Natural}; simple and “bass” clefs. ¥, any study of music must begin with an undersianding nf those ements which go tomake up music. The first of these elements to be discussed is Pitch, which is designated by the location o! a rote on a musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the “treble? Some definitions relating to pitch: SEMI-TONE.*. . . The smallest distance between two notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The dis Palen Poin, . ance between two different pitches. 2 of DEGREE ...... Each note ina scale is called ad Wits seale. TETRACHORD .. A four-note scale consisting of the follow- ing intervals: Whole-tone, whole tone, semi-tone ‘The firet direct application we will make of pitch § constraction of majer scales. A aS a series of yeiaied notes mor or descending direction. g ina constantly asc Page) Le. BagS305 z A. MAJOR SCALE CONSTRUCTION ‘The major scale is made up of seven different notes, one on cach 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. = vom 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 Cf, since the third degree hadthe letter name C, and the definition of a major seale stipulates that each of the scale degrees must fall on the next suecessive 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 seen in the following example, the major scale is di- visible into two equal parts, each part forming a tetrachord. These tetrachords are identical in construction and are con- nected by the interval of a whole tone, b a ——] = > =a — oe Ft TO at T 1 wmsens|_poNe rove | Brove \croves |_rave es Ex 5 By using the upper tetrachordas the lower tetrachord in our new. scale, it is possible to arrive at all of the key signatures con- taining sharps. OM CeECfoS RES Ct. 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 note D, i.e, the upper {etrachord of the G scale. . PageAgain, notice that the note C mustbe sharped in order to conform a to the whole tone, whole tone, half tone structure of the tetra- chord. tal Beginning again with our C scale and this time using the lower a- tetrachordas the upper tetrachord of our new scale, it is possible ‘ to arrive at all of the key signatures containing flats. f _ senoen ps ROENOUS - pn ESS 7 } ——— 3 e - Bx 8 Notice that in this case the B was flatted in order to conform to the tetrachord structure. 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, Once again by using the lower tetrachord as the upper tetrachord i \The following tables show the signatures of all of the sharp and flat keys in treble and bass cleis. 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. p BAD 00D 2. ‘The same applies to the use of sharps If you a) rping the note #, be sure that the Page 5000 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 ie defined as the factor which controls dura- tion (i.c., 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 occupi The corresponding rests which are shown on tne right repre- sent the exact opposite, i.e., the absence of sound for a specified period of time. Page 6 = ™ ‘ot t wo ie en ole “le = pewhole note half note quarter note eighth note sixteenth note half note triplet quarter note triplet eighth note triplet sixteenth note triplet dotted half note dotted quarter Duration (When quarter note gets one beat) Equivalent rest Mt 4 beats : 2 beats x 1 best 2 1/2 beat 4 1/4 beat 4 A beats whe, 2 beats 1 beat 1/2 beat 3 beats 41/2 beats Ex 4 If the duration desired cannot be represented by any singie Hote, it is achieved by combining two notes with & “tie”. This new attack but is simp} weg that the second note is not considered to be & y joined with the first as one duration. 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, vA os 22 4 beats pee bar 6 beats per bar 2 beats per bar quarter note gets I beat eighth note gets 1 beat half note gets 1 beat Ex. 16 Assuming thata bar of 4/4 time can be written as four quarter.notes, it is obvious that any combination of durations which add up to four will also form a bar of music in 4/4 time. Following are several 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 assigament 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. D. 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 cerived from the first, third and fifth degrees of the major scale. i Page 9However, since simple triads are rarely u all immedi 1 modern writing we jately move on to the more mudera and fuller sounding Yersion of major, the major 6th chord. The major 6lh is a four- part chord derived from the first, third, fifth and siath degrees of he major scale, C Major Seale . C Major Sixch 3 a ~ © 4 2 F & s é 7 Ab Major Seale — 9? = PE = 4 2 J & a é 7 As may be seen, the major and the major sixth are basically of the ame tonality, and throughout the course we will use the major 6th ord exclusively. . ‘All types of chords are built from scales. At this time, however, itis important to learn and construct all of the major chords. This js accomplished through: the development of ‘chord blocks” as below. SAMPLE PROBL. © oa ¥il ia the open blocks. w& © Ex. 21 ‘© ® © @ (The above exercise deals with major chords, hence the degrees 1, $r'5, § are called for. (see Ex. 20). The note “C” was selected arbitrarily. Page 101, 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. ested bebe peseebabee i b. With (C) as “3”, merely count down to “1” and up to “5” and “6”, B(q] 2|3 c. Similarly with (C) as “5” count down to “3” and “1” * and up to “6”. A) B CHG) E F 3)4 [s|i6}7 8 d. Same treatment with (C) as “6”. GAB 6\7 8 Bc Dfe FIG Ala] ny 2 |a} 4 [5 The first step in the solution is now complete and the chord block should appear as follows: 6IA\FILIO : SIE\E|O|S i Be. 22 3|4\©\4 |e /|Ol4|-le Page U1a. With C as “1” we refer to that scale w b. With C as “3", refi 2. The second step is to check our major chord structures for necessary sharps or flats. h has €C” 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. é s 3 N ©] mM] 9 fas @ oO @ Ex, 23 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 musi be flatted. 6|4AlF 51 G| 4 3/E|© Ex 2 Page 12ecgtnen ty sane BSE od ge abit’ 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 far in this chord, the other notes remain unaffected. c. With C asthe fifth degree, aN {1 [oe Q|™]9 1s © D LO A F @ wo © Ex. 25 4. With C as “6”, we look for that scale which has the note “C” as the sixth degree. The proper scale in this case would be “Eb” with a signature of three flats (Bb, Eb, Ab). The notes that are affected in this case would be “E” and *B”, which must be flatted to conform to the scale. Hilary) AaECE |é OVA\G TJeye[a ~~ OW FZ) 1 _ © & © @ Ex, 26 Page 13,6. _ Complete the following problems as illustrated. fa) Write five different examples of semi-tones oo" " ” »® whole-tones. 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. In the same manner, work out all of the flat key scales in poth the treble and bass clefs. (a) Cis the fifth note of the scale of F (b) Fo” third yy (c) Ab ” ” second ” noe ” ” @ D *% * seventh ” 7 7 7 % (ce) Fe? ” sixth ym” ® Eb ” * fourth 7 ” Complete the following problems as illustrated, a) C is the third note of the scale of Ab. Soro” fh 2 2% > PB Bm yo ag: es pu ee 8 > Ab, (DoT beh se Dh, Comptcte the following problems as lilustrated. ts the third note of the scale of Bb. >» seventh * 7 7 7 7 Ee » 9 fourth 7 7 % % % Gb. » » seventh » 2 " *% "D- » ” sixth ” so? ” » Ch, » * third 7” poo” Given are series of numbers. Write each of these series of Curation in four-four time as shown in the accompanying example. Ex, 27OZLU3453,5235645 451248 1,3, 8, 1, 3, 1, 2 (c) 1/2, 1/2, 2, 2, 1, 5, 1s i 4, 2, ie, , 1/2, 1/2, 1/2, 5, 1, 2 2, 4/2, 1/2) 1/2, 1/2, 2,4, 4/2, 1/2, 5 8. Write the same series of numbers, this time in three-four time. #4 2 3 == ee Ex. 28 9. In this next problem dealing with rhythm, consider each of the circled numbers to indicate a corresponding period of rest. The rhythm: 1,023) 1/2,@)1/2, 1 1/2, CAB V2, 1 would appear as follows in 4/4 time. 1 @4oQ%# 1% AT Ex. 29 Nolate each of the following rhythmic phrases in 4/4 time. @) 2, 1,022) 1172, O3. Ore, 12, © 4D 1/2, 3,G) 1/2, 1/2, @) 1, 5OuL 1 1/2, @/2) 1, 4, 3,@) 1/2, 12, 1.1/2, CAP 2. (o) © a, 1, CA 1/2, 8, TD We, V2, V2, 3, 2,7) 1/2, 3, 11/2, 12, G1 2 1/2,@ 1/2, 2,@) 11/2,@ 172) 1, 4,G72) 1/2, Ay 4 (ce) 3,02) V2, 11/2,0 17 4@ i 3 GA 12, 1 12.G7D UD UG We We, GD vie, 1 4, ]) Ve, 1/2, 2D 2, 2 Page 1510. Again referring to the rhythmic patterns given in Problem #9, notate each in 3/4 time. 11. Create a melody with a rhythm using notes of the Eb major scale Crete Gurfour time signature. ‘This melody should be eight bars Jong and contain scale notes only. since the purpose of this assignment is to further yott familiar- Giation with the notes contained in the various Koys, itis advisable that you use accidentals where needed, rather than a key signature. 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 lime Key of D . . 3/4 time Key of Dh. . 4/4 time Key of Bb. . 4/4 time Key of B .. 3/4 time Key of G . . 3/4 time 13, Construct major chord blocks as deseribed in this lesson on Constr che fonowing notes. (See enclosed Work, sheet) Cy F, Bb, Eb, B, B, Ay D, G Toge 14, Write oul cach of the following majer vhords in musteal notation with: (a} Root as bottom note | oe 7 (c) Sth ” ? ° . @) Gh 7” » on: C, Db, D, Eb, B, F, F#, Gb, G Ab, Ay Bb, B. mposing the 0: the major chord indicated above eacia bar. Pape 16us Sb ba Brew Hn SoS Se Compose original melodies on the following progressions using chord notes only. - a iteemenneemeneneseecn LESSON NO. 2 CHORD CONSTRUCTION (Cont'd) } continue with our study of chords as begun in Lesson No. 1, we shall now discuss ‘construct several more of the standard chord structures. The first of these is 2 Minor Tr ‘To construct the minor triad, simply refer to the major triad and wer the third degree one-half step. Major D Major D Minor ; naming the lowered third degree, remember that if the original major third was harped, the lowered third willbe nacural, if the major third was anatural, the lowered tad will become a flat; and in the event that the major third was preceded by a flat, ve lowered third will become a double flat (bb). . _sexplained in Lesson No. 1 the simple triad is rarely used in modern chord voicing, 3 once again, we move on to the more commonly ‘used minor chord with the added fxth ‘The Minor Sixth chord may be found by referring to the major sixth and simply owering the third degree one-half step. . Ex. 2 = — It = 7 Bee oo i le=ze — | S gnee again in order to properly construct and leasn all of the minor sixth chords, it once Aeteto make use of the “chord block” technique as described in Lesson No. b Fae iS a sample problem in constructing minor sixth chord blocks. SAMPLE PROBLEM é bie Fill in the open blocks 5 ©} be Sal 3 LIE wy Pals lBOlale / d LO i) {The above exercise deals with minor chords, hence the degrees -- one, lowered thres, ‘ive and six are called for) Page}‘To continue with our study of the basic chord structures, we shall next cousider the Dominant’ Seventh Chord, a four-part chord which is derived from the first, third, fifthand 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-hali step. Ex, 10 Asin the case of the lowered third, if the original major seventh was a sharped note, we lower 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). EuUNEaS 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 Ke Qn as 7-| $9! Fill in the open blocks x 216 ex SIE /\@ ro) Since this exercise deals.with dominant seventh chords the degrees one, three, five and lowered seventh are called for. SOLUTION: i. Fill in letter names without accidentals using a. Cas the root b. Cas the third ec. Cas the fifth d. Gas the lowered seventh qT Bl 7lalelzlel L Oa ALF F\o ~~ @—- 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 thenotesare correctas they stand with the exception of the ‘seventh degree “B", which must be lowered to conform to the chord structure (dominant seventh). Bs Ex. 13 we [> [N a 8 @ b. WithCas the third, the aporopriate scale would be Ab, with asignature of four flats. In addition to flatting the A and the E to conform to the scale, the G must also be lowered to conform to the chord structure. i 7/246 . S1G|E4 ? be. 4 3/41O 1©@| 4 em 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. . 