Harmony 2 by Barrie Nettles Spring 2007 Edition Berklee college of music© Copyright 2006 Berklee College of Music” All rights reserved @ Printed on recycled paper. @MESON ‘This is the first substantial revision of the Harmony 2 workbook in several years. The revision clarifies important passages, supplies better musical examples for a number of topics, and improves the readability and consistency in many areas. Iti the result of a careful examination of the previous edition and the overall Harmony department curriculum A number of colleagues in the Harmony department and the Profes- sional Writing Division made valuable contributions to the content and Tanguage. (Coming as it does at the beginning of the first complete curriculum, review in the college’s history, this edition represents a first step in what will be an exciting and challenging process, one that will result in a set of ‘materials that will reflect the changing music of the time and the needs and learning styles of today’s students.& ‘ HARMONY 2 Spring 2007 Edition TABLE OF CONTENTS — Diatonic Functioning Dominant Chords Secondary Dominants..... 6.6.6... ee cce cence sees A Harmonic Rhythm ........ 00.00.65 ee 6 Extended Dominants Deceptive Resolution. Related II-7 Chords... 00... ooo ee eee eeeeeeee - AB E2MB) — Guide Tone Line Development Harmonic Continuity... 2.20.0... 19 = Guide Tone Lines... 2.6... eee eect cee ee ee 24 [2HE] — Minor Key Harmony Minor Key Harmony..........00-20.0000eceee cece ee 26 Available Tensions — Minor Keys ............. ... 82 Subdominant Minor .. 0.22... 26.0.2 e cece eee 33 Modal Interchange hdl lelel tele dletels 36 Line Clichés...- 2... eee eee e eee ..40 Petes — Blues and Melodies Blues . Melodic Manipulation........ Pletal aledanlalag a5 Form Melody and Rhythm... . 66 Melody/Harmony Relationship. ........ cence eee 69@ HARMONY 2 Diatonic Functioning Dominant Chords. Bee D GAMES Primary Dominant Dominant Resolutions The strongest characteristics of dominant resolution are root motion down a perfect fifth and stepwise resolution of the 3rd and 7th. The primary dominant in the key is the V7 chord: Wm G7 c Adominant chord may resolve to a chord of any quality (except a dimin- ished seventh) whose root is a perfect fifth lower. Resolut ment from a point of tension to a point of rest, whether momentary or final. is move a7 ‘cmay7 a crs) HARMONY 2- Part 1 —1‘Secondary Dominants The secondary dominant chords inthe key rsclve tothe diatonic chords other than Tand VII-7(5)- eee Imaj? HLF WVmay YA 17 Peauaana amai? oh? mai? Fv ext mar ver oer Whe Amaj? FL? a7 Giz ch e Img7 m7 vt WA IVmaj7 Amaj7— cl Fz a7 Dmaj7 Imaj7 Wma mer) VA w Amaj7 Dma7 Ch? BT™ “7 Imaj7 V7 maiz WA vi? ama? E7 mai? ah ex.s = Foor ‘Compare the sound of the preceding resolutions to their diatonic 7 counterparts: ext ex? x3 Fly ay chr’s) ch? == amaj? maiz x4 ex.5 a7 7 oly Fz 2— HARMONY ? - Part 1vy v vy tit Y i Ay Secondary Dominants Secondary dominants are our first encounter with chromaticism, the use of non-diatonic tones in a key. Secondary dominants are considered ‘iatonically related chords because their function is to intensify the move- ‘ment to a diatonic chord. Notice that secondary dominants have diatonic roots, The chord of resolution (sometimes called the target chord) of a second- ary dominant can be any chord in the key other than the or the VI-7s, The chord built on the seventh scale degree is omitted because move- ment to the unstable VII-7°S is not a resolution. In addition, it’s second- ary dominant would require a non-diatonic root. When any dominant chord resolves as expected (with root motion down a perfect fifth), an arrow is used to show the resolution: Way _wmaj7 WA 17 WA ow G7*Cmaj7 G7—Sc7 G7-—*c7 Yu uz WAL vez ocr ar>c7 ‘The diagonal slash means “of.” For example, V7/II means “V7 of IL” It isnot necessary to indicate the quality of the target chord in the analysis: V7/II-7 is not necessary. ————— To summarize, all secondary dominants share certain characteristi *+ Atleast one of the chord tones is not diatonic. + The expected resolution is down a perfect fifth to a diatonic target chord * The root is diatonic. HARMONY 2 - Part 1 —Secondary Dominants Available Tensions: Secondary Dominants Avgilable Tension Criteria WA WA Ay WA Wn 4— HARMONY 2 - Part 1 The tensions for secondary dominant chords reflect the chord’s fune- tion, which is to provide strong resolution to a diatonic chord. Diatonic tensions, whether in a melody or added to a chord voicing, reinforce the relationship of the chord to the key. AT 9 f 11 hs = te — Chord Tones —! 87 boty tt ag o CL L________} Diatonic Tensions Chord Tones 9 " 13 o7 ig S tite LX Diatonie Tensions —! s bo on 3 o7 8 ON chord Tones —— 1 Diatonie Tensions —I bo fo oi by &7 18 © L_— Chord Tones ———! __ Diatonic Tensions — ‘The aveilable tensions for secondary dominants are those notes which are diatonic to the key, other than II, + The #9 label is based on enharmonic spelling of a diatonic note. yed melody note on a + Is never “available” asa tension or sust dominant chord. (There are rare stylistic or arrangi exceptions to this rule, but for the purposes of functional tonal harmony this isa crucial principle.) + 49 may coexist with }9 if either is diatonic. # 49 is not used together with #9 orb9. g-driven gSecondary Dominants SUMMARY OF TENSIONS FOR SECONDARY DOMINANTS Available tensions are diatonic to the key. Misa harmonic avoid note, or simply an avoid note. tis not used in a chord voicing although it may appear as a passing tone or approach note in the melody. Secondary dominants can have tensions that are a major, minor or augmented 9th above a chord tone. Optional tensions are creative choices that are outside the diatonic restrictions of available tensions, 13 isa common tone with the major 3rd of the expected diatonic target chord (IV or V);b13 is a common tone with the minor 3rd of the expected diatonic target chord (II-, IIL, or VE). ‘The choice between available (diatonic) and optional tensions is gov- emed by style and other musical factors, and requires experience and experimentation. Secondary Available Optional 9,b13 bo, #9 (diatonic)* v7/ ill 49, b13 49 (diatonic) viv 9,13 bo, fo, bis wiv 9,13 $9, #9 (diatonic), b13 v7/VL be, bis. 49 (diatonic) *49 and #9 often occur together since both are altered states of the 9. Natural 9 should not be used with an altered 9. Note: Itis most important that you know the diatonic tensions for the five secondary dominants at this time. In Harmony 3, more study on optional tension use is presented with the topic of chord scales. HARMONY 2 - Part 1 —5PEGI — HARMONY 2- Part 1 ‘The number of beats per chord within a progression is called harmonic shythin. In Jf time, the typical thythms are 2, 4, and 8 beats per chord Harmonic shythm of 2 beats per chord: Co AT F G7sust)C A FG 7{susd) DH +t + tar rd Harmonic rhythm of 4 beats per chord: ce Ar D7 Gr Bere teres 4 Harmonic thythm of 8 beats per chord: D7 a7 ev AT In§ time the common harmonic shythms are3 and 6 beats per chord: Cmaj7 maj? E-7 AT = DT G7 Omaj7_G7{sus4) Ble AOA AAA bre] D7 G7 Az o7Stress Patterns Harmonie Rhythm Chords in a progression will receive strong or weak stress, depending upon their placement. ‘This relative strength of stress strongly influences the composer's choice of function, especially regarding dominant chords. In any grouping of four pulsations S Ws w S W os wo. ete + S- the first pulse is the strongest; + W- the second pulse is not as weak as the last; + Sthe third pulse is not as strong as the first; W--the last pulse is the weakest; ‘This pattern of stress holds true for harmonic rhythms of: 2 beats per chord: © AT F Gasus4)C AF sus4) tt t + ll s WwW s w s Ww s w 4 beats per chord: ce AT D7 a7 8 beats per chord: D7 or Ev AT HARMONY 2 - Part 1—7Harmonic Rhythm Due to the generally consistent use of four-beat stress patterns (strongest-weaker-strong-weakest), the harmonic rhythm in J time is usually one or two measures per chord: Stress at Cadences Cadences will most often occur from a maj? Fmaj? E7 AT DT G7 Cmair_G7susd) I zee | thet os bere S W s w S W sw oz qr a o7 3h Leleeel Ly Ly ah AAA T r# x s w s w weak beat toa strong beat Bb c7susa) F In examining many pieces of music, itis clear that V7, the primary domi- nant in a key, typically occurs on a weak stress point, and the tonic chord typically occurs on a strong stress point. In other words, cadences most often occur from a weak beat toa strong beat, for example: on HH exe fill 8 — HARMONY 2- Part 1 1 vi? Imaj7 Ww F D7 Bbmaj7 cc | 1 T T Al s w s — a7 (v7) IE? vey 1? ow AT D7 BT ‘E7 AT D7——*G6 \ H 4 T i i s @~s w©@ secondary Dominant Stress Patterns Harmonie Rhythm This characteristic of dominant resolution from weak stress to stronger stress is also found when secondary dominant resolution occurs: 1 An om An ver YA oe omaj? a7 E77? rar — Measure sress: S ‘ow s w Beat sress: § 5 1 Ay wm 7 ow 6 G7 maiz a7 p77 cs s as. s w s @—s @—s @—s w Although the G7 in measure 4 above appears to be on a strong stress and resolves to a strong stress, the strength of the measure on which it appears is weaker than the measure on which the C chord appears. The end of a phrase (meas. 4) is “weaker” than the beginning of a phrase (meas. 5). In music with irregular harmonic rhythm, larger stress patterns that span a phrase often override detailed chord-to-chord activity. Secondary