popular music harmony - an introduction - milton mermikides

Popular Music Harmony

2011

©2011 [email protected]

The C Major Scale and its Diatonic Harmony©2010 Mermikides

44&

1. The 7 notes of C Major:

I

tone

Major 3rd

Perfect 4th

II

tone

Perfect 5th

III

Major 6th

semitone

Major 7th

IV

tone

V

tone

VI

tone

VII

semitone

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2. Triads: Root 3rd & 5th starting from each scale degree: (These triad types occur in the same order in any major key)

'US''UK'

Major Triad: R, 3, 5

IC

I

Major 2nd

ii

DmIIm

Minor Triad: R, b3, 5

iii

EmIIIm

Octave

FIVIV

Diminished Triad: R, b3, b5

V

GV

vi

AmVIm

viiº

BdimVIIº

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇

[email protected] Diatonic Harmony Practice

&

Reference: The diatonic triads and 7th chords of C Major.

'US''UK'

IC

I ii

DmIIm

iii

EmIIIm

FIVIV V

GV

vi

AmVIm

viiº

BdimVIIº

&

II^7

Cmaj7

ii7

Dm7IIm7

iii7

Em7IIIm7

Fmaj7

IV^7IV^7

V7

G7V7 VIm7

Am7

iv7 viØ

Bm7b5VIIm7(¨5)

&

1. Find the key (add key signature), notate and analyse the following progression.

GŒ„!7 E‹7 A‹7 D7

&E‹7 A‹7 D7 GŒ„!7

&CŒ„!7 D7 E‹7 A‹7

&CŒ„!7 D7 GŒ„!7

˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇

˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇

™™

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2. Notate and write chord symbols for this progression in a key of your choiceii7 V7 Imaj7 IVmaj7

&viiø7 iii7 vi7

&###3. Write chord symbols and analyse with roman numerals the following chords:

&###

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4. Write chord symbols and analyse with roman numerals the following chords (6 chords and secondary dominants are used)

&bb

&bb

wwww www

w wwww

wwww

wwwwwwww ww

wwwwww

wwww

wwwwn www

wbwwww

wwww

wwwwb wwww w

wwwn

wwwwnb

wwwwb ww

ww

2

Cycle of 5ths

CG

D

AEb

F#Gb

E

F

Bb

Ab

Db

The Cycle of 5ths©2010 Mermikides

B

AmEm

Bm

F#mCm

D#mEbm

C#m

G#m

Dm

Gm

Fm

Bbm

DiatonicCycle of

5ths

I

V

ii

viiii

IV

viiº

1. Diatonic Cycle of 5ths©2010 Mermikides

Imaj7

V7

ii7

vi7iii7

IVmaj7

viiø

(augmented 4th/dimished 5th)

DiatonicCycle of

5ths

I

V

ii

viiii

IV

viiº

2.Composing with Diatonic harmony

©2010 Mermikides

Imaj7

V7

ii7

vi7iii7

IVmaj7

viiø

They're are no compositional 'rules' But here are some effective mechanisms to tryI can jump to any chord ('I' as in 'one' not me)

Any chord can jump to I (or IV or V) All other motion as indicated (dashed is less common)

End on IChords can be in there triadic, 7th or other form (6th, 9th, 13th,

add9 etc.)

(augmented 4th/dimished 5th)

Secondary Dominants

V7/V

V7/iiV7/vi

V7/iii

C!7

G7

B7

Bø

F!7

Dm7

D7Am7

A7

Em7

E7

I7

G7

C7

I!7

V7

ii7

vi7iii7

IV!7

viiø

3.Secondary Dominant 7ths

©2010 Mermikides

Secondary Dominants

V7/V

V7/iiV7/vi

V7/iii

C!7

G7

B7

Bø

F!7

Dm7

D7Am7

A7

Em7

E7

I7

C7

G7

v7

Gm7

I!7

V7

ii7

vi7iii7

IV!7

viiø

4.Secondary Dominant 7ths Paths

©2010 Mermikides

44&bbb

The 7 notes of the C natural minor scale:

The C Natural Minor Scale and its Diatonic Harmony

tone semitone tone tone semitone tone tone

&bbb

Minor Triad: R, b3, 5

The triads in a minor key are:Triads: Root 3rd & 5th starting from each scale degree:

ImCm

i

DdimIIºiiº

Diminished Triad: R, b3, b5

E¨¨IIIIII

FmIVmiv v

GmVm

Major Triad: R, 3, 5

VI

A¨¨VI

VII

B¨¨VII

&bbb

It is common in a minor key for the V chord to be changed from min7 to dom7. So here Gm7 would become G7 eg V7 - i or iiø - V7 - i.

7th Chords: Root 3rd 5th & 7th starting from each scale degree:The 7th chord types in a natural minor key are:

Major 7 chord: R, 3, 5, 7

Dominant 7 chord: R, 3, 5, b7

Imi7

Cm7

iiøØIIm7(¨5)Dm7b5

¨III^7III^7

E¨maj7

Minor 7 chord: R, b3, 5, b7

Minor 7b5 chord: R, b3, b5, b7(Half diminished)

Fm7

iv7IVm7

v7Vm7

Gm7

VI^7¨VI^7

A¨maj7

VII7¨VII7

B¨7

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇

˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇

[email protected] Diatonic Harmony Self-test

&

Reference: The diatonic triads of A natural minor.

'US''UK'

Imi

Am Bdim

iiºIIº ¨III

C

III

DmIViv

'US''UK'

VmEm

v VI¨VIm

F G

VII¨VII

AmImi

Common alterations from Harmonic minor:

E

VV

G©º

viiºVIIº

&

Reference: The diatonic 7ths of A minor.

'US''UK' i7

Im7Am Bdim

iiØIIm7(¨5)

C^7¨III^7IIImaj7

Dm7

iv7IVm7

'UK''US'

Em

v7Vm7

VI^7¨VI^7

F G

VII7¨VII7

AmIm7i7

Common alterations from Harmonic minor:

E7

V7V7

G©º7

viiº7VIIº7

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1. Notate, write chord names and analyse the diatonic triads of

a) sharp minor key of your choice (using a key signature)- indicate the common alterations of the v and VII chords

&

b) flat key of your choice (using a key signature) - indicate the common alterations of the v and VII chords

˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇

˙̇̇# ˙̇̇̇#

˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇

˙̇̇̇# ˙̇̇̇#

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2. Notate, write chord names and analyse the diatonic 7th chords of

a) sharp key of your choice (using a key signature) - indicate the common alterations of the v7 and VII7 chords

&

b) flat key of your choice (using a key signature) - indicate the common alterations of the v7 and VII7 chords

&

3. Notate, write chord names and key signatures for the following progression.

a) Cm: iiº V7 i b) Dm: i iv V7 i

&4. Choose 4 different key signatures.Notate, write chord names and key signatures for iiø V7 i7

c) Em: VI∆7 iiø V7 i7 d) Bm: i7 bVI viiº7 i

&

&

2

Borrowing Chords from the Minor [email protected]

&'US''UK'

IC

I

In a major key, often chords are borrowd from the 'parallel' minor key. So in the key of C (top stave) triads from the key of C minor may be used (bottom 2 staves)

ii

DmIIm

iii

EmIIIm

FIVIV V

GV

vi

AmVIm

viiº

BdimVIIº

&ImCm

i

DdimIIºiiº

Common uses

E¨¨IIIIII

FmIVmiv v

GmVm

VI

A¨¨VI

VII

B¨¨VII

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The 'Beatles' chord

The 'subdominant minor' IVm, iv

minor key

Fmiv

major key

IC

the bVI bVII I

'Epic'

A¨bVI

minor key

bVII

B¨

major key

IC

˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇

˙̇̇b ˙̇̇b ˙̇̇bb ˙̇̇b ˙̇̇b ˙̇̇bb ˙̇̇b

˙̇̇̇b ˙̇̇˙ œœœbb œœœb ˙̇̇n

Borrowing Chords from the Minor Scale-2

&

II^7

Cmaj7

ii7

Dm7IIm7

iii7

Em7IIIm7

Fmaj7

IV^7IV^7

V7

G7V7 VIm7

Am7

iv7 viØ

Bm7b5VIIm7(¨5)

&Imi7

Cm7

iiøØ7IIm7(¨5)Dm7b5

¨III^7

Common 7th chord uses

III^7

E¨maj7 Fm7

iv7IVm7

v7Vm7

Gm7

VI^7¨VI^7

A¨maj7

VII7¨VII7

B¨7

&

The 'subdominant minor7' IVm7, iv7

minor key

iv7Fm7

Imaj7

major key

Cmaj7 Cmaj7

major key

Imaj7

The bIIImaj7 and bVImaj7

bIIImaj7

minor key

E¨maj7bVImaj7A¨maj7 G7

V7

major key

Cmaj7Imaj7

&minor key

iiøØ7

Minor to major ii-V

Dm7b5

V7

G7

major key

I^7Cmaj7

˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇

˙̇̇̇bb ˙̇̇̇b ˙̇̇̇bb ˙̇̇̇bb ˙̇̇̇b ˙̇̇̇bb ˙̇̇̇bb

˙̇̇̇bb ˙̇̇˙n

œœœœb œœœœbb œœ

œœb œœ

œœn wwwwb

œœœœb œœœœ ˙̇̇̇

2

{{{{

D‹7 G7 CŒ„!7

D‹7 G7 CŒ„!7

D‹7(b5) G7 C‹7

D‹7(b5) G7 C‹7

&

The 'guide tones' in 7th chords are the 3rd and 7th - determining much of the character of the chord.In a ii-V-i progression the guide tones moves in a particularly elegant fashion (indicated)

Motion of 'guide' tones (3rd and 7th)

ii - V - I Voice Leading

?

&

A different voicing.

?

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The motion is similar, but not identical in a 'minor ii-V.' The flat 5 in the ii chord is not technically a guide tone but is included for context


?

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?

ww ww www w w

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ww ww wwbbwwb w w

ww ww wwbbwwb w w

C pedal

C5 C(b5)

C C‹ C& Cº

C(“4) C(“2)

CŒ„!7 C7 C‹7 C‹7(b5) Cº7

C‹(Œ„!7) CŒ„!7(b5) CŒ„!7(#5) C7(b5) C7(#5)

&[R]

(Almost) all the chord symbols you'll ever need.There'll always be more but all 'standard' chords should be derivable from these...

Chord Directory - 1

1-note

[email protected]

&[R, 5] [R,♭5]

3-note (triads)

2-note

&(major, maj)

[R, 3, 5]

(minor, min, -)

[R, ♭3, 5] [R, 3, ♯5]

(aug, #5) (diminished, dim)

[R, ♭3, ♭5]

3-note (sus chords)

&(sus)

[R, 4, 5] [R, 2, 5]

&[R, 3, 5, 7] [R, 3, 5, ♭7] [R, ♭3, 5, ♭7] [R, ♭3, ♭5, 7] [R, ♭3, ♭5, ♭♭7]

4-note (7th chords)

&[R, b3, 5, 7] [R, 3, ♭5, 7] [R, 3, #5, 7] [R, 3, ♭5, ♭7] [R, 3, #5, ♭7]

w

ww wwb

www wwwb www# wwwbb

www www

wwww wwwwb wwwwbb wwwwbbb wwww!bb

wwwwb wwwwb wwww# wwwwbb wwwwb#

C6 C‹6 C(b6) C‹(b6)

C(„ˆˆ9) C‹(„ˆˆ9) C7(“4)

CŒ„!9 C‹9 C9

C7(b9) C7(#9) C(“9) C(“4b9)

C% C‹%

&[R, 3, 5, 6] [R, ♭3, 5, 6] [R, 3, 5, ♭6] [R, ♭3, 5, ♭6]

Chord Directory - 2

4-note (add and sus chords)

4-note (6th chords)

[email protected]

&[R, 3, 5, 9] [R, ♭3, 5, 9] [R, 4, 5, ♭7]

&[R, 3, 5, 7, 9] [R, ♭3, 5, 7, 9] [R, 3, 5, ♭7, 9]

5-note (9th chords)

&[R, 3, 5, ♭7, ♭9] [R, 3, 5, ♭7, #9] [R, 4, 5, ♭7, 9] [R, 4, 5, ♭7, ♭9]

&[R, 3, 5, 6, 9] [R, ♭3, 5, 6, 9]

wwww wwwwb wwwwb wwwwbb

wwww wwwwb wwwwb

wwwww wwwwwbb wwwwwb

wwwwwbb wwwww#b wwwwwb wwwwwbb

wwwww wwwwwb

2

CŒ„!11 C11 C‹11 C‹11(b5) Csus11C9(“4)

CŒ„!7(#11) C7(#11) C‹7(#11) C‹(Œ„!7#11)

CŒ„!13 CŒ„!13(#11) C13 C13(#11)

C13(b9) C13(#9) C7[áÆ] C9(b13) C7[äÆ]

C7"

&[R, (3), 5, 7, 9, 11] [R, (3), 5, ♭7, 9, 11] [R, ♭3, 5, ♭7, 9, 11] [R, ♭3, ♭5, ♭7, (9), 11] [R, (4), 5, ♭7, 9, 11]

(a 5-note chord)

Technically 11th chords include a root, 3rd, 5th, 7th, 9th and 11th. But '11' is also used to mean a 7th chord with an added 11th and no 9th (sometimes called 7add11) -

In addition, C11 is sometimes used as an (incorrect) shorthand for C9sus (R, 4, 5, ♭7, 9, ♭11) which has no 3rd.So the 'rare' 3rds ar bracketed below.

