page 7\ssIGNMENT __ SSSIGNMEN Ca 1. Work out minor seventh chord blocks as indicated on the enclosed sheet. =, Notate the following minor seventh chords in all four inversions: _ =" C, Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B OO 3. Notalg augmented Seventh chords in all four inversions on-the same list as given in problem No. 2. - _ Notate diminished seventh chords in all four inversions on the same list as given t in problem No. 2. f In praer to have a convenient guide to refer to as you work, complete the enclosed chord reference chart by filling in each chord in the appropriate space as illustrated ft %. Convert the following closed chords to open position: chord progressions. Do not allow the top note of any chord to go below the note E. | = | | Where voice leading would result in a lower lead note, change position of previous | chord. go Ir f Set up harmonic continuities as described in Lesson No. 2 on each of the following ) Ex. 20 Paue &¢ ase ne 2 | pa ace 3 ™ meen neBRuusaea rr as illustrated below. Ex. 22 Original melody using chord notes only Harmonic continuity in open position * Root tone of chord . Re-score each of the continuities which you have written in problem No. 7, Page 10CHORD REFERENCE CHART leit mason(t) MiNon(g) MAJ. 7th DOM, 7th MIN, 7th AUG. Tek =LESSON NO. 4 A. RHYTHM (Cont'd) we here | For preparation in the development and usage of swing Figures analyze the rhythm factors which tend to produce feeling of "swing". First, let us consider the fact that a four-four bar contains eight eighth notes. . sasisebbchinaie Swing consists generally of a combination of accents in the above bar where aoe one accent does not occur on the beat, i.e., one of the accents amust ot cur on one of the "k's" rather than directly on the one, two, three OF four. 3 In order to avoid confusion in locating and naming ‘off-beat! attacks, 1p ortait yely on a system of naming whereby every eighth note gets ve peat. Using this system (i.c., eighth note gets one beat}, the following durations may be represented by @ single note: NOTE DURATION EQUIVALENT R. ha) 1 beat 1 d 2 beats a 4 est . . 3 beats BT 6 beats aa? d 4 beats ot ad. 8 beats aw ° Page |The rhythm "21 1 4" would appear as followa: Bed Following are several bars of rhythm notated according to this method of naming: 3 422 444422 2/4/22 8 SEE SS] ° . Each bar should, of course, add up to eight "eighth" beata, Whenever a duration can not be represented by a single note, a "tie" is used to link two notes into one duration, The duration "5" might be indi- cated as: Ex 6 The rhythm "1" plus "2" plus Ex. 7 Page 2The arranger, or composer, must follow a definite system of notation 0 that even the most intricate swing rhythms may be read easily and accurately. The + three principles by which this may be accomplished are as follows: 4) A NOTE, WHETHER HEARD OR NOT, SHOULD APPEAR ON THE THIRD . BEAT OF EVERY BAR, THIS MAY BE ACCOMPLISHED BY SIMPLY PICTURING AN IMAGINARY BAR LINE IN THE MIDDLE OF THE BAR AND ONLY ALLOWING FOUREIGHTHS(OR THEIR EQUIVALENT) TO - SHOW ON EITHER SIDE OF IT. | me FOS wo 7 # 27 ES GSssa Loe Le UA Ne we fF “ w FS 2 3 . == PEE L4 ty Li 4 4 - EXCEPTIONS: es Es =] peel - @) WHEN TWO OR MORE CONSECUTIVE EIGHTH NOTES OCCUR IN A GROUP, THEY MAY BE "BEAMED". Ex 9 FPF eames teh notes co . i pet Se ‘ HOWEVER, DO NOT "BEAM" EIGHTH NOTES OVER THE IMAGINARY - BAR LINES. - Exe 10 RIGHT WRONG = Page 3| (Before continuing with the lesson, it would be advisalle to complete Problem No. 3 ¢ assignment. ) 3. NOTES SHOULD ALWAYS BE SPACED IN THE BAR ACCORDING To THe VALUATION, ie., 3 half note in a four-four bar should occupy one-half of the total space in the bar; a dotted half note zhou!d occupy three-fourths of the bar, etc. BAD GOOD = 1 = BAD GOOD = qe c= : SS ase (Complete problems #1 and #2 of the lesson assignment) = a a " ib a a B, FOUR-PART HARMONIZATION OF A GIVEN MELODY In this lesson we come to what is certainly one of the most important techniqu of arranging, i,e., how to harmonize a given melody in the modern "block" style. We will start out with a given melodic line with chord symbols and set! up a four-part block harmonization suitable for adaptation to’ any instrumental combination. In past lessons we have dealt exclusively with chord notes, i.e., notes con- tained in the given chord. When working with standard and popular tunes, hows ever, we find that not all melody notes are simple chord notes. Therefore, for the present, we may analyze any melody note according to one of the follo-'= ing classifications: 1. Chord Notes 2, Non-chord Notes oe In the following example a melody with chord symbols is given and each note + of the melody has been analyzed as either a chord note (c), or a non-chord note (nc). | Ee 2 by res fevers ie Bee cmoMm we 6 6c cw weoc Page 4 lk raOnce you are able to determine with Little or no difficulty whether each note of the melody ie a chord note or a non-chord note, the next step will be to “Gill out the chord under each and every note in “block style". Here are the srules for producing @ four-part block harmonization. 1, HARMONIZE CHORD NOTES WITH CHORD, BUILDING DOWN FROM - THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION. Ex. 13 j given melody block ‘parmonteation 2, HARMONIZE NON-CHORD NOTES WI'TH CHORE, BUILDING DOWN FROM THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, | BUT LEAVING OUT THE NEAR: REGULAR CHORD NOTE JUST . BELOW THE MELODY NOTE, 7A ple, if we were harmonising the note "BM with a Om chord (C, Bb, G, ‘A), we would have to leave out the note "A" (the nearest chord noty below "B") pefore filling in the rest of the chord notes. ! ex Pea Cts clecea. | chs vars eS Pegs AU HERE ES "AM omitted sr Green B : & & Pe Here are several more illustrations of the harmonization of non-chord notes. Ex. 15 * given melody block ‘harmonization 4 1Next, we move on to melodies which, like all standard and popular songs, will intermingle both chord and non-chord nctes, Here is a melody of this ort complete with chord symbols, and an illustration of how it would be harmonized. Remember that this same procedure may be followed in effectively harmonizing any of the standard or popular melodies with which you ere familiar. If scored and orchestrated properly, the resulting harmonizations, while quite simple, would nevertheless produce the same professional sound featured by many leading bands. devin In cases where the three lower voices do not change between chords, a smoothe: effect may be achieved by sustaining, rather than re-attacking the notes. Remem- ber that this applies only where each of the three lower voices would have re~ — peated. h wn fs treated: Om 5) In the following illustration, the lower three vaices cannot be sustained, since they actually change from one chord to the next. a BRHeWwWwEBeBaiwtBaBtuwRPteaw Page 6] Another situation where th possibl ex 19 It would be wise to remember that regardless of how often this it is far more effective in smooth technique may be employed, than in "swing type" tunes. than in brass.) _ ASSIGNMENT . 1, Notate the following swing rhythms, C1 72 ¢ above principle might be applied would be where oth the melody and the lower voices remain the same. a to move only the top part while the three lower voices sustain. Here, it would be sustaining ballads, rather (it is also more generally used in saxes rather as indicated in Example 20. 723 53 52 35 21 323 32 332 21 233 2321 za. 413 2123 122 341 4121 4.122123 Pi213 ,2r2an r2ri2d ai22. piaiad piiriirie 2221111 - 2b2r2 . pagar p2nbaiaraid pi1ri2z2 2. Inthe following problem, rhythms employing rests will be used. Remem~- ber that the principles of bar-subdivision apply to rests as well as to durations. = . ee ee ee eeNotate the following wing rhythms: a 441201, 2,2@1, 2,1, @O1221103,111 284, 4 2@ 2@MLUL10%26UL 10)12 5,126) 31 LVLL03L18229L1102 1100 1246 2,1, 2.@)2, 2,1, 3,203, 341441031140141411,2@ . U1, 1, 2 7LUk, 1 Analyze each of the following melodies indicating chord notes (c) and non-chord notes (nc). Fan? Bon? Page 9ce ew On? G7 c (=e EE ae ne OC Wl Me Le EEO? tm? 0% e ceN cm MBE Spas Ne WE Me Faas #? a. Boon 4 bo oS. — ~ - (ease Sa " im nee ice none c (Ne em “ee wee eee i F Gm? co? - . = age Pe eee eee SS dole A c Ne CNC WCNC UC We cone NUNC OC c Bi ene oC we Ara? oh l ‘ ‘e Ith 1 Cie oh5, Harmonize each of the melodies fr block technique described in this 1 wherever possible, om Problem #3 using the four-part lesson. Sustain three lower voices Write a four-part t black harmonization on any twa choice. " standard tunes of your Page U0 uyLESSON NO. 5 Slag bo Ls. ATION. A. PRINCIPLES OF IMPROV! 1, CHORD TONES Notes of any given chord may be used in any order, frequency, oF rhythm pattern against that chord. 2. CHROMATIC APPROACH NOTES Any note which chromatically approaches a chard tone may be used in an improvisation. These approach notes are always of short duration, (d or less). Notice that in the foregoing example each non-chord note chromatically approaches a regular chord note. 3, SCALE-WISE APPROACH NOTES Any note which approaches a chord tone "!gcale-wise" may be vse an improvisation. (Scale-wise approaches must aiso be of short duration). A prerequisite to understanding this technique is a knowledge of "chord scales". scale vipa wise 9058 paw t Swale of vere o>! oe wi ae wa yen Rovea. Ex 4 Ex. MAJOR (6th or 7th) (1 oMiny In the case of the major chord, no alteration is necessary. The major scale, as is, goes with the major chord, A non-cherd scale note may be used in an improvisation if it - approaches an adjacent chord tone. Notice in the following example that every non-chord scale note moves directly into the nearest chord note (either above or below). Bue bi i 2A0.8 2 BG i . StZpngs Groves Supeted dewed MINOR ( Maledic) A habeic bowee Sekt ilocos Mace / BH eQ Becue MEQ) Since the third degree is lowered in the minor chord, the same alteration will be made in the minor “chord scale". . Conloai?) Again, an example of non-chord scale tones of the "minor chord scale" approaching adjacent chord tones. wa) Ce Ey Ke GAH Be Cyrene -fecfla Pane 2=a 3 a oon” Fe, DOMINANT 7th (Mica Qybian) Here, the seventh degree is lowered in the chord scale just as it has been in the chord. i i Following is an example showing non-chord tones of the C7 chord scale moving into adjacent chord tones ae 4. MINOR 7th ( Dou ws) Flud Gevecos Doan Poke Secs In the minor seventh chord, both the third and the seventh degre are lowered . The same alterations have bee! scale. tm tm ta et 1 tm fgEvery non-chord scale tone in the following exams into the nearest chord tone. pie moves directly ¢. AUGMENTED 7th Here the seale building procedure is slightly different. Instead of referring to, and alterin g the basic major seale, we construct a whole-tone"' scale, i.e., a scale composed solely of whole tone intervals. Note: This scale, necessarily, has only six notes plus the added octave instead of the usual seven. Here is an example of scale-w ise approaches into chord notes of the augmented seventh chord,os aa ‘dd ag aw a {. DIMINISHED 7th ‘Again, without referring to the basic major scale, we build the altered scale for the diminished seventh chord, as follows: Chord notes plus one whole step above each.chord note. 2 8 4 b5 bb he 7 Bx 13 Note: This scale will have eight notes, plus the added octave rather than the usual seven. Following is an example showing scale tones approaching adjacent chord tones of the diminished chord. Ex Note: When a minor seventh (b5) structure is indicated, use the Typical mistakes in the use of approach not chord scale of the dominant seventh chord found four half- steps below. celle Unde +e) b Em7 (b5) —> use C7 chord scale —> We Fone 5c Bm7 (b5) - use G7 chord scale Fim7 (b5) - use Db? chord scale es are shown below:- In the following example, although Df would be chromatic to a regular chord note of the C chord (E), in this ease it cannot be considered to be a chromatic approach note since it is leaping into a chord note rather than approaching it chromatically. Page 5Ex. 15 air a Similarly, the Bb in example 16 would be correct had it been followed by either C or Ab, but cannot be considered to be a scalewise approach to Eb, f.e., Eb is not an adjacent chord note. Ex. 16 Mas ZED In example 17, F¥ would not be correct since it is neither a chromatic approach note nor is it present as.a scale tone in the C scale. Note: Although the foregoing will produce excellent musical results in virtually every situation, this should not be considered as a final and complete coverage of scaie-chord relationships. In some cases the scale will be determined, not by the structure of the chord, but, by its function in the overall tonality of the chord sequence. This will be covered in more detail in the section of the course dealing with chord progression, LAA RS eR B. IMPROVISATION The ability to "ad.lib", i,e., to improvise around a given melody, or to create an original melodic improvisation on a chord progression is as essential to the arranger as it is to the instrumentalist. 