Beruflich Dokumente
Kultur Dokumente
2011 m.mermikides@surrey.co.uk
4 &4
tone
semitone
tone tone
tone
semitone
Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th Octave
2. Triads: Root 3rd & 5th starting from each scale degree:
Major Triad: R, 3, 5
'UK' I 'US' I
(These triad types occur in the same order in any major key)
Minor Triad: R, b3, 5 Diminished Triad: R, b3, b5
&
ii IIm Dm
iii IIIm Em
IV IV F
V V G
vi VIm Am
&
I I^7 Cmaj7
ii IIm Dm
iii IIIm Em
IV IV F
V V G
V7 V7 G7
vi VIm Am
vi VIIm7(5) Bm7b5
&
1. Find the key (add key signature), notate and analyse the following progression.
G7 E7 A7 D7
&
E7 A7 D7 G7
&
C7
D7
E7
A7
&
C7
D7
G7
&
2. Notate and write chord symbols for this progression in a key of your choice
ii7 V7 Imaj7 IVmaj7
&
vii7 iii7 vi7
&
3. Write chord symbols and analyse with roman numerals the following chords:
w w w w w w w w
w w w w w w w w
w w w w w w w w
4. Write chord symbols and analyse with roman numerals the following chords (6 chords and secondary dominants are used)
w nw w w w bw w w bw w w w
bw w w w w ww w w w w w
w w w w w nw w w
C F
Am Dm Em
G D
Bb
Gm Bm
Eb
Cm
Cycle of 5ths
Bbm D#m Ebm G#m
F#m
Fm
C#m
Ab
Db
F# Gb
Imaj7 I IVmaj7 IV V V7
vii
vii
ii
ii7
Imaj7 I IVmaj7 IV V V7
vii
vii
ii
ii7
They're are no compositional 'rules' But here are some effective mechanisms to try I 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 I Chords can be in there triadic, 7th or other form (6th, 9th, 13th, add9 etc.)
C7 I7 I!7 G7
IV!7
C!7 F!7 G7
V7
Secondary Dominants
Em7
D7
C7 Gm7 I7 I!7 G7
IV!7
v7
C!7 F!7 G7
V7
Secondary Dominants
Em7
D7
b4 & b b4
tone
semitone
tone
tone
semitone tone
tone
Triads: Root 3rd & 5th starting from each scale degree: The triads in a minor key are:
Minor Triad: R, b3, 5
i ii II Ddim Im Cm
Major Triad: R, 3, 5
VI VI A VII VII B
b &b b
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
i7 Im ii IIm7(5) Dm7b5 III^7 III^7 Emaj7
Minor 7 chord: R, b3, 5, b7 Minor 7b5 chord: R, b3, b5, b7 (Half diminished)
iv7 IVm7 Fm7 v7 Vm7 Gm7 VI^7 VI^7 Amaj7 VII7 VII7 B7
b &b b
Cm7
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 ii - V7 - i.
&
Am
ii II Bdim
III III C
iv IV Dm
v Vm Em
'UK' V 'US' V
VI VIm F
VII VII G
i Im Am
vii VII G #
&
Am
ii IIm7(5) Bdim
v7 Vm7 Em
VI^7 VI^7 F
VII7 VII7 G
Am
i7 Im7
'UK' V7 'US' V7
E7
vii7 VII7 G7 #
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
&
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: ii V7 i b) Dm: i iv V7 i
&
c) Em: VI7 ii V7 i7 d) Bm: i7 bVI vii7 i
&
4. Choose 4 different key signatures.Notate, write chord names and key signatures for ii V7 i7
& &
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)
'UK' I 'US' I
&
i Im Cm
ii IIm Dm
iii IIIm Em
IV IV F
V V G
v Vm Gm
vi VIm Am
ii II Ddim
III
iv IVm Fm
VI
VII VII B
& b
b b
III E
b b
VI A
Common uses
The 'subdominant minor' IVm, iv iv I the bVI bVII I bVI bVII I
b &
Fm
b b
'Epic'
b
minor key
n
major key
major key
V7 V7 G7
vi VIIm7(5) Bm7b5
&
I^7 Cmaj7
i7 Im
iv7 IVm7
v7 Vm7 Gm7
VII7 VII7
& bb
Cm7
b b
b b
Fm7
b b
bB7 b
b b &
Fm7
Cmaj7
minor key
major key
b b
major key
bw w w w
major key
ii7
V7 G7
I^7 Cmaj7
& b
Dm7b5
minor key
major key
ii - V - I Voice Leading
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)
{ { {
w & w ? w
w w w
C7
w w w
A different voicing.
D7 G7
& w w ? w
w w w
C7
w w w
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 Motion of 'guide' tones (3rd and 7th)
D7(b5) G7
w & w ? bw w
w w w
bbw w w
C7
C7
& w w ? bw w
w w w
bw bw w
Chord Directory - 1
m.mermikides@surrey.ac.uk
(Almost) all the chord symbols you'll ever need. There'll always be more but all 'standard' chords should be derivable from these...
