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MUSIC THEORY IN A NEW KEY

Musicianship, Chromatic Harmony, andJazz Improvisation Scales

by

Gil Trythall

©2009 Kba SoftwareDallas, Texas, USA

www.musicstudy.com

MUSIC THEORY IN A NEW KEY

Musicianship, Chromatic Harmony, andJazz Improvisation Scales

by

Gil Trythall

©2009 Kba SoftwareDallas, Texas, USA

www.musicstudy.com

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ContentsPREFACE ...........................................................................................................................7METER, TEMPO, DURATION .......................................................................................91. METER ...........................................................................................................................91a. Simple and Compound Meter .......................................................................................92. TEMPO ...........................................................................................................................93. DURATION NOTATION ..............................................................................................93a. Note and Rest Durations ..............................................................................................93b. Dots and Ties ...............................................................................................................10SCALES ............................................................................................................................114. SCALE BASICS ...........................................................................................................114a. Half-Step and Whole-Step .........................................................................................114b. Diatonic Scale .............................................................................................................114c. Note-name ....................................................................................................................114d. Pitch .............................................................................................................................114e. Diatonic Tone ..............................................................................................................114f. Chromatic Tone ............................................................................................................115. MODES ........................................................................................................................125a. Modes and Keyboard White Keys ..............................................................................126. MAJOR AND MINOR SCALES ...............................................................................136a. Scale Step Names ........................................................................................................136b. Major Scale Pattern .................................................................................................136c. Minor Scale Patterns ...................................................................................................146d. Harmonic Minor Scale Pattern .................................................................................156e. Natural Minor Scale Pattern ....................................................................................156f. Melodic Minor Ascending Scale Pattern ..................................................................166g. Dorian Minor Scale Pattern .....................................................................................17INTERVALS .....................................................................................................................187. INTERVALS .................................................................................................................187a. Interval Definition .......................................................................................................187b. How to Identify Interval Size by Note Names ...........................................................187c. How To Identify Interval Quality by Note Names and Half Steps ............................198. INTERVAL IDENTIFICATION WITH REFERENCE TO SCALES ...................278a. How to Identify Interval Size and Quality with Reference to Scales ........................278b. Practice Interval Identification with Scale Reference ...............................................29

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9. INTERVAL TRANSPOSITION .................................................................................389a. Definition of ‘Transposition’ ....................................................................................389b. Interval Inversion ........................................................................................................389c. Complementary Intervals ............................................................................................38KEYS ................................................................................................................................4010. KEY AND SCALE .....................................................................................................4010a. Definition of Key .......................................................................................................4010b. Key Signature ............................................................................................................4010c. The Key of The Composition ....................................................................................4010d. Non-chord Tones .......................................................................................................4010e. Immediate Scale ........................................................................................................4010f. Improvisation Scale ..................................................................................................4010g. Relative Major and Minor Keys................................................................................4110h. Parallel Major and Minor Keys................................................................................4110j. Closely Related Keys ..................................................................................................4210k. Circle of Fifths ..........................................................................................................42TRIADS ............................................................................................................................4411. TRIADS .......................................................................................................................4411a. Triad definition ..........................................................................................................4411b. Triad Identification: Roman Numerals and Chord Symbols ...................................4411c. Triad in Root Position ...............................................................................................4511d. Triad Root, Triad Third, Triad Fifth .......................................................................4611e. Triad Inversion ..........................................................................................................4611f. Triad in First Inversion .............................................................................................4611g. Triad in Second Inversion .........................................................................................4711h. Triad in Close Position; Triad in Open Position .....................................................4711j. Triad Qualities and their Intervals ...........................................................................4712. ROMAN NUMERAL SYMBOLS FOR TRIADS ..................................................4812a. Roman Numeral Chord Functions .........................................................................4812b. Roman Numeral Symbols for Triads Spelled from Major Scales ...........................4912c. Roman Numeral Symbols for Triads Spelled from Minor Scales .........................4912d. How to Spell Triads from Roman Numerals ............................................................5013. CHORD SYMBOLS FOR TRIADS .........................................................................5113a. How to Spell Triads from Chord Symbols ................................................................5113b. How to Translate Roman Numerals to Chord Symbols ..........................................52SEVENTH CHORDS ......................................................................................................5414. SEVENTH CHORD BASICS ...................................................................................54

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14a. Seventh Chord Definition .........................................................................................5414b. Seventh Chord Qualities and Functions ..................................................................5414c. Seventh Chord Names: Roman Numerals and Chord Symbols: ............................5414d. How to Spell a Dominant Seventh Chord, V7.........................................................5514e. How to Spell Minor Seventh Chords ........................................................................5714f. How to Spell Full-diminished Seventh Chords ........................................................5814g. How to Spell Half-diminished Seventh Chords ......................................................6014h. How to Spell Major/Major Seventh Chords.............................................................6214j. How to Spell Minor/Major Seventh Chords .............................................................6414k. How to Spell V7 Chords With Raised Fifth, V7#5 ..................................................6514l. How to Spell Added Sixth Chords .............................................................................6615. SEVENTH CHORD FUNCTIONS ..........................................................................6815a. Spell Seventh Chord Functions in All Keys ............................................................6815b. How to Identify the Tonic Scale Step Defined by a V7 ...........................................6815c. How to Identify the Tonic Scale Step Defined by a vii°7 .......................................7015d . Tonic Scale Step Defined by a V7 or vii°7 Summary ..............................................7115e. Enharmonic vii°7 Chords .........................................................................................7115f. Half-diminished Seventh Chords do Not Define a Tonic Scale Step .......................7115g. Minor and Major Seventh Chords do Not Define a Tonic Scale Step ....................71DOMINANT NINTH, ELEVENTH, THIRTEENTH CHORDS ................................7216. DOMINANT SEVENTH CHORDS WITH ADDED 9TH, 11TH, OR 13TH ......7216a. Dominant 9th Chords...............................................................................................7216b. Dominant 11th Chords ..............................................................................................7416c. Dominant 13th Chords ..............................................................................................77CADENCES......................................................................................................................8017. CADENCES................................................................................................................8017a. Cadence Definition ...................................................................................................8017b. The Three Cadence Patterns ....................................................................................8017c. Authentic and Deceptive Cadence Resolution ........................................................8017d. Half Cadence .............................................................................................................8117e. Plagal Cadence ..........................................................................................................8117f. Roman Numerals for Authentic Cadences ...............................................................8117g. Chord Symbols for Authentic Cadences ..................................................................8217h. How To Identify the Immediate Scale From Authentic Cadence Chord Symbols 8317j. Roman Numerals for Deceptive Cadences ................................................................8317k. Chord Symbols for Deceptive Cadences ...................................................................8417l. How To Identify the Immediate Scale From Deceptive Cadence Chord Symbols ..85

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CHROMATIC HARMONY ............................................................................................8718. CHROMATIC CHORDS ..........................................................................................8718a. Chromatic Chord Definition .....................................................................................8718b. Two Types of Chromatic Chords ..............................................................................8719. CHROMATIC CHORDS SPELLED FROM A NEW IMMEDIATE SCALE ..8819a. How V7 (or V9, V11, V13) and viio7 determine the immediate tonic scale step .....8819b. Modulation ................................................................................................................8819c. Difference between a Modulation and a Secondary Dominant ..............................9019d. Secondary Dominants ...............................................................................................9019e. Secondary Dominant Chain......................................................................................9719f. Secondary Dominant Chain in Lead Sheet ..............................................................9919g. ‘Borrowed’ Chords. .................................................................................................10019h. Harmonic Analysis of a Bach Chorale .................................................................10119j. Secondary viio7 and Borrowed Chord in a Jazz Standard .....................................10220. CHROMATICALLY ALTERED CHORDS ........................................................10420a. Two Types of Chromatically Altered Chords .......................................................10420b. The Immediate Scale Simultaneous with Chromatically Altered Chords ............10421. CHROMATIC TONE REPLACES CHORD TONE ...........................................10421a. Augmented Sixth Chords ........................................................................................10421b. Neapolitan Sixth Chord ..........................................................................................10721c. Dominant Seventh Chords with Altered Fifth ........................................................108 22. CHROMATIC NON-CHORD TONE RESOLVES TO A CHORD TONE .....11122a. Chords with Chromatic Passing Tones or Chromatic Appoggiaturas that Sound as

a Chord Tone Before Resolving to the True Chord Tone .......................................111SCALES FOR IMPROVISATION AND COMPOSITION ......................................11323. IMPROVISATION SCALES WHEN IMMEDIATE SCALE IS MAJOR ........11323a. Definitions: Immediate scale, Immediate Chord , Improvisation Scale .............11323b. How to Determine the Immediate Scale .................................................................11323c. How to Determine Changes in the Immediate Scale ............................................11423d. Improvisation Scales when the Immediate Chord is Spelled from a Major Scale ....

11723e. Improvisation Scales for ‘Borrowed’ Chords ........................................................11823f. Immediate Scales for ‘September in the Rain’ .......................................................12423g. Improvisation Scales for ‘September in the Rain’ ................................................12424. TRITONE SUBSTITUTE V7 ...............................................................................12924a. Tritone Substitute V7 Definition .............................................................................12924b. Immediate scales for ‘The Girl From Ipanema’ ....................................................130

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23c. Improvisation scales for ‘The Girl From Ipanema’ ..............................................13125. SECONDARY DOMINANT ‘BORROWED’ viio7 ...............................................13525a. Improvisation Scale when the Immediate Chord is a Secondary Dominant ‘Bor-

rowed’ viio7 ...............................................................................................................13525b. Immediate Scales for ‘All the Things You Are’ ....................................................13625c. Improvisation Scales for ‘All the Things You Are’ ................................................13626. IMPROVISATION SCALES WHEN IMMEDIATE SCALE IS MINOR .........14126a. Improvisation Scales when the Immediate Scale is Minor ..................................14126b. Immediate Scales for ‘Orpheus’ .............................................................................14226c. Improvisation Scales for ‘Orpheus’ ........................................................................142CONCLUSION ..............................................................................................................147Index ................................................................................................................................148

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PREFACE

This book is a companion to the Kba Music software programs: Pitch ID, Rhythm ID, Chord ID, Spell ID and Melodic ID.

If you do not read music, download the free NoteID.exe from www.musicstudy.com, install the program, and practice pitch notation.

This text adds a fourth minor scale form - the Dorian minor used in jazz improvi-sation. The minor scale is a major scale pattern with a lowered third scale step AND variable sixth and seventh scale steps. The addition of Dorian minor, a minor scale with raised sixth and lowered seventh, completes all minor scale possibilities.

Improvising and composing require the knowledge and identification of all scales, intervals, chords, cadences, changes of scale, and chromatic harmony.

Practice the Kba computer programs every day. Short training periods are very effective, 15-30 minutes daily is excellent. Begin at a level where your score is 90% or better. Advance to the next level after mastering the previous.

When your score begins to fall, or you hit a ‘wall’ where you cannot improve your score, this indicates that your ear is tired. Choose a different program or stop for that day. Do not practice wrong answers for a long period of time.

Be patient. Tonal memory (ear training) takes time to develop; but you should see regular improvement. Spell ID can proceed quickly. It is simple memorization.

One learns by sight, sound, and kinesthetic practice. Play all scales, intervals, chords, and cadences on an instrument. Playing speeds memorization.

I gratefully acknowledge that many definitions in this manual are based on the New Harvard Dictionary of Music, Belnap Press, c. 1986. All errors are my own.

Blue type indicates examples that apply the preceding text.

Red type indicates exercises to be completed with the Kba software programs. Prac-tice Spell ID exercises until you are 100% accurate.

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Music is one of the finest creations of the human mind. I hope this book provides some of the basic tools for musical performance, improvisation, composition, and under-standing the grammar of music.

Gil Trythall www.musicstudy.com Dallas, Texas, USAJanuary, 2009

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METER, TEMPO, DURATION

1. METER

Meter organizes a regular succession of rhythmic beats (pulses) in a repeating pat-tern. A time signature placed just after the clef sign and key signature indicates the meter. The lower number of the time signature indicates the basic note-value of the pattern and the upper number indicates the number of basic note-values (or their equivalent dura-tions) in one complete pattern (bar or measure). A bar line indicates the end of each com-plete pattern, measure, or bar.

A time signature of 4/4 indicates that each bar contains four quarter notes or their equivalent durations. A time signature of 6/8 indicates that each bar contains 6 eighth notes or their equivalent durations.

1a. Simple and Compound Meter

If the beat (pulse) subdivides into 2 equal note-values, the meter is simple meter. If the beat (pulse) subdivides into 3 equal note-values, the meter is compound meter.

Memorize and identify simple and compound beat patterns with Rhythm ID.

2. TEMPO

The speed at which beats (pulses) are performed is the tempo, the number of regular beats per minute. In moderate tempo, the beat normally equals the basic note-value. In fast tempos, 2 or 3 basic note values may be combined in each beat.

3. DURATION NOTATION

3a. Note and Rest Durations

Pitch duration, the duration of each note-value relative to other note-values, is in-dicated by black or white note coloring, the presence or absence of a note-stem, and the number of flags attached to a note stem.

Silence is specified by rests, each with an individual graphic shape.

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There are seven basic note and rest durations. Each duration is relative to other dura-tions, the time signature (meter), and the tempo.

1 A white note-head without a note-stem is a whole note. A whole note equals two half notes.

2 A white note-head with a note-stem is a half note. A half note equals two quarter notes.

3 A black note-head with a note-stem without a flag is a quarter note. A quarter note equals two eighth notes.

4 A black note-head with a note-stem with one flag is an eighth note. An eighth note equals two sixteenth notes.

5 A black note-head with a note-stem with two flags is a sixteenth note. A sixteenth note equals two 32nd notes.

6 A black note-head with a note-stem with three flags is a 32nd note. A thirty-sec-ond note equals two 64th notes.

7 A black note-head with a note-stem with four flags is a 64th note.

3b. Dots and Ties

Dots and ties create additional duration values. A dot after a note-head increases the note duration by one-half of its value. Two or more notes may be joined together by means of ties, curved lines, to form additional durations.

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SCALES

4. SCALE BASICS

4a. Half-Step and Whole-Step

A half-step consists of immediately adjacent keys on a keyboard. There is no inter-vening key. A half-step is a semitone.

A whole-step consists of 2 half-steps in the same direction. A whole-step is a full-step.

4b. Diatonic Scale

A diatonic scale has seven pitches arranged in a successive whole-step and half-step pattern. Each pitch has an adjacent and different note-name.

4c. Note-name

A note-name is the letter (or syllable) name of a note. A note-name does not indicate the exact pitch. The note-name C (Dó) refers to any C (Dó).

4d. Pitch

A note-name followed by an Arabic numeral indicates an exact pitch. Interval spell-ing in Spell ID indicates keyboard middle C as C3. D3 is the D immediately above C3. C4 is an octave above C3. C2 is an octave below C3.

NOTE: Numbered octaves are not standard in music theory. Some systems use C4 or C5 to represent keyboard middle C.

4e. Diatonic Tone

A diatonic tone is a scale step in a major or minor scale.

4f. Chromatic Tone

A chromatic tone is NOT a scale step in the immediate major or minor scale.

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5. MODES

The church modes are the earliest surviving scales in western music. The written sources date from the ninth century C.E. Eight consecutive keyboard white keys represent a mode. The lowest and highest scale step is the mode final, the concluding tone.

5a. Modes and Keyboard White Keys

The names of the seven modes are:

Ionian: C to C on keyboard white keys.

Dorian: D to D on keyboard white keys.

Phrygian: E to E on keyboard white keys..Lydian: F to F on keyboard white keys.

Mixolydian: G to G on keyboard white keys.

Aeolian: A to A on keyboard white keys.

Locrian: B to B on keyboard white keys.

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6. MAJOR AND MINOR SCALES

6a. Scale Step Names

Scale step names upwards in major and minor scale are:

Tonic = first scale step.

Super-tonic = second scale step.

Mediant = third scale step.

Sub-dominant = fourth scale step.

Dominant = fifth scale step.

Sub-mediant = sixth scale step.

Leading tone = seventh scale step one half-step below tonic.

Sub-tonic = seventh scale step one whole-step below tonic.

Tonic = eighth scale step.

6b. Major Scale Pattern

The major scale pattern up is: tonic, whole-step, whole-step, half-step, whole-step, whole-step, whole-step, half-step to the tonic.

The major scale pattern has 2-2-1-2-2-2-1 half-steps (semi-tones) between pitches. Each tone has a different note-name.

Memorize the 13 major scales with Spell ID, Contents > Scales > Major Scales.

Identify major scale steps by ear with Pitch ID > Key > Select Major keys. Begin with the number of scale steps where you score 90% or better. Advance as the program suggests.

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Practice melodic dictation in major keys with Melodic ID > Keys > Select major keys. Begin with scale steps 1,2,3,4,5; turn Advance On and advance as suggested.

Major Scales:

6c. Minor Scale Patterns

The minor scale is a major scale with lowered third scale step AND variable (chang-ing) sixth and seventh scale steps. For pedagogical purposes, the minor scale forms are taught as the harmonic minor with lowered sixth and raised seventh scale steps; natural minor with lowered sixth and seventh scale steps; melodic minor ascending with raised sixth and raised seventh scale steps; and Dorian minor with raised sixth and lowered seventh scale steps.

Determine the minor scale form by the immediate chord and voice leading require-ments. V and viio chords require a raised seventh scale step; but smooth voice leading requires a half-step or whole-step to and from the raised seventh scale step. Therefore the sixth scale step is raised in melodic minor as required for smooth voice leading.

Identify harmonic minor scale steps by ear with Pitch ID > Key > Select minor keys. Begin with the number of scale steps where you score 90% or better. Advance as the program suggests.

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6d. Harmonic Minor Scale Pattern

The harmonic minor scale pattern has 2-1-2-2-1-3-1 half-step pattern. OR: The harmonic minor scale is a major scale with the same tonic; but lower the third and sixth scale steps one half-step.

Memorize the 12 harmonic minor scales with Spell ID, Contents > Scales > Harm. min. Scales.

Practice melodic dictation in harmonic minor scales with Melodic ID > Keys > Se-lect harmonic minor keys. Begin with scale steps 1,2,3,4,5. Use Melodic ID > Advance > On and advance as suggested.

6e. Natural Minor Scale Pattern

The natural minor scale pattern has a 2-1-2-2-1-2-2 half-step pattern.

OR: The natural minor scale pattern is a major scale with the same tonic; BUT lower the third, sixth and seventh scale steps one half-step,

Memorize the 12 natural minor scales with Spell ID, Contents > Scales > Nat.. min. Scales.

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6f. Melodic Minor Ascending Scale Pattern

The melodic minor ascending scale pattern has a 2-1-2-2-2-2-1 half-step pattern OR: The melodic minor scale ascending is a major scale with the same tonic; BUT lower the third scale step one half-step. (Melodic minor descending is the same as the natural minor scale.)

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Memorize the 12 melodic minor scales with Spell ID, Contents > Scales > Mel. min. Scales.

Practice melodic dictation with melodic minor scales with Melodic ID > Keys > Se-lect melodic minor keys. Begin with scale steps 1,2,3,4,5. Select Melodic ID > Advance > On and advance as suggested.

6g. Dorian Minor Scale Pattern

The Dorian minor scale pattern has a 2-1-2-2-2-1-2 half-step pattern.

OR:

The Dorian minor scale is a major scale with the same tonic; BUT lower the third scale step one half-step and lower the seventh scale step one half-step.

Memorize the 12 Dorian minor scales with Spell ID, Contents > Improvisation Scales > Dorian improv scales.

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INTERVALS

7. INTERVALS

7a. Interval Definition

An interval is the distance included in two pitches.

An interval name indicates the interval size (second, third, etc.) and the interval quality (major, minor, diminished, augmented).

Determine interval size by the number of different letter note names included in the two pitches. Determine interval quality (major, minor, diminished, augmented) by the number of half steps included between the two pitches.

7b. How to Identify Interval Size by Note Names

For example,

(1) what is the interval size of C up to F?