1, CREATING AN ORIGINAL IMPROVISATION ON & CHORD PROGRESSION. Page 6™ pyre we) a. CHORD Nores {fl As stated earlier in this lesson, chord notes may be freely used in creating original melodies. = b. CHROMATIC APPROACH NOTES (epee Bysiague Gus ee Chromatic approach notes may precede any regular chord note pro- . vided that they resolve directly to that chord note. - aan 3 Ny han Me ie Odes oat ' ¢. SCALEWISE APPROACH NOTES Ce Se ashen Tes awe ped) . pSarvesiess) Non-chord notes which are present in the related chord scale may be used, provided that they resolve directly into an adjacunt chord note and are of short duration. Gm? Following is an example of an original melody based on a given chord Progression which utilizes: a. chord tones b. chromatic approach notes €. scalewise approach notes" IMPORTANT: — ALL APPROACH NOTES MUST PE OF SHORT DURATIO ur on the firsi or third best should not aormally notes, Quarter notes which occ be harmonized Page 7To be certain that the foregoing is perfectly clear, here, once again, is — an original melody composed exclusively of those materials covered-in this lesson. "3 on? ‘7 . F Om? Gm7 C7 Coc? & . pee erie BSS SSS ASSIGNMENT. Q) Write out chord scales on each of the following notes as shown in Ex. No. 23. C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, Bma @ ne coed heuasen In the event that you do have access to a piang, it is definitely advisable to spend come time playing and listening to the chord scales discussed In this lesson, The most effective way is to sustain the closed chord in the leit hand while playing tne altered seale in the right. Remember that speed is not essential, but a S. ive 1 (Play all chord scales notated in Problem No. 1) Page?PRR neta esmuin RE , 3. Using only chord notes, chromatic approach notes and séalewise Shord notes, approach notes, compose origial improvisations based on each of the “following chord progressions: fe? Am? Or | Set Am? Sf =F E ob ate A ahr _ oto : iit EGSB 217 GZAB aa! Z| Fm? __ ee ee . per co? | a ee eee SS5, fe ar Qin? G7 : Qm? eee | Deane Ae 2S ES G” Fn l5) 47 [ br S Fe m75) BT _ Emm FES tm? gor 7 _ Am? SS ae@) Using each of the following chord progzessions a3 a guide, act up a four stave score as illustrated in Example No. 24. original melody using chord notes and chromatic and scalewise approach notes harmonic, continuity root tone of chord Bom? 4°7Fhe Gm? C7 "fue? 8 an _ Am? Ar 0 Am? 27 f = per aan # Cm GS Be? Am? OF G LEVET Aan? Ab,6. Write a four-part harmonizatio: melodies: n in open position of each of the following w) 7 a Diss . Ganperscp itt - Page 1LESSON NO. 6 (A. IMPROVISATION (cont. ) - In Lesson 'S we covered some of the melodic elements to be considered in improvising. We continue now with some melodic figurations that may be effectively used. 2, 1. DELAYED RESOLUTION ra Justeownytyn Far? Ww - see pot rtuetnt WS In this type of figuration, the chord note 1s approached Ase yee from both above ana below before resolution occurs, The wnitt w~ . delayed resolution may take either of the following forme: Lar a it ~ pasevit™ a, approach a ae note chord r ue Qaee” «) grote r Ny, approach ee note r be approach ——, note chord note approach a ee note * 55 Following are some typical examples of delayed resolutions, a . A 2, DOUBLE CHROMATIC APPROACH fons Fomarnas Tscae cy ct5 of two chromatic ‘The double chromatic As indicated by the title, this melodic figuration co g in the same direction into the ¢ notes movin approach almost always assumes one of the following f LG ' OK \ . Tak Sas Ayala BE OS yrepaateee teed Sh yen hy whe owas Page} eR Renea atin teenie aeet neem ees or b3 chrom - chrom 1 @ 1 chrom - chrom v3 3 chrom “ chrom b7 b7? chrom - chrom 5 CIN 5 chrom - chrom 3 5 chrom gs SoA BCT Req uieh Beforegerey glee Goal is mache) Honky oe ee Following is an example of an original melody created from a given chord pre- gression using all of the techniques of melodic improvisation that have been discussed in Lessons V and VI, Each note used has been coded as follows:~ Scalewise Appro: Delayed Resolution... Jat could be melody on theIMPROVISATION ON A GIVEN MELODY ‘The preceding has dealt with the construction of an original melody from a given chord progression. These same principles are in continual use by the instrumentalist or arranger. He has, however, the additional problem of writing a melodic variation (improvisation) on an already established melody. In improvising on a given tune, it is normally advisable that the original * “Tielody be ble. “The type of band or combo for which you happen Yo be playing or writing should ve your guide in determining just how far from the original melody you dare to go. All of the melodic techniques discussed in Lessons V and VI (i.e. Chord Notes, Chromatic Approach Notes, Scalewise Approach Notes, Delayed Resolutions, Double Chromatic Approaches) may be applied to a given melody. Of course, in order that the original melody remain recognizable, notes of the original melody should be retained, especially those notes which are important in feeling or duration. Notice in the following Examples that the cheracteristics of the original melody (a), have been kept in each of the improvizations (b). In addition to the coding described prev inal melody will now be indicated by "M". siy, notes of the or! Note: Quarter notes whic! not normally be larmoniz: ocenr on the first or third beat should J as approach notes. Pase 3kx. § {a) original melody ‘s = Da stest UA cHnt tt HM lit Msn (2) original melody Be av Fm" GT c bs = SS SeeRHYTHM (cont.) ‘Any rhythmic pattern may assume a number of different forms and feelings depending upon its relative location in the bar, To illustrate, the simple rhythm "4 plus 4" might be used in any of the following ways: (NOTE: One equals eighth note.) ro) 6 To develop an understanding and awareness of the various forms which may be evolved from any rhythm pattern, we use the technique of “rhythmic displacement". r r r Li 1. RHYTHMIC DISPLACEMENT PHDIey) arteronNTE . Displacement by 1/8 In the following example, the pre-selected rhythmic pattern will be repeated eight times, but before each repitition an eighth rest will be inserted. As a result of this, the rhythm which begins on the first beat of the first bar will begin on the second beat of the next bar, the third beat of the following bar, etc., until the original rhythm pattern has been displaced one full bar. 04 4 oviginal rhythm "1, 1, 1, 5" Pe Page § ”It is, “of course, possible to apply this same technique to rhythmic patterns which encompass any number of beats. In Example 10, a two bar (sixteen eighth beats) rhythm pattern has been displaced by 1/8 rest until it returns to its original form. Ex. 10 original rhythm "2, 2, 3, 2, 2, 1, 2, 2." 12 2 3 2 / 2 2\ QS Stesa 1 2.3 b. Displacement by 3/8 ‘The technique of rhythmic displacement remains the same except that a rest of 3/8 beats is inserted before repeating the rhythm pattern. ure to use the same (NOTE: In working with rests, be id in working with notes.) type of bar-subdivision that you woul Ex. 1 original rhythm "2, 1, 1, 1, 3" 777 Sl aie two bar rhythmic pattera displaced by 3/8. Ny . ra i : =BEBERET HEED RERHEES page ®ses of this sort can not be stressed too The value of rhythmic exer Strongly. Completion of the assigned problems will familiarize you vith the type of rhythm which is an essential part of modern music and jazz. 2. NOTES REGARDING THE USE OF TRIPLETS IN 4/4 TIME a. Quarter note triplets may begin only on the first or third beats of the bar, WRONG. b, Eighth note triplets may begin on the first, second, third or fourth beats of the bar only. 3 Double-tins (ire!, the feeling of cight piteatiéns to the bar in 4/4 time) rhythms may be notated properly by observing the following: : sions to the bar insteadBx. 15 Sr 7 BEAT 7 BEAT 7 Sear) EAP b. Reduce each value of the original 4/4 rhythmic pattern by cne-half, ive., quarter note becomes an eighth note; dotted half becomes a dotted quarter; two bars become one bar, etc. ¢. Beam each group of notes that occupy one-quarter - beat of double-time (i.e., two beats of regular 4/4 time), Ex. 16 Following are s appear in 4/4 ¢ ‘nd (b) as they would be notated if a "double~ time" feeling were desired. Bx a7 original rhythm “BRS e nota Pape §eee eco stn st NOTE: Double-time is used exclusively in slow and medium-slow tentpos, Page?ASSIGNMENT 1, Given are some chord progressions. (Ex. 19) (a) Write harmonic continuities based on these progressions. (b) Imorovise original melodies on the chord progressions. Remember + that there must be an explanation for each and every note used. (See Ex. 3and 4), (c) Code, each note similar to Examples 3 and 4. Ex. 18 . Given chord progression Improvised melody Harmonie continuityDauuEEn wit iWGiven are some original melodies with chord symbols, (Ex. 21) (a) Write harmonic continuities in open position based on the chord pro- pressions. (b) Write an improvised variation of each of these melodies. (IMPORTANT: --ORIGINAL MELODY MUST BE RECOGNIZABLE). (c) Code each note as in Example Sb. Ex. 20 Given chord progression c c Given original melody == h. Improvised melody Harmonic éontinuity Page 13GS G7 c Cm Se a7 Cc Cc Om? GT Cc c7 FF Fm BSS sss =a Sees c ° Bm? Eon Dm? 087 c . ee AS SSE we Be Bin? 57 a& C05) FT Qe SSS — = = eS ee Bhat Bom? £47 ae 3. Displace each of the following rhythmic patterns by 1/8, Continue until the pattern returns to its original form.AA 4 4, Displace each of the following rhythmic patterns by 3/8. Continue until the pattern returns to its original form. 5. Convert each of the rhythmic continuities resulting from Problem No. 3 to double-time. Remember that cach of the phrases will be reduced to half as many bars as the original. Page 15LESSON NO, 7 MODERN BLOCK HARMONIZATION A. MELODIC ANALYSIS - Before attempting to harmonize a melodic line in the manner to be discussed, it iy important to understand the function of each note of the melody. We may start by assuming that every note of a melody must fall into one of the following classifications. ° {T)CHORD NOTES .... i.e. notes belonging to the . chord indicated above the melodic linc. . Ex. 1 Chord notes wo - (2) NON-CHORD, NON-APPROAGH NOTES «1. teeny MOS Mpa cot we hon-chord notes which do not function as approach S&S" OY Qa, notes. . . Sauaegnnvbu + Ex, 2 _Non-chord, non-approach notes NOTE: Since one of the conditions relating to approach notes stipulates that they must be of short duration, we may assume that any not - chord note more than one quarter beat in duration would autom: cally fall into this classification.Dante es whe Stele ob dengan 3. SCALE-WISE. APPROACH NOTES ..., (Ref. Lesson No. 5) Ex. 4 Scale-wise approach notes Sa ERRREISe = 5 For meg i Me 2 mee [Timer erg mer | Py queue Bxrelacpen 4, CHROMATIC APPROACH NOTES .,, (Ref. Lesson No, 5) Ex, § Chromatic approach notes . NOTE: In addition to the regular chromatic approaches discussed in Lesson No. 5, note§ that are classified as non-chord, non~ approach may also be approached chromatically. In the following example, each note of the given melody has been appropriately coded as fallow: 1 CHORD NOTES ......4- NON-CHORD, NON-APPROACH NOTES ....- nice | SCALEWISE APPROACH NOTES .......04.. 9 CHROMATIC APPROACH NOTES i hae E an ERNOTE: In certain instances more than one possibility for analysis exists. In these cases the most desirable choice has been noted. Where . an approach note may be classified as either scale-wise or ., Chromatic, it is usually (but not always) advisable to treat it as a scalewise approach, As you compiete the black harmonization ofthe assigned inelodies, it is advisable that you play each of the possible harmonisations wherever a choice exists so that you may select the one that founds best to you. {At this point complete problems No. 1 and No. 2 of the assignment) - (QDERN-BLOCK HARMONIZATION —_ Once each note of the melodic line has been properly analyzed, the actual harmonization becomes a relatively simple procedure. 1. CHORD NOTES... Harmonize chord notes with” designated chord. (as in four-part harmonization: ef, son No. 4 “| o ~ Ref, Lesson No 4) Wa oy Gon-Feat PAELLA aA Aaa aaa ~ It ation+ Harmonize hi + CHROMATIC APPROACH NOTE! Chromatic approach notes chromatically in all v: (Each note moves chromatically in the saine dir into its adjacent chord note.) ves) Harmoni Page 4 a awe ST Hee eee ee Ces- Following iz an illustration of the modern block harmonization of a given melody. In Example 13 the analysis has been made and each note coded, and in Example No. 14 the harmonization is actually completed. Ex. 13. Melodic analysis le lw le Pls tw ¢ Le lla we Ex, 14 Modern block harmonization /( RBMINNTR: Quarter, notes which occu: on the first or third beat should (not normally be harmonized as approach not2s.. It is Smportant that the \. chord sound be heard on these strong beats, when the attack lasts for a ull beat or more. _ bent or more, Just to be certain that the foregoing is perfectly clear, here te anothe: example employing the techniques described in this lesson.m Ex, 15 Melodie aralysis & Bb? Amz. DT __ ET SSSa sl Toes tos tae ¢ telttwe tetstel rel ee ee ee ee a mB EF) = =ASSIGNMENT 1, Analyze and code each of the following melodies. (See Example No. 7) @ co Epo” Dm7_—_G7 =p SS ep we tt NE MEE Es py Re eG ‘is Fm cGy? Dent GS Bee syne 4 __, Bb _ R=pe: =Et Page 7Gm7 Cm? FT Mer i pest EbmT Abaug7 Db SSS 2, Ina similar manner, analyze and code any tunes of your choice. Ee =I| ‘three standard 3. Write a modern block harmonization of each of the melodies given in Problem No. 1. 4. Write a modera block harmonization of each standard tunes analyzed in Problem No. 2. of theSON NO, 8 AL REYTHMIC ANTICIPATION In Lesson No. 4 we end 2Iso the methsds of notating these swing rhythms correctly. ly this lesson we cover "rhythmic anticipation", a technique whereby we may take any simple tune and alter it rhythmically so that it "swings", r r r r) ISSA Reese y : jscussed those factors which tend to produce a feeling of swe NOTES ON THE BEAT MAY BE ANTICIPATED BY ATTACKING THEM AN EIGHTH BEAT SOONER THAN THEY ORIGINALLY OCCUR. In each case, the eighth beat duration is taken from the value of the preceding note. Ex. 1 (a) original melody {b) with rhythmic anticipation {anticipat:on is indicated by> ) c e7 = NOTE: Although in the preceding exampic, rhythmic anticipation . has been used wherever possil!e; in actual usage, antici- ™ pation is most effective when alternated with occasional "on-the-beat" attacks. (see Ex, 2b) ~ Following is an improvisation of the melody given in Ex. 1 utilizing rhythmic anticipation to produce swing feeling. ~ Ex. 2 - (a) Original melody . ~ c a? az Fm G7 c AL Page 1i EOL LILL AAA A.ARLLIAS F a (b) Improvis-d melody using rhythmic anticipation Gr B. MODERN BLOCK HARMONIZATION (Cont'd) 1, HARMONIZATION OF RHYTHMIC ANTICIPATION When working out the block harmonization of a note that has been rhythmically anticipated, be sure to anticipate the harmony as well as the melody. Ex. 3 {a) Incorrect Correct 7 (b), Incorrect Gm7 x” C7 - . Gm? Er e (a) Melody using rhythmic anticipation : : apie Sma? gL BERBERS eee aepreveding examples that the chard symbols ctitt | appear over the first or third beats of the bar even though the x melody and the biock harmony have been anticipated. | 2, HARMONIZATION OF THE DOUBLE-CHROMATIC APPROACH ~ (See Lesson 6.) Harmonize each of the chromatic approaches so that I voices move chromaticaily into the following chora, Mons ets xecey pans = yhelacun (Chrometic approach > chromatic approach — chord) we . 3. HARMONIZATION OF THE DELAYED RESOLVE (See Lesson 6) Harmonize each approach note of the delayed resolve as though the other approach did not exist. > . ' APPROACH APPROACH CHORD NOTE ee . “ (a) a) Page 3 ¢MER z Y cna aE inns tac Cant tend a ntethanns relating to the dominant block harmoni j 1 1y Where a dominant seventh chord immediately precedes bg . ns tonic (es, V7 to I), the ninth may be ed one If stop in thé Worminant seventh chord. With "onc" if thé lead of the V7 chord, the following : alternate voicing may be used o VATITAWAAT a Foilowing is a reference chart showing the V7 to I cadence in every key. A detailed discussion of harmonic progression in- cluding all forms of cadence will be presented Jater in the "V7 to I" CADENCE CHART 454 PRA wo 1 - MT . . BD7. Eb Db7..