1-note
C pedal
& w
C5
[R]
2-note
& w w
[R, 5]
C(b5)
bw w
[R,5]
3-note (triads)
C
[R, 3, 5]
[R, 3, 5]
C&
[R, 3, 5]
[R, 3, 5]
& w w w
(major, maj)
bw w w
C(4)
(minor, min, -)
#w w w
C(2)
(aug, #5)
bbw w w
(diminished, dim)
& ww w (sus)
C7 C7 C7
ww w
4-note (7th chords)
C7(b5) C7
[R, 3, 5, 7]
[R, 3, 5, 7]
[R, 3, 5, 7]
[R, 3, 5, 7]
[R, 3, 5, 7]
&
w w w w
bw w w w bw w w w
w bbw w w #w w w w
bbbw w w w bbw w w w
bbw w w w #bw w w w
& bw w w w
Chord Directory - 2
4-note (6th chords)
C6
m.mermikides@surrey.ac.uk
[R, 3, 5, 6]
C6
[R, 3, 5, 6]
C(b6)
[R, 3, 5, 6]
C(b6)
[R, 3, 5, 6]
& ww w w
bww w w
bww w w
bbww w w
C(9)
[R, 3, 5, 9]
C(9)
[R, 3, 5, 9]
C7(4)
[R, 4, 5, 7]
& ww w w
bww w w
bww w w
C9
&
w w w w w
[R, 3, 5, 7, 9]
bw w bw w w
C9
[R, 3, 5, 7, 9]
bw w w w w
C9
[R, 3, 5, 7, 9]
w & bbw w w w
C7(b9)
[R, 3, 5, 7, 9]
b#w w w w w
C7(#9)
bww w w w
bbww w w w
C%
&
ww w w w
[R, 3, 5, 6, 9]
C%
ww bw w w
[R, 3, 5, 6, 9]
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.
&
Csus11 [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)
C11
C11
C11
C11(b5)
C9(4)
w w w w w w
w bw w w w w
w bw w bw w w
w w bbbw w w w
w bww w w w
#w w & w w w w
C7(#11)
[R, 3, 5, 7, 9, #11]
w b#w w w w w
C7(#11)
C7(#11)
[R, 3, 5, 7, 9, #11]
w bb#w w w w w
[R, 3, 5, 7, 9, #11]
C(7#11)
#w w bw w w w
[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
w bw w &bw w w w
[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]
C13(b9)
w w w & w w w w
[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]
#w w w w w w w C13(#9)
C7[]
w w bw w w w w
C9(b13)
w w b#w w w w w
C7[]
w #w bw w w w w
bw w bbw w w w w
bw w bw w w w w
bw w b#w w w w w
7-note (Altered)
[R, 3, 5, 7, 9, #9, 13]
#bbw ww &b b w w w w
C7
An altered dominant (alt.) chord includes a root, 3rd and 7 and any number (or all) extensions from an altered scale. (ie. 9,#9, #11/5, 13)
& V
C7
C7
V
I
D7
D7
E7
E7
D7
D7
The #IV7 chord is often used between chords IV and a 2nd inversion I chord I7
C7/G
IVmaj7
F7
#IV7
F7
IV7
#IV7
F7
& V V V V
C/G
V V V V
F7
V V V V
V V V V
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. IVm7
F7
bVII7
B7
Imaj7
C7
bVII7
B7
Imaj7
C7
& V V V V
V V V V
V V V V
V V V V
The bVII major triad, particularly when in proximity to a major IV chord is a very common rock device and can be seen as being drawn from the parallel mixolydian mode. bVII
B
IV
F
IVmaj7
F7
bVIImaj7
B7
I
C
& V V V V
V V V V
The bVII7(#11)
Imaj7
V V V V
V V V V
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) Imaj7 bVII7(#11) bVII9(#11)
& V
C7
B7(#11)
C7
B9(#11)
Tritone Substitution
m.j.mermikides@surrey.ac.uk 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.
w & w ? w
3rd 7th
7th 3rd
G7
w w w
C7
3rd
7th Root
w w w
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).
w & w ? w
3rd 7th
D7
bw w bw
3rd
D7
C7
3rd
7th
w w w
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 Imaj7
& V
D7
D7
C7
& V
A7
D7
C7
Tritone subs often have 9ths and /or #11 intervals added. The latter sometimes written as b5.
And occasionally standard dominants may be preceded by min7 (or min7b5) chords a semitone above. V7 Imaj7 And substitute secondary dominants may also exist
& V
A7(b5)
G7
C7
And substitute secondary dominants may also exist, with related IIs of both types.
