w w w P5 w w œ # œ & w # w # w n w n œ & œ # Sequential Singing of Dyads Dyads play on piano 8ve sing top voice # w sing bottom voice

Transcription

1 Dyads CD1 Track 2 Sequential Singing of Dyads play on piano 3 P5 n 6 8ve sing top voice sing ottom voice n sing sequential dyads descending n. (dotted lines indicate aural connections) sing sequential dyads ascending n. sing top voice play ottom voice n play top voice sing ottom voice n 21 chapter 1

2 Diminished Triad Inversions CD1 Track 6 Diminished Triad Inversions / Alternation partner: identify/play ottom note is G listen/sing/name E o /1 st +4 3 Sing: partner: identify/play ottom note is G listen/sing/name C o /2 nd +4 3 Sing: alternate/listen U U U U 7 Variation In Step 1, the partner plays a note and identifies it y pitch and position in the chord, then plays an inverted diminished triad ith that note as the middle note.the student proceeds as in Step 2. Repeat using the given note as the top note of the inverted diminished triad. (See Chapter 4 Examples elo.) 8 Difficult The partner plays only one note, identifies its pitch and chord function, and identifies a chord and an inversion. The student sings and names the inverted diminished triad. (See Chapter 5 for more aout orking ith diminished triad inversions.) 29 chapter 4

3 Augmented Triad Inversions CD1 Track 9 Chapter 5 Examples partner: identify/play B is the 5 th hich is the middle note E + 1 st inv. sing/name E+/1 st 4 3 Sing: B/5 th /middle E + A/3 rd /top B/3 rd /ottom G + A/root/middle 1 F + 1 st inv. 2 nd inv. 1 st inv. 2 nd inv. A + 2 B/root/top B + A/5 th /ottom D + F /3 rd /middle D + G /3 rd /top 1 st inv. 2 nd inv. root pos. E + 2 nd inv. B /3 rd /ottom G + A /root/middle A + 3 F /5 B + th /top A /root/ottom 1 st inv. 2 nd inv. root pos. A + root pos. 4 G /5 th /middle A/5 th /top D + B/5 th /ottom C + 1 st inv. root pos. E + 2 nd inv. C+/5 th /top F + root pos. 5 C /3 rd /ottom A + C /5 th /middle F + C /root/top C + A /5 th /ottom D + 1 st inv. 1 st inv. 1 st inv. 2 nd inv. B/3 rd /middle G + G /3 rd /ottom E + F /5 th /ottom B + B/root/middle 6 B + root pos. 1 st inv. 2 nd inv. 2 nd inv. A /root/top C/root/ottom C + F+/5 th /middle B + B/5 th /top 7 A + 1 st inv. root pos. 1 st inv. E + root pos. 33 chapter 5

4 Triad Inversions sing sequential dyads descending 4 n. Sing: Sing: n Sing: n sing sequential dyads ascending 7 n. Sing: Sing: n Sing: n n. 3 5 TRIAD INVERSIONS In A Study in Triad Inversions (elo), every inversion of every type of triad is used to create a progression of 12 chords. This is folloed y 12 practice techniques. 1 Triads Ascending, Descending and Scramled Sing through the progression according to the patterns of ottom, middle and top voice (, m, t) indicated (1-6). 38 chapter 6

5 The Transposed Major Modes A Aeolian (Natural Minor) A 7 VI 7 P B Locrian Bø7 VII 7 o CD1 Track 17 Chart 2 The Transposed Major Modes Name and play, sing scale and chord ascending and descending C Ionian (Major Scale) C 7 I Chord Tones 7 P5 3 Non-Chord Tones 6 2 C Dorian C 7 II (of B ) 7 P C Phrygian C 7 7 P III (of A ) C Lydian C 7 IV (of G) 7 P chapter 7

6 The Diatonic Modes Scramled Melodic Patterns Scramled Melodic Patterns CD2 Track 1 play F Lydian mode Sing: U sing pattern using F Lydian mode Sing: u play F Dorian mode Sing: sing pattern using ne mode, F Dorian U Sing: u 8 Change mode / Play / Listen The partner selects and plays a different mode, starting on the same note. For example, the partner plays the F Dorian mode on the piano. The student listens to the ne mode. 9 Sing The student sings the same pattern using the notes of the F Dorian mode, making appropriate changes in the melody to accommodate the notes of the F Dorian mode. 10 Play / Listen: The partner plays the pattern on the piano. The student listens. 53 chapter 9

7 Inverted Seventh Chords CD2 Track 9 7 partner: play ass, identify pitch and function C is 7 th in tenor u play chord D ø 7 sing/name chord Sing: G 7 E 7 A 7 G 7 8 G 7 B ø 7 F 7 9 G ø 7 E 7 B 7 D 7 10 A 7 D 7 B 7 F 7 11 A 7 D ø 7 E 7 C 7 12 C G 7 G ø 7 A 7 62 chapter 11

