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MUSICAL
THEORY By Nestor Crespo
WORK
NOTEBOOK
SPANISH / ENGLISH
TECHNICAL DICTIONARY
FOR ALL
INSTRUMENTS
nestorcrespo.com.ar
UPDATED EDITION BY NESTOR CRESPO - FREE DISTRIBUTION MATERIAL
Advice..
There are countless portals where you can find my 20 & 20 Series workbooks.
Like teaching, my notebooks are also dynamic and may undergo some modification.
This is why I advise you to download the books directly from my website.
Greetings. Nestor Crespo.
www.nestorcrespo.com.arwww.serie20y20.com.ar
If you wish, you can purchase the solutions to the exercises at:
www.serie20y20.com.ar - Free Downloads
Purpose of the 20 & 20 Series
The 20&20 series comprises several volumes that include 20 lessons and 20 exercises , referring to different
aspects of musical science.
This series is an effective help for both the student and the teacher, achieving greater fluidity and dynamism in
classes.
These “workbooks” have the purpose of bringing or expanding the knowledge of musical art in a dynamic way,
without an abundance of texts and with exercises that allow us, through excellent graphics, to reaffirm these concepts.
Almost 25 years of experience as a teacher allow me to assure that in the “20&20” series you will find the
necessary elements to further develop musical knowledge as a means of expression.
Volume Objectives: “Musical Theory”.

In this book we will study the necessary tools as an introduction to the study of harmony.
It is extremely important to know each and every one of the lessons included in this volume since the omission of
any of them would make it very difficult to understand everything related to the study of functional harmony. (Volume
III and IV of Series 20 & 20)
A complete Spanish/English dictionary with more than 150 musical terms is also included.
Nestor Crespo
NESTOR CRESPO: nestor.crespo@usa.net / www.nestorcrespo.com.ar

NESTOR CRESPO
(Teacher - Guitarist - Composer - Arranger)
Teaching work
He studies guitar with Prof. Armando Alonso and composition with Prof. Claudio Schulkin and is
self-taught.
He has a solid teaching career, both in the private sphere and in important institutions in Argentina
and Europe.
Founding Professor (1986) of the “School of Popular Music of Avellaneda” holding the position of
“Full Professor of the Jazz Guitar Chair”, a position he currently holds. He also collaborates in the
preparation of the four “Work Notebooks” for said chair.
Professor of the Virtual Chair "Functional Harmony I and II " of the Department of Musical and
Sound Arts (DAMus) of the UNA (National University of the Arts) , a position he currently holds.
He has given numerous clinics on "Improvisation and Functional Harmony in Popular Music" in prestigious study
centers such as: "Hochshule für Musik Karlsruhe" (Germany), “Conservatorio de Palma de Mallorca” and "Las Aulas"
(Barcelona, Spain). ), as well as clinics on "Elements of Tango", in Germany and Switzerland organized by the "German
Tango Academy" (Stuttgart, Germany)
In 2008, he created the "20 & 20 Series - workbooks" which consist of 20 lessons and 20 exercises on different areas
of musical science. (For more information visit: www.serie20y20.com.ar )
In March 2013, the publishing house of DAMus (Department of Musical Arts) dependent on UNA (National University
of the Arts) published the Ebook "Functional Harmony 1" and in 2014 "Functional Harmony 2"
Professional Work
During the 80s he joined different jazz groups, performing in the most prestigious jazz venues and clubs in Buenos
Aires and the interior of the country.
In 1989 he resided in Palma de Mallorca (Spain) working with European musicians, among whom Ola Calamayer
(pianist for saxophonist Dexter Gordon) stands out . Participate in the "Mallorca International Jazz Festival", invited by the
prestigious trumpeter Woddy Shaw's quintet.
At the beginning of the 90s, together with Juan Dargenton, he created "El Tranvía Tango" with which he recorded 9
CDs in Argentina and Europe and carried out uninterruptedly more than 25 European tours with an average of 80
concerts per year, performing in the most important venues. concerts, cultural centers, theaters, etc.
He has shared stages with musicians of the stature of the Sexteto Mayor, Daniel Binelli ( bandoneonist of Astor Piazzolla )
, bandoneonist Alfredo Marcucci, the singers, José Ángel Trelles, María Graña, etc.
They have received important awards both in Argentina and abroad: "ACE Awards" (Asociación Cronistas del
Espectáculo) as "Best Tango Group", "Future Tango Award" awarded by the "German Tango Academy" (Stuttgart,
Germany) . The CD "Ocre Buenos Aires" receives the "Best CD" award from the prestigious magazine "La Frontera"
(Stockholm, Sweden ), etc.
He develops an intense activity as an arranger and producer of tango as well as “world music” for different record
labels in Germany.
He composes the music for the program "Visión Siete Internacional", winner of the "Martin Fierro 2009" award, which
has been broadcast since 2005 on Public Television - Channel 7 - Argentina.
He is invited by the plastic artist Andrés Zerneri to compose the music for his two documentaries: "900 degrees"
(monument to Che Guevara ) and "Monumento a la Mujer Originaria".
In 2006 he created the group Sur Tres in Germany together with Tomas Pérez (Puerto Rico) and Joselo González
(Chile) , recording his first CD in which he made its musical arrangements.
He has also served as Arranger and Musical Director for the tango singer Omar Mollo and guitarist for the singer and
bandoneon player Rubén Juárez.
nestor.crespo@usa.net / www.nestorcrespo.com.ar /
www.serie20y20.com.ar
INDEX
Lesson 1 : Tetrachords (Definition and structure) . Construction of the Diatonic Major Scale. Name of the degrees of the
scale (Tonic, Supertonic, Median, etc.). Characteristics.
Lesson 2 : Order of Sustains.
Lesson 3 : Order of Flats.
Lesson 4 : Intervals. (Definition. Melodic and harmonic intervals. Ascending and descending intervals. Quantitative and
qualitative aspect. Simple and compound intervals).
Lesson 5 : Procedure to follow for the analysis of an interval. Inversion of intervals. Consonant and dissonant intervals.
(Perfect and imperfect consonants. Absolute and conditional dissonants).
Lesson 6 : Triads. (consonants and dissonants, open and closed) Inversions. Structure of the Triads.
Lesson 7 : Seventh Chords. (The seven species of seventh chords. Third Investment. Structure of seventh chords).
Lesson 8 : Tritone.
Lesson 9 : Major and Minor Mode. Old minor scale. (Construction) . Relative Minor Scale.
Lesson 10 : Harmonization of ancient major and minor scales with triads and seventh chords.
Lesson 11 : Harmonic and melodic minor scale. Construction.
Lesson 12 : Harmonization of the harmonic and melodic minor scales with triads and seventh chords.
Lesson 13 : Definition of tone. Difference between diatonic scale and tonality. Modal and Tonal Degrees. Definition of
Polytonality and Atonalism.
Lesson 14 : Tonal Functions
Lesson 15 : Cadences (Definition and Characteristics) . Conclusive Cadences. (Simple: Authentic Perfect and Imperfect,
Plagal and Altered Plagal).
Lesson 16 : Suspensive Cadences (Semicadences, Cadence and Rota). Composite Cadences.
Lesson 17 : Non-harmonic or grace notes
Lesson 18 : Chords with suspended 4th and Sus2 and add9 Chords
Lesson 19 : Harmony. Harmonic Phrase. Harmonic Rhythm.
Lesson 20 : Transposition. Transposing Instruments.
Appendix 1 : Spanish – English dictionary.

"Music is a sentimental transposition of what is
LESSON: 1 invisible in nature" Claude Debussy
(Nestor Crespo)
Construction of the Diatonic Major Scale.

