Jazz Theory and Practice Module 2, a,b,c Dominant-7 th, Added-6 th and Minor-7 th Chords, The (II V I) progression
|
|
- Lorraine Baker
- 5 years ago
- Views:
Transcription
1 Jazz Theory and Practice Module 2, a,b,c Dominant-7 th, Added-6 th and Minor-7 th Chords, The (II V I) progression C. Two more 7 th chords: Major-7 th ; half-diminished-7 th a. The 7 th chords of the major scale: earlier in this module we discovered that the dominant-7 th chord falls naturally on the fifth note (V) of the major scale, and that minor-7 th chords fall naturally of II, III, and VI of the major scale. Of the three remaining scale degrees, major-7 th chords fall naturally on I and IV, and a half-diminished 7 th falls naturally on VII: 2c13 b. The major-7 th chord is a major triad with a major 7 th added, and is very familiar in the jazz harmonic vocabulary. If you listen carefully you will find that the chord is a little more dissonant than either the minor-7 th or the dominant- 7 th chords, because the root and the 7 th may be only a halfstep apart. 2c14 Copyright 2012 Peter J. Clements
2 When the major-7 th chord is used in the middle of the phrase it typically moves to the next chord much like other 7 th chords do; the seventh will usually move downward by step: 2c15 The tonic major-7 th chord (I7) is often used at the end of a phrase, as a stable, final chord. This is a departure from traditional classical music, folk music, and even show tunes, where the final chord is almost never a 7 th chord. In Module 2B(c) various possible final I chords were shown, including added-6 th and major-7 th versions. Another common variation is the I(6 9), including both the 9 th (or 2 nd ) and the added 6 th : 2c16 c. The half-diminished 7 th chord consists of a diminished triad plus a minor 7 th, or two minor 3 rd s and a major 3 rd. A diminished 7 th (fully diminished) consists of three minor 3 rd s. The half-diminished label is also used in classical music theory, but in jazz the chord has another name: minor-7 th (b5). This relationship is seen in the second line of the following example: 2
3 2c17 In the minor key a half-diminished chord falls naturally on II, and is almost always part of the II7 V7 I pattern. Because of the unique colour of the half-diminished 7 th, it is often borrowed in the major key as well: 2c18 D. The Basic II V I Progression a. What is a chord progression? Until now, we ve only been dealing with materials of music: tetrachords, some scales, some 7 th - and added 6 th chords, with a little exploration into how one chord leads to another (e.g. resolution of dominant-7 th s). There are still lots more materials to add to our collection, but from now on we ll be focusing much more on chord progression, starting with a 3
4 succession of three chords, then growing into larger contexts. This is the real central focus of jazz theory. It s a study that is never complete; there are always new harmonic colours and progressions to be discovered. A chord progression is nothing more than a sequence of chords that form a logical pattern, and most of these patterns occur in music over and over, with countless variations. What is remarkable is that many jazz musicians don t read music at all, but just by ear they have a repertoire of hundreds of chord patterns, and they really have a thorough understanding of jazz theory, without ever really thinking about it. As we move forward through our study of chord patterns it s important to be able to identify these patterns both as specific chords (Dm7 G7 C) and as a general progression type: (II7 V7 I). b. II V I at the cadence. The harmonic progression II V I is probably the most useful tool in the box for the jazz player, composer, or arranger. It is also very commonly used in various contemporary idioms: folk music, rock, gospel, blues, and in classical music as well. In this section we will deal with it mostly in its simple form, and we will return to it later in our study. In its simple form it typically appears as the final progression in a musical phrase, what would be labeled a Perfect or Authentic cadence (with many variations in terminology) in traditional classical theory: 2d1 4
5 In the minor key, the seventh step of the scale is most often raised to produce a major dominant triad. The II7 chord is the half-diminished version, as discussed in the previous section. 2d2 In the classical tradition of the 17 th, 18 th, and 19 th centuries, the II V I progression, with its many variations, is as common as it is in jazz. In most current textbooks the II chord is classified as a pre-dominant chord, preceding the dominant and tonic chords in the progression to a cadence. Here is an example from a Haydn symphony, where the predominant chord is stretched out over several measures. There is no doubt that the cadence is inevitable, and this stretching of the predominant harmony (a simple form of expansion or prolongation ) is very effective: 5
6 2d3 6