The only common 'real' 11 chord is a min11 chord. #11 chords, however are often found.

6-note (11th chords)

&[R, 3, 5, 7, 9, #11] [R, 3, 5, ♭7, 9, #11] [R, ♭3, 5, ♭7, 9, #11] [R, ♭3, 5, 7, 9, #11]

The most common the above are Cm11, Csus11, Cmaj7(#11) and C7(#11) The latter two are often played without 5ths

&[R, 3, 5, 7, 9, (11), 13][R, 3, 5, 7, 9, #11, 13] [R, 3, 5, ♭7, 9, (11), 13][R, 3, 5, ♭7, 9, #11, 13]

13th chords technically contain root, 3rd, 5th, 7th, 9th, 11th and 13th (all 7 notes).However the 11th, unless on a min13 chord is very rarely intended, the 9th often (but not always) is,

and unless indicated otherwise, as a natural 9th (D on a C13). Often a 13th chord just implies root, 3rd, 5th, 7th and 13th (ie C7add13) unless other degrees are stated (eg. C7(b9/13).

Some but not all 13th chords are listed below, although you should be able to derive most from those below.

7-note (13th chords)

&[R, 3, 5, ♭7, ♭9, (11), 13]

[R, 3, 5, ♭7, ♭9, (11), 13][R, 3, 5, ♭7, ♭9, (11), ♭13]

[R, 3, 5, ♭7, 9, (11), ♭13][R, 3, 5, ♭7, #9, (11), ♭13]

7-note (Altered)

&[R, 3, ♭5, ♭7, ♭9, #9, ♭13]

An altered dominant (alt.) chord includes a root, 3rd and ♭7 andany number (or all) extensions from an altered scale.(ie. ♭9,#9, #11/♭5, ♭13)

wwwwww

wwwwwwb wwwww

wbb wwwwwwbbb wwwww

wb

wwwwww#

wwwwww#b wwwww

w#bb wwwwww#b

wwwwwwwwwwwwww# wwwwwwwb

wwwwwww#b

wwwwwwwbbwwwwwww#b

wwwwwwwbbb wwwwwwwb

b wwwwwww#bb

wwwwwwwbbb#b

3

CŒ„!7 C©º7 D‹7 D©º7 E‹7 E¨º7 D‹7 D¨º7

FŒ„!7 F©º7 C/G F7 F©º7 C7/G

CŒ„!7 B¨7 CŒ„!7 F‹7 B¨7 CŒ„!7

B¨ F C FŒ„!7 B¨Œ„!7 C

CŒ„!7 B¨7(#11) CŒ„!7 B¨9(#11)

&

Diminished chords are often used as passing chords between chords I, ii and iii in either direction.Imaj7

The #IVº7 chord is often used between chords IV and a 2nd inversion I chord

#Iº7 IIm7 #IIº7 IIIm7 bIIIº7 IIm7 bIIº7

Passing Diminished [email protected]

&

IVmaj7 #IVº7 I IV7 #IVº7 I7

&

The bVII7 chord (borrowed from the parallel minor) is sometimes used as a resolution to I

The bVII major triad, particularly when in proximity to a major IV chord is a very common rock deviceand can be seen as being drawn from the parallel mixolydian mode.

Imaj7 bVII7 Imaj7 IVm7

The bVII7 chord may also be preceded by a related II.We could call this the 'Aeolian ii-V' as it is drawn from the Aeolian mode and is quite common.

bVII7 Imaj7

The bVII7 chord

&The bVII7 chord when it includes a #11 (and/or 9) is a common jazz device,not borrowed from parallel minor but Mixolydian b13 (a melodic minor mode)

bVII IV I IVmaj7 bVIImaj7 I

The bVII chord from Mixolydian

&Imaj7 bVII7(#11) Imaj7 bVII9(#11)

The bVII7(#11)

V V V V V V V V V V V V V V V V





{{

D‹7 G7 CŒ„!7

D‹7 D¨7 CŒ„!7

D‹7 D¨7CŒ„!7

A¨‹7 D¨7 CŒ„!7

&

Taking another look at the guide tones in the ii-V-I progression, we notice that the 3rd and 7th of the dominant chord form a tritone interval.


3rd

7th 3rd

7th 3rd

7th

Tritone [email protected]

?Root Root

Root

&

Since the tritone interval may be inverted. This implies that a dominant chord a tritone away may be substituted with the guide tones maintained (with an enharmonic adjustment).

3rd

7th

3rd

7th (B-nat = Cflat)

3rd

7th?Root Root Root

&

Notice that the tritone substitution dominant chord now resolves down a semitone rather than a 5th,When a 'sub V' resolves down a semitone, let's analyse it with a dashed arrow. Similarly, a min7 or min7(b5) chord going down a semitone to a dominant chord gets a dashed bracket.

IIm7

subV7

subV7 Imaj7

Imaj7

&

SubVs may be preceded by min7 chords a 5th above

Tritone subs often have 9ths and /or #11 intervals added. The latter sometimes written as b5.

ww ww www w w

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V V V V V V V V

V V V V V V V V

A¨‹7(b5) G7 CŒ„!7

CŒ„!7 D¨‹7(b5) G¨9(#11) FŒ„!7 E‹7(b5) E¨9

D‹7 D¨9(#11) CŒ„!7

FŒ„!7A¨‹7 D¨9(#11) C7 A‹7 A¨7

G‹7 G¨7(b5) FŒ„!7 A¨7 D¨7(#9) G¨7(#11) F%

&

And occasionally standard dominants may be preceded by min7 (or min7b5) chords a semitone above.

V7

And substitute secondary dominants may also exist

Imaj7

&

IIm7

And substitute secondary dominants may also exist, with related IIs of both types.

Imaj7 subV7/IV IVmaj7subV7/II

&Pick a key and write chord symbols for the following progression

subV7 Imaj7

&Imaj7 subV7/II IIm7 subV7 Imaj7

&

Analyse in the key of F, the following progression and mark with symbols. It's a bit tricky...

&

V V V V V V V V

V V V V V V V V

V V V V V V V V

V V V V V V V V

V V V V V V V V

V V V V V V V V +

2

BØ7 E7 A‹7 A7 D‹7 G7 CŒ„!7

BØ7 E7 A‹7 A7 D‹7 G7 CŒ„!7

BØ7 E7 A‹7 A7 D‹7 G7 CŒ„!7

BØ7 E7 A‹7 A7 D‹7 G7 CŒ„!7

BØ7 E7 A‹7 A7 D‹7 G7 CŒ„!7

&Identify the key (it may not be in the key signature) usually ends on tonic and write out the diatonic 7th chords for reference if necessary

Jazz Analysis - [email protected]

Label any diationic chords correctly ('US' used here)

Example Analysis

&VIIm7(b5)

Check for any dominant chords a 5th above diatonic chords(see 'Secondary Dominant 7ths')

VIm7 IIm7 V7 Imaj7

&VIIm7(b5) V7/VI VIm7 V7/II IIm7 V7 Imaj7

Label any dominant chord a 5th above a diatonic chord.

Draw Arrows for dominant chords resolving down a 5th


Draw brackets for minor 7 (or half-dim) chords resolving down a 5th to dom.







GŒ„!7 G7 CŒ„!7 E7

A‹7 D7 GŒ„!7

AŒ„!7 F©7 B‹7 E7

C©‹7(b5) F©7 B‹7 E7 AŒ„!7

FŒ„!7 E7 A‹7 D7

A¨‹7 D¨7 G‹7 C7 FŒ„!7

&

Only fill in what you can from page 1 for now Test 1

&

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Test 2

&

Test 3

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&






V V V V V V V V V V V V V V V V V V V V

2

I7

IV7 I7

™™

V7 IV7 I7

I7 IV7 I7

IV7 #IVº7 I7

™™

V7 IV7 I7I7I7I7

VIm7IV7

V7

I7IIm7

V7

V7V7

44&'Statement'

This is the very basic form based around I7, IV7 and V7. In this case I7 and IV7 are notconsidered secondary dominants as they do not have the same tendency to drop down a 5th. IV7 does not compel a resolution down a 5th and a piece can happily start and end on I7.Consider these dominant chords as idiomatic substitutions for I and IV (ot Imaj7 and IVmaj7)Note that the 12 bars are divided into 3 groups of 4 bars and that I, IV and V begin each group.

Basic Form

The 12- Bar Blues (Major)

&'Restatement'

'Response'

&The basic form is often embellished with harmonic inflections, the 'quick change', the #IVº7 and the 'turnaround'.

&

'quick change'

&

The #IVº7 raises the rootof the IV7

The 'turnaround', the last 2 bars, is a little turn resolving the harmony back to the beginning of the form.There are many variations, 4 of them are given below

&







I7C7 F7

IV7

C7

I7 Vm7

G‹7

V7/IV

C7

F9

IV7

F©º7

#IVº7

C7

I7

E‹7(b5)

IIIm7(b5) V7/II

A7

™™

IIm7

D‹7 G7

V7 I7

C7

VIm7

A‹7 D‹7

IIm7 V7

G7

I7

FŒ„!7 E‹7(b5) A7 D‹7 G7 C‹7 F7

B¨7

IV7

B¨‹7 E¨7 A‹7 D7 A¨‹7 D¨7

™™

IIm7

G‹7

V7

C7 F6 D7 G‹7 C7

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A 'jazz blues' takes the basic 12-bar blues form and embellishes it with secondary dominants.Bars 9 and 10 are typically IIm7 to V7 rather than V7 to IV7.Jazz-blues appear in many different forms and a typical example is given below. Although not written, 7th chords are often extended to 9ths, 11ths and 13ths for added colour

&

&

&b

A complex jazz-blues progression is found in Charlie Parker's 'Blues For Alice' Even though there is much embellishment of harmony, the 3 basic 4-bar divisions arestill in place (analysed below). A jazz analysis on the remaining chords will be helpful in unravelling its complexity.