dominants are usually found on a weak beat. If they are on a strong beat, they will usually start a pattern of extenvied dominants. To summarize, secondary dominants typically occur on a weak harmonic stress, and usually resolve to their expected diatonic targets. There are exceptions to this pattem, but itis still a useful guide in constructing, smooth, natural-sounding chord progressions. HARMONY 2 - Part 1— 9SSPE € Dominant chords which occur on strong stress points will not sound a8 a primary or secondary dominant. This is typically seen at either the beginning of a phrase or at the beginning of the second half of a phrase: M7 V7 __ Imaj m7 or G7 cr *Fmaz AT Extended Dominant Stress Pattern, Dominant chords located on a strong stress point in the harmonic thythm have an expectation to resolve down a perfect fifth to another dominant or a diatonic chord. If they resolve to a dominant chord, they are called extended dominants, —»——a o7 G7)? FT ‘Once this pattern of dominant resolution starts, the expectation is for it to continue until a non-dominant diatonic chord occurs: V7. Imaj7 oF G7 oF? Bimal Extended dominants will usually appear to be any of the secondary baee dominants in the key. However, they have some characteristics which Characteristics differ from secondary dominants: * Extended dominants are usually found on a strong stress and/or; 7 ‘* Extended dominants are continuations of an extended dominant & patter of resolution. 10 — HARMONY 2 - Part 1Analysis of Extended Dominants ae Availabio Tensions Extended Dominants Arrows are used to show the resolution of extended dominants down by perfect fifths. Since the first extended dominant can be as many as 4 or 5 dominant chords removed from a diatonic chord, the scale degree of it's parentheses to show its relation to the key. root is labele @ v7___ Imai ae ee 07” “ar cf er Bhai Every extended dominant in a series will be heard as a dominant of a dominant — V7/V. The tensions will be the same as V7/V —9 and 13, whether diatonic or not: prt) — non-iatonic tensions re (Expected resolution to G7 as Vin c} by pli — 9 catonic 18s nomiatonic Dae (Expected resolution to 07 as VV in F) 708) — siatorie tensions or G7 (Expected resolution to C7 as“ in Bh 7 G7 —o7_F7C#) (Since this s the weakest sires in the progression, most listeners will expect a diatonic resolution, of a continuation of the pattern.) oF GT C7 OFT maiz ‘The use of 9 and 13 will make each extended dominant sound like it is V7/V in a temporary key and briefly suspend a clear sense of the or nal key. The conclusion of the extended dominant motion sounds like a diatonic chord. Extended dominants sound like A V7/V, not THE V7/V. HARMONY 2- Part 1— 11EES € Another common characteristic of dominants can be demonstrated by continuing the previous example with a secondary dominant occurring ona very weak stress point. 8) v7 Imai Vig 07 G7 c7 FT ‘Bmaj7 AT In this context, the A7 meets all the criteria for a secondary dominant chord: * Its placementis weakly stressed, and * Itcan potentially resolve down a perfect fifth to a diatonic chord on a strong beat. However, when the progression repeats, the A7 resolves deceptively back to the series of extended dominant chords following the cycle of fifths: A? —D7 — G7 — C7 —F7. This is a commonly found example of deceptive resolution and requites an appropriate analysis to show it’s sound versus actual resolution. Chords are first analyzed for their sound within the progression: 6) v7 Imaj7 WAn Db?) G7 C7 FT I, ‘Bhai Az Deceptive Resolution The deceptive resolution is parenthesized: analysi alysis @) v7 Imaj7 (%n) () oF ai FA Blair a7 ae ‘The analysis above shows that the function of A7 in the key of Bb will sound like V7/III (V7 of D-?), even though it does not actually resolve to III-7. Although the parentheses (_) indicating deceptive resolution are directly above the A7, the listener’s perception of its deceptive resolution will always be after the fact. 12 ~ HARMONY 2 ~ Part 1Deceptive Resolution Chords’ Avaitablo Tensions Deceptive Resolution Although the A7 does not resolve to the expected D~7, it does resolve down a perfect fifth. Therefore, an arrow is used to indicate its resolution. @ v7 imaj7 (%n) o7 G7 C7 FT Bhmaiz AT This dual analysis (the use of parentheses and an arrow) explains that: 1. the A7 initially has one function—to create the expectation of resolu- tion toa diatonic chord. However, 2. when it resolves, it has a different, though entirely acceptable, function asa deceptive resolution to an extended dominant. Deceptive resolution requires the expectation that a dominant chord will resolve diatonically. For example, the A7 above sounds like V7/ III; the use of b9, $9 and b13 as available tensions in a melody or chord voicing, will reinforce that sound and make the deceptive resolution even clearer. A composer or arranger will sometimes choose to use tensions in the melody or the chord voicing that soften the effect of the deceptive resolu- tion. Use of optional tensions in this way is a matter of taste, style and judgment. Optional (non-diatonic) tensions will be explored in much more detail in Harmony 3. The generalities set forth here are only that — generalities. As has been stated before, any observation isin the ear of the listener. The placement of a chord on 4a strong or weak harmonic stress affects the listener's perception ofits fune- tion. The composer's melody, the player's note-choices, and the arranger’s voicings also play a part in creating tonality and rich, compelling progres- sions. The fundamental functional relationships are the foundation on which music is built; creative extension and alteration of these concepts allows ws to create almost infinite variety, HARMONY 2 - Part 1 — 13SUMMARY OF DOMINANT CHORD FUNCTION * PRIMARY DOMINANT: ‘+ V7 — The primary cadence chord with expected resolution to I. ‘+ Usually found on a weak stress point. * Usually cadences to tonic at a strong stress point. ‘* May resolve deceptively. (V7) * Available tensions are most often diatonic. Note: Different veteran teachers at Berklee have historically used slightly different analysis symbols. In the interest of consistency, we will indicate deceptive resolution of a dominant 7th chord by enclosing the Roman numeral of ‘the dominant chord in parentheses. The symbol V7/1 will no longer be used to. ‘express the primary dominant. When V7 resolves to I, we use an arrow. When V7 resolves deceptively, we will use (V7) and no arrow. + SECONDARY DOMINANTS: * V7/ML-V7/1- V7/IV -V7/V-V7/VI— The dominants of the secondary chords in the key. (Those chords other than 1.) + Found on a weak stress point. + Expected resolution is down a perfect fifth to a diatonic chord, other than I * May resolve deceptively. Use parentheses. (V7/U), etc. + Available tensions are usually diatonic. + EXTENDED DOMINANTS: + Dominants which are extensions outside the key but function into the key. ee « Found on a strong stress point or: * Continuation of a pattern of dominant resolution following the cycle of fifths. * Available tensions are the same as V7/V. * The first extended dominant of a pattern will have a’ numerical indicator to show its root's scale degree. 14 — HARMONY 2 - Part 1SSATP A full cadence is the progression of subdominant to dominant to tonic: IV—V—E @ © © a cr ‘The most common variation of the full cadence has root motion of descending perfect fifths throughout: I-7 — V7 — @ © @ ss or or F s Just as an arrow is used to show the perfect fifth root motion between the dominant chord and its chord of resolution, a bracket (ts is used to indicate the strong relationship and perfect fifth root motion between the IL-7 and the V7. m7 w Imaj7 a This I[-7_V7 relationship is so strong that any dominant chord may be preceded by a related II-7 chord. Some styles of music (particularly jazz and styles with jazz influences) rely heavily on the sound of the “IL V.” AT D7 D7 «G7 G7 C7 C7 FT ea | shy ey | hy only | try | 725 ous 4 8 rer_gy || Bro? E7 a7 l —— HARMONY 2- Part 1 —15Related II-7 Choris Related II-7 chords may be diatonic, and thus may have dual function. cent ‘They can initially sound tonic (II-7 or VI-7) or dominant (VII-7'5), but after the dominant chord occurs, they are heard retrospectively as subdominant. Harmonic rhythm, especially duration, influences whether or nota minor 7th chord has dual function. In the following example, the HIE7, VI-7 and VI-75 all have dual function: m7 A one wt F AT 07 G7 C78 uw i vests %r ver WA vrsust v7 Imaj7 7) arty*0-7 G7 ~Ac7suss C7 Fmai eo pa pan Diatonic analysis and a bracket show dual function. The available ten- sions for dual function chords (111-7, VI-7, VIL-7}5) are usually diatonic. Lemon However, since they have two functions, their available tensions may come from the related key of their II-7 function (diatonic II-7 chords have available tensions 9 and 11). These tensions can appear in the chord voicings or in the melody. Imaj7 War ver Way Fmaj7 Ee? ar *~p-7 CT Fr (y]=n7ino (g)=1-7in Imaj7 Yu m7 7 6 emai7 By ET “Ay G7 FB ot 16 — HARMONY 2 - Part 1Related 11-7 Chords The relation may appear as U-7(°5) __V7(9): we7es) vrs) 1-7¢'5) rts} Imayy 16 ooo a.7(s) c7toy— > Fmaiz Fe ue) _ Indeed, any of the following combinations may occur without changing the function of the progression: G7 7 *F arts) c70s) -F eS ets) cf) “F co Harmonic rhythm directly affects