7 SIG Ee. 15 = BIE \@ ee © 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 thai in the scaie of D major the C is Page ®sharped, Hence, the gi ered seventh ia the sea ¢ natural is correct as the low- eof D. The third degree is Fi, ae*| © 6|AiOlA4 =|Ola | (| (Before going on, it would be advisable to complete Problems No. 4 5 of the assignment.) | NOTE: The foltowing chord symbols are used in reference to the chord structures discussed in Lessons'No. 1 and 2. Coe... « «© Major (6) Cm : + C Minor (6) CMa, : +. € Major Seventh Ci : « C 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 a given chord progression. Once you are completely familiar With this technique itis relatively simple matier 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 rather thandegrees. In other words, we shall consider the top fote-ot tre chord to be the first voice, the next note below iit to be the second voice, and so forth. ce the position of the lirst chord is determined, to produce smooth voice leading to the following chord simply apply’ the basie principle of harmonic continuity, ive, KEEP COMMON TONE (OR TONES) IN SAME VOICE (OR VOICES),/~—————————__— tO 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, Ay and that the notes of the Ab7 chord would be Ab, C, Eb, Gb. in this a Pugs 6 WD se ota Ua pet Cue eee Ee ee ee ee ee ee@, theonly common tene would he the note C, j.e., the only similar note found in both chords. In the fcllowing example, Cappearsas the first voice of the C chord, therefore, the C must remain as the first voice of the Ab7 chord, with the rest of the chord notes of the Ab7 ing filled in below the C: 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 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 () (b) 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 cho: e F, Ab, C In this Gase ‘there wild be tvo common tones » and T (Mey appear in both chords), and to produc: oth voice |} t be kept in the same voices, Ex. 21 1 Page 7 c - ) so cialt f Le ae Had the starting chord been in this position: Ex. 22 BEBE G Here is a longer example of a harmonic continuity with the common tones indicated. The position of the starting chord was arbitrary. Occasionally there will occur a situation where there are no common tones between adjacent chords. In this case observe the following principle: : WHERE THERE ARE NO COMMON TONES BETWEEN ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE NEAREST CHORD TONE OF THE NEXT CHORD (EITHER ABOVE OR BELOW) AND CONSIDER THiS TO BE THE FIRST VOICE OF THE NEW CHORD. fn the case of C to Abm (no common tone), either of the following. would be correct. GBEaERERRE REDToy - . =r Here is a continuity incorporating this principle as well as the one previously discussed. 0 nearest position 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 result of 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 CUANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Bx. 26 inversions of the C chord ABT s perfectly clear, here that all of the foregoing ag to har- Now, to make sure yall three of the principles appi is 2 continuity contai: monic continaity. Page 9 1 allele id nblihdaie sill sbi0ic «uaa ad ek 4entae aes iain ar achat anmcinniatnn at a sinveraions of the asme chord -eomson tone 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, E, F, F#, Gb, G, Ab, A,'Bb, B. Ex. 20 inversions of the Minor Sixth chord Notate in all inversions, all major seventh chords. (same list as in Problem No. 2) Ex, 29 inversions of the Major Seventh chord C Maj 7 iauaeaen a Work out dominant seventh chord blocks as indicated on the enclosed sheet, Page 105. Notate inversions of the Dominant Seventh chord, again referring to the list of root tones given in Problem No. 2. Ex. 30 inversions of the Dominant Seventh chord ‘\o ak é x = 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) (ui uucu ) Set up a harmonic continuity plus an original melody on each of the following chord progressions using a three stave score as in the example below: Page 11[ !' I !' “ ] LESSON NO. 3 ] 4. CHORD CONSTRUCTION (Cont’d) To 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. poe ° \ a . oe Once again in order to be certain that all of the minor seventh chords will be learned » and constructed properly, we make use of the “chord block” technique as deseribed in Lessons No. 1 and 2. . SAMPLE PROBLEM , Fill in the open blocks. 7 - me | |S © 3 ‘ © © Tr) fe) (a) 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: a. with C as the root 5 b. with C as the lowered third ‘718 1e AG) c ce. with Cas the fiith | a. with C 2s the lowered seventh SIGIEIO\A ‘ F = ¢ ms [2 |4IOl4 | WN@IA lf 10 pags 4may be needed to produce tne minor seventh 2. Add whatever s! chord structure. =ps or fla| a. with Cas the root, we refer to the C major scale (no sharps or flats) and: lower the third and seventh degrees, l.e., E and B to conform to the chord structure. -b, We find that C is the lowered third of the scale of A. (C# would be _ the regular third). We must also lower the scale seventh G# to G. RP SO G ca @ @ & c. With Cas the fifth degree, we must refer to the scale of F, Again, to conform to the minor seventh chord construction, we lower both the third and the seventh degrees. x {[Olr jo y a @ © d. With Cas the lowered seventh degree, the proper scale would be D major (regular seventh degree, C#). In addition to the lowered seventh degree the seale third, F#, must also be lowered to become ¥F natural.Ma) 7 | a4 e|e4|© Ex. 7 S\G\E|O\A Js lelOlat- D wo ©) next basic chord structure to be disc vented Triad, a three-part rd based on the first, third, and raised fifth degrées of 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. Ex. 8 Cavs —— Hig —l 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 and lowered Seventh degrees. However, a simpler method would be to refer to doiinant seventh chord and raise the fifth degree one-half step. Ex. 9 @ {ll not be necessary to work out chord blocks on the augmented seventh. If you are oughly familiar with all oi ne dominant seventh chord structures, you should have ffleulty in getting to know the augmented seventi:. [a - / ther of the chords with which you must be familiar is tecbpaminbshedetat The ty inished triad is « three-part chord derived from the first, lowe ed, and low- 4 fifth of the major scate. It may aiso be located by referring to the ininer triad simply lowering the fisth degree one-ialf step. Page 3 {Es. 10 (ay Cm * Cain B ae \ ar -W- bar Since we will need @ four-part version of the chord for our arranging work, we move |f on to the Dimi Seventh Chord, a four-part chord derived from the first, lowes, ' ed th : oly lowered seventh of the major scale. Although it is } calied a seventh chord, the simplest method for building it would be to refer ta the } minor sixth chord and lower the fifth degree one-half step. - EERE oO Ee | Another feature of the diminished chord {s that enharmonic spelling may be used frealy j Without regard to scale degrees, i.e., F# may be called Gb; Bbb may be called A, ete. Jn the following illustration any of tho chord spellings shown would be considered to be “correct, Ex. 12 win, as in the case of the augmented seventh chord, it will not be necessary to work {diminished seventh chord blocks. A thorough knowledce of the minor sixth should ‘able you to locate the diminished chord structure with little difficulty. weEER RE P-EDB. CHORD SYMBOLS Every chord structure is designated by a special abbreviated name. Following i Every ciplete listing of the basic chord structures which we will use, and the symbols that identify them. STRUCTURE SYMBOL C Major c ‘ C Minor Cm or C- C Major 7th C Maj. 7 C Dominant 7th cr ¢ Minor 7th Cm? or C-7 | € Augmented 7th C Aug or Cx € Diminished 7th C dim or Co In addition to these basic structures, you may occasionally encowier so-called Fae 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) sb i C. ‘OPEN HARMONY ‘All of the chord positions that we have covered thus far belong to a general class- {Hibation known as closed harmony. In addition to these closed voicingsy certain dpen voicings may often be effectively used. A simple method for converting any- ePord 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 {llustrate this principle let us assume that we have a C major chord in the following closed position. (. wd. Suge ey DE > wy eye dwoued Segovia we Gage ERR pee Soot Ex. 13 = vot ay FP antpe fa dur Page $To convert this chord from closed to open position we would simply drop the second yoice, G, down one octave. Ex; 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 moro ilustrations of open chords formed by dropping the second ° yoice of clased chords, x A B x EB a R 5 . F a a a " A a B a€ OTE: When using open harmony, we may distribute the chord notes between the OTE: Where and the bass clefs, using the bas clef wherever the notes become treble ‘that it would be inconvenient to write them in the treble clef, It is So low tesary to Keep a specified number of notes in each clel. Rather, not The bass clef where convenient to avoid the necessity of drawing ledger lines. Ex. 17 Itis of course possible (and quite effective musically) to apply the principle of open harmony to a harmonic continuity (See Lesson No. 2). Here is an example of a continuity: a. in closed position : b. converted to open position by dropping the’second voice down one octave\SSIGNMENT = 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 red 3, Notale augmented Seventh chords in all four inversions on-the same list as given in problem No. 2. . (L. Notate diminished seve in problem No. 2. | Tn braer to have a convenient guide to refer to as you work, complete the enclosed Mn Ord reference chart by filling in each chord in the appropriate space as illustrated } . Convert the following closed chords to open position: chords in all four inversions on the same list as given | 7. set up harmonic continuities as described in Lesson No. 2 on each of the following shored progressions. Do not allow the top note of any chord to go below the note #. Where voice leading would result in a lower lead note, change position of previous | Page &CWE Ree eee eee eT mm Fh nm 7 a(R | Bi * | 2 6 ons oll si | aa « i | . . ' 3 af of 6 . bs 4, é aii) alls I * alll | Hiqdobst, CH SUL SL il all | | Don? De? Dm? G67 eee Gon? F7 | E te % E : ve Dy8. Re-score each of the continuities which you have written in problem No. 7, - as illustrated below. Original melody using chord notes only a Harmonic continuity in open position * Root tone of chord Page 107th DIM. 7th CHORD REFERENCE CHART p iG. Masor(¢) MINOR(G) MAJ. 7th DOM. 7th MIN, ith AU SeLESSON NO. 4 A. RHYTHM (Cont'd) For preparation in the development and usage of swing Heures) 6 here | analyze the rhythm factors which tend to produce a feeling of "swing". First, let us consider the fact that a four-four bar contains eight eighth notes. . Ex. ! t Swing consists generally of a combination of accents in the above bar where se aeest one accent does not occur on the beat, i.e., one of the accents must secus on one of the "&'s" rather than directly on the one, two, three oF four. © ° fe 24 Se ee ¢e2+# =] Pept o In order to avoid confusion in locating and naming "off-beat" attacks, swe ahsll rely on a system of naming whereby every eigh one beat. Using this system (i.e., eighth note gets one beat), the following durations may be represented by @ singte note: NOTE DURATION EQUIVALENT R T so) 1 beat 1 J 2 beats a 4 . 