&b

&b







2

CŒ„!7

Imaj7 V7/II

A7

IIm7

D‹7

V7

IVm6

G7

IIIm7

E‹7

V7/II

A7

IIm7

D‹7

V7

G7

CŒ„!7

Imaj7

C7V7/IV IVmaj7

FŒ„!7 F‹6 E‹7IIIm7

A7V7/II IIm7

D‹7

V7

G7

CŒ„!7

Imaj7 V7/II

A7

IIm7

D‹7

V7

G7

IIIm7

E‹7

V7/II

A7

IIm7

D‹7

V7

G7

CŒ„!7

Imaj7

C7V7/IV IVmaj7

FŒ„!7

IVm6

F‹6 E‹7IIIm7

A7V7/II IIm7

D‹7 G7V7

C6

I6

E7V7/VI

A7

V7

V7/II

D7V7/V

G7

CŒ„!7

Imaj7 V7/II

A7

IIm7

D‹7

V7

G7

IIIm7

E‹7

V7/II

A7

IIm7

D‹7

V7

G7

™™

CŒ„!7

Imaj7

C7V7/IV IVmaj7

FŒ„!7

IVm6

F‹6 E‹7IIIm7

A7V7/II IIm7

D‹7 G7V7

C6

I6

44&

This is the basic form of a rhythm changes. Deviations from this form occur but usually only minimally,through secondary dominants, passing diminished chords, tritone substitution, and related ii chords, to the dominants (particularly on the bridge). Maj7 and 6 chords are interchanged. This is a very important musical form to know by heart and you will recognize it in tunes such as The Flintstones,I've Got A Rhythm (Gershwin) and Jumpin' at the Woodside (Basie)

A1

Rhythm Changes

&A2

&

&

&B

&

&A3

&Note that the A sections are made of I-vi-ii-V implications (bars 1-2, 3-4 and 7-8) and a move to the IV then IVm6from the parallel minor (bars 5-6). The bridge (B section) is a series of dominant chords descending 5ths beforeresolving to the original key (A 'cycle V'). As an exercise, identify with arrows all the resolving dominant chords, and with brackets, ii-V relationships. Hunt through jazz books to find and analyse rhythm changes. Anthropology, Oleo and Cotton Tail should get you started, and give you ideas for composition.





V V V V V V V V V V V V V V V VV V V V V V V V V V V V V V V V

V V V V V V V V V V V V V V V VV V V V V V V V V V V V V V V V

C C& C6 C&

C‹ C‹& C‹6 C‹&

C CŒ„!7 C7 C6 F

C C/B C/B¨ A‹7 F/A

C‹ C‹(Œ„!7) C‹7 C‹6 F9

C‹ C‹/B C‹/B¨ C‹/AA‹7(b5)

F9/A

&I

There are harmonic progressions that may be described as a chord with a chromatically altered scale degree. Below are some common examples

Minor Triad with moving 5th (5,+5,6,+5)

Major Triad with moving 5th (5,+5,6,+5)I+ I6 I+

©2010 Mermikides

Chromatically Embellished Static Harmony

&bbbIm

Major Triad with moving Root/7th (R,7,b7,6)

Im+ Im6 Im+

&I Imaj7

...similar progression with bass motion

I7 I6OR

IV

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Minor Triad with moving Root/7th (R,7,b7,6)

Imaj7 (3rd inv.) I7 (3rd inv.) VIm7 OR IV (1st inv.)

&bbbIm Im(maj7)

...similar progression with bass motion

Im7 Im6 OR IV9

&bbb

Im Im(maj7) (3rd inv.) Im7 (3rd Inv.) VIm7(b5)OR

IV9 (1st inv.)IV9

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www www wwwb ˙̇̇̇ ˙̇̇˙

wwww wwwwn wwwwb ˙̇̇̇n ˙̇̇̇̇

www wwwn wwwb ˙̇̇̇n ˙̇̇̇̇n

{ F C

G F C

G7 F7 C7

™™ ™™C G A‹ F

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Much of the course material has focused on the V-I resolution, which is a fundamental componentof tonal harmony. However in rock, pop, folk and modal music the IV-I is an equally importantresolution. In classical music a IV-I resolution may be called a plagal cadence (The 'a-men' of a hymn)

Here's one of many possible voicings

The IV-I and [email protected]

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The IV-I appears very often in rock and pop tunes, perhaps as frequently as the V-I. Often IV is interjected between V and I in a resolution.

V IV I

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In rock, blues and pops major triads are often extended to dominant 7 chords (even if they are non-diatonic)The V7-IV7-I7 is found in the last 4 bars of a basic blues form.

The IV-I also forms part of one of the most common chord sequences in rock and pop music:The I-V-vi-IV progression. See: http://www.youtube.com/watch?v=5pidokakU4I

V7 IV7 I7

&I V VIm IV

www wwww w

V V V V V V V V V V V V


V V V V V V V V

B¨ F C

A¨ E¨ B¨ F C

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In the bridge of a rhythm section for example, a series of dominant chords can be linked together, with each resolving down a 5th until they arrive at the I chord.A series of 4th-descending major triads may also be linked together.In the following sequence this pattern of major triads means that the first three chords arederived from the (C) natural minor scale, while the last 2 are from the major key.This exact sequence is used, in the key of E, in Jimi Hendrix's Hey Joe. Because a minor pentatonic scale can be played over both a minor and major key, it can beused over this entire sequence.

The IV-I resolution may be extended backwards by one step.This is a very common rock sequence, which involves major triads gong down in 4ths.The I, IV and bVII all appear in the mixolydian mode, which is implied by the sequence.

bVII

(down 4th)

IV

(down 4th)

I

&(down 4th)

bVI bIII

Minor

(down 4th)

bVII

(down 4th)

IV

Mixolydian

(down 4th)

Major

I

V V V V V V V V


2

The Derivation of Modes©2010 Mermikides

44&

The major scale has a particular pattern of tones and semitones.

I

tone

II

tone

III

semitone

IV

tone

V

tone

VI

tone

VII

semitone

&

Since these intervals are not regular, we get a different pattern, and set of scale degreesdepending from which of the 7 notes we start with. Each of these 7 starting pointsgives a 'mode' of the major scale and each has its own distinct and beautiful character, harmonic language and repertoire.

tone

Mode 1: Starting on the 1st degree: Ionian. In this case: C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)Identical, of course, to the major scale.

semitone

2. DORIAN

1. IONIAN

&tone

Mode 2: Starting on the 2nd degree: Dorian. In this case: D Dorian (D, E, F, G, A, B, C) with degrees (R, 2, b3, 4, 5, 6, b7)Natural minor with a 'sweet' and 'funky' major 6th.

semitone

&semitone

Mode 3: Starting on the 3rd degree: Phrygian. In this case: E Phrygian (E, F, G, A, B, C, D) with degrees (R, b2, b3, 4, 5, b6, b7)Natural minor with a 'sinister' and 'moorish' minor 2nd.

tone

3. PHRYGIAN

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

&tone

Mode 4: Starting on the 4th degree: Lydian. In this case: F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3, #4, 5, 6, 7)Major with a 'bright' and 'magical' raised (augmented) 4th.

4. LYDIAN

semitone

&tone

Mode 5: Starting on the 5th degree: Mixolydian. In this case: G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6, b7)Major with a 'bluesy' and 'majestic' flattened 7th.

semitone

5. MIXOLYDIAN

&tone

Mode 6: Starting on the 6th degree: Aeolian. In this case: A Aeolian (A, B, C, D, E, F, G) with degrees (R, 2, b3, 4, 5, b6, b7)Just like natural minor but without the alteration of the 6th and 7th degrees as found in typical tonal harmony. Aeolian is a 'bleak' and 'sorrowful' mode.

semitone

6. AEOLIAN

&semitone

Mode 7: Starting on the 7th degree: Locrian. In this case: B Aeolian (B, C, D, E, F, G, A) with degrees (R, b2, b3, 4, b5, b6, b7)Phrygian with a flattened 5th. Locrian's diminished quality is 'demonic' and 'twisted'.

tone

7. LOCRIAN

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

2

™™ ™™

™™ ™™

™™ ™™

™™ ™™

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Use the 'root chord' regularly e.g. A minor or Aminor 7 in A Aeolian.This should occur on strong beats and bars (Every downbeat, or on every 2 or 4 bars for example)

Since 7 modes are derived from one scale, they all share the same notes,and diatonic chords. How then can we make, for example D Dorian sound differentto E Phrygian or F Lydian? Here are 5 methods to help write effective chord progressions.You don't need to use them all, but they are excellent principles.

A aeolian: Root chord appears on the downbeat every 2 bars, solidifying mode.

A‹ D‹

Writing Modal Chord Progressions

1. Return to Root Chord often

FŒ„!7 E‹7 A‹7 G F G

&

By keeping the root of the mode constantly below diatonic chords, the mode is clearly established.

F Lydian: Root of mode is kept as a pedal tone below diatonic chords, solidifying mode.

FŒ„!7 G/F A‹7/F

2. Use a Pedal Tone

G/F FŒ„!7 G/F A‹7/F E‹7/F

&

By keeping the root of the mode constant above a modal bassline, the mode is clearly established.G mixolydian: Root chord of G is kept constant while the bass line outlines important notes of the mode.

G G/F

3. Static root chord with modal bass line

4. Non-triadic harmony

G/E G/F G G/F G/E G/C G/F

&

Discover the 'character' chords of the mode - the chords that best describe themode and show its unique identity - and use them. The melody should also containthe character notes of each mode, and return to the root often. The character notes and chords are described for 5 very useful modes below.

To avoid tonal references, chords can be constructed in 2nd, 4ths, 5ths and 7ths(and combinations there of) rather than just 3rdsD Dorian: These chords are built in 4ths creating a more 'open'D‹11 E‹11

5. Character

CŒ„!11 E‹11




˙̇̇˙ ˙̇̇

˙ ˙̇̇˙ ˙̇̇

˙

3

&#Root

Let's look at the dorian mode, and choose A dorian so we can easily see its relationshipto A natural minor. Since A dorian is derived from G major (the 2nd mode of G major) we'll use one sharp in the key signature. However A (and not G) should be considered the root, and we'll work out allscale degrees and chords with A as the root. The scale degrees are (R,2,b3,4,5,6,b7)

A Dorian

Maj2 Min3

Ä

Dorian

P4 P5

( )

Maj6

ÄMin7 Octave

&#Im

Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not FThis is its character note. In fact it is the presence of both a minor 3rd and major 6th that gives much of Dorian's vibe.

A Dorian

Here are the triads of A Dorian , together with a ('US') roman numeral analysis. Chords containing the character major 6th (F#) are underlined. The IIm and IV are the most commondorian modal chords (the VIº ir unstable and not commonly found)

A‹

IIm

B‹

bIII

C

IV

D

Vm

E‹

VIº

F©º

bVII

G

&#Im7

A Dorian

And here are the 7th chords with roman numeral analysis. A very common and effective Dorian chord is the IV7, as it contains both the minor 3rd and major 6th of the mode.Of the seventh chords IIm7, IV7 are the most often used to describe Dorian modality, but most ofthe other diatonic chords may be found in progressions. In addition the Im6 is chord is often used.

There are may examples of the Dorian mode in popular music here are a few:

So What - Miles Davis (alternates between D Dorian and Eb Dorian)Scarborough Fair and Drunken Sailor traditional songs,Pink Floyd 'Another Brick in the Wall' ( D Dorian:Dm7, F, C, G Im7, bIII, bVII, IV)The classic arpeggio of 'Sine On You Crazy Diamond' (G dorian. and most of the 'Dark Side of the Moon' album (E Dorian: Em (or Emadd9,Em7) to A7-Im to IV7)The opening riff of Lenny Kravitz' 'Always On the Run' (E dorian)Beatles - Eleanor Rigby (Verse melody in E dorian)Joe Satriani - 'Ice 9' opening melody (C# dorian)Loads of funk tunes: eg 'Brick House' - Commodores 'Le Freak' Chic Moondance - Van Morrison. The verses are Am Bm/A C/A Bm/AOye Como Va - Santana (Am D7 -Im IV7)

A‹7

IIm7

B‹7

bIIImaj7

CŒ„!7

IV7

D7

Vm7

E‹7

VIø7

F©‹7(b5)

bVIImaj7

GŒ„!7

˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙

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˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ wwww

4

&bRoot

Now Let's look at the 3rd mode, the phrygian mode, and choose A phrygian so we can easily see its relationshipto A. Since this is derived from F major (the 3rd mode of F major) we'll use one flat in the keysignature. However A (and not F) should be considered the root, and we'll work out allscale degrees and chords with F as the root. The scale degrees are (R,b2,b3,4,5,b6,b7)

A Phrygian

( )Min2

ÄMin3

Phrygian

P4 P5 Min6 Min7 Octave

&bIm

A Phrygian

Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not BThis is the character note of Phrygian which gives it its unique 'flamenco' quality.