C up to F includes four different letter note names: C, D, E, F.

Therefore C up to F is a “fourth”.

(2) What is the interval size of C down to F?

C down to F includes five different letter note names: C, B, A, G, F.

Therefore C down to F is a “fifth”.

(3) What is the interval size of G up to F?

G up to F includes 7 different note names, G, A, B, C, D, E, F.

Therefore G up to F is a ‘seventh’.

1 letter note-name included = unison,

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2 adjacent letter note names included = second, 3 adjacent letter note names included = third, 4 adjacent letter note names included = fourth, 5 adjacent letter note names included = fifth, 6 adjacent letter note names included = sixth, 7 adjacent letter note names included = seventh,8 adjacent letter note names included = octave, 9 adjacent letter note names included = ninth, 10 adjacent letter note names included = tenth, 11 adjacent letter note names included = eleventh, 12 adjacent letter note names included = twelfth, 13 adjacent letter note names included = thirteenth, 15 adjacent letter note names included = two octaves or fifteenth.

7c. How To Identify Interval Quality by Note Names and Half Steps

The number of half-steps in an interval does not automatically indicate the correct interval name. C to D# is an augmented second because the interval includes two letter note names. C to Eb is a minor third because the interval includes three letter note names. Both intervals contain 3 half-steps.

0 half-steps and 1 letter note name included = perfect unison 1 half-step and 2 adjacent letter note names included = minor second 2 half-steps and 2 adjacent letter note names included = major second 3 half-steps and 3 adjacent letter note names included = minor third 4 half-steps and 3 adjacent letter note names included = major third 5 half-steps and 4 adjacent letter note names included = perfect fourth 6 half-steps and 4 adjacent letter note names included = augmented fourth 6 half-steps and 5 adjacent letter note names included = diminished fifth 7 half-steps and 5 adjacent letter note names included = perfect fifth 8 half-steps and 5 adjacent letter note names included = augmented fifth 8 half-steps and 6 adjacent letter note names included = minor sixth9 half-steps and 6 adjacent letter note names included= major sixth 10 half-steps and 6 adjacent letter note names included = augmented sixth 10 half-steps and 7 adjacent letter note names included = minor seventh11 half-steps and 7 adjacent letter note names included = major seventh 12 half-steps and 8 adjacent letter note names included = perfect octave.

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PERFECT FOURTH AND PERFECT FIFTH

A perfect fourth has 4 adjacent letter note names and 5 half-steps above or below the given note.

For example,

(1) What note is a perfect fourth above F?

Five half-steps above F is: A# or Bb. F up to Bb includes 4 adjacent letter note names.

Therefore the perfect fourth above F is Bb.

(2) What note is a perfect fourth below E?

Five half-steps below E is B or Cb. E down to B includes 4 adjacent letter note names.

Therefore the perfect fourth below E is B.

A perfect fifth has 5 adjacent letter note names and 7 half-steps above or below the given note.

For example,

(1) What note is a perfect fifth above F#?

Seven half-steps above F# is C# or Db. F# up to C# includes 5 adjacent letter note names..

Therefore the perfect fifth above F# is C#.

(2) What note is a perfect fifth below Eb?

Seven half-steps below Eb is: G# or Ab. Eb down to Ab includes 5 adjacent letter note names.

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Therefore the perfect fifth below Eb is Ab.

Memorize interval spelling with Spell ID, Contents > Intervals > perf 5 and 4.

MAJOR AND MINOR THIRDS A major third has 3 adjacent letter note name and 3 half-steps above or below the

given note.

For example,

(1) What note is a major third above F#?

Four half-steps above F# is: A# or Bb. F# up to A# includes 3 adjacent letter note names.

Therefore the major third above F# is A#.

(2) What note is a major third below G?

Four half-steps below G is: D# or Eb. G down to Eb includes 3 adjacent letter note names.

Therefore the major third below G is Eb.

A minor third has 3 adjacent letter note names and 3 half-steps above or below the given note.

For example,

(1) What note is a minor third above F#?

Three half-steps above F# is A. F# up to A includes 3 adjacent letter note names.

Therefore the minor third above F# is A.

(2) What note is a minor third below E?

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Three half-steps below E is C# or Db. E down to C# includes 3 adjacent letter note names.

Therefore the minor third below E is C#.

MAJOR OR MINOR SIXTHS

A major sixth has 6 adjacent letter note names and 9 half-steps above or below the given note.

For example,

(1) What note is a major sixth above F#?

Nine half-steps above F# is: D# or Eb. F# up to D# includes 6 adjacent letter note names.

Therefore the major sixth above F# is D#.

(2) What note is a major sixth below G?

Nine half-steps below G is: A# or Bb. G down to Bb includes 6 adjacent letter note names.

Therefore the major sixth below G is Bb.

A minor sixth has 6 adjacent letter note names and 8 half-steps above or below the given note.

For example,

(1) What note is a minor sixth above F?

Eight half-steps above F is Db or C#. F up to Db includes 6 adjacent letter note names.

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Therefore the minor sixth above F is Db.

(2) What note is a minor sixth below G?

Eight half-steps below G is B. G down to B includes 6 adjacent letter note names.

Therefore the minor sixth below G is B.

Memorize interval spelling with Spell ID, Contents > Intervals > 3 and 6.

MAJOR AND MINOR SECONDS

A major second has 2 adjacent letter note names and 2 half-steps above or below the given note.

For example,

(1) What note is a major second above Gb?

Two half-steps above Gb is: Ab or G#. Gb up to Ab includes 2 adjacent letter note names.

Therefore the major second above Gb is Ab.

(2) What note is a major second below Gb?

Two half-steps below Gb is: Fb or E. Gb down to Fb includes 2 adjacent letter note names.

Therefore the major second below Gb is Fb.

A minor second has 2 adjacent letter note names and 1 half-step above or below the given note.:

For example,

(1) What note is a minor second above G?

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One half-step above Gb is: Ab or G#. G up to Ab includes 2 adjacent letter note names.

Therefore the minor second above G is Ab.

(2) What note is a minor second below G?

One half-step below G is: Gb or F#. G down to F# includes 2 adjacent letter note names.

Therefore the minor second below is F#.

MAJOR AND MINOR SEVENTHS

A major seventh has 7 adjacent letter note names and 11 half-steps above or below the given note.

For example,

(1) What note is a major seventh above F#?

Eleven half-steps above F# is: E# or F natural. F# up to E# includes 7 adjacent let-ter note names.

Therefore the major seventh above F# is E#.

(2) What note is a major seventh below G?

Eleven half-steps below G is: G# or Ab. G down to Ab includes 7 adjacent letter note names.

Therefore the major seventh below G is Ab.

A minor seventh has 7 adjacent letter note names and 10 half-steps above or below the given note.

For example,

(1) What note is a minor seventh above F?

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10 half-steps above F is Eb or D#. F up to Eb includes 7 adjacent letter note names. Therefore the minor seventh above F is Eb.

(2) What note is a minor seventh below F?

10 half-steps below E is F# or Gb. E down to F# includes 7 adjacent letter note names.

Therefore the minor seventh below E is F#.

Memorize interval spelling with Spell ID, Contents > Intervals > 2 and 7.

AUGMENTED SECOND

An augmented second has 2 adjacent letter note names and 3 half-steps above or below the given note

For example,

(1) What note is an augmented second above G?

Three half-steps above G is: A# or Bb. G up to A# includes 2 adjacent letter note names.

Therefore the augmented second above G is A#.

(2) What note is an augmented second below G?

Three half-steps below G is: E or Fb. G down to Fb includes 2 adjacent letter note names..

Therefore the augmented second below G is Fb.

DIMINISHED SEVENTH

A diminished seventh has 7 adjacent letter note names and 9 half-steps above or below the given note.

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For example,

(1) What note is a diminished seventh above G?

Nine half-steps above G is: E or Fb. G up to Fb includes 7 adjacent letter note names.

Therefore a diminished seventh above G is Fb.

(2) What note is a diminished seventh below G?

Nine half-steps below G is: A# or Bb. G down to A# includes 7 adjacent letter note names.

Therefore a diminished seventh below G is A#.

Memorize interval spelling with Spell ID, Contents > Intervals > Aug 2 and Dim7.

AUGMENTED FOURTH

An augmented fourth has 4 adjacent letter note names and 6 half-steps above or below the given note.

For example,

(1) What note is an augmented fourth above G?

Six half-steps above G is: C# or Db. G up to C# includes 4 adjacent letter note names.

Therefore the augmented fourth above G is C#.

(2) What note is an augmented fourth below G?

Six half-steps below G is: C# or Db. G down to Db includes 4 adjacent letter note names.

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Therefore the augmented fourth below G is Db.

DIMINISHED FIFTH

A diminished fifth has 5 adjacent letter note name and 6 half-steps above or below the given note.

For example,

(1) What note is a diminished fifth above G?

Six half-steps above G is: C# or Db. G up to Db includes 5 adjacent letter note names.

Therefore the diminished fifth above G is Db.

(2) What note is a diminished fifth below G?

Six half-steps below G is: C# or Db. G down to C# includes 5 adjacent letter note names.

Therefore a diminished fifth below G is C#.

Memorize interval spelling with Spell ID, Contents > Intervals > Aug 4 and Dim 5.

8. INTERVAL IDENTIFICATION WITH REFERENCE TO SCALES

Memorize interval spelling with Spell ID, Contents > Intervals > Mixed.

8a. How to Identify Interval Size and Quality with Reference to Scales

Compare the interval to be measured to a major or minor scale. Consider the lower note of the measured interval to be a tonic scale step and the upper note to be a scale step above that tonic.

The 5 interval qualities in scales are:

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(1) Perfect intervals. The first, fourth, fifth, and octave scale steps above the tonic scale step of a major or minor scale are perfect intervals.

(2) Major intervals. The second, third, sixth, and seventh scale steps above the tonic scale step of a major scale are major intervals.

(3) Minor intervals. The third, sixth and seventh scale steps above the tonic scale step of a natural minor scale are minor intervals. Or, a minor interval is a major interval lowered one half-step.

(4) Diminished intervals. A diminished interval is a perfect or minor interval low-ered one half-step.

(5) Augmented intervals. An augmented interval is a perfect or major interval raised one half-step.

A tritone is an augmented fourth or diminished fifth. A tritone consists of 3 full-steps (3 whole steps).

A doubly augmented interval is an augmented interval raised one additional half-step.

A doubly diminished interval is a diminished interval lowered one additional half-step.

Identify intervals by ear with Pitch ID > Practice Intervals? > Intervals. Begin with a few scale steps and increase the number of intervals each time you complete 50 inter-vals with better than 90% accuracy.

INTERVALS GREATER THAN AN OCTAVE

An octave plus a major or minor second is a major ninth or minor ninth. An octave plus a major or minor third is a major tenth or minor tenth.An octave plus a fourth is an eleventh.An octave plus a fifth is a twelfth.An octave plus a sixth is a thirteenthAn octave plus an octave is a fifteenth.

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8b. Practice Interval Identification with Scale Reference

Intervals in Major Scales:

Intervals in Minor Scales:

SPELLING FOURTHS AND FIFTHS WITH SCALE REFERENCE

To spell a note that is a perfect fourth (or perfect fifth) above a given note:

(1) Consider the given note to be the tonic scale step of a major scale.

(2) The fourth (or fifth) scale step of that major scale is a perfect fourth (or perfect fifth) above the given note.

For example,

(1) What note is a perfect fourth above F?

F is the tonic scale step of an F Major scale. The fourth scale step of an F Major scale is Bb.

Therefore the note a perfect fourth above F is Bb.

(2) What note is a perfect fifth above G?

G is the tonic scale step of a G Major scale. The fifth scale step of a G Major scale is D.

Therefore the note a perfect fifth above G is D.

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To spell a note that is a perfect fourth (or perfect fifth) below a given note:

(1) Consider the given note to be the fourth (or fifth) scale step of a major scale.

(2) The tonic scale step of that major scale is a perfect fourth (or perfect fifth) below the given note.

For example,

(1) What note is a perfect fourth below Eb?

Eb is the fourth scale step of a Bb Major scale.

Therefore the note a perfect fourth below Eb is Bb.

(2) What note is a perfect fifth below G?

G is the fifth scale step of a C Major scale.

Therefore the note a perfect fifth below G is C.

SPELLING MAJOR THIRDS WITH SCALE REFERENCE

To spell a note that is a major third above a given note:

(1) Consider the given note to be the tonic scale step of a major scale.

(2) The third scale step of that scale is a major third above the given note.

For example,

(1) What note is a major third above F?

F is the tonic scale step of an F Major scale. The third scale step of an F Major scale is A.

Therefore the note a major third above F is A.

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To spell a note that is a major third below a given note:

(1) Consider the given note to be the third scale step of a major scale.

(2) The tonic scale step of that major scale is a major third below the given note.

For example,

(1) What note is a major third below E?

E is the third scale step of a C Major scale.

Therefore the note a major third below E is C.

SPELLING MINOR THIRDS WITH SCALE REFERENCE

To spell a note that is a minor third above a given note:

(1) Consider the given note to be the tonic scale step of a minor scale.

(2) The third scale step of that minor scale is a minor third above the given note.

For example,

(1) What note is a minor third above F?

F is the tonic scale step of an F minor scale. The third scale step of an F minor scale is Ab.

Therefore the note a minor third above F is Ab.

To spell a note that is a minor third below a given note:

(1) Consider the given note to be the third scale step of a minor scale.

(2) The tonic scale step of that minor scale is a minor third below the given note.

For example,

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(1) What note is a minor third below F?

F is the third scale step of a D minor scale.

Therefore the note a minor third below F is D.

SPELLING MAJOR SIXTHS WITH SCALE REFERENCE

To spell a note that is a major sixth above a given note:

(1) Consider the given note to be the tonic scale step of a major scale.

(2) The sixth scale step of that scale is a major sixth above the given note.

For example,

(1) What note is a major sixth above F?

F is the tonic scale step of an F Major scale. The sixth scale step of an F Major scale is D.

Therefore the note a major sixth above F is D.

To spell a note that is a or major sixth below a given note:

(1) Consider the given note to be the sixth scale step of a major scale.

(2) The tonic scale step of that major scale is a major sixth below the given note.

For example,

(1) What note is a major sixth below F?

F is the sixth scale step of a Ab Major scale.

Therefore the note a major sixth below F is Ab.

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SPELLING MINOR SIXTHS WITH SCALE REFERENCE

To spell a note that is a minor sixth above a given note:

(1) Consider the given note to be the tonic scale step of a natural minor or harmonic minor scale.

(2) The sixth scale step of that scale is a minor sixth above the given note.

For example,

(1) What note is a minor sixth above F?

F is the tonic scale step of an F minor scale. The sixth scale step of an F natural mi-nor or harmonic minor scale is Db.

Therefore the note a minor sixth above F is Db.

To spell a note that is a or minor sixth below a given note:

(1) Consider the given note to be the sixth scale step of a natural minor or harmonic minor scale.

(2) The tonic scale step of that natural or harmonic minor scale is a minor sixth below the given note.

For example,

(1) What note is a minor sixth below F?

F is the sixth scale step of a A natural minor or harmonic minor scale.

Therefore the note a minor sixth below F is A.

SPELLING MAJOR SECONDS WITH SCALE REFERENCE

To spell a note that is a major second above a given note:

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(1) Consider the given note to be the tonic scale step of a major scale.

(2) The second scale step of that major or minor scale is a major second above the given note.

For example,

(1) What note is a major second above F?

F is the tonic scale step of an F Major scale. The second scale step of an F Major scale is G.

Therefore the note a major second above F is G.

To spell a note that is a major second below a given note:

(1) Consider the given note to be the second scale step of a major scale.

(2) The tonic scale step of that major scale is a major second below the given note.

For example,

(1) What note is a major second below F?

F is the second scale step of an Eb Major scale.

Therefore the note a major second below F is Eb.

SPELLING MAJOR SEVENTHS WITH SCALE REFERENCE

To spell a note that is a major seventh above a given note:

(1) Consider the given note to be the tonic scale step of a major scale.

(2) The seventh scale step of that major scale is a major seventh above the given note.

For example,

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(1) What note is a major seventh above F?

F is the tonic scale step of an F Major scale. The seventh scale step of an F Major scale is E.

Therefore the note a major seventh above F is E.

To spell a note that is a major seventh below a given note:

(1) Consider the given note to be the seventh scale step of a major scale.

(2) The tonic scale step of that major scale is a major seventh below the given note.

For example,

(1) What note is a major seventh below F?

F is the seventh scale step of a Gb Major scale.

Therefore the note a major seventh below F is Gb.

SPELLING MINOR SEVENTHS WITH SCALE REFERENCE

To spell a note that is a minor seventh above a given note:

(1) Consider the given note to be the tonic scale step of a natural minor scale.

(2) The seventh scale step of that natural minor scale is a minor seventh above the given note.

For example,

(1) What note is a minor seventh above G?

G is the tonic scale step of a G natural minor scale. The seventh scale step of G natural minor scale is F.

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Therefore the note a minor seventh above G is F.

To spell a note that is a minor seventh below a given note:

(1) Consider the given note to be the seventh scale step of a natural minor scale.

(2) The tonic scale step of that natural minor scale is a minor seventh below the given note.

For example,

(1) What note is a minor seventh below G?

G is the seventh scale step of an A natural minor scale.

Therefore the note a minor seventh below G is A.

SPELLING DIMINISHED SEVENTHS

To spell a diminished seventh above or below a given note:

A diminished seventh above a given note is a minor seventh upwards and lowered (contracted) one additional one-half step.

For example,

(1) What note is a diminished seventh above G?

A minor seventh above G is F.

Therefore a diminished seventh above G is Fb. (Not E natural which is a major sixth above G!).

A diminished seventh below a given note is a minor seventh downwards and raised (contracted) one additional one-half step.

For example,

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(1) What note is a diminished seventh below G?

A minor seventh below G is A.

Therefore a diminished seventh below G is A#. (Not Bb which is a major sixth be-low G!).

SPELLING AUGMENTED FOURTHS

To spell an augmented fourth above or below a given note:

An augmented fourth above a given note is a perfect fourth raised (expanded) one half-step.

For example,

(1) What note is an augmented fourth above G?

A perfect fourth above G is C.

Therefore an augmented fourth above G is C#. (Not Db which is a diminished fifth.)

An augmented fourth below a given note is a perfect fourth downwards lowered (expanded) one additional one-half step.

For example,

(1) What note is an augmented fourth below G?

A perfect fourth below G is D.

Therefore an augmented fourth below G is Db. (Not C# which is a diminished fifth.)

SPELLING DIMINISHED FIFTHS

To spell a diminished fifth above or below a given note:

A diminished fifth above a given note is a perfect fifth lowered (contracted) one ad-

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ditional half-step.

For example,

(1) What note is a diminished fifth above G?

A perfect fifth above G is D.

Therefore an diminished fifth above G is Db. (Not C#.)

An diminished fifth below a given note is a perfect fifth downwards raised (con-tracted) one additional half-step.

For example,

(1) What note is a diminished fifth below G?

A perfect fifth below G is C.

Therefore an diminished fifth below G is C#. (Not Db which is aaugmented fourth.)

9. INTERVAL TRANSPOSITION

9a. Definition of ‘Transposition’

Transposition is the rewriting or performance of music at a pitch other than the original pitch.

9b. Interval Inversion

Interval inversion is the octave transposition of one pitch in an interval above or below the other.

9c. Complementary Intervals

Interval inversion produces the complementary interval.

A perfect unison inverts to a perfect octave.

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A minor second inverts to a major seventh.

A major second inverts to a minor seventh.

A minor third inverts to a major sixth.

A major third inverts to a minor sixth.

A perfect fourth inverts to a perfect fifth.

An augmented fourth inverts to a diminished fifth.

Complimentary intervals reverse at the augmented fourth/diminished fifth.

A diminished fifth inverts to an augmented fourth.

A perfect fifth inverts to a perfect fourth.

A minor sixth inverts to a major third.

A major sixth inverts to a minor third.

A minor seventh inverts to a major second.