3 beats BT d 4 beats ee de 6 beats ae? 8 beats a o‘The rhythm " 2114 " would appear as followa; Ex 3 Following are several bars of rhythm notated according to this method of naming: 3S 22 444/422 2/4/22 8 e Each bar should, of course, add up to eight "eighth" beats, Whenever a duration can not be represented by a single note, a ttie” used to link two notes into one duration, The duration "5" might be indi- cated as: . Page 2The arranger, or composer, must follow a definite system of notation go 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: “() 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. | ee FF wo 7% 27 , Sf Beets - Lea wt 4z) Liana 4 1 wF 2 8 Le EXCEPTIONS: ! 1 Ey = Eee WHEN TWO OR MORE CONSECUTIVE EIGHTH NOTES OCCUR IN A GROUP, THEY MAY BE "BEAME Ex. 9 : FERS Beamed etghth notes — HOWEVER, DO NOT "BEAM" EIGHTH NOTES OVER THE IMAGINARY BAR LINES, - Be 10 RIGHT WRONG Page 3aot (Before continuing with the lesson, it would be advisalele to complete Problem No. 3¢ assignment. ) 3. NOTES SHOULD ALWAYS BE SPACED IN THE BAR ACCORDING To THR VALUATION, i. e., 2 half note in a four-four bar should occupy one-half of the total space in the bar; a dotted half note sho of the bar, ete. occupy three-fourths BAD Goop iH BEEMEr: (Complete problems #1 and #2 of the lesson assignment) EE i 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 __al In the following example a melody with chord symbols is given and each note 1 of the melody has been anzlyzed as either a chord note (c), or a non-chord note (nc). enon we 6 Fe OM Ce Mee e Page 4 ata+ 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 “ill out the chord under each and every note in "block style". Here are the =rules for producing 2 four-part block harmonization, 1, HARMONIZE CHORD NOTES WITH CHORD, BUILDING DOWN FROM. - THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, - Eb a? Dm? Gr CC ] given melody J block Jharmontzation * 2, HARMONIZE NON-CHORD NOTES WI'fH CHORL, BUILDING DOWN, _. FROM THE MELODY NOTE IN THE CLOSEST POSSIBLE INVERSION, BUT LEAVING OUT THE NEAREST REGULAR CHORD NOTE JUST . BELOW THE MELODY NOTE, ple, if we were harmonizing the note "B" with a Cm chord (C, Ek, O, ‘A), we would have to leave out the note "A" (the nearest chord note below "B") nefore filling in the rest of the chord notes. ! re Cm Balla Cis clacas | ke ESS PKS. THES E> ie: = "A" omitted ise ees B [RE | < oo Vue? . YB Se & ee dere are several more illustrations of the harmonization of non-chord notes. Ex. 15 * given melocy OMIT "A" OMIT "GQ" OMIT - ons? "F" Page 5Next, wo move on to melodica which, like all stondard and ropulas songs, wit fi intermingle both chord and non-chord nctes. Here is a melody of this aort complete with chord symbols, und an illustration of how it would be harmonized. x. 16 Don? G7 Cc b42 Dm? De Se om ee ee ce Ce CRM me SES ., Qa? 6? Remember that this same procedure may be followed in effectively harmonizing any of the standard or popular melodies with which you are familiar. If scored and orchestrated properly, the regulting harmonizations, while quite simple, would nevertheless produce the same professional sound featured by many leading bands. during Jn cases where the three lower voices do not change betwéen 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. might be treated: In the following illustration, the lower three vaices canaot be sustained, since they actually change from one chord to the next. . Page 6 a " a a A a a al . Al a q al‘Another situation where the above principle might be applied would be where doth the melody and the lower voices remain the same. Here, it would be possible to move only the top part while the three lower voices sustain. bel oe 19 The - Abo. It would be wise to remember that regardless of how often this sustaining technique may be employed, it is far more effective in smooth ballads, rather than in "owing type" tunes. (It is also more generally used in saxes rathes than in brass.) : - ASSIGNMENT . a 1, Notate the following swing rhythms, as indicated in Example 20. Ex, 20 2.66485 P2623 2068 ae ee 53 521 512 1223 si. 35 - zises 12 . Qo sclb is 323 3221 32 e113 B22. i 332 2132 12 -3312 132 233 2321 23 Y133 rid 413 2123 122300 1313 svi 23 341 42.21 4112 313. @.rit143 1,242 piiriri3 21122 3.14 L412 3araad 21311 2213 L214 pigsgiadide rigs2n 3221 22112 P3raiie 13121 2123 L2212 pidai3sia 21132 3212 Le122 122.1431 211121 214121 21113 hib_2ire2 212121 daa 3212121 r2.112 piar22. 2114.6 1i1i23 ri2ii2 211i1li2 b222) 3li1e2 r2ri1ii2 bi2i21 “pataa P’2i3 p22 Pr2tr2ad “pazad riiad pilili2 221111 “a he@b2 . nadia be2aaaira Prii22 basa pirid pyredri paargad disve gyr2g pre2yaryad 2.1244 P3zi12 121213 hrirw2ery pirira P2131 32211 pr_idtaarad 21212010 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. 441/@ 3 O12 4110 @ 2 & Ors (oe Page 5 ™ = om ee ee |Notate the following swing rhythms: 1420142201241 1111, 2, O.122110930014284 4260 » 2MLL1L0%25ULL0101 25126) 31 LLULO2LL1229601L02111@ ¢ 7294111442142 22 13,203, 2LULL10361011112@ . 1 3. Analyze each of the following melodies indicating chord notes (c) and non-chord notes (nc). bom? B47 £4, < Eon? Fon? a7 Sot é i Page 9at cae eS a= we we Cl wee wee Am? 07 ae Ne RCC ce 6 NE c oN ef ce Men ¢ n 5 Ja Fess ce we Ne NC NC NC WO UC a?4, Harmonize each of the melodies fr om Problem #3 using the four-part I" block technique described in this lesson, Sustain three lower voices wherever possible. ii 5. Write a four-part black harmonization on any twa standard tunes of your choice. Loo PageSag le (essen . LESSON NO. 5 . As PRINCIPLES OF IMPROVISATION . 1, CHORD TONES Notes of any given chord may be used in any order, frequency, oF - rhythm pattern against that chord. . Eu - 2. CHROMATIC APPROACH NOTES ‘Any note which chromatically approaches a chord tone may be used in - an improvisation. These approach notes are always of short duration, . (d or less). Ex. 2 _ Notice that in the foregoing example cach non-chord note chromatically . approaches a regular chord note. . 3, SCALE-WISE APPROACH NOTES Any note which approaches a chord tone "sea se" may be used in . an improvisation. (Scale-wise approaches must aiso be of short duration). . A prerequisite to understanding this technique is a knowledge of "chord scales", . . seale: vaipade . wists genet pane t SwsaGe of ver v9 9 : Be liyaua wen Cpe cceeine veersa. MAJOR (éth or 7th) (1 oMian In the case of the major chord, no alteration is necessary. The major scale, as is, goes with the major chord, note may be used in an improvisation if it + approach Gent chord tone. Notice in the following example that every non-chord scale note moves directly into the nearest chord note (either above or below), ex 1) Seomues execu Sypjeset deve eo b. MINOR ( Melrdic) AB habs bonee cea ifoccn Mae / on “Eectm mMeGs Since the third degree is lowered in the minor chord, the same alteration will be made in the minor "chord scale", . Com (ooj?) Bx. s Again, an example of non-chord scale tones of the "minor chord scale" approaching adjacent chord tones. ¢ bef <-0-E,-f-6- AL ~ BLS (pre uurt + Teed Pane 2 \ \ G02 4aae it >, DOMINANT 7th (Mixcebydinn) Here, the seventh degree is lowered in the chord scale just as it fr has been in the chord. ~ Following is an cxample showing non-chord tones of the C7 chord scale moving into adjacent chord tones 6, eo au ) Ted Sees Deka Hakute Scacs | d, MINOR 7th In the minor seventh chord, both the third and the seventh degrees are lowered . The same alterations have been made in the chord 4 scale. bmg tag amEvery non-chord scale tone in the following example moves directly into the nearest chord tone. ©, AUGMENTED 7th i Here the seale building procedure is slightly different. Instead of } referring to, and altering the basic major scale, we construct « t '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 seale-wise approaches into chord notes of the augmented seventh chord, 4 88 Bea Be 2 ar? *a 1 a 4a aa g@iaca? f. 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. 15 GAS 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. When a minor seventh (b5) structure is indicated, use the chord scale of the dominant seventh chord found four half- steps below. varalion (ldbctee ae) Em7 (b5) > use C7 chord scale —> ¥5t Fah? seal | Bm7 (b5) ~ use G7 chord scale Fin7 (b5) - use Db7 chord scale Note: Typical mistakes in the use of approack notes are shown below: In the following example, although Df would be chromatic to a regular chord note of the C chord (E}, in this case it cannot be considered to be a chromatic approach note since it ig leaping into a chord note rather than approaching it chromatically. Powe 5atlases nas hhh Nn msc tact hp tltaaiRheuiihs alin Sneatinih laut, 2 Ex. 15 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, i.e., Eb is not an adjacent chord note. Mas Ms . . WRONG In example 17, F# would not be correct since it is neither a chromatic approach note nor is, it present asa scale tone in the C scale, BEER 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 ia the section of the course dealing with chord progression, LABS ED B. IMPROVISATION The ability to "ad.lib", ive., to improvise around a given melody, or to create an original melodic improvisation on a chord progression is as essential to the arranger 2s it is to the instrumentalist. 1. CREATING AN ORIGINAL IMPROVISATION ON A CHORD PROGRESSION, Page 6fyiiace See) . a. CHORD NoTEs |! As stated earligr in thié lesson, chord notes may be freely used in creating original melodies. Ex Chromatic approach notes may precede any regular chord note pro- - vided that they resolve directly to that chord note. : aes at She Cone ' ¢. SCALEWISE APPROACH NOTES Cvs tM SU res pede Ue batere ). Non-chord notes which are present in the related chord scale may be used, provided that they resolve directly into an adjacent chord note and are of short duration. 