Here are the triads of A Phrygian , together with a ('US') roman numeral analysis. Chords containing the character minor 2nd (Bb) are underlined. The bIIm and bVIIm are the most commonphrygian modal triads (the Vº if unstable and not commonly used)

A‹

bII

B¨

bIII

C

IVm

D‹

Vº

Eº

bVI

F

bVIIm

G‹

&bIm7

Here are the seventh chords of A phrygian with roman numeral analysis.Of the seventh chords bIImaj7 and bVIIm7 are the most often used to describe Phrygian modality, but most ofthe other diatonic chords may be found in progressions. In additional the Im(addb9) chord is also used. Also note that 'power chords' (chords with just roots and fifths) are found in Phrygian (and other modal) contexts.

A Phrygian

There are may examples of the Phrygian mode in popular music, particularly when 'spanish' andsinister atmospheres are required. Here are a few:

White Rabbit - Jefferson Airplane. (F#5 and G5 and the notes from F# phrygian are used)

Symphony of Destruction - Megadeth (the opening riff uses E5, F5 and G5 from E Phrygian)

The God That Failed - Metallica (Eb5, Fb5, Gb5, Bb5 from Eb Phrygian)

War - Joe Satriani (E5 and Fmaj7(#11) from E phrygian)

A‹7

bIImaj7

B¨Œ„!7

bIII7

C7

IVm7

D‹7

Vm7(b5)

E‹7(b5)

VIø7

FŒ„!7

bVIIm7

G‹7

˙ ˙b ˙ ˙ ˙ ˙ ˙ ˙

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5

&#Root

The 4th mode of the major scale, the Lydian mode, is often found in film soundtracks for its 'floating' and'magical' quality. The lydian mode can be derived from C major from F to F. If we calculate Lydian with a root of C,we can easily see how it compares to a major scale. In this casewe get an F# instead of an F. Lydian is a major scale with a raised (augmented) 4th. (R, 2, 3, #4, 5, 6, 7)

C Lydian

Maj2 Maj3

( )

Lydian

#4

ÄP5 Maj6 Maj7 Octave

&#I

C Lydian

Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not FThis is the character note of Lydian which gives it its unique 'magical' quality.

Here are the triads of C Lydian , together with a ('US') roman numeral analysis. Chords containing the character augmented 4th (F#) are underlined. The II and VIIm are the most commonlydian modal triads (the #IVº if unstable and not commonly used)

C

II

D

IIIm

E‹

#IVº

F©

V

G

VIm

A‹

VIIm

B‹

&#Imaj7

Here are the seventh chords of C lydian with roman numeral analysis.Of the seventh chords II7 (often in 3rd inv.), Vmaj7 and VIIm7 are the most often used to describe Lydian modality, but most of the other diatonic chords may be found in progressions. In addition the Imaj7(#11) chord is also used.

C Lydian

There are many examples of the Lydian mode in popular and film music, particularly when a floating andmagical atmospheres are required. Here are a few moments from pop songs:

Sara - Fleetwood Mac. (Opens with F, G/F and Am/F all from F Lydian)

Man on the Moon - REM (the intro and verses use C major to Dadd11 from C Lydian)

The Simpsons theme - Danny Elfman (One of the most famous lydian melodies of all time in C Lydian-In fact some of the harmonic material implies Lydian dominant - a mode of melodic minor)

The Riddle - Steve Vai (Open in E Lydian with an A# (sharpened 4th as the opening melody note)

Other examples include Blue Jay Way - The Beatles, Every Little Thing She Does is Magic - The Police,All I need - Radiohead (C Lydian) The verses of Tonight, Tonight - Smashing Pumpkins.

CŒ„!7

II7

D7

IIIm7

E‹7

IVm7

F©‹7(b5)

Vm7(b5)

GŒ„!7

VIm7

A‹7

bVIIm7

B‹7

˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙

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˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ wwww

6

&bRoot

The 5th mode of the major scale, the mixolydian mode, is often found in rock and blues.It is also found in superficially 'eastern' influenced pop music due to its similarity with some Ragas. The mixolydian mode can be derived from C major from G to G. If we work out a mixolydian scale with a root of C,we can easily see how it compares to a major scale. In this casewe get a B-flat instead of a B, so mixolydian is a major scale with a minot (flattened) 7th. (R, 2, 3, 4, 5, 6, b7)

C Mixoydian

Maj2 Maj3

Mixolydian

P4 P5 Maj6 Min7

Ä( )

Octave

&bI

C Mixolydian

So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not BThis is the character note of mixoydian which gives it its 'dominant' quality. In fact it is the combination of the major 3rd and minor 7th that sets it apart from all the other modes of the major scale.Here are the triads of C Mixolydian , together with a ('US') roman numeral analysis. Chords containing the character minor 7th (Bb) are underlined. The Vm and particularly the bVII are the most common mixolydian modal triads (the IIIº if unstable and not commonly used)

C

II

D‹

IIIº

Eº

IV

F

Vm

G‹

VI

A‹

bVII

B¨

&bI7

Here are the seventh chords of C mixolydian with roman numeral analysis.Of the seventh chords I7 , Vm7 and bVIImaj7 are the most often used to describe mixoydian modality, but most of the other diatonic chords may be found in progressions, particular the IV chord. bVII/IV/I, for example, is a common mixolydian progression.

There are countless examples of the mixolydian mode in popular music - particularly in the harmonyof a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be foundin everything from AC/DC to Zappa. More 'pure' examples of mixolydian (when harmony and melody are both mixolydian) include:

Norwegian Wood - Beatles. (E Mixolydian)

Sweet Child of Mine - Guns and Roses and Sweet Home Alabama - Lynyrd Skynyrd(D, Cadd9, G D in verses and the notes of guitar intro are all from D mixolydian)

Champagne Supernova - Oasis (A, A/G, A/F# and A/E - derived from A mixolydian)

Other examples include Led Boots - Jeff Beck, Within You or Without You - Beatles,

C Mixolydian

C7

IIm7

D‹7

IIIø

E‹7(b5)

IVmaj7

FŒ„!7

Vm7

G‹7

VIm7

A‹7

bVIImaj7

B¨Œ„!7

˙ ˙ ˙ ˙ ˙ ˙ ˙b ˙

˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇ www

˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ ˙̇̇̇ wwww

7

&Root

The 6th mode of the major scale, the aeolian mode, is a common mode in rock and pop music when amournful emotion is required.The aeolian mode can be derived from C major from A to A which gives us the followingscale degrees. (R, 2, b3, 4, 5, b6, b7)

A Aeolian

Maj2 Min3

Aeolian

P4 P5 Min6

ÄMin7

ÄOctave

&I

A Aeolian

You'll notice that the aeolian mode is identical to the natural minor scale.However in a minor key, the 7th note of the scale is often changed to a leading tone (harmonic minor)which allows for V7 chord for example. The 6th degree is also sometimes changed, as in melodic minor.However the aeolian mode has a fixed minor 6th and minor 7th which gives it its particular character. Here are the triads of A Aeolian , together with a ('US') roman numeral analysis. Chords containing the character minor 6th (F) - distinguishing it from Dorian - are underlined - the IIº (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined.

A‹

IIº

Bº

III

C

IVm

D‹

Vm

E‹

VI

F

bVII

G

&Im7

Here are the seventh chords of A aeolian with roman numeral analysis. All of these contain the minor 6th and minor 7th, and they are all used in aeolian progressions -although theIIm7(b5) is rare.A Aeolian

There are many examples of the Aeolian mode in popular music - the Im/bVII/bVI/bVII sequence is common,as well as peices built around Im, IVm and Vm.Here are a few examples of the Aeolian mode in popular music

The X-Files Theme - melody in A Aeolian.

All Along the Watchtower - Jimi Hendrix (C#m - Bm - A all from C# Aeolian - although the guitar is tuned down a semitone)

Ain't No Sunshine- Bill Withers is built around Am7, Dm7 and Em7 (all from A Aeolian)

Stairway to Heaven (Led Zeppelin) outro solo has the repeated chords Am G F G from A Aeolian.

The Sound of Silence (Simon and Garfunkel) is in Eb Aeolian. (with chords Im bVII bVII and III)

A‹7

IIm7(b5)

B‹7(b5)

bIIImaj7

CŒ„!7

IVm7

D‹7

Vm7

E‹7

bVImaj7

FŒ„!7

bVII7

G7

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The major pentatonic is like a major scale but without the 4th and 7th.Note that the omitted 4th and 7th scale degrees are the ones with semitone relationships against a tonic triad,and the source of the most harmonic motion in the major scale. With the 4th and 7th omitted, the major pentatonicis a very neutral, singable and familiar scale.

Root

Pentatonics are hugely important scales in a wide range of musical styles.There are many 5 note scales in use, but the two most common are themajor pentatonic and minor pentatonic and are shown below.

Maj 2nd

C major pentatonic (C D E G A) (R,2,3,5,6)

MAJOR PENTATONIC

Maj 3rd Perfect 5th

©2010 Mermikides

Maj 6th

Pentatonic Scales

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The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is calledthe minor pentatonicSo the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)

The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which havesemitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonicis an extremely useful, effective and commonly used scale.

Root

A major pentatonic (A C D E G) (R,2,3,5,6)

Min 3rd

MINOR PENTATONIC

Perfect 4th Perfect 5th Min 7th

&R

C major pentatonic

2

It is useful to compare major and minor pentatonic scales in parallel - here is C major pentatonic side by side with C minor pentatonic.

3

Comparing Major and Minor Pentatonic

5 6

C minor pentatonic

R b3 4 5 b7

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w w w w w

œ œ œ œ œ œ œb œ œ œb

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The major scale has 7 modes, 3 major (ionian, lydian, mixolydian) 3 minor (dorian, phrygian and aeolian)and 1 dimished (locrian). Interestingly the 3 major modes all contain the major pentatonic, andonly differ in terms of there 4th and 7th degrees. Similarly, the 3 minor modes all have the minor pentatonicin common, with their 2nd and 6th degrees differing.

(Perfect 4th, Major 7th)

PENTATONIC SCALES AND THE MODES

R 2

C major pentatonic

3 5 6

&R

C Ionian

2 3 4 5 6 7

Add 4th and 7th

C Lydian

R

(Augmented 4th, Major 7th)

2 3 #4 5 6 7

(Perfect 4th, Minor 7th)

C Mixolydian

R 2 3 4 5 6 b7

&

(major 2nd, major 6th)

R b3

C minor pentatonic

Add 2nd and 6th

4 5 b7

&R

C Dorian

2 b3 4 5 6 b7

C Phrygian

R

(minor 2nd, minor 6th)

b2 3 4 5 b6 b7

C Aeolian

R

(major 2nd, minor 6th)

2 3 4 5 b6 b7

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œ œb œ œ œb

œ œ œb œ œ œ œb œ œb œb œ œ œb œb œ œ œb œ œ œb œb

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G D E‹ C(„ˆˆ9)

B‹(„ˆˆ9) A G D/F© E‹ B‹

E G A C D A E

F7 A¨ B¨ F A‹ D‹ B¨

&#G major pentatonic

Chords from G major

One approach in using pentatonic scales over a chord sequence, is to use the pentatonic scaleof the key over all the progression. For example if the sequence is in G major, then G major pentatonic may be used throughout.

And minor pentatonic may be used over a chord progression from a minor key.

Using Pentatonic Scales on Chords

&##Chords from B minor

B minor pentatonic

&bChords from E major (and E minor)

E minor pentatonic

It is also common for minor pentatonic to be used over a major key (or ambiguous) chord sequence:

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Alternatively, a pentatonic scale may be used for each chord, major pentatonic for major chords (includingmaj7 and dom7 chords) and minor pentatonic for minor or minor7 chords*.