Prior to studying the construction of the diatonic major scale, we will address the concept of Tetrachord, its definition and
formation. It is also known as the Ionian Scale.
Tone Tone Semitone
Tetrachord: We call a tetrachord the succession of four joint sounds
separated by the structure: Tone, Tone, Semitone.
The diatonic major scale is composed of seven notes plus its octave, therefore, it will contain two tetrachords. We will
call each of the notes that make up this scale: diatonic notes.
We will call the first tetrachord, made up of four low notes, the Inferior Tetrachord, while the second, made up of four high
notes, the Upper Tetrachord.
Next, the structure of a major scale.
Characteristics of tetrachords in the diatonic major scale:
1. Both tetrachords are exactly the same, made up of two consecutive tones and a diatonic semitone.
2. Both tetrachords are linked by a tone called: Linking Tone.
3. In the Lower Tetrachord the semitone is between the 3rd and 4th and in the Upper Tetrachord between the 7th and 8th.
Name of the scale degrees:
Any sound can be the origin or starting point of a scale. This is why, to avoid confusion in this regard, each one has a
particular name which indicates the position it occupies on the scale and the function it performs.
We will call each sound "Degrees" and they are indicated with Roman numerals.
The Tonic: (I) It is what gives the name to the scale. For example: if the first sound is C we will be in the C scale, if it is D we will
be in the D scale, etc.
The Dominant: (V) It is the most important after the tonic and for this reason it has this name.
The Median: (III) It has this name because it is between the tonic and the dominant.
The Sensible: (VII) It bears this name because, being separated only by a diatonic semitone, it is unstable and shows a marked
tendency to move towards the tonic.
NESTOR CRESPO :nestor.crespo@usa.net / www.nestorcrespo.com.ar

EXERCISE: 1
(Nestor Crespo)
1. Define Tetrachord.
2. Give 3 examples of tetrachord and indicate its structure.
3. How many tetrachords does a diatonic scale contain?
4. What are each of the notes that make up a diatonic scale called?
5. How is the first tetrachord formed and what will we call it ?
6. How is the second tetrachord formed and what will we call it ?
7. Complete with the terms: Tone, Semitone, Link Tone, Lower Tetrachord and Upper Tetrachord.
------- - — — — — w
_______— w w
CV / / ---~ w w w
w
8. Write the degree (Roman numeral) and the corresponding name of each note.
TONIC
9. Indicate two characteristics of tetrachords in a diatonic scale.
to.
b.
10. Define the 1st degree or Tonic:
11. Define the 5th degree or Dominant:
12. Define the 3rd degree or By:
13. Define the 7th degree or sensitive note:
NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

“Some people never learn anything, because they
LESSON: 2 understand everything too soon.” Alexander Pope
(Nestor Crespo)
Order of Sustains
C Major
To obtain the order of sharps in the major scales we will proceed as follows:
1. We take the upper tetrachord of the C scale and transform it into the lower tetrachord of a new scale.
Tone Tone Semitone
& wwww
Inferior Tetrachord
2. Starting from the last note of the lower tetrachord we complete the scale to the new Sol.
Tone Tone Semitone w w
& wwww
Inferior Tetrachord
3. Finally we create the linking tone and the new upper tetrachord, observing that to maintain the tone relationship between
E and F we must transform the F into an F sharp.
In this way we say that the G major scale has F sharp. (F#).
Continuing with the same procedure we obtain the following order of sharps, which appear in order of ascending 5ths or
descending 4ths.
C Major
G Major
& #
### A Major
(F#, C#)
#### E Major (F#, C#, G#)
# # # ## B Major
(F#, C#, G#, D#) &###### F # Major
# ## # # C # Major
(F#, C#, G#, D#, A#)
(F#, C#, G#, D#, A#, E#)
(F#, C#, G#, D#, A#, E#, B#)

EXERCISE: 2
(Nestor Crespo)
1. Starting from the G scale and maintaining the same procedure as shown in C, build the remaining scales ending with
the C sharp major scale.
C Major
E Major
2. Construct the key signatures corresponding to the following major scales.

"I don't know if instruction can save us,
LESSON: 3 but I don't know of anything better." Jorge Luis
Borges
(Nestor Crespo)
Order of Flats
C Major
To obtain the order of flats in the major scales, we will proceed as follows:
1. We take the lower tetrachord of the C scale and transform it into the upper tetrachord of a new scale.
Tone Halftone Tone
&
Superior Tetrachord .
Superior Tetrachord
2. Starting with the first note of the upper tetrachord we complete the scale to the new F.
3. Finally we create the linking tone and the new lower tetrachord, observing that to maintain the tone relationship
between A and B we must transform the B into a B flat.
In this way we say that the F major scale has B flat. (Bb).
Continuing with the same procedure we obtain the following order of flats. Let's see that the order of flats is
completely the opposite of the order of sharps.
Order of Sustains Order of Flats

F-C-G-D-A-E-B B-E-A-D-G-C-F
C Major
&b F Major
(Bb) b Bb Major
b &b b b Eb Major
(Bb, Eb)
b b Ab Major (Bb, Eb, Ab)
&bbbb b Db Major
(Bb, Eb, Ab, Db) &b b b b b b

(Bb, Eb, Ab, Db, Gb) (Bb, Eb, Ab, Db, Gb, Cb)
&bbbb b b b
(Bb, Eb, Ab, Db, Gb, Cb, Fb)

EXERCISE: 3
(Nestor Crespo)
1. Starting from the F scale and maintaining the same procedure as shown in C, build the remaining scales
ending with the C flat major scale.
Bb Major w w b
b w
w
Eb Major w w
bw
w ww
w w
Ab Major w w
Ringtone Link
Tone Tone Semitone
Tone Tone Semitone ____1 —1 ___________________________________________,
C Major
&
w ww
_www ww
w ww
x
w w w
w
w
w
F Major
2. Construct the key signatures corresponding to the following major scales.

EXERCISE: 4
(Nestor Crespo)

LESSON: 4 "In truth, if it were not for music, there would
be more reasons to go crazy" Tchaikovsky
(Nestor Crespo)
Intervals: We call interval the distance between two sounds or notes. They are divided into:
a. Melodic or Harmonic
Melodic &w w Harmonics

they sound successively w
b. Ascending or Descending
&w
low note : high note
high note : low note
w
Upward &w Falling
It is measured from low to high. w
it is measured from slow to
Unless otherwise noted, the ascending interval will always be considered for analysis.
For the analysis of an interval we will take into account two aspects:
1. Quantitative Aspect : It is indicated with a number and refers to the number of degrees that exist between the
fundamental sound (lower note) and the secondary sound (upper note).
They are divided into Primary (Tonals: unis, 4th, 5th, octave) and Secondary (Modals: 2nd, 3rd, 6th and 7th)
unison 2nd 3rd 4th 5th 6th 7th 8va

The "unison" is considered an interval despite there being no distance between the two
notes.
In turn, we can divide the intervals into: Simple and Compound.
Adding 7 to any simple interval we obtain a compound interval or vice versa.

2. Qualitative Aspect : refers to the qualification, mode or nature of the interval.
a. We will call each of the degrees derived from the diatonic major scale "Natural" and they are "Just or Major".
b. We will call the degrees that do not belong to the scale: "Intermediate" and they are Minor, Decreased, Increased,
Subdecreased and Superincreased.
Decreases intonation ;
: Increases intonation
Sub Diminished Diminished Fair (unis - 8va - 4ta - Increased Super Augmented
5ta)
(Intermediate Sounds) (Natural Sounds) (Sounds Intermediate)
Sub Diminished Diminished Minor Elderly Increased Super Augmented

(2nd - 3rd - 6th - 7th)

EXERCISE: 4
(Nestor Crespo)
1. Define interval.
2. Define melodic and harmonic interval.
Give an example of each.

Melodic Harmonic
3. Define ascending and descending interval.
Give an example of each.

Upward Falling
4. Define quantitative aspect of an interval.
Give two
examples.
5. Define simple intervals.
Give two
examples.
6. Define compound intervals.
Give two
examples.
7. By adding what number, we obtain a compound interval from a simple interval?
8. Transform and name the following simple intervals into compounds.
& w w
w
w &ww & w
w & ww
3rd 4th 6th 2nd
9. Transform and name the following compound intervals into simple ones.