the 1____ relationship. With the {inclusion of a dominant chord’s related II-7, harmonic activity is in- creased without deterring from the dominant resolution. The harmonic thythm of the may be even: 87 7A s w s w ar er “A Pee S Wo: w or one of the two chords may appear for longer duration: s WwW s w s Ww s w HARMONY 2 - Part 1 —17Related II-7 Chords A may be repeated. With any of these configurations, the IL-7 will be on a stronger stress point than the V7 and the resolution of the V7 Repeated will be to a strong stress. D7 G7 DT G7 OE? OAT ET s Ww s w Ss Ww s w (The G7 to D-7 and the A7 to E-7 in the above example are retrogressions, not deceptive resolutions.) “Line clichés” may occur within aI? V7. (Line clichés will be discussed later in this book.) - Gy omaiz a7 Ta ceeeeeeeeeeE wt f TA Related II-7 chords of extended dominants may be the chord of resolution: AT o7— a7 a Extended — — Dominant uo o = Er ah ay oN Interpolated 1-7 or, they may appear interpolated (placed in between) prior to the chord of resolution (their related V7): AT, D1 DT ™GI~ GT C7 CTF? me LS — 18 — HARMONY 2 ~ Part 1@ Guide Tone Line Development lies PEGA A short review of the 4 part Voice Leading Principles from Harmony 1 will include: v4 + Consideration of scale tone tendencies: * Stable tones are 1,3, and 5 of the key. + Unstable tones (2, 4, 6,7) tend to move to the nearest stable tone. + Non-diatonic pitches tend to move to the nearest diatonic pitch, in the direction of the accidental. Sharps ascend, flats descend. ‘+ Linkage between chord tones is preferred in the following order of movement: * Common tone. * Chromatic steps. + Whole steps. + Major or minor 3rds. * Roots are in the bass voice unless a new bass note is specifically called for. * Spacing between adjacent voices is less than an octave except any interval may appear between the tenor and bass voices. * The 5th of the chord may be omitted and any other chord tone doubled or available tension added. 4 Pan Cc BF ET AT DT F6 Cfsus4) Voice Leading s Review a r r F a'r may D7ts) G7(susa)A7 Cade 9) HARMONY 2 - Part 2— 19Harmonic Continuity ‘The intent of the above technique is to demonstrate a given chord progression using no more than 4 voices, Since the idea here is to present a complete harmonic context, and s0 as not to confuse this method with traditional voice leading, this will be called "harmonic continuity” ‘The fewer voices that are available, the more difficult the task of developing of harmonic continuity. If there are only three voices (for example, the soprano may have the melody), one must consider what to ‘omit in order to be as complete as possible. Some of the above consider- ations must be eliminated. 3 Part Gc Voice Cc BF ET Ay D7 OFS (susa) 9 toang oe T 8 F Bly ehmajz D705) G7(sust) AY? Cadd 9) A tlt —4 8 Therefore, when three voices are used: ‘+ Omit the 5th (unless itis possible to voice lead to and from it smoothly, and most often for -7(5) or °7th chords). * Scale tone tendencies should be considered but not as. much as the necessity for smooth movement and as, complete as possible chord sound. * Bass content and spacing considerations are the same. e 20 — HARMONY 2 ~ Part 2Similar Motion ‘Harmonic continuity is developed in the top two voices by considering the root motion in the bass. There are only two voice leading techniques needed for any given bass motion: For bass motion in fifths, up or down, the 7th of the first chord moves to the 3rd of the subsequent chord (7 to 3); the Srd of the first chord moves to the 7th of the subsequent chord (8 to 7). This method of 7 to 3 and 3 to7 is also ana available voice leading technique for harmonic continuity when bass motion is in 3rds: Cmaj7 F-7 — Cmaj7 Amaj7 may B7 — Cmai7_ 7 Fr fi—fs Fai? B7 7 A? AT FT Oma For bass motion in steps (half or whole), and as an alternative to the above method for bass motion in 3rds, similar motion is used. All voices move in the same direction. When the roots do not change, simply adjust the chord tones. (Note that with chromatic root motion there are often notes which are common tones.) maj? E7 = Fmaj? D7? Omar CTF? r— P siiar) P sear | F sear ae ae ae e7 87 7.07 Cmaj7F-7 7 0-7 Dimaj7 3a ip common tones Op seta pm] & sir” aie rr ‘steps: steps Sear HARMONY 2 - Part 2— 21Harmonic Continuity 22 — HARMONY 2- Part 2 Tt can be seen that as the harmonic continuity is developed, the two. top voices will progressively get lower and possibly infringe upon the bass. A practical range for the top two voices is from E below middle C to C above middle C. If the voices begin to appear too low for the given range, an adjustment may be made within the duration of any chord: Cm A707 G7 CT OFT ET. t Adjusted by inversion Italso possible to adjust the position of the voices by octave transposition. Since the tonic chord represents a point of harmonic arrival and departure, any position is available after the I chord: Omaj7 A? OT «GT Cima FY EFT. ? rose leading suspended An additional location where voice leading may be suspended is at the end of a phrase.Harmonic Continuity SUMMARY OF HARMONIC CONTINUITY METHODS: + For bass motion in fifths: +3 to 7 —In one voice the 3rd moves to the 7th. +7 to 3 — The other voice moves from the 7th to the 3rd. + For bass motion in steps: + Both voices move with the bass in similar motion. * For bass motion in 3rds: *3to 7 and 7 to3 (as above) may be used or: * Similar motion in all voices may be used. + For common tone bass notes: * Adjust the chord tones. + Range considerations: + Use roots in the bass (unless a new bass note is indicated). + Keep top two voices between E below and C above middle C. + Keep the top voices within an octave of each other. HARMONY 2- Part 2— 23The result of the harmonic continuity method of voice leading of the essential chord tones is root motion and the two guide tones lines. Guide tone tines are single lines which are developed by the voice leading of the necessary chord fones and guide the listener through the harmonies, Individual guide tone lines may be one of three configurations: + One of the lines created by the previous process or ~ + The other line created by the previous process or ~ + Acombination of the two lines: Cmaj7 07 G7(sussyG@7Fe7(s)F-7 7 BY cB Single Lines Voice Led ‘Note that for purposes of guide tone lines, scale tone tendencies are not the most important consideration for individual pitch movement. Of primary importance is as complete a harmonic sound as possible given the limitation of only one moving line. However, the basic guide tone line is often improved and made more interesting by the inclusion of added pitches which meet the require- ments of scale tone tendencies. Omaj7 07 Gru G7 Fe7ts)F7 D7 a7 CB ‘Some of the common adjustments which can be made to improve the basic guide tone lines while observing scale tone tendencies include: + Preceding the 7th of the chord with the root. (Measures 2 & 4) ‘+ Using the root or 5thas the guide tone line if it is logical to 24 — HARMONY 2- Part 2 voice lead into them. (Measures 2, 3,4, &5)Range Consideration Guide Tone Lines If, as in the previous chapter, the developing line is approaching the limits of the given range, an adjustment may be made by one of the following alternatives: * Within the duration of any chord, the line may make an octave leap: Cmaj7 AT Fmajy 07 . + Within the duration of any chord, the line may leap to the other guide tone: Cmaj7 AT Fmaj7 07 + Voice leading may be suspended after aI chord(): Gmai7 E7 AT E7 AT AT B7 E7 A707 G BY _—_—AT_D7sus4) o ® * Voice leading may be suspended at the end of a phrase (2). Itshould also be noted that guide tone lines tend to be stepwise and most often descend. When a good guide tone line is added to the root motion and the melody, the listener should perceive an almost complete harmonic progression in context. HARMONY 2 - Part 2— 25MINCE E Minor key harmonies are similar to major key harmonies, but are more complex, because they are derived from several different minor scales. This results in a greater number of chords which are considered diatonic. All the previously discussed major key events will also be found in mi- nor keys: + Diatonic functioning chords (tonic, subdominant and dominant) + Secondary dominants + Extended dominants + Related II-7 chords Minor ‘The most common minor key scales are: Scales Natural minor: L os o> Melodic minor: oS An examination of the three minor scales above will show that the dis- tinction between one minor scale and another is the quality of the sixth and seventh degrees. ‘+ In natural minor both the 6th and 7th scale degrees are diatonic to the key: minor 6th and minor 7th. * In harmonic minor the 7th scale degree is raised a half step to provide a leading tone: minor 6th and major 7th. ‘+ In melodie minor when a melodic line is ascending the 6th and 7th degrees are both raised by a half step to a major 6th and ‘major 7th. The descending form is the same as natural minor. 