* The minor pentatonic is sometimes used over dominant chords I7 or V7 chord - e.g. in a G blues Gminor pent on G7 and D minor pentatonic on D7. It is hardly ever found on the IV7 chord.

F maj. pent Ab maj.pent Bb maj.pentF maj. pent

A min. pentD min. pent

Bb maj.pent





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The major and minor pentatonic scales may be embellished with an added note(making 6-note - or hexatonic -scales) These added notes gives the 'blues' scale an idiomatic bluesy quality.

The Major Blues 6-note scale is created by adding a sharpened2nd (minor 3rd) interval between the 2rd and 3rd degree.This gives the scale an idiomatic minor 3rd as well as major 3rd.

C Major Blues

R

Major and Minor Blues Hexatonic scale

2 #2/b3

Major Blues

3 5 6

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The blues scales are embellished versions of their pentatonic counterpoints creatingan idiomatic bluesy quality. They might be used wherever the pentatonic scale is - asdescribed on page 3. So for example a progression in B minor can be melodicized withB minor blues, a G major progression with G major blues and a Dminor7 chord with D minor blues.

On page 1 we created a minor pentatonic scale by starting a major pentatonic from the last scale degree. We can do the same thing to the mMajor Blues, tocreate the minor blues scale. This is a minor pentatonic scale with anidiomatic raised 4th (flattened 5th).

R

A Minor Blues

b3 4

Minor Blues

#4/b5 5 b7

œ œ œ# œ œ œ

œ œ œ œ# œ œ

4

E G A B D B

G5 B¨5 C5 G5 B¨5 D¨5 C5 G5 B¨5 C5 B¨5 G5

G F© F E

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'Knock on Wood' Floyd/Cropper

Parallel Major chords on an E minor pentatonic scale

Some harmonic progressions include one chord type (usually a 5, major triad or dom7 chord)that is moved in a 'block' to create non-diatonic progressions. Often this can be best explainedas the 'block' harmonisation of a scale - often pentatonic -(regardless of diatonicism)Here are some examples.

POWER CHORDS ON A MINOR BLUES SCALE

MAJOR CHORDS on MINOR PENTATONIC

Parallelism

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'Smoke on the Water' Deep Purple

Parallel Power chords (inverted root and 5th) outlining part of a G minor blues scale.

CHROMATIC PARALLEL MAJOR CHORDS

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'I'm A Man' Steve Winwood

Parallel major chords moving down chromatically

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D5 E¨5 E5 F5 D5 E¨5 E5 F578

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'Sgt. Peppers Lonely Hearts Club Band' (Chorus) - Beatles

Parallel dominant 7 chords on part of G minor pentatonic (G, Bb, C).

DOMINANT CHORDS ON PENTATONIC

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Parallel 5th chords on implied modes. Bars 1-2: phrygian. Bar 3: aeolian mode. Bar 4: locrian/minor blues.

POWER CHORDS ON CHROMATIC and OTHER SCALES

'Enter Sandman' -Metallica

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Parallel 5th chords on D, Eb, E, F chromatic notes.

'Them Bones' - Alice in Chains

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1 3 4 2 1 1

1 3 3 3

1 2 4 3

3 2 4 1

Root note on string 4 (D form):

Root note on string 6 (E form):

Root note on string 5 (A form):

Dominant 7

Major

Major

Major

Variations on the Dominant 7th Chord (C form):Dominant 9

Six Movable Chord Types:

Minor

Minor

Minor

Dominant 7

Dominant 7

Dominant 7

Dominant 9

1 3 4 2 1

1 3 4 1 1 1

2 1 3 4

1 3 1 4 1

1 3 1 2 1 1

1 3 2 4

2 1 3 3 3

1 3 4 2

Minor 7

Minor 7

Minor 7

Minor 9

Major 7

Major 7

1 3 1 2 1

1 3 1 1 1 1

1 4 2 3

2 1 3 4

1 3 2 4 1

1 3 4 2

1 3 3 3

2 1 3 4

Major 7

Dominant 7#9

Mermikides

Minor 7b5

Minor 7b5

Minor 7b5

Dominant 7b9

2 3 4 1

1 2 3 4

1 3 3 3

3 1 4 2

C G/B A‹

C CŒ„!7/B A‹

A‹ E7/G© A‹7/G

C G/B G/B C C G/B D A/C© G/B C A/C© D E

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I to V(1st inv) to vi creates a descending bassline:E.g. Let it be (Beatles) Tears in Heaven (Clapton - in A major) A Day In the Life (G major)

So far we have been looking mainly at root inversion chords, howeverinversions are often used to create compelling (often step-wise) bass-lines. There are countless examples, a representative selection of which are below. You'll notice that some of these will include, but are not limited to, CESH elements.

1. I to V(1st inversion)

Inversions and Basslines©2011 [email protected]

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Or the same bassline may occur using an inversion of Imaj7E.g. No Woman No Cry (Bob Marley)

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This mechanism of creating a descending bass line with I(i) to 1st. inv V can be employed in various ways, common in rock music, sometimes in parallel sequences. For example:

Or a similar concept in minor key:

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C E‹/B C E/B CŒ„!7 E7/B

C E‹/B A‹ C E7/B A‹ C E/B F/A

C G/B A‹ G F G C

C E7/B A‹ A‹7/G F F/G C

C E/B F/A F‹/A¨ C/G F‹ C

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C D‹ C/E D‹ C D‹ D©º7 C/E

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C D‹ D©º7 C/E F F©º7C/G G

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Similarly a move from I to a second inversion iii (or III) chord creates a chromatic descent. 7th forms of any of these chords may of course be used. Some examples:

The downward motion may be continued with the vi of IV (1st inv.) Some examples:

2. I to iii (2nd inversion)

&

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Once the bass has reached the VI degree through 1. or 2. it may continue downwards with a V, 3rd inversion vi7, 1st inversion iv or appropriate combinations thereof, followed by a cadence.Here are a few of many possibe sequences

3. Continuing down.

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The use of a 1st inversion I chord can create an ascending bass-line of I-ii-I, this can be made morebluesy with a passing diminished chord.

4. I to ii to 1(1st inv.)

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This device of inversions and passing diminshed chords can be taken further with a #ivº to I(2nd inv)

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A‹ E7/B A‹/C E7/B A‹

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A‹ E7/B A‹/C C©º7 D‹ D©º7 A‹/E E7

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C CŒ„!7/B C7/B¨ F/A F‹/A¨ C/G G

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A‹ A‹/G A‹/F A‹/E A‹ A‹/G A‹/F© A‹/F

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A‹ A‹/G© A‹/G A‹/F© A‹/F A‹/E E7

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C C/B¨ C/A C/G C C/E C/F C/G

C C/B C/B¨ C/A C/A¨ C/G

A C©‹/G© F©‹ F©‹/E D G A /G© /G /F© /F /E

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A simple alternating i-V7 pattern can be given a step-wise bass motion through the use of inversions

5. i to V(2nd inv.) to 1(1st inv.)

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Using passing diminished chords and a 2nd inversion I chords, an ascending bassline may be achieved.

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The use of a continually moving bass line can create interesting progressions with harmonic implications.Here are some examples

6. Static chords with moving basslines

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&

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A bass-line can outline a mode under a static chord eg:Mixolydian (Champagne Supernova) Ionian (Older Chests-Damien Rice)

&Major triad with chromatically descending bassline (eg Something - Beatles in A)

&###From Something-Beatles, note the use of inversions descending bass lines (both diatonic and chromatic)

Putting it all together



V V V V V V V V V V V V V V V VV V V V V V V V V V V V V V V VV V V V V V V V V V V V V V V V




3

Rock and Soul Harmonic Devices ©2011 [email protected]

Other than the diatonic, secondary dominant, modal, parallel and other harmonic functions covered in the first half of this course there are other common and effective techniques that ‘deviate’ from these theoretical foundations. Here we look at the II chord, interpolated IV, III, VII and VI chords, the Vsus9 and bVIIsus9 hybrid chords and sliding chords. Note that most of this terminology is coined here so don’t expect to hear the terms elsewhere. However you will find these devices used widely, and regardless of how they are named (if at all) it is very instructive and useful to understand and recognize them. The ‘non-functioning’ II or II7 chord. Although this may be seen as a V/V or V7/V there are times when it doesn’t have this function, acting more as a momentary Lydian implication (an example of modal interchange) – In these cases it is more appropriate to call it a II (or II7) rather than V/V (or V7/V). Examples: You’re all I need to get by – Marvin Gaye/Tammi Terrell.

A B Dm6 A A: I II iv6 I School of Rock This use of II occurs in the following progression.

D E G D D: I II IV I Sometime a V/V is resolved – but with an intervening IV chord delaying the resolution. eg. V/V IV V I. This device of delaying a resolution to V we can call an interpolated IV for lack of a pre-existing term. Here’s a real-life example from Beck - We Live Again !5th resolutions Bb Gm C Eb F Bb Bb: I vi V/V IV V I [---ii V---] We can think of the C chord as a V/V here, partly because of the preceding ii chord, and partly because of the eventual resolution to the F. The difference

of this case from the II chord is subtle and a little subjective but it’s instructive to understand the differentiation. Resolution through chromatic ascent of III (or III7) and VII (or VII7) In ‘standard’ diatonic harmony, major or dominant chords built on the 3rd or 7th degree of a major scale III have a secondary dominant function: V7/VI or V7/III respectively. !5th :

C E(7) Am I V/VI vi

!5th :

C B(7) Em I V/III iii

However there are many cases when these are used as approaches to IV and I respectively, ascending a semitone, rather than descending a 5th. "min2nd

C E(7) F I III(7) IV

"min2nd C B(7) C I VII7 I

The III-IV (and III7-IV) resolution actually makes good harmonic sense: If we take the key of C as an example. The non-diatonic III - or III7 – chord (E or E7) introduces one non-diatonic note: the G#. This accidental resolves to an A (the 3rd of the F(IV) chord) rather than the root of the VIm chord in its more ‘functional’ resolution. This resolution of the non-diatonic note has a satisfying elegance, and is quite common in rock/pop tunes. A couple of examples: C E7 F I III IV (Imagine – John Lennon – Just after ‘You may say I’m a dreamer’) or G B7 C A7 (Sitting on the Dock of Bay – Otis Redding verse – which also uses the II7 chord)

The VII-I on the other hand has a more parallel feel, with the 2 non-diatonic notes (the F# and D# of B in the key of C) both resolving upwards. The VII/I - in combination with II – appears here: Bb C A Bb I II VII I (We Live Again - Beck) The VI chord The VI chord is a non-diatonic triad that doesn’t always fall into a V/II function. Since the VI chord isn’t a parallel minor or common modal ‘borrowed’ chord, what can it mean? One possible explanation is that it is simply the replacement of the expected VI minor chord with a major chord type. Indeed it seems to be used like a VIminor chord- C A instead of C Am for example – as if it’s the I major of the relative minor key. Odd I know. Whatever the explanation, the VI chord has a really distinctive and surprising sound. An example in a well-known tune is the ‘whistle section’ of Sitting on the Dock of Bay – Otis Redding: A looping 4-bar section: 3 bars of G (I), one bar E (VI). Softening the V7-I The V7 has a very implicit function in tonal harmony, the resolution to I is particularly expected, which is due to:

1) The bass on the 5th degree (which ‘wants’ to resolve down a 5th) 2) The leading tone (7th degree) which ‘wants’ to resolve up. 3) The 4th degree of the scale that ‘wants’ to resolve down. 4) It contains a tritone interval (which ‘wants’ to be somehow resolved)

Sometimes we don’t want all of these devices – they might seem to twee and obvious when used together. The tritone substitution - for example - drops the first characteristic, and keeps the other three. We could soften the cadence by removing the 4th degree (and thus the tritone) leaving only item 1) and 2). This is a V-I cadence. On the other hand if we do not include the leading tone (using the root instead) we also erase the tritone dissonance, and only have items 1) and 3). This is a Vsus7-I cadence. Removing the leading tone and the 4th degree – also removes the tritone and creates the relatively soft Vsus-I. These degrees of softness of V-I resolution are useful and commonly used.