Imaj7
subV7/IV
IVmaj7
subV7/II
& V
C7
D7(b5)
G9(#11)
F7
E7(b5)
E9
IIm7
subV7
Imaj7
& V
D7
D9(#11)
C7
V
subV7
V
Imaj7
Pick a key and write chord symbols for the following progression Imaj7
Analyse in the key of F, the following progression and mark with symbols. It's a bit tricky...
A7 D9(#11)
subV7/II
IIm7
F7
V V
G7(b5)
V
A7
C7
V
D7(#9) G7(#11)
A7
A7
G7
F7
F%
Jazz Analysis - 1
Example Analysis
E7 A7 D7 G7
m.mermikides@surrey.ac.uk
& V V V V
B7
A7
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
V V V V
V V V V
C7
V V V V
& V
B7
E7
A7
A7
D7
G7
C7
Check for any dominant chords a 5th above diatonic chords (see 'Secondary Dominant 7ths')
V7 /II
IIm7
V7
Imaj7
& V
B7
E7
A7
D7
G7
C7
VIIm7(b5)
V7 /VI
VIm7
A7
V7 /II
& V
B7
E7
A7
D7
G7
C7
Draw brackets for minor 7 (or half-dim) chords resolving down a 5th to dom.
VIIm7(b5) V7 /VI VIm7 V7 /II IIm7 V7 Imaj7
& V
B7
E7
A7
A7
D7
G7
C7
Test 1
& V
G7
G7
C7
E7
& V
A7
D7
G7
Test 2
& V
A7
F7
B7
E7
& V
C7(b5)
F7
B7
E7
A7
Test 3
& V
F7
V
D7
E7
V
G7
A7
V
C7
D7
V
F7
& V V V V
A7
V V V V
V V V V
V V V V
V V V V
&4 V V 4 & V V
I7 'Statement'
V V V V
V V
IV7
V V V V V V
V V V V
I7
V V V V V V
V V
IV7 'Restatement'
& V V V V
V7 'Response'
V V V V
'quick change'
I7
V V V V
V V V V
The basic form is often embellished with harmonic inflections, the 'quick change', the #IV7 and the 'turnaround'.
& V
I7
IV7
I7
& V
IV7
#IV7
I7
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 I7 I7 I7 I7 V7 IV7 VIm7 I7 IIm7 V7 V7 V7
& V V V V
V7
IV7
V V V V
V V V V
V V V V
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 I7 IV7 I7 Vm7 V7/IV
& V
C7
F7
C7
G7
C7
IV7
#IV7
I7
IIIm7(b5)
V7/II
& V
F9
F7
C7
V
VIm7
A7
E7(b5)
A7
IIm7
V7
G7
I7
C7
IIm7
D7
V7
G7
& V V V V
D7
V V V V
V V V V
V V V V
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 are still in place (analysed below). A jazz analysis on the remaining chords will be helpful in unravelling its complexity.
I7
&b V
F7
E7(b5)
A7
D7
G7
C7
F7
IV7
&b V
B7
B7
E7
A7
D7
A7
D7
IIm7
V7
C7
&b V V V V
G7
V V V V
F6
V V V V
D7
G7
V V V V
C7
Rhythm Changes
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
Imaj7
V7/II
A7
IIm7
D7
V7
IIIm7
E7
V7/II
A7
IIm7
D7
V7
G7
&4 V V 4
Imaj7
C7
V7/IV
C7
V V V V V V V V
IVmaj7
F7
V V V
IVm6
G7
IIIm7
E7
V V V V
V7/II
IIm7
V V V
V7
G7
V V V V V V V
& V
A2
C7
V V V V V V
V V V V V V
F6
V V V V V V
V V V V V V
A7
V V V V V V
D7
V V
V7
G7
Imaj7
V7/II
A7
IIm7
D7
V7
G7
IIIm7
E7
V7/II
A7
IIm7
D7
V7
G7
C7
Imaj7
C7
V7/IV
C7
IVmaj7
F7
IVm6
F6
IIIm7
E7
V7/II
A7
IIm7
D7
I6
C6
V V V V
V V V
V7/VI
& V
D7
A3
V7/V
V V
V7/II
A7
V V
IIm7
D7
V V
V7
G7
V7/II
A7
V7
G7
V V
V7/II
A7
V V
IIm7
D7
V V
Imaj7
IIIm7
E7
V7
G7
& V
C7
Imaj7
V7/IV
C7
IVmaj7
F7
IVm6
F6
IIIm7
E7
V7/II
A7
IIm7
V7
G7
I6
C6
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 IVm6 from the parallel minor (bars 5-6). The bridge (B section) is a series of dominant chords descending 5ths before resolving 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
C7
V V V V
V V V V
D7
V V V V
& w w w
Im
#w w w
Im+
C& C
nww w w
Im6
C6
#w w w
Im+
C&
b &b b w w w
I
C
#w w w
nw w w
I7
C7
#w w w
I6
C6
OR
IV
& w w w w
I
C
w w w w
bw w w w
OR
IV (1st inv.)