-Gb ETA Hb? Ab Pet .oB AND \b?7... Db. B7....0 D7...G Following is an example of modern block harmon: contains all of the new principles described in this lesson as well as those covered in Lesson No. 7. a4 Ex. 9 (a)_ given melody rid at aipsa OPO ere 1 “Gene me me 9 conttd on following pagel late \orn block aarmgnigation Gmg* C7 NOTE: It ‘s important that you siudy these examples closely, being certain that you understand each and every step in the harmonization procedure. Remember that your re in successfully comps depends upon your understanding of these examples. ive success or failure ing the lesson assignments . HARMONIZATION ©F IMPROVISED MELODIES All of the techniques deseribed in Lessons No. 7 and No. 8 apply not only to the harmonizatiss of given standacd or popular tunes, but to the harmon- szation of improvised melodies as well, Here is ample showing the imudern block harmonization of an improvised melody, All techniques era- ployed in creating the improvization have been dicnssed in Lessons 5 and 6, | 3 ibm yj : | Ex, 10 (a) given melody FAR Ont Gm? C7 Gm? oxy F Gm? 87 | LP LELE Td GmIC%09) fe SE (Ex. 10 - cont'd next page) Page 6= (Ex. 10 - cont'd) (b) improvisation of given melody and analysis of same. = F Dm? Gm? C7 Gm? CWB) © Om? BF (c) modern block harmonization of improvised melody DQm7 Gm? C7 Gm? Cx49) or re ee ny a 14 4 st NOTE: Necessarily, the preceding examples and illustra- tions have dealt with extreme applications of the special cases relating to improvisation and block harmonization. In actual usage however, the beat treatment is very often the simplest, with special cases such as the delayed resolve and the double chromatic approach used only for occasional effect. Remember, also, that the best block hirmon- izations are usually a combination of modern block harmonization, and sim harmonization as deseribed in Lesson No. 4. Page 7 rei nn NMRA Se SW Aha ar Raant anette MSN en, Y i | D. OPEN VOICING OF MODERN BLOCK HARMONIZATION it Open position, as explained in Lesson No. 3, may be effectively modern Block harmonization. The technique remains the same, OPEN POSITION MAY BE PRODUCED BY DROPPING THE SECOND VOICE (FROM THE TOP) DOWN ONE OCTAVE. 7 Here is an illustration of modern block harmonization in open position, Ex. 11 (a) given melody 7 oc (iar e 1 ome lt lime ne 1c Inenene. (b) block harmonization - closed position - 7 Com? FIR Shas? (c) block harmonization ~ open position 687 Cm? F789 Bonar? q dade 4 ee ee ee Paye 8ASSIGNMENT I. Write a modern block harmonization to each of the following melodie Be sure to treat all rhythmic anticipations as illustrated in Example ‘bs. G7 3 ore ow. on 7 SS jmonniiniaA ah FREESE SaaS es oo Dm? Gm c? Gm? co BF See Seg cr f a = SSS _- | Lit ay _ © ma i a dr or c £2 Da? toe2, Using the technigi improvised vari anticipation" to produce a swing feel: Em? Am? 07 Am 7 or Bm wae? SEE dm? a Ce FSS e Peet a7 fF? Om") GF Desy pS f= Ene = Lo 7 -7 a Gon? fF ratte Ss =e See — SI , oF _ Gm co” & _ Am7 _ jes coe ee —o = pal spd Smt ee ; Lo 4 — EE N= zi / Abn? be? a 1 Aes SS EE Te SA Bhim? £97 4 Page 10 == 1 ° ‘SES EM So en eeneee Sned _~_ ae SE3. Complete a modern block harmonization of each of the improvised melodies created in Problem No. 2\'2 Using any standard or popular tune of your choice, “complete the following problem: - a. Write an improvised variation of the original melody. (Original melody must be recognizable.) Vhomd =f ir b. Complete a modern block harmonization of the cis - improvised melody. Me (once agsin, using any given tune aya starting pint complet the following problem: =. Write an improvised variation of the original J ted woped nology, Improvise as little or ax much as you T . please, but in any event, the original melody if4P must be identifiable, L_: MB b. Complete a modern block harmonization of the He, improvised miclody in open position. 7 a4 a7 — ' ' wala — in 2LESSON NO. 9 ‘A. TENSIONS In this lesson we begin our discussion of "tensions", ives, high~ degree chordal functions. These high-degree chordal functions are treated, for our purposes, just the same as chord notes, and have the same propesties as those regular low-degree chord notes already discussed. It is also interesting to note, at this time, that all of the so~ - called "aon-chord, non-approach notes" which we encountered jn modern block harmonization, are in reality high-degree chordal functions. (i.e., tensions). Locating these tensions may be simplified by recognizing that | | every high-degree chord note is located one whole step above - a related low-degree chord note. J Following is a listing of practical tensions. In each case the : related low-degree chord note has been indicated. ; J Ex.1 MAJOR: tensions are 75 9 1 Cc whole step ——— ' J x2 MINOR: tensions are 74 9 whole whole Uk hy asc whole step Page 1re ro aye Ll | La, i mn 1 cs ASSIGNMENT Be sure to treat all rhythmic ant i) Write a modern block harmonization to each of the following melodies. ticipations as illustrated in Example 93. oP. E CSS peas Bea we Je - ) “¢ Den Gin? Gm? c? Amis) D? az AT ZEISE pene Sta = - ates - — Si “Ee (a)2, Using the techniques described in Lessons No. 5 and No. 6, write an . improvised variationof each of the following melodies. Use "rhythmic a, anficipation" to produce a swing feeling in each of the improvizations. or Bm h7 : = ° ies <= re ————= | a Abn? De? or on SS pS ee receree esl B4n7 £97 4 7 Page 103. Complete a modern block harmonization of cach of the improvised melodies created in Problem No. 2\'2 4 Using any standard or popular tune of your choice, “complete the following problem: a. Write an improvised variation of the original melody. “gel (Original melody must be recognizable.) Siu + per Complete a modern block harmonization of the ! improvised melody. We Qg Once again, using any given tune as a starting point complete the following problem: Write an improvised variation of the original J ted melody. Improvise as Kittle or as much as you please, but in any event, the original melody ifs must be identifiable, ny He, Complete a modern block harmonization of the improvised melody in open position, Page 13NOTE: The scale eleventh {iocated one-half step above the third) is also quite commonly used with the Dominant th chord. There are specific instances where this scale eleventh is more effective than the raised Bi cleventh and vice-versa, For the time being, experi- Snoxt with both, and let your taste govern your choice. Ea 4 DOMINANT 7th: scale 11 Bx 5 | MINOR 7th: tensions are 9 a Cm? whole whole = a. ia step, by SHEP ee ee ne eet DIMINISHED 7th: tensions are one whole step above every low degree chord note whole “step Caime7 whole whole ‘step. (At this point it would be advisable to complete Problem No. 1 of the lesson assignment. } Page 2Pn ee r r ‘Ae previously rte) we can now specifically identify throm Mites which formerly had been classified simply ag "non-chord, non-approach' r Jn the analysis of the following melody, th’s general classification has been eliminated, and each of te tensipns ; pecifically named. Notice that this does not in any way avfect the identification of those notes of r the melody which could be treated as approach notes, - - = ne chord notes . _- tensions «+++ e _ ‘ . : -*° , : Gm? co? Fur? Ab? C7 | Am™25) 07 | ater ese SE] = Tere = | ellvs/t 1 1 Gm? C7 Ars) 2? ~ aires 14 8B 1 | 6, €1 « . . tal B, BLOCK HARMONIZATION OF TENSIONS ' - Those notes which we now call tensions are still __ - lonized the same as they vere when classified , _ ns non_chord, non=approach,-i.e.y omit the related tow degree chord note just below the lead. - - Ex. : ~ 7 9 1 - i - - 5 6. 3 5 - r 3(ex. 9 contta) Dora, 7th: 9 | 11 13 Aug, 7th: #ll Min. 7thi 9 ML 9 tatlel CA) 1) Os) oA AY £3) ray ea b7 9% 3 b7 9 b7 1 5 bT oe #5 b7 5 bT 3.5 (U7 3 95 bs 5 %9 for 1 substitution in Dom. 7th chord. Dim, 7th: Omit related low-degree chord note Ex. 9 in musical notation would appear as follows: Ex. 10 MAJOR: MINOR: tn nee eC HRB eK ees DOM, 7th: MINOR 7th: AUG. 7th: DIM. 7th: Cus? 9 ua Page 4Here is a modern bisck harmonization of the given melody analyzed in Ex. 8. AmnWs) 07 Cy TENSION-RESOLVE -(HI-LO) Although they do not always do so, there is a strong tendency for every tension to resolve to the related low degree chord i note fourd one whole step below, Technically this is knows as “tension-resolve", or more simply "hi-lo", (i.e., "hi" degree resolving to "lo" degree.) : Following is an illustration showing all of the possibilities for hi-lo with each of the basic chord structures. Bute me D MAJOR: 7 to 6 ; 9 to 1 g MINOR: 7 to 6 ; 9 to 1Bx 4 DOMBIANT 7th: 9 to 1.5 11 (scale or raised) to’3 ; 13 to 5 B34 3 BOS ees ee 16 MINOR 7th; AUGMENTED 7th; 9 to ly scale ll to 3 9 to 1; raised 11 to 3 Cave? y ay _— = g 4 4 3 Ex. 17 DIMINISHED 7th: one whole step above any chord note resolving down to the related low degree chord note, Here is an example showing how an’original theme might be composed using only hi-lo. The resulting sound should give you some idea of the value of having a good working know- ledge of these tension-resolve patterns. Bl C Gm? C7 F 37 SSS eS ¢ 9-1 7-6 F-3 -SF Page & ~<=x<= SS UNHRE ETERS EESD, HARMONIZATION OF HI-LO Since the harmonization of both the tension: ard its telated low- degree call for the same lower voices, any hi-lo may be harmonized by simply sustaining the three lower voices while _ the lead moves. ‘The following table may be used in checking the harmonization - of any tension-resolve pattern. “Ex, 20 | MAJOR 6 9-1 = = 6 . Bll. 4 5 3 MINOR: 7-6 9-1 ~ a 6 5 - . : 1 b3 ©.DOM. Tth: 9-1 1-30 B-5 F v7 9 3 Boe 5 vt 9 3 5 b7 MIN, 7th: 9-2 = 3 v7 1 a -~ 5 vt —~ v3 5 Page 7AUG. Tt: 9-2 all - 3 v7 9 a5 bT 2 5 DIM, 7th: 9-1 : WN eas pg bb7 ‘ bs vs bs etc. 6 3 b3 bs 6 1 To be certain that the foregoing is perfectly clear, here is Ex. 20 in musical notation. diy Sy.Utilizing the foregoing principles, the harmonization of Ex. 18 would appear as follows: 8; his AS c fee Om? 087 Cc 9 Hi- le Hi-lo W-83 /3-5 7-6 44 oe ‘An alternate technique used in the harmonization of tension-resolve is as follows: . £ ‘Two simultaneous bi-lo's may be used, provided that _ they are separated by the interval of a third. This "double hi-lo" would appear as follows: we a @ im The following iilustration would be incorrect, since the hislofs are not soparated by the interval of a thir’. i . = Incorrect 4) | Page 9 I IHarmonization of tension-resolve using "double hi-lo!, (Only practical cases) MAJOR: 9-1 MINOR: 9-21 DOM. 7th: 1-3 13-5 9-1 l= 3 MIN. 7th: 1 = b3 Ex, 25 in musical notation would have the following appearance: Ex, 26 Page 10| La Using "double hi-lo"! wherever possible, Ex. 18 might be - <. harmonized in the following manner: ap Pay e a4 uM I 2 ls | nt = Toe rn 4 to obs te re papa x , _. | | Pee aA SOF om at es Lo 9 Za 7 # {| | | Sp 1 Pree enAn oe weewrdt SF Prer fe [-T"Notate tensions of the ‘six basic Chord structt onomeing on each of the following notes, similaz to Example #1 through #7. (FM, BEAD G” “C) Fy Bb, Eb, Ab, Db» GI “parting of each of the above notess notate the Ps Yaple showing harmonization of tensions. ~_ (See Examples 9 and 10) No. 3. Compose original melodies on each of the following ‘ chord progressions using whi-lo" patterns only+ | (gee meanpte 18) . J! No. 4. Again, using the list of root tones from Problem eT, notate the table showing harmonization of . y hilo". / (See Examples 20 and 21) ~ jharmonization of tension-resolve usit double - hi-lo". (See Examples 25 and 26) r= Page 12No. 6. Harmonize each of the melodies composed for Problem No, 4.5 Use "double hi-lo" only where desired. (See Examples 22 and 27) No. 7. Analyze each of the following melodies, using the indicated coding. Remember that those notes that appear to be approach notes are still classified as approach notes. All principles of melodic analysis remain the same, except that those dicated as non- chord, non-approach will now be named as tensions. functions which were formerly i chord notes (low degree) «++ tensions hi-lo tenes scalewise approach notes chromatic approach notes « double chromatic approach .. delayed resolve No. 8 Complete a modern block harmonization of each of the gi melodies, (See Ex. 28)ra i ru PLLA LALA Jo Ww Lite: . ae aS Ce TU =a " t= Ele ait SE ate = we Eae perma nal . Cc? Ams) 07 gigi aterm a SPL et Om? Gm? CD - pe Page 15PROGRESSIONS FOR PROBLEM NO. 3 c Fem? BF Om? b= PFN Pa == a FA c a o Om? Gt a eee ee

aa wee Gm? co - Fac? Be eer pre per =] - “7 or Gm7 G4? F Page 16LESSON NO. 10 A. VARIATIONS OF HI-LO In addition to the basic tension-resolve pattern which was discussed in Leeson No. 9, there are several variations of hi-lo that may be effect- ively used. + LO-HI-LO Following ia a listing of all of the possible forms of Lo-Hi-Lo on each of the six basic chord structures. Ex. 2 MAJOR: 6-7-6: 1-9-1 MINOR: 6-7-6: 1-9-1 DOM, 7th; 1-9-1: 3-11-33 5-13-5 MIN. 7th: 1-9-1; bB3- 1-b3 . AUG. 7th: 1-9-1; 3-#1l- 3 ! DIM. 7th: chord note - Whole step above - chord note L Example No. 2 in musical notation would appear as follows: L Ex 3 L MAJOR: MINOR: L 4 i : - Page 1ney to Le~He-Lo 6-7-6 veae Pe=-b3 gs- bie 2. HI-CHROMATIC-LO Following is an illustration showing all of the various possibilities for Hi-ch-Lo. Ex. § MAJOR: 7 -ch +6: 9+ ch-1 MINOR: T-ch-6: 9-ch-2 DOM, 7th: 9 - ch - 1 rll - ch - 3: 13 - ch - 5 pil - ch - b3 MIN, 7th: 9 = ch - AUG,.7th: 9 - ch - 1 rfl = ch - 3 DIM. 7th: Hi - ch - Lo Note: Hi-ch-Lo is not possible when moving from scale eleven to three onthe _ Dom. 7th chord. 