7 In an earlier example only basic triads: Dm, G, and C were used. In some contemporary idioms (folkmusic, country, for example) the basic triads might be the most appropriate chords for the style (although the dominant-7 th would likely be used), but in a jazz style often all three chords would be coloured with at least a 7 th or added 6 th : 2d4 Here are other variations of the basic II V I progression. In every case the functions of the three chords are identical (pre-dominant, dominant, tonic), but the examples differ by colour, especially the pre-dominant chord. 2d5 c. Other places in the phrase. The II V I progression is not always used at a cadence; often it appears at the beginning or in the middle of a phrase, and this is where it is important to think about the general harmonic pattern (II V I), as well as the specific chord symbols: 7
8 2d6 Look at the brackets under the music, and notice that there are four II7 V7 I7 progressions that seem to be in three different keys (Eb- C- Bb). When you hear the music (you will find it in the PLAY/SING section following) you will discover that it all seems to belong together, and the places where it appears to move to another key are very temporary. In traditional Music Theory these short excursions to other keys are often referred to as tonicizations, that is, a momentary focus in a different key, but for a short enough time that there is no sense of really changing the key, which would then be called a modulation. True modulation is unusual in the jazz repertoire, but it does occur sometimes in longer pieces. There is an important principle here, shown in the overall reduction, or summary, below the music. The reason that these tonicizations seem to flow smoothly from one to the other is because there is a logical harmonic connection between them; a larger chord progression: I, VI, V, I. The idea that there can be more than one harmonic progression at the same time, at different levels, is an important concept that will come up again as we continue our study. 8
9 d. Interpolation. Especially in ballads, with slow moving harmony, a common technique is to interpolate other chords between the basic chords in the harmony. Look at the following example. In the second version, second line, the arrival on the tonic chord is delayed a whole measure by interpolating II7 and V7. At the end of the line there is a tonicization of the dominant (C), by preceding it with it s own II7 and V7 (Dm7, G7), then the dominant is converted to a dominant-7 th (C7), delayed by inserting it s II7 chord (Gm7). When the piece continues, the next chord will be F major, completing the II7 V7 I. 2d7 e. Something to look forward to: In Module 4 (Module 3 is review and test) the II V I will be growing, first as part of a turnaround: I VI II V I (aka the I Got Rhythm Changes ) then into even longer harmonic patterns, including the 12-bar blues pattern, with dozens of harmonic variations! f. Something to listen to: Virtually every jazz standard has a ii V I in it somewhere, but there are a number of pieces 9
10 where it s high density, typically in several keys (as in the section other places in the phrase ). For major key examples listen to Fly Me to the Moon and The End of a Love Affair. A good minor key example is The Shadow of Your Smile. Return to the menu, and try the PLAY/SING and WRITE exercises for Module 2c. 10
Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues
Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues C. The Basic Blues If you ask a dozen musicians, you ll get at least a dozen answers to the question: What is the
More informationJazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues
Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues A. The Turnaround The word really provides its own definition. The goal of a turnaround progression is to lead back
More informationJazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures
Jazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures B. Extensions: 9 th, 11 th and 13 th chords Jazz Theory and Practice Harmonic extensions
More informationCadences Ted Greene, circa 1973
Cadences Ted Greene, circa 1973 Read this first: The word diatonic means in the key or of the key. Theoretically, any diatonic chord may be combined with any other, but there are some basic things to learn
More informationApproach Notes and Enclosures for Jazz Guitar Guide
Approach Notes and Enclosures for Jazz Guitar Guide As a student of Jazz guitar, learning how to improvise can involve listening as well as learning licks, solos, and transcriptions. The process of emulating
More informationChord Progressions. Simple Progressions
Chord Progressions A chord progression (or harmonic progression) is a series of musical chords, or chord changes that "aims for a definite goal" of establishing (or contradicting) a tonality founded on
More informationHow to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007
How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 There are different forms of jazz improvisation. For example, in free improvisation, the player is under absolutely no constraints.