A major seventh inverts to a minor second.

A perfect octave inverts to a perfect unison.

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KEYS

10. KEY AND SCALE

10a. Definition of Key

Key is the relationships between pitches that establish a single tonic scale step as the tonal center of the composition, the tone to which all other tones relate.

10b. Key Signature

A key signature is an arrangement of sharps or flats (or their absence) at the begin-ning of a staff. A key signature indicates the sharps or flats (or their absence) in the scale of the key of the composition.

10c. The Key of The Composition

The ‘key of the composition’ is the name of the scale, as indicated by the key signa-ture, from which all chords and non-chord tones are spelled at the beginning and end of a composition.

10d. Non-chord Tones

Non-chord tones are those tones in the melody (or melodies) which are not tones in the immediate chord.

10e. Immediate Scale

The immediate scale is the scale from which the chords and non-chord tones are spelled at that point in a composition.

Scale changes occur in most compositions. Accidentals indicate the new scale steps. The key signature does not change for brief changes of scale.

10f. Improvisation Scale

The improvisation scale contains the scale steps of the immediate scale arranged upwards from the root of the immediate chord plus any chromatic alterations indicated by

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the chord symbol. (See Section 22.)

10g. Relative Major and Minor Keys

Relative major and relative minor keys share the same key signature.

The tonic scale step of the relative minor key is the interval of a minor third below the tonic scale step of its’ relative major. (The interval of a minor third is two letter note names and 3 half steps up or down. See section 7.)

For example,

(1) What is the relative minor of C Major?

Two letter note names down is A which is 3 half steps distant from C.

Therefore the relative minor of C Major is A minor.

The tonic scale step of the relative major key is a minor third above the tonic scale step of its’ relative minor.

For example,

(1) What is the relative major of Eb minor?

Two letter note names up from Eb is G. But the relative minor key must be only 3 half steps away and G is 4 half steps away.

Therefore the relative major key of Eb minor is Gb Major, 3 half steps up.

10h. Parallel Major and Minor Keys

Parallel major and parallel minor keys have the same tonic scale step.

For example,

What is the parallel minor of C Major?

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(1) C Minor is the parallel minor of C Major.

10j. Closely Related KeysEach key has five closely related keys.

A major key and its five closely related keys are: the major key and (1) its relative minor; (2 and 3) the major key with a tonic scale step a perfect fifth higher and its relative minor; (4 and 5) the major key with a tonic scale step a perfect fifth lower and its relative minor.

For example,

(1) What are the five closely related keys of C Major?

The five closely related keys to C Major are: C Major and (1) A Minor, (2 and 3) G Major and E Minor, (4 and 5) F Major and D Minor.

A minor key and its five closely related keys are: the minor key and (1) its relative major; (2 and 3) the minor key with a tonic scale step a perfect fifth higher and its relative major; (4 and 5) the minor key with a tonic scale step a perfect fifth lower and its relative major.

For example,

(1) What are the five closely related keys to C minor?

C Minor and its five closely related keys are: C Minor and (1) Eb Major, (2 and 3) G Minor and Bb Major, (4 and 5) F Minor and Ab Major.

10k. Circle of Fifths

The ‘Circle of Fifths’ is a clockwise arrangement of all major and minor key signa-tures so that each adjacent tonic scale step completes the interval of a perfect fifth.

Clockwise movement from C Major/A minor increases each successive key signa-ture by one sharp. Counterclockwise movement from C Major/A minor increases each successive key signature by one flat.

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44

TRIADS

11. TRIADS

11a. Triad definition

A triad consists of three pitches with alternate scale step note names.

A chord consists of three or more pitches sounding simultaneously or functioning as if sounding simultaneously.

A triad is a chord; but a chord is not a triad unless the chord has only three notes spelled from alternate scale steps.

11b. Triad Identification: Roman Numerals and Chord Symbols

Identify triads in two manners:

1. A Roman numeral identifies each triad by the scale step number of the root of the triad in the immediate scale. Identify major triads with capital Roman numerals, minor triads with small Roman numerals, diminished triads with small Roman numerals fol-lowed by a superscript circle, o, and augmented triads with capital Roman numerals fol-lowed by a superscript plus sign, +. Refer to the triad by the scale step name of the triad root. A ‘i’ triad is a ‘tonic’ triad, a ‘ii’ triad is a supertonic triad, etc..

2. A chord symbol identifies each triad by the letter note name of the root of the triad. A capital letter alone or followed by ‘Maj’ indicates a Major triad; a capital letter followed by ‘min’, ‘m’, or ‘-’ indicates a minor triad; a capital letter followed by ‘dim’ or a superscript circle, o, indicates a diminished triad, a capital letter followed by ‘aug’ or a superscript plus sign, +, indicates an augmented triad.

Chord symbols provide rapid chord spelling.

Place chord symbols above the staff; Place Roman numerals below the staff.

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11c. Triad in Root Position

A triad in root position places the triad root in the lowest sounding voice.

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The intervals above the bass are a third and a fifth in any octave.

Place a triad in root position by arranging the triad notes in alternate note name order.

For example,

What is the root position of triad notes D, B, and G?

The alternate note name order of D, B, G is G, B, D. Therefore the root position of the triad is G, B, D.

11d. Triad Root, Triad Third, Triad Fifth

A triad root is the lowest alternate scale step.

F is the root of an F, A, C triad.

A triad third is the note name of the middle alternate scale step.

A is the third of an F, A, C triad.

A triad fifth is the note name of the highest alternate scale step.

C is the fifth of an F, A, C triad.

11e. Triad Inversion

Triad inversion places the triad third or fifth in the lowest sounding voice.

Triads related by inversion contain the same notes; but the triads do not contain the same note in the lowest sounding voice.

11f. Triad in First Inversion

A first inversion triad has the triad third in the lowest sounding voice. The inter-vals above the bass are a sixth and a third in any octave. A first inversion triad is a ‘sixth chord’ because the lowest sounding voice completes the interval of a sixth with one of the

47

upper voices.

11g. Triad in Second Inversion

A second inversion triad has the triad fifth in the lowest sounding voice. The inter-vals above the bass are a sixth and a fourth in any octave. A second inversion triad is a ‘6

4 triad because the lowest sounding voice completes intervals of a sixth and a fourth with the upper voices.

11h. Triad in Close Position; Triad in Open Position

A triad in close position has no space for an additional triad note between any triad notes.

An triad in open position has space for one or more additional triad notes between any of the triad notes.

11j. Triad Qualities and their Intervals

Define triad quality by placing the triad in root position, close position.

There are four triad qualities: (1) Major, (2) Minor, (3) Diminished, and (4) Aug-mented.

(1) MAJOR TRIAD QUALITY

A root position, close position major triad has:

(1) A major third between the root and third.(2) A minor third between the third and fifth.

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(3) A perfect fifth between the root and fifth.

(2) MINOR TRIAD QUALITY

A root position, close position minor triad has:

(1) A minor third between the root and third.(2) A major third between the third and fifth.(3) A perfect fifth between the root and fifth.

(3) DIMINISHED TRIAD QUALITY

A root position, close position diminished triad contains:

(1) A minor third between the root and third. (2) A minor third between the third and fifth. (3) A diminished fifth between the root and fifth.

(4) AUGMENTED TRIAD QUALITY

A root position, close position augmented triad contains:

(1) A major third between the root and third.(2) A major third between the third and fifth.(3) An augmented fifth between the root and fifth.

12. ROMAN NUMERAL SYMBOLS FOR TRIADS

12a. Roman Numeral Chord Functions

Roman numeral symbols appear below the staff on the beat where each chord be-gins.

A Roman numeral symbol indicates:

(1) The scale step number of the triad root in the immediate scale.

(2) Major triad quality by a capital Roman numeral; minor triad quality by a

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small Roman numeral; diminished triad quality by a small Roman numeral followed by a small superscript circle ‘o’; augmented triad quality by a capital Roman numeral fol-lowed by a superscript plus sign ‘+’.

12b. Roman Numeral Symbols for Triads Spelled from Major Scales

Triad qualities spelled from a major scale:

I (tonic triad) is a major triad.ii (supertonic triad) is a minor triad.iii (mediant triad) is a minor triad.IV (sub-dominant triad) is a major triad.V (dominant triad) is a major triad.vi (sub-mediant triad) is a minor triad.vii° (leading tone triad) is a diminished triad.

Memorize Triads from Roman numerals with Spell ID, Contents > Triad Func-tions (Maj Keys). Spell in all keys.

12c. Roman Numeral Symbols for Triads Spelled from Minor Scales

Triads qualities spelled from a minor scale:

i (tonic triad) is a minor triad.ii dim or ii° (supertonic triad) is a diminished triad.III (mediant triad) spelled from a natural minor scale is a major triad. III+ spelled from the harmonic or melodic minor scale is an augmented triad.iv (sub-dominant triad) is a minor triad. IV spelled from the melodic minor ascending scale is a major triad.V (dominant triad) is a major triad. v spelled from the natural minor scale is a minor triad. VI (sub-mediant triad) is a major triad. vi° spelled from the melodic minor ascending scale is a diminished triad.vii° (leading-tone triad) is a diminished triad. VII spelled from a natural minor scale is a major triad.

Note: Spell V and vii° from the harmonic minor or melodic minor ascending scale. Spell i, ii°, III, iv, and VI from the natural minor scale. There are infrequent

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exceptions when smooth voice-leading requires vi° or IV preceding V or vii°. v (a minor triad on the fifth scale step and VII (a major triad on the seventh scale step of the natural minor scale) also occur, but are less frequent.

Memorize Triads from Roman numerals with Spell ID, Contents > Triad Functions (min Keys). Spell in all keys.

Identify triad Roman numeral functions by ear with Chord ID. Function/Chord/ Quality > Functions. Begin with the number of chords where you score 90% or better. Advance as the program suggests.

12d. How to Spell Triads from Roman Numerals

The Roman numeral indicates the number of the scale step root of the triad in the immediate scale and the triad quality.

A capital Roman numeral indicates a major triad. A small Roman numeral indicates a minor triad.

‘°’ after a small Roman numeral indicates a diminished triad.

‘+’ after a capital Roman numeral indicates an augmented triad.

For example,

(1) What is the spelling of Eb Major: V?

The fifth scale step of Eb Major is Bb. The capital Roman numeral indicates a major triad.

Therefore Eb Major: V = Bb, D, F.

(2) What is the spelling of B minor; iio?

The second scale step of B minor is C#. The superscipt ‘o’ indicates a diminished triad.

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Therefore B minor; iio = C#, E, G.

Memorize Triads from Roman numerals with Spell ID, Contents > Triad Functions (parallel keys). Spell in all keys.

13. CHORD SYMBOLS FOR TRIADS

13a. How to Spell Triads from Chord Symbols

Popular music and lead sheets include chord symbols printed above the staff on the beat where each chord begins.

A chord symbol indicates:

(1) The letter note-name of the triad root.

(2) Major triad quality by a capital letter alone or ‘Maj’; minor triad quality by ‘Min’ or ‘min’; diminished triad quality by a superscript ‘°’ or ‘dim’; augmented triad quality with a superscript ‘+’ or ‘aug’.

(3) A chord symbol followed by a slash followed by a letter note-name indicates the note in the lowest sounding voice. For example, Cmin/Eb indicates a C minor triad (C, Eb, G) with Eb in the lowest sounding voice.

For example,

(1) Spell a GMaj triad?.

Begin on the G chord root and spell a major triad: G, B, D.

(2) Spell a Dmin triad?.

Begin on the D chord root and spell a minor triad: D, F, A.

(3) Spell an Edim. triad?

Begin on the E chord root and spell a diminished triad: E, G, Bb.

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(4) Spell an Eaug triad?

Begin on the E chord root and spell an augmented triad: E, G#, B#.

Memorize Triads from chord symbols with Spell ID, Contents > Chord Names: Triads > keys to 3b or 2#.

Memorize Triads from chord symbols with Spell ID, Contents > Chord Names: Triads > keys to 3b or 4#.

Memorize Triads from chord symbols in with Spell ID, Contents > Chord Names: Triads > keys to 6b or 6#.

Identify triad chord symbols by ear with Chord ID., Function/Chord/Quality > Chord Symbols. Begin with the number of chords where you score 90% or better. Ad-vance as the program suggests.

13b. How to Translate Roman Numerals to Chord Symbols

To translate a Roman numeral to a chord symbol:

(1) Indicate the note-name of the Roman Numeral scale step root as the letter note name of the chord root.

(2) Indicate the triad quality after the letter note-name.

For example,

(1) What is the chord symbol for G Minor: V?

The fifth scale step of G minor is D. The capital Roman numeral indicates a major chord. Therefore G minor: V = ‘DMaj’.

(2) What is the chord symbol for F minor: III?

The third scale step of F minor is Ab. The capital Roman numeral indicates a major chord. Therefore F minor: III = ‘AbMaj’.

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(3) What is the chord symbol for D minor: viio?

The seventh scale step of D minor is C#. The small circle indicates a diminished triad. Therefore D minor: viio = ‘C#dim’, or‘C#o.

(4) What is the chord symbol for A Major: ii?

The second scale step of A Major is B. The small Roman numeral indicates a minor triad. Therefore A Major: ii = ‘Bmin’.

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SEVENTH CHORDS

14. SEVENTH CHORD BASICS

14a. Seventh Chord Definition

A seventh chord consists of four pitches with alternate scale step note names.

14b. Seventh Chord Qualities and Functions

A seventh chord consists of a major, minor, or diminished triad plus an additional note that is a minor 7th, diminished 7th, or major 7th above the chord root.

There are 6 seventh chord types:

(1) Major/minor seventh chord, a major triad plus a minor seventh above the chord root.

(2) Minor/minor seventh chord, a minor triad plus a minor seventh above the chord root.

(3) Diminished/diminished seventh chord, a diminished triad plus a diminished sev-enth above the chord root.

(4) Diminished/minor seventh chord, a diminished triad plus a minor seventh above the chord root.

(5) Major/Major seventh chord, a major triad plus a major seventh above the chord root.

(6) Minor/Major seventh chord, a minor triad plus a major seventh above the chord root.

14c. Seventh Chord Names: Roman Numerals and Chord Symbols:

1. Roman numerals identify a seventh chord by the scale step number of the root of the seventh chord in the immediate scale plus a ‘7’, ‘6

5’ if in first inversion, ‘43’ if in sec-

ond inversion, and ‘2’ if in third inversion,

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2. Chord symbols identify a seventh chord by the letter note name of the chord root followed by a:

(1) ‘7’ indicates a major triad plus a minor seventh above the chord root,

(2) ‘min7’ indicates a minor triad plus a minor seventh above the chord root,

(3) ‘o7’ indicates a diminished triad plus a diminished seventh above the chord root,

(4) ‘min7b5’ indicates a diminished triad plus a minor seventh above the chord root,

(5) ‘Maj7’ indicates a major triad plus a major seventh above the chord root,

(6) ‘minMaj7’ indicates a minor triad plus a major seventh above the chord root.

14d. How to Spell a Dominant Seventh Chord, V7

(1) DOMINANT SEVENTH: MAJOR/MINOR SEVENTH CHORD

A chord symbol capital letter followed by a ‘7’ indicates a major/minor seventh chord.

A major/minor seventh chord is normally a V7. Each pair of parallel major and minor scales has a unique dominant seventh chord.

Spell a major triad. Add a minor seventh above the chord root.

There are 13 V7 chords, one for each pair of parallel keys. For example, C Major and C minor (parallel keys) have the same V7 or G, B, D, F. (There are thirteen because F# and Gb require differently spelled V7 chords.)

For example,

(1) What are the notes in D7?

D7 indicates a D major triad, D, F#, A, plus a minor seventh above the chord root, C.

Therefore a D7 = D, F#, A, C.

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(2) What are the notes in an E7?

E7 indicates a major triad, E, G#, B plus a minor seventh above the chord root or D.

Therefore an E7 = E. G#, B, D.

(3) What are the notes in an Eb7?

Eb7 indicates a major triad, Eb, G, Bb plus a minor seventh above the chord root or Db.

Therefore an Eb7 = Eb. G, Bb, Db.

Memorize dominant seventh chords from chord symbols with Spell ID, Contents > 7th Chord Symbols > Dominant 7ths.

Dominant Seventh Chords:

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14e. How to Spell Minor Seventh Chords

(2) MINOR SEVENTH CHORD: MINOR/MINOR SEVENTH CHORD

A minor seventh chord is a minor/minor seventh chord, a minor triad plus an added minor seventh above the chord root.

A chord symbol capital letter followed by ‘m7’ (or ‘min7’ or a ‘-7’) indicates a minor/minor seventh chord.

Spell a minor triad. Add a minor seventh above the chord root.

For example,

(1) What are the notes in a Dmin7.

Dmin7 (or D-7 or Dm7) indicates a D minor triad D, F, A, plus a minor seventh above the chord root or C.

Therefore the notes in a Dmin7 are D, F, A, C.

(2) What are the notes in a Emin7?

Emin indicates E, G, B; the ‘7’ indicates a minor seventh above the chord root or D.

Therefore the notes in an Emin7 are E, G, B, D.

(3) What are the notes in F#min7?

F#min7 = F#, A, C#, E.

There are 13 minor seventh chords.

Memorize minor seventh chords from chord symbols with Spell ID, Contents > 7th Chord Symbols > Minor 7ths.

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Minor Seventh Chords:

14f. How to Spell Full-diminished Seventh Chords

(3) FULL DIMINISHED SEVENTH CHORD: DIMINISHED/DIMIN-ISHED SEVENTH CHORD

A full-diminished seventh chord is a diminished/diminished seventh chord, a di-minished triad with a diminished seventh above the chord root.

A fully diminished seventh chord is always a viio7.

Therefore a viio7 chord uniquely defines the tonic scale step of the scale from which it is spelled.

A chord symbol capital letter followed by ‘°7’ or ‘dim7’ indicates a full diminished

seventh chord. Spell a diminished triad. Add a diminished seventh above the chord root.

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For example,

(1) What are the notes in D°7?

A diminished triad on D is D, F, Ab. The diminished seventh above D is Cb.

Therefore the notes in D°7 are D, F, Ab, Cb.

(2) What are the notes in C#°7?

A diminished triad on C# is C#, E, G. The diminished seventh above C# is Bb.

Therefore the notes in C#°7 are C#, E, G, Bb.

(3) What are the notes in B°7?

A diminished triad on B is B, D, F. The diminished seventh above B is Ab.

Therefore the notes in B°7 are B, D, F, Ab.

(3) What are the notes in A°7?

A diminished triad on A is A, C, Eb. The diminished seventh above A is Gb.

Therefore the notes in A°7 are A, C, Eb, Gb.

There are 12 full-diminished seventh chords.

Memorize full diminished seventh chords from chord symbols with Spell ID, Con-tents > 7th Chord Symbols > Full dim. 7ths.

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Full Diminished Seventh Chords:

14g. How to Spell Half-diminished Seventh Chords

(4) HALF-DIMINISHED SEVENTH CHORD: DIMINISHED/MINOR SEV-ENTH CHORD

A half-diminished seventh chord is a diminished/minor seventh chord, a dimin-ished triad with an added minor seventh above the chord root. (The symbol, Ø, indicates a half-diminished seventh chord.)

A chord symbol capital letter followed by ‘m7’ (or ‘min7’ or ‘-7’) indicates a

minor triad plus a minor seventh added above the chord root. The ‘b5’ indicates that the fifth above the chord root is lowered one-half step to complete a diminished fifth.

Spell a minor seventh chord, then lower the chord fifth one half-step.

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For example,

(1) What are the notes in Emin7b5?

Emin7b5 indicates a E minor triad, E, G, B, plus a minor seventh above the chord root or D, plus a lowered fifth, in this case a flatted B.

Therefore the notes in a Emin7b5 are E, G, Bb, D.

(2) What are the notes in a Dmin7b5?

Dmin7b5 indicates a D minor triad, D, F, A, plus a minor seventh above the chord root or C, plus a lowered fifth, in this case a flatted A.

Therefore the notes in a Dmin7b5 are D, F, Ab, C.