26 — HARMONY 2 -Part 3Common Diatonic Minor Key Chords Other Minor Key Chords Minor Keys ‘Melodies and harmonies in minor keys may be diatonic to any of the above scale sources or diatonic to a mixture of them. This is an essential quality of minor key harmony and results in its richness and variety. Despite the distinct scales we describe as harmonic sources, itis most useful to think of minor key music as a combination of all scales that have a minor Srd: composite minor Natural minor diatonic chords: ty zs) hima v7 v7 ima bvn7 =} Harmonic minor diatonic chords: Femaj7 705) bttsmaj7 wv-7 v7 Vimaj7_ VIE? SSS SS ° Harmonic minor is a natural minor scale with its 7th degree raised to create a dominant-functioning V7 or VI? chord Ascending melodic minor diatonic chords: Lemaj7 1-7 !ttmaj7 V7 v7 vi-r’s) vit-705) Ascending melodic minor is a harmonic minor scale with a raised 6th degree to eliminate the awkward augmented 2nd between scale degrees 6and 7. Dorian minor diatonic chords: woe binmajz v7 v7 vives) \vittmaj Phrygian minor diatonic chords: 17 Ptimajz baz v7 v-7 5) Wimay bier HARMONY 2 -Part 3— 27Minor Keys: Dorian and Phrygian each give only a single commonly used chord that € is not already in the other scales. However, they are important as minor modalities and as modal interchange sources in major key harmonies. Modal interchange will be covered in detail in the next chapter; modal progressions, although very common in contemporary music, will be covered in Harmony 4. Here are all forms of the chords derived from all the minor scale sources: L be Lmaj7 Ly The I chords (tonic) ‘be bums eer) The Il chords = : (subdominant) om bu bins Sutmayz —“itt+mayz ‘The! Ill chords tonic) IV chords (subdominant) ve v va vrs) v7(9) V chords (only V7 are dominant) ‘The VI chords Nur ve Wie Svimajz_——svert's) OVE chords are z +" 2 subtinnty— if VI-7'5 is tonic) 7 va ve !vne vnI7 Viimaj7_ve7 vires) by. ‘The VII chords 28 — HARMONY 2 - Part 3Analysis, Symbols, Pe Minor Keys: The analysis symbols reflect the interval distance of the root of the chord from the tonic. In the example below, the root of the bVImaj7 chord is a minor sixth from the first degree of the scale, Even though an accidental is not necessary to notate the chord on the staff, “VI” refers to its posi- tion in the chromatic scale, and reminds us that when solfeging a bass line, it will sound as “Ie,” not “la.” This practice also allows us to clearly distinguish between chords built on different qualities of the same scale degree L 47 vers) Wimajz — vrsust v7 e7 e7p chibs Cmaj7—B7sust_B7 Some further observations about minor key harmonies: ‘+ The +maj7 and -maj7 chords from harmonic or melodic minor are chord qualities that are not diatonic to major, * Although there are dominant chords built on IV, V and bVI, V7 is the only one with dominant function. The 1V7 and bVII7 are usually considered subdominant chords because they contain neither the leading tone to the tonic nor root motion by perfect 5th to the 1- chord. If bVII7 progresses back to I, the motion can be under- stood as a subdominant minor cadence: L Sur 6 Ww oe 7 os or © * The V-7 chord i dominant scale degree 5, and can sound like a cadence chord. In context, ifit cadences to tonic I, an arrow is not used. ‘ot a dominant chord, though it is built on L wa Wy va ce FY cr a7 HARMONY 2 - Part 3— 29Minor Keys: ‘* Although not in the listing, since they are not diatonic, altered sub- dominant minor chords may appear in minor keys: IV-maj7 (a variation of IV-6) in place of IV-6, although rare, and bVI7 {an altered bVI, or blues chord): b Iv-majz7_ 6 ir a Emgj7 BB Gr * Although the VIE (the upper structure of the V7('9) chord) chord is not diatonic to major, in minor it can have dominant function. b VIET 7 IV-6 co 87 o7 Fo b vary ea 1 oe 87 co cr *+ Ibis common for a minor key progression to move briefly through ‘eel the relative major. This may briefly tonicize the relative major Versus key, especially if the bVII7 chord involved. Here is a typical a example: wv yn biimay bvimayAr_vrsust v7 emai \ — — F bk7 et abmajr Dimalr G7 Crsussc7 F-maj7 ssa Sl ie Ss Ws w Ss WwW 2 s While most listeners will hear a temporary tonicization of the Abmaj7 chord in measure 2, the overall phrase is clearly in F minor, since the F chord is both the first and final chord in the progression, and the C7 chord is in the position most characteristic of a dominant cadence. In addition, the Abmaj7 is on a weak harmonic stress, not the strong stress characteristic of a tonic chord. The b9 and b13 tensions on the V7 chord further reinforce the minor key final cadence. Tonicization is an impor- tant topic involving many factors; it will be revisited repeatedly in later é chapters. 30 — HARMONY 2 - Part 3‘Secondary and Extended Dominants ext ex.2 Relative/Parallel Major and Minor Minor Keys. The placement in the phrase of the individual chords, melody, and cadences will determine the tonality, major or minor. The tonic chords will appear mostly on strong stressed beats and cadences will be from weak beats to strong beats: 7 wr vr tens) V7sus4 (V7) > G7 a7 ers) arsusd AT ——— bvimaj7 Snmaiz Wimaj7 w Bimai7 Fmai7 Bimai7 a ‘+ In addition to the use of diatonic chords, minor key chord progres- sions may include secondary dominants and extended domi- nants, + WVII7 and 1V7 have secondary dominant potential since both are a fifth above a diatonic chord. However, the diatonic sound and function of these chords is usually stronger than their second- ary dominant function. ‘They are usually analyzed as bVII7 (ex. 1) and IV7 (ex. 2) rather than V7/blll or V7/bVil although they sometimes progress as such: Ww Wa Wimayz = bur L oy Gr eimay 7 b T sp 80 sD T Lz tw-7 bvn7 bitmaj7 v7 biltmaj7_ v7 o7 G7 C7 Fmal? G7 Email’ G7 hae Wimajz waz ok kL ce ahmaj7 C7 ferro 4 aa erred + Its very common for songs to contain harmonies and melodies which move freely between the relative major and minor key, Movement to parallel minor is much less common and involves a change of key signature. HARMONY 2 Part 3—31aS ea 32— HARMONY 2 - Part 3 ‘The available tensions in minor key are based upon the same criteria as the available tensions in major except there are many more choices of what is diatonic in minor than in major. In other words, there are more correctavailable tensions in minor. In addition, while in major key harmonies the 13 is normally not available on a -7 chord, it is available in minor context if it is diatonic and care is used. Available tensions for secondary dominants will be diatonic and meet the previous available tension criteria and exceptions for dominant chords. (Here again there are alternative diatonic choices). For example: % Gy A % tp ‘4 B7 trom —-B7 trom E7trom 7 from harmonic of natural harmonic or natural metodie minor minor melodic minor minor Extended dominants will have available tensions of 9 and 13 as in major key.Tonic Minor Non-tonic Non-dominant Functioning Dominant SPITE ela ‘The natural minor chords can be categorized as either tonic sounds or as non-tonic sounds by examining which chords contain the characteristic pitch of natural minor — scale degree b6. The 11-703), IV-7, 'Vimaj7 and S117 chords contain this scale degree. 7 te7¢5) ‘maj? V7 V7 Wimaj7_/VII7 c-7 p-7¢5) Baz F-7 G7) maiz. ‘Tonic minor chords: 7 batimajr c7 BP mai7 Non-tonie chords in natural minor: 75) W-7 v2 vimajz vi p7ts) FT G7 Amar 87 o ‘Since the dominant structure (bVII7) in this parallel key is not built ‘on the dominant degree (V, a perfect fifth above the tonic D, itis not a sound. This is a dominant functioning chord, only a dominant chord subtle distinction, but when used a major key, the bVII7 chord commonly progresses back to | instead of resolving down a fifth. HARMONY 2 - Part 3—33Subdominant Minor Subdominant minors the name applied to the non-tonic natural minor chords containing scale degree b6, which has traditionally been seen as alia the lowered third of the IV chord in major. These subdominant minor Chords chords are sometimes found as cadence chords, as in measures 4 and 8 of this example: v7 1-7 vi maj? Fe ‘mal7 = Cmaj7 FT Cmaj? C7 Fimaj Fz aby Wimaj7 7's) v7(ho) by b a. be Cmaj7_ Amai7 Cmaj7 ——£-71°5)_ 7°93 0-763) @7('3 A. j7 Amal? Oma b5)_are 9) 5) ars) rt ‘The I-7 and billmaj7 chords are categorized as tonic minor chords. ‘The strongest tonic minor sound is the tonic chord (I-7); the blImaj7 is a weaker tonic minor sound; the V-7 is not heard as tonic since scale degree b3 (needed for the minor key) is neither a chord tone nor an available tension: Tonic Weaker Tonie 7 Snimajz # e Non-Tanic va be 34 — HARMONY 2 - Part 3‘Adcitional ‘Subdominant Minor Chords bv Function Subdominant Minor ‘There are also common variations for the subdominant minor chords. The I1-7¢5) usually precedes the V7('9} as part of a subdominant- dominant pair. For voice-leading or stylistic reasons, the I-75) is some- times followed by abllmaj7 chord. This chord can be understood as a ‘modal interchange chord from the parallel Phrygian mode. o-7t3) maiz maiz ‘The IV- chord can be in any of the following configurations with its 6th or 7th from either the minor or the major tonality: Fe F-7 Fmaiz \ =e ste # ‘The bVImaj7 chord may have the seventh lowered to form a bVI7 which is an “altered” subdominant minor chord: Abmai7 ar eo ‘Though the bVIT is not a do n, and often does, resolve down a perfect fifth to the biilmaj7 chord. It is still labeled asbVII7 and not V7/IIL since the blll chord is not a diatonic chord in major but a tonic minor chord in the parallel minor. If it does progress toblllmaj, it is resolving to a tonic minor chord and will not require a ant functioning chord, it deceptive resolution analysis: Imaj7 SVU? —Imaj7 bvI7 ss ViE-?