F/A
I7 (3rd inv.)
VIm7
A7
& w w w
Im
w w w
w bw w
C/B
Im7
Im6
C6
OR
IV9
F9
b &b b w w w w
nw w w w
bw w w w
C7
Im
VIm7(b5)
b &b b w w w
w nw w
w bw w
w w & w ? w
w w w w
IV I
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
G
& V
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.
V7
IV7
I7
& V V V V
G7
V V V V
F7
V V V V
C7
V V V V
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 I
C
& V
VIm
IV
V
F
2 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 IV (down 4th) I (down 4th)
& V
V
F
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 are derived 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 be used over this entire sequence. Minor Mixolydian Major bVI
A
bIII
E
bVII
B
& V V V V
V V V V
F
IV
V V V V
C
V V V V
4 &4
tone
tone
semitone
tone tone
tone
semitone
Since these intervals are not regular, we get a different pattern, and set of scale degrees depending from which of the 7 notes we start with. Each of these 7 starting points gives a 'mode' of the major scale and each has its own distinct and beautiful character, harmonic language and repertoire.
1. IONIAN
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.
&
tone
semitone
2. DORIAN
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.
&
tone
semitone
3. PHRYGIAN
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.
&
semitone
tone
4. LYDIAN
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.
&
tone
semitone
5. MIXOLYDIAN
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.
&
tone
semitone
6. AEOLIAN
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.
&
tone
semitone
7. LOCRIAN
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'.
&
semitone
tone
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 different to 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.
& V V V V
A D
F7
V V V V
E7
A7
V V V V
V V V V
& V V V V
F7 G/F
A7/F
V V V V
G/F
F7
V V V V
G/F
A7/F
V V V V
E7/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.
& V V V V
G G/F
G/E
4. Non-triadic harmony
V V V V
G/F
V V V V
G/F
G/E
V V V V
G/C G/F
To avoid tonal references, chords can be constructed in 2nd, 4ths, 5ths and 7ths (and combinations there of) rather than just 3rds
D Dorian: These chords are built in 4ths creating a more 'open'
D11 E11
&
C11
E11
5. Character
Discover the 'character' chords of the mode - the chords that best describe the mode and show its unique identity - and use them. The melody should also contain the character notes of each mode, and return to the root often. The character notes and chords are described for 5 very useful modes below.
Dorian
A Dorian
Let's look at the dorian mode, and choose A dorian so we can easily see its relationship to 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 all scale degrees and chords with A as the root. The scale degrees are (R,2,b3,4,5,6,b7)
&
Root
Maj2
Min3
P4
( #)
Min7
Octave
P5
Maj6
Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not F This 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. 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 common dorian modal chords (the VI ir unstable and not commonly found) A Dorian A
&
Im
IIm
bIII
IV
Vm
w w w
VI
bVII
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 of the other diatonic chords may be found in progressions. In addition the Im6 is chord is often used. A DorianA7
# &
B7
Im7
IIm7
C7
bIIImaj7
D7
IV7
E7
Vm7
F7(b5)
G7
w w w w
VI7
bVIImaj7
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/A Oye Como Va - Santana (Am D7 -Im IV7)
Phrygian
A Phrygian
Now Let's look at the 3rd mode, the phrygian mode, and choose A phrygian so we can easily see its relationship to A. Since this is derived from F major (the 3rd mode of F major) we'll use one flat in the key signature. However A (and not F) should be considered the root, and we'll work out all scale degrees and chords with F as the root. The scale degrees are (R,b2,b3,4,5,b6,b7)
&b
Root
( b)
Min2
Min3
P4
Min6
Min7
Octave
P5
Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not B This 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 common phrygian modal triads (the V if unstable and not commonly used) A Phrygian A
C E F G
&b
Im
bII
bIII
IVm
bVI
w w w
bVIIm
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 of the 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
&b
A7
B7
Im7
bIImaj7
C7
bIII7
D7
IVm7
E7(b5)
Vm7(b5)
F7
G7
w w w w
VI7
bVIIm7
There are may examples of the Phrygian mode in popular music, particularly when 'spanish' and sinister 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)
Lydian
C Lydian
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 case we get an F# instead of an F. Lydian is a major scale with a raised (augmented) 4th. (R, 2, 3, #4, 5, 6, 7)
&
Root
Maj2
Maj3
( #)
#4
P5
Maj6
Maj7
Octave
Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not F This 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 common lydian modal triads (the #IV if unstable and not commonly used) C Lydian
# &
C
II
w w w
IIIm
#IV
VIm
VIIm
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
&
C7
D7
Imaj7
II7
E7
IIIm7
F7(b5)
G7
A7
B7
w w w w
IVm7
Vm7(b5)
VIm7
bVIIm7
There are many examples of the Lydian mode in popular and film music, particularly when a floating and magical 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 LydianIn 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.