"Music journalism consists of people who can't
LESSON: 5 write interviewing people who can't speak for
people who can't read" Frank Zappa
(Nestor Crespo)
Procedure to follow for the analysis of an interval :

1st Step : Establish the quantitative part, that is, if it is a 4th, 5th, etc.
2nd Step : Establish the key signature of the C major scale ( bottom note) and then
check whether G (top note) belongs to that scale or not.
w
3rd Step : Depending on whether it is a natural or intermediate note, establish the
qualitative part, that is, if it is major, minor, fair, diminished, etc. fair
In this way we say that the interval is: a "Fair 5th"
Another
example:
1st Step : Establish the quantitative part.
w : sharp
2nd Step : Establish the Treble Clef Signature (lower note) and then
check whether F (upper note) belongs or not to that scale.
minor
3rd Step : Establish the qualitative part. The interval formed is a "minor 7th".
Interval Inversion : Only simple intervals can be inverted and this is done by lowering the upper note or raising the lower
note one octave.
Quantitatively : When reversing an interval, their sum is always equal to " 9 "
w :; __ ww w
w
Qualitatively : The following table is established:
a 5th when inverted is transformed a 3rd when inverted is transformed

in a 4th and vice versa.
Fair ; : Fair in a 6th and vice versa.
:
Elderly ;; (alinver tirs e Minor
1 - It transforms in) :
Diminished
Increased
Sub Diminished ; : Super Augmented
Consonance and Dissonance : The sound wave relationship established when two sounds sound simultaneously
determines the degree of affinity or incompatibility between them.
We then say that consonance is associated with "stability" and dissonance with "instability" between sounds.
Consonant and Dissonant Intervals. They are divided into:
1. Consonants : Soft, static, showing no need to resolve or move to another interval. At the same time, we can establish the
degree of consonance they have.
Perfect Consonants: Unison - Just Octave - Just 4th and 5th.
Imperfect Consonants: Major and minor 3rds and 6ths.
2. Dissonant: Unstable, they ask for a resolution in a consonant interval.

Soft Dissonants: Minor 7th - Major 2nd.
Strong Dissonants: Major 7th - Minor 2nd.
Neutral: augmented 4th or diminished 5th (Tritone)
Conditional Dissonants: all augmented and diminished intervals

EXERCISE: 5
(Nestor Crespo)
1. Name the following simple intervals and indicate whether they are consonant or dissonant.
# #
w # w
w
w
w
—Y w
1
_______-g_________
w w
∫w w
/F
FPh w
ww #w w
#w bw
4J
w
___78____
Consonant
Perfect
2. Name the following compound intervals.
b bw w b w b w
#w #w
PO -------
R w w b —w
9m
#w
#w #w w #w bw w
---------#----------------
—w
w
—------------------
w
w w
E #w #w
3. Complete the following intervals with the top note.

( bw )
tea w w
4 dec 10M 13m
4. Complete the following intervals with the lower note.
5. Name the intervals according to the following tonal centers.
Ab: 6m (Fb) 3M ( ) 4aum ( ) 7m ( ) Eb: 2M ( ) 9m ( ) 11aum ( ) 3m ( )
E: 2m ( ) 11J ( ) 5dim ( ) 6M ( ) A: 5dim ( ) 7m ( ) 9aum ( ) 6m ( )
6. Name the following intervals and their investments.

1 1 1 1
5w
--------------! w b w-----\ bw
w
w
3m 6M
bw--------------------- 1 bw w
& bw w #www w

LESSON: 6
(Nestor Crespo)
"Art is not therapy, but it is also
therapeutic" Ernesto Sábato
Structure
Harmony studies chords in their Combination (Chord Series - Progressions)
Voice Conduction
Chord : A Chord is a superposition of 3 or more sounds arranged by major or minor thirds.

– ww ww
–
ww ww w
ww
ww w ww
w
Chord Chord Chord Chord Chord When one or more

3 sounds or 4 sounds or 5 sounds or 6 sounds u 7 sounds or more sounds is not
Triad Seventh Ninth Eleven Thirteen considered as a
new chord
5th:
The chord notes are

called:
name of the root chord of the fundamental
Triad: (3 Sound Chord)

Consonants Dissonant
(with only consonant intervals ) (contain a dissonant interval)
- - - - - - - - - - - - - - YO
There are 4 possible species of
Triads according to their
structure:
w
w b wb w w #w #ww
w
w
Elderly Minor Increased diminished

American Cipher : c cm Caug. Cdim .
Another option : -- C- C+ C°
Closed open
Triads
Closed and Open
(none of their voices (at least one of their voices
exceeds the octave) exceeds the octave)
Triad Investments
The lowest note of the chord can also be the

3rd or 5th, in which case it is called: Inverted
Chord
C/E means: C triad with low E
Elderly F 3M 5J
Structure of Minor F 3m 5J — 3 Major
the Triads 5aum
Increased F 3M
. — 3 Minor
5dis
diminished F 3m
m

EXERCISE: 6
(Nestor Crespo)
1. Harmony studies chords in its:
2. Define Chord:
3. A 5 sound chord is a chord of:
4. A 6-sound chord is a chord of:
5. A 7 sound chord is a chord of:
6. What happens when you double one or more sounds in a

chord?
7. Name each of the intervals that make
up the following chord:
: w
8. How many species of Triads are there according to their

structure?
9. Give an example in D of each and write both ciphers
Consonants Dissonant
10. Define Consonant Triad:
11. Define Dissonant Triad:

(give two examples of each in F)
open
12. We call an open triad when:
13. We call a closed triad when:
(give an example of a major triad of each in B)
14. We call it an inverted triad when:

(give an example of major triad in E)
15. Name the following Triads, indicate their inversion and encrypt (both options)
w
w
# #w #
& # b
w w w b w w
bww w Gm/D
w w w w
G - /D w
2nd inv.
16. Form the following Triads as indicated in the cipher.
b ww
Abaug/E Gdim/Bb
w
B/F# Bbm A+/C# GIVES E - /G

17. Name the following Triads, indicate whether they are open or closed and encrypt (both options)
w
TO bw ww
#w #w w w __w_
-AIf w w
w
bw
w 1
bw
w 1
w w
bw
w
__w_
ww
Cm/Eb C - /Eb
b
Closed
bw

LESSON: 7
(Nestor Crespo) "Advise your children to be virtuous, only virtue can
bring happiness, not money"
Ludwig van Beethoven
Septima Chords : (4 Sound Chord)
4-sound chords (quatriads) are called Seventh Chords, since the new third added to the triad forms an interval of 7th
with respect to the root.
There are 7 species of Seventh Chords according to their structure. (they are all dissonant)
& w bw bw b
ww ww b w w bb
w ww
7th Major Dominant Minor with minor 7th Semi-
decreased or
Encryption
American:
Cmaj7 C7 Cm7 Cm7(b5)
Another option : C “ --- C-7 Co
and 1
-TO
(-PRb w
11
wb ∫ww w nw w w
b wb w #ww w #ww
Diminished Major 7th with augmented

Minor with Major 7th 5th
Encryption
American:
Cdim7 Cm(maj7) Cmaj7 (5+)
Another option : C°7 Cm “ C “ (5+)
Like triads, Seventh Chords can be inverted by adding the 3rd inversion, which is the one that has the 7th in the bass.
w
w
w
& Cmaj7/B w
; 7th on the bass
7th Major F 3M 5J 7M
Dominant F 3M 5J 7m
Minor with Minor 7th F 3m 5J 7m
Structure of the 3 Major .
3 Minor
Septima Chords Semi-diminished F
3m 5dism 7m
Diminished F 3m 5dism 7dism
Minor with Major 7th F 3m 5J 7M
Major 7th with augmented 5th F 3M 5aum 7M

EXERCISE: 7
(Nestor Crespo)
1. How many notes make up a seventh chord?
2. What is the new degree added to a triad with which we form the Septima Chord?
w
3. Name each of the intervals that make |w w

up the following chord: w
4. How many species of Septima Chords exist according to their structure?
5. Name them:
w
w
w
w
Fmaj7
F“
Which are consonants and which are dissonant?
6. Name the chord and its inversion:

w
w
7. What is the structure of the Major chord with Major 7th?
8. What is the structure of the Diminished chord?
9. What is the structure of the Semidiminished chord?
10. What is the structure of the Dominant chord?
11. What is the structure of the Minor chord with Major 7th?
12. What is the structure of the Minor chord with Minor 7th ?
13. What is the structure of the Major chord with Major 7th and Augmented 5th ?
14. Name the following Seventh Chords, indicate their inversion and encrypt (both options)
ww b
#w bb
ww
Abw w w
#w w
w
w
w
w
bw
w
ww w
Gm7/
FG - /F
3rd inv.
15. Form the following Seventh Chords as indicated in the cipher.

bw w
F7/C Emaj7/5+/D# Ddim7 G7/B Bbmaj7/F Am(maj7)/G# Fø/Ab Cm/Bb

"Practice what you know and this will help
LESSON: 8 you see what you do not yet know"
Rembrandt
(Nestor Crespo)
Tritone : The term Tritone (three tones) is used to refer to two concepts:
1. Four notes at pitch distance which form an Augmented 4th interval.
Tone Tone Tone
augmented 4th
2. This interval, and its inversion, is formed by notes outside the scale.
w
w
4th 5th dec.

increase
In a major scale the tritone is between the 4th and 7th Degree of the scale and is part of the dominant chord.
It is characterized by a marked instability, or dissonance , tending to move by semitone to other notes where it
resolves.
As we see, the tritone notes resolve in the Tonic and the Medion, that is, in the Tonic Chord.
4w
– 7w
3
– Chord
of C
It is also important to highlight that it plays a predominant role in establishing the Key Signature because, as we have
established previously, it tends to resolve in the Tonic Chord.
In this case we will call it Tonal Tritone, because it tells us which tonality we are in.
w
& b w w b
Tonal Tritone
b
w
w
Resolution Tonal Tritone Resolution
of F Major Major Mode of F Major Minor Mode
If we look at other scales we will see that the tritone appears in all of them, but only in the Major Scale (Ionian Mode)
does the dissonance that points to the Tonic Chord occur, since this mode is the most stable.