2 ~~ or eee eeeExample No. 5 in musical notation would appear as follows: MAJOR: ~ 2 owmnoR: 7 mo a Basal | oe SI 7-ch-6— 9=ch-/ Poch-6 9-ch~/ DOM, 7th: aye tty oa 1 H-~cb-3 13 = ch-5 Ont ” MIN, 7th: Cx? ~- AUG, 7th: - eeseapnbey Barree=utetesry 9- ch-/ QU - ch-23 * 9. ch-/ #Y— cho 3 ; “Gor ae 7) DIM, 7th: b b Gre belts Hi-ch-Lo Hi-ch-Lo Hi-ch-Lo Hi-ch-Lo Tom 6 eee) Yours WB webs nae. 3, LO-HI-CHROMATIC-LOThe following chart includes all of the possible u: of Lo-Hi-ch-Lo. Ex. 3 MAJOR: 6-%-ch-6: 1-9-che7 MINOR: 6-7-ch-6: L-9-ch- 2 DOM. 7th: 1 = 9 - ch ~ 1: 3-#ll-ch-3: 5-13-ch-5 :b3 - WT - ch = b3 MIN. 7th: 1 = 9 > ch AUG. Th: 1-9 - ch- 1:3 > #il = ch - 3 DIM. 7th: Lo - Hi- ch- Lo . ‘The preceding chart of Lo-Hi-ch-Lo would appear as follows in musicaf notation. MAJOR: Yo; 9 ch BY bh 5 FICK ST MIN, Th yaw : os Aug. 7th: OS seats 34 ch 3 ee ee ee eee g-To Hs page rh Wee ren Bae BT re Page 4(At this point it would be advisable to complete Problems 1, 2 and 3 of the lesson assignment.) ‘An interesting melodic line may be composed by applying the preceding variations to a given chord progression. In the following example, only Hi-Lo and variations of Hi-Lo have been used. GG CF fn OS aes a=! apa oe a 9-c-/ 7-6 1-9-1 MH 3 7-ch-6™ 7-6 9-ch-1 7-6 or a Om? Doge c aa a=] 9-1 (B-ch-5 U-83 B-B-F 7-ch-6 B. HARMONIZATION OF VARIATIONS OF HI-LO 1, LO-HI-LO may be harmonized either of two ways, a. sustain three lower voices whil: lead inoves: a) cy) a. b. sustain two lower voices while two upper voices move in thirds: (possible only where double Hi-Lo may be used; see Lesson 9) Ex. 12 Page 52, HI-CHROMATIC-LO may be harmonized as follows: a. guatain threa lower voicos whilu lead maven: b. ‘sustain two lower voices while two upper voices move in thirds; {possible only where double Hi-Lo may be used) ere $ ©. harmonize the "chromatic!" as a chromatic approach note. 3. LO-HI-CHROMATIC-LO may be harmonized by any of the following methods: a. sustain three lower voices while lead moves: Page §sa two lower voices while two upper voices move in thirds: ere double Hi-Lo could apply) wag a chromatic approach note VT Using the preceding principles, the harmonization of Example 10 might appear as follows: aa4443s344= ro STERED TENSIONS (i ro Gx addition to the regularhigh degree chord notes already discussed, cer- gain “altered tensions" may be used in specific cases. They all occur with the Dominant 7th chord and are: — a a bi3 bis 3 oy 3 9 bd b7 b7 #9 = bo #9 - bg v7 v7 Ee. 22 5 ee 3 3 D. MELODIC ANALYSIS (Concluded) 5 completes our classification of those melodic functions and patterns - that may be effectively used and thei: respective harmonizations. Following isting with appropriate coding for melodie analysis. is a complete li Page a- © Chord notessesieeeeeseeeeeeeeeeeeetiteeeeeee | Chromatic approach notes :.... - Delayed Resolutioi FL Double chromatic approaches. ...ess104. Unresolved tensions. ceessee by degree name HLLs and Variations of Hi-Los.cscsssssssssvss_ by degree name It is important that you have a complete and thorough understanding of each - of these melodic possibilities if you are to derive the maximum benefit from future lessons, Spend whatever time may be necessary in reviewing past lessons should there be any doubt whatsoever in your mind concer ng their - derivation or usage. ~ Here is an example of a melodic improvisation utilizing the above possibilities. lo Gn? CAR OF km "baa eae we OGM 7c SSW BAS Chel itst oA “FR See $376 cl Br e-5 u“ Tetos weay be employed in the melodic Her discussions on improvi- { the original melody while Logically enough, these ‘same possibilit improvisation of a given melody. As in e: sation, try to maintain the basic characte using various devices to form an interesting melodic variation. (a) given melody Page 10“ASSIGNMENT: Notate all possible forms of Lo-Hi-Lo on each of the six basic chord structures, starting on ach of the following notes: (See Ex, 2 and 3) C.F, Bb, Eb, Ab, Db, (FA), B, EAD, G Using the above list of starting notes, notate all for "(See Ex, 5 and 6) 15 of Hi-Chromatic- -Again, starting on each of the notes listed in Problem No. 1, notate all possible forms of Lo-Hi-Chromatic-Lo. (See Ex. 8 and 9) Using the following chord progressions as a guide, compose original = melodies based exclusively on Hi-Lo and its variations. (See Ex. 10) f7 Frm? 887 rad Fm? Gm7 65 Harmonize each of the melodies composed for Problem No. 4 using any of the harmonization techniques discussed in this lesson. (See Ex. 19) Again using the chord progressions from Problem No. 4 as a guide, compose original melodies utilizing all of the melodic variations catalogued in this lesson. Code each note as in Ex. 23. Complete a modern block harmonization of each of the melodies com- posed in Problem No. 6. (See Ex. 24) ‘Again, utilizing these same melodic devices, write a melodie improvi- dard tune of your choice, being certain that the basic sation of any stan: (See Ex. 25) character of the original melody is retained. weite a modern block hermonization in open position of the melody resulting from Problem No. 8. Page 12ea Loa A CeSsou A4 — =o DE TG BE | TS tcke test rolel Shp played on the piano, would sound the same as Bbave oot ey foo @ 2 #2 8 played on the tenor sax. Jn finding the transposed key for the tenox sax, simply think up one whole step, since the addition of the octave would not affect the key relationship in any way. If the concert key wee Eb, the proper key for the tenor sax would be F. Following is a melody, first as it might appear in concert and : then transposed for the Bb tenor sax. Concert © be 7 Eb BARITONE SAX --- transpose up a major sixth plus an octave from the concert note. sound the same as this note: on baritone sax. this seater, played on the baritone sax. Page 3xelat enshipy ag the ince the extra octave does not affect the Ke simply figure a major sixth higher when detent proper transposed key for the baritone sax ithe concert key wexe C the baritone sax part would De u titen in the key of A (the same as the alto sax). ‘To illustrate the foregoing, here is a melodic line, first te the concezt key and then transposed for the EP Bari- tone Sax (a) NOTE: When transposing for the xeed section, Temernter - that the individval parts are always written in the treble clef, regardless of their appearance in the concert score. RANGES Naturally, there are certain limitations as 0 just how high and joy low each instrument is capable of playing ‘The distance potween the lowest note and the highest note és called the range ef the instrument. The following illustration shows two sets ot renges for each instrument. The first is the "possible" cange, i.¢., the ordinary physical limitations of the instru- see, phe second is the "practical" range) #-€+ + the range Which you may assume to be comfortable for AY reasonably ddeguate instrumentalist. Te is always Wis? to confine your me ranges should writing to the practical 7 writing te ty where absolutely necessary of im cases SOT the ooh the individual musicians! facilities. ages. The ex arranger is familiar u ceived Remember that the best planned and most m Kemer ty practical value unless it caa be comfortably Stayed and interpreted by the instrumentalist: (Refer to RANGE CHART on the following page.) Page 4Eb ALTO Bb TENOR QOL aaa ae\ staat nea c.” VOICINGS ‘Although there are several different combinations of reed instruments that can be used in a four-part saxophone secticn, the most common is: I Eb alto Ebalto Il Bb tenor IV Bb tenor Let us assume that we have prepared a four-part block har~ monization of a given melody in concert sketch form. ‘Yo apply the aforementioned saxophone voicing to this blo harmonization, transpose parts for the individual instruments as follows: NOTE: Remember that the transposed Key for Eb instruments will be a major sixth higher than the concert key, and the transposition for the Bb instruments will be one whole step higher than the concert key. 1. ‘Transpose the top note all the way through for the first Eb alto sax (See Ex. 6). rw PP eo2. Transpose the second note (from the top) all the way through for the 2nd Eb alto sax (see Ex. 6). 7 io * Concert : SS == 1 1 & 4 _Eb alto | SS es 3. Transpose the third note (from the top) all the way 2 9 Pg ae nets ——* =e = | 4. Transpose the bottom note all the way through for the 1 Ath Bb tenor sax (see Ex. 6). -_ Ex. 10 Concert \ ope i —s | pS eS] IV Bb tenor / {js Page 7al ; | NOTE: In transposing individdal parts use en- | harmonic speiling wherever resulting notation ceems | more practical. ‘The resulting parts when played by the respective instru- mentalists willproduce the same sound as the original con- cert score, but with that distinctive quality which comes from the particular sax voicing used. Another four-part sax voicing which is quite frequently used is as follows: ' F a b | I Ebalto IL Bb tenor It Bb tenor IV Eb baritone a i ‘The above reed voicing is particularly effective when the four-part harmonization is converted to open position as discussed in Lesson No, 3. As a reminder, here is the rule for producing open harmony. TO PRODUCE OPEN HARMONY, DROP THE SECOND VOICE (FROM THE TOP) OF ANY CLOSED CHORD DOWN ONE, OCTAVE, (Refer to Lesson No. 3 for further detail regarding open f harmony.) t Here is an example of a four-part harmonization in open position and the transposed parts wsitten as they would | Ex. appear using the above voicing. = _ Sel melody ome four-part open harmonization cw Dm? Gy Fm c : SS Sp = ? | % he —— — =Jthough the transposed pasts have been written one above the ther in the preceding example for the sake of convenience, it would be necessary to transpose the individual parts on separate sheets of manuscript if they were to be performed by individual instrumentalists. ‘Also, be sure to remember that it is essential that the parts be legibly and clearly written. The musicians will be zble to give a better and more concentrated interpretation of the music if they are not forced to struggle to understand the notation. proper usage of expression marks ng his intentions and interpretation to the instrumentalist, Conversely, it is also essential that the instrumentalist understand and ob- ‘uly if the arrangers" serve these expression marks car cus are to be effecti Following is a reference chart of the most commonly used expression marks and their meaning.NOOB v.S. BYb NOTE: In all facture assignment sion marks in both score and parts to expr indicate your int symbol name - REFERENCE CHART EXPRESSION MARKS name forte fortissimo fortississimo mezzo forte piano pianissimo pianississimo mezzo piano accent staccato marcato drop bend gliss. slur fermata + crescendo decrescendo trill ritard Da Capo Del Segno Segno Coda Fine volto subito Page 10 meat loud very loud very, very loud medium loud soft very soft very, very soft medium soft attack sharply short give full value attack on pitch ~ slur off lift, or upward slur off * lift or drop to givennote legato (play smoothly) hold gradually louder gradually softer trill gradually slower to the beginning back to the Segno (sign) the sign Coda the end start back at the sign ~ play until Coda sign - then jump to Coda (play to Fine) turn page quickly octave higher octave lower to make use of ng as precisely as possible. —ai ASSIGNMENT =! 1, Write a four-part block harmonization of each of the following melodies. i =! Eb Alto Eb Alto Bb Tenor Bb Tenor Transpose the individual parts from the harmonizations in Problem No. 1 for the reed section. . Write a four - part block harmonizaticn of the following mel- odies in open position. Page 1if D9) Gm? co fuer? 89) | shot EPS eer ec) | 4, ‘Transpose thé individual parts from the harmoi \ "problem No. 3 using the following voicing: ” | 1_ Eb Alto - HL” Bb Tenor ee : i il Bb Tenor < | | IY -Eb Baritone | you “Write a four-part block harmonization of any standard tune | «lof your choice and transpose parts as follows: = e I Bb Clarinet | f i I Eb Alto | : UI Eb Alto j . iV_Bb Tenor : | Page 12LESSON 12 PRINCIPLES OF BACKGROUND WRITING ‘The past several lessons have dealt primarily with various devices re~ lating to block harmonizacion, i.e., the technique of concerting under voices to a moving melodic line in "block" fashion. The importance of # thorough ‘understanding ef the following material _cantiot be overemphasized, ence, abbiity te play or write effective © é ompesing a background The following outline Will serve as a guide in toa given melody. | She USING CHORD NOTES ONLY; WRITE A’SMOOTH MELODIC COUNTER-LINE BASED ON THE FOLLOWING PRINCIPLES: | a. Where melody moves, sustain background; where 9 - . melody sustaing, ‘oye, backgr ound, : given reloay wach POP dP RP r le : ‘od opproie of irerr pte - | . b. Asin single harmonic continuity, try to establish | - a ‘mocth Riglodie connection between Chords by sustaining, of moving chromaticaily‘or stepwise. I oF However, leaps may occur freely while the chord remains, the same- :Swhere melody’and counter line attack at the ‘same me, it is best (for the present) fo keep the counter Tine at least a third, and not more than an octave + from the melody. : Gi(e9) Em7(b5) AT pp oe co a) pic Ep? = Dm7 “51m the following illustration all points marked oo Would be considered to be bad. Dm7_ G7(b9) Em7(b5)_- A7 rr + d. Where melody and counter line do not attack at the same time, they may cross freely. gr) COS Eb? Dm7___G7(b9) c j\ 2. AFTER A LINE HAS BEEN COMPOSED IN ACCORDANCE I WITH THE PRECEDING PRINCIPLES, COMPLETE A BLOCK HARMONIZATION OF THIS COUNTER-LINE. T™ Ex. 5 top voice of backgraund | _Tneloay> ¢ VASA Aa aa Cr BDm7 9 , S7(b9) 5| Here is another step-by-step illustration of the construction of a simple background to @ given melody. - j Ex 6 iven - 5, se —fneloay ° TNE oe TS ee ft EmT go Bbib9).”- Ebmaj7_E Fett = et —= ee DTatop voice of >. hyp background Lop crm7 2 pp7(9) “epmai7_E° etek § as SEs narmonized § . sbectaound et ‘Ly =(At this point it would be advisable to complete Problem #1 of the lessen acaignment.) - UNRESOLVED TENSIONS may often be used effectively in composing the melodic counter-line which is to serve as the.top voice of the background. The proper use of these tensions will create many new and interesting <:. possibilities for smooth melodic Connections between adjacent- - Here is an example of a backgroun: d utilizing unresolved tensions | | barmeetzsHi-lo and variations of hi-lo may also be used in background wr: sll pften serve to provide melodic interest where needed. top-voice of backgroundthat all of the foregoing is perfectly clear, here is another example of a background to a given melody employing not only low degree wut unresolved tensions and variscions of Hi- " _top voice_of backgroundharmonized = background ‘As with regular block harmony, a closed background may be converted to the second voice down one octave. Here is ex- open position by dropping ample #8b as it would appear in open position. ee ee ee ee eesay aye pereser va? i, - _, a F 1 rc 1 ut a parmonized ‘background n position) G r 2 The subject of background writing will be continued in Lesson No. 13 with discussion of some additional techniques which are effective in writing good musical backgrounds, and a description of some of the many =Gilterent styles of backgrounds which the arranger may be called upon to produce. . ‘ASSIGNMENT | «Write a background to each of the following melodies using the pro- cedure described below: ‘ompose a auitable top voice for the back chord notes only. . round using low degree Bb. “complete the background by filling in the block harmonization of thie top voice. {See Examples No. 5 &at eaten aac dae a inne ie une Aton batt A EA Td 4 1 Am7 pr Pi Fam peny AE Dg Bb? I - G =ta8 sy Bem7G. _Eb7 Bbm7 Ab °. ysing the procedure described below: a. compose a suitable top voice for low degree chord notes, but unresolved tensions and variations of hi-lo as well. this top voice. (See Example No. 9) Pave 10 ; a “Ae. fo "pRSE sty _ Once again, write a background to each of the following melodies - complete the background by filling in the block harmonization of ft edt i the background using not onlyCompose a background to each of the following melodies similar to Problem No. 2, but harmonize each of the backgrounds in open" position. In each case, compose the top voice first before com- “" pleting the harmonization. (See Ex. No. 10) Page 11> Ai(b9) east 4, Using the techniques described in this lesson, compose a background 2 > to eny two standard tunes of your choice. ~~” . “ye would be advisable to select smooth ballads rather . Pea e than swing type tunes, since many of the techniques <; ° relating to swing backgrounds will be covered in 2 Lesson No. 13. . . “oe aN at Sink ranspoze parts from either one of the tunes in Problem #4 — 4h 0 J es ‘ollow: SOLO MELODY: Eb Alto sax: Il Bb Tenor sax Il Bb Tenor sax ey IV Eb Baritone sax il BACKGROUN!LESSON NO. 13 BACKGROUND WRITING (continued) ‘A. APPROACH NOTES ve AL All of the melodic approach techniques degeribed in earlier lessons |, + -. suiting with improvization may also be used in background writing. . These approach techniques are effective in creating added melodic . interest in the background and will serve to provide many new and interesting possibilities for melodic variation. ~.