Mixolydian
( b)
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 case we 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)
&b
C Mixoydian
Root
Maj2
Maj3
P4
P5
Maj6
Octave
Min7
So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not B This 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 III if unstable and not commonly used) C Mixolydian
C D E F G A
&b
I
II
w w w
III
IV
Vm
VI
bVII
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. C Mixolydian
&b
C7
D7
I7
IIm7
E7(b5)
III
F7
G7
A7
B7
w w w w
IVmaj7
Vm7
VIm7
bVIImaj7
There are countless examples of the mixolydian mode in popular music - particularly in the harmony of a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be found in 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,
8 The 6th mode of the major scale, the aeolian mode, is a common mode in rock and pop music when a mournful emotion is required. The aeolian mode can be derived from C major from A to A which gives us the following scale degrees. (R, 2, b3, 4, 5, b6, b7) A Aeolian
Aeolian
&
Root
Maj2
Min3
P4
Octave
P5
Min6
Min7
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 II (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined. A Aeolian
A B C D E F G
&
I
II
III
IVm
VI
w w w
Vm
bVII
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 the IIm7(b5) is rare. A Aeolian
A7 B7(b5)
&
Im7
IIm7(b5)
C7
bIIImaj7
D7
IVm7
E7
Vm7
F7
G7
w w w w
bVImaj7
bVII7
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)
2010 Mermikides 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 the major pentatonic and minor pentatonic and are shown below.
Pentatonic Scales
MAJOR PENTATONIC
& w
Root
Maj 2nd
w
Maj 3rd
w
Perfect 5th
w
Maj 6th
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 pentatonic is a very neutral, singable and familiar scale.
The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is called the minor pentatonic So the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)
MINOR PENTATONIC
A major pentatonic (A C D E G) (R,2,3,5,6)
& w
Root
w
Min 3rd
w
Perfect 4th
w
Perfect 5th
w
Min 7th
The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which have semitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonic is an extremely useful, effective and commonly used scale.
C major pentatonic
C minor pentatonic
&
R
b
R
b3
b
b7
C major pentatonic
&
Add 4th and 7th (Perfect 4th, Major 7th) C Ionian (Augmented 4th, Major 7th) C Lydian (Perfect 4th, Minor 7th) C Mixolydian
&
R 2 3 4 5 6 7
#
R 2 3 #4 5 6 7
b
R 2 3 4 5 6
b7
C minor pentatonic
&
b
R
b3
b
b7
& b b
R 2 b3 4 5 6
b7
b b b b
R b2 3 4
5 b6 b7
b b b
R 2 3 4
5 b6 b7
One approach in using pentatonic scales over a chord sequence, is to use the pentatonic scale of the key over all the progression. For example if the sequence is in G major, then G major pentatonic may be used throughout. G major pentatonic
& V V V V
Chords from G major
V V V V
V V V V
C(9)
V V V V
And minor pentatonic may be used over a chord progression from a minor key.
B minor pentatonic
# &#V V V V
B(9)
V V V V
V V V V
D/F E
V V V V
It is also common for minor pentatonic to be used over a major key (or ambiguous) chord sequence: E minor pentatonic
&b V V V V
E
V V V V
A
V V V V
C D A
V V V V
E
Chords from E major (and E minor) Alternatively, a pentatonic scale may be used for each chord, major pentatonic for major chords (including maj7 and dom7 chords) and minor pentatonic for minor or minor7 chords*. F maj. pent F maj. pent Ab maj.pent Bb maj.pent
A
Bb maj.pent
B
&b V V V V
F7
* 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.
V V V V
V V V V
V V V V
Major Blues
The Major Blues 6-note scale is created by adding a sharpened 2nd (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
#2/b3
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, to create the minor blues scale. This is a minor pentatonic scale with an idiomatic raised 4th (flattened 5th).
&
A Minor Blues
#
#4/b5
b7
b3
The blues scales are embellished versions of their pentatonic counterpoints creating an idiomatic bluesy quality. They might be used wherever the pentatonic scale is - as described on page 3. So for example a progression in B minor can be melodicized with B minor blues, a G major progression with G major blues and a Dminor7 chord with D minor blues.
Parallelism
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 explained as the 'block' harmonisation of a scale - often pentatonic -(regardless of diatonicism) Here are some examples.
#### &
j nj nn n n
n n n J
# J
j j j j bb j j bb j j & n J
Parallel Power chords (inverted root and 5th) outlining part of a G minor blues scale.
G5
B5
C5
G5
B5
D5 C5
G5
B5
C5
B5
G5
#### nw & nn w w nw w
n nnn n
w w w w w w
# & n b b
b n n
Parallel 5th chords on implied modes. Bars 1-2: phrygian. Bar 3: aeolian mode. Bar 4: locrian/minor blues.
