HARMONY

1. MAJOR SCALES

SHARPS:

1 1 1 1 1
C D E F G A B C
W W H W W W H
G A B C D E F# G
D E F# G A B C# D
A B C# D E F# G# A
E F# G# A B C# D# E
B C# D# E F# G# A# B
F# G# A# B C# D# E# F#
C# D# E# F# G# A# B# C#

FLATS:

F G A Bb C D E F
Bb C D Eb F G A Bb
Eb F G Ab Bb C D Eb
Ab Bb C Db Eb F G Ab
Db Eb F Gb Ab Bb C Db
Gb Ab Bb Cb Db Eb F Gb
Cb Db Eb Fb Gb Ab Bb Cb

MAJOR RELATIVE MINOR: 6 degree.
Tricks to Remember RELATIVE:
MAJOR: Three semitones below Becomes MINOR
MINOR: Three semitones above Becomes MAJOR.
EX: G major ( Em F F# G ) G minor ( Gm G# A B )




2. MINOR SCALES:

MELODIC (1 2 b3 4 5 6 7 8 )

HARMONIC (1 2 b3 4 5 b6 7 8 )

NATURAL (1 2 b3 4 5 b6 b7 8 )


MAJOR TO MINOR ( paralelas)

MAJOR TO MINOR MELODIC: Lower the 3rd step

MAJOR TO MINOR HARMONIC: Lower the 3rd and 6th step

MAJOR TO MINOR NATURAL: Lower the 3rd, 6th, 7th step

1 2 3 4 5 6 7 8
MAJOR A B C# D E F# G# A
MINOR MELODIC A B C D E F# G# A
MINOR HARMONIC A B C D E F G# A
MINOR NATURAL A B C D E F G A

3. PENTATONIC SCALES:

* PENTATONIC MAJOR (1 2 3 5 6 )

* PENTATONIC MINOR (1 b3 4 5 b7 )


4. DIATONIC TRIADS









5.KEY SIGNATURES
ORDER SHARPS: Father Charles Goes Down And Ends Battle. (5ths)
F C G D A E B
0 Sharps C Major and A Minor
1 Sharp- F# - G Major E Minor
2 Sharps F# C# D Major B Minor
3 Sharps F# C# G# A Major F# Minor
4 Sharps F# C# G# D# - E Major C# Minor
5 Sharps F# C# G# D# A# B Major G# Minor
6 Sharps F# C# G# D# A# E# F# Major D# Minor
7 Sharps F# C# G# D# A# E# B# C# Major and A# Minor.

6 0 1 2 3 4 5
F# C G D A E B

ORDER FLATS: Battle Ends and Down Goes Charles Father. (4ths)
B E A D G C F
0 Flats C Major and A Minor
1 Flat Bb- F Major and D Minor
2 Flats Bb Eb- BbMajor and G Minor
3 Flats Bb Eb Ab- Eb Major and C Minor
4 Flats Bb Eb Ab Db- Ab Major and F Minor
5 Flats Bb Eb Ab Db Gb- Db Major and Bb Minor
6 Flats Bb Eb Ab Db Gb Cb- Gb Major and Eb Minor
7 Flats Bb Eb Ab Db Gb Cb Fb Cb Major and Ab Minor
2 3 4 5 6 0 1
Bb Eb Ab Db Gb C F

If you can remember BEADGCF for the FLAT keys, Just reverse it to find the sharp keys.
Tricks to Remember Key Signatures
Flats
For key signatures with flats, the key signature is the second to last flat.
Sharps
For key signatures with sharps, the key signature is the note name half step above the last sharp.
KEY SIGNATURE MAGIC NUMBER IS 7
If you know the key of Bb has two flats
then the key of B must have five sharps.
2+5 = 7 .
If F has one flat, then F# has six sharps
1+6 = 7
If A has 3 sharps, then Ab has four flats
3 + 4 = 7


6. INTERVALS

maj2 maj3 P4 P5 maj6 maj7
- 1 half step -2rd -3rd O 4th O 5th -6th -7th
- 2 half step
O 2rd O 3rd Double O
4th
Double O
5th
O 6rd O 7rd
+ 1 half step
Aug 2rd Aug 2rd Aug 4th Aug 5th Aug 6th Aug 7th













6.1 INVERSION INTERVALS

























7.CHORDS

* CHORD IS A COMBINATION OF THREE OR MORE
NOTES.


7.1TRIAD FORMS


TRIAD FORMS FORMS
MAJOR (maj) maj 3rd , P5th 1 3 5
MINOR ( - ) -3rd, P5th 1 b3 5
DIM ( o ) -3rd, O5th 1 b3 b5
AUG (+) Maj 3rd , #5th 1 3 #5
Sus 4 P4th, P5th 1 4 5
Sus 2 Maj 2rd, P5th 1 2 5












7.2TRIAD INVERSION

Triads can be inverted by moving the lowest note up an octave.