More information10 Must Know Jazz Guitar Chords
10 Must Know Jazz Guitar Chords Playing the right chords through a jazz standard can be tricky without the right chord vocabulary. In this lesson, we will cover the 10 must know jazz guitar chords that
More informationBeginning Harmonic Analysis *
OpenStax-CNX module: m11643 1 Beginning Harmonic Analysis * Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract An introduction
More informationThe Shearer Method: Guitar Harmony. by Alan Hirsh
The Shearer Method: Guitar Harmony by Alan Hirsh TABLE OF CONTENTS PREFACE About this book I BUILDING BLOCKS... 1 Step... 1 The Major Scale... 2 Chromatic Notes... 2 The Key... 4 Intervals... 6 Major,
More informationWhat are Secondary Dominants? GRADE 7 MUSIC THEORY Dr. Declan Plummer Lesson 4: Secondary Function Chords
What are Secondary Dominants? GRADE 7 MUSIC THEORY Dr. Declan Plummer Lesson 4: Secondary Function Chords 1. They are the most common type of altered chord since the chromatic note creates a functional
More informationAdvanced Chromatic Harmonies I: The Neapolitan, and Augmented-Sixth Chords as a Combination of Modal Borrowing and Applied Procedures
MU182: Theory II R. Vigil Advanced Chromatic Harmonies I: The Neapolitan, and Augmented-Sixth Chords as a Combination of Modal Borrowing and Applied Procedures I. Modal Borrowing The most basic aspect
More information12 - BAR BLUES (4) (4) (5) 8 - BAR BLUES (5) (1) (5) RHYTHM CHANGES I GOT RHYTHM BRIDGE
12 - BAR BLUES 1 1 1 1 (4) 4 4 1 1 5 5 1 1 (4) (5) 8 - BAR BLUES 1 1 4 4 (5) (1) 1 5 1 1 (5) RHYTHM CHANGES 1 6-2- 5 I GOT RHYTHM BRIDGE 3 3 6 6 2 2 5 5 HONEYSUCKLE ROSE BRIDGE 1 1 4 4 2 2 5 5 DIATONIC
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Voice Leading for Guitar John Thomas Chapter Harmony Review and Introduction to Voice Leading Press ESC to cancel sound. Check out Berkleeshares.com for
More informationModulation. Phrase Development. Minor Key Melody. Common Weaknesses. Two -Year Structure. An Approach To Harmony - Intervals
PPMTA Conference 2004 Leaving Certificate Music Composition Marian Mullen Skills Required for Exam Write a 16 - bar melody Continue a given opening Set text Continue a given dance opening Provide harmonic
More informationChord Essentials. Resource Pack.
Chord Essentials Resource Pack Lesson 1: What Is a Chord? A chord is a group of two or more notes played at the same time. Lesson 2: Some Basic Intervals There are many different types of intervals, but
More informationBlues Guitar 101 Classic Licks
Blues Guitar 101 Classic Licks Essential Blues Guitar Licks and Phrases Written By: Matthew Warnock Audio By: Jack Taylor Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com
More informationAn introduction to rootless jazz chords
An introduction to rootless jazz chords Glen Rose An introduction to rootless jazz chords A-Shapes Rootless lite* Glen Rose Teachers notes and workbook This is the lite version of the study on rootless
More informationTABLE OF CONTENTS. Preface... iii
i TABLE OF CONTENTS Preface........................................................................... iii Chapter 1 Cycles and II-V Sequences............................................ 1 Fast-moving
More informationRAM Analytical Skills Introductory Theory Primer Part 1: Intervals Part 2: Scales and Keys Part 3: Forming Chords Within Keys Part 4: Voice-leading
RAM Analytical Skills Introductory Theory Primer Part 1: Intervals Part 2: Scales and Keys Part 3: Forming Chords Within Keys Part 4: Voice-leading This is intended to support you in checking you have
More informationJazz-Blues changes based on Joe Pass chord-melody solo The Blues. 50shadesofguitar - The Guitar Blog
27/12/2016 Jazz-Blues changes based on Joe Pass chord-melody solo The Blues 50shadesofguitar - The Guitar Blog Here you can see 2 choruses of the changes from great Joe Pass Blues transposed to all 12
More informationWorksheet: Marian's Music Theory Shorthand (video 4, stepping outside the scale) 1 / 6
Worksheet: Marian's Music Theory Shorthand (video 4, stepping outside the scale) 1 / 6 I. Half steps and whole steps and scales We spent some time on intervals seconds, thirds, sixths, etc. now we are
More informationThe Baroque 3/4. ca Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992)
The Baroque 3/4 ca 1600-1750 Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) NB To understand the slides herein, you must play though all the sound examples to hear the principles
More informationHarmonised Scales Author: John Clarke Date:?
