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IMG Berklee Music Theory Book2 PDF
IMG Berklee Music Theory Book2 PDF
C D T r a c k L i s……
t …………………………… … ……………………………… V
lntroduction _ _ _ _ …… … … …― ―V
l e s s o n 3 7 M a l o r T H a d s………
… ……… ………………………… … … 1
Lesson 38 1´ inor■iads _… … ……… … … … … ………… …… …3
Lesson 39 Au8mented■iads _ … ……… … … … … … … …… 4
L e s s o n 4 0 D i m i n i s h e d T r i a d s _ … … …………………… …… … …… … … 5
Lesson 41 Chord Symbo s …… … … …… …… … … … 6
EXERCiSES′ LESSONS 37-41 TRIADSAND CHORD SYMBOLS ………… … …ア
Lesson 42 Triad inve「 sions … … …_ ………… … … … … …… ― -9
Lesson 43 Bass/Chord Theory …… … … … …… ……… ……… … … 10
Lesson 44 ヽ /oice Leading _ _……… … … … … …… ………… …… 12
Lesson 45 0pen―Pos tionヽ /oice Loading and Chorale Notation _ _ … … 14
L e s s o n 4 6 C o n t r ab r ゾ
a l e M O 」o n V o c e L e n d n g _………………………… … 15
EXERCiSES′ LESSONS 4246 1NVERS10NS AND VOiCE LEADiNG… … … 1ア
Lesson 4フ ト
4a10rァ chords _ …… … … 19
Lesson 48 Dominantア Chords _ … _ _ _ _20
Lesson 49 Minorア Chords _ _ … _ _ ……… 21
Lesson 50 Minorア 15)ChordS _ … _ ……… 22
Lesson 51 Diminishedア Chords …… … _ _ _ 23
EX[RCiSES′ LESSONS 47-51 SEVENTH CHORD TYPES AND SYMBOLS 24
Lesson 52 1nvers ons oF Sevonth Chords_ … … … ………… 26
Lesson 53 ヽ/oice Leading Seventh Chords … … ……… …… …… … 2ア
Lesson 54 Contrary and bra‖elヽ /oice Leadin8 0f Seventh ChOrds…… … 29
Lesson 55 Third′Filth′
a nd Seventh Overthe Bass _ … … … … … …… 30
E X E R C I S E S ′L E S S O N S 5 2 巧 5 S E V E N T H _ C H O R D I N V E R S I O N S A N D V O i C L
L E A D I N C … …………………………… … … … …………………………… … 3 2
Lesson 56 Harmonic Accompanimentfrom a Lead Shoot __ … ……… 34
Lesson 57 Arpeg8iat ng Accompaniment Chords … … … … …… 36
Lesson 58 using the Third′ a nd Seventh overthe Root as Accompaniment
Fifth′
Chords … … … … …… … … … … … …… … ―……… … … 3 ア
Lesson 59 2:l Accompaniment Pattorn … … …… … 38
EXERCiSES′ LESSONS 5← 59 HARMONIZiNG AND ACCOMPANIMENT
PATTERNS … … … ……… … ………… ……… 39
Lesson 60 ヽ
4elodicヽ4ot on _ _… _… … ― … … … … …41
Lesson 61 ヽ́′rting a Chord‐Toneヽ 4elody _ … … … …… 42
EXERCiSES′ LESSONS 60-61 ME10DY … … ………… ……… 43
Lesson 62 ヽ 4elcldicヽ
スot on over Change Of HarmOny _ _ _ 44
Lesson 63 Repeat ng aヽ 4elodic Phrase on Diflerent Chords_… … … 45 ……
Lesson 64 Theハ … … … … … … …… … ………… … 46
^eIOdic62-64
EXERCiSES′ LESSONS Sequence…
MELODY WRITINC … … … ………4ア
ヽVhatヽ Next? ___ ……… … … … … ……… …… … 49
About the Author ………… … …… … … … ― ……………… … 5 0
〕Track List
rack Number Page
l M a 1 0 r T n a d s …………………………………… …………………………………… ……… 1
2 ヽ 4inorTr ads… …… … … … … … … …… …… 3
3 Au8mented■ ads… … … ……… …………… … … … …… ………… …4
4 Dim nished Tr ads__ ………… ……… …………… …… … …… 5
5 Exercises′ aining l
Lcssons 3 7-41:Ear■ _ _ … _ …ア
6 Exercises′Lessons 37-41:[arTraining 2 __ … …… … … ア
7 ー4 1 : E a r T r a i n i n g 3 …… _
Lessons 3ア
Exercises′ … … 8
8 Exercises′ Lessons 3 7-41:Ear Training 4… … … _ _ … … 8
9 T r a d l n v e r s i o n…s… … …_ ― ― … …… …… ………………9
10 Triads、vith Bass_ …… … … …… … …… 1°
1l Close and Open Pos tion Tr ads …… … … …… 10
12 ヽ
/oicc Leadin8 of Tr adS … … …… … ―…― 12 .