(3) What are the notes in a F#min7b5?

F#min7b5 indicates a F# minor triad, F#, A, C#, plus a minor seventh above the root or E, plus a lowered fifth, in this case a C# lowered to C natural.

Therefore the notes in a F#min7b5 are F#, A, C, E.

(3) What are the notes in an G#min7b5?

G#min7b5 indicates an G# minor triad, G#, B, D#, plus a minor seventh above the root or F#, plus a lowered fifth, in this case a lowered D# to D natural.

Therefore the notes in a G#min7b5 are G#, B, D, F#.

Memorize half diminished seventh chords from chord symbols with Spell ID, Con-tents > 7th Chord Symbols > Half dim. 7ths.

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Half Diminished Seventh Chords:

14h. How to Spell Major/Major Seventh Chords

(5) MAJOR/MAJOR SEVENTH CHORDS

A major seventh chord is a major/major seventh chord, a major triad with a major seventh above the chord root.

A chord symbol capital letter note name followed by ‘Maj7’ indicates a major/major seventh chord. Some jazz lead sheets indicate major seventh chords (see 14h) by a capital letter followed by a triangle.

Spell a major triad. Add a major seventh above the chord root.

For example,

(1) What are the notes in a DMaj7?

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DMaj7 indicates a D major triad, D, F#, A, with an added major seventh above the chord root or C#,

Therefore the notes in a DMaj7 are D, F#, A, C#.

(2) What are the notes in EMaj7?

EMaj7 indicates an E major triad, E, G#, B, with an added major seventh above the chord root or D#,

Therefore the notes in EMaj7 are E, G#, B, D#.

There are 12 Major/Major seventh chords.

Memorize major/major seventh chords from chord symbols with Spell ID, Con-tents> 7th Chord Symbols > Major 7ths.

Major/Major Seventh Chords:

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14j. How to Spell Minor/Major Seventh Chords

(6)MINOR/MAJOR SEVENTH CHORDS

A chord symbol capital letter followed by ‘minMaj7’ (or ‘mMaj7’ or a dash ‘-Maj7’) indicates a minor triad with an added major seventh above the chord root.

Spell a minor triad. Add a major seventh above the chord root.

For example,

(1) What are the notes in a DminMaj7?

DminMaj7 indicates a D minor triad, D, F, A, with an added major seventh above the chord root or C#.

Therefore the notes in a DminMaj7 are D, F, A, C#.

(2) What are the notes in Eminmaj7?

EminMaj7 indicates an E minor triad, E, G, B, with an added major seventh above the chord root or D#,

Therefore the notes in a EminMaj7 are E, G, B, D#.

(3) What are the notes in Bbminmaj7?

BbminMaj7 indicates an Bb minor triad, Bb, Db, F, with an added major seventh above the chord root or A,

Therefore the notes in a BbminMaj7 are Bb, Db, F, A.

Memorize minor/major seventh chords from chord symbols with Spell ID, Contents > 7th Chord Symbols > Minor/Major 7ths.

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Minor/major Seventh Chords:

14k. How to Spell V7 Chords With Raised Fifth, V7#5

A chord symbol capital letter note name followed by ‘7#5’, ‘7Aug5’, or ‘7+5’ indicates a dominant seventh chord with the chord fifth raised one half-step.

For example,

(1) What are the notes in E7#5?

E7 indicates a major triad plus a minor seventh or E, G#, B, D. Raise the chord fifth one half-step to B#.

Therefore the notes in E7#5 are E, G#, B#, D.

(2) What are the notes in Bb7#5?

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Bb7 indicates a major triad plus a minor seventh or Bb, D, F, Ab. Raise the chord fifth one half-step to F#.

Therefore the notes in Bb7#5 are Bb, D, F#, Ab.

Major and minor scales do not produce a seventh chord with a sharp fifth above any scale step. The ‘7#5’ is a chromatic chord. (See section 20, Chromati-cally Altered Chords.)

Memorize dominant seventh chords with sharp 5 from chord symbols with Spell ID, Contents > 7th Chord Symbols > Dominant 7th#5.

Dominant Seventh With Raised Fifth:

14l. How to Spell Added Sixth Chords

Added sixth chords are triads plus an ‘added’ major sixth above the root.

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A chord symbol with a capital letter note name followed by ‘6’ indicates a major triad with an added major sixth above the chord root.

A chord symbol with a capital letter note name followed by ‘Min6’, ‘min6’, or ‘-6’ indicates a minor triad with an added major sixth above the chord root.

Spell a major or minor triad. Add a major sixth above the chord root.

For example,

(1) What are the notes in D6?

D6 indicates a major triad, D, F#, A plus an added major sixth above the root, B.

Therefore the notes in D6 are D, F#, A, B.

(2) What are the notes in Dmin6?

Dmin6 indicates a minor triad, D, F, A, plus an added major sixth above the root, B.

Therefore the notes in Dmin6 are D, F, A, B.

(3) What are the notes in Bb6?

Bb6 indicates a major triad, Bb, D, F, plus an added major sixth above the root, G.

Therefore the notes in Bb6 are Bb, D, F, G.

(4) What are the notes in Bbmin6?

Bbmin6 indicates a minor triad, Bb, Db, F, plus an added major sixth above the root, G.

Therefore the notes in Bbmin6 are Bb, Db, F, G.

Memorize added sixth chords from chord symbols with Spell ID, Contents > 7th Chord Symbols > Added Sixths.

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Added Sixth Chords

15. SEVENTH CHORD FUNCTIONS

15a. Spell Seventh Chord Functions in All Keys

Memorize seventh chords from Roman numerals in parallel keys with Spell ID, Contents > 7th Chord Functions > CMaj/min.

Repeat to 100% accuracy in all keys.

15b. How to Identify the Tonic Scale Step Defined by a V7

A V7 uniquely identifies the tonic scale step of the scale from which the V7 is spelled.

The V7 chord root is the fifth scale step of the scale from which the V7 is spelled.

The tonic scale step is a perfect fifth below the root of the V7.

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HOW TO IDENTIFY THE ROOT OF A V7

Seventh chords may be inverted. The chord third, fifth, or seventh may appear in the lowest sounding voice.

Place the chord tones in alternate letter note name order. The note names must be in alternate note name order. C and D# are adjacent note names. C and Eb are alternate note names. The lowest note is the chord root. The chord root is a perfect fifth above the tonic of the scale from which it is spelled.

For example,

(1) What is the tonic scale step defined by the chord tones F, B, G, D?

Note names in alternate scale step order = G, B, D, F.

C is a perfect fifth below the root, G. Therefore the G7 defines a C tonic scale step.

(2) What is the tonic scale step defined by the chord tones D#, B, F#, A?

Note names in alternate scale step order = B. D#, F#. A.

E is a perfect fifth below the root, B. Therefore the B7 defines an E tonic scale step.

(3) What is the tonic scale step defined by the chord tones Eb, Ab, Gb, C?

Note names in alternate scale step order = Ab, C, Eb, Gb.

Db is a perfect fifth below the root, Ab. Therefore Ab7 defines a Db tonic scale step.

Define the tonic scale step from V7 chords in Spell ID, Contents > Improvisation Scales > Tonic from V7.

There are 2 additional major/minor seventh chords: IV7 (blues sub-dominant) spelled from a melodic minor ascending scale and VII7 spelled from a natural minor scale. The IV7 and VII7 do not define an immediate tonic scale step without at least one immediately adjacent chord spelled from the same scale.

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15c. How to Identify the Tonic Scale Step Defined by a vii°7

A viio7 uniquely identifies the tonic scale step of the scale from which the viio7 is spelled.

The vii°7 chord root is the seventh scale step of the harmonic minor scale from which the vii°7 is spelled.

The tonic scale step defined by a vii°7 is a different letter note name one half-step above the root of the vii°7.

HOW TO IDENTIFY THE ROOT OF A viio7

Seventh chords may be inverted. The chord third, fifth, or seventh may appear in the lowest sounding voice.

Place the chord tones in alternate letter note name order. The note names must be in alternate note name order. G and A# are adjacent note names. G and Bb are alternate note names. The lowest note is the chord root.

For example,

(1) What is the tonic scale step defined by the chord notes C#, E, G, A#?

Note names in alternate scale step order = A#, C#, E, G.

B is one half-step with a different note name above the root of A#°7. Therefore A#°7 defines a B tonic scale step.

(2) What is the tonic scale step defined by the chord notes F, D, Ab, B?

Note names in alternate scale step order = B, D, F, Ab.

C is one half-step with a different note name above the root of B°7. Therefore B°7 defines a C tonic scale step.

Define the tonic scale step from viio7 chords in Spell ID, Contents > Improvisation Scales > Tonic from viio7.

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15d . Tonic Scale Step Defined by a V7 or vii°7 Summary

To identify the tonic scale step defined by a V7 or vii°7:

(1) Find a V7 or vii°7 chord.

(2) If the chord is V7, the tonic scale step of the immediate scale is a perfect fifth below the chord root.

(3) If the chord is vii°7, the tonic scale step of the immediate scale is a different note name, one half-step above the chord root.

15e. Enharmonic vii°7 Chords

An enharmonic pitch is the same pitch with a different note name. G# is an en-harmonic Ab; Ab is an enharmonic G#.

An enharmonic chord has the same pitches but contains one or more different note names. For example, G#, B, D, F is enharmonic with B, D, F, Ab.

There are only three enharmonic vii°7 chords; but each has four possible spell-ings determined by the scale from which the vii°7 is spelled.

15f. Half-diminished Seventh Chords do Not Define a Tonic Scale Step

HALF-DIMINISHED SEVENTH CHORDS, iiØ7, viØ7 AND viiØ7

A diminished/minor seventh chord, a half-diminished seventh chord, occurs above the second scale step, iiø7, spelled from harmonic and natural minor scales, the sixth scale step, viø7, spelled form melodic minor ascending, and the seventh scale step, viiø7, spelled from a major scale. These chords do not have a unique scale step as a chord root.

Therefore a half-diminished seventh chord does not unambiguously define a tonic scale step without at least one additional chord, immediately adjacent, spelled from the same scale.

15g. Minor and Major Seventh Chords do Not Define a Tonic Scale Step

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MINOR AND MAJOR SEVENTH CHORDS

Minor/minor seventh chords, minor/major seventh chords, and major/major seventh chords do not have a unique scale step as a chord root. Therefore, these chords alone do not define the tonic scale step of the immediate scale.

DOMINANT NINTH, ELEVENTH, THIRTEENTH CHORDS

16. DOMINANT SEVENTH CHORDS WITH ADDED 9TH, 11TH, OR 13TH

16a. Dominant 9th Chords

A dominant ninth chord is a dominant seventh chord plus one alternate scale step above the seventh. The added tone is a ninth above the chord root.

DOMINANT NINTH CHORD SYMBOL A chord symbol with a capital letter note name followed by ‘9’ indicates a dominant

ninth chord.

For example,

(1) What are the notes in a G9 chord?

Spell a G7, add a major ninth above the root. Therefore the notes in G9 are G, B, D, F, A.

(2) What are the notes in a Eb9 chord?

Spell a Eb7, add a major ninth above the root. Therefore the notes in Eb9 are Eb, G, Bb, Db, F.

(3) What are the notes in a B9 chord?

Spell a B7, add a major ninth above the root. Therefore the notes in B9 are B, D#, F#, A, C#.

Memorize dominant 9th chords from chord symbols with Spell ID, Contents > Dominant 9th Chords > Dominant 9ths.

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Dominant Ninth Chords:

A chord symbol with a capital letter note name followed by‘7b9’ indicates a domi-nant ninth chord with flatted ninth.

For example,

(1) What are the notes in a D7b9 chord?

Spell a D7, add a minor ninth above the root. Therefore the notes in D7b9 are D, F#, A, C, Eb.

(2) What are the notes in a A7b9 chord?

Spell a A7, add a minor ninth above the root. Therefore the notes in A7b9 are A, C#, E, G, Bb.

Memorize dominant 9th chords with flat 9 from chord symbols with Spell ID, Con-tents > Dominant 9th Chords > Dominant Ninths (b9).

DOMINANT 9TH VOICING

Place the V9 and V7b9 in root position or first inversion. In most instances, place the ninth in the highest voice.

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The root, third, seventh, and ninth must be present in a ninth chord. The chord fifth may be omitted.

Dominant Ninth Chords With Flat Ninth:

16b. Dominant 11th Chords

A dominant 11th chord is a dominant seventh without the chord third plus two added alternate scale steps above the chord seventh. The added tones are a ninth and an eleventh above the chord root.

DOMINANT ELEVENTH CHORD SYMBOL

A chord symbol with a capital letter followed by ‘min7’ followed by a slash and a capital letter note name indicates a dominant eleventh chord.

The note name after the slash indicates the root of the chord.

Omit the chord third because the third completes a dissonant minor ninth interval with the chord eleventh.

For example,

(1) What are the notes in Amin7/D?

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Spell an Amin7 and add D in the lowest voice.

Therefore the notes in Amin7/D are D, A, C, E, G.

(2) What are the notes in Ebmin7/Ab?

Spell an Ebmin7 and add Ab in the lowest voice.

Therefore the notes in Ebmin7/Ab are Ab, Eb, Gb, Bb, Db.

Memorize dominant 11th chords from chord symbols with Spell ID, Contents > Dominant 11th Chords > Dominant 11ths.

Dominant Eleventh Chords:

A chord symbol with a capital letter followed by ‘min7b5’ followed by a slash and a

capital letter note name indicates a dominant eleventh chord with flatted ninth,

The note name after the slash indicates the root of the chord.

Omit the chord third because the third completes a dissonant minor ninth interval with the chord eleventh.

For example,

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(1) What are the notes in Gmin7b5/C?

Spell an Gmin7b5 and add a C in the lowest voice.

Therefore the notes in Gmin7b5/C are C, G, Bb, Db, F.

(2) What are the notes in Fmin7b5/Bb?

Spell an Fmin7b5 and add a Bb in the lowest voice.

Therefore the notes in Fmin7b5/Bb are Bb, F, Ab, Cb, Eb.

Memorize dominant 11th chords with flat 9 from chord symbols with Spell ID, Con-tents > Dominant 11th Chords > Dominant 11(b9).

Dominant Eleventh Chords with Flat Ninth:

The chord third may be included if the chord eleventh is raised one half-step. The

raised (sharped) eleventh avoids the dissonant minor ninth between the chord third and unaltered eleventh.

C7#4 indicates an augmented eleventh chord.

Memorize augmented eleventh chords from chord symbols with Spell ID, Contents > V7 #4 #5 > Dominant 7th sharp 4.

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DOMINANT 11TH VOICING

The V11 is normally in root position with the 11th is in the highest voice.

The eleventh chord consists of six possible tones. The root, seventh and eleventh must be present. Omit the third unless in an augmented eleventh chord. The fifth and ninth are optional.

16c. Dominant 13th Chords

A dominant 13th chord is a dominant seventh plus three alternate scale steps above the chord seventh. The added tones are a ninth, eleventh, and thirteenth above the chord root.

DOMINANT THIRTEENTH CHORD SYMBOL

A chord symbol with a capital letter followed by ‘13’ indicates a dominant 13th chord.

For example,

(1) What are the notes in D13?

Spell a dominant seventh chord on D. Add a 9th, 11th, and 13th above the chord root.

Therefore the possible notes in a D13 are D, F#, A, C, E, G, B.

(2) What are the notes in C13?

Spell a dominant seventh chord on C. Add a 9th, 11th, and 13th above the chord root.

Therefore the possible notes in a C13 are C, E, G, Bb, D, F, A.

Memorize dominant 13th chords from chord symbols with Spell ID, Contents > Dominant 13th Chords > Dominant 13ths.

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Dominant Thirteenth Chords:

A chord symbol with a capital letter followed by ‘7b13’ indicates a dominant sev-enth with an added ninth, eleventh, and minor 13th above the chord root.

For example,

(1) What are the notes in G7b13?

Spell a dominant seventh chord on G. Add a 9th, 11th, and lowered (flatted) 13th above the chord root.

Therefore the possible notes in a G7b13 are G, B, D, F, A, C, Eb

(2) What are the notes in D7b13? Spell a dominant seventh chord on D Add a 9th, 11th, and lowered (flatted) 13th

above the chord root.

Therefore the possible notes in a D7b13 are D, F#, A, C, E, G, Bb.

(3) What are the notes in Bb7b13? Spell a dominant seventh chord on Bb Add a 9th, 11th, and lowered (flatted) 13th

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above the chord root.

Therefore the possible notes in a Bb7b13 are Bb, D, F, Ab, C, Eb, Gb.

Memorize dominant 13th chords with flat 13 from chord symbols with Spell ID, Contents > Dominant 13th Chords > Dominant Thirteenths (b13).

Dominant Thirteenth Chords With Flat 13th:

DOMINANT 13TH VOICING

Place the V13 or V7b13 in root position or first inversion. The thirteenth is normally in the highest voice.

A thirteenth chord consists of 7 possible tones - the complete scale from which it is spelled. The root, third, seventh, and thirteenth must be present. The 11th is normally omitted. The 5th and 9th are optional.

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CADENCES

17. CADENCES

17a. Cadence Definition

An authentic cadence is a V or viio chord immediately followed by a I or i chord spelled from the same scale.

A deceptive cadence is a V or viio chord immediately followed by a vi or VI chord

spelled from the same scale.

A V or vii° followed by a I, i, vi, or VI defines the tonic scale step and the major or minor immediate scale.

A V or vii° chord is the first chord in every cadence.

A V or vii° chord occurs once in every 2 to 8 successive chords in tonal music.

17b. The Three Cadence Patterns

There are three cadence patterns.

1. An authentic cadence is a V or vii° followed immediately by a I or i chord spelled from the same scale.

2. A deceptive cadence is a V or vii° followed immediately by a vi or VI chord spelled from the same scale. (vi° spelled from melodic minor ascending scale is rare, but does occur.)

3. A retrogression and cadence is a V or vii° followed immediately by a IV, iv, ii, or ii° (the retrogression) followed immediately by an authentic or deceptive cadence spelled from the same scale. There may be more than one retrogression before the con-cluding cadence.

17c. Authentic and Deceptive Cadence Resolution

The authentic cadence resolution is the I or i chord following the V or vii°.

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The deceptive cadence resolution is a vi or VI (or vi°) chord following the V or vii°.

17d. Half Cadence

A half cadence pauses on the V or vii° chord before resolution.

17e. Plagal Cadence

A ‘plagal cadence’ is a IV, a major sub-dominant triad, followed immediately by I, a major tonic triad.

A ‘plagal cadence’ accompanies the ‘a-men’ after the authentic cadence at the end of a hymn or similar composition.

A IV to I chord succession elsewhere in a composition is not a ‘plagal cadence’.

A ‘plagal cadence’ does not unambiguously define the scale from which it is spelled.

17f. Roman Numerals for Authentic Cadences

An authentic cadence is a V or vii° chord immediately followed by a I or i spelled from the same scale.

For example:

(1) Spell C Major: V7, I.

C Major: V7 = G, B, D, F. C Major: I = C, E, G.

Therefore, C Major: V7 = G, B, D, F; C Major: I = C, E, G.

(2) Spell Eb minor: V7, i.

Eb minor V7 = Bb, D, F, Ab. Eb minor: i = Eb, Gb, Bb.

Memorize Roman numeral V7 authentic cadences with Spell ID, Contents > Authen-tic Cadences > V7 Functions.

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Memorize Roman numeral viio7 authentic cadences with Spell ID, Contents > Au-thentic Cadences > viio7 Functions.