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’ "ALL APPROACH NOTES MUST BE OF SHORT DURATION. Quarter notes which occur on the first or third beat should not aor be harmonized S appreach notes. i Page 7be a Dm? GF a c jj To be certain that the foregoing is perfectly clear, an original melody composed exclusively of those materials coveredin this lesson. here, once again, is ~ ASSIGNMENT Write out chord scales on each of the following notes as shown in Ex. No. 23. C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, Bmy — 3 a . ON wee eas eI In the event that you do have access to a piano, it is definitely advisable to spend some time playing and lis the chord scales discuseed in this lesson. The most effective way is to sustain the closed chord in the Jeft hand while playing tue altered scale in the right. Remember that speed is not essential, but attentive listening (Play all chord scates notated in Problem No. 1) Page?Ab em, one . te 3, Using only chord notes, chromatic approach notes and scalewise approach notes, compose originalimprovieations | based on each of the “following chord progresoiona: he Am? oO” rol SS | ip geet a Arm oF Sf [SSeS SS i} Fon? 7 ee eo eee eee Ft fom? 62 < 267 “e 4S 2Qm? Qn? C eee { 'Y SS Saas FAGLS a er Qa? G7 Ems) AT Im? G7 [ | PSS tS ASS Pai Fbin? bz(2) vesing each ofthe fttowing chord progressions aa «gue, sep four stave score as illustrated in Example No. 24. original melody using chord notes and chromatic and scalewise approach notes | SS harmonic, | continuity root tone of chord sf AH Am 05) Ae? Page 1| chee 27 Gm? __C? Fm? 6e7 £6 Se SS eee fous? F_ é a7 Gm? CF i Pa PSS = P—p—P NA ETANA NE YY og 5, Write a four-part harmonization of each of the following melodies: = Ne =P SE s =e = Gm? cr Antes) OT Gm? C7 F =SS37 = Page 12each of the following melodies: ' ee rapiee! at H Page 3LESSON NO. 6 A. IMPROVISATION (cont. ) - In Lesson #5 we covered some of the melodic elements to be considered Inimprovising. We continue now with some metodic figurations that may be effectively used. 1. DELAYED RESOLUTION ra JusTeeny vard “Ee cass Eau ne er tM (et runtuet ™ % case® we In this type of figuration, the chord note 4s approached yess from both above ana below before resolution occur s+ the the following forme: 7 unit mM delayed resolution may take either of pe ode pent wee ei” a, approach oo eee note age Ke chord 7 eee cu note ae" ) approach hehant ere note chord note approach oo” note * tions. e some typical examples of delayed resolu Following ar 2.505 ex * J a LE CHROMA PROAC sens ! ( 2. DOUBLE CHROMATIC APPROACH PJeMS Jeupanse Theor _ ey ¥ ~ ag indicated by the title, this melodic figuration cop ets of two chromati Bir _onotes moving in the same direction into the chord £9 ‘The double chromatic following farms: approach almost always assumes ane of the Ti) Sy 7) v 2 ‘ Fae Sos bycrun F De 6epaut vos peter ob Sh yim hy whe oo Paget |a ada nenonennnntinin anata ‘a eo 1 chrom - chrom b3 b3 chrom © = chrom 1 3.chrom - chrom 5 S chrom - chrom 3 pons ae Ge De! eget Beporegere Following i 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: Chord Notes... Chromatic Approa Scalewise Approa Delayed Resolution... Double Chromatic Approach ariations that could be developed sing is another melody based on thelee! ee 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 dy the instrumentslist or arranger. He has, however, the additional problem of writing a melodic variation (improvisation) on an already established melody. In improvising on a given tune, it is normally advisable that the original . Zlody be recognizable. “The type of band or combo for which you happen Yo be playing oF WFiting should be 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 Aporoach Notes, Delayed Resolutions, Double Chromatic Approaches) may be applied to a given melody. Of course, in order that the original melody remain recognizable, notes of the original melody should be retained, especially those notes which are important in feeling or duration. Notice in the following éxamples that the characteristics of the original melody (a), have been kept in each of the improvizations (b). In addition to the coding described previously, notes of the original melody will now be indicated by "M". Note: Quarter notes which occur on the first or third beat should not normaily be harmonized as approaceer =o = == 1 Bae == Hist WSFC, RHYTHM (cont.) - Any rhythmic pattern may assume a number of different forms and feclings depending upon tts relative location in the bar. To illustrate, the simple rhythm "4 plus 4" might be used in any of the following way: (NOTE: One equals eighth note.) To develop an understanding and awareness of the various forms which may be ovolved from any rhythm pattern, we use the technique of “phythmic displacement", 14194 HOMEY apr RT OME R 1, RHYTHMIC DISPLACEMENT 2, Displacement by 1/8 In the following example, the pre-selected rhythmic pattern will be repeated eight times, but before cach 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. a4 1:412 2 3 ee 1 235 TSE b. Displacement by 3/8 The technique of rhythmic displacement remains the same except that a rest of 3/8 beats {a inserted before repeating the rhythm pattern. rests, be sure to use the same (NOTE: In working with shat you would in working with notes.) type of bar-subdivision # Ex MM original rhythm "2, 1, 1, 1, 3" 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." /- - « - ‘The value of rhythmic exercises of this sort can not be stressed too strongly. Completion of the assigned problems will familiarize you ~ with the type of rhythin 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, . - oo E. _ b. Eighth note triplets may begin on the first, second, third or fourth beats of the bar only. am 3, NOTATION OF DOUPLE-TIME RH . Double-tim: (Gve!, the feeling of eight pileations to the ~ - bar in 4/4 time) rhythms may be notated properly by observing the following: . -_ - a. Consider four sub-divisions to the bar instead of the customary two. Pore 7posta eaten duai acne — 7 BEAT 1 BAP 7 ae8r / Gear 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 SPSS Becomes Following are several examples of rhythmic phrases (a) as they appear in 4/4 time; aud (o) as they would be notated if a "double- time" feeling were desired. Be 7 original rhj be " peat Gees fe Ape Page 8- original rhythm i r oP ES i ta Vise 5] > z — | . double-time notation 4 NOTE: Double-time is used exclusively in slow and mediuin-slow tempos. ~ Page?ASSIGNMENT 1. Given are some chord progressions. (Ex. 19) (a) Write harmonic continuities based on these progressions. (b) Improvise original melodies on the chord progressions. Remember + that there must be an explanation for each and every note used. (See Ex. 3 and 4). (c) Code, each note similar to Examples 3 and 4. Bx 18 . c cr F Fm Given chord a a Fae Improvised melody Harmonic continuityneonatal Si ERC ae ani A OR aCe Re! aed Go ae } co _ fint __2 _, i" Qe ¢ bn ee Ce Abe Am? ar GS G7 ‘REE SS eee G bi ger Am? DF oe fe? SG [SSS SSF SS] ee ee Page 12Given are some original melodies with chord symbols, (Ex. 21) {a) Write harmonic continuities in open position based on the chord pro- gressions. (b) Write an improvised variation of each of these melodies. (IMPORTANT: P ~-ORIGINAL MELODY MUST BE RECOGNIZABLE). (c) Code each note as in Example Sb, Ex. 20 Given chord progression » ¢ c - Fm c Given original melody [y Improvised melody Harmonic éontinuity Page 13 SSS S A“ig ea glee Ss aa = =a patter ERS Be lI on? GF Em ie a = EE isd [SEE = 1 Sm? E4nt — Drm? 07 “ =] = =2 Ses = a Bint £7 Cm%es) FT ua SS | Bom? E47 ab 3. Displace each of the following rhythmic patterns by 1/8, Continue until the pattern returns to ity original form.4 Displace each of the following rhythmic patterns by 3/8. Continue until the pattern returns to its original form. Bx. 23 a 8 2 SSS 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.LESSON NO. 7 MODERN BLOCK HARMONIZATION A. MELODIC ANALYSIS Before attempting to harmonize a melodic line in the manner to be discussed, it is important to understand the function of cach note of the melody. We may start by asouming that ever note of a melody must fall into one of the following classifications. (TJCHORD NOTES ..., ive, notes belonging to the ‘chord indicated above the melodic line, Ex, 1 Chord notes NOTE: NON-CHORD, NON-APPROACH NOTES « non-chord notes which do not function as approack notes. Ex, 2 _Noni-chord, non-approach notes Since one of the conditions relating to approach notes stipulates that they must be of short duration, we may 2 cally fall into this classification. se heens CEN pee et sume that any non- chord note more than one quarter beat in duration weuld automati-ia SS a =] - Mine wt ohne Seay ob dncgutce 3. SCALE-WISE. APPROACH NOTES .... (Ref. Lesson No. 5) Ex. 4 Scale-wise approach notes = 5 or meg (Me mee [Pp memer gy y i nel | Very spews Byelanpe 4, CHROMATIC APPROACH NOTES ,., (Ref. Lesson No, 5) Ex, 5 Chromatic approach notes 2 EER Py same Fo Fm c -doe ea pie = ae NOTE: In addition to the regular chromatic approaches discussed in Lesson No. 5, note§that are classified as non-chord, noa- approach may also be’ approached chromatically. Ex. 6 ~ cz, In the following example, each note of the given melody has been appropriately code CHORD NOTES NON-CHORD, NON-APPROACH NOTES, | SCALEWISE APPROACH NOTE CHROMATIC APPROACH NOTES s+... . J ae - —__ Page 2 i = = a a an EwNOTE: In certain instances more than one possibility for analysis existe. 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 complete the block harmonization of the assigned melodies, it is advisable that you play each of the possible harmonizations wherever a choice exists so that you may select the one that sounds best to you. -MQDERN.BLOCK HARMONIZATION —_ Once each note of the melodic line has been properly analyzed, the actual harmonization becomes a relatively simple procedure. " Kazmonize chord notes with” ord. (ae iy four-part harmonication: Ref, Leasba Now 4) -_CHORD NOTES. bree ok foo Tout Ex. 8 nod ~ lose, -: SVE aa ada 1 { - non-chord, non-approach notes with chord, omitting the : nearest chord aote just below the lead. be 9 Snes Se fa Pd.ee ee- Following is 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 ps (( REMINDTA: Quarter notes which ocets on the first or third beat should not normally be harmonized as approach notes...t 1s Jmportant that the \ nen the attack lasts for a chord sound be heard on these strong be: “full beat or more. Just to be certsin thatthe foregoing ie perfectly cicar, here te'another Page 5Ex, 15 Melodie asialyais Diet Bho Am. DT 4 G $ ET 1a aa LSS a a ' e tellw et tststet t 1 =a ae uuuneuvenn = BEBE @ wwASSIGNMENT 1, Analyze and code each of the following melodies. (See Example No. 7) (a) _c - ne " Ne id pai s 3° Ft BSSee cE Fens a * Ve \ \ towed Vergy weet | so F Abe Gm? ft svtte)_ DT ‘pinion Sinise tats aaeae SSE Sn ase =r Page 7m7 FT FPP Se Boag? Ebm7 Abaug 7 Db — == =|. Sa) 2, Ina similar manner, analyze and code any three standard, tunes of your choice. 