- In the following example note the smooth melodic motion achieved through the occasional use of approach notes. 3 PLL Ex c j-eloey DEG dey b - ~ ~ ebice of # bre oe p-upnized lckground & 7 Ln FFF In order to avoid any melodic conflict, be sure to avoid attacking an approach note in the background at the same time that a chord note is being attacked in the melody. Following is an illustration of this point: +Obackground To further’ Clarify this same principle, here is an example em- phasizing the correct use of approach notes. £ _ te. of: AREY background harmonized background - | e - Fag eT, = faa #5B. RESTS ‘The use of rests in the background will often serve to provide relief from the ménotony that ‘may result from a continuous sustained sound. c.4: There is né set rule as'to when it is most advisable'to use rests, but the following applications are frequently employed. a. Rests may be used,to sub-divide the background into natural ‘phrases". These phrases are usually either two or four bars in length, and rests may be used in the background to emphasize ;.the natural phrase division of the original melody. given melody ~~ I Yop voice of ackground PP rmohized ckground = FFP PLPackground made up of ‘ve short melodic frag- during sustained mple b. Rests may be used in creating 2 > . detached "figures". These figures 31 qnents which provide background interest tions of the melody. Following is an primarily of these fill-in figures. ‘or open port of a background made up "Ex. 5 vy TF Av? ‘Gm ct given ; melody 3 p voice of ckyround rmonized ckground. r] a " s p ee 5 Ae PT ed more thoroughly yelation to back- Basically, sequence figure in some theme may be used, ecognized by the . SEQUENCE . satnough the subject of sequence will Bé cover in future lessons, the principle of sequence 7 ground writing will be introduced at this Hime: represents the reiter previous phrase oF “recognizable form- original provided that a similarity ‘ation of @ ‘Any variation of the ‘between the two may be Fi listener. page 4Note the sequential relationship between the first two bars and the next two bars of the following example. Ex. 6 2) “¢ LPL Fee n> 2 why wey ss ss ese? ® 3 i g e z of 3 2 - ~ E7(b9) 3 Em7 Am7. “DT Am7/QN -D7(b9)"_ = Dm. (b13) Jy (SSS SS cof ogound i ae 2 g 3 3 z g. z 2 3 3 5 5 S 3 3 3 & H or z ¢ 5. 2 é 3 § SF EE. _Y FEE‘p. “SWING BACKGROUNDS "~ “In composing the background to’ swing type melody, ‘the following ” principles should be observed: a. Compliment and emphasize the swing feeling 6f the melodic [ Line through the use of anticipations and rhythmic figures -u- in the background,” « = i Ex. 11 -{bad) so — Loo : ‘co cH Dm? Gaug7(b9) Em7 c# ° ‘Dm7 G7 + SSS ESE = ee 7 t 3 =| al eee Page 6 {_] Ex. 12. (good) mo ‘Although sustained passages may effectively used in a swing backgroun’ marily on the Fhythiic (and melodic) fill-i figures for added interest. rw ru m7 —_Bb7(b9)_ Bin © Eb7(b9) © a, ra g g u g LEY . 2 iy Toctec aes —F IL Bb Trumpet otis =~? > 2? > a PSS Ketan as EERE? LI Bb Trumpet An alternate combination of instruments for a four-part brass | section would be: bn eeapet |1 Ex.6 z c (concert sketch) Em? I Bb Trombone ~ ie ro om . ‘he five-part trass section would normally consist of: -_ > . I Bb trumpet I Bb trumpet HE Bb trumpet -_ I Bb trombone I Bbtrombone - Page 5D. FIVE-PART HARMONY Since our work vp #o now has deatt exclusively with fous jevt wilting, it is necessary at this time te dieeaey neue techniques relating to five-part harmony ff we are ee a five-part brass section, A si e-part harmonization may be produced by doubling the original melody one octave below the lead. : i Ex. 8 “va. four-part harmony cw Em? amr a P i The transposed parts from the preceding example (EX. 8b) would appear as follows: Ex. 9 I Bb Trumpet 7 RR A EP. wa: ee ee ee ee ee — —/ five-part harmony in open position may be achieved by doubling the original melody one octave below the lead AND dropping the second voice down one octave as well.E. BRASS SOL The principles of mod fern block hazmoniza! relat n to the sax section may be e brass section as well, may be employed as well as ail of th ‘sation covered in earlier lessons NOTE: When scoring a block harmonization (either closed or open), it is best t, lead trumpet above A brass soli (or back, brass section, a rhythmic treatment is usual! the smooth, flowing melodic style that is soc: section. Although it is true that in this flowing "sax-like" style (just as saz to provide a rhythmic, percussive "brass-lixe"™ erly advisable to maintain some rhythmic inte tion as discussed in ‘ctively applied to the + (See examples 4, 6, 6 and 10 of this Jesson.) All of the previously mentioned approach techniques Principles of impro- n for brase 0 keep the Eb concert,———____p She ground) scored any lower ginal melody for the y more effective than ffective in the sax 88 may occasionally be written 8 are occasionally used effect), itis gen- rest in the brass soli. than thie will result in muddy and cumbersome : . sound, bedeonwe \ 2epanp tye Pee Bogus vets 2S en sc. When writing an improvised version of the oriBRASS BACKGROUNDS Smocth sustained melodic lines are often effective in brass backgrounds, particularly when applied to slow-tempo ballads, waltzes, etc.. All principles of background writing as applied ~ to the sax section still apply. Following is an example of a brass background of this type.ASSIGNMENT 1," Write an improvised version of each of the following melodies so that it would be effective as the lead of a brass soli. In cases where ' the melody line goes too low, transpose to a higher, more su:i ' — 4 — oo i 1a. score each ofthe improvised metodies ta Problem Now 1 fora fve~ i part brass section {see examples 8 and 10b). Score at least two of the harmonizations in open position, . 3. Transpose parts from each of the harmonizations in Problem No. 2 } for: II Bb trombone 4, Using each of the following melodies as a guide, set up concert scores as shown below. -— Brass Background Given MelodySAX SOLI med swing Eb PSS Fm7 Bb7(b9) Eb SS e) Breer z {fe ¥ ee ae Gm7 Gm7 Am7__Ab® pa =e ae (CU? __ Arms) _py Cm, 4 i = CLAR UNISON Mod! Beguine| It is important that you cons: of the given melodies in deefd: cter and feeling of each—w/ what type of background to use. background, try to imagine the sound given melody as played by the indicated ins 5 well as the 5 any standard tune of your choice, score a five-part bras Soli in open position. Adapt the original melodic line in any way you choose and , ifnecessary, transpose the melody to a more suitable key before scoring the under voices. . ‘Transpose parts from the score written for Problem No. 5 for five brass (three trumpets and two trombones). Using any swing tune of your choice, write a five-part brass background , Picture the original melody being played by a unison sax section. (Note: Set up the score as described in Problem No. 4.) Transpose parts from the above score for the regular ‘five part brass section. -~ - LESSON NO, 15 - " A. THE BRASS SECTION (cont.) ~ tt 1, MUTING -~ Pavey) SEYK oe moe) 5 . ~ In the event that you dre not familiar with the mutes commonly used ] in the brass section, following is a brief description of each: a. Straight mute --- produces a thin metallic sound most effective in Latin-American etyle arrangements. Cup mute --- best all around mute in the brass sec- tion --- has soft metallic sound --- effective in both ballads and swing tunes, PoPaPa ba a ¢, Harmon mute --- has soft, distant quality --- effec tive in medium high to high register only --- most common in trumpet section. 4. Brass hat --- unlike other mutes, does not come | into direct contact with the bell of the horn 4 softens and mellows the sound almost to a French - Horn timbre --- same effect often produced by blowing “in stand", primarily used to produce open: ct --~ (listen to Glenn Miller records for excellent illustration of plunges work in the brass section) --- similar effect raay be produced by using Brass hat or cupping hand over bell --- indicated as follows: + = closed open Lala NOTE: Avoid the use of mutes ¢! directly inte the bell (cup, straight, harmen, ete.) when writing in the low or me 5 7 1 Page 1 4POSITION and more modern‘ sound in the brass or sax soli, the following principle may be app "WHEREVER POSSIBLE, HI MAY BE SUBSTITUTED FOR LO IN THE SECOND VOICE (from the top) OF ANY OPEN VOICING. Following is a listing of the most practical and best sounding voicings employing the preceding principle: . * Majo: 5 5 Minor: 5 Minor 7th: 5 b7 7 9°9 9 9 fy 5 6 7 é voy 1 3 3 b3 b3 5 Dominant 7th: lor9 5 b7 b9 or #9 b13 a 13° 9(b9) 11 blz by 3 b7 9 3 b7 b7 3 5 b7 3 The preceding in musical notation would appear as follows: aa i 73 oeMinor 7th: ~ These voicings are generally most effective when the ead voice ie ae =a NOTE: The preceding voicings should be used only where the lead voice goes no lower than With voicing roy vaicing marked *, the lead voice may in open position Here is-an example of a four-part sax soli i jllustrating the usage of inner voice tensions: se opén voicings containing at you understand that th ctates. Do not It is important th: ly where good taste di ce tensions should be used onl inner voi feel that you must use inner voice teneions every time the possibilitiy cadsts, Rathex, familiarize yourself with these sounds and try fo use 1 be most effective. them where you feel that their tense quality wi the given melody has been scored for five Voici: » doubled lead) in open posi tion. Jn the £9) part brass so) a ee ee ee ee ee ee ee eeC. THE FIVE-PART SAX SECTION concert, The mest commonly used instrumentation in the five-part sax section is: I Eb Alto Ul Eb Alto ; “ee I Bb Tenor ° AAS Cesenny IV Bb Tenor tue, “+. ¥ -Eb Baritone n; or four ner four-part, doubled lead in closed post part, doubled lead with second voice dropped, may be used with the above combination. Following is an example of a five-part sax soli in open position. (Second voice dropped 8vb.) a we oe4 4 mq Another popular voicing for the five-part reed section is as follows: I Bb Clarinet eon yareqternen it ED Alto SL EMece Bree pita Eb Alto , ° Iv Bb Tenor (rrgrsorreny v Bb Tenor ‘This particular voicing is most effective in closed position and in a fairly high register, with the lead clarinet written no lower than f= concert. (= It ig also interesting to note that this particular sound is commonly associated with the Glenn Miller band ay well as those bands which hhave adopted the basic Miller style; Ralph Flanagan, Tex Beneke, etc. Following is an example of a five-part sax soli scored for the above . instrumentation. 3Se emma= ASSIGNMENT | 1, Notate the chart of open voicings utilizing inner voice tensicn : r in all keys. (See Ex. 2) - 2. Score each of the following melodies for a four-part sax i section (A, T, T, B). In each case use open position and utilize voicings containing inner voice tensions where desired, = (See Ex. 3). | a (@) 9 oF Dm7 Gm? cz ce 7G7(b9) = : 7 < = poe 2 ; pope t PoP oy Ser Ee = 4 _ F 7 Gm 7 AT D7(b9) GT C7129) Pt CT.+ Cotnpose a melodic improvisati: melo: Where necessary, transpose to brass s position, owing 299 soli, her key gince each of the 4, Score each of the improvised melodies from Problem No. 3 for position. Again, apply the principles of inner voice tensions as described in thia lesson. Using melodies (a) and (b) from Problem ‘Mo. 2, set up a concert score as indicated below: trumpet solo (given melody) five-part sax background (closed or open} ALA,T,T,B D7 Bm7(b5) ET : opt =| a =e Bb? Am? ,—P? L +E f =F ie ees SERRE ZS fF rm oe —_ oe6. Using melodies (c) and (d) from Problem No. 2, set up a concert score as shown belo’ - five-part brass background (closed or open) - (muted if desired) ~ sax unison (given melody) 7. Transpose any standard tune of your choice to a higher key so that 7 the melodic line will be suitable as the lead voice of a five-part clarinet lead reed section. Feel free to alter the original melodi Line in any way you see fit. - . Score the transposed melody from Problem No. 7 in closed - position for: “ Bb Clarinet - Eb Alto Eb Alto - Bb Tenor = Bb Tenor = 5 Page &LESSON NO. 16 understood subjects in modern music ----Modern Chord Progression. In the course of the next few lessons you should achieve an excelfent under- standing of those principles which control present day harmonic progres- You should ultimately be able to harmonize given melodic lines, correct “in-corzect" chord changes and reharmonize basic chord progressions to suit your personal taste. A. TERMINOLOGY. BE. rw r At this point in the course we come to one of the most essential and least ™ = @ © For the purpose of this study, all chords will be named in relation to their position in the major key scale. : Let us assume that we are composing (or analyzing) 2 chord progression in the key of C Majo. tonic (i.e., using scale tones only) seventh chords built on he scale degrees will assume the following structures: 4 & a sR ih ———— 4 a a - . in? Wea v? Vim? vinaTies) ‘' IMaj7_ m7 = i. = Non-diatonic chords may be indicated in a simil: a 7 Ab Maj 7 a C4 dimis used as 2 V7 chord a filth below}, we will name the Vi Jn relation to its forwazd tendency. For examplS, C7 ta F in the key of C would not be analysed as om? to IV, but rather, 2s V7 of LV to lV. The symbol — will be used to indicate the iaaels resolution of cay V7 chord, ive., V7 StIV = IV, ] Some additional examples of this point follow: Ex. 4 Key of C Major: J —— BT to Em vi of 1" mm 1 —— , D7 to G7 VIofV to v7 ——/ 7 Ar to Dat vp emt I ete. Following is an example of a simple chord progression outlined in the manner described and its appearance when related to a ‘| given key. : f Ex. 5 It —™ - Vit wWaw Ww wm 4 14 a ee eee =| Key of am7 [Dm7G7 |c c7 |[F Fm [co ab? Jo F Key of Gm? | Fm7 Bor [Eb Eb7 | Ab abm [Eb ce? | Eb F Key of A:| A Fin? [am7 E7 [A a7 |D pm JA ¥F7 [a B. PRINCIPLES OF MODERN HARMONY (Dominant Cadence) a eg gp epv7 I = wo _— i Key of C G7 | c Key of Ab: EbT | Ab 2. ANY V7 MAY BE PRECEDED BY THE V7 OF V. (Extension of the dominant cadence.) “Again, this usually (but not always) occurs over the bar line. — —_. we au Nterv [v2 qa Key ofC; pi?