MORE THAN YOU NEED TO KNOW! A FEW EXCERSISES AND FACTS

Description

Dominant Function Triads

Less stable than any subdominant function triad is the V chord. Although the V chord contains one stable tone,
its kinetic character is established
by the leading tone and the strong attraction of the perfect 5th, especially when in the bass,
to move to the tonic.
The viio chord is the most unstable triad found in the major key diatonic system, containing
the two least stable tones, the leading tone, and the
4th scale degree, together forming the tritone, the most unstable interval.


Subdominant Triad Functions

Less stable than any tonic function triad is the IV chord, which contains the
4th degree of the scale and has only one stable tone.
Less stable than the IV chord is the ii chord, which contains the 4th degree
of the scale and has no stable tones.


Functional Harmony and Harmonic Progression

Tonic Function Triads
The most stable chord in a key is the I chord because it contains all
three stable tones. Chords that contain two stable tones are next in the
hierarchy: vi and iii. iii contains the unstable leading tone, thereby
making it less stable than vi.


Functional Harmony and Harmonic Progression

Degrees of stability and tone tendencies remain the same, whether
conceived horizontally (melodically) or vertically (harmonically).
Diamond notes are stable. Darkened noteheads designate the leading
tone (most unstable) and the 4th degree of the scale, which is almost as
unstable as the leading tone. Heightening the instability of these
two notes is their tendency to resolve by a half-step.

(For Drummers)
Whenever you are learning a new beat, whether it is by reading
it or by listening to it, follow these guidelines.

1. Practice slowly. Working at a slow tempo helps you to develop
muscle memory.
2. Break the beat down. Try just the ride cymbal and kick drum
together, and see how they relate. Play the right-hand and left-hand parts on
a single surface.
3. Put all the elements of the beat together, and repeat it,
over and over. Practice the beat without any added fills until
it is very solid.


Add9 Voicings

An \"add9\" chord consists of the 1, 3, 5, and 9 from the major scale,
and contains no 7th. Since the add9 has no 7th in the voicing, it can be used
as a substitute for chords that contain a major 7th or dominant 7th.
Another way of using it is to add interest to a triad voicing -- for instance,
substituting Aadd9 for A.


Three-Note Voicings for the Dominant 7th

A complete dominant 7th chord contains four notes. To construct three-note voicings
that accurately represent its sound, the chord degrees of
3 and b7 must be present. These two notes of the Dom 7th chord are called the
\"tritone,\" as they are three whole steps apart. They form the unstable
element that causes the restless sound, the need to resolve by moving on to another
chord


Sus2 Voicings

A Sus2 chord, sometimes labeled as just \"2,\" consists of the notes 1, 2, and 5 from
the major scale. Often the 1 or 5 is doubled in the voicing.
Since there is no 3rd in the voicing, this sound can be used as a \"sub\" (substitute)
for major and minor -- for example, the progression E2 to C2
can sub for Em to C.


ALT Chord

The abbreviation ALT (for altered) means to play the chord degree so indicated
chromatically altered up and/or down. This term is used exclusively
with the 5th degree of major chords and minor 7th chords, and with the 5th and
9th degrees of dominant 7th chords. When the term ALT appears with no
specific chord degree indicated (and this only happens with dominant 7ths) it
means to chromatically alter both the 5th and 9th degrees in either,
or both directions in the same structure.


An Exercise in Pitch

Establish a major key at the keyboard or on the guitar. Play the tonic note in the bass. Sing the
2nd degree; resolve it to 1. Continue to play the tonic note in
the bass. Sing the 3rd degree. Notice that there is less of a need to resolve it
-- although stable, tones 3 and 5 will only be fully resolved if
they move to 1. Now sing the 4th degree; resolve it. Continue this exercise
throughout the scale.


Chord Progressions in the Aeolian Mode

Chord progressions in modal music have characteristics that differentiate them
from chord progressions in traditional major/minor. The Aeolian mode
has no leading tone; therefore, the dominant is considerably weakened. The V,
while an unstable triad, is no more unstable than either the iio and
the bVII. Both the bVII and iio 7 in traditional harmony are considered
subdominants, but in the context of the Aoelian mode, they have more
characteristics associated with the dominant function -- they are very unstable
and tend to resolve to the tonic.