Dedicated to fostering the art and craft of the jazz guitar Harmonised Scales Author: John Clarke Date:? The objective of this article is to show: how chords are related to scales how an understanding
More informationJazz Mandology. Understanding the 'ii V7 I' Progression. by Ted Eschliman V7 I
Current Issue Home Back Issues Other Mel Bay Sites "Finger Pedaling" and Solo Mandolin Performance Indiana Part 2 of 2 Artist Interview with Don Kawalek Forked Deer Playing Really Fast, Part Two Jazz Mandology
More informationHarmony for Jazz Guitar
Harmony for Jazz Guitar By David Chavez Music s only purpose should be the glory of God and the recreation of the human spirit. Johann Sebastian Bach For David, Michael and Aaron 1 INTRODUCTION Improvisation
More information========= Playing Outside C HAPTER E IGHT
========= Playing Outside P LAYING O UTSIDE C HAPTER E IGHT Sequences Playing a Half Step Away Playing a Tritone Away Playing Scales to Get Outside Some Piano Stuff The Chromatic Scale Be Brave, Go Ahead
More informationThe Evolution of Jazz Blues Chords
The Evolution of Jazz Blues Chords Jazz blues chords, progressions and tunes appear throughout the Jazz genre in many different forms and arrangements. The influence of Blues on Jazz is undeniable. The
More informationHarmonic Improvement
Harmonic Improvement Ted Greene 1977, April 4, July 10, and May 6. [These lesson pages are Ted s updates or revisions to his lesson with the same title dated 1976, June 2, 4, 6 with 1975 Feb. 20. Some
More informationBlues turnaround chord melody lick
Blues turnaround chord melody lick Week 1: 52 weeks to better jazz guitar Blues turnaround chord melody lick Page 1 Copyright Darren Dutson Bromley Blues Turnaround Chord Melody Lick. As a guitarist, regardless
More informationAn Approach to Jazz Piano
An Approach to Jazz Piano Fifth Edition Introduction This book is an attempt to address the techniques of piano playing as applied to the playing of jazz. It is also an attempt to address theoretical knowledge,
More informationJazz Lesson 12. Technique. Harmony & Theory. 1. Playing Modes over 5-1 Resolution. 1. The ii-7-v7-i Resolution. Jazz Piano School 2014
Jazz Lesson 12 Technique 1. Playing Modes over 5-1 Resolution a. The V-I resolution is incredibly important. So much so, thatpracticing V-I resolutions in every key using specific modes will be an important
More informationTHE LANGUAGE OF HARMONY
THE LANGUAGE OF HARMONY The diatonic scale is a starting place for available chords to choose from in your score. These chords are triads built on the root of each degree. Each scale degree has a name
More informationAnalysis Of A Tune Based On The Changes To Solar
Analysis Of A Tune Based On The Changes To Solar Analysis The 1st step on our quest is to really understand Harmony, Form and Melody. I definitely recommend that you do check out the melody for the Standard
More informationContents. Bassic Fundamentals Module 1 Workbook
Contents 1-1: Introduction... 4 Lesson 1-2: Practice Tips & Warmups... 5 Lesson 1-3: Tuning... 5 Lesson 1-4: Strings... 5 Lesson 1-6: Notes Of The Fretboard... 6 1. Note Names... 6 2. Fret Markers... 6
More informationGroup Piano. E. L. Lancaster Kenon D. Renfrow BOOK 1 SECOND EDITION ALFRED S
BOOK SECOND EDITION ALFRED S Group Piano FOR A D U LT S An Innovative Method Enhanced with Audio and MIDI Files for Practice and Performance E. L. Lancaster Kenon D. Renfrow Unit 9 Scales (Group ) and
More informationDelyth Knight Certified Music Judge LABBS Music Category Director
Delyth Knight Certified Music Judge LABBS Music Category Director 1. No question is a stupid question. If you need to know, ask 2. We will make sure that all the basics are understood 3. All animals are
More informationA GUIDE TO ADVANCED HARMONY
A GUIDE TO ADVANCED HARMONY 1. Secondary Dominants and Leading-Tone Chords 2. The Neapolitan Sixth Chord 3. Modal Mixture 4. Chromatic Mediants and Submediants 5. Augmented-Sixth Chords 6. Altered Dominants
More informationPentatonic Scales: Theory and Applications
OpenStax-CNX module: m33374 1 Pentatonic Scales: Theory and Applications Mathias Lang This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract Pentatonic
More informationMozart, Beethoven, and Brahms were all renowned for their improvisational abilities
ØJazz Ukulele What is Jazz? (From Ask Jeeves) - a genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex styles. A type of music of black American
More informationI have a very different viewpoint. The electric bass is a critical part of the musical foundation of the guitar choir.