3. Write a modern block harmonization of each of the melodies given in Problem No. 1. 4, Write a modern block harmonization of each of the standard tunes analyzed in Problem No. 2. Page 8 1 20 PPP PT www owe Oe ee KHil Aad a1ay1ata1s = LESSON NO. 8 A. RHYTHMIC ANTICIPATION In Lesson No. 4 we discussed those factors whicn tend to produce a feeling of swing and alse the methods of notating these swing rhythms correctly. Im this lesson we cover "rhythmic anticipation", a technique whereby we may take any simple tune and alter it rhythmically so that it "swings". The rule for using rhythmic anticipation is as follows: NOTES ON THE BEAT MAY BE ANTICIPATED BY ATTACKING THEM AN EIGHTH BEAT SOONER THAN THEY ORIGINALLY OCCUR. In each case, the vighth beat duration is taken from the value of the preceding note. (a) original melody 87 (b) with rhythmic anticipation {anticipation is indicated by>) NOTE: Although in the preczding exampie, rhythmic anticipation has been used wherever possible; 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 . aenett (b) Improvised meledy using rhythmic anticipation 5. 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 an ticipate the harmony as well as the melody. J | BEUWEHEDeee oe ea ee Ex, 3 {a) Incorrect } Correct Dom? Gm7 K C7 x F : Gm7 cr & Ex. 4 (a) Melody using rhythmic anticipation Gm? 7 (2) Block harmonization Gm? oe. Notice in the preveding examples that the chord aymbols = | appear over the first or third beats of the bar even though the ‘ melody and the biock harmony have been anticipated. HARMONIZATION OF THE DOUBLE-CHROMATIC APPROACH (See Lesson 6.) . 4 | Harmonize each of the chromatic approaches so that all voice: L id move chromaticaily into the following chore, phromatic approach —> chord) (a> yd, aoe > (a) Ex. 5 () . . . 3. HARMONIZATION OF THE DELAYED RESOLVE (Sce Lesson 6) Harmonize each approach note of the delayed resolve as though the other approach did not exist. > - APPROACH APPROACH CHORD NOTE, ee Ex. 6 c aed . So. . 6 cont'd next page) Page 3 Besee , . acintaete nace ai aia ea La tbat ante eee na nat (a - cont'd) 4. ALTERATION OF TUE DOMINANT SEVENTH CHORD ‘The following principles relating tv the dominant seventh chord may be effectively used in modern block harmonization, In any dominant sever bstituted ior ney except When "one" is the melody nol - C= at at Ts ; i ’ a) Jvy Where a dominant seventh chord immediately precedes bg ne tonic (l.e., V7 to 1), the ninth may be low red one _wvalf stop in the dominant seventh chord. 2. With “one!' ih thé lead of the V7 chord, the following aA alternate voicing may be used: : -. d - aL “He 3 Foiiowving is a reference chart showing the V7 to I cadence in every key. A detailed discussion of harmonic progression in- VAT ITAWAAW TC => eluding all forms of cadence will be presented later in the _ course. 7 "V7 to I" CADENCE CHART - PRS Toe wo I . Following is an example of modern block harmonization which contains all of the new principles described in this lesson as well as those covered in Lesson No. 7. V77 Ex. 9 (a)_given melody TI SPPNOTE: it is important that you siudy these examples closely, being certain that you understand each very step in the harmonization procedure. mber that your ative success or failure depends upon your understanding of these examples. . HARMONIZATION (* IMPROVISED MELODIES AAL of the techniques described in Lessons No. 7 and No, 8 apply not only 8 larmonizatizr of given standacd or popular tunes, but to the harmon- szation of improvised melodies as well, Here i ‘ample showing the smudern block harmonization of an improvised melody, All techniques e:a- ployed in creating the improvization have been dicussed in Lessons 5 and 6, i Ex, 10 4 jim y (a) given melody . FAR Ont Gm? cry F Gn? 87 | fd (Ex. 10 - cont'd next page) Page 6=: (Ex. 10 - cont'd) (b) improvisation of given melody and analysis of same. = Gm? C7 Gm? 4 (c) modern block harmonisation of improvised melody é Dm? GL bE ee | 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. trations are uousily a combination of moder Cc blockhasmonisation, and staple four~part - havmontation as Joberibed ip Lesson Nov 4. Page 7 3yt ) i ||| D. OPEN VOICING OF MODERN BLOCK HARMONIZATION | i : i Open position, as explained in Lessun No, 3, may be effectively used in |} modern Block harmonization. The technique remains the same, ives, OPEN POSITION MAY BE PRODUCED BY i DROPPING THE SECOND VOICE (FROM i THE TOP) DOWN ONE OCTAVE, ~ Here is an illustration of modern block harmonization in open position. Ex. 1 (a) given melody C7 Lt-aR~ ce 1 met tl we ae 1 oc I nenene. (b) block harmonization - closed position Paye 8 ee eee ee eeLESSON NO. 9 A, TENSIONS In this lesson we begin our discussion of "tensions", ives, highs degree chordal functions. These high-degree chordal functions - are treated, for our purposes, just the same as chord notes, and have the same properties as those regular low-degree chord notes already discussed. - Jk is also interesting to note, at this time, that all of the so~ - called "non-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. | Following is a listing of practical tensions. In each case the i= related low-degree chord note has been indicated. ' J Ex.1 MAJOR: tensions are 739 my whole ] ie Ex. MINOR: tensions are 73 9 whole step. tensions are 9 5 whole step 9 ———tt — ASSIGNMENT r iL Write a modern block harmonization to each of the following melodies be sure to treat all rhythmic anticipations as illustrated in Example #3- Zens 7, Om? Clem Aare ES GES =F wala ow. 2797 Gm7 Gm c AmiUts) D? Bir Ae SAT z a pe Gm? ce oy mo (c) Be z ara oe = sacs ‘ wee a aaa! == aes sy Oe ak i me § Cc ~~ Cae Che a Page J,improvised variationof each of the following melodies. Use "rhythmic 2, Using the techniques described in Legsens No. 5 and No. 6, write an . Ri anficipation" to produce a swing feeling in each of the improvizations. L Aral eam BmV£? . =} " ; a ppm Ff? ae 8 Cn? FF Qmittts) G7 x SESS Sawa aS] a , TT Gm? Cm? FF B ee aS pS I <) , Gm7 C7 F Am? == S ES SaaS a =e E we Abn? be o 4m? OF Se Sa s _ 27 a7 ri que Page 10 (we3. Complete a modern block harmonization of each of the improvised melodies created in Problem No. Z\'2 4 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.) Viaed + . par b. Complete a modern block harmonization of the : improvised melody. jue i) Once again, using any given tune as a starting point complete the following problem: Write an improvised variation of the original J tod. melody. Improvise as little or as much as you please, but in any event, the original melody ifs must be identifiable, if if M b, Complete a modern block harmonization of the improvised miclody in open position,NOTE: The scale eleventh (located one-half step above the third) is also quite commonly used with the Dominant Tth chord, There are specific instances where this scale eleventh is mors effective than the raised eleventh and vice-versa. For the time being, experi- mont with both, and let your taste govern your choice, DOMINANT 7th: scale 11 Bx 5 : ' MINOR 7th: tensions are 9 ; scale 11 ? whole whole a _ om step bya 2teP 2 —— ee — = - 43 5 87 9 3 4 [ L [a AUGMENTED 7th: tensions are 9 5 raised 11 . whole whole ee - ex 7 tensions are one whole step above every low degree chord note DIMINISHED 7 Cage? whole whole whole ‘hole step ‘Step “ep oe StF SS S=S ———————— > Se o ~ - é - st mt 1 (At this point it would be advisable to complete Problem No. 1 of the lesson assignment.) Page 2 wat tt i wt = we eer r As previously rntesy we can now specifically identify tha" sites which formerly had! been classified simply ag "non-chord, non-approach"- r In the analysis of the following melody, ths general classification has been eliminated, and each of t-e tensions . pecifically named. Notice that this does not in any way acfect the identification of those notes, of r the melody which could be treated as approach notes, - - chord notes sesseerereeters es tensions «++ e Be . > scalewise approach notes «45+ s Ze r chromatic approach notes s+ tes © . - ~ B. BLOCK HARMONIZATION OF TENSIONS ' Those notes which we now call tensions are still “ed the same as they were when classified - m = non-chord, non-approachy-i.e.y omit the related low degree chord note just below the lead. = - _ | swing table may be used in checking the ation of any tension. Ce raise i 9 19 - am : Lice : 5 6 | AT = 3 5 5 . - z 3 2 a wane 29 buck ~ Page 3(ex. 9 contta) Dorm. 7th: 9 11 13 Aug, 7th: 9 lL Min. Tthi 9 11 punted (AQ) 8) one OY 13) vay b7 9* 3 b7 9 b7 1 5 DT oe #5 bT 5 bT 3.5 DT 3 #5 b3 5 * *9 for 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: Sua hea MINOR 7th: oY =) AUG, Tth: © DIM. Tth: i 1 au Be Hee THI eR eR BR BET Be DTDT SET Sa 2.Here is a modern block harmonization of the given melody | TZ) analyzed in Ex. 8. - Gm? 7 Amis) po? “| = « " B qf is Picea = = = Ff) Cy TENSION-RESOLVE :{HI-LO} Although they do not always do so, there is a strong tendency for every tension to resglve to the related low degree chord = $ note found one whole step below. Technically this ts knows as “tension-resolve", or more simply Mhi-lo", (i.e. "him ~ degiee resolving to "lo" degree.) * = Following is an illustration showing all of the poss for hi-lo with each of the basic chord structures. - Bete Be - = MAJOR: 7 to 6; 9 tot MINOR: 7 to 6 ; 9 to 1 - Cat SI! /attache tues DOMINANT 7th: 9 to 1.3 11 (scale or raised) to-3 5 13 to 5 Ex. 15 Ex. 16 + ° = MINOR 7th; AUGMENTED 7th; 9 to 1 y scale ll to 3 9 to 1; raised 11 to 3 Crus? _— fos 9 4 #4 3 - Bx. 17 DIMINISHED 7th: one whole step above any chord note resolving down to the related low degree chord note, e 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. Ex. D: Cc __ Gm? c7 ee aes ==SH ~ 29-7 7-6 4-88 18-5 9-1 7-6 #U-Z B-F =H Page 6 a a i " a " " 7 ' i i ' ID, HARMONIZATION OF HI-LC Since the harmonization of both the tensior and 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. _ - - 7-6 g-1 eB 6 - 2 3 5 1 3 7-6 9-1 - - ~ 5° 6 . b3 5 - 1 b3 2.DOM. 7th: 9-1 1-3) B- 5 _ . - b7 a9 cee 3 5 bT 9 = . 