_-bVIIZ 7 Dmsi7 C7 = Dmaj7 07 «= 7 7 FR Iv-maj7 bVII7—bilimaj7 T-7 $ilmaj7_—Imaj7 G-maj7_ C7 —* Fmai7 ET Emaj7 — Dmaj? None of the dominant chords above, except the bVII7 to billmaj7, require arrows showing resolution down a perfect fifth. HARMONY 2- Part 3 — 35PEE € We have now examined the diatonic functions in major and minor. Note that the basic elements are the same in both modalities: * Diatonic chords and their individual functions, + Secondary dominants of the diatonic chords, + Extensions of the key as extended dominants, and + The related 11-7 chords of all the above dominant chords. We can now consider the possibilities created by borrowing chords from Para Diatonics the parallel minor for use in major. Play this harmonic phrase: G G7 c Cc G fem eet rr Play this variation: G G7 Cc OMA LAA ‘The basic harmonic functions (tonic | secondary dominant | subdomi- nant | subdominant | tonic) have not changed , but the sound of the pro- gression changes dramatically in the fourth bar, even though the overall key has not. ‘Chords which are borrowed from a parallel tonality (like the C- in the Modal example above) are modal interchange chords (also known as modal Interchange ‘mixture or modal exchange). When used appropriately, modal interchange chords add variety and color toa major key progression. They are also a very effective way to harmonize non-diatonic melody notes, 36 — HARMONY 2 - Part 3Parallel Primary Major Parallel Natural Minor Parallel Harmonic Minor Modal Interchange Although there are many possibilities, the most common modal inter- change chords are found in parallel harmonic minor and parallel natural minor. D major Imaj7 1-7) W-7 (Vmaj? V7 Vi-7 VIC) Imaj7 D natural minor 7 17 1-7('5) >illmaj7_ 1v-7 Se Wimajz a7 7 —— D harmonic minor Lemaj7 1-7(¢5) *l+maj7 v-7 v7 ‘Vimaj7 wu ad ‘The effectiveness of modal interchange relies on a clearly established major or minor key — too much mixture results in an a tonality: G Cc c FE e a75) D7sus4 Pe) 22 Further, replacing the I chord with a parallel tonic, especially at the be- ginning or end of a section, is especially powerful and tends to tonicize the paralle! key rather than simply color the primary key: Ge 7 maz e7 HARMONY 2 ~ Part 3 — 37Modal Interchange Mixolydian Modal Interchange ‘Modal Interchange Available Tensions Dorian Modal Interchange Natural Minor Modal Interchange 38 — HARMONY 2 - Part 3 In addition to the modal interchange chords from harmonic and natural € ‘minor, the bVEmaj7 chord is an example of a modal interchange chord from Mixolydian, V-7 is also derived from Mixolydian. or Binaj? 07 b oo Modal interchange chords, especially the group of IV chords, are some- times preceded by a secondary dominant. However, most other modal interchange chords have non-diatonic roots, so their dominants do not sound like typical secondary dominants. ‘The available tensions for modal interchange chords are determined by either the major key in which they are functioning or by the parallel scale from which they are derived. The choice is up to the composer or arrang- cer and is subject to the familiar available tension rules. Tonic Minor Modal Interchange Chords Ww as G be 19 is available i used with care oe loo ott 13 bilImaj7_ Subdominant Minor Chords 9g 44 bia u-7¢5) by b This is the rare case of 1I-7('s) functioning as a subdominant ‘minor chord (natural 9) —|13 is available if used with careModal Interchange Other Altered Subdominant Minor Chords otis by batrnai7 From parallel Phrygian “ oi 6 IV-maj7 ba 2 Since maj7 and majé chords oe are interchangeable, the maj os —— = 7th degree and the maj 6th degree ere interchangeable buiz oti 13 ‘eo? Harmonic Minor Modal Interchange Chords b aha 1-705) by Note that's is not avaiable vats) be anate may both be present in avoicing or melody. Note that 11 is not an available e tension Mixolydian Modal Interchange Chords ot v7 18's available if used with care SUMMARY OF THE BASIC MODAL INTERCHANGE CHORDS © Tonic minor: .7 # billmaj7 + Subdominant minor: + bilmaj7 (from parallel Phrygian) + 1-705) (not commonly found as.a stand-alone modal interchange chord) #1V-,1V-6, IV-7, 1V-majz + bVimaj7, bVi6, )VI7 + bVII7 + 1-705) v79) — from harmonic minor + bviimaj7, V-7 — from Mixolydian HARMONY 2 - Part 3— 39Minor Keys ENS — é A line cliché isa single line which moves through a single chord. Line : clichés create the illusion of harmonic progression during a static chord: Db id ‘The above line cliché can be identified as the single line: De While the basic chord remains unchanged. D Line clichés are very common to minor key harmonies. Other characteristics of line clichés are: * They may occur on the top, in the middle, or on the bottom of the ‘harmonies. However, ifthe line cliché appears in the bass voice, it ‘ust start on the root of the chord as does the line cliché above. * Line clichés are used as guide tone lines. * They always appear in place of the seventh of the chord (between 5 and root). * Line clichés always move by step (whole or hall). + The movement of the line may be ascending or descending. € , 40 — HARMONY 2 - Part 3Minor Keys ‘Here are some of the possible line clichés: s—ts—6—y 6—7—maj7—1 y—s—le—s maj7—'7— 6 —*7 HARMONY 2 - Part 3—41Minor Keys ‘Though line clichés are associated with minor keys, they will be found in major key harmonies. Most often on the II-,IV-, and VI- chords: Vv F s—ts—o—t7 r Itis not unusual for the line cliché to be present on the Il- chord and to be completed on the V7 chord: 1 v7 1 —maj7—*7—6 as part of 1 (Or the line cliché may appear as part of a dual function secondary ‘dominant progression: y Ve A AS AT Ammai7) 07 6—'7—maj7— 1 as part of 4 Line clichés In major, line clichés may appear on the I major and IV major triads. within Major Chords 42 — HARMONY 2 - Part 3Blues Blues and Melodies Ne Plagal Blues harmonies have their basis in early American church music. The — primary cadence used in hymns of the Protestant church has been subdominant (with dominant cadences being less important). Subdominant cadence is traditionally called “plagal cadence”: Vv 1 Be F s ‘Typical of plagal cadence is the sound of ”A-men”, used following most hymns: Primary Blues Triads ‘Thus, the primary chords found in blues are the I and IV chords. ‘The basic scale used for blues melodies is a pentatonic (5 note) scale, but NOT the major pentatonic scale. The blues scale is NOT diatonic to the hammonies: Blues Melodic 1 4 6 4 5 4 fa 4 Scale ‘The above scale (scale degrees 1,3, 4,5,'7, 1) can be seen as a minor pentatonic scale. The important characteristic of the blues scale is its exclusion of any half steps and the relationships it creates with the major key harmonies; the scale degrees 3 and °7 create an unusual sound with the major key harmonies. This melodic relationship with the harmonies results in the “blue notes’ HARMONY 2 ~ Part 4— 43Blues Primary Blues Seventh Chords Primary Tensions for Seventh Chords 44 — HARMONY 2 - Part 4 ‘When the blues melodic pitches are superimposed over the harmonic structures, the extensions for the seventh degrees of the fundamental chords can be added: ‘The I and IV triads therefore become I7 arid IV7 respectively: v 1 a @ ‘The basic available tensions for the primary chords are those which 7 V7 F7¢9) 718) An exception to the previous observations regarding available tensions should be noted in the case of the I7(9) chord in blues. Though '9 and #9 normally may coexist, °9 should NOT be used with #9 on the I7 chord in blues since it is not part of the blues scale. The 9 tends to suggest dominant function; 17 in blues is tonic.Blues Form Blues ‘The blues form has its origins in the poetic form used for the improvisa- tion of the lyrics. The lyrical content of blues is based on a “rhymed couplet” with the first line of the couplet repeated (to allow for addi- tional time to improvise the lyrics of the second line). The rhythm of the Iyrics can be notated as dotted quarter notes with five stressed pulsa- tions. (This lyrical rhythm is known as “iambic pentameter”.) A study of the stress placement of the lyrics will reveal the overall form: ‘Sung lyrios — First couplet line: Sung tyrics ~ Repeated first fine ‘Sung lyrics — Second couplet line ‘The form of the blues will therefore be a 12 measure form (also known as “12 bar blues”). HARMONY 2 - Part 4— 45Blues ‘The placement of the primary chords follows a logical sequence: Blues Chord Placement * The I chord receives the most stress; «The I chord will be cadenced to from the IV chord. + In order to have a variance during the repeat of the first line of the couplet, the IV chord is used with a cadence to the I chord; ‘* The final line of the couplet contains the final cadence: 7 Fz ung lyrics — First couplet line: Strum: ‘Sung lyrics ~ Repeated firt ine Strum: ‘Strum’ ‘Sung lyrics ~ Second couplet line- Wt should be noted that all the lyrical content of a fundamental blues, as the one above, is within the first 2 measures of each 4 measure phrase, the remaining 2 measures begins with a cadence and the chordal content is the I chord. Since blues was most often performed by a soloist, accompanying himself/herself, the last 2 measures of each 4 measure phrase came to be known as the “strum”, for obvious reasons. ‘The next higher level of complexity would be for blues harmonies to Added contain dominant motion. This action would then incorporate diatonic a sounds from major key harmony. Harmonies pa Wy? ve 87 cr fr 46 — HARMONY 2- Part 