‘ G7 Tc . coe _ Keyof Ab: Bb7 “| Eb7 | “Ab This same principle may be further extended as follows: oe Tv ty Pur of [wr pi : aw as is Key ofan: ey” | er | per [aur fm 3. ANY V7 MAY BE IMMEDIATELY PRECEDED BY THE RELATED Iim7, This usually occurs within the bar. — . - iim?_vt, |i Key of C: Dm? c7 |c Key of Ab: Bbm7 Eb7 | Ab The use of the above does not affect the V7 of V relationship as establ:Using as a basis the progression: oy vioty | Wrory | vrery | vr |i This same principle may de developed as follows: Ex. 1 Key of CG: SO oR VT of Vv [a Vi ofv Z vp Uim?-V7 litm7-v7 lim7-v7l— ef A(7) of D7) of G7) of Leading into the key of A, ‘the preceding progréssion would appear as follows: Ex. 12 —s ViofV | VIotv Db? Go7 m7 Db7 [Dom7 Gb7|F¥m7 BT Lim? im? - V7 |im? - V7 of Gb (7) Jof B (7) | of E(7) NOTE: Changing from sharps to flats is per: over the bar line rather than within the bar. ssable, but always 4. ANY Ilm7 MAY BE PRECEDED BY THE V7 OF IL, This usually occurs over the bar line. Ex. 13 bi Kl 5 ' i a in | 5 i ] a r IN i hi bh isLex. 14 = ma‘: 2 7 FT! (men) v7 ecu | (iim) v7 ot | cum) viet | (m7) v7 fh: Voy of C: Abm? Db? | “Fam? BT Em7__ a7 Dm? ot fe Fr lim? - V7 | lim? - v7 | lim? - V7 Tin? = IT of F4(m7) of E(m7) =! of Dim7) of C ? Fe aT oS —*. } py of Ab: Em7 AT Dm7__G7 Cm7__ FT Bbm?_Eb7 jae Tim? = V7 Im? - V7 Im? - V7 lim? vill 7 7 of D(m7) of C(m7) of Bb(m7) of Ab 1 = — - Ex. 15 + The preceding progressions may | realizing that ANY V7 chord, etc. ..may be preceded by the related lIm?, i.e..... In Om’ Dm7 Ebm7 Em? Fm7 Fim? - Gm7 Abm7 Am7 Bbm7 Bm7 Cm7 Chm 2 * Major, Minor, 'y be more easily understood by » whether it be V7, V7 of V, V7 of - Since the Ilm7-V7 pattern plays such an important part in modern chord'progression, it would be advisable at this point to yeurself with this pattern in all keys. familiarize 2. = se GI Cc — AbT” -- Db - - AT D Bb7 Eb Blo EBS > cuss c7 F Db7 Ge D7 G Eb7 Ab —~ ET A FT Bb F#7 B Dominant 7th or Minor 7theerie hn Key of NT ue ee ooo Fm? B7 Bm7_E7 Am? Di | pmr ot fy - Lim? -- V7_ |) m7 - v7 Um7- v7 | um? - v7 of E (7) ofA (m7) | of G (7) of C Following is another example of the result obtained by combining the V7 of V and the V7 of If in a chord progréssion. ] Ex i7 eo oe (m7) V7 of V | (m7) V7 of I | (fim7) v7 of | (tim?) v7 i: . a —~ i Key of CG: Cfm7 F#7 Fim7_B7 Em7_A7 Bm7 G7 | Urn? - V7 “im? - v7 | tav-v7 | um7-v7 “=~ of BI | of Efm7)_ | “of Dtm7) of C {At this point it would be advisable to complete Problem No. 1 of the lesson assignment.) C. CHORD PATTERNS A detailed analysis of the chord changes to many hundreds of popular and standard tunes has revealed the existance of certain definite harmonic patterns. Since these patterns occur so fre- quently, it is certainly advantageous to be.able to.identify them and apply them in all keys. The value of a thorough knowledge of these s cannot be stressed too strongly. Sufficient familiarity with them will enable you to transpose or memorize the chord changes to any tune virtually at sight. Further, since you are dealing with those _ very same elements which go to make up the chord changes to most tunes, you should have no difficulty whatsoever in compos- ing original chord progressions in the same style. ZAM RRR EEE Key of CG: C Key of Ab: Al 1,PATTERN va ViofV| Um? V7 Key =. Key of: C Ebdiml pm? G7 Keyofc: v7 [pmz c7lec Key of Ab: Ab “Bim |Bbm7 | EBT Key of Al (L PATTERN#S es = V7 of Ii(b9 “Wm | 1 Key of C: A7(b9) = Key:of Ab: F7(b9) ocr |r -#mlc Ab Ab? [Db “Dbm |.Ab 7 Using only those techniques which have been discussed up to this oa point, it is possible to create an infinite number of musical and practical (though still very simple) chord progressions. _ . One further principlé, however, must be known and applied; i,e., ANYTHING MAY FOLLOW THE "I" CHORD. 4 ce eer oo = Following are some logical eight bar chord progressions along with an éxplanation of the function of each chord. Only materials contained in 7 this lesson have been used. 7 _ - 4 A - y fF Im? vil T ~ c Dm a7 7 LF 7” PATTERN #6 : PATTERN #4 7 Wan TV Tm TI Wiav Tin? Vi Tt ll mc cl 5 = Fm c D7 Dm7 G7 . c 5 = a 7 y follow thePATTERN #2 figim PATTERN #3 PATTERN #5, T ‘bilidim Tim7 vil 1 weir Iim7 er Bb dim Am: & E72) ____ Am? fr PF E NOTE: It is possible in the course of a progression to establish a key other than the one indicated in the key signature. The following chord changes to "What's New?" effectively E illastraté this point. 4 baste ©, "What's New?" -- Key “of C of Ab - Key of Cr lint oa VF i Cm) vi Bhin?__Eb Deis) Gi = = SSS Ss =a - - a ~ #4 Libs), _ Deaths)aa poe ] Is | | 1G) z ME 5 2 IT 1, Work out each of the following chord progressions in ever key. (In each case work back from the I chord.) Sey of-C: -] -) [nT yi). fn Dm7a fim? Wav) | iia? —wem |r b | he Cim?_ ret | Fam? az Em? Key of G: - art 2. Work out Patterne #1, #2, #3) #4, #5 and 86 lA ail keys. 3. Composé three eight-bar progressions in every key using only those materials contained in this lesson. Explain the function ofeach chord used as in Example #18 ~~ —— 5. Using any one of the original melodies composed for Problem #4 set up a concert score as indicated below. Trumpet Solo Sax backg (open or cl AAT, TB ww a t oma 6. Again, using any other original melody from Problem 4, set.up - a concert score as descrived below. Brass Background pets) (2 trombones) oo Unison id ETA. SUBSTITUTE CHORDS Substitute chords of one type or another may often be effectively employed where amore "tense" or inore modern sound is desired. Needless té say, they should not be uded indiscriminately, but gather to achieve a specific effect at a specific point in the har- monic progression. Following is a description of the most commonly used substitutions. 1.-SUBSTITUTE FOR THE "I" CHORD, “The Ilim7 may be used as a substitute for the Major I chord." ~ ‘The relationship of the Him? to the I chord may be noted in ene following illustration. Ex. 1 1 Majo Observe the application of this principle to the examples: Ex. 2 {2} Key of C: = Ab) pom7_ep7 GA? £709) Bom? _EbT t= f a fF Lie NOTE: This substitution is effective only in the middle of a progression and should not be used where the I chord is intended to signify a final cadence. It should also be noted that it is almost always followed by some form of the V7 of It.= FOR THE "IV" CHORD. ‘The BVT may be used as a substitute for the IVm. Again, the derivation of this aubetitution may be noted in the following illustration: . = — Ivm vii? Ex.3 Application of this principle might appear as follow: Ex. 4 (a) Key of C: . c co 2 (b) Key of Eb: 3. SUBSTITUTE FOR THE "V7" CHORD. The bII7 may be used as a substitute for the V7 chord. Notice that the third and seventh degrees (which establish the chord as a dominant seventh structure) are the same in each case. Ex. 5foal m4 4 PRrReP Pr rrere Ex. 7 £ = In the following examples are illustrated some of the many, many applicetioas of thie principle. Ene 6 Sol Gay Key of a5) we Ae Wey. = VT Following ie a reference chart illustrating all of the sub- stitute chords described in this lesson. + {a)Substitute I (IIm7) (b)Substitute Ivm (bVI7) — (e) Substitute V7 (17) original substitute original substitute original substituce ~ Coseee Em7 Fmé Bb? - + DoT HS Db Fim? > Gbm6.. ee cb7 7 D7 “De eee Fm Gm6 vee. CT AT ane EDT TE... G7 DbT Bb7 veeee EV Execs GinT DI BT Ev Fr. EBT c7 eT _ Flees. Afm7 ET 7 77 “Db7 a7 Gb... Bbm7 F7 = DT AbT Go... Bm7 G7 EDT . Az Ab Gi ET cesses BOT A. AbT 2 FT Bi Bb Em6 .... AT GT .eeee C7 the V7 chord with either the original Iim7 or ions are possible: By precedin the related IIm7, the following varia Page 3Ex. 8 Key efC: Dm7 G7 © (or ab} it Dmi Dbz © (or Go) Fi Abm7 — Db7 © (or Gb) Hi : Abm7? G+ © (or Gb) i : iigte the Varied possibilities for a four chord cadence utilizing this techniqu Ex 9 - ~ | Bbm7 Eb7 . Vi of Vv Any combination of the above ma. y be used providing that the forward motion is maintained, Following are some examples of chor 6 progressions employing ail of the substitutions described in this lesson. Ex. 10(£b7) Bbm7___A7 ~ Subst viav. } (7) HF (o7) (em | 5 Db? = Ani Ast Gxt OT E = aoe = == ‘Subst | = J wre wan V7 + | 74) Key of Eb: (7) eS E: 4 ~ subst at : We (eI : em: : oy, Fmt ‘er ee See Or Gee GF ae “ee ey |) SSS SSeS | : sar Sabet soar Sabet wen Wd VE NOTE: Principle of the substitute dominant may be more “easily mastered by remembering the following “_ -V7.RESOLVES DOWN A FIFTH. J? SUBSTITUTE V7(bl17) RESOLVES cece |) DOWN A HALF-STEP. _ : 2 j : vi ii ¥ PATTERN . ‘The*pattern “2 Vim7 - Dim7 - V7" ig undoubtedly one of the 0 >” most commonly used in popular harmonic progression. Follow~ ing is a listing of the most practical variations Of this basic'« « chord pattern, Each of the variations has a slightly different ~ character and a thorough familiarity with the sound of each - Mall be important to you in deciding just which one to use in - a given situ Page 5Ex. 11 ao Vim? lim? #8v7 be I billdim Im7 **V7 ce I #idim lim? #*4#v7 a. I Vi of Vv ~ m7 v7 ec. sub. V70ofV Im? #87 cos fe I V7 of (b9) Dm? *#v7 = ge - oe. sub, VIO. m7 **V7 ce he 1 *Um7 Uim7 billdim Im? **v7 is I *fim7 Iim7 bliln? Im? ##V7 je 1 #lim7 = ia? V7ofm(b9) m7 #4V7 ke I *Iim7 Ilm7 sub V7 of IL Um? #*V7 (specialcase) lL I “ VTofbVI bVImaj7 sub. V7" (“y+ # “tim? may be omitted in each case - " s+-9/ #* Substitute V7 may be used where desired ‘The preceding list of variations would appear as follows in “the key of Ce - Ex. 12 5 . c Am7 Din? G7 c Eb dim Dm7 Gi c C#dim Dm7 Gi aed D7 DmT Gi c AbT DmT Gt c AT(b9) Dm7 G7 c Eb? DmT G7 c Dm7 Em7 — Ebdim = Dm7 G7 c Dm7 Em? — Ebm7— Dm7 co? c Dm7 Em? A7(b9). Dm7 G7 c Dm7 Em7 Eb? Dm7 GT c EDT Ab Maj? Db7 _ More complex Variations may be produced in patterns d., e., f.,g- and 1., by preceding the V7 chord in the first bar with the related Im7. Ee 13 a oe : ot Subst lin? va well Page 6 - ne —_ — ~ aoe bad = ew oe ee ee =<al . > kL ~" ~The texm "cadence" is weed to indicate the arrival of the harmonic "] broprention as point of ren (csi eens ato L . Generally according to the w vty he SUB-DOMINANT CADENCE is the least final'and most” Le, fubtle in feeling ofthe three possible forins, Inmnay oe reseed | ~ iM any of the following ways : “tum7 toy *IV7 to 1 0 ca5c 7 no # Special case - - used primarily im blues, ox 1° to establish "blues" feeling . Ex. 15 Key of @: >>> B PF nm ¢ Dm7 to ta fe VARIATID 25 7: at FI 2 to cz id “2. The SUB-DOMINANT MINOR CADENCE has a stronger otendency toward resolutio: a chan the sub-dominant, and ., is somewhat more moder: nin feeling. The sub-dominant s..srminor cadence may be represented as: Ex. 16 : — 2 IVvm Ivm ‘to 1 In7(b5} to 1 bvu7 to x Page 71 Possil ties for sub-dominant minor cadence would appear as follows: * . : Ex.17 Key of C: Fm to = °C * Dm7(b5) to c Bb7 torre 3. DOMINANT CADENCE, which is the strongest and most final in feeling is the familiar form most commonly associated with the term Meadence! Dominant cadence may be achieved through’: Ex. 18 veo to oo buy? to 1 Key of C: Gr to ¢ DbT to C Senecio ‘There are also several less commonly used forms of sub- dominant and sub-dominant minor cadence wheh bear men- tioning at this time. Although not usually found in basic chord progression, these variations may often be effective- ly applied in reharmonization or in the composition of original chord progressions. SUB-DOMINANT CADENCE (less commonly used form) Ex. 19 vu7 to Key of C:SUB-DOMINANT MINOR CADENCE (less commonly used forms) Ex. 20 : : > BVI Maj? -to bvI7 to - bII Maj7_— to Abmaj7 Ab7 "to wDbmaj7 _to, , Different cadential tendencies ‘may be sed in combination in lo leading toward the I chord. Any c jmbination may be used we! providing that forward motion ie maintained by using these“. * ! tendencies in order of their relative strength. | This. order 1, nay be,deseribed as follow SUB-DOMINANT -. SUB“DONINANT MINOR --- DOMINANT --- TONIC = @.SUB-DOMINANT SUB-DOMINANT MINOR TONIC ! ¢.SUB-DOMINANT -- ‘To illustrat2 further, let us assume that we have selected as our cadential form: SUB-DOMINANT --- SUB-DOMINANT MINOR --- TONIC Referring to the possibilities for each tendency as described that this p, earlier in this lesson, weEx. 21 SV ceeee ee dVia I or; “Lim7. 6... Um7(b5)-.. 1 UmT .... BVT... seat ors | IV esses. BVHTT. I etc., etc. . i Let us assume that we have selected as our cadence form: ‘SUB-DOMINANT MINOR -- DOMINANT -- TONIC i SUB-DOMINANT Here are some of the’ possible variations that might result: Ex. 22 : Iim?... Um7(b5).... V2 ot ont : Iim7(b5).... V2. IV ..... bVHI7. V7.2... Um7 lm?....bV1I7. bUZ... etc., etc. It should by now be apparent to you that literally hundreds of varied and interesting cadential progressions may be evolved through the use of this system. Most of these forms are cur- rently in common use in the basic chord changes té standard and popular tunes; all may be effectively used in reharmon- ization or in the composition of original chord progressions. Remember, how! Page 10 Bass =o icin ee ee ee ie |Fe Bm Boy Be = == r= 1. (a) Analyze each of the following chord progressions according to the techniques described in Lesson #16. (b) Reharmonize each progression by employing substitute chords as described in this lesson. E ca Dm7__-G7 ic Em . E ————: =p =F T—t—F [= L { pe or = __pieey mt G x e 5 Am7__p7(9)___Gm7_cz bom. FE 3 r Page 11i) Eb Le =e Tele FE 2. Work out all variations of the basic I, VI, U, V, pattern in all keys. 5. Work out all possibilities for SUB-DOMINANT cadence in J all keys. 1 4. Work out all possibilities for SUB-DOMINANT MINOR 4 cadence in all keys- ilities for DOMINANT cadence in all7 rl eg 6. Working in all keys, show one possibility for each of the ‘ cadence forme listed on page 9 i 7. Using all of the materials contained in lessons sixteen and seventeen, compose two eight-bar progressions in every key. i 8. Using any standard tune of your choice as a guide, work out the following: vel a. Transpose to a key suitable for a female vocalist. rel Range : . a b. Score a suitable background (to the vocai lead) for a five sax section (A, A, T, T, B) 4 using closed and/or open position.4 u LESSON NO. 18 PRINCIPLES OF HARMONIC PROGRESSION (cont'd) A. REPETITION OF THE Im? - V7 In the course of a harmonic progression, the Im7 - V7 of the key may be repeated without affecting the basic forward imotion of the progression. Ex, 1 (a) Key of C: Im7 va | ome (b) Key of Ab: vr fe pat__o7y | yom7_aryl B. PASSING DIMINISHED CHORDS Very often it is possible ti to another through a "passing" diminished chord. the function of the diminished chord is to Sim? V7 | um7 subst. vi |i Bom? _Eo7 |] pBbm7 ail| Ab stronger linear motion between the two diatonic chords. Following is a listing of the most commonly usec applications of the passing diminished chord : 1 2, I v7 1dig Vaini faim #ildim bittdim flveim bVdim 1 v7 Im? 1§ (Grd in the bass) Lim? & 14 Vv (Sth in the bass) 9 Progress from one "diatonic" chord In each case, sovide smoother and5 1. (v7 to |uimz, V7 to litm7(b5) we foo retverv [or av ow | 1 3. (V7_tohV7 of V of F of v" 1 (I7) . 