3 5 b7 - MIN, 7th: 9-1 ll - b3 ° v7 1 a - 5 bt” — 3 5 Page 7AUG, ith: 9 DIM, 7th: 9 bbT bs b3 #ll - 3 9 b7 as WP es pig \ bs vs ete. 6 tS To be certain that the foregoing is perfectly clear, here is Ex. 20 in musical notation. “U-s #U- 3 Page 8a | 2 os oe ee ee ra ;t Utilizing the foregoing principles, the harmonization of Ex. 18 would appear as follows: ex. 22 mn? 7 er Ts B-s $-1 7-6 M3 B-5 5 EES ae on? ‘An alternate technique used in the harmonization of tension-resolve is as follows: 2 ‘Two simultaneous hi-lo's may be used, provided that _ they are separated by the interval of a third. ‘This "double hi-lo'' would appear as follows: ‘The following tilustration would be incorrect, since the hislofs are not separated by the interval of a third. Incorrect Page 9[eee ener a ee asian SA Nt Ex. 25 Harmonization of tension-resolve using "double hi-lo". (Only practical cases) MAJOR: 9-1 o MINOR: DOM. 7th: 1-3 13 = 5 MIN, 7th: AL = b3 Ex, 25 in musical notation would have the following appearance: Ex. 26 MINOR, esa DOMINANT 7th MINOR 7th 7 7 c shia s G Page 10: _ oy i r Po: aumento vr. ae = == | r yr par Pee pap es 4 r OE = 5 md Cr ae . gh mn? 087 < : C == ae a= | Cig -f = 1 pct ve | 0 ESS LO : Po a reor 1 r i Notate tensions of the six bas: starting on each of the following notes, similar to Example #1 through #7. Bb, Eb, Ab, Db» Gb, (Fis B,E,A,D,G -staiting of each of the above notess notate the eeple showing harmonization of tensions+—— (See Examples 9 and 10) No. 3. Compose original melodies 09 each of the following chord progressions using "hi-loM patterns only- (See Example 18) No. 4. Again, using the Hist of root Fone’ from Problem No. 1, notate the table showing parmonization of Whi-lo". {See Examples 20 and 21) No. 5. Ina similar manner, notate the table shiv™ns harmonization of tension-resolve using "double hiclo". (See Examples 25 and 26) Page 12No. 6. No. 7. Problem No. 4.% Use "double hi-lo" only where Harmonize each of the melodies composed for | desired. (See Examples 22 and 27) Analyze each of the following melodies, using the indicated coding. Remember that those notes ~ | that appear to be approach notes are still classified as approach notes. All principles of melodic . analysis remain the same, except that those | functions which were formerly indicated as non- chord, non-approach will now be named as tensions. ~ chord notes (low degree) vevesseeseerers | co | tensions by name hi-lo aeeeeee by name | scalewise approach notes «++ 8 , chromatic approach notes ssseeseeee © ! double chromatic approach . 2 dees : delayed resolve seeeee No, & Complete a modern block harmonization of each of the given melod: (See Ex, 28) Page 14oe? LC 57 c gas aS Sass ‘| ) ESS =a c Bs j Fs spate hig | L L Peal = Saran I C, igi atemniine ‘| Gm? Gm? soo | 2 ot Page 15 _PROGRESSIONS FOR PROBLEM NO, 3 pas PPA? ee y= IEEE 7 c er. Oo dm? @? —S22 24 AAS 8Sn7 or ae pez is GPP A | PLDT IP Ses] 2 Cm? -? Fen? (a =e | _ ae Gm? Fue? Be eer eZ FFL SS SS cbr Dp? Gm? Go? [z= ioe PPP is ee || Page 16LESSON NO. 10 A. VARIATIONS OF HI-LO : In addition to the basic tension-resolve pattern which was discussed in at may be effect- Leeson No. 9, there are several variations of hi-lo th: ively used. 1, LO-HI-LO Following is a listing of all of the possible forms of Lo-Hi-Lo on each of the six basic chord structures. Ex. 2 MAJOR: 6-7-6: 1-9-1 MINO! 6-7-6: 1-9-1 DOM. 7th: 1-9-1: 3-11-32 5-13-5 MIN. 7th: L-9-1: b3- 11-b3 3-#l- 3 . AUG, 7th: 1 - DIM. 7th: chord note - Whole step above - chord note Example No. 2 in musical notation would appear as follows: L MAJOR: MINOR: PagetDOM. ‘th: (- 9-60 BU -B F-138-F Cop? MIN, Teh: Cx? AUG. Teh: B faa Meesy 7-9-7 43- Ws /-9-/ at —-3 set | Ls i lo-~Hi-lo — Lo-Hi-lo — le-Hi-lo Lo -Hi-k procd ba UH bs ps ~ bid PS 2. HI-CHROMATIC-LO Q- ch-/ f3-h-F5 Following is an illustration showing all of the various possibilities for Hi-ch-Lo. Ex. § MAJOR: 7-ch-6: 9-ch-1 MINOR: 7-ch-6: 9-ch-21 DOM. 7th: 9 - ch - 1 fll - ch - 3: 13 - ch - 5 MIN. 7th: 9 - ch - 1:11 - ch ~ b3 AUG..7th; 9 - ch - 1:f1l = ch = 3 DIM, 7th: Hi - ch - Lo Note: Hi-ch-Lo is not possible when moving from scale eleven to three on the Dom. 7th chord. 2 C—Oveer DOM: “th: tele -ch-/ tnd 3 B-chS ooo ~ AUG, Tthr DIM, 7th: ar Be Pape 7. 9- ch-/ #Y~ ch-3 Hi-ch-lo — Hé~ch-Lo Wewnb WS wats 3, LO-HI-SHROMATIC-LO ee 5 6 A7-ch~61 of the possible u The following chart includes 5 of Lo-Hi-ch-Lo. Ex. 8 MAJOR: | 6 - 7 - ch - 6% 1-9 -ch-1 MINOR: 6-7-ch-6: 1-9-ch-1 DOM. 7th: 1 - 9 - ch - 1: 3-#l-ch-3: 5-13-ch-5 MIN, 7th: 1-9 + ch - 1:b3 = IY - ch = BS AUG. th: 1-9 - ch - 23 3- ML = ch - 3 DIM. 7th: Le - Hi - ch - Lo ollows in musical The preceding chart of Lo-Hi-ch-Lo would appear as f notation. MINOR: ON Sas Load En MAJOR: Se lo-Ai-ch-Lo 6 ee ea Page 4Fa {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. . . - —- — ina A - 7- ch- 7-6 9-chb-/ 7-6 a On? OS c a ya | 7-9-ch-7 9-1 (S-ch-F UH 83 B-B-F 7 ~ ch-S B. HARMONIZATION OF VARIATIONS OF HI-LO 1, LO-HI-LO may be harmonized either of two ways, a. sustain three lower voices whils lead :woves: co) tot c . a7 bet p= b. sustain two lower voices while two upper voices move in thirds: “ {possible only where double Hi-Lo may be used; see Lesson 9) Be 12 Page 5 Paar aa2, HI-CHROMATIC-LO may ba harmonized as follows: A, guatain throa lower voices whilu lead maven: wy te a7 Ex. 13 b, ‘sustain two lower voices while two upper voices move in thirds; (possible only where double Hi-Lo may be used) @ o See etre > Be ” ¢, 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 6b. sustain two lower voices while two upper vaices move in thirds: _- (only where double Hi-Lo could apply) Using the preceding principles, the harmonization of Example 10 might appear 2s follows: pe VU » res (See rials as-LLTERED TENSIONS "i Tu addition to the regular high degree chord notes already discussed, cer~ ~ fain “altered tensions” may be used in specific cases. They all occur with the Dominant 7th chord and are: bis ‘The harmonization of these altered tensions would appear as follows: . 9 b9 cr L. beth bt, br pba 5 s BEeS 3 3 . | #9 #9 ae b7 oT [AS - yoo j 3 3 ws ws bs [4 3 oe 3 3 5 9 ° bo wed b7 v7 e An effective form of hi-lo using altered tensions is #9 to b9 on the dominant ] Zh chord, The harmonization is as follows: a #9 - b9 #9 - b9 (ee b7 b7 - Ex. 2 3 is 3 3 - D. MELODIC ANALYSIS (Concluded) i ‘This completes our classification of those melodic functions and patterns - that may be effectively used and their respective harmonizations. Following is a complete listing with appropriate coding for melodic analysis. Page 8- © Chord notes. .seseeseeeeeeeeeeees ve Scalewise approach notas.+e.+++ . : - Chromatic approach notes :...... 0.000004 © - Delayed Resolutiong........ Double chromatic approaches, ++ by degree name - . siteeserse by degree name It is important that you have a complete and thorough understanding of each of these melodie possibilities if you are to derive the maximurn benefit from future lessons. Spend whatever time may be necessary in reviewing past lessons should there be any doubt whatsoever in your mind concerning their - derivation or usages ~ Here is an example of a melodic improvisation utilizing the above possibilities.Logically enough, these ‘same possibilities may be employed in the melodic improvisation of a given melody. As in earlier discussions on improvi- sation, try to maintain the basic character of the original melody while using various devices to form an interesting mélodic variation. (a) given melody C Ae Am? 27 oS cry c on | (SSS ee % a7 G 4en7 Am? 27 =e = = {b) melodic improvisation | Page 10HOA 4 aaa 4 <“ASSIGNMENT: Notate all possible forms of Lo-Hi-Lo on each of the six basic chord structures, starting on each of the following notes: (See Ex, 2 and 3) C.F, BI Bb, Ab, Db, (FF), By E,A,D,G Using the above list’of starting notes, notate all fornis of Hi-Chromatic- *{See Ex, 5 and 6) Pebscceseeee ~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) Fo? Gm? GF Page 1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. Completé 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 melodic improvi- ard tune of your choice, being certain that the basic a sation of any stand: . 25) character of the original melody is retained. (See on of the melody Write a modern block harmonization in open po resulting from Problem No. 8. Page 12Ah 4 4 Loa |= c DEFGe Be Fl. ) Gs cee stiolel Sty played on the piano, would sound the same as BERVE Woot ee played on the tenor sax. “In finding the transposed key for the tenor sax, simply think up one whole step, since the addition of the octave would not affect the key relationship in any way. If the concert key were Eb, the proper key for the tenor sax would be F. Following is a melody, first as it might appear in concert and . then transposed for the Bb tenor sax. Eb BARITONE SAX --- transpose up a major sixth plus an octave from the concert note. when played on the piano would on baritone sax. This scale: played on the baritone sax. Pape 3Since the extra octave does not affect the ke: relationships ‘simply figere a major sixth higher when determining the proper transposed key for the baritone sa "We the concert key weze C the baritone sax part would Be w hitten in the key of A (the same as the alto sax). sro iltustrate the foregoing, here is a melodic line, fixst ye pe izoncert key and then transposed for the Eb Bari- tone Sax. NOTE: When transposing for the reed sections remember _ NOTE: viet the individual parts are always written in the thle clef, regardless of their appearance in the concezt score. B. RANGES Naturally, there are certain Limitations as to just How, high and see iow each instrument is capable of playing, | The distance tow hon the lowest note and the highest note is called the range be the instrument. The following illustration shows Mie sets seer gach ingtrument. The first is the "possible" of F: cage, dess the ordinary physical limitations of the instru- FONE ne second is the "practical range,i es» the Fang winich you may assume to be comfortable £07 2y reasonably er to confine your Maequate instrumentalist. Tt is always wi seeming to the practical ranges. The extzeme sandes should writing ty where absolutely necessary of in cases WATE the eeranger is familiar with the individual musicians’ facilities. Remember that the best planned and most musically coaceived weore is of no practical value unless if cen be Cov fortably played and interpreted by the jastrumentalist. (Refer to RANGE CHART on the following page-) Page 4Bb CLAR. Eb ALTO Bb TENOR b BARI. WAAR Ta Page 5c.” VOICINGS ae Although there are several different combinations of reed instruments that can be used in a four-part saxophone section, the most cornmon is: 2. wo ee, I~. Ebalto I 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. mB Pro Sw Yo apply the aforementioned saxophone voicing to this block harmonization, transpose parts for the individual instruments as follows: 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). SSS2. Transpose the second ote (from the top) all the way through for the 2nd Eb alto sax (see Ex. 6). = 5 = aS == i f fase pas i 7 Tae ks 3. Transpose the third note (from the top) all the way through fo: the 3rd Bb tenor sax (see Ex. 6). 