1 Introduction I have taken the time to write down some of what I know and feel about using the electric bass in a guitar choir. This document is an odd combination of instruction and philosophical discussion.
More informationA0S2 HARMONY & TONALITY A0S2 HARMONY & TONALITY A0S2 HARMONY & TONALITY A0S2 HARMONY & TONALITY
Harmony Harmony is when two or more notes of different pitch are played at the same time. The accompanying parts in a piece of music are sometimes called the harmony Harmony can be diatonic or chromatic
More informationScale Patterns for Guitar and Why You Need Them
Scale Patterns for Guitar and Why You Need Them In this lesson, the topic of scale patterns for guitar will be covered in detail. You ll be both introduced to a number of scale patterns, and taught how
More informationTony Grey Bass Academy
Tony Grey Bass Academy BeBop Study Lesson 1 Step 1 Tony Grey Bass Academy This lesson is taken directly from inside the Tony Grey Bass Academy were we do a full course on all of the different approach
More informationCHAPTER TWO BASIC SKILLS REVIEW COMMON CHORDS
6 PROGRESSION 1. I - IV - V7 2. I - vi - IV - V7 3. I - ii - V7 4. I - iii - IV - V7 CHAPTER TWO BASIC SKILLS REVIEW COMMON CHORDS The chart below contains the seven pitches of five major scales. Upper
More informationJim Hall Chords and Comping Techniques
Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with
More informationJim Hall Chords and Comping Techniques
Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with
More informationHarmonic Plumbing Mark White Whitmark Music Publishing
Harmonic Plumbing Mark White Whitmark Music Publishing I borrowed the term "Harmonic Plumbing" from the liner notes of a Bill Evans album. In plumbing, one can find any number of different routes to connect
More informationElements of Predictability
Advanced Harmonic Concepts Elements of Predictability There are a number of similar characteristics associated ith the composition and performance of standard jazz With these characteristics come a number
More informationCONTENT AREA: MUSIC EDUCATION
COURSE TITLE: Advanced Guitar Techniques (Grades 9-12) CONTENT AREA: MUSIC EDUCATION GRADE/LEVEL: 9-12 COURSE DESCRIPTION: COURSE TITLE: ADVANCED GUITAR TECHNIQUES I, II, III, IV COURSE NUMBER: 53.08610
More informationThe Shearer Method: Guitar Harmony. by Alan Hirsh
The Shearer Method: Guitar Harmony by Alan Hirsh TABLE OF CONTENTS PREFACE About this book I BUILDING BLOCKS... 1 Step... 1 The Major Scale... 2 Chromatic Notes... 2 The Key... 4 Intervals... 6 Major,
More informationOpenStax-CNX module: m Interval * Catherine Schmidt-Jones
OpenStax-CNX module: m10867 1 Interval * Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract The distance between two
More informationTHE WEBINAR WILL BEGIN SHORTLY (6PM PACIFIC)
THE WEBINAR WILL BEGIN SHORTLY (6PM PACIFIC) You must either call (641) 715-3222, access code 435-952-992 or visit www.hearthisevent.com to hear this webinar. There is an 18-second delay at HearThisEvent.com.