& b 7 b n 8 b nn
D5 E5 E5 F5
D5
bb nn b n
E5
E5
F5
Mermikides
Minor
4 1 1 1 1
Dominant 7
3 1 2 1 1 1
Minor 7
3 1 1 1 1 1
Major 7
3 4 2 2
Minor 7b5
3 4 1
Minor
3 4 2 1
Dominant 7
1 3 1 4 1 1
Minor 7
3 1 2 1
Major 7
1 3 2 4 1
Minor 7b5
1 2 3 4
Minor
1 3 4 2
Dominant 7
1 3 2 4
Minor 7
1 4 2 3
Major 7
1 3 3 3
Minor 7b5
1 3 3 3
Dominant 9
2 1 3 4
Dominant 9
2 1 3 3 3
Minor 9
2 1 3 4
So far we have been looking mainly at root inversion chords, however inversions 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)
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)
&4 4
w w w w
G/B
w w w w
w w w w
Or the same bassline may occur using an inversion of Imaj7 E.g. No Woman No Cry (Bob Marley)
& w w w w
C7/B
w w w w
w w w w
w w w & w
E7/G
w ww #w
A7/G
w w nw w
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:
G/B
G/B
G/B
A/C
G/B
A/C
&
w w
& w w w & w w w
C
The downward motion may be continued with the vi of IV (1st inv.) Some examples:
E/B
w w w
w w w
C
#w w w
w nw w w w
C
E7/B
#w w w w
w w w
w w w w
w w w
E7/B
#w w w w
w w w w
w w w
#w w w w
E/B
F/A
w w w w
3. Continuing down.
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
C G/B A G F G C
V V V
V V V
V V V
V V V
V V V
V V V
V V V
V V
C/G F
V V V
V V V
V V V
V
C
V V V
V V V
V V V
E7/B
A7/G
F/G
V
C
E/B
F/A
F/A
4. I to ii to 1(1st inv.)
D C D
& V V V V
C D
The use of a 1st inversion I chord can create an ascending bass-line of I-ii-I, this can be made more bluesy with a passing diminished chord.
C/E
V V V V
V V V V
D7
V V V V
C/E
This device of inversions and passing diminshed chords can be taken further with a #iv to I(2nd inv)
& V V V V
C D
D7
V V V V
C/E
V V V V
F F7
C/G
V V V V
G
& V
E7/B
V
A/C
A/C
E7/B
V
D7
V
A/E
V
E7
Using passing diminished chords and a 2nd inversion I chords, an ascending bassline may be achieved.
& V V V V
A E7/B
V V V V
C7
V V V V
V V V V
& V V V V
C C7/B
The use of a continually moving bass line can create interesting progressions with harmonic implications. Here are some examples
& V V V V
A A/G A A/G
A/F
V V V V
A/F
V V V V
F/A A/E
F/A
V V V V
A A/G A/F
V V V V
C/G
A/F
V V V V
A/F
V V V V
& V V V V & V V V V
C C/B
A/G
V V V V
C/G
V V V V
C C/E
A/E
E7
V V V V
C/F
A bass-line can outline a mode under a static chord eg: Mixolydian (Champagne Supernova) Ionian (Older Chests-Damien Rice)
C/A
V V V V
C/B
V V V V
C/A
V V V V
C/G
C/G
& V
A
C/B
C/A
From Something-Beatles, note the use of inversions descending bass lines (both diatonic and chromatic)
### & V V V V
C/G
V V V V
F/E
V V V V
A /G /G /F /F /E
V V V V
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. Heres a real-life example from Beck - We Live Again !5th resolutions Bb: Bb I Gm C vi V/V [---ii V---] Eb IV F V Bb I
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 its 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 I !5th : C I B(7) V/III Em iii E(7) V/VI Am vi
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 I "min2nd C I B(7) VII7 C I E(7) III(7) F IV
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 Im 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 doesnt always fall into a V/II function. Since the VI chord isnt 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 its 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) 2) 3) 4) The bass on the 5th degree (which wants to resolve down a 5th) The leading tone (7th degree) which wants to resolve up. The 4th degree of the scale that wants to resolve down. It contains a tritone interval (which wants to be somehow resolved)
Sometimes we dont 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. V7I Hard cadence ! subV7 V-I Vsus7I Vsus I " 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 IVmaj7I 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 weve 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 Weve 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 Aint Got You Alicia Keys G: Bm7 Bbm7 Am7 Gmaj7 IIIm7 bIIIm7 IIm7 Imaj7
Wind Cries Mary Jimi Hendrix F: Cadd9 Vadd9 Cbadd9 Bbadd9 bVadd9 IVadd9 Fadd9 Iadd9
Modal Interchange
2011 m.mermikides@surrey.co.uk 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
Dorian Phrygian Aeolian
Description
Natural minor scale with major 6th Natural minor scale With minor 2nd Natural minor scale (minor 6th & 7th) Natural minor scale with major 6th & 7th (Or major with minor 3rd ) Natural minor scale with major 7th
Character chords
IIm, IIm7 IV, IV7 bII, bIImaj7 bVIIm IVm, IVm7 bVI, bVImaj7 bVII, bVII7 Im(maj7) bIII#5, bIIImaj7(#5) IV7(#11) VIIm7(b5) Im(maj7) V7(b9), V7(b13) VIIdim7
Melodic Minor
Harmonic Minor
C, D, Eb, F, G, Ab, B
Major Mode
Lydian
Description
Major scale with raised (augmented) 4th Major scale with minor 7th
Character chords
II, II7, Imaj7(#11) Vmaj7 I7 Vm, Vm7 bVII, bVIImaj7 I7(#11) I7 and II7 found together I and bII found together
Mixolydian
Lydian b7
Phrygian Dominant
Harmonic Major
C, D, E, F, G, Ab, B
Major scale with raised (augmented) 4th and minor 7th Phrygian with major 3rd or Mixolydian b9 Or Major with minor 2nd, 6th and 7th Major scale with minor 6th All degrees flattened (major #1 !)