4 Dominant CadenceAdded Melodic 5 4) Available Tensions Blues ‘The basic blues melodic scale has become more complex also; it now contains chromatic motion between the 4th and 5th scale degrees - 5 or !4. The contemporary blue notes are*s,'s, (4), '7: hs a ‘The available tensions for the three basic blues chords are those which meet the previous criteria: + Diatonic to the blues scale or borrowed from diatonic major; + Either a major 9th or a #9th above a chord tone; + For the dominant functioning V7 chord,'3 may be added since 9 is diatonic (as is'13). Diatonic to blues: Added pitches diatonic to major: vv 7 v7 F7(ta) F7¢9,13) —F7(9,13) 17 879,13) w w w e7ts) c7¢ababray c7ah3) Any additional diatonic chords or secondary dominants or extended dominants from major key harmonies will have available tensions from their major key context. HARMONY 2 - Part 4— 47Blues IBLUES VARIATIONS, ‘There is one important characteristic which can be seen in all blues: the placement of the primary chords within the 12 measure form: Primary i Chords’ Je, Placement ‘Subdominant Tonic Cadence Tonic ‘Variations to blues demonstrate this pattern in two different ways: ‘+ Harmonic motion from and back to the primary chord in each area of the form, and /or ‘+ Harmonic movement to the next primary chord (the tonic chord in measures 1, 7, and 11; the subdominant chord in measure 5; the first cadence chord in measure 9). ‘Thus, a tonic chord will appear in the first measure; any subsequent harmonic activity in the first 4 measure phrase will be back to the tonic chord and/or motion to the subdominant chord which appears in the Sth measure: Fz a7 Fz ACS) 48 — HARMONY 2 ~ Part 4ur-7¢s) fiver Blues In the previous example, there is a subdominant cadence back to the primary chord (tonic) from measure 2 to 3; measure 4 contains a com- monly used blues chord which approaches the IV chord. The HII-7(5) can be identified as an upper structure of the I7(9) chord (which may also be ‘seen as the secondary dominant of IV (V7/IV): 6 =A7t5) D A ‘Measures 5 and 6 will start with the subdominant and contain motion back to subdominant and/or have movement to tonic in measure 7: Tonic F7 a7 Fr A Tonic Sybdominant or hr ‘The B°7 occurring in measure 6 is another commonly found blues chord. ‘The4IV°7 chord is an approach chord to I from IV; most often the resolution of its root is chromatic and therefore the I chord appears inverted. This is an example of a blue note as a root function: wiv? or 87 By FY % HARMONY 2 - Part 4— 49Blues € Measure 7 and 8 start with the tonic and either move back to tonic and /or have motion to cadence chords in measures 9 and 10. The cadential motion may be either dominant, subdominant, and/or modal interchange chords: Tonic Fz. az, 7 Arts) Sybdominast sag 3 By B87 By F7 or ‘The above cadential motion contains dominant (C7=V7), subdominant (87=1V7), and a non-dominant functioning chord borrowed from minor (€7=V1I7). Here again is a blue note as a root function. ‘Since measures 11 and 12 begin with the tonic and the first measure is also tonic, any harmonic activity here will be back to tonic: Tonie F7 ay F7 Arts) Cadence Tonic ; G7 By ee? 50 — HARMONY 2 - Part 4Blues Variation Minor Key Variation Major key Variation 17 and1V7 in Major Blues Variations of blues can be based on major key harmonies, melodies, and chords, as well as minor key harmonies, melodies, and chords: G7 Prey FAT GT D7{sus4)D7__—Ehmaj7_Abmaj7_ G7 or AT Brt9) £7 Gmaj7 F765) arts) £7 Bz Gmaj7 Fir’) B7 ET ATG Cmaiz os Gmai7 Br &7 AT D7 C7 7 Gmal?_ AT BTC Indeed, the uniqueness of blues harmonies, melodies, and form has been a strong influence on popular music for the past century. Major and minor key songs have been written utilizing the blues form. Major and minor key progressions have been used to support blues melodies. Blue notes appear in many non-blues contexts. And the blues chords I7 and 17 have become commonly used in major and minor key progressions. HARMONY 2 - Part 4—51Melodic Construction This section of Part 4 is an overview of melodic construction and methods of is melodic analysis. It should neither be viewed as a complete course in song uriting nor composition in general. However, the materials disscussed will assist the student in understanding how melodies are created anc how to observe what makes the good songs persist. MELODIC SCALES AND INTERV: ‘Scales have long been the source for melodies. By examining a universally known melody, some observations about melodic scales and intervals can be made. JOY TO THE WORLD ‘This traditional carol demonstrates typical scale /melody characteristics: The melody begins with a complete descending major scale. Note the locations of the half steps: 52 — HARMONY 2 - Part 4Melodic Construction ‘The melody turns around and ascends through the upper tetrachord (leaping over the lower tetrachord): 1 1 % ‘The original descending scale occurs twice again but is incomplete; from scale degree 1 down tu scale degree 3 only: a) @a 43h ‘There is then a series of three notes in opposite directions which finish using the missing 2 notes from measures & into 11 (scale degrees 2 and 1): SS = a The last four measures begin with the incomplete scale from measures § into 11 but here the top portion of the scale has the 7th degree omitted: @ weo1 4 Why omit the 7th degree? (The following is pure conjecture, since the ‘composer could have used the 7th degree.) However, it appears unnecessary since this portion of the original scale was used twice already in measures 8 ~ 11 at the top of the page. The forward motion of the entire melody is preserved in the 4th measure by the leap over the lower tetrachord which finally appears as the last four notes of the tune. If the composer had chosen to use the entire scale in measures 4 through 7, there would be no reason to continue! HARMONY 2- Part 4— 53Melodie Construction Here is the melody with the stable pitches shown. Note that each scale sequence begins and ends on a stable pitch with the exception of the three note scale in measures 14 and 15, and with the same exception, the stable pitches occupy most of the down beats as opposed to off the beats. (Many simple songs, such as the example used here, contain portions which are mainly constructed of stable pitches. The more unstable pitches used, the more sophisticated sounding the song becomes.) There are only four leaps in the entire tune and all are from a stable pitch. When a pitch is leaped from, it tends to be exposed to the listener and retained. The key of D majoris very strong since the stable tones (the diatonic tonic chord) are stressed both rhythmically and intervalically. Intervals can be used to describe melodic pitch relationships. The range of the melody is a perfect octave from D to D. The opening melodic statement is a major scale which descends that octave: 54— HARMONY 2- Part 4ath Moti Repetition Sequence Melodic Construction ‘The first 8 notes of this piece is the basis for the entire song. The primary melodic fragment is called a motif (or motive). In most cases, the motif is used by the composer to construct the other melodic fragments which follow. After the initial motif statement, the melody moves in the opposite direction by a leap up a perfect 5th and scale movement of a perfect 4th (total directional motion is again a perfect octave): In measures 8 and 9 the melody descends from tonic down a minor 6th to scale degree 3 and repeats. This exact repeating of melodic fragments is called repetition: Repetition ‘Measures 12 into 16 contain short scalic passages which ascend in thirds and descend in fourths ending on tonic. This motivic repeat- ing of fragments at different locations of the scale (up a third, down a fourth in this case) is called sequence: Sequencs aH pe aaa iP ° ‘The last four measures begin with a leap of an octave from tonic to tonic preceding a descending fragment from tonic to scale degree 3 (as in the repeated statement of measures 8 through 11), except this time there is a leap involved by the omission of scale degree 7: The last four notes (down a 4th) is the lower tetrachord which was omitted from the 4th measure. A perfect way to end! HARMONY 2 - Part 4 — 55Melodic Construction SOME GENERALITIES ABOUT MELODIC SCALES/INTERVALS + All melodic scale fragments may be described as encompassing an interval from first note to last note. + All melodic leaps may be described by interval. * Motion of motifs is observed in both directions. Conjunet . + Conjunct motion occurs when melodies move by step. Disjunct * Disjunct motion occurs when melodies include leaps. ‘+ Most melodies include a balance between conjunct and disjunct motions. * Often, when there is a directional change of melodic motion, there is a change from conjunct to disjunct motion or visa versa € Directional movement of melodies is often the key to understanding their make-up. By observing the directional movement of the song, a “graph” of the motions from high to low can be made. This picture Molo of the melody is referred to as a melodie curve (or melodic contour): uve 56 — HARMONY 2 ~ Part 4Climax. Melodie Construction Here the melodic curve is exagerated: ‘The melodic curve of this tune helps to show: + The directional movement down or up. + Repeated pitches or long notes where the melody “slows down.” + The repetition which occurs in measures 8-9, and 10-11 is