9 Concert * = to eT: 4. Transpose the bottom note all the way through for the 4th Bb tenor sax (see Ex. 6). o e Ss Concert pe Bp tattpe ey IV Bb tenor (eS ESS Lt ttt a dt tL! a page 1NOT. In transposing individual part harmonic spelling wherever resulting notation seems more practical. ‘The resulting parts when played by the respective instru- mentalists willproduce the same sound as the original con- cert score, but with that distinctive quality which comes from the particular sax voicing used. Another four-part sax voicing which is quite frequently used is as follows: I Ebalto WU —-Bb tenor I Bb tenor IV Eb baritone The above reed voicing is particularly effective when the four-part harmonization is converted to open position ‘as discussed in Lesson No. 3. As a reminder, here 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 harmony.) Here is an example of a four-part harmonization in open position and the transposed parts written as they would appear using the above voicing. . a - -- mrs= IV Eb Baritone SS ithough the transposed pazte have been written one above the ‘other in the preceding example for the sake of convenience, it would be necessary to transpose the individuai parts on separate sheets of manuscript if they were to be perfo by individual instrumentalists. € ‘Also, be sure to remember that it is essential that the parts be legibly and clearly written. The musicians will be cble to give a better and more concentrated interpretation of the mausic if they are not forced to struggle to understand the =Snotation. - “s ge of expression marks js vital to the arranger in trensmitting his intentions and | EXPRESSION MARKS wo | “Kn taderstanding of the proper ue \ tthe instrumentalist understand and ob- ression marks carefully if the 3, cly performed. also essential t! serve these ¢ musical idezs are to be o: fecti . Following is a reference chart of the most comm: . expression marks and their meaning.symbol symbol £ ff fit mf REFERENCE CHART EXPRESSION MARKS name forte fortissimo fortississimo mezzo forte Piano pianissimo pianississimo mezzo piano accent staccato marcato drop bend gliss. slur fermata + crescendo decrescends trill ritard Da Capo Del Segno Segno Coda Fine yolto subito In expression marks in both indicate you! Page 10 fsture assignments, meaning 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 re and parts to fons as precisely as possible. eee es eee eeon L ASSIGNMENT 1. Write a four-part block harmonization of each of the following melodies. of? Boe DOT GmtlIC SS Using the following voicing! Lo 2. 1 IL” Eb Alto ~= - 4 I~ Bb Tenor eo IV Bb Tenor Transpose the individual parts from the harmonizations in Problem No. 1 for the reed section. “ Write a four - part block harmonization of the following mel- odies in open position.by Deo) Gan? co Foar™ 0769) I m foe ; Lae : Pet ae dep eal) piotd Doe * 4, ‘Transpose thé individual parts from the harmon: Problem No. 3 using the following voicing: 1_ Eb Alto Pan nate IL” Bb Tenor : Ul BbTenor _* IV .Eb Baritone . oot * 5, “Aifrite a four-part block harmonization of any standard tune .of your choice and transpose parts as follows: > I Bb Clarinet : : _ UL Eb Alto Ul Eb Alto IV Bb Tenor Page 12LESSON 12 A. PRINCIPLES OF BACKGROUND WRITING ‘The past several lessons have dealt primarily with various devices re~ ¥ lating to block harmonizati + +,the technique of concerting unde: voices to a moving melodic line in "block" fashion. In this less. background writing, i:e., the techi “harmonic background to a separate melodic line The “importance of a thorough understanding of the following material _cansict be over -emphasized,- sineé the ability to play or write effecti “background lines is €ssential. em wt ¥ The following outline will serve asa guide in ‘compesing a background 3 to a given melody. 1. a. ‘Where melody moves;-eustain beckgroinds where melody sustain ¢, background. given relody Ey P f lprpprp de. xe ts “Eve _- Dm7 Grey) “ec ee ingot ts St ‘odo pppoe oP tree rte - b. As in single harmonic continuity, try to establish ‘. a smooth mglodic connection between chords by “stepwise. sustaining, of moving chromaticall; However, leaps may occur freely while the chord remains, the same.Dm7__G7(b9) ‘_a7(v9y" Se = cwhere melody’and counter line attack at the same time, it is best (for the present) to keep the counter ine at least a third, and not more than an octave from the melody.* Em7(b5)_A7 In the following illustration all points marked coe _ Would be Considered to be bad. Dm7 Gib9) Em7(b5)_- AT i a — 4, Were melody and counter line do not attack tthe 1 ~- ‘same time, they may cross freely. . Dm7___G7(b9})__jee eee oe i re i. tb i 2. AFTER A LINE HAS BEEN COMPOSED IN ACCORDANCE L WITH THE PRECEDING FRINCIPLES, COMPLETE A BLOCK HARMONIZATION OF THIS COUNTER-LINE. top voice of background Dm7_G7(b9) # * harmonized backgroundJ im Here is ancther step-by-step illustration of the construction of a simple background to 2 given melody. SA lex. 6 - given melody op voice of background rmonized < pbackeround a ee a oe Fm? Bb7(b9) ye: SSS(At this point it would be advisable to complete Problem #1 of the lesson assignment.) a UNRESOLVED TENSIONS may often be used effectively in composing the imelodic 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 betwee ‘Here is an example of a background utili top voice.” Str Phi LL ® -jtop voice of| background BaersGm7___C7(b9) "Hilo and variations of hi-lo may also be tsed in background wr ften serve to provide melodic interest where needed. = top: voice of background % Am7_ ei) acstte ~ 7(b9) ea To be certain that all of the foregoing is perfectly clear, here is another example of a background to a given melody employing not only low degree chord notes in th ice, but unresolved tensions and varic:ions of Hi- Jo as well, = Ae ~ : * _top voice of backgroundharmonized = background 7 C7(b9), Fm7 Bb7_E7 a Gm7 ‘As with regular block harmony, a closed background may be converted to open position by dropping the second voice down one octave. Here is ex- ample #8b as it would appear in open position. wwe we ow a a So le oe ae“Am? -D7(b9) GG Poe Ss a ; 2 i parmonized > = - + ____TRANSPOSED not Possible Practical ~ a ge Da ea BE bint o a - - J No definite, possible upper limit may be set for the trumpet oF trombone, the range being dependent solely upon the proficiency a, ‘= of the performer, In any event, it is advisable to adhere to the - given practical range unless you are personally familiar with the capabilities of each member of the brass section. * as c. voIciNG | ~ : - 5 mores : The four-part brass section no¥mally consista as Bes I Bb trumpet | cee I Bb trumpet MI Bb trump. a- o— —-- -I Bb trombone _ : Letus assume that we have prepared a four-p: i in concert sketch f‘appear as follows: * he individual pasts transposed accordin, ig to the above veicing would » 2, I Trombone as Wer ee aot & & Pen Pen BNO Pm -- ar 2 Ee eae ett Leb Ey An alternate combination of instr section would be: I Bb trumpet Ir Bb trumpet I Bb trombone IL Bb trombone ments for a four-part brasshoa Pre oOnmaaA Ex. 6 {concert sketch) IL Bb Trombone Dae = +The five-part brass section would normally consist of: I Bb trumpet iI Bb trumpet Page 5t D. FIVE-PART HARMONY Since our work up to now has dealt exclusively with four-part Mung, it is necessary at this time to discuss some af the techniques relating to five-part harmony if we are to wore with @ five-part brass section. A simple five-part harmonization may be produced b the original melody one octave below the I j y doubling Ex. 8 “a. four-part harmony ‘ b. “five-part harmony (four-pait plus doubled lead) ~: The transposed parts from the preceding example (EX. 8) would appear as follows: Ex. 9 I Bb Trumpet T Rp eT. OS Se ee yee eee ee ~_ —a Bb Trumpet . aN ie 3 aoa I Bb Trombone oN Bb Trombone y pratt 2 A five-part harmony in open position may be achieved by doubling the original melody one octave below the lead AND dropping the second voice down one octave as well.The principles of modern Felation to the sax section may be efiectively applied te the brags section as well. (See examples 4, 6, § snd 10 oc this Jesson.) All of the previously mentioned approach techniques may be employed as well as ail of the principles of impro- vization covered in earlier lessons, NOTE: When scoring a block harmonization for brase (either closed or open), it is best to keep the — - - lead trumpet above Eb concest————p f A brass soli (or background) scored any lower than thie will result in a muddy and cumbersome : sound. ™) \ zep.op tue Baer veto Siey- . Ser. phen writing an improvised version of the original melody for the Brass section, a rhythmic treatment is usually more effective than the smooth, flowing melodic style that is so effective in the vax section. Although it is true that brass may occasionally be written i this lowing sax-like"' style (ust as saxes are occasionally used fo Provide a rhythmic, percussive "brass-like" effect) , it is gene ersily advisable to maintain some rhythmic interest in the brass soli. iven melodyF,_BRASS BACKGROUNDS ly 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. Cup Mute — Wa covert: = a e Brass - sackground , Pe» 2 he a th a ackgro fl PS In the : effective to viously mmE! wea Bbm7 | Eb7 Loo Sa by-Ponaee te =F t id aaa sa1, “Write an improvised version of each of the following mel that it would be effective as the lead of a brass soli. Ine. . the melody line goes too low, transpose to a higher, mor key.— Emi(t5) AagT7 So Sa ) ad 12, score each ofthe improvised melodies in Peobtem No. 1 for a fee govt brass section nce exampice Bb ane Tob), Seate at lees eo of the hasmonseations tn open pooton, 3. Transpose parts from each of the harmonizations in Problem No. 2 for: Bb trumpet Bb trumpet Bb trumpet Bb trombone Bb trombone Baw 4, Using each of the following melodies as a guide, set up concert scores as shown below. a i — st cl adSAX SOLI med swing (a) iar EL Ss SL sS Bb7(b9) Eb Py a Peed —— GUITAR SOLO stow 4 . _ ° F__Gmy Am7_ Ab gs C20 _ (REEF RS iS Sey o ~ — a a 2) Gm? ___c70p Arc 5 . == =} po CLAR UNISON Mod!2 BeguineIt is important that you consider the cha. of the given melodies in de: De of background to use. Also a5 you compose each background, try to imagine the sound” —= - of the given melody as played by the indicated instruments soaeiL : 2 of the brass background. Use five-part harmony ' sed or open, — and feeling of each— ct: Using any standard tune of your choice, score a fiv. Soli in open position. Adapt the original melodic line in any way you choose and , if necessary, transpose the melody to a more | suitable key before scoring the under voices, . Transpose parts from the score written for Problem No. 5 for five brass (three trumpets and two trombones). Using any swing tune of your choice, write a five-part brass background. Picture the original melody being played by a | unison sax section. (Note: Set up the score as described in zoblem No. 4,) Transpose parts from the above score for the regular five part brass section, -PoOPi Pa Pa LESSON NO. 15 A, THE ERASS SECTION (cont.) 1, MUTING REV) SEY pre J 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. b. Cup mute --~ best all around mute in the brass sec- tion --- has soft metallic sound --- effective in both ballads and swing tunes. ~ effec- most ¢. Harmon mute --- has soft, distant quali tive in medium high to high register only common in trumpet section. Brass hat --- unlike cther mutes, does not come into direct contact with the beil of the horn softens and mellows the sound almost to a French .Horn timbre --- same effect often produced by blowing "in stand closed" etfect --- (listen to Glenn Miller records - mn of plunger work in the brass section) --- similar effect raay be produced by using Brass hat or cupping hand over bell --- indicated as follows: Ex. 1 + ° + t+ re + = closed “ © = open NOTE: Avoid the use of mutes that are inserted directly inte the bell (cup, straight, harmen, etc,} when writing in the ster low or mediurIN OFEN POSITION Whenever you wish to achieve 4 tz: brass or sax soli, the following principle may be appl sez and more modern’ sound in the "WHEREVER POSSIBLE, HI MAY BE SUBSTITUTE! 