4. yt tol vim) Eva ot v [ mm7 v7 for 1 Example #5 would appear as follows in the key of C; * Ex. 6 ’ SS Let | me ar | pm a lc G7 | ems) a7e9) | Dm7 a lc 3 tet mw [op fer fe ajar | Amz pt | opm? cr [oc Although lessons to follow will continue with a further discussion of the techniques of modern harmonic progression, we have by this time progressed far enough to be able to identify and analyze the chord changes which might be used with many standard and popular tunes. It should be clearly understood at this time that there is no such thing as the correct set of chord changes to a tune. Many differ ent harmonic variations may be used with a given melody depend ing upon the harmonic style desired (commerelal; modern; ete.), In the following examples, the most commonly used basic changes have been indicated. Ex. 7 . (a) "DON'T BLAME ME" c Bb7___AT. Dei a7 = ee eS 1 : = . .{ (Bx. 7 cont'd) | Teo) simacaa tion" Ego Gm7 Ab? 7 Mise a7 c Wav. iv FT G BVT T sub-dominant minor cadence l(a) "1 MAY BE WRONG" 4! | Eb SS Bbm? eB? co ppt D. ADDITIONAL “APPROACH TECHNIQUE! In conjunction with the work on harmonic progression, we now return to the technique of scoring with a discussion of some additional methods of harmonizing approach notes. ‘Thee additional approach techniques should be used pi where the conventional approach note harm: 1 produce a satisfactory reeult. ns do not. ~ -- | «ith Snia ofexpricntaion te q determine just where each type will be most effective, but the oa 1, INDEPENDENT LEAD (six types) 7 "| Lead moves down one half step . Lower voices move up one half step 7 a Ex. 11 It will necessarily take ac @. Lead moves up one whole step a. Lower voices move up one half step aS ——— b. Lead moves down one whole step e. Lower voices move down one half step + Lead repeats Lowez voices move down one half step Ex. 120 o> io (SRG oe L c. Lead moves up one half step f. Lead repeats Lower voices move down one half step Lower voices move up one half step Ex. 10 Ex. 13--_-In using any of the foregoing forms of independent lead, care should be taken to see that the reéulting approach chord forms ome logical structure. "Do not use an independent lead where {= the approach chord does not form a logical structure. "=" ‘olloWing are-some examples illustrating both correct “incorrect Usages of mdépendént 16 ~ =: (a) Lead moves up one half step Lower voices move down one half step I : = ~*fb) Lead moves down one half step ] Lower voices move np one hail step \ = pap oS ==eooni, > I, I 4 2, DIATONIC APPROACH | 4 ‘As the name implies, only scale tones are used in the 1 scalewise, with all voices moving in the same direction | 4 as the lead. - bonon oom meme em ce a me ee a eg a Diatonic approach is usually most effective when it assumes the following appearance: APPROACH —* CHORD (a) Sub-dominant —> Tonic (b) Tonic ———.> Sub-deiminant Shown below are examples of some effective uses of the diatonic approach. . Ex. 16 NOTE: Any inversion of the above forms may be used. 3, PARALLEL APPROACH In the parallel approach, all voices move ‘in the same direction and exactly the same interval as the lead, i.e., parallel. Ex. 177 74, DOMINANT APPROACH - To use this type of approach, simply harmonize the approach note with some altered form of V7 of the chord being approached. “A dominant approach into a C chord (or C7, Cm. Cm7, ete.) would consist of some altered form of G7; a dominant approach into any'type of Bb chord would be produced by using an altered In order to achieve the most effective result, it is'¢ssential that the approaching V7 be used in something other than its original form. Any of the following may be effectively use: : v7 = : vz — v7 v7 - vi + vi vz ion of the Following are several examples of the applic dominant approach in the block harmonization of a given iL Zumelody. - vEx. 19 (9) Amz 03 Pent Ca eae ct s_ iNOTE: In relating the new approach methods described in ously discussed approach chromatic approa sed “chromati may be considered to be app parallel appro: cally in all voices” Lications of the + Independent lead + Diatonic approach + Parallel approach Dominant approach c7 (aL) Am (IL) Be 7 osa] a 4 ] mere ee ri Jn view of the varied approach techniques described in this as well agin former lessons, it should become increasingly obvious to you that there is'no single "best" method of he As in the case of the selection of the basic itself style, instrumentation and taste will factors. * monizing a given melody. harmonic progression all be determining More and more your taste, based on your increasing knowledge and experience, will guide you in your selections and you will find yourself objectively using a particular technique because you are able to associate it with a specific sound.ASSIGNMENT 1, Notate variations of the passing diminished chord in all keys, similar to Ex. 2. 2. Work out the four forms of deceptive cadence described in the this lesson in all keys. (See Ex. 6) 3. Analyze each of the following chord progressions which might be esed with the standard tunes indicated. (Sce Ex. 7) (a) "TALK OF HE TOWN" FAD’ Gm7_CT FO ya? Bb Eb? oF ET of _ i BmaboE7 AT Am7_D? a ———_—_— t FE D7 G Em7 AT a AmT 7 tt:(c) "CYNTHIA'S IN LOVE" Em7_* bz) a 7S o bs B A lo B lo %o Lt & 4 bed (0), "BLUE ROOM" 5 Ab? Gm7_C7 al {e) "THERE'S NO YOU" F Bbm F Dbmn7_Gb7 FE Am7_Ab°*_Gm7_* cz ({) "MOONGLOW" ° I Eb _ cmt =——== = 5 l Fi $e? cor kl (g) "I UNDERSTAND" . to, 6d i Fan? F7 E7 AT Am7 D7 G Am7 Bm? E7 - ===: Es ST Ft k « Pago Ua it ee oo mm(h) “GONE WITH THE WIND" Fm7_Bb7 Eb Gi()_Fm7_Bb7 Eb 1. Am7__D7 + S — (bMaj9) G__E7(b9)__Am7_p7 G Gm? Gb? Eb Fbag7 Gnijts) C7 --_Fm7- Db7__Bb7 4. (a)Compose one eight bar chord progression in every key, employing any and all of the harmonic techniques des cribed in lessons 16, 17 and 18. : (b) ‘Show the analysis of each progression as in Problem #3. 5 5, Work out three practical examples of each of the six types of independent lead. (See Examples 8 through 13) 6. Notate in all keys the applications of the diato: c approach - chord that have been described in this lesson. (See Ex. 16) [7 7. Complete a block harmonization of the following metody, L using some form of dominant approach at eack point rarked Page 158. Work out a four-part biock harmonization of each of the following given melodies. Employ any of the additional approach thethods described in this lesson feel they may-be effective. Indicate each a. Gm7(b5) C7 (ee B 1 pg B? Ev = O= Dm7 "G7: fa eS Seely Anta) “Am? Am7 ) Bee Page 16 $3 0A POR ROP ee.To be ceztain that the foregoing is perfectly clear, here is an n showing the appearance of each of the preceding in the Key of C. Note the chromatic linear motion * achieved through the use of the passing diminished chords. Ex. 2To illustrate further, here is a short theme in which the chord Progression effectively employs several forms of the passing diminished chord. etn Ex. 3 : FS Ab°GN"Gm7 xed ©. DECEPTIVE CADENCE The normal tendency for any V7 chord is to progress to another chord located a fifth below. Ex. 4 . . Gi to € 3 G7 to c7 ; G7 te cm? ; Sth rr Sth : down down down \ When a V7 chord is followed by some root motion other than that of down a fifth (or down a half step if it is a substitute dominant) the result is known as a "deceptive cadence", Deceptive cadences may generally be classified as being either: a. non-modulating ; or b, modulating For the present we shall he concerned exclusively with the first type, i.e., those forms of decep under norma! conditions usually c cadence in the same key. © cadence which ue to 2 conventional The commonly used forms of cadence are listed he} normally follow th. 5 which dicste, 2 ae —s————LESSON NO. 19 . A. As previously stated, some key other than the main key of the com- position may be established in the course of a chord progression, One of the commonest and most effective changes is achieved by establish- ing the relative minor key, i.e., that minor key that has the same signature as the relative major key. EX. 1 Major key © Major Ab Major D = Major ‘The minor key is established by usin| Im 7(b5) Ex, 2 Relative Minor Key A Minor F Minor B Minor v7(b9) Im C Major (A Minor) Bm7(b5) E7(b9) Am Ab Major (F Minor) Gm7(b5) C79) Fm D Major (B minor) Cim7(b5) #7(b9) Bm A smooth transition back to the major key is achieved pivot chord as follows: by using the Im asa Relative minor: Im7(b5) V7(b9) | Im ma(ecaj7) | [lem Im? |v7ofVv same chord Om7 vi| I pt [par -or |(Ex, 3- onttay Ab Major: Gmi(b5) c7(b9) [Fm Fentonas7 | Fm7 | Bb7 | vem Eb7 [as D Majoi Cfm7(b5) F§709)] Bm Bmimaj7) | Bm7| E7 Em7 AT |> Following are two eight-bar chord progressions further illustrating the application of this priaciple: Ex. 4 F Major: [® fom7 s|om7 7 cr ifr vr “1 femz05) 1 azo) 1 | | pm J Detmajty / [pm7 / a7 1 [om rorafer rs fl G Major: Jarry ys s[or ss i|> Vt 1 [seein 1 B79) / | [Bm 7 emimajny ¢|em7 a7 tame rer ifort | B. FORM ‘5 far we have applied the principles of harn single eight-bar phrases only. These same pr: valid in an: tune. onic progression to ciples, however are still g the chord progression to a complete ng or construct Foz purposes of this study, we shall discuss the two forms most commonly used in song construction (although there are other . at a B aa 2 © bars 8 bare 8 bars @ bare al 2B a c b. 8 bars B bars. 8 bars 8 bare In type "a." above, Al, a* ang a3 would be virtually the same, (except for cadent: jation in the last two bars of each) while the B theme, alse called t! "channel" or "release", would prov: contrast, e melodic 4L : wine ns tite acopFéx Loves : fot “ONCE INA WHILE" | _, wos . ~ ETC., ETC.. wt . - . ~ ~ the construction of tunes such as: | Li "sep PURPLE ‘ "EMBRACEABLE YOu", = . tet - ‘BUT BEAUTIFU: ETC, ,ETC. seeeee = 5 It should be understood that the techniques of song construetion 4 (actually an involved study in itself) cannot be completely explored J in this course. To gain a further understanding of harmonic progres- sion as applied to rong structure, it will be necessary for you to : i devote considerable time to the analysis of popular and standare | tunes. (See examples 5 and 6, and Problem #1 of this lesson assignment.) x. 5 = al a op “MOOD FOR LOVE" 2 ——1 SO Em7 pet Eb C209) Em Bb Eb tArs 7(b5)_D7(29) Gm m7! EF? Fm7____Bb7 tim? WV T im Td V) Lim Vi al kewl Gm Lm? vid 7 a = Fin? Fm7 Bb7 Eb T Iba? Vi Fm? BbT Eb Wika? bli? _imt Im? vi I ap Foo “LAURA" Bm7(b5) <2 = yeia NOTE: A thorough discussion of the "blues-type"™ . twelve bar construction will be included in a later lesson. - C. DECEPTIVE CADENCE i 2 7 a a The following forms of deceptive cadence would nét normally be found . in the chord progression to a standard or popular tune but, rather, i would be used to create a special harmonic effect for purposes of modulation or variation in the final cadence. Le V7__ to —sbVIMaj7_—(1) 4 - G7 "2 > AbMaj7 2 (C)_ Bb7T " —— CbMaj7_— (EB) \- 2. V7 to buMaj7 |) ya” . Key of © G7" DbMaj7 ® 1 Key of Eb Bb7. ™ E Maj? r NOTE: Where the deceptive cadence is to be followed 5 by a modulation into another key, there is no - need to return to the "I" chord of the original - 1 (as in parentheses above). - 3. Modulating Deceptive Cadence 7 ' a. Establish a strong melodic cadence on any = one of the following degrees of the I chord: H Vo 1, 3, 6 1 9 1 b. Consider this note to be either the ninth or - “the scale eleventh of some i \e chord. \ ¢. Assume this minor seventh chord to be a po Im? ... and continue on to the related V7.4. Cadence directly to the I chord established by this Im? - V7, or progress as desired to any other key. (See Ex.7) 0) =| Bbm7_Eb7 {9 nc? Bbm7 Eb7T. AP 5] Ss Spee D. COMPOSING INTRODUCTIONS AND MODULATIONS All of the techniques of harmonic progression and melodization discussed in these lessons may be applied to the construction of introductions and modslations. One harmonicsfactor that all introductions and modulations “will have in common is that the final chord or chords must form some sort of cadence into the first chord of the chorus. 1, INTRODUCTIONS (mo5t commonly four bars in length, ‘but may be twé, four, six or eight bars long.) Generally speaking, introductions may be classified as being either thematic, i.e., based on the material contained in the tune itsels; al not contained in the body of based on new mate: the tune. impossible to pres aJ Wea SA 4 mo ama pa ce cree age of the writing of non-thematic introductions since | g0 many variations are possible. To be certain that the principle is clear however, following are some examples of non-thematic introductions. . Dm7_“.G7(b9) E20! "he + constructing this type of introduction, but it is inter-* 00-39 ‘Thematic introductions (the most commonly used typd) may be based on any rhythmic, melodic or harmonic motif contained in the arrangement or in the original melody: Again, countless variations are possible in esting to note that many are based on some sort of sequential development. . Following are examples of thematic introductions to “I'm In The Mood For Love".Ex, 10 fa) Needless to say, the style of the introduction should compliment the style of the arrangement by establishing the mood and charac- ter of the music to follow. Bright Swing - "Dancing On The Ceiling" mi epi Our Waltz" AbT Dm7 G7b9) MODULATIONS The primary consideration in constructing any modulation is to provide an interesting transition from one key to another. As in the case of introductions, modulations may be besed on either thematic or non-thematic material, There are, of course, many ways in hich this transition may be accomplished, and countless variations of the following examples would be porsible, Re sure to consider these examples as a starting point for your thinking, rather than an attempt at a com= plete coverage of the subject of modulation. Ex. 11 (a) "PENNIES FROM HEAVEN" C to Eb modulation7 | 7 (b) "MOONLIGHT IN VERMONT"... Eb to Bb (no extra bars) : lp, eo TEMES ne & at sere pS (c) "LAURA" C_to Db (starting chord Bbm7) (last two bars omitted). eee - at Bp. Bbm? Bone) AR pratt (SES =aiepee * modulating deceptive cadence (a) "over THe RAINBOW" Eb to. Gb. . {two extra bars) . modulation 1 sem gy Eom? Bb?” G7 cb? a t~ P. Pasaeeas eee (ce) "DEEP PURPLE" Foto G H {no extra bars) poet penal? ee — CSS = Sanaa = , AmT Di(b9) G E7(b9) eae Lo™~ ASSIGNMENT 1, Analyze the chord changes to each of the standard tunes included at the end of the assignment. (see Ex. 5 and Ex. 6.) . Compose one eight-bar progression in every key, establishing the relative minor key at some pcint in the progression. (see Ex.3) 3, Notate the following deceptive cadences in every key. (a) V7 to. BVIMajz a) ©) v7 to BEEMaj7 «) t 4. Utilizing the principle of modulating deceptive cadence as des- ma J exibed in this lesson, construct a modulation of any length from re "the key of C into each of the eleven other keys. Compose both . melody and chord progression for each of the eleven modulations. 