observable. ++ The sequence in measures 12 - 13, and 14 - 15 is observable. + The melodic leaps appear as “spikes” while the conjunct motion appears smooth. * The largest leap (an octave) occurs in measure 16, four measures before the end. This may be described as the melody’s climax, the point where the strongest stress is placed. Most good melodies contain a climax around *4 or more towards: the end. This ensures the attention of the listener for the duration of the melody. HARMONY 2 - Part 4— 57Melodic Construction TEP el & The repeating of melodic motifs has been seen in previous chapters; repetition and sequence are examples of the simplest forms of motif manipulation. Melodic ideas are repeated in order to instill in the listener predictability and coherence and at the same time creating, interest through diversity. Without this continual use of singular fragments, the melody would tend to ramble from one idea to the next, never fortifying the composer's initial motif. Many melodies are written intuitively, but when examined they will be found to contain simple ideas which are subtly repeated in disguised form. ‘The following examples represent the melodic alteration devises used for development of motivic ideas: ‘The motif may be repeated exactly: Repetition Repetition ‘The motif may be moved to another pitch level: Sequence oe ‘Sequence ‘The motif may be presented upside down: —_——— Inversion (hi inversion also movedio a ferent pitch vel and the wera rebtonships remain atric) ‘The motif may appear backwards: Retrograde Retrograde ‘The motif may appear both backwards and upside down: Retrograde Inversion ot Retrograde inversion 58— HARMONY 2 - Part 4Interval Expansion Interval Contraction Chromatic Atterations: Melodic Construction ‘The intervals within the motif may be made larger: Expansion (Te mate aso sequence) ‘The intervals within the motif may be made smaller: Contraction (The mats aso sequence) ‘The motifs may be connected with a common pitch: (Common pen) taal ‘Fors the mal iso appears In revograde) Alll the above examples have been consciously held to the diatonic. However, all the manipulation techniques are possible with chromatic alterations: ‘The motif may be subdivided and transformations added: 3 a) When rhythm is added to the equation, the potential transformations are almost unlimited. Here portions of the original motif is reduced in thythmic values: — A a HARMONY 2 - Part 4— 59Melodic Construction SUMMARY OF MOTIF MANIPULATION TECHNIQUES + Repetition - An exact repeat of a motif. Repetition is also a primary consideration in form. The exact repeating of sections within a tune is fundamental to almost all styles of music. (AAB, AABA, ABAC. Song form will be looked at on the following pages.) * Sequence - A repeat of a motif ata different scale degree. Sequences may also appear with chromatic alterations to the original motif. + Inversion - A repeat of a motif which is tured upside down. Also called mirror image. An inverted motif may also appear with chromatic alterations and may also appear at differing scale locations. + Retrograde - A repeat of a motif backwards. A retrograde motif may also appear with chromatic alterations and may also appear at differing scale locations. + Retrograde inversion - A repeat of a motif upside down and backwards. All the above alterations of inversion and retrograde apply to retrograde inversion. + Expansion of intervals - In any of the above techniques, the ‘enlarging of the interval relationships between pitches. + Contraction of intervals - In any of the above techniques, the decreasing of the interval relationships between pitches. 60 — HARMONY 2 - Part 4Melodic Construction C mz Phrase Antecedent ‘Consequent Section All compositions contain a simple idea called a motif. A univer- sally used method of observing the structure within music is to ‘compare the music with sentences. The analogy will be used here also. A sentence is incomplete, until a period appears. The period signifies the conclusion of the thought. Motif Motif repeated “A sentence is incomplete, Motif repeated_________ __ Molif repeated until @ period appears.” Phrset1—— —— __-___ Phrase 2 “A sentence is incomplete, until a period appears.” The above explanation of phrase makeup is not totally universal and is dependent upon the specific situation. However, the example points out some important facts concerning, motif usage and phrases: + Motifs are not complete musical expressions. They require conclusions. Most phrases are made with two motif statements + The same applies to phrases. A concluding idea is necessary. Therefore, complete phrases contain an antecedent and consequent phrase making a “couplet”. Phrase does not have a universal definition, Note that phrase is used to define half a phrase! The true meaning is that which is agreed to by the involved musicians. In songs with lyrics, there is most often a complete verbal statement in a couplet. + The next larger grouping within the song is the section. Sections can be viewed as a song within a song. They, as the motif and phrase, are usually two complete phrase lengths long. HARMONY 2 - Part 4— 61Melodic Construction Phrase 1 — — — Phrase 2 ‘A sentence is incomplete, “The period signifies until a period appears.” the conclusion of the thought.” In the example, the “story” about the sentence is complete ‘enough to give the reader the information necessary to know “why” the sentence is incomplete; the first section is complete. However, it would be more informative for us to get more information about the importance of the above statements. ‘Therefore, the composer could go on to explain further using additional sections until the song is finished: Section A _ _Section B_.__ — Added sections as needed. Phrases 1-2 Phrases 3-4 Adstional phrases ‘Though the lyrics of this imaginary song continually change, the song music they are sung to will often repeat as shown before. In fact, in Form real music, the lyrics may, and often do, repeat also. The sections within a song make up the song form of the music and are universally designated alphabetical: A= First section and any susequent repeats of that section. (Lyrical changes and very minor music changes are disregarded.) B= Second section and the repeats of it C= Third section and the repeats of it. D~and so forth. ‘Some of the common song forms are: A AB ABA AAB AABA ABAC ABCA ABABC ABACD There are not many songs with more then four differing sections. Another very common method of repetition of melodic ideas vecurs within a song. Most songs (and in fact compositions of all kinds) contain sections which are literal repeats of previous sections. The repetition of complete musical statements aids the listener with recall of the basic content and adds cohesion to the overall composition. 62— HARMONY 2 - Part 4Melodic Construction ‘The following is the example song analyzed for structure: form; phrases; motifs; motif manipulations. JOY TO THE WORLD Phrase 1 a Pe = Perfect Sth Leap (@tnase 1) Phrase 2 T_T isos Retrograde (1st halt) ee ores Phrase 3 Tg mga Repatton Ferograde Minor th Sequence Leap erase) Phrase 4 SS = == ae a | 5 Sequence Repetition | expanded) Octave leap (Prases) i Repetition Song form ~ A (one complete section) NB: There is a lot of analysis on this page! Good musicians will differ as to its validity. However, though it may not be correct to some, itis not wrong, There will be many analysi s possibilities. HARMONY 2 ~ Part 4— 63Melodic Construction 64— HARMONY 2- Part 4 An equally acceptable and appropriate analysis might be as follows: Phrase 1 ra rcs Cs —— Moti Sequence) Perfect Sth Leap Phrase 2 Phrase 3 oes Fmeasures| Repetiion Elision (erase 3) Phrase 4 Phrase § ee ‘measures '—Simeasures ‘Sequence Repetition Sequence Ratrograde ‘Minor 6th Sequence veep Phrase 6 Phrase 7 —_ mee aie eS = z Se aie Spa * Retrograde Sequence) Repetition ‘Sequence (expanded) octave weap (erase?) ee! Sequence ‘Though the phrase lengths for this analysis are shorter, even by combining them and applying the criteria for sections, the song form will remain A. If the lyrics were taken into consideration, although they would change for each repeat to the entire melody, the form would remain: A repeated. Additional analysis possibilities may include combinations of both of the above, and the analysis on the previous page. Within limitations, the correct analysis is in the eyes and ears of the beholder! €Melodic Construction SUMMARY OF FORM WITHIN A SONG ‘+ The smallest musical unit is the motif. However, motifs may sometimes be subdivided into smaller fragments. + A single phrase may consist of a motif and a repeat of the motif. + Asingle antecedent phrase and a single consequent phrase make a couplet (a complete phrase). (This is sometimes refered to as a period.) *+ Most sections of songs consist of two couplets (complete phrases). + Complete songs consist of more then one section (except if the song form is "A") and each section may be different than all the others or may be a repeat of a previous section. HARMONY 2 ~ Part 4— 65Melodic Construction (EE ena) — Melodies not only exist as pitches, high/low movement, but also occupy space in time; melodies have a rhythm. The rhythmic placement and flow of melodic figures have as much effect on the listener as does the melodic curve. The following three examples all contain the same motif and same melodic curve but their thythms are different: The choice of rhythms greatly effects the individual notes and the perception of each note's relative importance within the phrase. This placement can be examined by looking at the relative stress of each note, ‘motif, phrase, or section: s ws ww S wos sWsw SWsw SWsw SWs w We are conditioned by traditional Western music’s reliance on the use of meters in duple (two beat) groupings. Notes on the stressed pulses tend to be stronger and more easily remembered than notes on weaker beats, Meter No matter the meter of the music, pitches off the beats will be much less stressed than those on the beats. Pitches which are involved with leaps are exposed and mote easily retained: 66— HARMONY 2 ~ Part 4 @Anticipation Delayed Attack Melodic Construction Style also effects our perception of rhythm. Jazz and styles of music which contain jazz influences (many contemporary styles of popular _music) will be seen to contain syncopations. Instead of the melodie pitches occurring on the beats, as was seen above, the pitches will often appear prior to the stressed beats or occasionally after the stressed beat: Anticipations are those pitches which: + appear a half beat prior to the stress (or rarely a full beat) and “+ are tied into the stressed beat ) or + followed by a rest on the stressed beat @) . 