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: * . Major: 3 5 5 Minor: 5 Minor 7th: 5 b7 — 79~°9 9 9 #u 5 6 7 é a 1 3 3 b3 bs 5 Dominant 7th: lor9 5 b7 b9 or #9 b13 — F t 13° 9(b9) 11 B13 bo i 3 b7 9 3 b7 i t b7 30 5 AT 3 The preceding in musical notation would appear as follows:Minor 7th: ive. when the lead voice lies between! a concert. These voicings are generally most effect: NOTE: The preceding voicings should be-used enly where the lead voice goes no lower than With voicing marked *, the lead voice may be as low as concert. of a four-part sax soli in open position ngions: Here is-an example jllustrating the usage of inner voice te Ex. ning jerstand that these ovén voicings conta eve good taste dictates. Do not he possibilitiy to use It is important that you und ‘ensions should be used only wh: ofce tensions every time ¢! e sounds and tr: 1 be most efiective. inner voice t fecl that you must use inner v exists. Rathes, familiarize yourself with the them where you feel that their tense quality wil | the given meledy has been scored for @ five ¢ lead) in open position. Voic been used where desired, Jn the following exer part brass sol! (four- employing inner voice tensions have ReNOTE: Five-part brass soli in open position (2nd dropped) is most effective when the lead voice is between: | “be Uf) (& oe concert, fi C. THE FIVE-PART SAX SECTION The mest commonly used instrumentation in the five-part sax section is: I Eb Alto Ne I Eb Alto Il Bb Tenor Buy. 4 IV) Bb Tenor 5 é V -Eb Baritone Either four-part, doubled lead in closed position; or four-part, doubled lead with second voice dropped, may be used with the above combination, Following is an example of a five-part sax soli in open position. (Second voice dropped 8vb.) Ex. 5 FT, ae BbMaj7= | yoy p1t4 4 ma mam I Another pop I tr OI Iv Vv This pi fe concert. a in Ik is also interesting to note that this particular sound is commonly associated with the Glenn Miller band ay well as those bands which have adopted the basic Miller style; Ralph Flanagan, Tex Bencke, etc. Following is an example of a five-part sax soli instrumentation. voicing for the five-part reed section Bb Clarinet Eb Alto Eb Alto Bb Tenor Bb Tenor xticular voicing is most effective in closed position and in a fairly high register, with the lead clarinet written no lower than is as follows: hoo ans eqeernen (mesoten cored for the aboveSem mamasASSIGNMENT 1, Notate the chart of open voicings utilizing inner voice tension in all keys. (See Ex.2) 2, Score each of the following melodies for a four-part sax section (A, T, T, B). In each case use open position and utilize voicings containing inner voice tensions where desired. (See Ex. 3). c7 F £2G7(b9) == ae eee = (d) Fr Fee — pie Ts — . ~ Ene SI > em? _ 6Cctnpose a melodic improvisation based on each melodies so thet it would be suitable ae the lead of Where necessary, transpose to brase solis is to b brass soli her key since each of the scored in open position. Bm7(b5)__E7 Ti = 4. Score each of the improvised melodies from Problern No. 3 for five-part brass solis in open position. Again, apply the principles cf inner voice tensions as described in thie lesson. oe 5. Using melodies (a) and (b) from Pr. concert score as indicated below: blem No, 2, set up a om trumpet solo (given melody) five-part sax background (closed or ope: AVA, T,T,B rot6. Using melodies (c) and (d) from Problem No. 2, set up a concert score as shown below: five-part brass background (closed or open) (muted if desired) sax unison (given melody) ‘Transpose any standard tune of your choice to a higher key so that the melodic line will be suitable as the lead voice of a five-part clarinet lead reed section. Feel free to alter the original melodic line in any way you see fit. 8. Score the transposed melody from Problem No. 7 in closed position for: I Bb Clarinet iH Eb Alto I Eb Alto Ivy Bb Tenor Vv Bb Tenor Page 8L ESSON NO. 16 At this point in the course we come to ene of the most essential and least understood subjects in modern music ----Modern Chord Progression. In the course of the next few lessons you should achieve an excellent under- standing of those principles which control present day harmonic progres- sion. 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. 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 Major: Ex. 1 Diatonic (i.e. , using scale tones only) seventh chords built on the scale degrees will assume the following structures: & = —- $ = —— ————— ue) lim? «IVMaj? V7‘ Vim? vitm(os) Non-diatonic chords may be indicated in a similar manne Ex, 3 Key of © major: bVI Maj bil m7 #Whe. a Dor nant seventh structure is used as 2 V7 chord (es moves to another chord a filth below), we will name ane Vi in relation to its forward tendency. For examplS, CT ta F in the key of C.would not b= analyzed as Hom? to iv Hdom7 to IV, but rather, as V7 of LY to LV. The symbol —™ will be used to indicate the hak resolution of any V7 chord, ie., V7 Of IV = IV. ] Some additional examples of this point follow: Ex. 4 Key of C Major: d —— B7 to Em V7 of I to” Wm 7 —~. D7 to G7 Vi of V¥ to v7 ——~ J AT to Dm7 V7 of I to m7 “ ete. Following is an example of a simpie chord progression outlined in the manner described and its appearence when related to a I given key. : ' Ex. 5 It —™ vet Lowow WV Wm 1 wr 4 ] Sy = Key of Cr] Cam? Cc ct |F rm fc ab? fo F Key of Ebi] Eb Cm7 Eb gb? | Ab Abm [Eb co7 | Eby f Key of A:| A Fin? [Bm7 ev [a az |p vm Ja F7 Ja = tL a en ee ey mal setae neni B. V7. (Dominant CadenceEx. 6 —s cow Py - = - — : Key of Cr © Gi | c Key of Ab: Eb7 | Ab ANY V7 MAY BE PRECEDED BY THE V7 OF V. (Extension of the - dominant cadence. ) “Again, this usually (but not always) occurs over the bar line. Ex. 7 —~ . avtely [wp a KeyofC; v7 «| G77 . c coos cet = oe cae . KeyofAb: Bb? “[ Eby | “Ab This same principle may be further extended as follows: —T* ar 77 pz Ver Te : — Key of bE et Pra Bur 3. ANY V7 MAY BE IMMEDIATELY PR. This usually occurs within the bar. = =Ex. 9 a - Key of C: Key of Ab: Bbm7 Eb7 | Ab The use of the above does not affect the V7 of V relationship as established in Principle Nu. 2.Using as a basis the progression: Ca ae viotv | Vtofv | viofv fv7 for This same principle may be developed as follows: Ex, 11 . Key of CG: _- aD VI ofV [vrs | very Leading into the key of A, the preéeding progression would appear as follows: - Ex, 12 HN —~ << V7 ofV | V7 dF | V7ofV vi I Db? G7 B7 ev A —— Spann) eae Abm? Db? [Dom7 Gb7 |Fam7 B7 |_8m7 £7 [A Lim? - V7 iim? - V7{iim?-V7 of Gb (7) fof B (7) | of E(7) Te7-Vi | Chang: ne eee ere a ee ee ee Ne from sharps to flats i over the bar line rather than within 4. ANY Ilm7 MAY BE PRECEDED BY THE V7 OF IL. able, but always e bar. This usually occurs over the bar line. Es B a ver | um? —s Key of C:_ A? | Dm? Key of ab: P17“ werLog. 4 - i a er ais FT | (m7) v7 of | (tim?) v7 of | (iim7) v7 Voy of C: Abm? Db? | “Fam7BY “Em? > ag Fr i Um7 - V7 | Um7 = V7 | Um? - V7 of Fs(m7) of (m7) of D(m7) ‘ } ——s —s a by of Ab; Em7 AT Dm7__G7 Cm7__ FT f Iim7 = V7 Um7 = v7 Im? - v7 5 of Dim?) of C(m7) of Bb(m7) of Ab ay aot — 5 The preceding progressions may be more easily understood by . og | realizing that ANY V7 chord, whether it be V7, V7 of V, V7 of IL TLS etc. ..may be preceded by the related IIm7, i. a | fee z i Since the Im7-V7 pattern plays such an important part in modern : chord progression, it would be advisable at this point to familiarize Sa ycurself with this pattern in all keys. _ Im’ va. a _ me : = a : Ex. 15 Dm7 GI —. oe : Ebm7 >> AbT Db Lan Em7 AT D Fm? Bb7 Eb me Fam? B7 ES - sit Gm7 cz F oa Abm7 Db7 ce Am7 D7 G =. Bbm7 Eb? Ab —~ Bm7 ET? A m7 F7 Bo - : Cim7 > FET B * Major, Minor, Dominant 7Ex. 16 eo 07 of ¥ | (Um?) V7 —_— or ee _Ffm7 37 Bm7_E7 Am7 DZ Dm7 G7 Um7 -- Vi} um7 - v7 Um7 - V7 um? - v7|{ of E (7) of A (m7) of G (7) ofc Following is ancther example of the result obtained by combini the V7 of V and the V7 of Il in a chord progression. 2 Ex. 17 : —_——_ a — at (in7) V7 of V | (im7)V7 of | (im?) v7 of 1] (lim7) v7 ll t . ens —~ 1 Key of GC: . Cfm7 FAT Fim? B7 Em7_ Az Bm7 G7 i? Ura? -V7 Um? -v7 | tun7-v7 | um7-v7 ~~ > of BV) | = of Em 7) ~of D{m7) of C : (At this point it would be advisable to complete Problem No. 1 of the lesson assignment.) - ~ 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- queatly, it is certainly advantageous to be. able to-identify them and apply them in all keys, The value of a thorough knowledge of these patterns cannot be stressed too strongly. Sufficient familiarity with them will enable you to transpose or memorize the chord changes to any 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. AMR RRR PATTERN #1 FIPATTERN #3 PATTERN #4 —e 7 va ViofV| m7 V7 Key Le Key of GC: © Ebdim| Dm7 G7 Key of Ab: Ab -Bodim |Bbm7 | EBT | p?7_[pm7 c7 lc “BET |Bom7 “7 | PATTERN £5 ae V7 of 11(b9) | m7 V7 Key of C: A7(09)~ | Dm7_G7 oo Key of: -O—c7 Ir —rmlc + Key.of Ab: F7(b9) | Bom? By Key of Abs Ab Ab7 [Db “Dom [Ab Using only those techniques which have been discussed up to this point, it is possible to create an infinite number of musical and practical (though still very simple) chord progressions. One further principle, however, must be known and applied; ive., ANYTHING MAY FOLLOW THE "I" CHORD. ~~ Following are some logical eight bar chord explanation of the function of each chord. this lesson have been used. A : i f Vim? jim? v7 IT c Am7 Dmi a7 ~ E = = SESS = — = = rt = 7” PATTERN #6 a PATTERN #4 > TF Wav 1v Vm L wie Tin Vi i c C7I i c. Key of Eb: j va ——— BbZ. & Key of G ee PATTERN #2 PATTERN #6 - f Tidim Tin? Wavy G__ Gidim Amz Gi E rE i TT 4 ~____ PATTERN #3 PATTERN #5 k T bilidim lim? v7 1 1 [weir Im? V7 — Bb - DIG Emo) 0: — TE r r f “NOTE: It is possible in the course of a progression to establish i a key other than the one indicated in the key signature. The following chord changes to "What's New?" effectively Ek illustraté this point. - 22 : ec. "What's New?" -- Key of C : Key of Ab\ASSIGNMENT 1, Work out each of the following chord progressions in every key. (In each case work back from the I chord.) | J}: “wid |ftim7 weil |i vil I BT Em? AT [| Dm7 ct Cim7__ F #7a fia? Wen | iv i Fim7 ~ _3B7 Em? Work out Patterns #1, #2, 93, #4, #5 Composé three eight-bar progres: those materials ons in every key using only s_centained in this lesson, Explain the function of each chord used as in Example #18 din the-pre ceding lessons {approach notes, tensions, tension-resolves-de-—~ layed resolution, etc.) compose original melodic lines to any twelve of the progressions resulting from Problem #5. 5. Using any one of the original melodies composed for Problem #4 set up a concert score as indicated below. Trumpet Solo Sax background (open or closed) ~ A,A,T,T,B Again, using any other original melody from Problem #4, set-up - a concert score as desctibed below. “on Brass Background