17g. Chord Symbols for Authentic Cadences

Chord symbols for authentic cadences in each scale/key are:

C Major: G Maj or B dim precedes C Maj. C Minor: G Maj or B dim precedes C Min. F Major: C Maj or E dim precedes F Maj. F Minor: C Maj or E dim precedes F Min.Bb Major: F Maj or A dim precedes Bb Maj. Bb Minor: F Maj or A dim precedes Bb Min.Eb Major: Bb Maj or D dim precedes Eb Maj. Eb Minor: Bb Maj or D dim precedes Eb Min.Ab Major: Eb Maj or G dim precedes Ab Maj. Ab Minor: Eb Maj or G dim precedes Ab Min. Db Major: Ab Maj or C dim precedes Db MajorC# Minor: G# Maj or B# dim precedes C# Min.Gb Major: Db Maj or F dim precedes Gb Maj.F# Major: C# Maj or E# dim precedes F# Maj. F# Minor: C# Maj or E# dim precedes F# Min.G Major: D Maj or F# dim precedes G Maj. G Minor: D Maj or F# dim precedes G Min.D Major: A Maj or C# dim precedes D Maj. D Minor: A Maj or C# dim precedes D Min.A Maj.: E Maj or G# dim precedes A Maj. A Min.: E Maj or G# dim precedes A Min.E Major: B Maj or D# dim precedes E Maj. E Minor: B Maj or D# dim precedes E Min.B Major: F# Maj or A# dim precedes B Maj. B Minor: F# Maj or A# dim precedes B Min.

Memorize chord symbol authentic cadences with Spell ID, Contents > Authentic Cadences > V7 Chord Symbols.

Memorize authentic cadence spelling with Spell ID, Contents > Authentic Cadences >viio7 Chord Symbols.

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17h. How To Identify the Immediate Scale From Authentic Cadence Chord Symbols

If the first chord in an authentic cadence is major, it is V. The tonic scale step is a perfect fifth below the root of the V.

If the first chord in an authentic cadence is diminished, it is vii°. The tonic scale step is a different letter note-name, one half-step above the root of the vii°.

The second chord in an authentic cadence is the tonic triad. If the quality of the tonic triad is major, the immediate scale is major. If the quality of the tonic triad is minor, the immediate scale is minor.

For example:

(1) What is the immediate scale of Ab7 followed by Dbmaj?

Ab7, a major triad with added minor seventh = V7. Therefore the tonic scale step is a perfect fifth below or Db. Dbmaj is a major triad. Therefore the immediate scale is Db major.

(2) What is the immediate scale of D°7 followed by Ebmin?

D°7, a diminished triad plus a diminished seventh = vii°7. Therefore the tonic scale step is a different letter note name, one half-step above the root of the vii° or Eb. Ebmin is a minor triad. Therefore the immediate scale is Eb natural minor.

Memorize the immediate scale defined by chord symbols for authentic cadences with Spell ID, Contents > Authentic Cadences > Immediate Scale.

17j. Roman Numerals for Deceptive Cadences

A deceptive cadence is a V or vii° immediately followed by a vi or VI spelled from the same scale.

For example:

(1) Spell F Major: V7, vi. (Deceptive cadence in F Major.)

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F Major: V7 = C, E, G, Bb. F Major: vi = D, F, A.

(2) Spell E minor: V7, VI.

E minor: V7 = B, D#, F#, A. E minor: VI = C, E, G.

Memorize Roman numeral deceptive cadences with Spell ID, Contents > Deceptive Cadences >V7 Functions.

Memorize Roman numeral deceptive cadences with Spell ID, Contents > Deceptive Cadences > viio7 Functions.

17k. Chord Symbols for Deceptive Cadences

Chord symbols for deceptive cadences in each scale are:

C Major: G Maj or B dim before A Min. C Minor: G Maj or B dim before Ab Maj.F Major: C Maj or E dim before D Min. F Minor: C Maj or E dim before Db Maj.Bb Major: F Maj or A dim before G Min. Bb Minor: F Maj or A dim before Gb Maj.Eb Major: Bb Maj or D dim before C Min. Eb Minor: Bb Maj or D dim before Cb Maj. Ab Major: Eb Maj or G dim before F Min. Ab Minor: Eb Maj or G dim before Fb Maj. Db Major: Ab Maj or C dim before Bb Min. C# Minor: G# Maj or B# dim before A Maj.Gb Major: Db Maj or F dim before Eb MinF# Major: C# Maj or E# dim before D# Min. F# Minor: C# Maj or E# dim before D Maj.G Major: D Maj or F# dim before E Min. G Minor: D Maj or F# dim before Eb Maj.D Major: A Maj or C# dim before B Min.D Minor: A Maj or C# dim before Bb Maj.A Major: E Maj or G# dim before F# Min. A Minor: E Maj or G# dim before F Maj.E Major: B Maj or D# dim before C# Min.

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E Minor: B Maj or D# dim before C Maj.B Major: F# Maj or A# dim before G# Min. B Minor: F# Maj or A# dim before G Maj.

Memorize chord symbol deceptive cadences with Spell ID, Contents > Deceptive Cadences > V7 Chord Symbols.

Memorize chord symbol deceptive cadences with Spell ID, Contents > Deceptive Cadences > viio7 Chord Symbols.

17l. How To Identify the Immediate Scale From Deceptive Cadence Chord Symbols

If the first chord in a deceptive cadence is major, it is V. The tonic scale step is a perfect fifth below the root of the V.

If the first chord in a deceptive cadence is diminished, it is vii°. The tonic scale step is a different letter note-name, one half-step above the root of the vii°.

The second chord in a deceptive cadence is a vi or VI submediant triad.

If the second chord is minor, it is vi and the immediate scale is a major scale with the tonic defined as above.

If the second chord is major, it is VI and the immediate scale is a minor scale with the tonic defined as above.

For example:

(1) What is the immediate scale of Eb7 followed by Fm?

Eb7, a major triad with added minor seventh = V7. Therefore the tonic scale step is a perfect fifth below the root of the V7 or Ab.

Fm is a minor triad spelled on the sixth scale step of Ab Major. Therefore it is a deceptive cadence and the immediate scale is Ab major.

(2) What is the immediate scale of B°7 followed by Ab?

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B°7, a diminished triad plus a diminished seventh = vii°7. Therefore the tonic scale step is a different letter note-name, one half-step above the root of the vii°7 or C.

Ab is a major triad spelled on the sixth scale step of C natural minor. Therefore it is a deceptive cadence and the immediate scale is C natural minor.

(3) What is the immediate scale of C#o7 followed by BbMaj?

C#o7, a diminished triad plus a diminished seventh = vii°7. Therefore the tonic scale step is a different letter note-name, one half-step above the root of the vii°7 or D.

Bb is a major triad spelled on the sixth scale step D natural minor. Therefore it is a deceptive cadence and the immediate scale is D natural minor.

Memorize the immediate scale defined by chord symbols for deceptive cadences with Spell ID, Contents > Deceptive Cadences > Immediate Scale.

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CHROMATIC HARMONY

18. CHROMATIC CHORDS

18a. Chromatic Chord Definition

A ‘chromatic’ chord has tones that are NOT in the scale of the key of the composition, the scale indicated by the key signature and beginning and ending chords and melodies.

Most compositions contain chords spelled from scales other than the scale of the key of the composition,. These ‘chromatic’ chords contain accidentals - sharps, flats, or naturals that are (1) required by scale steps in the new immediate scale OR (2) tones from the chromatic scale.

When the immediate scale changes within a composition, accidentals indicate the new scale steps. The key signature does not change for brief changes of scale.

18b. Two Types of Chromatic Chords

There are two types of chromatic chords:

(1) Chords spelled from a new immediate scale. These are diatonic chords that contain accidentals required by the new immediate scale. Chords spelled from a new im-mediate scale are modulations (see 19b), secondary dominants (see19d), secondary viios, secondary dominant chains (19e), and borrowed chords (see 19g).

(2) Chords in which one or more chromatic tones substitute for a chord tone. This occurs in two manners:

(2a) A chromatic tone replaces a chord tone. These chromatic chords include Aug-mented Sixth chords (see 21a), Neapolitan Sixth chords (see 21b), and V7 (V9, V11, V13) chords with raised (sharped) fifth or lowered fifth indicated as a raised (sharped) fourth (see 21c).

(2b.) The chromatic tone resolves to a chord tone, completing the chord before the next chord arrives (see 22a). These include the famous ‘Tristan Chord’ (see example below).

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19. CHROMATIC CHORDS SPELLED FROM A NEW IMMEDIATE SCALE

Most ‘chromatic’ chords are diatonic chords spelled from a new immediate scale.

When the scale changes, spell all chords and non-chord tones from the new immediate scale, adding accidentals as required.

19a. How V7 (or V9, V11, V13) and viio7 determine the immediate tonic scale step

Memorize the spelling of all dominant seventh chords with Spell ID, Contents > Seventh Chord Symbols > Dominant Sevenths.

A V7 chord (or V9, V11, V13) is spelled from one and only one scale. That scale has a tonic scale step a perfect fifth below the root of the V7.

Therefore a V7 chord (or V9, V11, V13) defines the tonic step of the scale from which it is spelled.

Chord(s) preceding and/or following the V7 define the major or minor scale quality.

A viio7 chord is spelled from one and only one scale. That scale has a tonic scale step with a different note name one half-step above the root of the viio7.

Therefore a viio7 chord defines the tonic step of the scale from which it is

spelled.

Chord(s) preceding and/or following the viio7 define the major or minor scale quality.

NOTE: Lead sheet chord symbols often label viio7 chords incorrectly leading to incorrect identification of the tonic scale step. Examine the immediately preceding and following chords to identify the correct viio7 chord symbol.

19b. Modulation

Modulation consists of two or more immediately adjacent chords spelled from a new

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immediate scale, one of which must be a V, V7, V9, V11, V13, vii°, or vii°7.

Spell a modulating V or viio from a new immediate scale and immediately precede and/or follow the V or viio with chords and non-chord tones that are scale steps in the new immediate scale.

A new I or i chord preceding or following the V or viio may occur but is not re-quired. For example, ii followed by V7, both spelled from the same new immediate scale, is a modulation.

Direct modulation, an abrupt change of scale without a V or viio, also occurs.

NOTE: A modulation does NOT require a pivot chord, a chord spelled from the previous scale whose chord tones also occur in the new scale.

NOTE: A modulation does NOT require a new tonic chord.

There are numerous modulations in the literature that do NOT contain a pivot chord or a tonic chord.

For example:

(1) What is the immediate scale defined by D7 preceded by Amin?

The D7 is a dominant seventh chord constructed ONLY on the fifth scale step of a G scale. Amin is a ii triad in the scale of G Major.

Therefore, the immediate scale is G Major.

(2) What is the immediate scale defined by B7 followed by Emin?

The B7 is a dominant seventh chord constructed ONLY on the fifth scale step of an E scale. Emin is a i triad in the scale of E minor.

Therefore, the immediate scale is E minor.

(3) What is the immediate scale defined by A9 preceded by Bmin?

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The A9 is a dominant ninth chord constructed ONLY on the fifth scale step of a D scale. Bmin is a vi triad in the scale of D Major.

Therefore the immediate scale is D Major.

19c. Difference between a Modulation and a Secondary Dominant

Modulations and secondary dominants each require a V (or V7, V9, V11, V13) or viio (or viio7) chord. The difference between a secondary dominant and a modulation is:

(1) TWO or more adjacent chords including the required V or viio and accompany-ing non-chord tones (if any) spelled from a NEW immediate scale indicate a modulation.

(2) ONE V or viio chord and accompanying non-chord tones (if any), spelled from a new immediate scale and preceded and/or followed by chords spelled from a DIFFER-ENT scale or scales indicates a secondary dominant or secondary viio.

19d. Secondary Dominants

A secondary dominant satisfies two conditions:

1. Only chord and non-chord tones spelled from a different scale or its’ parallel scale precede and follow the secondary V or viio chords.

2. The secondary V or viio resolves in a cadence pattern to a chord whose chord tones and accompanying non-chord tones (if any) are spelled from the scale immediately preceding the secondary dominant.

Only a V or vii° (or a V7, V9, V11, V13 or vii°7) may be a secondary dominant.

Spell a secondary dominant V or vii° (or V7, V9, V11, V13 or vii°7) from a new immediate scale and resolve (follow) the secondary dominant in an authentic or deceptive cadence pattern to a chord spelled from the previous scale.

Spell all tones in (and any non-chord tones simultaneous with) the resolution chord from the immediately preceding scale or its’ parallel scale. Otherwise, a modulation or a secondary dominant chain (see 19e) occurs.

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In most instances, a secondary V7 or vii°7 resolves in an authentic cadence pattern. Infrequently, a secondary V7 or vii°7 resolves in a deceptive cadence pattern.

SECONDARY V7’s IN AUTHENTIC CADENCES

Spell a secondary dominant, a V (or V7, V9, V11, V13) chord, from a new scale with a tonic scale step that is the root of a chord on the second, third, fourth, fifth, or sixth scale step in the immediately preceding scale or its’ parallel scale.

Examine the triad indicates after (or below) the line in the symbol for the V7 sec-ondary dominant. If the triad is major, the immediate scale for the spelling of the V7 secondary dominant is a major scale with the root of that triad as the tonic. If the triad is minor or diminished, the immediate scale for the spelling of the V7 secondary dominant is a harmonic or melodic minor scale with the root of that triad as the tonic.

HOW TO SPELL SECONDARY V7’s IN AUTHENTIC CADENCES

For example,

(1) Spell F Major: V7/V, followed by V7.

The triad on the fifth scale step of the F Major scale is a C major triad. Therefore the immediate scale for the spelling of the secondary V7 is C Major.

C Major: V7 = G, B, D, F; therefore F Major: V7/V = G, B, D, F.

The resolution chord is F Major: V7 = C, E, G, Bb.

(2) Spell D minor: V7/ii, iiØ7.

The chord on the second scale step of the D minor scale is an E diminished triad. Therefore the immediate scale for the spelling of the secondary V7 is E minor.

E minor: V7 = B, D#, F#, A; therefore D minor V7/ii = B, D#, F#, A.

The resolution chord is D minor: iiØ7. (‘Ø’) indicates a half-diminished seventh chord.)

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D minor: iiØ7 = E, G, Bb, D.

Memorize secondary V7’s in authentic cadences with Spell ID, Contents > Second-ary V7’s > Keys to 1b or 1#

Memorize secondary V7’s in authentic cadences with Spell ID, Contents > Second-ary V7’s > Keys to 3b or 2#

Memorize secondary V7’s in authentic cadences with Spell ID, Contents > Second-ary V7’s > Keys to 4b or 4#

SECONDARY V7’s IN DECEPTIVE CADENCES

Spell the secondary V7 as above.

Determine the immediate scale for spelling the deceptive resolution from the name of the triad after (or below) the line in the symbol for the deceptive resolution. If the triad is major, the immediate scale for the spelling of the deceptive resolution chord is a major scale with the root of that triad as the tonic. If the triad is minor or diminished, the immediate scale for spelling the deceptive resolution is a minor scale with the root of that triad as the tonic.

HOW TO SPELL SECONDARY V7’s IN DECEPTIVE CADENCES

For example,

(1) Spell F Major: V7/V, vi7/V.

The triad on the fifth scale step of the F Major scale is a C Major triad. Therefore the immediate scale is C major.

C Major: V7 = G, B, D, F; therefore in F Major: V7/V = G, B, D, F. The deceptive resolution is vi7/V. This indicates a vi7 chord in the new immediate

scale of C Major,

C Major vi7 = A, C, E, G; therefore in F Major: vi7/V = A, C, E, G.

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NOTE: A, C, E, G is iii7 in F Major. Therefore no modulation occurs unless the deceptive resolution chord is accompanied by non-chord tones or following chords only in the new immediate scale of C Major.

(2) Spell D minor: V7/VI, vi7/VI.

The triad on the sixth scale step of the D minor scale is a Bb Major triad. Therefore the new immediate scale is Bb major.

Bb Major: V7 = F, A, C, Eb; therefore in D minor: V7/VI = F, A, C, Eb.

The deceptive resolution chord is vi7/VI. This indicates a vi7 chord in the new im-mediate scale of Bb Major.

Bb Major: vi7 = G, Bb, D, F; therefore D minor: vi7/VI = G, Bb, D, F.

NOTE: G, Bb, D, F is iv7 in D minor. Therefore no modulation occurs unless the deceptive resolution chord is accompanied by non-chord tones or following chords only in the new immediate scale of Bb Major.

In the Beethoven example below, the second bar contains a deceptive resolution of a secondary dominant. The chord of resolution is IV in the immediate scale preceding the secondary dominant (E Major); therefore no modulation occurs. The scale changes only for the spelling of secondary dominant, a dominant seventh spelled from the scale of C# minor.

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SECONDARY vii°7’s IN AUTHENTIC CADENCES

Spell a secondary viio or viio7 chord from a new scale with a tonic scale step that is the root of a chord on the second, third, fourth, fifth, or sixth scale step in the immediately preceding scale or its’ parallel scale.

Identify the note name of the triad after (or below) the line in the symbol for the vii°7 secondary dominant. A vii°7 chord occurs only on the seventh scale step of the harmonic minor scale. Therefore, spell the vii°7 chord from a harmonic minor scale with the root of the indicated resolution triad as the tonic.

HOW TO SPELL SECONDARY vii°7’s IN AUTHENTIC CADENCES

For example:

(1) Spell D Major: vii°7/V, V7.

The fifth scale step of the D Major scale is A. Therefore the immediate scale is an A harmonic minor scale.

A harmonic minor: vii°7 = G#, B, D, F; therefore D Major: vii°7/V = G#, B, D, F.

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The authentic resolution chord is V7.

D Major: V7 = A, C#, E, G.

(2) Sell C minor: vii°7/iv, iv7.

The fourth scale step of the C minor scale is F. Therefore the immediate scale is an F harmonic minor scale.

F minor: vii°7 = E, G, Bb, Db; therefore C minor: vii°7/iv = E, G, Bb, Db.

The authentic resolution chord is iv7.

C minor: iv7 = F, Ab, C, Eb.

Memorize secondary viio7’s in authentic cadences with Spell ID, Contents > Sec-ondary viio7’s’s> Keys to 1b or 1#

Memorize secondary viio7’s in authentic cadences with Spell ID, Contents > Second-ary viio7’s’s> Keys to 3b or 2#

Memorize secondary viio7’s’s in authentic cadences with Spell ID, Contents > Sec-ondary viio7’s > Keys to 4b or 4#

SECONDARY vii°7s IN DECEPTIVE CADENCES (RARE)

Spell the secondary viio7 as above.

Determine the immediate scale for spelling the deceptive resolution from the name of the triad after (or below) the line in the symbol for the deceptive resolution. If the triad is major, the immediate scale for the spelling of the deceptive resolution chord is a major scale with the root of that triad as the tonic. If the triad is minor or diminished, the immediate scale for spelling the deceptive resolution is a minor scale with the root of that triad as the tonic.

HOW TO SPELL SECONDARY vii°7’s IN DECEPTIVE CADENCES

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For example:

(1) Spell D Major: vii°7/V, vi7/V.

The fifth scale step of the D Major scale is A. Therefore spell the vii°7 from the im-mediate scale of A harmonic minor.

A harmonic minor: vii°7 = G#, B, D, F; therefore D Major: vii°7/V = G#, B, D, F.

The deceptive resolution is D Major: vi7/V. The triad on the fifth scale step of the D Major scale is A Major. This indicates a vi7 chord spelled from the new immediate scale of A Major.

A Major: vi7 = F#, A, C#, E; therefore D Major vi7/V = F#, A, C#, E.

NOTE: F#, A, C#, E is iii7 in D Major, the previous scale. Therefore no modulation occurs unless the deceptive resolution chord is accompanied by non-chord tones or fol-lowing chords only in the new immediate scale of A Major.

(2) Spell C minor: vii°7/VI, vi7/VI.

The normal sixth scale step of the C minor scale is an Ab. Therefore spell the vii°7 from the immediate scale of Ab harmonic minor.

Ab harmonic minor: vii°7 = G, Bb, Db, Fb; therefore C minor: vii°7/VI = G, Bb, Db, Fb.

The deceptive resolution chord is C Minor: vi7/ VI. The triad on the sixth scale step of C minor is Ab Major. This indicates a vi7 chord in the immediate scale of Ab Major.

Ab Major: vi7 = F, Ab, C, Eb; therefore C minor: vi7/VI = F, Ab, C, Eb.