V7–I subV7 V-I Vsus7–I Vsus – I

Hard cadence ! " Soft cadence

The IV over V bass hybrid chord There is another common - and very effective - device to create an alternative cadence. This involves taking the first item 1) from the list above and merging it with the softer IV-I (plagal cadence). This involves a IV chord with a V bass. This device of using a chord with a non-chord tone is known as a hybrid chord – and there are many beautiful examples. In this case we are taking the IV chord and putting a V root in the base, So in the key of C this would be F/G. The F/G chord (G, F, A, C) can be considered as a Vsus9 (without a 5th). This idea can expanded for example the IV-I cadence can be elaborated as a IVmaj7–I – by using the 7th form of the chord. An Fmaj7/G (G F A C E) can also be considered a Gsus13 (with no 5th) a more ‘open’ and ‘colourful’ sound than Gsus9. One final example (althought there are many more) is to use a minor iv-I cadence – that we’ve seen before as a borrowing from the parallel minor, but with the V degree in the root of the iv chord : Fm/G (G, F, Ab, C) which creates a Gsus(b9) implication. This technique is a simple way of creating cadences that have the sense of a V7-I resolution but with more harmonic sophistication and ‘openness’. See Blame it on the Boogie as one of many examples where an Ab/Bb (Bbsus9) chord is used at the end of the verse and a Cbmaj7/Db (Dbsus13) in the chorus. Sliding Chords We’ve looked at parallelism before, where one chord type is moved in a usually systematic fashion creating moments of non-diatonicism (e.g. a series of major chords moved in a minor pentatonic scale). There is a special case of parallelism that is quite short and specific: When two diatonic chords are the same type and a whole tone apart, sometimes a chromatic non-diatonic passing chord of the same type can be interpolated – which we can call a ‘sliding chord’ – underlines below. E.g. If I Ain’t Got You – Alicia Keys G: Bm7 Bbm7 Am7 Gmaj7 IIIm7 bIIIm7 IIm7 Imaj7 Wind Cries Mary – Jimi Hendrix F: Cadd9 Cbadd9 Bbadd9 Fadd9

Vadd9 bVadd9 IVadd9 Iadd9

Modal Interchange ©2011 [email protected]

Here is a quick survey of commonly modes and their characteristic chords that are often borrowed into parallel keys. They have been divided into minor and major modes depending on whether the mode has minor or major 3rd. The most common interchange chords are bold. Minor Mode Notes with C root Description Character chords Dorian C, D, Eb, F, G, A, B

(Mode 2 of major) Natural minor scale with major 6th

IIm, IIm7 IV, IV7

Phrygian C, Db, Eb, F, G, Ab, Bb (Mode 3 of major)

Natural minor scale With minor 2nd

bII, bIImaj7 bVIIm

Aeolian C, D, Eb, F, G, Ab, Bb (Mode 6 of major)

Natural minor scale (minor 6th & 7th)

IVm, IVm7 bVI, bVImaj7 bVII, bVII7

Melodic Minor C, D, Eb, F, G, A, B Natural minor scale with major 6th & 7th (Or major with minor 3rd )

Im(maj7) bIII#5, bIIImaj7(#5) IV7(#11) VIIm7(b5)

Harmonic Minor C, D, Eb, F, G, Ab, B Natural minor scale with major 7th

Im(maj7) V7(b9), V7(b13) VIIdim7

Major Mode Notes with C root Description Character chords Lydian C, D, E, F#, G, A, B

(Mode 4 of major)

Major scale with raised (augmented) 4th

II, II7, Imaj7(#11) Vmaj7

Mixolydian C, D, E, F, G, A, Bb (Mode 5 of major)

Major scale with minor 7th

I7 Vm, Vm7 bVII, bVIImaj7

Lydian b7 C, D, E, F#, G, A, Bb (Mode 4 of Melodic minor)

Major scale with raised (augmented) 4th and minor 7th

I7(#11) I7 and II7 found together

Phrygian Dominant

C, Db, E, F, G, Ab, Bb (Mode 5 of Harmonic minor)

Phrygian with major 3rd or Mixolydian b9 Or Major with minor 2nd, 6th and 7th

I and bII found together

Harmonic Major C, D, E, F, G, Ab, B Major scale with minor 6th

I(b6), Imaj7(b6) IVm(maj7)

Altered C, Db,Eb,E,Gb,Ab,Bb (Mode 7 of Melodic Minor)

All degrees flattened (major #1 !)

I7 (b9/#9/b5/b13) I7 alt

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©2011 Milton Mermikides

C D¨/C D/C

E¨/C E/C F/C

G¨/C G/C A¨/C

A/C B¨/C B/C

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As we've seen briefly in Rock & Pop Devices, basic triads - when placed over non-chord tones - can create sophisticated harmonic/modal implications while retaining a sense of simplicity. Here's a roster of upper structure chords (major, minor and 7th) with their harmonic/modal implications in relation to thebass note and - where appropriate - the triad. The implications depend very much on context, remember it is how these devices are heard - not dispassionately analysed - that is important.These devices are used in a wide range of music from Stevie to Stravinsky and the best way tolearn them is to identify them in music of others and use them in your own writing.These are termed variously as upper structure triads, slash or hybrid chords. Basic inversions are included from completeness.

Upper Structure Major [email protected]

?Alternative spelling:Intervals from root:Modal implication:

C(R, 3, 5)C Ionian

Dbmaj7 3rd inv.(b9, 4, b6)C Phrygian

D7 3rd inversion / Cmaj13(#11)(9, #4, 6)C Lydian

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Alternative spelling:Intervals from root:Modal implication:

Cm7 / Eb6 3rd inv.(b3, 5, b7)C Aeolian etc.

Cmaj7#5(3, #5, 7)C Lydian #5

F 2nd inv. Csus6 (R, 4, 6)C Ionian

&?


C7alt(b9, b5, b7)C Altered

C maj9 (no 3rd)(9, 5, 7)C Ionian / Lydian

Ab 1st inv. Cm(b6)(R, b3, b6)C Aeolian etc.

&?


C6(b9) / A7#9 4th inv.(b9, 3, 6)C Major b9

Csus9(9, 4, b7)C Mixolydian

Cm(maj7(#11)) Ab7(#9) no root(b3, #11, 7)C Melodic Minor (#11) orDouble Harmonic Minor

www wwwbb www#

w w w

wwwbb www# www

w w w

wwwbbb www wwwbbw w w

www# wwwb www##w w w

{{{{

C‹ D¨‹/C D‹/C

E¨‹/C E‹/C F‹/C

F©‹/C G‹/C A¨‹/C


A‹/C B¨‹/C B‹/C

&

Here is a list of the implications of every minor triad over a fixed root.

Upper Structure Minor [email protected]


Cm(R, b3, 5)C Aeolian etc.

Dbm(maj7) 3rd inv. C(b6/b9)(b9, 3, b6)C Phrygian Dominant

Dm7 3rd inv. Csus(69)(9, 4, 6)C Ionian / Mixolydian

&?


Cm7(b5) / Ebm6 3rd inv.(b3, b5, b7)C Locrian

Cmaj7(3, 5, 7)C Ionian / Lydian

F 2nd inv. / Csus(b6) (R, 4, b6)C Aeolian etc

&?


C6(b9/b5)(b9, b5, 6)C half/whole diminished

C9 (no 3rd)(9, 5, b7)C Mixolydian / Aeolian etc.

Ab(#9) 4th inv. Cm(maj7)(b6)(b3, b6, 7)C Harmonic Minor

&?


C6 / Am 1st inv.(R, 3, 6)C Ionian etc.

Csusb9(b9, 4, b7)C Mixolydian(b9)C Phrygian/ Phrygian Dominant

C(maj9(#11)) no 3rd (9, #11, 7)C Lydian

wwwb wwwbbb wwww w w

wwwbbb www wwwb

w w w

www## wwwb wwwbbbw w w

www wwwbb www#w w w

2

{{{

E¨Œ„!7/C E‹7/C E‹7(b5)/C

G¨7/C G‹7/C G‹7(b5)/C GŒ„!7/C


B¨Œ„!7/C B¨7/C B¨‹(Œ„!7)/C B7/C

&

There are dozens of possible seventh chords over non-chord tones, but here are some very effective,and often used examples

Upper Structure 7th [email protected]


Cm9(b3, 5, b7, 9)C Aeolian etc.

Cmaj9(9, 3, 5, 7)C Ionian / Lydian

C9(9, 3, 5, b7)C Mixolydian

&?


C7alt(3, b5, b7, b9)C Altered

Csus9(4, 5, b7, 9)C Mixolydian

Csus(b9)(4, 5, b7, b9)C Mixolydian (b9)C PhrygianC Phrygian Dominant

Cmaj9(#11) no 3rd(#4, 5, 7, 9)C Lydian

&?


Csus(9/13)(4, 6, b7, 9)C Mixolydian

Csus(9/b13)(4, b6, b7, 9)C Mixolydian b13

Enjoy.

Csus(b9/13)(4, 6, b7, 9)C Mixolydian b9

Cdim7(addmaj7)/ B7(b9) 4th inv.(b3, b5, 6(bb7), 7)C Whole/Half Diminished

wwwwbb wwww wwwwbw w w

wwwwbbbb wwwwb wwwwbb wwww#

w w w w

wwwwb wwwwbb wwwwbb wwww##w w w w

3

[email protected] Minor Harmony and Modes

&R

The Jazz Melodic Minor scale is a minor scale with a major 6th and major 7th.Unlike the melodic minor scale you may already know, the 6th and 7th are not altereddepending on direction. Here is A melodic minor scale with its diatonic 7th chords.We'll then look at its 7 modes and character chords and their use.

A melodic minor (A, B, C, D, E, F#, G#)

2 b3 4 5 6 7

&

I

Am(maj7)

IIm7

Bm7

*Chord VII has two possible spellings, we'll see why later

¨IIImaj7(©5)

Cmaj7(©5) D7IV7 V7

E7

VIm7(¨5)F©m7(¨5)

VIIm7(¨5)G©m7(¨5) or G©7alt

VII7alt*

&

You'll notice that there are 3 possible dominant chords that emerge from the melodic minor.By extending the chords we can compare them.

Melodies and harmonic progressions based entirely on the melodic minor are quiterare, rather particular modes and chords are borrowed from the melodic minorand used in a variety of contexts.

D7(©11)IV7(©11) V7(9/¨13)

E7(9/¨13)V7altG©7alt = G©7(¨5/¨9/©9/¨13)

˙ ˙ ˙ ˙ ˙ ˙# w#

˙̇̇̇# ˙̇̇̇# ˙̇̇̇# ˙̇̇̇# ˙̇̇̇# ˙̇̇̇# ˙̇̇̇## ˙̇̇̇

wwwwww#wwwwww## wwww##


&

The minor (maj 7) is sometimes used in place of a minor chord (usually as the I chord), to create a mysterious quality. Often, but not always it is used as an ending chord tocreate a different colour to the minor triad or minor 7 chord.

The melodic minor scale is used melodically (e.g. Autumn serenade) and improvisationally over a minor chord particularly in a jazz context.

The above shows the minor(maj7) chord and it's common extension minor(maj9).The latter may be constructed with the use of polychord (the superimposition of2 distinct chords) in this case: E/Am. Examples of the min(maj7) and variants maybe found as ending chords in 'spy' and jazz tunes (Eva Cassidy-Autumn Leaves) oras part of the form (1st chords of Solar - Miles Davis (Cm(maj7) and It's Probably Me - Sting (Em(maj9) to Em69))

A‹(Œ„!7)

Modes and Character Chords of the Melodic Minor.