More informationTutorial 3K: Dominant Alterations
Tutorial 3K: Dominant Alterations Welcome! In this tutorial you ll learn how to: Other Tutorials 1. Find and use dominant alterations 3A: More Melodic Color 2. Play whole-tone scales that use alterations
More informationEasy Jazz Guitar Progressions
Easy Jazz Guitar Progressions 12 Essential Progressions for Jazz Guitar Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2017 Guitar for Life LLC mattwarnockguitar.com 2 Table of
More informationJazz Lesson 4. Technique. 1. Phrasing a. Phrasing is a very important part of technical exercises. If you can get in the habit of
Jazz Lesson 4 Technique 1. Phrasing a. Phrasing is a very important part of technical exercises. If you can get in the habit of working on your phrasing while practicing your tedious exercises than this
More informationHarmonizing Jazz Melodies Using Clusters
Harmonizing Jazz Melodies Using Clusters As a jazz pianist, I am always looking for ways to arrange jazz tunes. One technique that I find myself working with involves using clusters in the right hand in
More informationHarmonizing Scales with Triads
Basic Guitar Harmonizing Scales with Triads by Takeshi Yamada Basic Guitar Harmonizing Scales with Triads by Takeshi Yamada "Takeshi's books are a great source of information" - Joe Diorio Apple4Bees Copyright
More informationEar Training Exercises Ted Greene 1975, March 10 and May 8
Ear Training Exercises Ted Greene 1975, March 10 and May 8 PART 1 Wherever the word sing is used, you might wish to substitute hum or whistle if you prefer to do these. If you do sing the exercises you
More informationVoice Leading Summary
Voice Leading Summary Rules cannot be broken, but guidelines may be for aesthetic reasons. Move the Voices as Little as Possible When Changing Chords Rule 1 Resolve tendency tones by step. Generally, the
More informationIntroduction What Are Chords? Intro to Drop Chord Shapes Chapter 1: First Steps The ii-v-i-vi Progression...
Table of Contents 2 Introduction... 5 What Are Chords?... 7 Intro to Drop Chord Shapes... 20 Chapter 1: First Steps... 28 The ii-v-i-vi Progression... 28 The iim7 Chord... 29 The V7 Chord... 37 The Imaj7
More informationChord Phrasings and Progressions
Video Reference: Chapter 3 - "Chord Phrasings and Progressions" Chord Phrasings and Progressions Chord Voicing - The notes that make up a chord are referred to as voicings. For now, the two basic voicings
More informationMinor Blues Chord Progressions
Minor Blues Chord Progressions In this jazz guitar lesson you will learn the most common chord progressions used when playing a minor blues. These progressions will start off rather simply, with what is
More informationMU 3322 JAZZ HARMONY II
JAZZ HARMONY II Chord Progression EDITION A US Army Element, School of Music 1420 Gator Blvd., Norfolk, Virginia 23521-5170 19 Credit Hours Edition Date: June 1996 SUBCOURSE OVERVIEW This subcourse is
More informationFENDER PLAYERS CLUB THE ii-v-i
THE CADENTIAL USE OF THE DOMINANT SEVENTH CHORD The following figures demonstrate improvised melodic "lines" over common progressions using major, minor, and dominant seventh chords. In this lesson, we
More information150 Frequently Asked Questions about Improvisation
150 Frequently Asked Questions about Improvisation Copyright 2004 Visual Jazz Publications Here are some of the questions you may have wondering about when it comes to improvisation. Each question number
More informationMusic Theory. Content Skills Learning Targets Assessment Resources & Technology CEQ: HOW IS MUSIC PUT TOGETHER?
St. Michael-Albertville High School Teacher: Adam Sroka Music Theory September 2014 CEQ: HOW IS MUSIC PUT TOGETHER? UEQ: How do we read pitch? A1. Letter names A2. Enharmonic Equivalents A3. Half steps
More informationAltered Dominants: The Polytonal Approach Matt Olson, Furman University, Conn-Selmer Endorsing Artist
Altered Dominants: The Polytonal Approach Matt Olson, Furman University, onn-selmer ndorsing Artist Matt.Olson@furman.edu; www.mattolsonmusic.com The dominant chord is possibly the most important chord
More informationBy John Geraghty ISBN Copyright 2015 Green Olive Publications Ltd All Rights Reserved
By John Geraghty ISBN 978-0-9933558-0-6 Copyright 2015 Green Olive Publications Ltd All Rights Reserved Book One Manual and CD 1 Table of Contents Introduction... 1 Contents within the Course Part 1...
More informationCopyright MCMLXXIX by Alfred Publishing Co., Inc.