EXERCISE: 8
(Nestor Crespo)
1. Write the two aspects to define the tritone.
to.
b.
2. Give two examples of Tritone.
3. What is the sensation that a tritone produces?
4. Since the tritone is a dissonance, indicate in both examples how we resolve it.
& #w w || & bww ||
5. Between what degrees of a major scale is the tritone formed ?
6. Indicate in which degrees of the scale a tritone resolves and name the chord to which they belong.
7. Why does the tritone play an important role when resolving in the tonic chord?
8. What do we call Tonal Tritone?
9. Why is the major scale considered one of the most stable scales?
10. Write the tritone corresponding to the following keys.
& & b & bb b
&## &bb &###
11. Write the Key Signature according to the indicated tritone.

"When the student is ready to learn, a
LESSON: 9 teacher will appear. " Zen proverb
(Nestor Crespo)
Mode : In practice, we can simplify music into two opposite poles or Major Mode Minor Mode
modes: (Major scale) ( Minor Scale)
Natural minor scale : Prior to the analysis and construction of said diatonic minor scale, it should be noted that it can
be named in three different ways: natural minor scale, old minor scale or aeolian scale.
Next we will study the structure of a natural minor scale:
Tone
Inferior Tetrachord Superior Tetrachord

(Modal) (Melodic)
Characteristics of tetrachords in a natural minor scale.

1. We call the lower tetrachord modal since its median, 3rd degree, determines whether the mode is major or minor.
2. We call the upper tetrachord melodic since it tells us whether the scale is natural, harmonic or melodic. (see lesson 11)
Differences between the diatonic major scale and the diatonic minor scale.
1. As we have seen, the 7th degree in a major scale is called sensitive (semitone distance) while in the minor mode it is
called subtonic because it is at a tone distance.
2. While the major scale has two semitones, between the 3rd - 4th and the 7th - 8th degree, in the natural minor scale
they are between the 2nd - 3rd and the 5th - 6th degree.
3. The major and minor modes are differentiated into three alterations in their natural scales, these being: the 3rd degree
(median), the sixth (submediant) and the 7th (sensitive or subtonic as appropriate).
4. Note that in the major scale the 3rd, 6th and 7th are major while in the natural minor scale these intervals with respect
to the tonic are minor.
Relative Minor Scale : It is one that arises from the sixth degree of a major scale.
Characteristics:
1. The reason why the natural minor scale is considered the major minor scale concerns the tritone.
As we have seen, the tritone tends to resolve in the median

and tonic.
This resolution does not concern only the C major chord but
also the A minor chord.
2. The relative minor scale has the same key signature as the
major scale from which it originates.
3. Conversely, we say that from the 3rd degree of a Em

natural minor scale the major scale originates, which œ
we will call: relative major scale.
w –w
E natural minor scale
NESTOR CRESPO : nestor.crespo@usa.net /

www.nestorcrespo.com.ar
EXERCISE: 9
(Nestor Crespo)
1. What are the two ways with which we can simplify music?
2. Write what two other ways we can name the natural minor scale.
3. Construct the G natural minor scale indicating tone, semitone, link tone, upper and lower tetrachord.
&b b
4. Why do we call the inferior tetrachord, modal?
5. Why do we call the upper tetrachord, melodic?
6. What do we call and why the 7th degree in a major scale and in a natural minor scale?
7. Between what degrees do we find semitones in a natural minor scale?
8. How many and what are the alterations in which the major scale and the natural minor scale differ?
9. Unlike the major scale, what degrees become minor?
10. From what degree of a major scale does the relative minor scale emerge?
11. What is the reason why the natural minor scale is considered the major minor scale?
12. What is the key signature of a relative minor scale?
13. What is the relative minor scale of 14. What is the relative major scale of...
Bb G -- m------- TO DM -------------- Bbm --------------------------

Eb ------------- AND Em ------------- G#m --------------------------
Ab -------------- d GM -------------- cm ----------------------------

&#
16. Write the relative major scale of:
&# bb
bb

"Practice must always be built on good
LESSON: 10 theory" Leonardo Da Vinci
(Nestor Crespo)
Harmonization of the Major Scale and Old Minor Scale 1. With Triads .
By superimposing two notes at a distance of the 3rd and 5th of the tonic respectively, we will obtain the corresponding
triads on each of the degrees of the scale. According to their structure they can be: major, minor, decreased or increased.
& œ ˙ œ ˙˙ œ ˙ ˙ œ ˙ ˙ ˙˙
œ˙œ
Major Scale
Grades: I IIm IIIm IV V VIm VIIdis

(I - IV - V) Major - (II - III -VI) Minor - (VII) Diminished
2. With Seventh Chords .
Scale
Minor Ancient
(I - IV - V) Minor - (III - VI -VII) Major - (II) Diminished
By superimposing a new note on the triad at a distance of 7th from the tonic respectively, we will obtain the seventh
chords corresponding to each of the degrees of the scale.
Major Scale & œ ˙ ˙˙ œ ˙˙ ˙ ˙ ˙œ œ ˙ ˙ œ ˙ ˙ œ œ ˙
Degrees: Imaj7 IIm7 IIIm7 IVmaj7 V7 VIm7 VIIm7(b5)
(I - IV) Major with major 7th - (II - III -VI) Minor with minor 7th
(V) Dominant - (VII) Semi-diminished.
Menu E
o s
r c
A a
n la
tigua & bbb A œ ˙ A œ˙ ˙ AA ˙ ˙ œ AA
Degrees: Im7 IIm7(b5) bIIImaj7 IVm7
Vm7
bVImaj7 bVII7
œ˙˙˙ A œ˙˙˙ AA – ˙ ˙ AA – ˙ ˙
(I - IV - V) Minor - (III - VI) Major - (VII) Dominant - (II) Semi-diminished

EXERCISE: 10
1. How are the triads corresponding to each of the degrees of a scale obtained?
2. Harmonize the following Major Scale naming the triads.
&#
Em
3. Harmonize the following Ancient Minor Scale naming the triads.
&œ œ œ
4. Harmonize the following Major Scale naming the Seventh Chords.
&b b œ
œ œ
5. Harmonize the following Old Minor Scale naming the Seventh Chords.
&b – œ œ œ œ
6. How are the Septima Chords corresponding to each of the degrees of a scale obtained?
7. Write the Key Signature of the following chord progression. Major Mode
8. Write the Key Signature of the following chord progression. Minor Mode
- 30 -
NESTOR CRESPO : Olaya 1177 Chap. Fed. Tel: 4857-3032
nestor.crespo@usa.net / www.nestorcrespo.com.ar
LESSON:11 "Music does not need to be understood, the
emotional reaction is the only thing that matters"
(Nestor Crespo) John Coltrane
Harmonic and Melodic Minor Scale
As we have seen, the Old Minor Scale has a minor chord in its V degree, which
does not have a dominant function, and for this reason it appears unstable.
The reason for this instability refers to the location and resolution of the tritone. As
we can see, this is located between Ab and D, resolving it into G and Eb, that is, the
Eb Major Chord. (III Grade) and not in Cm (I Grade)
Chord
Eb Major
tritone
tritone
&
Minor bb bœ œ
Old & b ww bw w w b œ b– bbb
To resolve this instability, the VII degree is ascended or altered, giving rise to the
harmonic minor scale.
Harmo
nic Minor
In this way we obtain the Dominant chord in its V Degree and it is also important to
highlight the formation
in its VII degree of the Diminished Chord.
bb œœ
&b
N œœ
bw
Chord
C Meno
tritone
&bbb nw
w bw œœ
no
In this way we achieve the formation of the tritone between the IV and VII Degree (F
and B), which resolve in Eb and C, that is, in the Cm Chord.
On the other hand, we can say that in this way we cancel the effect of the subtonic
that lacks attraction towards the tonic, obtaining the sensitive that does tend to
resolve in the tonic.
The name harmonica is due to the fact that one of the reasons for the alteration of
the VII degree is precisely harmonic in nature.
Regarding the Melodic Minor Scale, the main purpose is established to ascend or
alter the VI degree to facilitate the melodic movement from the VI to the VII degree,
avoiding the 2nd. augmented (oriental sound) that is formed in the harmonic minor
scale. For this reason it is called melodic scale.