NOTE: F, Ab, C, Eb is vi7 in Ab Major, the previous scale. Therefore no modula-tion occurs unless the deceptive resolution chord is accompanied by non-chord tones or following chords only in the new immediate scale of C minor.

(3) Spell E minor: vii°7/VI, vi7/VI.

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The normal sixth scale step of the E minor scale is a C. Therefore spell the vii°7 from the immediate scale of C harmonic minor.

C harmonic minor: vii°7 = B, D, F, Ab; therefore E minor: vii°7/VI = B, D, F, Ab.

The deceptive resolution is E Minor: vi7/ VI. The triad on the sixth scale step of the E minor scale is C Major. This indicates a vi7 chord in the immediate scale of C Major.

C Major: vi7 = A, C, E, G. Therefore, E minor: vi7/VI = A, C, E, G.

NOTE: A, C, E, G is iv7 in E minor; the previous scale. Therefore no modulation occurs unless the deceptive resolution chord is accompanied by non-chord tones or fol-lowing chords only in the new immediate scale of C Major.

(4) Spell G Major: vii°7/V, vi7/V.

The fifth scale step of the G Major scale is D. Therefore spell the vii°7 from the im-mediate scale of D harmonic minor.

D harmonic minor: vii°7 = C#, E, G, Bb; therefore G Major vii°7/V = C#, E, G, Bb.

The deceptive resolution is G Major: vi7/ V. The triad on the fifth scale step of the G Major scale is D Major. This indicates a vi7 chord in the immediate scale of D Major.

D Major: vi7 = B, D, F#, A. Therefore, G Major: vi7/V = B, D, F#, A.

NOTE: B, D, F#, A is iii7 in G Major, the previous scale. Therefore no modulation occurs unless the deceptive resolution chord is accompanied by non-chord tones or fol-lowing chords only in the new immediate scale of D Major.

19e. Secondary Dominant Chain

A secondary dominant chain consists of immediately successive V triads (or V7, V9, V11, V13 chords), each spelled from a scale whose tonic is a perfect fifth above the next V. The concluding V resolves in an authentic or deceptive cadence.

A secondary dominant chain satisfies two conditions:

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1. Only chord and non-chord tones in the previous scale or its’ parallel scale precede and follow the succession of secondary V chords.

2. The concluding secondary V resolves in a cadence pattern to a chord whose chord tones and accompanying non-chord tones (if any) are spelled from the scale immediately previous to the secondary dominant chain.

HOW TO SPELL A SECONDARY DOMINANT CHAIN

Determine the immediate scale from which to spell each of the secondary domi-nants. As above, identify the note name and quality of the triad immediately after (or below) the line in the symbol for the V7 secondary dominant. Then spell each secondary dominant in succession and the concluding resolution.

For example:

(1) Spell C Major: V7/V/V followed by V7/V followed by V7.

Determine the chord of resolution for the first V7 in the secondary dominant chain. C Major: V7/ V/V = V7 of D Major of G Major. V7 of D Major = A7 or A, C#, E, G.

Therefore C Major: V7/V/V = A, C#, E, G.

Determine the chord of resolution for the second V7 in the secondary dominant chain. C Major: V7/V = V7 of G Major = D7 or D, F#, A, C.

Therefore C Major: V7/V = D, F#, A, C.

Determine the concluding chord in the secondary dominant chain.

Therefore C Major: V7 = G7 or G, B, D, F.

(2) Spell D minor: V7/V/VI followed by V7/VI followed by VI.

Determine the chord of resolution for the first V7 in the secondary dominant chain. D minor V7/V/VI = V7 of F Major of Bb Major. V7 of F Major = C7 or C, E, G. Bb.

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Therefore D minor: V7/V/VI = C, E, G, Bb.

Determine the chord of resolution for the second V7 in the secondary dominant chain. D minor: V7/VI = V7 of Bb Major. = F7 or F, A, C, Eb.

Therefore D minor: V7/VI = F, A, C, Eb,

Determine the chord of resolution in the secondary dominant chain.

Therefore D minor: VI = Bb, D, F.

19f. Secondary Dominant Chain in Lead Sheet

In ‘Five Foot Two’ below, the key of the composition is C Major. The second chord is an E7 that resolves to an A7, a successive V7 chord with root a perfect fifth lower than the E7. The A7 resolves to a D7 with root a perfect fifth lower than the A7. The D7 resolves to a G7 which resolves to C Major: I.

The chord succession is therefore a secondary dominant chain resolving to a tonic triad.

Secondary Dominant Chain:

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19g. ‘Borrowed’ Chords.

A ‘borrowed’ chord is a chord spelled from the immediate parallel scale.

The parallel minor scale is the minor scale with the same tonic scale step as the im-mediate major scale. The parallel major scale is the major scale with the same tonic scale step as the immediate minor scale.

Spell a borrowed chord from the minor scale with the same tonic scale step as the immediate major scale (frequent); OR, spell a borrowed chord from the major scale with the same tonic scale step as the immediate minor scale (infrequent).

‘Alterations’ of dominant chords such as V9b, V11b9, or V13b are also chords ‘bor-rowed’ from the parallel minor scale if the immediate scale is major.

For example:

(1) Spell the borrowed sub-dominant, C Major: iv.

The parallel minor of C major is C minor.

Therefore the borrowed sub-dominant of C Major is C minor: iv or F, Ab, C.

(2) Spell the borrowed sub-mediant, G Major : VI.

The parallel minor of G major is G minor.

Therefore the borrowed sub-mediant of G Major is G minor: VI or Eb, G, Bb.

(3) Spell the borrowed tonic, Bb Major : i.

The parallel minor of Bb major is Bb minor.

Therefore the borrowed tonic of Bb Major is Bb minor: i or Bb, Db, F.

Identify ‘borrowed’ chords by ear with Chord ID > Levels > Major + Borrowed iv.

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Identify ‘borrowed’ chords by ear with Chord ID > Levels > Major + Borrowed i.

Identify ‘borrowed’ chords by ear with Chord ID > Levels > Major + Borrowed iio.

Identify ‘borrowed’ chords with Chord ID > Levels > Major + Borrowed VI.

Identify ‘borrowed’ chords with Chord ID > Levels > Major + Borrowed i, iv.

Identify ‘borrowed’ chords with Chord ID > Levels > Major + Borrowed i, VI.

Identify ‘borrowed’ chords with Chord ID > Levels > Major + Borrowed iv, iio.

Identify ‘borrowed’ chords with Chord ID > Levels > Major + Borrowed iio, VI.

Identify ‘borrowed’ chords with Chord ID > Levels > Major + Borrowed i, iio, iv, VI.

19h. Harmonic Analysis of a Bach Chorale

The following analysis of J. S. Bach’s ‘Ach wie Nichtig, ach wie Flütig’ includes new immediate scales, a secondary dominant, and borrowed chords.

Bar 1, beats 2 and 3, the key signature and the V-i in A minor establishes A minor as the key of the composition.

Bar 2, beats 2 and 3, the V-I in C Major indicates a new immediate scale of C Major.

Bar 3, beat 3, is a IV7 spelled from the A melodic minor ascending scale.

Bar 3, beats 3.5 and 4, the V7 followed by i in A minor indicates a new immediate scale of A minor.

Bar 4, beat 3, the A major triad is a chord borrowed from A major.

Bar 5, beats 1-3, the V-1 in D minor indicates a new immediate scale of D minor.

Bar 6, beat 4, the D major triad is a chord borrowed from D Major.

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Bar 7, beats 1-3, the V-I in C Major indicates a new immediate scale of C Major.

Bar 9, beats 3 and 4, the V-i in A minor indicates a new immediate scale of A mi-nor.

Bar 10, beat 1, the B7 chord is a secondary dominant of V, or E major. The immedi-ate scale from which this secondary dominant chord is spelled is E Major.

Bar 10, beat 4, the A major triad is a tonic chord borrowed from A major.

19j. Secondary viio7 and Borrowed Chord in a Jazz Standard

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In George Gershwin’s ‘Embraceable You’, the chord in bar 2 is a viio7, C#, E, G, Bb, which defines D as the tonic scale step. The next chord is a ii7 in G Major followed by a V7 in G Major. Therefore the viio7 chord in bar 2 is a secondary dominant and not a mod-ulation. The immediate scale for bar 2 is a D Major scale, the key of the dominant, with a flatted sixth scale step (Bb) because the viio7 is ‘borrowed’ from D harmonic minor.

The F7 chord in bar 6 is a major/minor seventh chord that would normally define a Bb tonic. However, the B natural in the melody, a non-chord tone, indicates that the immediate scale is not Bb Major. Instead, the F7 is a VII7 spelled from the scale of G natural minor, a chord ‘borrowed’ from the G natural minor scale.

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20. CHROMATICALLY ALTERED CHORDS

20a. Two Types of Chromatically Altered Chords

A chromatic scale step replaces a diatonic chord tone in two manners.

(1) A chromatic scale step replaces a chord tone. These chromatic chords include Augmented and Neapolitan Sixth chords and V7 (V9, V11, V13) chords with raised (sharped) or lowered (flatted) fifths.

(2) A chromatic scale step resolves to a chord tone, completing the chord before the next chord occurs. These include the famous ‘Tristan Chord’ (see below).

20b. The Immediate Scale Simultaneous with Chromatically Altered Chords

When a tone from the chromatic scale replaces a diatonic chord tone, the chro-matic scale step replaces the original diatonic scale step in the immediate scale for the duration of the chord.

21. CHROMATIC TONE REPLACES CHORD TONE

21a. Augmented Sixth Chords

There are three augmented sixth chords: Italian Augmented Sixth, German Aug-mented Sixth, and French Augmented Sixth. Some authorities include a fourth, a ‘doubly augmented sixth’ which is a respelling of the German Augmented Sixth chord.

The augmented sixth chord is normally (but not always) in first inversion. The chord third is in the lowest voice.

When the chord third is in the lowest voice, the interval of an augmented sixth ap-pears between the lowest voice and one of the upper voices.

The chord immediately following an augmented sixth chord is normally a V, V7, or I6

4 spelled from the immediate scale.

ITALIAN AUGMENTED SIXTH

The Italian Augmented Sixth is an altered subdominant triad (IV or iv) spelled from

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the immediate scale.

If the immediate scale is major, raise (sharp) the root, lower (flat) the third, and place the chord in first inversion.

If the immediate scale is minor, raise (sharp) the root and place the chord in first inversion.

For example,

(1) Spell C Major: Italian Augmented Sixth chord (It A6).

C: IV = F, A, C. Raise the root to F#; lower the third to Ab. Place the chord in first inversion.

Therefore C Major: Italian A6 = Ab, C, F#.

(2) Spell Eb minor: Italian Augmented Sixth chord (It A6).

Eb Minor: iv = Ab, Cb, Eb. Raise the root to A natural; the immediate scale is minor so the third is already lowered to Cb = no action. Place the chord in first inversion.

Therefore Eb minor: Italian A6 = Cb, Eb, A natural.

Memorize Italian Augmented Sixth Chords with Spell ID, Contents > Augmented Sixths > Italian Sixths.

GERMAN AUGMENTED SIXTH

The German Augmented Sixth is an altered subdominant seventh chord (IV7 or iv7) spelled from the immediate scale.

If the immediate scale is major, raise (sharp) the root, lower (flat) the third, lower (flat) the seventh, and place the chord in first inversion.

If the immediate scale is minor, raise (sharp) the root, lower (flat) the seventh, and place the chord in first inversion.

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For example,

(1) Spell G Major: German Augmented Sixth chord (Gr A6).

G: IV7 = C, E, G, B. Raise the root to C#; lower the third to Eb; lower the seventh to Bb, and place the chord in first inversion.

Therefore G Major: German A6 = Eb, G, Bb, C#.

(2) Spell A minor: German Augmented Sixth chord (Gr A6).

A Minor: iv7 = D, F, A, C. Raise the root to D#, lower the seventh to Cb, and place the chord in first inversion.

Therefore Eb minor: Italian A6 = F, A, C, D#.

Memorize German Augmented Sixth Chords with Spell ID, Contents > Augmented Sixths > German Sixths.

FRENCH AUGMENTED SIXTH

The French Augmented Sixth is an altered supertonic seventh chord (ii7 or iiØ7) spelled from the immediate scale.

If the immediate scale is major, raise (sharp) the third, lower (flat) the fifth, and place the chord in second inversion.

If the immediate scale is minor, raise (sharp) the root and place the chord in second inversion.

For example,

(1) Spell F Major: French Augmented Sixth chord (Fr A6).

F Major: ii7 = G, Bb, D, F. Raise the third to B natural; lower the fifth to Db, and place the chord in second inversion.

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Therefore F Major: French A6 = Db, F, G, B natural..(2) Spell D minor: French Augmented Sixth chord (Fr A6).

D minor iiØ7 = E, G, Bb, D. Raise the third to G#, and place the chord in second inversion.

Therefore D minor: French A6 = Bb, D, E, G#,

Memorize French Augmented Sixth Chords with Spell ID, Contents > Augmented Sixths > French Sixths.

Augmented Sixth Chords in C:

21b. Neapolitan Sixth Chord

NEAPOLITAN SIXTH CHORD

The Neapolitan Sixth Chord is an altered supertonic triad (ii or iio) spelled from the immediate scale.

If the immediate scale is major, lower (flat) the root, lower (flat) the fifth, and place the chord in first inversion.

If the immediate scale is minor, lower (flat) the root and place the chord in first

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inversion.The Neapolitan Sixth chord normally resolves to a V, V7 or I 6

4 spelled from the im-mediate scale.

For example:

(1) Spell F Major: Neapolitan Sixth (N6).

F Major ii = G, Bb, D. Lower the root to Gb; lower the fifth to Db, place the triad in first inversion.

Therefore F Major: N6 = Bb, Db, Gb.

(2) Spell C minor: Neapolitan Sixth (N6).

C minor iio = D, F, Ab. Lower the root to Db; place the triad in first inversion.

Therefore C minor: N6 = F, Ab, Db.

Memorize Neapolitan Sixth Chords with Spell ID, Contents > Neapolitan Sixths

21c. Dominant Seventh Chords with Altered Fifth

Dominant V7, V9, V11, V13, V7b9, V11b9, and V7b13 chords may have a raised or lowered chord fifth. This alteration is frequent in jazz styles.

The raised fifth is indicated as in ‘C7#5’ or ‘F Major: V7#5’.

For example:

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(1) Spell C Major: V7#5.C Major: V7 = G, B, D, F. Raise the fifth, D, to D#.

Therefore C Major: V7#5 = G, B, D#, F.

(2) Spell A7#5.

A7 = A, C#, E, G. Raise the fifth, E, to E sharp.

Therefore A7#5 = A, C#, E#, G.

(3) Spell Eb7#5.

Eb7 = Eb, G, Bb, Db. Raise the fifth, Bb, to B natural.

Therefore B7#5 = Bb, D E natural, Db.

Dominant Sevenths with Raised Fifth:

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Memorize dominant sevenths with raised fifth with Spell ID, Contents .> V7 #4 #5 > Dominant 7th sharp 5.

The V7 with flatted fifth is normally indicated as a V7 with raised fourth as in C7#4 or F Major: V7#4. Omit the fifth when the fouth is raised. (The sharp 4 is the same note as an augmented 11th.)

For example:

(1) Spell D Major: V7#4.

D Major: V7 = A, C#, E, G, Omit the fifth. Raise the fourth above the root, D, to D#.

Therefore D Major: V7#4 = A, C#, D#, G.

(2) Spell Bb7#4.

Bb7 = Bb, D, F, Ab. Omit the fifth. Raise the fourth above the root, Eb, to E natural.

Therefore Bb7#4 = Bb, D, E natural, Ab.

(3) Spell E7#4.

E7 = E, G#, B, D. Omit the fifth. Raise the fourth above the root, A, to A#.

Therefore E7#4 = E, G#, A#, D.

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Dominant Sevenths with Raised Fourth:

Memorize dominant sevenths with raised fourth with Spell ID Contents .> V7 #4 #5 >Dominant 7th sharp 4.

22. CHROMATIC NON-CHORD TONE RESOLVES TO A CHORD TONE

22a. Chords with Chromatic Passing Tones or Chromatic Appoggiaturas that Sound as a Chord Tone Before Resolving to the True Chord Tone

The chromatic passing tone or chromatic appoggiatura resolves immediately up or down by one half-step to a chord tone, completing the chord before the next chord ar-rives.

The source of the chromatic tone is counterpoint, the combination of simultaneous melodies. Melody consists of successive chord tones and non-chord tones. Determine the

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name of a non-chord tone by the melodic motion to and from the immediately preceding and following chord tones. The names of single non-chord tones are: passing tone, neigh-boring tone, escape tone, anticipation, appoggiatura, free tone, suspension, and pedal point.

The following table presents the nine possible single non-chord tone patterns.

Non-Chord Tone Motion to chord tone from chord tonepassing tone step stepneighboring tone step stepescape tone step skipanticipation step or skip repeated noteappoggiatura skip stepfree tone skip skipsuspension sustained stepirregular suspension sustained skippedal point sustained sustained

See H. Gilbert Trythall: EIGHTEENTH CENTURY COUNTERPOINT, Brown and Benchmark, 1993, for a complete discussion of tonal counterpoint as practiced by J. S. Bach. Out of print, used copies sometimes available from Amazon.com.

Richard Wagner: Prelude to Tristan and Isolde, Bars 1-7

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SCALES FOR IMPROVISATION AND COMPOSITION

23. IMPROVISATION SCALES WHEN IMMEDIATE SCALE IS MAJOR

23a. Definitions: Immediate scale, Immediate Chord , Improvisation Scale

The immediate scale is the scale from which chords and non-chord tones are spelled at that point in the music. The immediate scale is a continuous pattern with scale steps above and below the tonic.

The immediate chord is the chord at that point in the music.

The improvisation scale is the immediate scale beginning on the root of the imme-diate chord. The improvisation scale is a continuous pattern with scale steps above and below the tonic.

23b. How to Determine the Immediate Scale

V7 chords or viio7 chords define the tonic scale step of the immediate scale. Chords immediately preceding and/or following the V7 or viio7 define the immediate major or minor scale quality.

(1) The immediate scale for V7 chords is a scale beginning on a tonic scale step

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a perfect fifth below the root of the V7 chord. If preceding and/or following chords are spelled from a major scale, the immediate scale is major. If preceding and/or following chords are spelled from a minor scale, the immediate scale is minor.

(2) The immediate scale for viio7 chords is a scale with a different note name beginning on a tonic scale step one half-step above the root of the viio7 chord. If pre-ceding and/or following chords are spelled from a major scale, the immediate scale is major. If preceding and/or following chords are spelled from a minor scale, the immediate scale is minor.

23c. How to Determine Changes in the Immediate Scale

A V7 or viio7 chord defines the new tonic scale step when the immediate scale changes. Direct modulation, a change of scale without a V7 or viio7, also occurs.

First:

Using the key signature and opening and closing chords, determine the major or minor scale from which chords and non-chord tones are spelled at the beginning and end of the composition. That scale is the key of the composition.

Next:

1. Examine each successive V7 (or V9, V11, V13) chord to determine the tonic scale step of the new immediate scale which each defines.

For example,

(1) What is the tonic scale step defined by G7?

A perfect fifth below the root of the G7 is the tonic scale step, C.

(2) What is the tonic scale step defined by A7?

A perfect fifth below the root of the A7 is the tonic scale step, D.

Identify tonic scale steps with Spell ID, Contents > Improvisation Scales > Tonic from V7

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2. If the chord and accompanying non-chord tones immediately preceding and fol-lowing the V7 (or V9, V11, V13) chord are spelled from a scale with a different tonic, the V7 may be a secondary dominant; OR, if another V7 (or V9, V11, V13) chord with a root a perfect fifth lower follows immediately, it is a V7 in a secondary dominant chain.

3. If the chord and accompanying non-chord tones immediately preceding and/or

following the V7 (or V9, V11, V13) are spelled from a scale with the same tonic, the V7 defines the tonic scale step in a new or continuing major or minor immediate scale.