This CHORD DICTIONARY shows the notation, fingering and keyboard diagrams for all of the important chords used in modern popular, music. In order to make this dictionary useful to the amateur pianist,
More information10 Must Know Jazz Guitar Licks
10 Must Know Jazz Guitar Licks Building A Vocabulary From Studying What The Masters Play Written By: Jamie Holroyd Edited By: Jamie Holroyd and Britt Reed 2012 Jamie Holroyd http://www.jamieholroydguitar.com/
More informationChord Progressions Primer
hord Progressions Primer TH MJOR SL N PRORSSION THORY If you looked at Theory 1, you ve seen how to chords are constructed. Now it s time to put all these chords into action by exploring their relationship
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Jazz Composition Theory and Practice Ted Pease Chapter 2 Harmonic Considerations Modal Harmony Click CD icons to listen to CD tracks from book. Press ESC
More information11. Jazz Standards and Forms
11. Jazz Standards and Forms A typical performance of a jazz standard might take the following structure: o An introduction o The head (main melody) o Open-ended repetition of the form with improvisation
More informationAsk your students to continue skipping up the scale by playing broken triads on each on each scale degree.
Rev. 8/18/11 Learn Your Chords Kid! By Bradley Sowash When I was about 12 years of age, my parents took me to a restaurant that featured a live jazz trio. l was amazed to see the pianist playing without
More informationCompanion to the Cape Breton Piano Accompaniment Online Workshop Winter 2012
Companion to the Cape Breton Piano Accompaniment Online Workshop Winter 2012 I ve written this companion with the intention that the information presented here will help solidify the concepts outlined
More informationWeekly Bass Lessons: Week 7 Walking Bass Line Concepts
Weekly Bass Lessons: Week 7 Walking Bass Line Concepts In this weeks lesson we will be focusing on some Walking Bass Line Concepts. The Chord Progression I m using is based on the changes to the popular
More informationLego Field Guide (page 1) Bob Keller, Corrected Draft. Please see Acknowledgment and Disclaimer on last page. 8 July 2008
Lego Field Guide (page 1) Term Type Meaning Etymology Root step, when applicable (halfsteps up) Amen IV I cadence Used in church hymns. Tonality step, when applicable (halfsteps up) Example Changes Example
More informationPlease Read This Page First
Bluegrass Mandolin: Creating and Using Double Stops 2012 by Pete Martin Please Read This Page First This book is distributed using the shareware system. Try it. If you like it, please send me $10.00. For
More informationLet's revise the technical names for the scale degrees:
Let's revise the technical names for the scale degrees: 1 = Tonic 2 = Supertonic 3 = Mediant 4 = Subdominant 5 = Dominant 6 = Submediant 7 = Leading note DID YOU KNOW... The Blitz Key Signature Table is
More informationJazz Mandology. Chord Commonalties: m6, m7b5, rootless 9th
Current Issue Home Back Issues Other Mel Bay Sites Purchase Mandolin Products Latin Mandolin Tom Billy's Jig Bacon and Bread Interview with Hans Brentrup St. Anne's Reel - The Harmony Part Jazz Mandology
More informationThe Fundamental Triad System
The Fundamental Triad System A chord-first approach to jazz theory and practice Pete Pancrazi Copyright 2014 by Pete Pancrazi All Rights Reserved www.petepancrazi.com Table of Contents Introduction...
More informationLESSON 5. u s i n g d o u b l e c h r o m a t i c a p p r o a c h e s
LESSON 5 u s i n g d o u b l e c h r o m a t i c a p p r o a c h e s 68 LESSON 5 Double Chromatic Approaches jazz blues using the ii-7 & iv-7 chords In the upcoming etudes we begin to transition out of
More informationThe Great American Songbook
The Great American Songbook Volume Don't Get Around Much Anymore Arr. by Rich Severson Georgia On My Mind Tenderly The Shadow Of Your Smile Fly Me To The Moon It Had To Be You Don'tGetAroundMuchAnyonDukeBoElbRingutosenl
More informationUnderstanding the ChordMaps2 Screen
The - and + buttons change the current key down or up a half step. Octave - or + changes the octave of the Chord Sounds. Understanding the ChordMaps2 Screen The top row allows you to select the current
More informationINTRODUCTION TO CHORDS
INTRODUCTION TO CHORDS Indicates Files in Piano Marvel Repertoire Introduction to Chords Print out this file and use it at your keyboard to study/ Prepared by Christine Brown Please give me your feedback
More informationAdditional Open Chords
Additional Open Chords Chords can be altered (changed in harmonic structure) by adding notes or substituting one note for another. If you add a note that is already in the chord, the name does not change.