5, Compose a thematic introduction of any desired length (melody and chords) to each of the following standard tunes. (see Ex. 9) F a. You Are Too Beautiful b. Can't Help Lovin' That Man ¢. Body and Sou! Someone To Watch Over Me d. IOnly Have Eyes For You 1 Cover The Waterfront e. How High The Moon k. Jeepers Creepers f. Deep Purple 1. Gone With The Wind September Song Somebody Loves Me jr NOTE: In the event that you are not fami any of the foregoing tunes, simply sub- stitute tunes of your own choice. z with az) 6. Compose both the melody and the chord progression for twelve non-thematic introductions (one in every key) in each of the fol- Jowing styles. These introductions may be of any desired length. (see Ex. 10) — (2) Waltz +(b) Slow Ballad (c) Bright or Medium Swing (a) Beguine (or any other Latin-American beat) wo 7. Construct a modulation of any des : (listed on next page re ee reeom a © to Ab & Gb to” Bo b. Bb to Db bh Db to Gp c. Ab to A iF te. Bb 4. Eb to G iA, to gp . e D to 8B k Bh to ¢ ~ -: £ G to F L Goto | ED NOTE; _ Any of the techniques of melodization and chord Progression discussed in these lessons may be used. ‘The Modulations may be either non-thematic or thematic (it based on specific tunes), Using any standard tune of your choice: a. transpose the melody to a key suitable for a five-part brass soli in open position. compose a percussive, rhythmic improvization of the original melody. ©. score for: Se ae lee EF ae I Bb Trumpet pi H Bb Trumpet y . UI Bb Trumpet a . I Bb Trombone IL Bb Trombone - NOTE: In scoring Problem No. 8, try to make use of inner voice tensions as dis- cussed in Lesson No. 15, or oF a ae anFL =, | a * (@) "CAN'T Give you ANYTHING BUT LOVE" a Bbe Amt pe == = =] R SMILE AGAIN" - Gm7 Gb? em? __Fm7__Bb7 Eb Fm? ; SI SSS SSS] : E Gm7 oe, Fm7 = m7 * Bb? Eb Fm?"I'LL NEVER SMILE AGAIN" (cont.) i L q | fs pre é Am? betict) FU9) Fm? u E = i - oo = =| q pz Gm7_Gb? “+ Em7, 1 i co 1D 3 5 oO % {Jos i , Ey : ' ood ley i okey pe | Se a wet = 4 r + E = = 7 J 1 3 CT Em7 Em7 Bb7 EMaj7 Eb : ray * ee come! 1 c “Am7(b5) __D7(b9) "G = = : = aesf= mn toy REMEMBER YOU" (cont.) “] (4) “PLL STRING ALONG WITH You" | (ze-harmonized) ° mo Bis za Ea === Eat SS =o a 4 J Fm7 Bb7 Fm7 Bb7 Gro? CHI) Emi ‘pm c= i == Sa =| Eb Em7 om7 "Fm? _ED Gaug? crLESSON NO. 20 The principles of chord progression as discussed in the past few lessons may be applied effectively in the "re-harmonization" of a given chord . progression. Reharmonization of a given progression may be necessary or desirable for either or both of the following reasons: a. to correct chord changes that for one reason or . another are incorrect on the existing piano part i or lead sheet. : “'b, to provide harmonic motion through the use of added chords, or harmonic interest through the application of substitute chords. 2\. Both of these principles have been considered in the reharmonization 2.0 of the fcllowing chord progressions. In each case, the basic chord bas been taken from the printed piano copy. Needless to say, the melodic line has been carefully considered in constructing the rehar~ monized progression. . = ab To derive the maximum benefit from these examples; n a. study'each carefully, being certain that the logic behind each of the reharmonizations is clear to you. -_— = b. play (or have someone else play) the melody, first with the original chord progression, and then with the reharmonized chord progression. Listen closely to the sound of each and try to associate the harmon- _ ic techniques involved with the resulting musical sound. Ex. = original (a) "LOVE LETTERS" ~ be ¢ c - Em ef >= 7 = a ‘eharmonization tC. eeeCe oe 7 a if= Z { = i -Lev$ “ppm zal Ab Db7 f= mr. a ort 7 Fm7_Bb7 HS —— ae ———F i(c)"¥OU ARE Too {Emi AT Dm! I. Pm? AUb9) Cdim “c Gaim Fadi i A7(b9) Er Am. Caug eo a8 Suee _Diim__Am SSoriginal ‘(@) "l MARRIED -AN ANGEL" ~ Gm?__cr__er a. aa 2 ‘reharronzatgn hms sito) | 2 Dubs) _|_Gm ford r ‘Am "3 = = Ez i an J b? Gm?___cr E E cr E 4 Dr Gm7__c7 pS = 2 7 | et fed 4 _ ; z t = = | z f sonal aan co ton =I z a 5 Gm? cr ~ = | i : Gro F7 cr. = ay —- - iice? = & ora, | ons =a Dt y : g 4 J 4 BOE Je Le 4 Ca Gaia Bint aint. 8 3 : i il. z sit) e a dh gpg ail 3 al We) Sif § ToT. (RT ‘i a i I a siNa ‘ “LEE Rr eke Fe = Over a period of time the term "blues" has come to'represent — over st ony twelve-bar harmonic phrase regardless of its resem _- Plance to the simple traditional blues outline. oe “development of the "blues" nor to establish strict definitions hh will enable us to determine whether or not a cexta curately defined as "blu Rather, using the traditional blue try to develop related twelve-bar phrases using the techniques ve pewmonization and reharmonization as discussed im Previn’ lessons. pattern as a guide, we shall The basic traditional blues chord progression consisted of =n this discussion if is not our purpose to analyze the historical —(2) == veral ex; twelve Ee3 Bar 1, ms Notice that the essential ples of variation ~bar blues have bee, tonic Bar 5 sub-dominant Bar 7 tonic Bar 9 Cominant (or Lm?-V7) Bar 1p Dm7 aS pS Ee? D7 tonic Pe mee FrLESSON NO, 21 THE RHYTHM SECTION In this lesson we discuss the four instruments of the rhythm section znd theiz function in the orenestra. 1. DRUMS (percussion) The dance band or jazz drummer makes use of a number of different percussion instruments. a, Bass Drum ...., notated on the bottom space with eteme down (bass clef), Ex. 1 b, Snare Drum ..... notated in the third space with stems up. Ex. 2 NOTE: "Snares on" will produce the sound normally associated with the snare drum; "snares off" will result in a more muffled "tom-tom'" like sound. + notated in the fourth space with stems special note shapes 2s follows: c. Cymbals « up ss of quarter note J half note(one or severe} ...., notated as snare dx h"T.T." indicated before mi -tom passage. ollowing is a list of abbr. commenly esscciated wit ations ax expression marks drumming and their meanings; Bass drum Snare drum Tom-toin Cymbal Rim shot Sticks Brushes Yepeat preceding bar repeat preceding two bars Roll NOTE: a drum roll should always have an ending attack; £: oi gad - Remember that 2 drummer's primary function is to provide a steady rhythmic foundation for the band and that he should de~ part som this only for occasional special effect (i.e. to prow vide fill-ins between ensemble passages; to emphasize percus- sive orchestra! figures; etc.), v. Heliowing are some of the basic beats commonly used by the dance-bend drummer, Ex. 4 {a) straight 4 ee (b) "2" feeling eae Pore 7er er er nn a i a4 a 1 m rrr, ce {c) straight 4 (brushes) (a) swing (cymbal or hi-hat) : (— 3 3 CT = =F | (e) beguine {f) tango . (g) rock and roll 111! > ptm eg in using each of the above, the term Mad lib" is usually noted ¢ drum part allowing the drummer freedom in following jt is also customary to indicate the pre- he drum part. on the the arrangement. dominant solo or section activity on NOTE: The tendency will always be to overarzange for the Qrommer. Unless some specific effect is desired, give him as little as possible to 7 sees 2. STRING BASS (Bass fiddle)The bass, noturally enough, is notated inthe bass clef an y sounds. The four strin but higher notes are possible and are used for special effect in solo passages, The fo bass parts: ~ ~ wing illustrations will serve as a guide in the writing of (a) with one chord per bar TES or TF (>) when a I chord is followed by its V7 Ex. 8 ¢ a as) Ga {c) with two chi Ex. 9 ji i aE a. x. REM. oe a BBsts may be replaced by repeated notes FLL I iI i (Q) chord or scale Hotes other than 1 and 5 (usually 3 or 7) may be used to provide melodic raotion. - L AT pet ot ~ 2 : ‘ Ex, 12, Cc (g) where the roof motion of the chord progyession moves down a fifth, a passing b5 may be used on * either dom. 7th or minor 7th chords to provide chromatic bass motion (5 - BS -* 2). Ex. 13 & AT FFU = 4 The preceding must necessarily be considered as a general outline and other techniques may be used where they appear to be musically 1] justified. wena 7 a 3. GUITAR passages, the guitar is written one strings When used for sin| octave higher than it act Guitar are tuned as follows: ly sounds. The sis FrererrerIn rhythm work, the actual voicing of the chord is normally left to the guitarist, with the arranger simply indicating the chord symbols and the number of beats each chord is to occupy. either of two styles in writing piano a. the style of playing desired, and; b. the demands of the arra signmentFollowing is an illustration of a piano part of this type. Ex. 18 It is also desirable in certain situations to indicate the melodic line in cue form to guide the piano player as hé improvises « background. : Ex.19 es Cmaj7_AT(b9) Dm? 7 —— = Although somewhat more demanding of the arranger, the following type of piano part should be used when: a. a specific piano effect is desired, or b, the pianist is unable to spontaneously create his own part from the chord symbols and bass line. In writing this type of piano part, try to consider the following principles: a. let the left hand duplicate the bass part. consider the technical limitations of ¢Following is an example of a piano part of this type: ae i &. keep smooth voice the right hand, e. tre for the ‘at the piano as a rhythm jas the piano part to outline ev: ensemble, f, in writing "boom-chick" Ex. 20 art chords in the + 1,3,7, or 3,5, leading'between adjacent chords in trument; it is not necessary ery accent and nuance of Style piano pazts, use mostly right hand (usually 1,3, 5 with 7 witt seventh chords), 4 “ie x thre An effective device in "thumb counter-melo y in the right the upper two| ‘phe following example iMustrates this principle of "counter-melody." Ex. 21 ri “y Jee) meal BH ™ leereeel tll : th ed as an exhaustive analysis of ction. A thorough study of each of ld ke necessary for this ind, ob- ed The foregoing should not be int - the instruments of the rhythm the instrume: viously, the - coverage of any or pe of this course does not allow for concentr Rather, the information gi as 2 general guide in enabling you to arrange f - A careful study of the styles is reco:Ex. 22 (b) Medium Swing Am7 _D7(9) Sag SsEx. 22 (c) (con! a ae Otte ior a eo(Sl oso oe o-e oe ee Ex. 22 (c) (cont.) 1S 3 ony . Fall A ER OR ES Seek h eee ke = h__Gi(#n)Ex 22 (6) Beguine Be [Ly ouitar Page 15ASSIGNMENT: FFF, 1, Following are the common chord changes to some standard tunes. a. correct and/or re-harmonize the given chord changes. Le b. score parts for the rhythm section as follows: | - Melody (as is or improvised) . Bass NOTE In the event that any of the indicated tunes are not femiliar to you, simply substitute standard tunes of your own choice. ee ee i, 1(3) "LONG AGO AND FAR Awaye . L oF —Bbm__Gm?__c7 Emaj7 6 - rp 7Emaj —,-Gin__c9 Et ~ oD = = : ce F6 D7 Gm?_c7 Ab Bbm7_Eb9 E == : SF t 1 =, F7___Bbmai7 _ Bb Dm Gm7"F _ pm7 Gm7__c7 PF fl ZF Doo G_C7b9) IE _ 1 (8) "HOW HIGH THE Moon" dt Sie = cS == _G = ct eS i & cé F6 F Cc Ab6 Bb7 Ab Bb7 Eb G7 Eee? t—FH cmp? ae _pt c Gon Ex = = FF}| (c) "MY FUNNY VALENTINE" _Cm(mai7) tt = —— Fm Fm a7 Cm Cuz(maj7) Cra7 Cmé Ab Fm F7. ~ BT ‘Eb BB7 Eb Bb7 |. Eb _Bb7 Eb _Bb7 Eb__G7 cm = Ab? G7. cm zfe) "MOONLI 1 Eb [: 6 =. probe Z = & Cm Fm? £7 £ > _Am7_ Ab9(b5)_ == = D:1 or . . af - . a 1 2. Score each of the following melodies as indicated. S If range of given melody seems impractical {or 1 indicated instrumentation, transpose to more - : 1 ‘auitable key. : ny J i = aaa 445 Sax Unison - 2 Five Brass (Tzp.,Trp., Tzp.,Tbn., Tbn. -Guitar, Drums, Bess, Piano Melody --~- Background L aa Saver (Bpaug? B79) ran : : ee Sea - Five-part Sax Soli (A,A,T,T, 5) -Guitar, Drums, Bass, PianoB= aS ! Melody ive Saxes (A,A,T,T, B) -Guitar, Drums, Bass, Piano . z {e) Rhumba cota F__Det cnt cr anttey on ff Riza ea Sa Spe! Dm? Gm7 coor D7b9)_Gm7_ FES = Sax Unison Five Brass (Tzp.,Trp.,Trp.,Tbn., Ton.) Guitar, Drums, Bass, Piano (suggested piano accompaniment patterns) co Gm7 Z (f) Slow Ballad 2 i E # 1 ~ Gog? Fin? Bb rcr9) a aM Stl ¥ iB i ¥ fi +ro Using any standard tune of your ch: (2) transpose to key suitable for indicated instrumentation. (if necessary) (b) xe-harmonize and/or correct chord changes. {c) make any desired rhythmic and/or melodic changes. . (a) score as follows: Melody - Backgzound Rhythm - Trumpet Solo Five Saxes (A,A,T,T,B) Guitar, Drums, Bass, Piano 5. (a) Compose thematic introductio tunes listed in Problem #1 ( tunes). to each of the any six stendard (b) Score each introduction for rhythm sec! any one of the following: plus 1, brass soli 2. sax soli 3. brass solo (or unison); sax background |. sax solo (or unison); brass backgroundee LESSON NO. XXiL SMALL BAND WRITING ‘A. TWO HORNS When scoring for two melody instruments, any of the follow? may be used: 1, unison or octaves 2, duet style (i.e., two-part soli) 3, melody and counter-melody 1, Unison The decision as to whether to use unison or octaves is largely dependent upon the instruments being used and ‘the range of the melodic line. Either is effective. 2. Duet Style “try to observe the following principles in weiting two-part soli: (a) If lead voice is a chord note, use chord note in second voice; if lead voice is an approach note, use an approach in etc. the second voice; (b) Try to use inte as possible. Consecutive 3rds ar be freely used, but avoid using 2nés, Sths and 7ths consecutively.than 3rds or 6ths, try to have them lead directly to either a 34d, or 6th through contrary or oblique motion. Ex: 3 (s) Contrary motion - voices move in opposite directions. Ex. 3 (b) Oblique motion - one voice moves while the other esing is an example of a given melody harmonized in duet style: SFR pee SS ‘ Melody and Counter=melody = **- UThis technique is ceztainly the most modern form of two-part writing, and usually the most interesting - tnusieally, A detailed explanation of counter-melody z. Ls Wining has been included in that part of the course dealing with backgrounds. : wi Lu TF ter Lr L Ie is, of course, possible to intermingle the three techniques - shed thus far. ia3 “a. tures Horns | - - ik Tunas Horns In scoriig for three melody instruments, any of the following may be effectively used: harmoniz 6. Three-part soli + Three independent lines Ex. 7a ae counter-melody _ 2+_ Unison melody with solo nay 4, Solo melody with ret F t - a oe, 6 Three-part soli Three-part soli, In setting up the following: * S0lt voicing for three hors, try to observe (a) every chordal hi ‘armonization should include the third, (e) every Do: nt 7th chord harmonization should inch the seventh, (c) altered chords (#5, b5, b9, etc..) should include the altered function. (2) do not use “hi and related Mot in the same voicing, (e) harmonize chord not $28 they would normal * four-part voicing, © approach notes, etc., ly be harmonized ina omitting the least important