Altered
w & w w ? w
C (R, 3, 5) C Ionian
D/C
w bbw w w
D/C
#w w w w
Alternative spelling: Cm7 / Eb6 3rd inv. Intervals from root: (b3, 5, b7) Modal implication: C Aeolian etc.
w bbw & w ? w
E/C
#w w w w
w w w w
Alternative spelling: C6(b9) / A7#9 4th inv. Intervals from root: (b9, 3, 6) Modal implication: C Major b9
G/C
& bbbw w w ? w
A/C
w w w
C maj9 (no 3rd) (9, 5, 7) C Ionian / Lydian
B/C
w bbw w
Ab 1st inv. Cm(b6) (R, b3, b6) C Aeolian etc.
B/C
w & #w w ? w
bw w w
Csus9 (9, 4, b7) C Mixolydian
2011 Milton Mermikides
#w #w w
Cm(maj7(#11)) Ab7(#9) no root (b3, #11, 7) C Melodic Minor (#11) or Double Harmonic Minor
Alternative spelling: Cm7(b5) / Ebm6 3rd inv. Intervals from root: (b3, b5, b7) Modal implication: C Locrian
Here is a list of the implications of every minor triad over a fixed root.
C
bw & w w ? w
Cm (R, b3, 5) C Aeolian etc.
bbbw w w w
D/C
D/C
w w w w
bbbw w & w ? w
E/C
w w w w
bw w w w
Alternative spelling: C6 / Am 1st inv. Intervals from root: (R, 3, 6) Modal implication: C Ionian etc.
F/C
& #w #w w ? w
bw w w
C9 (no 3rd) (9, 5, b7) C Mixolydian / Aeolian etc.
B/C
bbbw w w
Ab(#9) 4th inv. Cm(maj7)(b6) (b3, b6, 7) C Harmonic Minor
B/C
w & w w ? w
bbw w w w
w #w w w
Csusb9 C(maj9(#11)) no 3rd (b9, 4, b7) (9, #11, 7) C Mixolydian(b9) C Lydian C Phrygian/ Phrygian Dominant
2011 Milton Mermikides
There are dozens of possible seventh chords over non-chord tones, but here are some very effective, and often used examples
E7/C
E7/C
E7(b5)/C
w & bbw w w ? w
Cm9 (b3, 5, b7, 9) C Aeolian etc.
w w w w
Cmaj9 (9, 3, 5, 7) C Ionian / Lydian
bw w w w
C9 (9, 3, 5, b7) C Mixolydian
Alternative spelling: C7alt Intervals from root: (3, b5, b7, b9) Modal implication: C Altered
bw w & bbbw w ? w
G7/C
G7/C
w bw w w w
G7(b5)/C
w bbw w w w
G7/C
#w w w w w
Alternative spelling: Csus(9/13) Intervals from root: (4, 6, b7, 9) Modal implication: C Mixolydian
B7/C
B7/C
B(7)/C
B7/C
& w w bw w ? w
bw w bw w
Csus(9/b13) (4, b6, b7, 9) C Mixolydian b13
w w bb w w
Csus(b9/13) (4, 6, b7, 9) C Mixolydian b9
w ##w w w
Cdim7(addmaj7)/ B7(b9) 4th inv. (b3, b5, 6(bb7), 7) C Whole/Half Diminished
Enjoy.
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 Well 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 neednt get distracted further with semantics, or get overly fussy with terms, so that said, lets 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. Heres an example, it doesnt have to be exactly like this, any way that communicates the whole structure as simply and clearly as possible.
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?
Melodic Tension
Note Hierarchy of the Major Scale
&
R
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. Diatonic Tones from pentatonic Non-pentatonic scale tones
Triad tones
R more resolved
&
7 less resolved
The layout above gives a general impression of how the notes of a major scale compare in terms of resolution level. This explains why we see certain shapes of melodies, and how phrase endings differ between phrases of a melody. We may also extend this concept of melodic tension to include non-diatonic notes, an impression is 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 following should be taken only as an approximate guide - context of surrounding melody notes, implied keys, phrasing and rhythm are still critical.