Composing with Modes

When composing with modes, keep in mind these factors that help establish a
sense of harmonic progression:

1. The least noticeable change in consecutive chords in a progression
is achieved by changing only one member of the harmony. The greatest
noticeable change in consecutive chords in a progression is achieved by
changing all three notes.
2. The more stable tones a harmony possesses, the more stable it will be;
the fewer it has, the less stable it will be. A progression from least
stable to most stable (or vice versa) will provide the most noticeable changes.


Using Tensions

Certain popular music styles, especially jazz, R&B, and modally-based pop songs,
allow for dissonant intervals form the root of the chord such as
9ths, 11ths, and 13ths, to occur unresolved. These notes (called \"tensions\") may
also be incorporated into the harmonic underpinning to create 9th,
11th, and 13th chords.


The Transitional Bridge

A transitional bridge is a linking section, usually between verse and chorus.
Its function is to lead up to or build up a momentum to the chorus.
Sometimes the transitional bridge is followed by a refrain instead of a chorus,
but its function remains the same. The transitional bridge is always
found before the central statement.


The Bridge

The term itself implies a section that connects two other sections. This, in
fact, is the main purpose of any bridge. It may also have other
functions; for example, to provide contrast or to modulate. The term bridge,
without any prefix, refers to a section of a song that occurs after the
central statement -- for instance, after a refrain or after the AA section in
a \"standard\" form AABA song. (The B section of a standard form AABA
song is the bridge.)


Tensions and Sixth Chords

T7 is not usually recognized as a harmonic tension in a sixth chord setting.
When combined with the chord tones of a major or minor sixth chord,
T7 changes the sonority from a major sixth chord to a major seventh chord or
from a minor sixth chord to a minor-major seventh chord. But T7 can be heard
as a melodic tension when part of an independent lead melody moving against a
sustained sixth chord. In most cases, major seventh chords are interchangeable
with major sixth chords, and minor-major seventh chords are interchangeable with
minor sixth chords.


Tensions and Triads

T7 and T13 are not usually recognized as harmonic tensions in a triadic setting.
As soon as they are included with a triad's chord tones to form a voicing, the chord
sound changes either to a major seventh chord (or major-minor seventh chord) or to a
major sixth chord (or major-minor sixth chord). But T7 and T13 can serve as melodic
tensions when part of an independent lead melody moving against a sustained triad sound.


Harmonic Tensions

A harmonic tension is a non-chord tone (9, 11, or 13) used as an inner voice within
a voicing represented by a specific chord symbol. When combined vertically with chord
ones, each harmonic tension creates a distinctive sonority. In terms of rhythmic duration and
emphasis, harmonic tensions are treated the same as chord tones. If harmonic tensions are part
of a given chord symbol, you should include them in the written voicing. Similarly, when including
tensions in the voicing, be sure to indicate them all in the chord symbol for the benefit of the
rhythm section.


Melodic Tensions

A melodic tension is a non-chord tone (9, 11, or 13) used in a melody, as in the lead voice of an
arrangement.


Tensions

Tensions (9ths, 11ths, and 13ths) are the upper structure extensions of seventh chords.
They are called tensions because they create intervallic dissonance. They produce a richer,
more tense quality than that of a basic chord sound, which relies strictly on chord tones.
In order to voice chords effectively in a variety of ways, arrangers and players need to
nderstand that only certain non-chord tones qualify as \"available tensions.\" While creating
dissonance, these available tensions do not change the fundamental quality of the chord or
create an unpleasing clash. In general, any note a whole step above a chord tone is available
as a tension, while any note a half step above a chord tone is not.


Tensions: A Summary

Any note a whole step above a chord tone is generally available, with these exceptions:

1. T13 is not available on minor seventh chords having a tonic (III-7, VI-7) or subdominant (II-7) function.
2. T9 is not available on III-7.
3. T9 is not available on minor seventh (b5) when not diatonic to the key.
4. T#11 is not available on I maj 7 unless as a dramatic effect for an ending chord.