As for the Key Signature, it remains the same as the Old Minor Scale for both the
Harmonic Minor and the Melodic Minor, indicating only the degrees that have been
altered.
Note : It should be noted that the harmonic and melodic scales are also called artificial scales since
their origin does not come from the laws of acoustics. (natural series of harmonics)

EXERCISE: 11
(Nestor Crespo)
1. What chord arises in the V degree of an Old Minor Scale?
2. Why isn't the Old Minor Scale so stable?
3. Write the Tritone of the Old Minor Scale of Dm, Em and indicate its resolution.
&b &#
4. To what degree does the tritone resolve in an Old Minor Scale?
5. What degree of the Old Minor Scale is altered to obtain a Harmonic minor scale?
6. What chord is formed in the V degree of a Harmonic Minor scale?
7. What chord is formed in the VII degree of a Harmonic Minor scale?
8.
10. To what degree is the tritone formed and to what degree does it resolve into a Harmonic Minor Scale?
9. Write the Tritone of the Harmonic Minor Scale of Am, Fm, indicate its resolution and its Key Signature.
11. Why is it called Harmonic Minor Scale?
12. What degree is altered or ascended from the Harmonic Minor to create a Melodic Minor Scale?
13. What is the reason why the VI degree is altered in a Melodic Minor scale?
14. . Why is it called Melodic Minor Scale?
15. Write the Am Melodic scale with its corresponding Key Signature.
"There are books that are for the public and
LESSON: 12 books that make their own audience"
Umberto Eco
(Nestor Crespo)
Harmonization of the Harmonic Minor and Melodic Minor Scale

1. With Triads .
By superimposing two notes at a distance of the 3rd and 5th of the tonic respectively, we will obtain the corresponding
triads on each of the degrees of the scale. According to their structure they can be: major, minor, decreased or increased.
Meno E
rsAcr a
m the
onic & bb A œ ˙ A
œ˙ An
˙
œ A˙
œ n œ˙˙
AAœ˙˙
nœ˙
Degrees: Im II° IIIaug IVm V SAW VII°
(I - IV) Minor - (II - VII) Decreased - (III) Increased - (V - VI) Major
Meno E
r s
M ca
e l
l a
ódica & bbb A œ ˙ ˙ nœ ˙ A n ˙ œ nœ ˙ nœ˙
A
n˙œ n˙œ
Degrees: Im IIm IIIaug IV V VI° VII°
(I - II) Minor - (III) Increased - (IV - V) Major - (VI - VII) Decreased
2. With Seventh Chords .

By superimposing a new note on the triad at a distance of 7th from the tonic respectively, we will obtain the
corresponding chords on each of the degrees of the scale.
Scale
Harmonic Minor
(I) Minor with major 7th - (II) Semi-diminished - (III) Major 7th with augmented 5
(VI) Major with Major 7th - (IV) Minor with Minor 7th (V) Dominant - (VII) Diminished.
Meno E
r s
M ca
e l
l a
ódica & bb A n œ ˙ n ˙ œ A nœ ˙ nœ ˙ ˙ n œ ˙ n ˙ ˙œ
n œ˙
Degrees: Im/maj7 IIm7 IIImaj7/5+ IV7 V7 VIIø

EXERCISE: 12
1. Harmonize the following Harmonic Minor Scales naming the Triads that are formed in each degree
&b –
A œ # –
DM
& ### to œ to œ œ œ to œ
F#m
2. Harmonize the following Melodic Minor Scales naming the Triads that are formed in each degree
&# œ aœ œ œ œ #œ #œ
Em __________ _______________ _________________ _________________ ___________________ ________________
&bb
œ œ Aœ œ œ nœ #œ
GM
3. Harmonize the following Harmonic Minor Scales by naming the Ac. of 7th that are formed in each grade.
##
œ # –
œ œ œ
œ
œ aœ to
____________ ______________________ _______________________ _______________________ __________________________ _______________________
Bm/maj7
At 1 ।
bb
bb œ œ A œ A œ œ Aœ no
____________ _______________________ ________________________ ________________________ _________________________ _______________________

Fm/maj7
4. Harmonize the following Melodic Minor Scales by naming the Ac. of 7th that are formed in each grade.
&b b b œ œ Aœ œ œ nœ nœ
cm/maj7 ______________________________________ _____________________ _______________________ ___________________________ _______________________ __________________

# — œ
faith œ œ œ œ
------- œ ---#
Em/maj7 aœ
- 32 -
NESTOR CRESPO : Olaya 1177 Chap. Fed. Tel: 4857-

3032
nestor.crespo@usa.net / www.nestorcrespo.com.ar
"I think most musicians are interested in the
LESSON: 13 truth" John Coltrane
(Nestor Crespo)
The Tonality
It is the set of laws that govern the constitution of the scales or also the union of the sounds that form the diatonic scale,
whose operation is governed by a main sound called the tonic.
The diatonic scale and the tonality express the same union of sounds but not their order. While in the diatonic scale they
must follow each other by joint movement, in the key they can follow each other by joint or disjoint movement.
C Major Scale
& ww wwwww w
Joint Movement
As we have seen in lesson 7, we can simplify music into two opposite

modes (Major and Minor), therefore we can say that a key can also be Major or Minor.
When we say that "we are in C major or C minor" we are referring to a set of notes (melody) or chords (harmony) that
revolve or gravitate around a main sound or chord, which we will call: "Tonal Center".
Tonality of
C Major
cm FM G7 cm
Tonality of
Cm Minor
Tonal and Modal Degrees
The tonality is based on seven sounds called degrees and which correspond to the seven names of the notes. They are
identified with Roman numerals.
Tonal Degrees: They are those called "pillars of tonality" and they define the tonality which remain unchanged in both the
major and minor modes. These are: the tonic (I) , the dominant (V) and the subdominant (IV).
c F.G. cm Fm Gm
( YO ) (IV) (V) ( YO ) (IV) (V)
Modal Degrees: These are those that define the mode and are: mainly III and II, VI and VII. They have little effect on the
tonality but determine the mode. They are different in the major and minor mode.
& bb C Minor ww
www
ww w
b D°
Eb
w Ab Bb
(II) (III) ( SAW ) (VII)
Polytonality: use of several simultaneous tones.

Atonality: absence of tonality.

EXERCISE: 13
(Nestor Crespo)
1. Define Tonality.
2. What do the diatonic scale and tonality express?
3. How should the notes follow one another in a diatonic scale and how in tonality? Give examples.
G Major Scale Key of G Major

#
& &#
Write a melody in the key of G Major and one in G Minor in quarter notes using notes according to the following
cipher.
c D7 g
Tonality of
G Major
Key of Gm
Minor
5. What is the tone based on?
6. What numbers are the grades identified with?
7. Define tonal degrees and indicate what they are. Then harmonize them according to the example given.
D Major D Minor
& ## w w &b www wwww
w
w www
8. Define modal degrees and indicate what they are. Then harmonize them according to the example given.
w ww
D Major D Minor
&b w
w ww
w
9. Define Polytonality.
10. Define Atonality.