&
R 5 more resolved
b
b7
n
7
b3
#4
b6 b2 less resolved
2 We have so far been looking at a 'major' context. If however a minor (or modal) context is established a different pattern may emerge, still noting all the caveats previously mentioned. Here's an impression of a melodic tension continuum in a minor context:
&
b3
b
b7
n
7
b
b6
#4
more resolved
b2 3 less resolved
So far we have looked as melody as separate (as far as possible) from harmonic context. This is an important 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 melodic tension in the melody. Note how a phrase is repeated almost identically, except for the ending which is at first unresolved, and then resolved.
# &#
D D7
F7
Resolved (Root)
E7 A7
# 5 &# 4
Less resolved (4th) Unresolved (7th)
F7
4 4
## 4 D D7 & 4
Resolved Root)
2 4 J
## 2E7 & 4
4 4
G
Resolved (Root)
If we look at the chords in isolation we get another pattern of tension and release, which sometimes correlates with the 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 an example 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 particular melody notes are heard against specific chords - sometimes referred to as the vertical relationship.
Major chord
& w w w
R 5 Consonant
b n
6 b7 7
b # b b
b3 #4 b6
b2 Dissonant
& nw w w
R 5 Consonant
b
3
b
b7
#
6
n b
7 b6
#4
b n
b2 3 Dissonant
Major 7 chord
&
w w w w
R 5 Consonant
13
# n
7
11
#9
b # b b
b13 b7
b9 Dissonant
& bw w w w
Dominant 7 chord
R 5 Consonant
b
b7
# n
6 #2 4
b b
#
b13
7 Dissonant
The above guide treats chords in isolation, divorced from harmonic context - whether the chord is a I, ii or IV for example. A general persepective of consonance and dissonance which includes this element might be represented thus: Consonant Chord Tones (CTs) Common Diatonic note whole tone or above nearest chord tone Non-diatonic note whole tone or above nearest chord tone Diatonic note semi tone above nearest chord tone Dissonant Non-diatonic note semi tone above nearest chord tone Rare
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.
Melody on Harmony
Chord-Tone Melody
The study and understanding of melody is a life-long pursuit, but let's look at a succinct representative selection of broad concepts addressing how melody may effectively integrate with harmony, how dissonance is resolved and common 'tensions.'
In the following example (All The Things You Are - Hammerstein/Kern) the melody is constructed entirely from chord tones (CTs) from the underlying chord sequence. Chord degrees (not specifically major minor) are given.
b & b bb w
3rd
F7
B7
3rd
7th 3rd
7th 3rd
E7
A7
7th 3rd
n
3rd 3rd
D7
D7 G7
C7
7th 3rd
nw
b &b
(Gm7)
b &b
7th
E7
C7
F7
3rd CT
A7(b5)
7th CT
D7
Root
9th
3rd
B7
3rd
G7
Root
9th
3rd
(G melodic minor)
3rd
7th
Root
9th
3rd
3rd
Anticipation (ANT)
&
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.
&
(step)
NT
CT
CT
NT
CT
NCT CT (step)
CT
NCT
NCT
CT
E7
CT
NT
CT
CT
NCT
A NCT (usually diatonic) is played above or below a CT and is approached, and resolved in step wise motion.
&
CT NCT CT (skip) (step)
A
(non-diatonic)
& &
C
J
CT (skip)
CT
CT
NCT
(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.
&
CT
(step)
NCT
CT
(step)
NCT
NCT CT (step) (opposing skip to (opposing skip to CT on new chord) CT on new chord)
CT
E7
&
CT
NCT NCT
CT
NCT NCT
CT
NCT NCT
b
CT CT
CT
&
prep.
G7
prep.
ret.7-8 res.
ret.2-3 res.
A delayed step-wise resolution to a CT. When the resolution falls its a suspension, when it rises the NCT is a retardation. The note in the preceding chord is known as the preparation.(prep.) which are suspended (sus.) or retardated (ret.) and then resolved (res.).
&
CT NCT CT NCT CT
J J J J J
F
D7
NCT
CT
NCT
CT
NCT
CT
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.
&
#
NCT
NCT
CT
CT
&
n
NCT
b
CT
CT
CT
j b
NCT
j n
NCT
Neighbour Tone
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 not included 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 of dissonance 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' notes does not necessarily produce good music. However an awareness of the consonance/dissonance continuum is hugely valuable. This particulary topic is vast but we will end with just one further illustrative example:
& &
9 9 5 F7 5
C7
F7
9 9
9 9
C7
J J
E7 E7
A7
9 9
G7
9 9
C7
&
11 11
D7
5 C7
A7
D7