Root Position: 1 3 5
1 st Inversion : 3 5 1
2 rd Inversion: 5 3 1



8.SEVEN CHORDS

DIATONIC SEVEN CHORDS



Imaj7 II7 III-7 IVmaj7 V7 VI-7 VIII-7(b5)
Cmaj7 D7 E-7 Fmaj7 G7 A-7 B-7(b5)

-7 (b5) = half dim.


Maj 7 1 3 5 7
- 7 1 b3 5 b7
Dom. 7th 1 3 5 b7
V7 sempre a 5th.
- 7 (b5) 1 b3 b5 b7
VII-7 (b5) sempre a 7th.
O 7th 1 b3 b5 bb7
- Maj 7 1 b3 5 7
+ Maj 7 1 3 #5 7
+ 7 1 3 #5 b7






8.1 SEVEN CHORDS INVERSION






Root Position: 1 3 5 7
1 st Inversion : 3 5 7 1
2 rd Inversion: 5 7 1 3
3 rd inversion: 7 1 3 5


Dom 7 (b5) 1 3 b5 b7
Dom 7 (sus4) 1 4 5 b7
Maj6 1 3 5 6
-6 1 b3 5 6 = -7(b5) 1st inversion
9.COMPOUND INTERVALS (INTERVALS LARGE THAN 8va)

2 = 09
3 = 10
4 = 11
5 = 12
6 = 13

TENSIONS: ALL AVALIABLE X DIATONIC TENSIONS

1) TO FIND ALL AVALIABLE TENSIONS OF A CHORD ADD A MAJ 9TH(2RD) ABOVE THE
ROOT, 3RD, 5TH
2) Look at the quality of each new interval agaist the root.
3) Eliminate tensions that are not diatonic to the key you are.
4) On DOM7th chords, you may also add a -9th above the root and 5th
5) On DOM7th chords if you have a b9 you may add #9.

Imaj7 II7 III-7 IVmaj7 V7 VI-7 VIII-7(b5)
9, 13 9, 11, 13* 11 9, #11, 13 9, 13 9, 11 11, b13

III-7
11

Imaj7 V7
9, 13 9, 13

II7 VI-7 VIII-7(b5)
9, 11,13* 9, 11 11, b13

IVmaj7
9, #11, 13

Key of Ab -> C-7 -> III-7
Ab Bb C Db Eb F G Ab
C D E F G A B F
Key of A -> E7 -> V7
A B C# D E F# G#
E F# G# A B C# D# E F# C#
Key of Bb - > C-7 = II-7
Bb C
C D Eb F G A Bb C D F A
10 MODELS OF A MAJOR SCALE
I D P L MA L
1) IONIAN : Major Scale
2) DORIAN: Minor mode ( b3 b7 )
3) PHRYGIAN: Minor mode (b2 b3 b6 b7)
4) LYDIAN : Major mode: Same as major scale with raised 4th degree ( 4#)
5) MIXOLYDIAN: b 7
6) AEOLIAN: Same as natural minor (b3 b6 b7)
7) LOCRIAN: Keep 1 and 4 (b2 b3 b5 b6 b7)


11 CADENCES

STABLE LESS STABLE LEAST STABLE
TONIC SUB DOMINANT DOMINANT
(Tenso, tem que resolver)
I , III-, VI- II- , IV V7, VII-7(b5)

VI- I III- II- IV V7 I
A- C E- D- F G7 C

1) PLAGAL
2) FULL TRADICIONAL
3) FULL JAZZ
4) DECEPTIVE
5) DOMINANT
PLAGAL
(conclusiva)
FULL TRADICIONAL
(autntica)

FULL JAZZ DECEPTIVE
(dominante atinge a
tnica relativa)
DOMINANT
(perfeita)
IV I IV V I II-7 V7 I V III- or VI- V I
SD T SD D T SD D T D T D T
F C F G C D-7 G7 Cmaj7 G A- or E- G C

IONIAN 1 2 3 4 5 6 7
MAJOR SCALE
DORIAN 1 2 b3 4 5 6 b7

PHRYGIAN 1 b2 b3 4 5 b6 b7

LYDIAN 1 2 3 #4 5 6 7

MIXOLYDIAN 1 2 3 4 5 6 b7
ONE FLAT (b7) Dominant V 7
AEOLIAN 1 2 b3 4 5 b6 b7
MINOR SCALE
LOCRIAN 1 b2 b3 4 b5 b6 b7
Keep 1 and 4
12 VOICE LEADING (Based on the melody)

1 Keep common tones between voices.
2 Move all other voices to next close lead voice
3 AVOID 2rd- in the top 2 voices (tension substitute 9 to 1)