“Music is not a profession, it is a way of
LESSON: 14 life.” Daniel Barenboim
(Nestor Crespo)
Tonal Functions : Western music that covers the period between the years 1600 to 1900, is thought on the basis of
the "Tonal System". This system consists of a certain "function of the chords" in a musical
work.
Tonic (Stability, Pole of Attraction)

There are 3 basic functions Subdominant (Transition, Midpoint)
Dominant (Maximum Tension)
Dominant
IV
Subdomin
I ant
Yo
Tonic Tonic
Cmaj7 Fmaj7 G7 Cmaj7
IV Dominant
Subdominant
Yo Yo I Yo
Tonic Tonic Tonic
Tonic
Minor Mode
V
Dominant

IV
Yo
LESSON:
Subdominant15 Yo
(Nestor Crespo)
Tonic Tonic

EXERCISE: 14
(Nestor Crespo)
Cipher with seventh chords and name the three tonal functions in the following keys.
(Major Mode)
G maj 7
(I) Tonic (IV) (V) ( YO )
TO c | | |
b ( YO ) (IV) (V) ( YO )
(bbc Indicate
|
| | |
according to the following graph: chord, degree and tonal function - (Major Mode)
Amaj7 (I)
Tonic
c|
Cipher with seventh chords and name the three tonal functions in the following keys.
(Minor Mode)
&b b c (IV)
() ()
()
c|
()
()
(YO) (IV) (V) (YO)
and
A #c A.A. |
TO
|
TO
|
TO
|
Indicate according to the following graph: chord, degree and tonal function - (Minor Mode)

LESSON: 15
(Nestor Crespo)
"Do not be afraid of mistakes,
there is none there. " Miles Davis
Cadences : It is the rest or pause that occurs at the end or at an intermediate point of a musical work. A cadence differs
depending on the final chord and the predecessor to said rest.
We can classify them according

to: C (I)
G7 (V)
Cm (Im)
1. The harmonic rhythm: Feminine (unusual)

(Frequency with which occurs in the weak tense
chords vary)
2. The number of chords involved: Simple Cadence: when it consists of two chords.
Compound Cadence: when it uses several chords.
3. The character of the cadence: Conclusive and Suspensive.
Conclusive : This group includes the so-called "Authentic Cadence" and "Plagal Cadence" being those that resolve in
the I Degree or Tonic chord.
1) They have the character of final rest.
They have the following characteristics:
2) They can occur in the middle or at the end of a
work.
a) Authentic Cadence: They involve the V degree (Dominant) and the I degree (Tonic). Depending on the structure of the
chords (fundamental or inverted state) and the resolution of the melody (soprano) they can be:
Simple Authentic Perfect : Simple Authentic Imperfect
Both chords must be in the fundamental state Some of the chords present are inverted and/or the
and the tonic is present in the melody. tonic is not present in the melody. (soprano)
C (I) Cm G7 (V7) C (I)

G7 (V) (Im) w Cm(Im) w
and ww w
TO
K.U. (3rd)
Cm (Im)
& w w
b) Plagal Cadence: They involve the IV degree (Subdominant) and the I degree
(Tonic)
Simple Plagal : Simple Plagal Altered
The concluding feel to the tonic chord is more When the IV degree that is higher is altered or
weaker than in an authentic cadence. modifies it by transforming it into a minor
Also known as church cadence (Amen) chord.

LESSON: 16
(Nestor Crespo)
C (I) Fm (IVm)
w
w
men

EXERCISE: 15
(Nestor Crespo)
1. Define Cadence.
2. Define harmonic rhythm.
3. According to the harmonic rhythm, how are the cadences divided ?
4. Define and give an example of Male Cadence.
5. Define and give an example of Feminine Cadence.
6. How are the cadences divided according to the number of chords involved?
7. Define Simple Cadences.
8. Define Compound Cadences.
9. How are cadences divided according to their character?
10. Define Conclusive Cadences.
11. Name the concluding cadences.

12. What chords involve an Authentic cadence?
13. Depending on the structure of the chords involved and the resolution of the melody, the Authentic Cadence can be:
14. Define Perfect Simple Cadence. Give an example.
15. Define Imperfect Simple Cadence. Give two examples.
&# &#
16. Define Plagal Cadence. Give an example.
17. Define Altered Plagal Cadence. Give an example.
&#

"Because music is constantly changing,
LESSON: 16
His study never ends. " Gordon Delamont
(Nestor Crespo)
Suspensive: This group includes the so-called "Semicadences" and "Broken Cadence" which modify the final character
of the conclusive cadences, having the character of momentary rest in another chord other than the
tonic chord (I degree).
a. Semicadence : Produces a suspension effect on a chord other than the I degree, it is normally located at an
intermediate point in a musical work, being the most frequent on the V degree.
C (I) F(IV) C (I) G(V) C (I) F(IV) G(V) C (I) F(IV)

œ œ œ
keep going
--
semi-cadence
b. Broken: This occurs when the first degree chord is replaced by another unexpected chord in the perfect cadence.
The most common is the one that concludes in the VI degree.
Its name is due to the fact that it produces the sensation of interruption in musical discourse.
C (I) F(IV) C (I) G (V) C (I) F(IV) G (V) Am (VI) C (I) F(IV)
&c
keep going -
--
Cad. Broken
Complete or Perfect Composite Cadence : Involves IV (subdominant) , V7 (dominant) and I (tonic)
It starts from the semi-stability of the subdominant but increases the tension going towards the dominant, and then
resolves in the tonic.
There are two types: the first-order and second-order complete cadence.
Complete 1st order cadence: (I - IV - V - I)
C (I) F(IV) G7 (V) C (I)
&c ˙ œ w
œ œ
œ
Complete 2nd order cadence: (IV - I (2nd inversion) - V - I)
.
F(IV) C/G (I) (2nd Investment) G7 (V) C (I)
&c œ œ œ œ j œ – J œ œ œœ œ j –
J œ .
œ œ œœ œ w
j
V - IV - I can also be combined, but it is the least used since the voltage decreases from V degree to IV.
Note: there are other types of cadences which we will develop in the book Functional Harmonica I

EXERCISE 16
(Nestor Crespo)
1. Define Suspensive Cadence:
2. Name which cadences are within the suspensive cadences .
3. Define Semicadence and give an example.
4. Define and give an example of Broken Cadence.
&b b
5. Why do we call it broken cadence?
6. What grades involve the Composite Complete or Perfect Cadence?
7. What types of complete cadences can you name?
8. What grades involve the first grade Complete Cadence ?
9. Give an example of complete 1st grade cadence
b b
10. Give an example of a complete 2nd grade cadence
11. What is the reason why the V - IV - I cadence is less used ?

LESSON: 17 "Music is as subtle as the
bread and water" Hector
Villalobos
(Nestor Crespo)
Non-harmonic or grace notes : These are those that are not part of the chord. These are dissonant and establish
clashes and tension with the notes that form their structure. We can also call them melodic ornamentations.
It is very difficult to find a melody that was built entirely with chord notes alone. To be able to do this would require
several harmonic changes to give some interest to the music that only non-harmonic notes can give.
&c œ C
The main non-harmonic notes or ornaments are:
De Paso : They generally occur on the weak beat or weak part of a beat and are approximated by joint movement from
one harmonic note to another in the same direction. They can be part of the chord or a different one. There
are also chromatic passing notes and two passing notes in a row.
c F.G.
&c œ œ
_ œ œœ _ __
œœœ
__ œ œ˙
NP NP NP NP
NP NP NP
chromatic 2 in a row
Embroidery: They occur in weak time due to joint movement but return to the original note. They can be higher or lower
and move by tone or semitone.
c F g F c g c
b b b b B.B.
tone tone tone 1/2 tone 1/2 tone tone
Suspensive : They occur on the downbeat and cause dissonance with the notes of the present harmony. These notes
resolve by tone or semitone, descending or ascending.
c F g F c g c
S resolution by tone off S resolution per semitone asc. S resolution by tone off
Anticipation : These are the notes that anticipate its harmony. These occur in weak weather.
Supports : They occur in the strong or weak time but have no preparation, and precede the note they support, called the
main note. They can be presented ascending or descending, also by jump and resolved by joint degree or
vice versa.
c F DM g
Ap Joint Degree Ap Asc. Ap

Desc. jump Asc. jump
Other ornamentations : We must also consider within the ornamentations the groupet, mordant, trill and arpeggio. (See lesson No. 17 and 18
of Volume I of the Series 20 & 20 - Musical Language)

EXERCISE: 17
(Nestor Crespo)
1. Are non-harmonic notes part of the chord?
2. Do non-harmonic notes produce consonance or dissonance ?
3. What else can we call them?
4. Write a melody with the notes of the exposed chords.

CD CG DG
5. Answer the following questions about passing notes.

a. Passing notes occur on the weak beat or strong part of a beat
b. Do they approach each other by disjoint degree from one harmonic note to another in the same direction?
c. Can they be part of the same chord or a different one?
d. Another case is only with chromatic passing notes?
6. To the melody written in point 4, add passing notes including chromatics and two passing notes in a row.
CD c G.D. g
7. Define Embroidery.
8. Taking as reference the melody written in point 4, add border notes.