ヽ /oice―
L ed withヽ
/oice―
13 ComPar ng Not― Led Triads _ _ 12
Paral el Mo10n……… … ………
14 Voに e tead ng n Contrarゾ …… ……15
Lessons 42-46:EarTlaining l
15 Exerciscs′ _ _ 18
16 Excrcises,Lessons 42-46:Ear Trainin3 2 …_ …… 18
1 7 M a j o r 7 C h o r d…
……… ……―………… … ……… ……… …… 19
18 Dom nantア Chord … … …… ……… …… 20 t
19 Minorア Chord … … 21
つつ │
20 Minorア('5)Chord … ―^
2 1 D i m i n i s h e d アC h o r d ……… … … … … … … 23
22 Exercises′ Lessons 4ア ー51:[arTraining 1 24
23 Exercises′ Lessons 4ア ー51l EarTrainin82 _ 24
24 Exercises′ Lessons 4ア ー51:Ear Training 3… … 25
25 Excrcises′ LesSOns 47-51:EarTrainin3 4 … _ … 25
26 アChord lnversions _ _ - 26
2 7 V o i c e t e a d n g 7 C h o r d s n C o n t r a r l r / P a r a l ………
el Molon … … 29
23 アChords、 vth 3′ 5′and 7 over Bass … … _ 30
29 Exercises′ LeSSOns 52-55:[ar Tra lぅ n31 … 33
30 H a r m o n i c A c c o m p a n i m e n t f r O m C h o r d S y m b o s_… _ 34
31 A r p e g g i a t e d C h o r d s a s A c c o m P a n i m………e n t _ … …… 3 6
32 3′5′andア over Bass as Accompanimont … … 3ア
33 2:l httern as Accompaniment _ …… _ _ 38
34 Exercises′ Lossons 56-59:Ear iainin3 1 … … - 40
35 Exercises,Lessons 56-59:EarTrainin8 2 …… 40
36 Chord Toneヽスelody …… … …… … 42
37 Exercises′ Lessons 60-61:Ear■ ainin8 1 …… … - 43
38 Exercises′ LeSSOns 60-61:EarTraining 2 _ 43
39 Exercises,tessons 60-61:EarTraining 3 … … 43
40 ヽハelodic Resolut ons oVer Change of HarmonY _ 44
41 1・ lelodic Phrases … … …… … 45
45
42 Melodγ Note Adiustments for Different Chords , _ … …
43 ヽスelodic Sequence … … … 46
44 Exercises′ Lessons 62-64:Ear Training l … … 48
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l M a k e m i n o r ta面
Cm`" σ
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ら
[xercise、′Les,on,37-41 Triads and Chord Symbols
pl Emi"
Fm`"
Ear Training
l L s t c n t o t h e m a l o raadn dT hmc ndn′
conrJ“
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d
a malor mlnor
b ma10r m nOr
c malor mlnor
d ma10r m nOr
は 3‖ d mad de市
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a major augmented
b ma10r augmented
c malor augmented
d major augmented
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は
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a ma10r m nor d minished augmented
b ma,Or minOr d min`hed au8mented
c major minor d min`hed augmented
d major minOr dim n shed augmented
e major m nor diminished augmented
f ma10r m nOr diminished augmented
g ma10r minor d min`hed augmented
h major minor dim nも hed au8mented
L(:s、
on 42 Triad lnversiOns
Practice
l ヽ
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│。w ngt市
ads , t h c r f r s t Iasne〔c O n d i ] v o r s i o n s
Cmin 3,● o・
fst illv 2‖d inv 4st inv 2nd inv lst inv 2nd inv
2 C o m P l e t c o a c h o f t h e i n v e r t c d c h O r d s o n t h e s t、a r y bb eu l 。
ャb dl,s uP、
、a r d S i r o m
the given noto
Flmin
3 Analyze each chord w th chOrd symbols fOr each Ofthe inverod triads The frst
one is done fOr you
Fmin
Berklee Music Theorン 3ook 2
Fm`"
3 ●3 8
υ ‐ ‐
7
Ciose Ope" Ciose Open CloSe OFen
Practice