More informationCHAPTER8. Non-Harmonic tones (non-chord tones) occur with chords but are not chord members.
CHAPTER8 Non-Harmonic Tones Non-Harmonic tones (non-chord tones) occur with chords but are not chord members. FIGURED BASS Non-Harmonic tones are figured like chord tones. Non-Harmonic tones occurring
More information5 Powerful Chord Progression Ideas To Enhance Your Songwriting. SongwritingLessonsOnline.com
5 Powerful Chord Progression Ideas To Enhance Your Songwriting SongwritingLessonsOnline.com 5 Powerful Chord Progression Ideas To Enhance Your Songwriting By Ryan Buckner Guitar Mastery Solutions, Inc.
More informationJazz Lesson 20. Technique. Harmony & Theory
Lesson 20 Jazz Lesson 20 Technique 1. Minor Bebop Scale a. Playing minor bebop scales is going to be exactly the same as a dominant bebop scale fingering wise except for the fact that you will play a minor
More informationChords- Theory and Application
Chords- Theory and Application Chords remain a mystery for most guitarists because of the mystique surrounding both the guitar and the theory behind what makes a chord appropriate. The almost limitless
More informationMusic Theory I (MUT 1111) Prof. Nancy Rogers
Music Theory I (MUT 1111) Prof. Nancy Rogers The Supertonic Chord (ii or ii ) The supertonic is the strongest diatonic pre-dominant. It should therefore progress immediately to V and not move to a weaker
More informationFinding Alternative Musical Scales
Finding Alternative Musical Scales John Hooker Carnegie Mellon University CP 2016, Toulouse, France Advantages of Classical Scales Pitch frequencies have simple ratios. Rich and intelligible harmonies
More informationChord Theory as applied to Jazz Guitar Functional Harmony
Chord Theory as applied to Jazz Guitar Functional Harmony by John Riemer Part 1-Tonal Centers Chord theory takes on special adaptations as applied to playing jazz guitar. The role of the guitar puts it
More informationWes Montgomery Licks. From the Master. Written by Sam Smiley Copyright 2012 by Sam Smiley
Wes Montgomery Licks From the Master Written by Sam Smiley Copyright 2012 by Sam Smiley http://www.samsmileymusic.com twitter.com/samsmileymusic facebook.com/samsmileymusic Table of Contents Introduction...
More informationii-v-i ? 4 4 Dm7 G7 CMaj7 Gm7 C7 FMaj7 Cm7 F7 B Maj7 Fm7 B 7 E Maj7 B m7 E 7 A Maj7 E m7 A 7 D Maj7 A m7 D 7 G Maj7 C # m7 F # 7 BMaj7 F # m7 B7 EMaj7
The most common chord progression found in jazz music is the ii-v-i (2-5-1), and the source of the minor ii, dominant V, and major I chords is the modes of the major scale. For example, the C major scale
More informationBlues Rhythm Guitar. Essentials
Blues Rhythm Guitar Essentials Live Stream Wednesday Aug 29 th 2018 By Erich Andreas YourGuitarSage.com Click Here To Watch The Free Beginner Series Click Here for $1 Access to UGS and 365 courses Blues
More informationForming a Tonal Center
Forming a Tonal Center Tonality in Western Music How do we establish 1 of the 12 notes in western music as the most important note or tonal center? Here is the way it happens! Jazz Everyone! Free Lesson,
More informationAudition Overview for B-FLAT TRANSPOSING INSTRUMENTS
Jazz Improvisation Audition Overview for B-FLAT TRANSPOSING INSTRUMENTS Each candidate for Jazz Ensemble will perform a minimum of 1 chorus (16 bars) of improvised solo over the changes for Summertime
More informationThe following table shows the maximum marks that can be awarded in each section of the examination.
Introduction To Bass Guitar Examinations Internationally Recognised Qualifications These examinations offer a formal recognition of the specific talents of bass guitar players. The examinations have been
More information