8 The Augmented-Major and Diminished-Major Chords 11 Continue The partner and student may proceed in several keys ith the remaining inversions of the augmented-major (D+ 7) and diminished-major (D o 7) seventh chords, playing, listening, singing and naming all the elements ithin the chord, until they are clearly recognizale to the student. Tip: The student is encouraged to Seek the Second in each chord. Modify the Alternation Technique to suit your on needs. Keep the same inversion of each chord and alternate eteen the various chord colors y loering or raising certain degrees in each chord y half-steps. Chapter 14 Examples CD2 Track 21 identify first root, play and hold chords. D 7 5 D 7 D o 7 D 7 n n n. 1 1 st inversion n n n. Sing: () n n n. Sing: () 2 D 7 5 D 7 n n n.. D o 7 D 7 2 nd inversion.. n n n 76 chapter Sing: () n n n Sing: () 3 2 3

9 The Major Seventh-B5 Chord A B 7 4 B 4 C 26 D 2 B 4 7add5 C 247 D 24.. Sing: Sing: chapter 16

10 Chord Extensions/Arpeggiation CD3 Track 11 Less challenging: Further reduce the n umer of chord extensions. partner: identify root/ play sloly U A A 79 sing as efore U Sing: (pause) E U partner: identify first note/ play sloly u U Sing: (pause) U Less challenging: Pause more frequently. CD3 Track 12 partner: identify root/ play sloly U A A u sing as efore Sing: (pause) E U (pause) B U partner: identify first note/ play sloly U U U u Sing: (pause) (pause) chapter 19

11 Half-Whole (h/) Diminished Scale G h/ Diminished Scale and Related Chords CD4 Track 1 G 7 G h/ Diminished Scale G o 7 G o 7 n n ase chord n contained chords n G o G G G o n n B o n B B B o n C o D D D o n E o E E F o n derived triads n n G G 7 9 G 7 G 7 9 G G G 7 9 G 7 G G G G 7 9 G G 7 13 G G 7 9 superimposed chords Three interesting characteristics of the h/ diminished scale are orth noting. The symmetricality of the G h/ scale is seen from its capacity to function as the B, D and E h/ scales y starting from alternating scale degrees (that is, from the 3 rd,5 th or 7 th hich correspond to the roots of B 7, D 7 or E7). The triads derived from the G, B, D and E scales are identical, and their superimposition over each of the ase dominant chords produces similar altered chords. The h/ scale may e chromatically transposed to only three keys, since the fourth step of the chromatic scale is identical to the 3 rd degree of the h/ scale. 124 chapter 22

12 More Scales and Chord Extensions F [Altered Dominant] name sing [alternate] scale [ ] play chord sing pattern ith [alternate] scale [ ] Sing: 1 2 [3] 3 [4] [6] 7 1 n [ ] [ ] Sing: [3] [4] 7 [6] 3 1 [ ] [ ] n compose your on example A 7 9 A partner: identify root/play chord listen, name sing chord play chord create a chord pattern sing it 3 Sing: Sing: A 7 9[ 13] sing chord ith [alternate] extension [ ] play chord sing pattern ith [alternate] extension [ ] Sing: [13] Sing: [13] A 7 9[ 11] 13 sing chord ith [alternate] extension [ ] play chord sing pattern ith [alternate] extension [ ] Sing: [11] 13 Sing: [11] chapter 22

13 Additional Voice Leading Options The 11 th ADDITIONAL VOICE LEADING OPTIONS THE 11 TH The 11 th is a free agent as far as voice-leading goes. It may e approached and resolved in any numer of ays, frequently requiring the douling of other chord tones. Tip: Seen ithin the rather structured voice-leading context of the 9 th and13 th, the 11 th s relative freedom invites the use of altered extensions to highlight chromatic melodic movement ithin the upper structure and to suggest i-tonal relationships ith the supporting chord. The notated example and reductions elo illustrate some of the many ays in hich the 11 th can appear, e approached and resolved ithin each chord of the II-V-I progression. Additional Options 11 th D ø 7 11 D 11 D 7sus a 11 CD4 Track th in II chord II II / aa 5 II II 11 9 a A aa n 6/13 II II see Additional Options 11 th Reduction 1, p chapter 25

14 Basic I-VI-II-V-I Using Seventh Chords and Several Variants a n III- I o n CD4 Track 20 B 7 B 7 [SD] G o 7 III [ ] I 7 [SDim] [II] [V] [I] [130 Dominant Cadences] The III for I sustitution for the final I chord can also e applied to our 2-ar phrase. This final III (B 7) may itself e the first chord in a second 2-ar phrase in hich a different variant of the I-VI-II-V-I progression is used. Thus, the V-I resoution is delayed and the progression is prolonged. The first four ars of the A section of Rhythm Changes are often treated in this manner. In the example elo, the III for I sustitution occurs on the first eat of measure 3, hile the racketed chords indicate an aundance of unrealized possiilities. n III for I Sustitution (Final) CD4 Track 21 I [VI] [II] [V] B 7 III [ ] [VI] [II] [V] [I] [130 Dominant Cadences] [130 Dominant Cadences] The tritone sustitute for III, VII, may e used in certain cases oth as a starting chord and as a final chord of the first I-VI-II-V-I phrase leading to a second phrase. Note: Care must e taken to alance this sustitution in order to preserve the key center y succeeding it ith diatonic roots in susequent chords. If e re trying to estalish G as the key of the phrase, eginning ith F7 or F 7 can e interesting ut confusing unless E, A and/or D follo soon afterard. This alance eteen diatonic and non-diatonic roots applies to all sustitutions. 176 chapter 26