l Complete the harmony by adding the root oF each chord in thc bas,
ワ ● ● T● 椰 1 ●● ■‐ ‐
tesson 43 Bass/Chord lheory
2 R e w r t e t h e F o ‖o 、
v i n g c l o s Pe O―S t i O n c h o r d s i n o p e n p o s t i o n b y r e v e r s i n g t h e t o p
a n d b o t t o m n o t e s N o t a t e at‖ hree notos on the treble star
Fmin `● 3 3・
フ 1
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フ │ υ 1ブ
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4 Add the bassto complete the harmonγ ofthese Open_pOs tiOn chords
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Berklee^ス usic Theorシ BoOk 2
Note that direrentinversions oF each chord are used to makc this movementsmooth′
nle10dic′
a nd linear The bass PlalrS the r00t Ofthe and
chOrd′
movosindependent y oF
thc upper vOices
F 3 F 3,
Nol voi`e led ハ 。■Po,iti。 Voite ied Vori。●3 POSiti。
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r
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F ,min 3♭ G Eo C F
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paratiei Contrary
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Chords
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tach note functions as described by its corresponding scale
oot,3′
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5′ア
CM■ 7
Practice
C7 Cminフ
Practice
Lesson 50。Minorア (♭
5)ChordS
Cmin7 Cmin71,5)
Practice
L e s s o n 5 1 . D i m i n i s h e dcア
hOrds
The diminished 7 chOrd(。
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lo、ng the seventh Of a (,5,chord
minア by
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1 Bu ld dlninished 7(°
ア)chords ul)、
vards frOm oach 3iVCn note
Exercises′
Lessons 47-51.Seventh Chord Types and
Symbols
Ear Training
chord nThen′
日stcn lo cach dcn,onstktion denl,o・ ch eЮ or
m lc s dherdominantア
minor 7
′
[xerdses′
tessons 47 51 Se■
enth chord,peS and mbOL
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a minOrア m n705)
b minOrア min7(,5)
c minorア m i n ア1 5 )
d minOrア m i n ア1 5 )
a min7(,5) diminishedア
b m i n ア1 5 ) diminishedア
c min7o5) dimin`hedア
d mnア ('5) d min`hedア
Berklee Music Theorン 3ook 2
Like tr ads′ v th
seventh chOrds can be inverted There arc three inverslons pOssible、
seventh chords The rirst invers on has the th rd on the botlomi secOnd invers on has
the Fith on the bottolη
,th rd invcrsion has the seventh on thc bottom
Practice
1 ovving seventh chords
Wiite the three inversions of the fo‖
3,M■7
、lh a chord
2 1denl″each nVCrted sevcnth chord、 bol
,vnぅ
F7
tesson 53 Voice Leading Seventh chOrds
As、v th triads′
seventh chords can be voice ledovvin8
frn‖ the COmmon-lone pr nc l)e
ln these examples′
each voice moves sm00thl"as the common tone is observed
- 一
Practice
●7 ″7
Lesson 54 Contrary and Para‖ cl Voice teadng of Seventh chOrds
Practice
l ヽ
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‖o、
vin8 ProgreSS10n using i rst contrar、
then Para‖
el moton
2 ヽ
/oice lead using contrary and Para‖el mOt On
Comtrary Parc:!el
Berklee Music Theorン BOok 2
Lesson 55。丁hird′Fifth′
and seventh overthe Bass
Fmi“ 7