CD c G.D.
9. Define Suspensions.
10. Taking as reference the melody written in point 4, add suspensive notes.
CD c G.D. g
&c
11. Define Anticipation.
12. Taking as reference the melody written in point 4, add advance notes.
c d c
A.M d g
13. Define Supports
14. Taking as reference the melody written in point 4, add appoggiaturas.

g c d c A.M d
& c #
15. Name other types of ornamentation.

LESSON: 18
"You(Nestor
don't learnCrespo)
anything when you want to
learn everything at once" George Sand
Dominant Chords with Suspended 4th :
In lesson No. 8 (Triads) we have studied that they are formed by the succession of 3rds. The suspended fourth chord
(originally a major chord) is obtained by replacing the 3rd with a Perfect 4th.
The dissonance or instability that occurs between the 3rd and the 4th (minor 2nd) makes the simultaneous use of both
inconvenient. Therefore, this interval is established as part of the chord and not as a tension of it (see book Functional
Harmony I).
Csus4 C7(sus4)
Adding a minor 7th to it, we obtain the & bw
ww w
"Dominant Chord with Suspended 4th".
Suspended chord
Features and most common uses.
Although the dominant chord with a suspended 4th does not have a tritron in its structure, the force of its resolution lies
in the movement of the ascending 4th (a) , or in the resolution of the 4th in the 3rd (b), depending on the context in which it
is found.
(b)
( to )
(V7 sus4) (V7)
On the other hand, since there is no 3rd, a neutral sound is created, that is, it is not major or minor, it is neutral. For this
reason, it is very common to see that suspended chords can replace both dominant chords (b) , as well as minor chords
(c) .
( YO )
Replacement G7 (sus4) G7 Cmaj7
w
˙
& c
(*) ˙˙ Q-
w
w
We can carry out this substitution because by replacing the 3rd with the Just 4th, it no longer presents the tritone in its
structure, thus establishing in its upper part, a subdominant structure (*) with the tonic in the dominant.
Chords with suspended 2nd and added 2nd

Chord with 2nd Suspensive Chord with 2nd Added
C(add9)
It is built by replacing (add in English: add) Formed by a major triad plus

the 3rd for a 2nd. the 2nd or 9th. The 7th is not present.

EXERCISE18 :
(Nestor Crespo)
1. How do you form a 7th chord with a suspended 4 ?
2. Form the following 7th chords with a suspended 4th according to the indicated cipher.
A7 (sus4) Bb7(sus4) D7(sus4) Eb7(sus4) G7(sus4) F7(sus4) C7(sus4) B7(sus4)
3. Encrypt the following 7th chords with a suspended 4th.
w
Ho______
#w 1
bw b
b ww
w
b w
w
w
#ww t
—
•
w
#w
th
er
ei
~
4. Why is the sus 4 chord considered a neutral chord?
5. Does the suspended 4th chord have a tritone in its structure?
6. How can suspended 4th chords also be seen?
7. Encrypt the following suspended chords.
A/B
w w w
#w w
ww #w w
w
w
w
bw -----[------------- w
w
A w
#w bw
w
bw
w w
w w
bw w
w
? w w
bw
w
w
8. How is a sus2 chord formed?
9. Give 3 examples of sus2 chords according to encryption.
Fsus2 Dsus2 A7(sus2)
10. How is an add9 chord formed?
11. Give 3 examples of add9 chords according to encryption.

"Sometimes you have to play for a long time to be
LESSON: 19 able to play like yourself... " Miles Davis
(Nestor Crespo)
Harmony : We can define harmony as a set of notes or sounds that sound simultaneously (chords) as well as the
succession of these sets of sounds.
Harmony would be the opposite term to melody. (sounds that are emitted successively) We say then that harmony is
everything related to verticality in music and melody to horizontality.
Harmony - (Chord)
Harmonic Progressions : Movement in tonal music is generated through the linking of one chord with others. We will
call this movement "Harmonic Progression".
In popular music, this movement is based on the Cycle of Fifths (ascending or descending succession of notes, scales or chords
separated by fifth intervals). See book Series 20 & 20 Volume III - Functional Harmony.
Harmonic progressions that only contain chords belonging to a given key are called diatonic, and chromatic when they use
chords not belonging to the key .
Em7 Am7 Dm7 G7 Cmaj7 Em7 Eb°7 Dm7 Db7 Cmaj7

&c c '''' ''''
Diatonic Progression Chromatic Progression
(All chords belong to the key of C) (*Some chords do not belong to the key of C)
Harmonic Phrases : We can group chords into various types of series or harmonic motivic sequences and in turn
concentrate them in measures of longer duration that we will call: Harmonic Phrase.
Due to the way in which the chords are related, the harmonic phrase has a certain extension (one or more measures) and
its own meaning, relating in progressions, cadences, etc.
Harmonic Rhythm : It is the frequency with which the chords vary within a harmonic progression or phrase, thus being
the chord, the fundamental unit of the harmonic rhythm.
For example, we see how in example 1 there is no harmonic rhythm while in example 2 there is a change or alternation of
chords that allows us to appreciate or perceive the harmonic changes.
Cmaj7 Cmaj7 Fmaj7 Cmaj7 Fmaj7
c
-X c
.J •/ •/
'''' '''' '''' ''''
‘ ‘ ‘
As we have seen in Volume I: Musical Language, the measures can be divided according to their intensity into Strong,
Semi-Strong or Weak. According to the number of chords that the measure contains, they are divided as follows:
The placement of harmonic changes is one of the elements that make the listener hear the regular alternation of strong
and weak beats in the measure. Tonal harmonic progressions produce in the listener the expectation of certain types of
resolutions.
In tonal music, the strong and weak beats of the measure alternate regularly, reinforcing these harmonic expectations.

EXERCISE: 19
(Nestor Crespo)
1. Define Harmony. _________________________________________________________________________________
2. Define Harmonic Progressions. _____________________________________________________________________
3. Define Diatonic Harmonic Progressions._______________________________________________________________
4. Give an example of Diatonic Harmonic Progression.
5. Define Chromatic Harmonic Progressions._____________________________________________________________
6. Give an example of Chromatic Harmonic Progression.
-(4 ’’’’ ’’’’ ’’’’
7. Define Harmonic Phrases.
8. Define Harmonic Rhythm.
9. According to its intensity, the Harmonic Rhythm is divided into:_____________________________________________
10. Indicate with an F - SF - D as appropriate.
One chord every two measures One chord per measure

c F c
Two chords per measure Four chords per measure
11. How do strong and weak beats alternate in tonal music?_________________________________________________

""You will say that I am a dreamer, but
LESSON: 20
I'm not the only one." " John Lennon
(Nestor Crespo)
Transposition : We call transposition the mechanism that allows us to perform or write a musical work at another pitch,
which may be a lower pitch (lower) or higher (acute) than the original.
The objective pursued is to bring a song to a suitable key, if it turns out to be too high or too low for a certain voice or
instrument.
Note: In popular music the verb "transport" is mistakenly used instead of "transpose."
Transposition of Harmony : To transpose the harmony we will first analyze the work, establishing the degrees that each of
the chords represent, and then transpose them to the new key.
( YO ) (II) (V)
Dmaj7 Bm7 Em7 A7
&#c
Transposition to D:
Transposition of the Melody : It is obtained by maintaining the same interval relationship with respect to the new tonal center
or with the corresponding chords.
Cmaj7 Am7 Dm7 G7 Ebmaj7 Cm7 Fm7 Bb7
&c œ. œ J œ
œœœ &b b b œ.œ J œ
œ œœ ‰
.œ œ
‰œœ J œ .œ
J
œœ
œœ œœ J œ Jf œœ ‰ œ
‰œœ j
Transposition to the Key of Eb:
Transposing Instruments:
They are those instruments whose written sounds (concert tuning) are different from the actual sounds produced, that is, a
transposing instrument plays or reads one note and sounds another.
Is written: Sounds:
w
Flute in G:
In practice, almost all instruments are transposers, only some of them (such as the double bass, the guitar) transpose to a lower
octave which makes their reading much easier, otherwise it would almost always require the use of additional lines. Among
the instruments that are not transposers we find the piano and the oboe.
Is written: Sounds:
w
Guitar:
Depending on the instrument in some cases the direction of the transposition can be ascending or descending and also in
some cases it can exceed the octave.
The name of most of these instruments is designated by the name of the note that sounds when a concert or written C is
played. For example: Clarinet in B Flat, Alto Saxophone in E Flat, etc.
bw bw
Clarinet in B flat: Do Concert: Alto Saxophone in E flat:
Key Signature : The Key Signatures of the transposing instruments are different from those of the
non-transposing instruments.
Oboe: Trumpet in Bb:

&b c œ œ b œœ

EXERCISE: 20
(Nestor Crespo)
1. Define Transposition:
2. vWhat is the objective of transposing?
3. What is the mechanism to transpose a harmony?
4. Transpose this progression to the following keys. (establish degrees and chords)
5. What is the mechanism to transpose a melody?
6. Transpose said melody to the following keys. (first analyze the interval relationship with the tonal center)
7. Define Transposing Instruments.
8. Name 3 non-transposing instruments.
9. Name 3 transposing instruments.
10. Transpose the following melody to the transposing instruments mentioned.