Mode I: The Melodic Minor

A‹(Œ„!9) E/Am

A minorE major

&R

The 2nd mode of melodic minor may be seen as a Dorian scale with a minor 2ndor a Phyrgian scale with a major scale - and is sometimes called 'phrygadorian'.It's rather rare but there are examples when something sufficiently surreal isrequired Everything In Its Right Place - Radiohead has C Dorian b9 moments onits 'chorus'. Pentatonic versions of the mode can also appear in blues e.g. (R,b9,b3,5,b7)

b2

Mode II: Dorian (b9) "Phrygadorian"

b3 4 5 6 b7

wwww# wwwww# wwwww#

˙ ˙b ˙ ˙ ˙ ˙# w


2

&R

The 3rd mode of melodic minor comes out as a Lydian with a raised 5th, quite anear opener of a mode. Its most common application comes from its character chordthe maj7(#5) which is not too unusual particularly in contemporary jazz. It canbe used in place over a maj7 chord as a spicy alternative so long as it doesn't interferewith the melody. Here's the chord, with a common extension and an upper-structure spelling.

2

Mode III: Lydian (#5) "Augmented Lydian"

3 #4 #5 6 7

&CŒ„!7(#5) Cmaj7(#5/#11) E/C

E major

&R

Mode IV is perhaps the most used melodic minor mode- The Lydian scale with a flattened 7th (Lydian dominant), it has a very distinctive character - the Simpsons being an excellent example in terms of both melody and harmony. Furthermore thecharacteristic chord of the mode (Dominant7(#11)) is often used when a 'floating'quality is wanted on a dominant chord. This usually happens on the IV7(#11) thebVII7(#11) and on tritone substitutions (eg sub V7(#11)/I etc.)The progression I7 - II7 incidentally, outlines all the notes in Lydian b7.

2

Mode IV: Lydian (b7) "Lydian Dominant"

3 #4 5 6 b7

˙ ˙ ˙ ˙# ˙# ˙ w

wwww# wwwwww## wwww#

˙ ˙ ˙ ˙# ˙ ˙ wb


3

&R

Mode V has an unusual quality and there are examples of its use in contemporaryjazz, and in a pentatonic and hexatonic form, some music from Africa. It's characterchord - the Dominant9(b13) is quite scrunchy and used compositionally in some jazzstandards and some contemporary players like John Scofield.

2 3

Mode V: Mixolydian (b13)

4 5 b6 b7

&R

Mode VI the Aeolian b5 or Locrian nat 2 is most often used over min7(b5) in a jazzcontext or in sophisticated metal. Its character min9(b5) is also used in contemporaryjazz.

2 3

Mode VI: Locrian (nat2)

4 5 b6 b7

&R

Mode VII is an important mode of the melodic minor. Notice that every scale degreeis flattened (R, b2, b3, b4, b5, b6, b7). It is sometimes called the superlocrian, butmost often refered to as 'Altered'. Although it is technically a minor scale (b3) theflattened 4th is enharmonically equivalent to a major 3rd, so this together with the flattened 7th makes it a dominant scale - the most dissonant dominant scale imaginable.It includes all the funky tensions: (b9/#9/b5/b6) while maintaing the root and the 3 and b7of a dominant 7th chord. It is played over a dominant chord (usually in jazz) and it's character chord (7(b9/#9/b5/b13)) is usually abbreviated to alt 7 (or 7 alt).

b2

Mode VII: Altered (Superlocrian)

b3 b4=3 b5 b6 b7

&C7b5(b9/#9/b13) or C7alt.

˙ ˙ ˙ ˙ ˙ ˙b wb

˙ ˙ ˙ ˙ ˙ ˙# w#

˙ ˙b ˙b ˙b ˙b ˙b wb

wwwwwww#bbbb


4

©2011 Milton Mermikides Complete Track Analysis 1

Complete Track Analysis ©2011 [email protected]

With the important elements of harmony in place, it’s time to integrate these aspects into a complete picture of a track1. Here’s a very brief but pertinent checklist of various musical features that when taken together can help further musical understanding and in turn enhance creativity. These concepts and questions are all worth considering when approaching a track analysis. In this course we’re looking mainly at the pure harmonic mechanics, rather than lyrical interpretation and song structure, but we must remember that the impact of a track is multi-faceted, so understanding these other important elements will give a more nuanced – and more applicable – understanding of popular music harmony. Many of these concepts may be addressed to the score of the track. However it is very important that an analysis is conducted through the receptive listening of music. The musical practice is about the listening and creative process, and although notation is an extremely useful way to communicate, consider and conceptualise a track, it is only a tool in order to enhance, and not replace, the musical experience.

The Basics

Style – Genre(s) - Instrumentation - Production

Tempo – Time Signature - Groove – Rhythmic Subdivision - Feel

Lyrical content – Impact – Vibe - ’Meaning’

Do any of the above change during the course of the track?

1 We’ll use the term ‘track’ to denote any relevant composition be it pop

song, metal instrumental, jazz standard or folk tune. ‘Piece’ or ‘work’ is a tad pretentious, ‘song’ is an odd term for instrumental music and ‘tune’ is a bit ambiguous. So, for convenience, ‘track’ it is. We needn’t get distracted further with semantics, or get overly fussy with terms, so that said, let’s just get on with it.


Structure Can the track be divided into logical sections using such terms as Intro, Verse, Prechorus, Chorus, Instrumental Solo, Bridge or ‘Middle 8’, Instrumental Interlude and Outro? Can you provide a simple map of the sections? Can that map be further simplified using repeats, DS, DC, Coda, Fine etc? When sections occur more than once, how are they varied, truncated, extended, reinterpreted, transposed or otherwise reinterpreted? Do any of the sections share features? For example does the guitar solo have the same chords as the verse? Sketch, or write out the basic form. Here’s an example, it doesn’t have to be exactly like this, any way that communicates the whole structure as simply and clearly as possible.


Key and Harmony What is the key area, mode or tonic note of the track? Does it change through modulation? If modulations occur are they simply shifting previous material to a new key or does new material accompany the shift? Are the key modulations closely related to the original key (eg. F to Aminor) or a parallel shift (Cmajor to Db major)? Is the modulation ‘pivotal’ (by using chords that are related to both keys) or is it ‘direct’ and ‘unprepared’? Once a modulation occurs, does the track end in this new key, return to the original, or continue to another –maybe similar – modulation? Does the chord progressions fit into any of the harmonic devices covered in this course? (E.g. Diatonicism, parallel major/minor/borrowing, inversions, secondary dominants, Blues chords, parallelism, pedal tones etc.) Can the progression be generalized and quickly absorbed using roman numeral (or similar) analysis (e.g. i – iv – i - V7). Harmony is of course, is the main content of this course so we needn’t repeat it here. However it’s important to remember that: a) As noted before, harmony is just one of several important musical aspects and it its interaction with other features that creates musical impact. b) All the harmonic concepts presented in the course are only important because they are used and can be reapplied effectively. Harmonic analysis is not an intellectual diversion like sudoko, it has direct musical relevance.

Melody There will be supporting material for the study of melody but here are some salient points that will help understand how to approach the analysis and creation of melodies. Listen (and look) at the entirety of the melody. Can it be broken into logical phrases? Often this can be done at a few levels:

1) The entire melody

2) The melody at each of the structural sections (see Structure)

3) Phrase groups within each section

4) Commonly used intervals/motifs within phrases. For each of the above it can be useful to explore:


1) Range and contour. What is the highest and lowest pitches in the

melody (or phrases)? When does the peak occur, what is the overall shape of the melody, or contours of the phrases? How and where do any of these contours repeat, perhaps transposed? When a phrase is repeated closely, look out for any variations – particularly at the end of phrases. When the melody is played in isolation which phrases feel unresolved (‘questions’) and which feel like resolutions (‘answers’)?

2) How are phrases separated? Do phrase lengths change?

3) Is the melody (or are the phrases) drawn from a common scale/mode (is it heptatonic, hexatonic or pentatonic?) Does it does change at any point and if so, how and when?

4) What intervals does the melody make against the chords? Are they all

chord tones? How are non-chord tones resolved if at all? When melodic shapes are repeated against different chords, does the melody stay the same (changing the intervals against the chords) or is the melody transposed or sequenced (perhaps preserving the same intervals)?

5) What are the most distinguishable, characterizing and memorable

aspects of the melody?

The Big Picture You should now be able to combine the important aspects from all of the above into a complete picture. Your final project will include such an analysis of a complete track and a composition (with commentary) of your own. This process will help to understand the track in its entirety, improving your musical perception, appreciation and ability to create your own music, which in turn will increase your understanding of music. Keeping this positive cycle of theory-practice active will improve your understanding, communication, creativity and enjoyment of music. Not a bad deal.


Interval Training Interval Up Down Unison P1

Barbara-Ann- Beach Boys etc. etc.

Minor 2nd

m2 Jaws Theme – John Williams

Fur Elise - Beethoven

Major 2nd

M2 Happy Birthday “Near – Far’ Titanic theme

Yesterday - Beatles

Minor 3rd

m3 Smoke on the Water New World Symphony – Dvo!ák Champagne Supernova – Oasis (verse begins with alternating minor 3rds)

Girl from Ipanema – Jobim. Beethovens 5th 2nd phrase

Major 3rd M3

Hey Jude- Beatles Na-na-na spells out major triad.

First 2 notes of Swing Low Sweet Chariot Summer Time Beethovens 5th 1st phrase

Perf 4th P4

Wedding Song – Mendellsohn Nirvana-Smells Like Teen Spirit – clean guitar

Eine Kleine Nachtmusik

Augmented 4th

Diminished 5th A4, d5

The Simpsons 3 note motif. Is R-#4-5 Maria from West Side Story

Take The A-Train – Ellington/Strayhorn Bass Intro From note 2 to 3 in big guitar riff of Enter Sandman – Metallica (R,8,b5)

Perfect 5th P5

Star Wars Theme Spring from Vivaldi’s Four Seasons

It Don’t Mean A thing Flintstones

Minor 6th m6

Dr. Who Theme Song 1st 2 notes of ‘Theremin’ melody In My Life – 1st 2 notes of guitar intro.

Love Story Theme -Lai Higher (The Saturday’s ft. flo.rida) 3rd keyboard figure, 1st two are descending major 6ths

Major 6th

M6 Nessun Dorma - Puccini. The big moment. Angels- Verse My Way-Sinatra

Man In The Mirror – Michael Jackson Chorus

Min 7th m7

Star Trek- Original Theme 1st 2 notes of Watermelon Man Melody -Herbie Hancock

Maj 7th M7

Take on Me – Aha Don’t Know Why – Nora Jones

I Love You – Cole Porter

Octave P8

Somewhere Over the Rainbow Singin’ in The Rain

Willow Weep for Me


R 2 3 4 5 6 7

R 5 3 2 6 4 7

R 5 3 2 6 b7 4 7 b3 #4 b6 b2

&

As mentioned, in 'Complete Track Analysis', harmony can only be fully understood in relation to other musicalconsiderations. This handout looks at melody's relation to harmony in a little more detail. Remember thatcontext is crucial in music, so none of the following are immutable laws, just helpful guidelines and incentivesto notice the most salient features.Music is multi-dimensional, there is expressive power in timbre, rhythm, groove, melody and harmony as isolatedfeatures, and in their complex interactions. First we look at some expressive features of melody in itself, and thenits interaction with melody.

Note Hierarchy of the Major ScaleMelodic Tension

Melody and [email protected]

&

A scale is usually written, and conceived, in ascending form (see above).However, in terms of hierarchy, the 7 notes may be better arranged in terms of degrees of resolution.

more resolved

Triad tonesDiatonic Tonesfrom pentatonic

Non-pentatonicscale tones

less resolved

&

The layout above gives a general impression of how the notes of a major scale compare in terms ofresolution level. This explains why we see certain shapes of melodies, and how phrase endingsdiffer between phrases of a melody.