ヽ/oice leading the th rd′ and seventh vvorks tho sameas voice leading re8ular
filth′
triads
CMaJ7 CM■7
Lcss()n55 Third′ Fi"h′and Seventh over the Bass
Practice
ン
ー ■min7 7 Cmi‖ フ15)
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フ
FM■7 Cmin7
'min7
3 ヽ
/oico lead the th rd′
f fth,and seventh′
usin8 cOntrary then Para‖
el nnOt On
Cchtrary Pargl!e:
Berklee Music Theor"BoOk 2
B“ :"7 E7
2 ヽ v th the third′
/oice lead the same progression using the common tone pr nciple、
f lth′
and seventh overthe rOotin the bass
Ear Training
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a maiOrァ dominantア minOrア
h ma10rア dominantア m n o 「7
Berklee Music Theor"3ook 2
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complcte score The lead sheetincludesthe melody and the chords expressed in chord
sym5ols′ whereas the score contains notes
a‖、 vrtten out Accompanists use thc lead
sheet as a guide ine to creatcv]PariS thc r o、 irom the chord symbOlinformation
FM■7
`min7
フ │ │
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Lesson s6 HarmOnic AcconPariment'Om a Lead Sheet
■7 G7 Cmi"7 c7 FM■7
'min7
θ ,
フ
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Berklee l■usic Theorシ Book 2
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_ ^生 .
[e、son 58 Using the Third Fifth′ and Seventh over thc Root as Accompaniment chOrds
FM■7 FM■7
McI● dソ
フ │
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‐ 舟 書
Chord
3o38
Practice
l ヽ
/oice lead the Fc1l o ving chords from tho start ngn′usin8
POs only
tion the
sho.・
fillh′
third′ chord
and seventh of each seventい
フ │
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I A n o t h e r a c c o m p a n m e n t P a t t e r n t h a t w o、
vr kth
s wthe
c ‖ throo notes o'the third,fth′
and seventh is the 2:l pattern T 0 0fthe thrcc
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by nsdr Th s notes are struck togethel a tcrnai ng
漕げ
is a 21l partern based on the voice
FMaJ7 Cmi“ 7
Practice
l COml)ete tho 2:l harmonic accO]]Danin]cnt tsing the sanlO vOice leadin8 as the
previous t、
vO 10ssons(l esso1ls 5ア
ald 58 , 36-3「
Omin7 Cmin7 0
′
Exerc scs tcs,ons 56-5' Harmonizing and Accompaniment Patterns
1 ヽ
/oicc load the accompanYing chOrds using the common― tone pr nctple
_ ■ 舟
3 `
/oice lead the third′
Fifth′
and seventh from thc stari ng pos tiOn sho、
vn
0
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Berklee Music Theorル BoOk 2
0 │
フ
Ear Training
撼
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arpe8'aFd ChOrd,and
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M■ or 2nd .``_^_,_J
Minor 211d
Steps(s)and loaps tL)are analyzed as this me10dY mOves irom One noto 10 the next
Practice
l A n a l y z e t h O n o O t Obet、
n veen tho nOtes OFthe,o‖o、
ving me10dY by using e ther S
or L
Berklee Music TheOr"B00k2
,min
Practice
l A d j u s t t h e n O t e s o Fm et hOζ
dy to ttt the chords Label the chord tones using
numerals′ a s above
a D,
b Bminア
2 ヽ
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the
vin8fo‖
chOrds
F M a 」7
Flminア
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it note oitho next chord fthe lasi nOte oF b h