Spanish / English Musical Glossary (Néstor Crespo)
TERM ENGLISH PAGE
Chord Chord Lesson 6

Suspensive 4th chord Suspended fourth Chord Lesson 18
Major 7th Chord Major Seventh Lesson 7
Chord 7th Major 5 Augmented Major seventh with 5 augmented Lesson 7
Diminished Chord Diminished Lesson 7
Dominant Chord Dominant Lesson 7
Minor Chord with 7th Minor seventh Lesson 7
Minor chord with Major 7th Minor with major seventh Lesson 7
Semi-diminished chord Half diminished Lesson 7
Seventh Chords Seventh Chords Lesson 7
Chords sus2 Suspended second Chord Lesson 18
Anticipation Anticipation Lesson 17
Support Appoggiatura Lesson 17
Qualitative Aspect Quality Lesson 4
Quantitative Aspect number Lesson 4
Atonality Atonality Lesson 13
Increased Augmented Lesson 4
Flat Flat Lesson 3
Embroidery Neighbor or auxiliary note Lesson 17
Composite Cadence Compound Cadence Lesson 16
Broken Cadence Deceptive or Interrupted Cadence Lesson 16
Cadences Cadence Lesson 15
Authentic Cadences Authentic Cadence Lesson 15
Conclusive Cadences Conclusive Cadence Lesson 15
Plagal Cadences Plagal Cadence Lesson 15
Suspensive Cadences Suspense Cadence Lesson 15
Consonants Consonant Lesson 5
Quarter Fourth Lesson 4
Diminished Diminished Lesson 4
Dissonant Dissonant Lesson 5
Dominant Dominant Lesson 1
Dominant Dominant Lesson 14
The harmonic rhythm Harmonic Rhythm Lesson 19
Diatonic Major Scale. Diatonic Major Scale Lesson 1
Harmonic Minor Scale Harmonic Minor Scale Lesson 11
Melodic Minor Scale Melodic Minor Scale Lesson 11
Natural Minor Scale Natural Minor Scale Lesson 9
Relative Minor Scale Relative Minor Scale Lesson 9
harmonic phrases Harmonic Phrase Lesson 19
Tonal Functions Tonal Functions Lesson 14
Degrees Degrees Lesson 1
Modal Degrees Modal Degrees Lesson 13
Tonal Grades Tonal Degrees Lesson 13
Transposing Instruments Transposing Instruments Lesson 20
harmonic interval Harmonic Intervals Lesson 4
Ascending Interval Ascending Interval Lesson 4
Descending Interval Descending Interval Lesson 4
melodic interval Melodic Intervals Lesson 4
Investment Investment Lesson 5
Investment Investment Lesson 6
Elderly Major Lesson 4
Through Mediant Lesson 1
Minor Minor Lesson 4
Mode mode Lesson 9
Passage Notes Passing notes Lesson 17
Non-harmonic notes Non Harmony notes Lesson 17

Spanish / English Musical Glossary (Néstor Crespo)
TERM ENGLISH PAGE
Eighth Octave Lesson 4

Ornamentations Ornamentation Lesson 17
Perfect perfect Lesson 4
Polytonality Polytonality Lesson 13
Harmonic progressions Harmonic Progression Lesson 19
Fifth Fifth Lesson 4
Second Second Lesson 4
Semicadences Semi cadence Lesson 16
Semitone Semitone Lesson 1
Sensitive Leading Note Lesson 1
Seventh Seventh Lesson 4
Sixth Sixth Lesson 4
Simple Plagal Simple Plagal Lesson 15
Simple Plagal Altered Plagal Altered Cadence Lesson 15
Simple Authentic Imperfect Simple Authentic Imperfect Lesson 15
Simple Authentic Perfect Simple Authentic Perfect Cadence Lesson 15
Sustained sharp Lesson 2
Subdominant Subdominant Lesson 1
Subdominant Subdominant Lesson 14
Submediant Sub-mediant Lesson 1
Subtonic Subtonic Lesson 11
Supertonic Supertonic Lesson 1
Suspensive Suspension Lesson 17
Third Third Lesson 4
Tetrachord Tetrachord Lesson 1
Tonality Tonality Lesson 13
Tonic Tonic Lesson 1
Transposition Transposition Lesson 20
Triad Triad Lesson 6
Open Triad Open Triad Lesson 6
Closed Triad Close Triad Lesson 6
tritone tritone Lesson 8
Unison Unison Lesson 4

Made in Buenos Aires, Argentina in the fall of 2009 Cover
design: Edi Vallarino

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COM 20 & 20 SERIES

Greetings. Nestor Crespo.

www.serie20y20.com.ar - Free Downloads

Purpose of the 20 & 20 Series

Volume Objectives: “Musical Theory”.

NESTOR CRESPO: nestor.crespo@usa.net / www.nestorcrespo.com.ar

Lesson 2 : Order of Sustains.

Lesson 3 : Order of Flats.

Lesson 11 : Harmonic and melodic minor scale. Construction.

Lesson 14 : Tonal Functions

Lesson 16 : Suspensive Cadences (Semicadences, Cadence and Rota). Composite Cadences.

Lesson 17 : Non-harmonic or grace notes

Lesson 19 : Harmony. Harmonic Phrase. Harmonic Rhythm.

Lesson 20 : Transposition. Transposing Instruments.

Appendix 1 : Spanish – English dictionary.

NESTOR CRESPO: nestor.crespo@usa.net / www.nestorcrespo.com.ar

Construction of the Diatonic Major Scale.

Next, the structure of a major scale.

Characteristics of tetrachords in the diatonic major scale:

Name of the scale degrees:

NESTOR CRESPO :nestor.crespo@usa.net / www.nestorcrespo.com.ar

2. Give 3 examples of tetrachord and indicate its structure.

3. How many tetrachords does a diatonic scale contain?

5. How is the first tetrachord formed and what will we call it ?

6. How is the second tetrachord formed and what will we call it ?

9. Indicate two characteristics of tetrachords in a diatonic scale.

10. Define the 1st degree or Tonic:

11. Define the 5th degree or Dominant:

12. Define the 3rd degree or By:

13. Define the 7th degree or sensitive note:

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

Tone Tone Semitone

Tone Tone Semitone w w

#### E Major (F#, C#, G#)

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

2. Construct the key signatures corresponding to the following major scales.

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

Tone Halftone Tone

Order of Sustains Order of Flats

b b Ab Major (Bb, Eb, Ab)

(Bb, Eb, Ab, Db) &b b b b b b

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

2. Construct the key signatures corresponding to the following major scales.

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

Melodic &w w Harmonics

unison 2nd 3rd 4th 5th 6th 7th 8va

In turn, we can divide the intervals into: Simple and Compound.

Adding 7 to any simple interval we obtain a compound interval or vice versa.

(Intermediate Sounds) (Natural Sounds) (Sounds Intermediate)

Sub Diminished Diminished Minor Elderly Increased Super Augmented

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar

2. Define melodic and harmonic interval.

Give an example of each.

3. Define ascending and descending interval.

Give an example of each.

4. Define quantitative aspect of an interval.

5. Define simple intervals.

6. Define compound intervals.

7. By adding what number, we obtain a compound interval from a simple interval?

8. Transform and name the following simple intervals into compounds.

NESTOR CRESPO : nestor.crespo@usa.net / www.nestorcrespo.com.ar