For example:

(1) What is the immediate scale defined by a Bb7 immediately preceded by Fmin?

A Bb7 defines Eb as the tonic of the immediate scale. If the preceding chord is Fmin, it is a ii in Eb Major.

Therefore the immediate scale is Eb Major.

(2) What is the immediate scale defined by a Bb7 immediately preceded by Fmin7b5?

A Bb7 defines Eb as the tonic of the immediate scale. If the preceding chord is Fmin7b5, it is a iiØ7 in Eb minor.

Therefore the immediate scale is Eb minor.

(3) What is the immediate scale defined by a A7 immediately followed by Bmin?

A7 defines D as the tonic of the immediate scale. If the following chord is Bmin, it is a vi in D Major.

Therefore the immediate scale is D Major.

(4) What is the immediate scale defined by an A7 immediately followed by Bb?

An A7 defines D as the tonic of the immediate scale. If the following chord is Bb, it is a VI in D minor.

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Therefore the immediate scale is D minor.

Identify the immediate scale with Spell ID, Contents > Improvisation Scales > ii7, V7 immediate scales

Identify the immediate scale with Spell ID, Contents > Improvisation Scales > iiØ7, V7 immediate scales

4. Examine each viio7 chord. A viio7 chord defines a tonic scale step with a different note name a minor second above the root of the viio7.

For example,(1) What is the tonic scale step defined by C#dim7?

A minor second above the root of the C#dim7 is the tonic scale step, D.

(2) What is the tonic scale step defined by Edim7?

A minor second above the root of the Edim7 is the tonic scale step F.

Identify tonic scale steps with Spell ID, Contents > Improvisation Scales > Tonic from viio7

NOTE: Lead sheet chord symbols frequently misspell viio7 chord symbols. Depend-ing on spelling, a viio7 chord defines four different tonics. Examine chords immediately preceding and following the viio7 to determine the correct chord symbol for the viio7.

If the chord and accompanying non-chord tones immediately preceding and/or fol-lowing the viio or viio7 chord are spelled from a scale with a different tonic, the viio7 may be a secondary dominant, or a chord in a secondary dominant chain.

If the chord and accompanying non-chord tones immediately preceding and/or fol-lowing the viio7 are spelled from a scale with the same tonic, the viio7 indicates a new or continuing immediate scale.

For example:

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(1) What immediate scale does a Bo7 immediately preceded by Fmin define?

A Bo7 defines C as the tonic of the immediate scale. If the preceding chord is Fmin, it is a iv in C minor.

Therefore the immediate scale is C minor,

(2) What immediate scale does a C#o7 immediately followed by DMaj define?

A C#o7 defines D as the tonic of the immediate scale. If the following chord is D Major, it is I in D Major.

Therefore the immediate scale is D Major. The C#o7 is a chord ‘borrowed’ from D minor.

23d. Improvisation Scales when the Immediate Chord is Spelled from a Major Scale

When the immediate chord is spelled from an immediate major scale, the improvi-sation scale is the immediate scale beginning and ending on the root of the immediate chord.

For example:

(1) What is the improvisation scale for C Major: Dmin7 (C Major: ii7)?

The root of the immediate chord is D.

Therefore the improvisation scale is a C Major scale beginning and ending on D or D, E, F, G, A, B, C, D.

(2) What is the improvisation scale for C Major: G7 (C Major: V7)?

The immediate scale is C Major. The root of the immediate chord is G.

Therefore the improvisation scale is a C Major scale beginning and ending on G or G, A, B, C, D, E, F, G.

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(3) What is the improvisation scale for Bb Major: F7 (Bb Major: V7)?

The immediate scale is Bb Major. The root of the immediate chord is F.

Therefore the improvisation scale is a Bb Major scale beginning and ending on F or F, G, A, Bb, C, D, Eb, F.

(4) What is the improvisation scale for D Major: Bmin (D Major: vi)?

The immediate scale is D Major. The root of the immediate chord is B.

Therefore the improvisation scale is the D Major scale beginning and ending on B or B, C#, D, E, F#, G, A, B.

Memorize improvisation scales when the immediate scale is major with Spell ID, Contents > Improvisation Scales > Major improv scales.

23e. Improvisation Scales for ‘Borrowed’ Chords

A ‘borrowed’ chord is a chord spelled from the immediate parallel minor scale when the immediate scale is major.

When i7, iiØ7, iv7, and viio7 chords spelled from a minor scale are ‘borrowed’ into major, change the ‘borrowed’ chord tones in the immediate major scale steps. Then, if the seventh scale step of the immediate major scale is NOT a chord tone, i.e. if the seventh scale step of the immediate scale is a non-chord tone, lower the seventh scale step of the immediate major scale one half-step.

As previous, the improvisation scale is the immediate scale beginning on the root of the immediate chord.

1. Spell a ‘borrowed’ i7 immediate scale by applying the ‘borrowed’ chord tones to the immediate major scale. The immediate scale and the improvisation scale is the Dorian minor scale.

For example,

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(1) What is the improvisation scale for G Major: Gmin7 (G Major: i7)?

The immediate scale is G Major; but the i7 chord is ‘borrowed’ from G minor. Ap-ply the altered chord tones to the immediate G Major scale, B to Bb, and F# to F natural.

The immediate scale and the improvisation scale are G, A, Bb, C, D, E, F, G.

(2) What is the improvisation scale for A Major: i7 (A Major: Amin7)?

The immediate scale is A Major; but the i7 chord is ‘borrowed’ from A minor. Ap-ply the altered chord tones to the immediate A Major scale, C# to C natural, and G# to G najtural.

The immediate scale and the improvisation scale are A, B, C, D, E, F#, G, A.

Memorize borrowed i7 improvisation scales with Spell ID, Contents > Improvisa-tion Scales > Dorian improv scales

2, Spell a ‘borrowed’iiØ7 immediate scale by applying the ‘borrowed’ chord tone to the immediate major scale and lowering the seventh scale step of the immediate major scale one half step.

For example:

(1) What is the improvisation scale for C Major: iiØ7 (C Major: Dmin7b5)?

The immediate scale is C Major; but the iiØ7 chord is ‘borrowed’ from C minor. Ap-ply the ‘borrowed’ chord tone to the immediate C major scale, A to Ab. Lower the sev-enth scale step of the C Major scale: B to Bb.

The immediate scale is C, D, E, F, G, Ab, Bb, C. The improvisation scale is D, E, F, G, Ab, Bb, C, D.

(2) What is the improvisation scale for F Major: Gmin7b5 (F Major: iiØ7)?

The immediate scale is F Major; but the iiØ7 chord is ‘borrowed’ from F minor.

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Apply the ‘borrowed’ chord tone to the immediate F major scale, D to Db. Lower the seventh scale step of the F Major scale, E to Eb.

The immediate scale is F, G, A, Bb, C, Db, Eb F. The improvisation scale is G, A, Bb, C, Db, Eb F, G.

Memorize borrowed iiØ7 improvisation scales with Spell ID, Contents > Improvisa-tion Scales > Borrowed iiØ7 scales

3. Spell a ‘borrowed’ iv7 immediate scale by applying the new chord tones to the immediate major scale and lowering the seventh scale step of the immediate major scale one half-step.

For example:

(1) What is the improvisation scale for C Major: Fmin7 (C Major: iv7)?

The immediate scale is C Major; but the iv7 chord is ‘borrowed’ from C minor. Apply the ‘borrowed’ chord tones to the immediate C major scale, A to Ab, and E to Eb. Lower the seventh scale step of the C Major scale, B to Bb.

The immediate scale is C, D, Eb, F, G, Ab, Bb, C. The improvisation scale is F, G, Ab, Bb, C, D, Eb, F.

(2) What is the improvisation scale for Bb Major: iv7 (Bb Major: Ebmin7)?

The immediate scale is Bb Major; but the iv7 chord is ‘borrowed’ from Bb minor. Apply the ‘borrowed’ chord tones to the immediate Bb major scale, G to Gb, and D to Db. Lower the seventh scale step of the Bb Major scale, A, to Ab.

The immediate scale is Bb, C, Db, Eb, F, Gb, Ab, Bb. The improvisation scale is Eb, F, Gb, Ab, Bb, C, Db, Eb.

Memorize borrowed iv7 improvisation scales with Spell ID, Contents > Improvisa-tion Scales > Borrowed iv7 scales

4. Spell a ‘borrowed’viio7 immediate scale by applying the new chord tones to the immediate major scale. (The seventh scale step is the root of the viio7 borrowed chord

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and cannot be altered.)

(1) What is the improvisation scale for Bb Major: viio7 (Bb Major: Adim7)?

The immediate scale is Bb Major; but the viio7 chord is ‘borrowed’ from Bb minor. Apply the ‘borrowed’ chord tone to the immediate Bb Major scale, G to Gb.

The immediate scale is Bb, C, D, Eb, F, Gb, A, Bb. The improvisation scale is A, Bb, C, D, Eb, F, Gb, A.

(2) What is the improvisation scale for G Major: F#o7 (G Major: viio7)?

The immediate scale is G Major; but the viio7 chord is ‘borrowed’ from G minor. Apply the ‘borrowed’ chord tone to the immediate G major scale, E to Eb.

The immediate scale is G, A, B, C, D, Eb, F#, G The improvisation scale is F#, G, A, B, C, D, Eb, F#.

Memorize borrowed viio7 improvisation scales with Spell ID, Contents > Improvi-sation Scales > Borrowed viio7 scales

5. Less frequent ‘borrowed’ chords are IVb7 and VII7.

IVb7 and VII7 chords are major/minor seventh chords like V7’s, Their immediate scales are major scales beginning on a tonic scale step a perfect fifth below the root of the IVb7 or V7.

For example, (1) What is the improvisation scale for C Major: IVb7 (C Major: F7)?

The immediate scale is C Major; but the IVb7 chord is a major/minor seventh chord ‘borrowed’ from C minor.

Therefore the immediate scale is a major scale beginning on a tonic scale step a per-fect fifth below the root of the IVb7 chord or Bb, C, D, Eb, F, G, A, Bb.

Therefore the improvisation scale is F, G, A, Bb, C, D, Eb, F.

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(2) What is the improvisation scale for F Major: Bb7 (F Major: IVb7)?

The immediate scale is F Major; but the Bb7 chord is a major/minor seventh chord ‘borrowed’ from F minor.

Therefore the immediate scale is a major scale beginning on a tonic scale step a per-fect fifth below the root of the Bb7 chord or Eb, F, G, Ab, Bb, C, D, Eb.

Therefore the improvisation scale is Bb, C, D, Eb, F, G, Ab, Bb.

Memorize borrowed IV7 improvisation scales with Spell ID, Contents > Improvisa-tion Scales > Borrowed IV7 scales

For example,(1) What is the improvisation scale for Eb Major: VII7 (Eb Major: Db7)?

The immediate scale is Eb Major; but the VII7 chord is a major/minor seventh chord ‘borrowed’ from Eb minor.

Therefore the immediate scale is a major scale beginning on a tonic scale step a per-fect fifth below the root of the Db7 chord or Gb, Ab, Bb, Cb, Db, Eb, F, Gb.

Therefore the improvisation scale is Db, Eb, F, Gb, Ab, Bb, Cb, Db.

(2) What is the improvisation scale for D Major: C7 (D Major: VII7)?

The immediate scale is D Major; but the C7 chord is a major/minor seventh chord ‘borrowed’ from D minor.

Therefore the immediate scale is a major scale beginning on a tonic scale step a per-fect fifth below the root of the C7 chord or F, G, A, Bb, C, D, E, F.

Therefore the improvisation scale is C, D, E, F, G, A, Bb, C.

Memorize borrowed VII7 improvisation scales with Spell ID, Contents > Improvisa-tion Scales > Borrowed VII7 scales.

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In the following jazz standard examples:

(1) The top line is a lead sheet, the melody with chord symbols.

(2) The middle line is the improvisation scale.

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(3) The bottom line places the immediate chords in root position. Performance would position these chords for smooth voice leading in rhythm patterns appropriate to the style.

(4) Roman numeral harmonic analysis is below the staff.

(5) Chords with added sixths are placed in root position for the purpose of harmonic analysis. Therefore the analysis of a C Major: F6 (F, A, C, D) is C Major: ii7 (D, F, A, C).

(6) the symbol ‘o’ indicates a diminished triad or a fully diminished seventh chord.

(7) the symbol ‘Ø’ indicates a half diminished seventh chord.

23f. Immediate Scales for ‘September in the Rain’

Bars 1-4: Eb Major immediate scale (V7 = Bb13, bar 6), the key of the composition Bar 5: Eb Major: ii7b5 ‘borrowed’ chord. Bars 6-8: Eb Major immediate scale. Bars 9-16 repeat 1-8 immediate scales.Bars 17-20:Ab Major immediate scale (V7 = Eb7, bar 18).Bars 21-22 Bb Major immediate scale (V7 = F7, bar 21).Bars 23-24 Eb Major immediate scale.(V7 = Bb7, bar 23).Bars 25-32 repeat 9-16 immediate scale.

23g. Improvisation Scales for ‘September in the Rain’

The key of the composition is Eb Major.

Bar 5 contains an Fmin7b5, a iiØ7 chord borrowed from the parallel Eb minor scale. Apply the altered chord tone to the immediate Eb major scale, C, to Cb. Lower the sev-enth scale step of the Eb Major scale, D to Db. The immediate scale is Eb, F, G, Ab, Bb, Cb, Db, Eb. The improvisation scale is F, G, Ab, Bb, Cb, Db, Eb, F.

In bar 6 the Bb7, a V7, defines the tonic scale step and immediate scale of Eb Ma-

jor, The improvisation scale is an Eb Major scale beginning on Bb, the root of the Bb7.

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Bar 7 beats 1 and 2 the improvisation scale is an Eb Major scale.

Bar 7 beats 2 and 3 the improvisation scale is an Eb Major scale beginning on F, the root of Fmin7.

Bar 8 beats 1 and 2 the improvisation scale is an Eb Major scale beginning on C, the root of Cmin7.

Bar 8 beats 3 and 4 the improvisation scale is an Eb Major scale beginning on Bb,

the root of the Bb7. Raise the fifth scale step of the improvisation scale to agree with the raised fifth in the Bb+7 chord symbol.

Bars 9-16 repeat bars 1-8 without the ‘turn around’ (I, vi7, ii7, V7#5) in bars 15-16.

The Eb7 in bar 18 indicates an Ab tonic. The preceding and following chords are spelled from the Ab Major scale. Therefore the immediate scale in bars 17-20 is Ab Ma-jor.

The improvisation scale in bar 17 is an Ab Major scale beginning on Bb, the root of Bbmin7.

The improvisation scale in bar 18 is an Ab Major scale beginning on Eb, the root of Eb7.

The improvisation scale in bars 19-20 is an Ab Major scale.

The F7 chord in bar 22 indicates a Bb tonic. The preceding chord, Cmin7, is spelled from the Bb Major scale. Therefore the immediate scale is Bb Major beginning in bar 21.

The improvisation scale in bar 21 is a Bb Major scale beginning on C, the root of Cmin.

The improvisation scale in bar 22 is a Bb Major scale steps beginning on F, the root of F7.

The Bb7 chord in bar 23 indicates an Eb tonic. The following chord, Eb Major, is spelled from the Eb Major scale. Therefore the immediate scale beginning in bar 23 is an

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Eb Major scale,

The improvisation scale in bar 23 is an Eb Major scale beginning on Bb, the root of Bb7.

The Bb7#5 in bar 24 indicates a chromatically altered sharp 5 (+5) chord tone. Raise the fifth tone of the Bb7 chord, F to F# in the improvisation scale.

Bars 25-32 repeat bars 9-16.

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24. TRITONE SUBSTITUTE V7

24a. Tritone Substitute V7 Definition

A tritone substitution V7 is a dominant seventh chord (major/minor seventh chord) that is three whole steps (a tritone: 6 semitones) away from the dominant seventh chord which it replaces.

A tritone substitution V7 replaces only V7 chords.

In the following example, ‘The Girl from Ipanema’, the Gb7 in bar 6 replaces (substitutes for) a C7. Both chords contain the same tritone enharmonically. In a C7, the tritone is between E and Bb, resolving to F and A. While in an Gb7, the same tritone ex-ists between Fb (E) and Bb.

The immediate scale for any major/minor seventh chord is a major scale above a tonic scale step that is a perfect fifth below the root of the major/minor seventh chord. The improvisation scale is that scale beginning and ending on the root of the major/minor seventh chord. In addition, for a tritone substitution V7, raise the fourth scale step of the improvisation scale one half-step to include the root of the replaced V7.

For example:

(1) What is the improvisation scale for a Gb7 that is a tritone substitution V7?

The immediate scale for a Gb7 (major/minor seventh chord) is the scale of Cb Ma-jor, Cb, Db, Eb, Fb, Gb, Ab, Bb, Cb.

The improvisation scale is the immediate scale begiining on the root of the Gb7 or Gb, Ab, Bb, Cb, Db, Eb, Fb, Gb.

In addition, for a tritone substitution V7, raise the fourth scale step of the im-provisation scale, Cb, one half-step to C natural.

Therefore the improvisation scale is; Gb, Ab, Bb, C natural, Db, Eb, Fb, Gb.

(2) What is the improvisation scale for a Bb7 that is a tritone substitution V7?

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The immediate scale for a Bb7 (major/minor seventh chord) is the immediate scale of Eb Major, Eb, F, G, Ab, Bb, C, D, Eb.

The improvisation scale is the immediate scale beginning on the root of the Bb7 or Bb, C, D, Eb, F, G, Ab, Bb.

In addition, for a tritone substitution V7, raise the fourth scale step of the im-provisation scale, Eb, one half-step to E natural.

Therefore the improvisation scale is; Bb, C, D, E natural, F, G, Ab, Bb.

(3) What is the improvisation scale for a A7 that is a tritone substitution V7?

The immmediate scale for an A7 (major/minor seventh chord) is the immediate scale of D Major, D, E, F#, G, A, B, C#, D.

The improvisation scale is the immediate scale beginning on the root of the A7 or A, B, C#, D, E, F#, G, A..

In addition, for a tritone substitution V7, raise the fourth scale step of the im-provisation scale, D, one half-step to D#.

Therefore the improvisation scale is; A, B, C#, D#, E, F#, G, A.

Memorize Tritone Substitute V7 improvisation scales with Spell ID, Contents > Improvisation Scales > Tritone Subs. V7 scales.

24b. Immediate scales for ‘The Girl From Ipanema’

Bars 1-2 F Major immediate scale, the key of the composition. Bars 3-4 C Major immediate scale, a secondary dominant, V7 of C Major.Bar 5 F Major immediate scale.Bar 6 Chord is a Gb7 tritone substitute V7 for C7. Altered Cb Major immediate

scale.Bars 7-8 F Major immediate scale.Bars 9-16 repeat bars 1-8.Bars 17-18 F# Major immediate scale (direct modulation).Bars 19-20 Major/minor seventh chord, immediate scale is E major.

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Bars 21-22 F# Dorian minor immediate scaleBars 23-24 G Major immediate scale (V7 = D9 in bars 23-24).Bars 25-26 G minor immediate scaleBars 27-28 Chord is a Eb7 tritone substitute V7 for A7. Altered Ab Major immediate

scale.Bar 29 G Major immediate scale (V7 = D7 in bar 30).Bar 30 G Major immediate scale with #4 required by chord.Bar 31 F Major immediate scale (V7 = C7 in bar 32).Bar 32 F Major immediate scale with #4 required by chord.

23c. Improvisation scales for ‘The Girl From Ipanema’

The ‘Girl from Ipanema’ includes tritone substitution V7’s, secondary dominants, and borrowed chords .

In bars 1-2, the immediate scale, improvisation scale, and key of the composition is F Major.

In bars 3-4, The G7, V/V, secondary dominant defines an immediate scale of C Major (key of the dominant). The improvisation scale is a C Major scale beginning on the G root of G7.

In bar 5, the improvisation scale is an F Major scale beginning on G root of Gmin7.