We may also extend this concept of melodic tension to include non-diatonic notes, an impressionis given below. Although subjective, there are technical reasons for the rough layout below.However, although we are still considering melody as independent of harmony, the followingshould be taken only as an approximate guide - context of surrounding melody notes, implied keys,phrasing and rhythm are still critical.

more resolved less resolved

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ

œ œ œ œ œ œb œ œn œb œ# œb œb

R 5 b3 4 b7 2 6 7 #4 b6 b2 3

D DŒ„!7 F©‹7

E‹7 A7

D DŒ„!7 F©‹7

E‹7 G‹

54 44

44 24

24 44

&

We have so far been looking at a 'major' context. If however a minor (or modal) context is establisheda different pattern may emerge, still noting all the caveats previously mentioned. Here's an impressionof a melodic tension continuum in a minor context:

more resolved less resolved

&##

So far we have looked as melody as separate (as far as possible) from harmonic context. This is animportant component of analysis (and context) and establishes the sense of expression in an isolated melody.The following extract (Beatles-Across The Universe) gives a simple general impression of the melodictension in the melody. Note how a phrase is repeated almost identically, except for the ending which is atfirst unresolved, and then resolved.

Resolved (Root) Quite resolved (5th)

&##Less resolved (4th) Unresolved (7th)

&##Resolved Root) Quite resolved (5th)

&##

If we look at the chords in isolation we get another pattern of tension and release, which sometimes correlates withthe melodic tension and sometimes doesn't. They differ most notably here when the melody resolves at the end of the 2nd phrase while the harmony holds down a colourful and unresolved subdominant minor (iv) chord. This is anexample of the multi-level property which makes music so endlessly fascinating and absorbing.

Now we've looked at melodic tension, and also mentioned that it exists in relationship (but not direct correlation)with a sense of harmonic resolution, we now turn our attention to consonance and dissonance, how particularmelody notes are heard against specific chords - sometimes referred to as the vertical relationship.

Less resolved (4th)Resolved (Root)

œ œ œb œ œb œ œ œn œ# œb œb œn

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ

œ œ ™ œ œ œ œ œ œ Ó

2

R 5 3 2 6 b7 7 4 b3 #4 b6 b2

R 5 3 4 b7 2 6 #4 7 b6 b2 3

R 5 3 7 9 13 7 11 #9 b13 b7 b9

R 5 3 b7 9 6 #2 4 # b13 4 7

&

The following diagrams give an indication of the level of consonance/dissonance over a few commonchords. Remember context is important - for example - whether the note is diatonic, or if it stressed rhythmically or left unresolved will alter the sense of dissonance. Still, it is certainly worth trying these out yourself and considering this important mechanism in both your analysis and composition.

Major chord

Consonant

Consonance and Dissonance

Dissonant

&Minor or minor 7 chord

Consonant Dissonant

&Major 7 chord

Consonant Dissonant

&

The above guide treats chords in isolation, divorced from harmonic context - whether the chord is a I, ii or IV forexample. A general persepective of consonance and dissonance which includes this element might be represented thus:

There are some exceptions to this guide. Most notably the minor 3rd, which is a very commonly used and stylistically fundamental non-diatonic note in a major or blues context.

Chord Tones(CTs)

Consonant

Common

Dominant 7 chord

Diatonic notewhole tone or abovenearest chord tone

Consonant

Non-diatonic notewhole tone or abovenearest chord tone

Diatonic notesemi tone abovenearest chord tone

Non-diatonic notesemi tone abovenearest chord tone

Dissonant

Rare

Dissonant

www œ œ œ œ œ œb œn œ œb œ# œb œb

wwwn œ œ œb œ œb œ œ œ# œn œb œb œn

wwww œ œ œ œ œ œ œ# œn œ# œb œb œb

wwwwb œ œ œ œb œ œ œ# œn œb œb œ œ

3

3rd

F‹7

3rd

B¨‹7

7th 3rd

E¨7

7th

A¨Œ„!7

3rd 7th 3rd

D¨Œ„!7

3rd

D‹7

3rd

G7

7th 3rd

CŒ„!7

(Gm7)

Root 9th 3rd 3rd

C‹7

7th

F7

Root 9th 3rd 3rd

B¨Œ„!7

7th

E¨Œ„!7

Root 9th 3rd 3rd

A‹7(b5)

7th

D7

Root 9th 3rd 3rd

G‹7

&bbbb

In the following example (All The Things You Are - Hammerstein/Kern) the melody is constructed entirelyfrom chord tones (CTs) from the underlying chord sequence. Chord degrees (not specifically major minor) are given.

The study and understanding of melody is a life-long pursuit, but let's look at a succinct representative selection ofbroad concepts addressing how melody may effectively integrate with harmony, how dissonance is resolved andcommon 'tensions.'

There are 3 powerful devices in the following extract (Autumn Leaves - Kosma/Mercer)1) Diatonic sequence: A fixed pattern of chord degrees are moved through a harmonic progression.2) Passing Tone: Stepwise resolution of NCTs between CTs. Note how the NCTs here (9ths) are approached from, and resolved to, CTs using a diatonic scale.3) Chord-tone pivots (a new term): Note how held notes change from one CT to another CT of a new chord.

Melody on Harmony

Chord-Tone Melody

&bb

CT

Diatonic Sequence, Passing Tones and CT pivots

(step)NCT

(step)CT CT

&bbCT

(G melodic minor)

w ˙ ™ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙n œ wn

Œ œ œ œ w œ œ œ œ w

œ œ œ œ w œ œ œn œ# w

4

CT

C

NCT CT

E‹

NCT CT

F

NCT CT

C

CT

A‹

NCT CT CT

E‹

NCT CT CT

F

NCT CT CT

E7

CT NCT CT

CT

C

NCT CT CT NCT CT CT NCT CT CT

F

NCT CT CT NCT CT

CT NCT CT CT

G

NCT CT CTNCTCT CT

A‹

NCT CT CT NCT CT

CT

C

NCT CT CT NCT CT CT NCT CT CT CT NCT CT

&

A CT is played before the harmonic change, resulting in a momentary NCT (usually but not always diatonic).In other words, the NCT is created (and resolved) by anticipating a harmonic change.

Now the concept of passing tones has been introduced, let's take a survey of many of the typical devicesfor handling NCTs.

(same note)

Common NCT Devices

Anticipation (ANT)

(same note) (same note)

&

A NCT (usually diatonic) is played above or below a CT and is approached, and resolved in step wise motion.

(step) (step)

Neighbour Tone (NT) or Auxillary Note (AUX)

NT NT NT

&

(aka appoggiatura)(skip) (step) (skip) (step)

Incomplete Neighbour Tone

(skip) (step) (skip) (step)

(non-diatonic)

(skip) (step)

&(skip) (step) (skip) (step) (skip) (step) (skip) (step) (skip) (step)

&

A NCT is approached by a skep and resolved by a step (usually but not always in the opposite direction) Appoggiatura.A NCT may also be approached by a step from a CT and resolved by a skip (usually in the opposite direction) This is very similar to the idea of escape tone, where the skip occurs on a harmonic change.NCTs are usually but not always (see bar 3) diatonic.

(skip) (step) (skip) (step) (skip) (step)

(same-direction)

(step) (skip)

˙ ™ œ ˙ ™ œ ˙ ™ œ w

˙ œ œ ˙ œ œ ˙ œ œ œ# œ œ œ

œ œ œ œ œ œ œ œ ˙ ™ œ œ œ œ œb œ

œ œ ˙ ™ œ œ œ œ œJ œ ™ œ œ œ œ œJ œ ™

œ œ œ œ œ œ œ œ œ œ œ œ ˙

5

CT

A‹

NCT CT

G

NCT CT

F

NCT CT

E7

CT

C

NCT NCT CT

A‹

NCT NCT CT

F

NCT NCT CT CT

F‹

CT

C

C G A‹ F G7 C

A‹

CT NCT CT NCT CT

F

NCT CT NCT CT

D7

NCT CT

&

NCTs are approached by step and then resolved onto a CT of a new chord in the opposite direction.

(step)

(opposing skip to CT on new chord)

Escape Tone(ET) or Echappeé

(step)

(opposing skip to CT on new chord)

(step)(opposing skip to CT on new chord)

&

Changing Tones (ChTs) or Double-Neighbour Tones (DNTs)CTs left by a step, then skip in the opposite direction and resolved to CT by step.

&A delayed step-wise resolution to a CT. When the resolution falls its a suspension, when it rises theNCT is a retardation. The note in the preceding chord is known as the preparation.(prep.) which aresuspended (sus.) or retardated (ret.) and then resolved (res.).

sus.4-3 prep. sus.9-8

Suspensions and Retardations

res. prep. ret.7-8 res. prep. ret.2-3 res.

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Stepwise connections between CTs of the same, or next chord using NCTs. These are usually single and diatonic, but may also involve more than one note (eg double passing tones)or may also be chromatic, and combined with other devices to form more complex approach patterns.

From Heart-Shaped Box - Nirvana

Passing Tones (PT)

˙ ™ œ ˙ ™ œ œ œ ˙

˙ œ œ ˙ œ œ ˙ œ œ œ œb ˙

˙ ™ œ œ ˙ œ œ œ ˙ œ ˙ ™

Œ œ œ œJ œ œJ œJ œ œJ œJ œ ™ ˙ ˙ ˙ Ó

6

CT

C7

NCT NCT CT CT

F7

NCT NCT CT

CT

C7

NCT CT NCT NCT NCT NCT CT NCT NCT

5

C7

5 9

F7

9 9 9 5

C7

R

9

F7

9 9 9 9 9 5

C7

R

E‹7 A7

11

D‹7

11 R

G7

R R R 5

C7

R

E¨7 A¨7 D¨7

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From Blue Monk - Thelonius Monk

Double chromatic passing tones.

Double Passing Tones (DPTs), Approach Patterns and'Accepted' NCTs

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The last note here introduces the idea of 'accepted' non-chord tones. Clearly the 9th sounds just fine and may be happily left unresolved. Actually in Jazz such melody notes are often 'written in' to the harmony, a C9 in this case. But this isn't always appropriate, and often in popular music these notes are clearly notincluded in the harmonic accompaniment, doing so can make the harmony overly fussy and weaker.So how do we decide what is 'acceptable' in terms of NCTs? A musical ear is always the best judge and context and style are important and sometimes 'outness' is desired.(Just listen to Zappa, Blur or King Crimson for perfectly judged 'wrong' notes)Page 3 of this section (Consonance and Dissonance) will provide some theoretical context to the degrees ofdissonance in melody, not forgetting that placement on strong or weak beats - the rhythmic emphasis of NCTs -is crtitical. Using dissonant notes is not necessarily bad (although involves skill) and perfectly 'correct' notesdoes not necessarily produce good music. However an awareness of the consonance/dissonance continuum ishugely valuable. This particulary topic is vast but we will end with just one further illustrative example:

Neighbour Tone

ChromaticPassing Toneto...

Changing Tone withchromatic passing tone:Approach Pattern

Double chromatic passing tones.

ChromaticPassing Toneto...

'Accepted'NCT.

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A powerful device is to use a fixed melody, over a changing harmonic sequence. The melodymay create NCTs (in this case very common ones) and there is an interesting musical effectof hearing similar material in different harmonic contexts. In a way this is the opposite of the sequence,which changes melody to maintain similar chord degrees over changing harmony.

From C-Jam Blues - Duke Ellington

Fixed Melody and Changing Harmony

!

& !

& !

œ œ œ# œ ˙ œ œ# œ œ ˙

œ œn œ œb œ œ œ# œ œj œb œn j œ Œ

œ œ Œ Ó œ œ Œ œ œ Œ œ ™ œJ Ó



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The End and the Beginning

Often dismissed by people don't know any better as 'simple', popular music harmony is a complexand fascinating mix of concepts and cultural influences that are endlessly interesting, effective andinspiring. Do remember that harmony lies in a complex interrelationship with all other music parametersand how its used - and its musical effect - is determined by context rather than theoretical abstraction.I graduated from a 4-year degree in 1996 which I approached with passion and commitment, since thenthere has not been a day that I have not thought about, played or composed music, I've even completed a PhDin composition, and I am still discovering fascinating and rewarding insights about understanding and using 'simple' harmony.I wish you the same enjoyment and satisfaction.

Milton Mermikides 2011

popular music harmony - an introduction - milton mermikides

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