7 ® @0O ® Delayed attacks are those pitches which: + appear a half beat after the stress (or rarely a full beat) and, * are preceded by a rest on the stressed beat HARMONY 2? = Part 4 — 67Melodic Construction (Of special importance ty» melodies is the melodic cadence. Most often the Cadence cadence will occur to a strong stressed beat. Melodic cadence pitches are typically the stable pitches of the scale. Rhythmic alteration is a subtle means of disguising repeated motifs. ‘Augmentation taaeat : Tol ce hioaabicl thy Dinan felodies may contain augmentation or diminution of rhythms. Augmented rhythms are stretched out in time while diminished rhythms are reduced in time: Augmentation Diminution 68 — HARMONY 2 - Part 4‘Melodic Construction é IMELODY/HARMONY RELATIONSHIP In the previous chapters dealing with melody, the emphasis has been on observing the overall shape and content of melodic fragments and viewing the melody as a whole. The focus will now be on the individual note relationships to each other and to the harmonies. Every melody note can be: + Anavailable pitch to the harmony as either a: ‘Chord tone or An available tension. + An approach note. * A choice of the above. An approach note is a melody pitch which is a beat or less in duration and ‘Approach Note ‘which moves by step to a target note. The target note is either a chord tone or tension. Approach notes are found in many configurations. Passing A passing tone is an approach note which moves by scale step between Tone two available pitches a third apart: Dz D7 D7 D7 3 9 9 ‘The approach notes are circled and the target pitch is identified. Traditionally a passing tone is defined as a non-chord tone which moves by step to‘a chord tone and is usually found on a weak beat. Note that in the above example, the more contemporary situation where the passing ‘tone may pass between either a chord tone or tension to another chord tone or tension. Chromatic Passing Passing tones may also be chromatic. Unlike scale passing tones, they a will most often be non-diatonic to the key at that moment: D7 a7 maiz 7 n 5 HARMONY 2 - Part 4— 69Melodie Construction Unprepared Approach Neighbor Tones 70 — HARMONY 2 ~ Part 4 Approach note pattems may start during one chord but resolve to the € target note on another chord: D7 >o7 >omal7 5 pt 18 eS Allapproach notes resolve to a target note and have a chord of resolution. An unprepared approach note, unlike a passing tone, has no preparatory pitch but, like all approach note patterns, it must resolve by step toa target note. Unprepared approaches are either: * A target note preceded by a rest (1), + A target note leaped into (2), or + A target note preceded by itself (3): € Cc a DT Gr oe a 2) 3 Neighbor tones (also known as upper or lower auxiliaries) represent move- ‘ment up or down from the target note and back to the target note: Neighbor tones may be scale steps (as in the measures 1 and 2 above) or chromatic (as in measure 3).Melodic Construction e@ Passing tones, unprepared approach notes, and upper or lower neighbor tones all represent single approach note patterns as a2 or 3 note event. ‘The approach note’s rhythmic value must be a beat or less. There are also multiple approach note patterns, but, as with single approach note patterns, the approach notes total value must be a beat or less. Double The double chromatic approach is consecutive chromatic steps in the same en direction to the target note: D7 a7 maiz cs Note that the total value of the approach notes is a beat or less, eitaes More difficult to see is the indirect resolution, Indirect resolution patterns Resolution involve two approach notes, one above the target note, one below the target note. The first approach note in this pattern resolves “indirectly” to the target note. (This may also be known as “encirclement” D7 cr cmaj7 cs 1 may? 1 Anticipations akonys function as target notes, never as approach notes. He Anticpations ‘There are special rhythmic considerations which affect the approach notes in the melody. Anticipations, when they occur, have an affect on the melody and the harmonies. This chythmic alteration requires an assumed displacement of the harmony as well as the melody: C6 AT? GT Cal Ant Ant Ant Ant 8 AT DT G7 Omai? ( 5 4 3 85 HARMONY 2 - Part 4 — 71Melodic Construction Doubie Time Feel Melodic ‘Suspension Repeated Motifs 72— HARMONY 2 ~ Part 4 Some styles of music incorporate double time feel in the notation. Although the time signature may indicate a pulse of quarter notes, the feel of the beat is at the eighth note level. Therefore the primary beat value for the notes is doubled: F c7{sus4) a7 cr ay Fr Delayed attacks will not affect the harmonies as do anticipations, AT o7 DA Sf 0A ‘A melodic suspension is a melody pitch which is tied from one chord into another fora beat or less. When melodic suspensions occur, the harmonies will change when the melody resumes movement. (However, the harmonic chythm is still perceived by the listener as changing on the stronger stress points. Ifa chordal instrument and/or a rhythm section is involved, the chords in the underlying harmonies may actually change.): D 7 AT hz E7 AT (-———— 5 3 a Of importance to the analysis of any given melody is the concept of repetition. Most often, when a section, phrase, motif is repeated, either exactly or ina disguised form, the analysis of the individual notes will follow the same repeated patter: Cmaj?_Grisus4) C8__Fmajy_ 8-75) E7 AT 79) 94 AT 13 5 CcMelodic Construction Choices are available when observing melodic approach notes. Both the previous analysis and the following, though different, are equally plausible. Again, the choice is in the ear of the beholder: Cmaj7 G7(sus4) Co___Fmai7 8.7/5) E7 AT zea) Approach notes usually appear on weak stresses, though, as in the case of the A in measure 3 (since it must be an approach note), they occasionally will be on the beat. SUMMARY OF APPROACH NOTE PATTERNS + Approach notes must resolve to a target note by step (half or whole). + The target note must be available to the harmony. * Notes not available to the harmony must be approach notes; available tensions and chord tones may be approach notes. ++ Ifthe motif repeats, the approach patterns will most often repeat + Approach notes are most often on weak stresses. Stressed approach notes are uncommon. + The approach note patterns are: + Passing tones + Unprepared approach notes + Upper and lower neighbor tones * Double chromatic approach notes * Indirect resolutions HARMONY 2 ~ Part 4 — 73[HARMONY 2 VOCABULARY, ee 12 bar blues antecedent pation approach note augmentation auxiliary blues blue notes climax conjunet consequent contraction deceptive resolution delayed attack diminution double chromatic approach double time feel disjunct dual function expansion extended dominant form ‘guide tone line(s) harmonic continuity harmonic rhythm, indirect resolution interpolated inversion leap line cliché melodic curve melodic suspension meter modal interchange motif (motive) neighbor tone non-dominant function parenthetical analysis primary dominant repetition retrograde retrograde inversion secondary dominant section sequence similar motion stress pattern strum, the subdominant minor unprepared approachHARMONY 2 suggested pacing chart (emphasizing chord spelling) ‘isthour date 2nd hour date Introduction/syllabus Review lintervais/chords) 2 {Review Secondary dominants pg. (scales/modes, diatonic harmony) 3 [Harmonic rhythm pa. 6 Extended dominanis pg. 10 (Secondary dominant tensions) 4 {Deceptive resolution pg. 12 Quiz 5 [cuz Related II7 chords po. 15 | Related 17 chords continued Harmonie continuity pg. 19 7 {Harmonic continuity Guide tone lines pg. 24 2 3 |MIOTERM (MIDTERM) | Modal interchange pg. 26 ‘Subdominant minor pg. 28 to | Minor keys, Pg. 33 Minor key line cliches pg. 40 41. | Minor keys continued Blues pg. 43 (Or quiz) ye [QUIZ Melodic motifs pg. 52-60 (Or Blues) Melody continued Approach notes pg. 6t-end 13 15 Approach notes continued Review (Review) at FINAL (FINAL) (Review)