In bar 6, the immediate scale for the tritone substitute Gb7 (replacing a C7) is a ma-jor scale with tonic scale step a perfect fifth below the root of Gb7. Therefore the immedi-ate scale is Cb Major and the improvisation scale has the scale steps of Cb Major begin-ning on the Gb root of the Gb7. IN ADDITION, because this is a tritone substitute V7, raise the fourth scale step of the improvisation scale, the Cb, to C natural. The immediate scale for improvisation is: Gb, Ab, Bb, C natural, Db, Eb, Fb, Gb.

In bars 7-8, the immediate scale is F Major.

Bars 9- 16 repeat bars 1-8.

Bars 17-18 is a direct change to the immediate scale of F# Major. The improvisation scale is an F# Major scale.

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In bars 19-20 The B9 (IV9) is a major/minor seventh chord with added ninth. There-fore the immediate scale is a major scale with a tonic scale step a perfect fifth below the root of the B9 or E, F#, G#, A#, B, C#, D#, E. The improvisation scale (beginning on the root of the B9) is B, C#, D#, E, F#, G#, A, B.

In bars 21-22 the improvisation scale is F# Dorian minor scale.

In bars 23-24 the D9 defines a G tonic. The E natural indicates a G major immediate scale. The improvisation scale is a G Major scale beginning on D, the root of the D7.

In bars 25-26 the improvisation scale is G Dorian minor.

In bars 27-28, the immediate scale for the tritone substitute Eb7 is a major scale with tonic scale step a perfect fifth below the root of Eb7. Therefore the immediate scale is Ab Major and the improvisation scale has the scale steps of Ab Major beginning on Eb, the root of the Eb7. IN ADDITION, because this is a tritone substitute V7, raise the fourth scale step of the improvisation scale, Ab, to A natural. The improvisation scale is: Eb, F, G, A natural, Bb, C, Db, Eb.

In bar 29 the improvisation scale is G major beginning on A, root of the Amin7.

In bar 30 the improvisation scale is a G major scale beginning on the D root of the D7#4. Raise the fourth scale step of the improvisation scale, G, one half-step to G# to agree with the chord. The improvisation scale is D, E, F#, G#, A, B, C, D.

In bar 31 the improvisation scale is an F major scale beginning on G.

In bar 32 the improvisation scale is an F major scale beginning on the C root of the C7#4. Raise the fourth scale step of the improvisation scale, F, one half-step to F# to agree with the chord. The improvisation scale is C, D, E, F#, G, A, Bb, C.

A Da Capo (return to the beginning) repeats the first 8 bars ending at Fine (end).

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25. SECONDARY DOMINANT ‘BORROWED’ viio7

25a. Improvisation Scale when the Immediate Chord is a Secondary Dominant ‘Borrowed’ viio7

When the immediate chord is a ‘borrowed’ viio7/V, the immediate scale is a major scale with a tonic scale step that is the root of the V. Alter the scale steps of the immedi-ate scale to agree with the chord tones of the viio7. (The seventh scale step of the immedi-ate scale is a chord tone and cannot be lowered as in other ‘borrowed’ chord scales.) The improvisation scale is the altered immediate scale beginning and ending on the root of the viio7.

For example:

(1) What is the improvisation scale for Ab Major: Ddim7 (Ab Major: viio7/V)? This chord occurs in Bar 32 in ‘All the Things You Are’ below .

The viio7 chord is a ‘borrowed’ chord, functioning as a secondary dominant of Eb Major, the key of the dominant of Ab Major. The immediate scale of the ‘borrowed’ Ddim7 is an Eb Major scale. Lower the sixth scale step of the immediate scale, C to Cb to agree with the chord tone.

The immediate scale becomes Eb, F, G, Ab, Bb, Cb, D, Eb.

The improvisation scale begins on the root of the Ddim7.

Therefore the improvisation scale is D, Eb, F, G, Ab, Bb, Cb, D.

(2) What is the improvisation scale for C Major: Edim7 (C Major: viio7/IV)?

The viio7 chord is a ‘borrowed’ chord, functioning as a secondary dominant of F Major, the key of the sub-dominant of C Major. The immediate scale of the ‘borrowed’ Edim7 is an F Major scale. Lower the sixth scale step of the immediate scale, D to Db to agree with the chord tone.

The immediate scale becomes F, G, A, Bb, C, Db, E, F.

The improvisation scale begins on the root of the Edim7.

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Therefore the improvisation scale is E, F, G, A, Bb, C, Db, E.

25b. Immediate Scales for ‘All the Things You Are’

Bars 1-5 Ab Major immediate scale (V7 = Eb7, bar3). Bars 6-8 C Major immediate scale (V7 = G7, bar 6).Bars 9-13 Eb Major immediate scale (V7 = Bb7, bar 11).Bars 14-21 G major immediate scale (V7 = D7b9, bar 14.) Bars 22-23 E Major immediate scale (V7 == B7, bar 22).Bar 24 C# melodic minor immediate scale. Augmented triads occur only on the III+

triad in the melodic minor ascending scale. Bars 25-36 Ab Major immediate scale (V7 = Eb7, bar 27).

25c. Improvisation Scales for ‘All the Things You Are’

‘All the Things You Are’ has immediate scale changes, ‘borrowed’ chords, and a vii7 secondary dominant.

The key of the composition is Ab Major.

In bar 1 the improvisation scale is an Ab Major scale beginning on F root of Fmin7.

In bar 2 the improvisation scale is an Ab Major scale beginning on Bb root of Bbmin7.

In bar 3 the improvisation scale is an Ab Major scale beginning on Eb root of Eb7.

In bar 4 the improvisation scale is an Ab Major scale.

In bar 5 the improvisation scale is an Ab Major scale beginning on Db root of DbMaj7.

In bar 6 the improvisation scale is a C Major scale beginning on G root of G7.

In bars 7-8 the improvisation scale is a C Major scale. In bar 9 the improvisation scale is an Eb Major scale beginning on C root of Cmin7.

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In bar 10 the improvisation scale is an Eb Major scale beginning on F. root of Fmin7.

In bar 11 the improvisation scale is an Eb Major scale beginning on Bb root of Bb7.

In bar 12 the improvisation scale is an Eb Major scale.

In bar 13 the improvisation scale is an Eb Major scale beginning on Ab root of AbMaj7.

In bar 14, beats 1 and 2, the Amin7b5 is a’ borrowed’ chord. Alter the scale step in the immediate G Major scale, E, to agree with the chord tone, Eb. Lower the seventh scale step, F#, to F Natural. The immediate scale is now G, A, B, C, D, Eb, F natural, G. The improvisation scale is A, B, C, D, Eb, F, G, A.

In bar 14, beats 3 and 4, the D7b9 is a’ borrowed’ chord. Alter the scale step in the immediate G Major scale, E, to agree with the chord tone, Eb. The seventh scale step is a chord tone. Therefore retain the F# scale step. The immediate scale becomes G, A, B, C, D, Eb, F#, G. The improvisation scale is D, Eb, F#, G, A, B, C, D

.In bars 15-16 the improvisation scale is an G Major scale.

In bar 17 the improvisation scale is a G Major scale beginning on A root of Amin7.

In bar 18 the improvisation scale is a G Major scale beginning on D root of D7.

In bar 19 the improvisation scale is a G Major scale.

In bar 20 the improvisation scale is a G Major scale beginning on C root of CMaj7.

In bar 21 the F#min7b5 is a’ borrowed’ chord. Alter the scale step in the immediate E Major scale, C#, to agree with the chord tone, C. Lower the seventh scale step, D#, to D Natural. The immediate scale is now E, F#, G#, A, B, C, D, E. The improvisation scale is F#, G#, A, B, C, D, E, F#.

In bar 22 the improvisation scale is an E Major scale beginning on B root of B7.

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In bar 23 the improvisation scale is an E Major scale..

In bar 24 the immediate scale is C# melodic minor: C#, D#, E, F#, G#, A#, B#, C#. (The IIIaug chord occurs ONLY on the third scale step of a melodic minor scale). The improvisation scale is an C# melodic minor ascending scale beginning on E root of Eaug.

Bars 25-29 repeat bars 1-5.

In bar 30, beats 1 and 2, the Dbmin7 is a’ borrowed’ chord. Alter the scale steps in the immediate Ab Major scale to agree with the chord tones, F to Fb and C to Cb. Lower the seventh scale step to Gb. The immediate scale becomes Ab, Bb, Cb, Db, Eb, Fb, Gb, Ab. The improvisation scale is Db, Eb, Fb, Gb, Ab, Bb, Cb, Db.

In bar 30, beats 3 and 4, the Gb9 is a major/minor seventh chord and the immediate scale is the major scale on a tonic scale step a perfect fifth below the root of the V7, a Cb Major scale. The improvisation scale is a Cb Major scale beginning on Gb, the root of the Gb9 chord.

In bar 31 the improvisation scale is the Ab Major scale.

In bar 32 the Do7 viio7 chord is a ‘borrowed’ chord, functioning as a secondary dominant of Eb Major, the key of the dominant of Ab Major. Spell a ‘borrowed’ Ddim7 from an Eb Major scale but lower the sixth scale step, C, to Cb to agree with the chord tone. The immediate scale becomes Eb, F, G, Ab, Bb, Cb, D, Eb. The improvisation scale is D, Eb, F, G, Ab, Bb, Cb, D.

In bar 33 the improvisation scale is an Ab Major scale beginning on Bb root of Bbmin7.

In bar 34 the improvisation scale is an Ab Major scale beginning on Eb root of Eb9.

In bars 35-36 the improvisation scale is an Ab Major scale.

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26. IMPROVISATION SCALES WHEN IMMEDIATE SCALE IS MINOR

26a. Improvisation Scales when the Immediate Scale is Minor

When the immediate scale is a minor scale:

(1) Spell i, iio, III, iv, v, VI, and VII chords from the natural minor scale.

(2) Spell V and V7 chords from the melodic minor ascending scale (use ascending form up and down).

(3) Spell viio7, V7b9, V11b9, V7b13 chords from the harmonic minor scale.

(4) Spell vio and III+ chords from the melodic minor ascending scale (use ascending form up and down).

For example,

(1) What is the improvisation scale for Eb minor: Bb7 (Eb minor: V7)?

The immediate scale is Eb minor. When the immediate scale is a minor scale, spell a V7 from the melodic minor scale ascending (use up and down).

Therefore the improvisation scale is an Eb melodic minor scale beginning on Bb, the root of Bb7, or Bb, C, D, Eb, F, Gb, Ab, Bb.

(2) What is the improvisation scale for C minor: Dmin7b5 (C minor: iiø7)?

The immediate scale is C minor. Spell iiø7 from the natural minor scale.

Therefore the improvisation scale is a C natural minor scale beginning on D, the root of Dmin7b5, or D, Eb, F, G, Ab, Bb, C, D.

(3) What is the improvisation scale for G minor: Gmin7 (G minor: i7)?

The immediate scale is G minor. Spell i7 from the natural minor scale.

Therefore the improvisation scale is a G natural minor scale beginning on G, the root

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of Gmin7, or G, A, Bb, C, D, Eb, F, G.

(4) What is the improvisation scale for D minor: C#dim7 (D minor: viio7)?The immediate scale is D minor. Spell viio7 from the harmonic minor scale.

Therefore the improvisation scale is a D harmonic minor scale beginning on C#, the root of C#dim7, or C#, D, E, F, G, A, Bb, C#.

26b. Immediate Scales for ‘Orpheus’

Bars 1-5 A minor immediate scale (V7 = E7, bar 2), the key of the composition.Bars 6-7 C Major immediate scale (V7 = G7, bar 6). Bare 8 D minor immediate scale (V7 = A7, bar 8).Bars 9-12 C Major immediate scale (V7 = G7, bar 10).Bars 13-20 A minor immediate scale (V7 = E7, bar 14). Bars 21-24 D minor immediate scale (V7 = A7b9, bar 21).Bars 25-end A minor immediate scale (V7 = E7, bar 26 and following).

26c. Improvisation Scales for ‘Orpheus’

‘Orpheus’ has changes of the immediate scale to the sub-dominant scale of D minor and the relative major scale of C Major. In addition ‘Orpheus’ has the rare modal domi-nant, v, in bars 35 and 39.

Bar 1 improvisation scale is A natural minor.

Bar 2, beats 1 and 2, improvisation scale is A natural minor beginning on B, the root of the iiø7 chord.

Bar 2, beats 3 and 4, improvisation scale is A melodic minor ascending (use up and down) beginning on E, the root of the E7 chord.

Bars 3-5 improvisation scale is A natural minor.

Bar 6, beats 1 and 2, improvisation scale is C Major beginning on D, the root of the Dmin chord.

Bar 6, beats 3 and 4, improvisation scale is C Major beginning on G, the root of the

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G7 chord.

Bar7 improvisation scale is C Major.

Bar 8, beats 1 and 2, improvisation scale is D natural minor beginning on E, the root of the iiø7 chord.

Bar 8, beats 3 and 4, improvisation scale is D melodic minor ascending (up and down) beginning on A, the root of the V7 chord.

Bar 9 improvisation scale is C Major beginning on D, the root of the Dmin chord.

Bar 10, beats 1 and 2, improvisation scale is C Major beginning on D, the root of the Dmin chord.

Bar 10, beats 3 and 4, improvisation scale is C Major beginning on G, the root of the G7 chord.

Bar 11 improvisation scale is C Major.

Bar 12, beats 3 and 4, improvisation scale is C Major beginning on A root of the Amin chord.

Bar 13 improvisation scale is A natural minor beginning on B, the root of the iiø7 chord.

Bar 14 improvisation scale is A melodic minor ascending beginning on E root of E7 chord.

Bar 15 improvisation scale is A natural minor.

Bar 16, beats 1 and 2, improvisation scale is A natural minor beginning on B, the root of the iiø7 chord.

Bar 16, beats 3 and 4, improvisation scale is A melodic minor ascending (up and down) beginning on E, the root of the E7 chord.

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Bars 17-20 duplicate bars 1-4.

Bar 21 improvisation scale is D harmonic minor beginning on A root of the A7b9 chord.

Bar 22, beats 1 and 2, improvisation scale is D natural minor beginning on E root of the iiø7 chord. Bar 22, beats 3 and 4, improvisation scale is D melodic minor ascending beginning on A root of the A7 chord.

Bars 23-24 improvisation scale is D natural minor.

Bar 25, beats 1 and 2, improvisation scale is A natural minor beginning on D root of the Dmin chord.

Bar 25, beats 3 and 4, improvisation scale is A natural minor beginning on B, the root of the iiø7 chord.

Bar 26 improvisation scale is A melodic minor ascending beginning on E root of E7 chord.

Bar 27 improvisation scale is A natural minor.

Bar 28, beats 1 and 2, improvisation scale is A natural minor beginning on B root of iiø7chord.

Bar 28, beats 3 and 4, improvisation scale is A harmonic minor beginning on G# root of G#dim chord.

Bars 29-30 improvisation scale is A melodic minor ascending beginning on E root of the E7 chord.

Bars 31 - end improvisation scale is A natural minor beginning on chord roots as indicated.

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CONCLUSION

The suggested improvisation scales are a beginning point from which to develop your style. Chromatic non-chord tone embellishments are also useful. Use your ear to develop improvisation scales that sound well with the immediate chord.

If you have worked through this book, listened and responded with better than 90% accuracy to all exercises in Pitch ID, pitch and intervals, Spell ID, Chord ID, Rhythm ID and Melodic ID, you have an excellent musical foundation.

The advanced musical disciplines of Form and Analysis and Counterpoint are also important. I have written two books on counterpoint:

Sixteenth Century Counterpoint by H. Gilbert Trythall,

Eighteenth Century Counterpoint by H. Gilbert Trythall.

Both books are out of print but used copies may sometimes be found on Amazon.com.

I wish you much success.

Gil TrythallDallas, Texas, USAJanuary 2009

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Index

A

accidentals 87added sixth chords 66anticipation 112appoggiatura 112Augmented intervals 28authentic cadence 80authentic cadence resolution 80

B

beats 9borrowed chord 100, 124borrowed chords 87

C

cadencesand immediate scale 85and scale/key identification 83, 85authentic cadence 80chord names in authentic 82chord names in deceptive 84deceptive cadence 80first chord in 80half cadence 81plagal cadence 81spell authentic cadence 81spell deceptive cadence 83

chorddefined 44

chord namesand lead sheets 51

Chord symbol definition 55chord symbol name 44chromatic appoggiaturas 111Chromatic Chords 87chromatic passing tones 111chromatic scale 87chromatic tone 11chromatic tones 111circle of fifths 42clef sign 9

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closely related keys 42compound meter 9counterpoint 111Counterpoint 111

D

Da Capo 132deceptive cadence 80deceptive cadence resolution 81diatonic

scale 11tone 11

diminished/diminished seventh chord 58Diminished intervals 28diminished/minor seventh chord 60direct modulation example 131dominant 9th chord

definition 72voicing 73

dominant 11th chordvoicing 77

dominant 13th chorddefinition 77voicing 79

Dorian minor scale pattern 17Dots and ties 10doubly augmented interval 28doubly diminished interval 28

E

enharmonic chord 71enharmonic pitch 71escape tone 112

F

Fine 132free tone 112French Augmented Sixth 106

G

German Augmented Sixth 105

H

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half-step 11

I

immediate scale 40immediate scale defined 113improvisation scale 113improvisation scale defined 40interval

augmented fourth 37defined 18diminished fifth 37diminished seventh 36inversion 38major seventh 33, 34minor seventh 35quality 18size 18transposition 38

interval nameseleventh 19fifteenth 19fifth 19fourth 19ninth 19octave 19second 19seventh 19sixth 19tenth 19third 19thirteenth 19twelfth 19unison 18

intervalscomplementary interval 38half-steps in 19major third 30, 32, 33minor third 31perfect fifth 29perfect fourth 29perfect intervals 28

Italian Augmented Sixth 104

K

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keyand closely related keys 42defined 40immediate scale 87key signature 40

key of the composition 87, 124

L

lead sheet 123

M

major intervals 28major/major seventh chord 62major minth 28major scale pattern 13major tenth 28middle C 11minor intervals 28minor/minor seventh chord 57minor ninth 28minor tenth 28mode

Aeolian 12defined 12final 12Ionian 12Locrian 12Lydian 12Mixolydian 12Phrygian 12

modulation 87

N

Neapolitan Sixth Chord 107neighboring tone 112new immediate scale 87non-chord tones 40, 111Note ID.exe 7note-name

defined 11

P

parallel major 41

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parallel major scale 100parallel minor 41parallel minor scale 100passing tone 112pedal point 112Perfect intervals 28pitch

defined 11Pitch duration 9pivot chord 89pulses 9

R

relative major 41relative minor 41retrogression 80Roman numeral definition 54Roman numeral name 44Roman numerals

and chord names 52and triads 49, 50

S

scalesharmonic minor scale pattern 15melodic minor scale pattern 16, 17natural minor scale pattern 15

scale step namesdominant 13mediant 13sub-dominant 13sub-mediant 13super-tonic 13

secondary dominant 87, 115and chormatic chords 91, 94only V or vii° chord 90

secondary dominant chain 115secondary dominant example 131secondary dominants

chromatic chord 87with authentic resolution 91

secondary viio 87semitone 11seventh chord

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definition 54dominant seventh chord root 68dominant seventh chords 55dominant seventh chord with #5 65full-diminished seventh chord 58full-diminished seventh chords 59half-diminished seventh chord 60, 71IV7 (blues sub-dominant) 69major/major seventh chord 62major seventh chord 62minor seventh chord 57

simple meter 9suspension 112

T

tempo 9time signature 9tonal music 80triad

defined 44triads

64 triad 47and chords 44augmented triad 48close position 47diminished triad 48first inversion triad 46major triad 47minor triad 48open position 47root position 45second inversion triad 47sixth chord 46triad fifth 46Triad inversion 46triad root 46triad third 46

triangle symbol 62tritone 28, 129tritone substitute Gb7 131, 132tritone substitution 129, 130turn around 125

W

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whole-step 11