Any note a half step above a chord tone is generally not available, with these exceptions:

1. Tb9 is available on Dominant seventh (b9) chords.
2. Tb13 is available on Dominant seventh (b13) chords.
3. Modal contexts allow tension such as Tb13 in Aeolian and Tb9 or Tb13 in Phrygian




Independent and Dependent Melodies

When considering melody/harmony relationships, there are a multitude of tonal choices.
There are the moment-to-moment choices, where the consideration of the immediate note to
he individual harmony is the focus, for instance, non-chord tones and the consonance/dissonance
relationship of melody to bass. As important as these considerations are,
they are not more important than the global aspect of tonality. Whether a
melody is independent or dependent is a global consideration

An independent melody is one with enough tonal interest and direction so it is not dependent
on harmony to create musical interest. The appropriate harmony, of course, can enhance an
independent melody, but the tonal interest of the melody is apparent even without the presence
of harmony. Tonal interest is measured by the relationship of the melody to the tonal center.
\"Yankee Doodle,\" The Beatles' \"In My Life,\" and \"Over the Rainbow\" are good examples of independent melodies.

A dependent melody is one which doesn't have enough intrinsic tonal interest and direction
to sustain it and needs harmony (or possibly another voice, for instance, a counterpoint--often
a guitar or bass riff) to create tonal interest. Jobim's \"One Note Samba,\" The Beatles' \"For No One,
\" Gershwin's \"'S Wonderful,\" and the verse section of the Stones' \"Satisfaction\" are examples
of dependent melodies.

You may ask yourself, \"Is it better to write an independent or a dependent melody?\" Rather
than ask that question, seek to understand what the total music needs in order to be interesting.


Meditate Upon Rhythm

Rhythm is our most basic and important structural element.
At a micro level, it controls the inner structure of each phrase and of the relationships
between individual phrases. At a macro level, it controls the form of the entire musical composition.

Rhythm is the skeleton, controlling the basic shape; pitch is the muscle and flesh;
arrangement and orchestration provide the clothes, makeup, and accessories. Without the
skeleton everything else collapses, yet few people even notice or think about that!


Harmonic Cadence and Its Use in Form

Various sections within song forms usually call forth typical cadential patterns.
For instance, a verse ending with a refrain will usually cadence on a tonic chord,
thereby, harmonically, closing it. A verse leading to a chorus will typically use a
half cadence; a bridge (B) section of an AABA song would most likely use a half cadence
to lead back to the last A.

There are no firm rules constituting what type of cadence belongs where, but keep
in mind that functionally, verse structures and bridge structures tend to remain
harmonically open, while refrains and choruses usually end song systems and, therefore,
tend to close.


Melodic Step Progression

There are two types of melodic motion: conjunct motion, which proceeds by
step from one scale degree to the next (i.e., by the interval of a second)
and disjunct motion, which proceeds by leap (i.e., by intervals larger than a second).

The most comfortable way for a melody to move is by conjunct motion. This
applies not only to note-to-note melodic movement but also to large-scale
motion between notes of the melodic outline.

Beware Minor Ninths

When you want a well-focused chord sound that can be heard clearly, do not include the interval of a minor ninth in the voicing. Eventually, as you gain mastery of the various voicing techniques and associated instrumental applications, you might want to experiment with the dissonance and harmonic ambiguity that minor ninths can provide. In the right context, such dissonance can be very expressive and can trigger a strong emotional response in the listener. But first, concentrate on controlling the traditional \"in,\" before pursuing the not so traditional \"out.\"


Voicing with Upper Structure Triads

An upper-structure triad voicing is a complex sound. It projects two simultaneous harmonic impressions. First, and foremost, all notes of the voicing collectively create a sound that clearly represents the given chord symbol. At the same time, the three upper notes form a triad in close position (including, possibly, various inversions). These upper notes have their own separate and clearly identifiable triad sound, while simultaneously functioning as chord tones and/or tensions of the given chord symbol. Upper structure triad voicings are used when the writer wants a powerful sound containing a high level of resonance.

Upper structure triads are usually major or minor.


Visualization-Improvisation

The goal of visualization-improvisation, as the name suggests, is to see in your mind pitches on a musical instrument as you sing melodies of your own creation. The preferred instrument for this exercise is a piano because of its common use in all aspects of music, but your instrument (guitar frets or sax fingerings), or even an image of musical notation, can be used.

The results of extensive practice in visualization-improvisation are profound. One of the primary goals of any musician should be to make the musical mind a competent, secure, and flexible instrument in and of itself. The ability of that musical mind to internally create or interpret external musical sound is a result of accomplishing that goal. That ability has important ramifications for musical use: the skill to envision music as it is composed, leaving only the final task of physical notation; the capacity to see printed music and to hear that music without playing it on an instrument; and the proficiency to hear played and recorded music and to understand its shape and form, possibly to the extent of seeing in the mind's eye the notes as they are played and heard.