a chord is alsO a chord 10ne ofthe next
it chOrd′
may bc descr bed as a cOmmon tone
(CT)In these cases′
a leap into the Frst nOte ofthe l]ext chOrd is Possible f the last
note of a chOrd is nOt a chord tOnc ofthe next vn
chOrd
asa lknoヽ
non―
com mOn-10ne′
Or NC)′
a step、
visc resOlut on intO the frst note ofthe next chord is ca ed fo■
Practice
Cmim7
Fmin7
Les,oo 63 Repeating a Melodic Phrase on DifFerent Chords
A7 Cmin A7
3,MaJ7
`, Cmin7
we ephお
on
Practice
・Rlll盟
増嵩鵠弔
聯 計
胤;¶
:!籠
i』 朧鳳離12meが
Flmin719
、
νO m easures′Vith a repeat ofthat me10dy in
2 Wrte your ovVn melodyin the frst●
V th
the second tv.o measures Pract Ce playing itヽ the chords
,MaJ7 FM■7
Berklee 14usic Theor"300k2
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fourth one is olen completely differentto bring thin3s to a COnclusion
,mim7
Repeated
Practice
ReFeat,
Emin7115) ,MaJ7
Concillde:
2 ComPlete these melodic sequences′ using the melodic mater al and chords
81Ven
Cmin7 A7 ,m`"7 G7
Repedt:
[xercises′tes5ons 62-64 Melodγ Writing
A'requently used song FOrm uses a 4 measure、vhich repeats in the f rstsect on′
pbrase′
then a shOrter 2-measure phraso is repeated yお rthesecOnd
sequent a‖ sect on Not ce
the double barine after measure 8 scParaivOngsect
the ons
t、
4-med`ure pltr●3e
CMaJフ Fmin7 口
"7
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BertteMEic■r13oo望 _ _ _ _
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l vn mclody 7rt n8 0n this satne chOrd
Try Your o、
4-mcasure phrase in the second fJur measUres′ 評撚 :鳳ぽ;l膿
∫
y わr t h e l a s t e i g h t m e a s u r e s
repeated sequcntia‖
Fm`“7 B17
CM可 7
CM■7
AM■7 働 mi"7
,min7
Ear Training
円 可7
2 L i s t e n t o t hDminア
C and Gア chords Then′ transcr be this 4-measure mC10dy
Omin7 G7
be th`4-m easure
3 L s t n t o t h eDminア ′Gア′and CMa17 chords Then transc高
me odv
O“
`"7
I′
What/s Nex17
Whatも Next?
輛 網 nttir臨 ″ 出 昴群 罰
朧 綿距 辮 編 思 撃憾 1鮮 ave even written melodies Of yOur o、
νn
Continue、vorking withthis materialas much as yOu possibly can riteoutandPlaythe
V′
chordsofsongsfrOmaleadsheet practicevoiceleadinganddevisingaccOmpaniment
patterns based On the chords,tッwriting your o、vn me10dy On those same chords All
of these activ ties w‖
l help to reintorce and even further the theorct cal knowledge
gained in this cou「
se
―keep practicing′
Until then― and continue to bui d your knO、
vledge of music theoっ
たlt
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ν‖l make you a bette「musician
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Berklee Music Theorン 3ook 2
阻 硼 喘 蹄 ζttm!w′ 瀧 :』 靴 RY∫ l珊 淵 謝 脚 懺
albums,interpreting the music Of Hoagy Carmichael and songs assOciated、
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S natra He`the co author Ofthe 3erklee Prac″ ce Mettοdiゃ ard(Berklee Press
2001)and∂ettkねe rnsね
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instructor of three online courses on Berkleemusic "ο
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動eογ 207′and θer々たe終 a″ treめοd
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